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1962 Ivo Dotto costruisce per hobby il primo trenino su rotaia azionato da motore. Il fascino e il successo di tale trenino sono confermati dai sempre più numerosi bambini che ogni giorno si fermano col naso incollato al recinto per vederlo in movimento, speranzosi di poter fare un giretto. Nasce il primo trenino su pneumatici. Il 1966 rappresenta una svolta molto importante nella tradizione dei trenini, fino ad allora concepiti soltanto su rotaia. “Liberare” il trenino dal vincolo del binario significò rendere versatile un mezzo di trasporto che da quel momento venne utilizzato per gli scopi più diversi. Nasce il primo trenino su pneumatici per il trasporto di adulti. Quello che era nato come un'attrazione per bambini diviene ora un mezzo di trasporto all'interno dei parchi e non solo. I treni Dotto ben presto iniziano ad essere venduti anche al di fuori dei confini nazionali. Nasce il primo treno elettrico L’attenzione per l’ecologia e l’ambiente ha portato DOTTO TRAINS a realizzare la linea Muson River in versione elettrica, per riscoprire l’emozione di viaggiare a contatto con la natura, gustando la varietà dei paesaggi che ci circondano. Il treno TM970, dal design aerodinamico è adatto anche alle città più moderne. Per soddisfare mercati sempre più esigenti, DOTTO TRAINS progetta e realizza modelli sempre più evoluti e sofisticati tecnologicamente, capaci di circolare in qualsiasi tipologia di ambiente. Nuova linea di treni: Funny Trains Sono treni molto colorati, dal simpatico design che sembrano usciti dai fumetti. Questa linea è stata studiata principalmente per i parchi divertimento, ma ben si adattano anche in villaggi turistici e Resort. I treni elettrici Dotto nel rispetto dell'ambiente. Nasce Dottobus, ecologico per natura. L’attenzione per l’ecologia e l’ambiente che da sempre contraddistingue la filosofia aziendale di DOTTO TRAINS, ha portato alla realizzazione di diverse linee di treni elettrici, senza rinunciare alla consueta affidabilità, manegevolezza ed efficienza che contraddistinguono DOTTO TRAINS. Dottobus Enclosed Euro 6 Shuttle bus dal design moderno, con motore Euro 6 a basse emissioni, può essere decorato con grafica personalizzata. Ben si presta come transfer aeroportuale e come bus urbano. Dotato di riscaldamento e aria condizionata, è ideale sia nelle località con clima rigido che torrido. Dottobus Enclosed in versione elettrica Shuttle bus elettrico dal design moderno, ecologico al 100%, può essere decorato con grafica personalizzata. Ben si presta come transfer aereoportuale e come bus urbano. Dotato di riscaldamento e aria condizionata, è ideale sia nelle località con clima rigido che torrido. BIG BOY La nuova locomotiva made in Dotto La nuova potente locomotiva 4x4 con motore Turbo Diesel Euro VI è in grado di affrontare percorsi in salita fino ad ora ritenuti inacessibili, con pendenze anche del 25%. In 1962 Ivo Dotto built the first engine driven train on rails as a hobby. The allure and success of this little train were proved by the increasing number of children who stopped and glued their noses to the fence every day to watch it in action, ever hopeful that they might be lucky enough to have a ride. he first road train was launched 1966 marked a very important turning point in the history of these small trains, which had only run on rails until now. “Freeing” the train from its tracks transformed it into a completely versatile means of transport that could now be used for an amazingly wide range of different purposes. The first road train for adults was launched. What initially began as a children’s attraction now became a means of transport used in parks and many other places. It wasn't long before Dotto trains began to be sold outside of Italy as well. The first electric train was launched Understanding the importance of environmental awareness and protection led DOTTO TRAINS to build an electric version of the Muson River line so you can rediscover the thrill of travelling through the countryside while savouring the rich and varied landscapes around us. The TM970 is launched, a train with an aerodynamic design also perfect for modern cities. Over the last years DOTTO TRAINS has designed and built more advanced and technologically sophisticated models, that suit every type of setting, meeting the needs of increasingly demanding markets. A new line: Funny Trains The brightly coloured trains with fun, appealing designs that look just like cartoon characters. This line was primarily designed for amusement parks but Funny Trains are also ideal for holiday villages and resorts. Dotto's eco-friendly electric trains. The new Dottobus. Eco-friendly by nature. Environmental awareness and protection has always been a key part of the DOTTO TRAINS philosophy and this led to the creation of different lines of electric trains that maintained the same reliability, easy handling and efficiency for which DOTTO TRAINS is renowned. The first Dottobus Enclosed Euro 6 was launched. The Euro 6 low emission shuttle bus, with a modern design, can be decorated with customized graphics. It is suitable as an airport shuttle and city bus. Fitted with heating and air conditioning, it is ideal for places with cold or hot climates. Dottobus Enclosed electric model The 100% eco-friendly electric shuttle bus with a modern design can be decorated with customized graphics. It is suitable as an airport shuttle and city bus. Fitted with heating and air conditioning, it is ideal for places with cold or hot climates. BIG BOY The new locomotive made in Dotto. The new powerfull 4x4 locomotive, with Euro VI Turbo Diesel engine, will be able to climb slopes of even 25% getting to peak never thinked before.

Ten years to the day after Nelson Mandela’s release from prison on 11 February 1990, the Nelson Mandela Museum opened its doors. Nelson Mandela insisted that it was not just to be a static collection and tribute to him, but a living memorial to his values and vision. It was to inspire and enrich all who visit it, serve as a catalyst for development and should share the heritage resources linked to him. The Department of Arts and Culture took his words to heart and pledged funding for the Nelson Mandela Museum as part of its series of national legacy projects that honour South Africa’s liberation heroes. The Nelson Mandela Museum is more than a place; it is an experience that allows visitors to follow the footprints of a man whose long walk to freedom began in the foothills that rise from the banks of the Mbhashe River. His journey took him back to the village of Qunu, where he put down roots and grew tall and strong. The young man listened to and learned from his elders, moved by their stories of battles for their land. His battle for liberation would be waged a long way from the rural landscape of his birth. It would take him from studying at the University of Fort Hare in Alice to the mines in Johannesburg; and from the capital cities of the world to a prison cell on Robben Island, before he emerged from his long imprisonment, unbowed and victorious on a summer day in February 1990. His gift is a living one – one that embodies his commitment to the principles of human rights, freedom, peace and democracy. This constantly evolving legacy is housed in the Nelson Mandela Museum, with its two main sites: the Nelson Mandela Youth and Heritage Centre in Qunu, and the Bhunga Building in Mthatha. A third site, Mvezo, is not currently operated by the museum. Here there are exhibitions that celebrate his life and his journey, including Gift to the Nation, which showcases the gifts he has received from the people, institutions and governments around the world, and a collection of images and artefacts that illustrate and illuminate his life. The Nelson Mandela Museum is situated on the N2 highway and is the gateway to the Wild Coast. It offers a memorable cultural experience that gives insight into the life of Nelson Mandela, with guided tours and a heritage trail that follows his in his footsteps.

The Castle of Good Hope is known locally as "The Castle". Its Dutch name is "Kasteel de Goede Hoop" and is a bastion fort built in the 17th century in Cape Town, South Africa. The Castle was originally located on the coastline of Table Bay but, following reclamation, the fort is now located a short distance inland within the Central Business District. The Castle was declared a historical monument (now a provincial heritage site) in 1936. Following restoration work in the 1980s, it is considered the best preserved example of a 17th century architectural structure in the entire world. In 1652, the Dutch East India Company (DEIC) settled on the shores of Table Bay to establish a refreshment base for ships en route from Europe to East Asia and to maintain its monopoly over the Spice Trade. Built by the DEIC between 1666 and 1679, the Castle of Good Hope is the oldest existing colonial building in South Africa. It replaced an older fort called the Fort de Goede Hoop which was constructed from clay and timber and built by Jan van Riebeeck, the first Commander of the Cape. During 1664, tensions between Britain and the Netherlands rose amid rumours of war. That same year, Commander Zacharias Wagenaer, successor to Jan van Riebeeck, was instructed by Commissioner Isbrand Goske to build a pentagonal fortress out of stone. The first stone was laid on 2 January 1666. Work was interrupted frequently because the DEIC was reluctant to spend money on the project. On 26 April 1679, the five bastions were named after the main titles of William III of Orange-Nassau: Leerdam to the west, with Buuren, Katzenellenbogen, Nassau, and Oranje clockwise from it. In 1682 the gated entry replaced the old entrance, which had faced the sea. A bell tower, situated over the main entrance, was built in 1684—the original bell, the oldest in South Africa, was cast in Amsterdam in 1697 and weighs just over 300 kilograms (660lb). It was used to announce the time, as well as warning citizens in case of danger, since it could be heard 10 kilometres away. It was also rung to summon residents and soldiers when important announcements needed to be made. The fortress housed a church, bakery, various workshops, living quarters, shops, and cells, among other facilities. The yellow paint on the walls was originally chosen because it lessened the effect of heat and the sun. A wall, built to protect citizens in case of an attack, divides the inner courtyard, which also houses the De Kat Balcony – now with the “Kings of the Castle” statues in front of it. The original balcony was built in 1695, but rebuilt in its current form between 1786 and 1790. From the balcony, announcements were made to soldiers, slaves and burghers (town inhabitants) of the Cape. During the Second Boer War (1899–1902), part of the castle was used as a prison, and the former cells remain to this day. The Castle acted as local headquarters for the South African Army in the Western Cape, and today houses the Castle Military Museum and ceremonial facilities for the traditional Cape Regiments. The Castle is also the home of the Cape Town Highlanders Regiment, a mechanised infantry unit.

Tra il 1760 e il 1763 il conte Vittorio Amedeo Costa di Carrù e Trinità, che fu governatore di Novara e poi vicerè di Sardegna, dava incarico all’architetto Birago di Borgaro per la costruzione del suo palazzo affacciato su via San Francesco da Paola. Al palazzo venne successivamente annesso il complesso detto “delle Cascine”, frutto di acquisti di case da reddito che si affacciavano sulle attuali vie Giolitti e Accademia Albertina. Nel 1837 nella proprietà delle Cascine venne a collocarsi il Ricovero delle figlie della Misericordia, istituzione assistenziale fondata in connessione con le Dame della Carità di san Vincenzo de’ Paoli, da Luigia Alfieri che ne affidò il funzionamento alle Figlie della Carità; l’opera venne proseguita dopo la sua morte da Luisa Costa, moglie di Cesare Alfieri, e da Costanza Alfieri marchesa Tapparelli d’Azeglio. Nel 1882 moriva la contessa Costanza Luserna di Rorà, vedova del conte Costa di Carrù e Trinità, che a sua volta aveva fondato il “Ritiro Carrù” e che con testamento segreto lasciava precise disposizioni sull’utilizzo del palazzo di via Accademia. Nel 1882 il conte Carlo Alfieri affidò, in accordo con Paolo Costa della Trinità, l’amministrazione provvisoria del Ritiro Alfieri, al quale era di fatto unito il Ritiro Carrù, all’ing. Melchiorre Pulciano. A questi il conte Costa dà incarico, tra il 1892 e il 1896, per «opere di sistemazione del fabbricato». Nel 1896 avvenne la fusione ufficiale dei due ritiri in un unico Istituto che funzionava come educandato per fanciulle cattoliche di non agiata condizione. Negli anni della seconda Guerra mondiale l’edificio ospitò altre istituzioni, come l’Educatorio della Provvidenza e un ospedale del Sovrano Militare Ordine di Malta provvisto di ambulatorio medico chirurgico e pediatrico. Subì gravi danni alle coperture e all’ultimo piano che furono interamente rifatti. Nella seconda metà del secolo scorso l’Istituto fu trasformato in convitto femminile con 75 posti letto sostituendo le originarie camerate in camere a due letti. All’inizio del 2003 venne elaborato un progetto di ristrutturazione e restauro conservativo che venne sottoposto alla Compagnia di San Paolo e alla Fondazione CRT che si fecero carico dei lavori di ristrutturazione. Between 1760 and 1763, Count Vittorio Amedeo Costa di Carrù e Trinità, who was governor of Novara and then viceroy of Sardinia, commissioned the architect Birago di Borgaro to build his palace overlooking via San Francesco da Paola. The complex called “delle Cascine” was subsequently annexed to the palace, the result of the purchase of income-generating houses that overlooked the current via Giolitti and Accademia Albertina. In 1837 on the property of the Cascine the Shelter of the Daughters of Mercy was placed, a welfare institution founded in connection with the Ladies of Charity of St. Vincent de 'Paoli, by Luigia Alfieri who entrusted its operation to the Daughters of Charity; the work was continued after his death by Luisa Costa, wife of Cesare Alfieri, and by Costanza Alfieri marquise Tapparelli d'Azeglio. In 1882 Countess Costanza Luserna di Rorà died, widow of Count Costa di Carrù and Trinità, who in turn had founded the “Carrù Retreat” and who with a secret will left precise provisions on the use of the building in Via Accademia. In 1882 Count Carlo Alfieri entrusted, in agreement with Paolo Costa della Trinità, the provisional administration of the Retiro Alfieri, to which the Retiro Carrù was in fact joined, to Eng. Melchiorre Pulciano. To these Count Costa gave assignment, between 1892 and 1896, for "works to refurbish the building". In 1896, the two retreats were officially merged into a single institute that functioned as a boarding school for Catholic girls of not well-off conditions. In the years of the Second World War the building housed other institutions, such as the Educatory of Providence and a hospital of the Sovereign Military Order of Malta equipped with a medical, surgical and pediatric clinic. It suffered serious damage to the roofs and the top floor which were entirely redone. In the second half of the last century, the Institute was transformed into a boarding school with 75 beds, replacing the original dormitories with two-bed rooms. At the beginning of 2003 a renovation and conservative restoration project was elaborated which was submitted to the Compagnia di San Paolo and to the CRT Foundation which took charge of the renovation works.

Francesca Guicciardini nasce a Firenze nel 1978 da una storica famiglia fiorentina, qui studia presso l’istituto d’arte di Porta Romana, seguendo lezioni di decorazione e grafica. Durante questi anni inizia a sperimentare la pittura murale, prima direttamente sui muri di casa propria, poi per piccoli committenti fiorentini. Nel 1997 si diploma e si rasferisce a Roma, dove inizia a studiare computer grafica, alternando gli studi a decorazioni per committenze in giro per l’Italia. Lavora per un paio d'anni come grafica per l’artista romani Matteo Basilè, segue un corso di montaggio video presso Cinecittà per realizzare documentari durante i suoi lunghi viaggi nel sud del mondo, dove si porta sempre dietro l’occorrente per realizzare gli acquarelli che ispirano i suoi lavori di decorazione. Dal 1999 ad oggi ha decorato svariati muri, ville, casali e locali pubblici in giro per il mondo, specializzata nella decorazione “classica” (molto in voga nelle ville toscane del xix secolo), Francesca ha saputo coniugare gli studi di grafica, all’arte orientale conosciuta durante i viaggi in Asia, senza dimenticare il Rinascimento fiorentino che l’ha circondata e ispirata durante la sua formazione artistica. As a young girl, raised in one of the oldest Florentine families, Francesca began by painting the walls of her mother's home, and it was while still at the Art Institute that she began to receive her first commissions. Over the years, she has applied her talent as an artist and eye for design to walls all around Italy. She always prefers to work closely with her commissioner and since her days as a young student, she has painted Florentine apartments, ancient Roman villas, Tuscan country homes, and public spaces. After her studies, she moved to Rome, where her talent was nurtured by her work for the Roman artist Matteo Basilè. At the same time she was also specializing in graphic design and editing, and it was her capacity in her studies that bought her to Cinecitta' where she directed small documentaries based on her voyages around the world. Francesca's passion for travel has bought her to some of the most remote and beautiful places in the world. Her travels could last up to a whole year if she felt inspired. The result of these travels has been an extraordinary collection and study of the various decorative themes and ornaments she encountered along the way. Today Francesca specializes in combining the knowledge she has acquired over the years, and during her travels, to work on some of the most important walls in Europe. Her main passion remains classical decoration, a reminder of the Italian Renaissance that surrounded her most of her life, but her originality comes from joining this innate passion with her knowledge as a designer and avid traveler.

El Hostal de los Reyes Católicos es un edificio que fue construido en el año 1492. En 1501, este edificio fue destinado por los Reyes Católicos para atender a los enfermos y peregrinos del divino Xacobe, según se puede leer en la inscripción latina que recorre el friso superior de la portada. El proyecto de las obras se debe al arquitecto real Enrique Egas. Delante de la fachada se puede ver una fuerte cadena del siglo XVI sostenida por pilares esmeradamente tallados que delimita la propiedad del hospital y que tiene su origen en las disputas de propiedad entre el Ayuntamiento y las autoridades del hospital. Cuenta con una hermosa portada plateresca, obra de los maestros franceses Martín de Blas y Guillén de Colás. En las pilastras de esta portada podemos ver de abajo arriba, las figuras de Adán, Santa Catalina y San Juan Bautista en la izquierda y las de Eva, Santa Lucía y María Magdalena en la derecha. En el friso de la puerta, estructurada a modo de arco triunfal romano, aparecen alineadas las figuras de los doce apóstoles. En las pechinas sobre el arco se pueden ver los medallones que recogen los bustos de los reyes Isabel y Fernando. Sobre el friso, en el cuerpo superior se abre la ventana del Aposento Real, reservado para hospedar a los monarcas cuando acudieran a Compostela, esta parte se encuentra bordeada por las imágenes de Cristo, la Virgen, Santiago, San Juan Evangelista, San Pedro y San Pablo. Dos grandes escudos, con las armas de Castilla flanquean así mismo, la portada. Recorriendo todo el frente del edificio vemos los balcones diseñados por fray Tomás Alonso, apoyados en ménsulas muy trabajadas que representan figuras fantasiosas. La cornisa se decora con una minuciosa cadena en la que sobresalen grotescas y obscenas gárgolas. El espacio interior está estructurado en una planta rectangular con cuatro patios. El más artístico de estos patios es el que se encuentra de primero al entrar del lado izquierdo, en el que destaca sobre todo, la puerta que conduce a la antigua sala de San Luis. El interior del Hostal alberga una hermosa capilla ojival, declarada Monumento Nacional en 1912. La parte más interesante de esta capilla de planta de cruz latina, situada entre los cuatro patios, es el crucero al que se accede a través de un enrejado de hierro de hermosa factura, obra del cerrajero francés Guillén. La bóveda del crucero, confeccionada en piedra litográfica de Coimbra, es de una bellísima filigrana.

La Catedral de Santiago de Compostela es una construcción medieval que se encuentra ubicada en la capital de Galicia, Santiago de Compostela, al noreste de España. Esta construcción fue iniciada en el año 1075, bajo el reinado de Alfonso VI y promovida por el obispo Diego Peláez. Inicialmente, el edificio contaba con tres naves y una planta de cruz latina, que abarcaba una superficie de 8.300 metros cuadrados. Aunque la estructura medieval se ha mantenido en lo fundamental, a lo largo de los siglos la Catedral ha ido variando su fisonomía con construcciones como la del Claustro y sus espacios anejos durante el Renacimiento. Así como la construcción de la capilla mayor, los órganos, el cierre de la cabecera o la fachada del Obradoiro, entre otras importantes actuaciones que se realizaron durante la época del Barroco. Durante el Neoclasicismo se realizó la nueva fachada de la Azabachería y en los últimos cien años se han seguido realizando diversas actuaciones. Por esta razón, hoy en día la edificación reúne diversos estilos arquitectónicos tales como el románico, el gótico, el barroco, el plateresco y el neoclásico. La entrada principal es conocida como el Pórtico de la Gloria y fue construida por el Maestro Mateo en el 1188. En ella se albergan dos centenares de figuras alusivas al Apocalipsis, dentro de las cuales destaca la figura del Apóstol Santiago que parece dar la bienvenida a los peregrinos. La fachada del Obradoiro de la Catedral es obra de Fernando de Casas y Novoa, y está considerada como una de las expresiones máximas del barroco español. El Altar Mayor es de estilo barroco, debajo del cual se encuentra la cripta del Apóstol Santiago. La catedral de Santiago de Compostela se ha convertido en un atractivo turístico y religioso ya que es el final del viaje de los peregrinos que deciden realizar el “Camino de Santiago”, recorrido que parte desde distintos lugares de Europa. Este trayecto, es conocido como el Primer Itinerario Cultural Europeo y Patrimonio de la Humanidad, y es una de las más antiguas y principales vías de peregrinación de la cristiandad. Desde el descubrimiento del sepulcro del Apóstol Santiago, innumerables peregrinos se han puesto en camino hacia la Catedral de Santiago de Compostela, para venerar sus reliquias, conformando así toda una cultura jacobea a lo largo de Europa. Como atractivo turístico, también se encuentra el Museo Catedral de Santiago que le permite a los visitantes profundizar su conocimiento en la historia y el arte de la Catedral, a través de sus diferentes espacios y las exposiciones temporales que se organizan con regularidad.

The Tower of London, founded by William the Conqueror in 1066, is one of the world’s most famous fortresses, and one of Britain’s most visited historic sites. Despite a grim reputation for a place of torture and death, there are so many more stories to be told about the Tower. This powerful and enduring symbol of the Norman Conquest has been enjoyed as a royal palace, served as an armoury and even housed a zoo! An intriguing cast of characters have played their part: including the dastardly jewel-thief Colonel Blood, tragic Lady Jane Grey and maverick zookeeper Albert Cops. The Tower of London played an important role in the First and Second World Wars. From training WWI recruits in the Tower moat including the Royal Fusiliers (whose headquarters and museum still exists at the Tower of London today), to guarding the infamous Nazi prisoner of war Rudolph Hess, during each devastating conflict the Tower returned to its former role as a military store, barracks and prison. And it became, once again, a grim place of execution for enemies of the state. A total of 12 spies were executed behind the Tower's walls. In 2014 and again in 2018, The Tower of London commemorated the centenary of WWI with two major installations. In 2014, ‘Blood Swept Lands and Seas of Red’ marked Britain’s first full day of involvement in the war by filling the moat with 888,246 ceramic poppies while in 2018, ‘Beyond the Deepening Shadows: The Tower Remembers’ saw the moat filled with thousands of flames that commemorated those who lost their lives. Within days of Britain's announcement to enter WWI, young men who worked near the Tower in the City answered the call to enlist. Some formed volunteer brigades with friends or work colleagues. 1300 men who worked for city firms joined the City of London Battalion, pictured here in the Tower moat, waiting to swear the oath of allegiance. By the turn of the 20th Century the Tower of London was seen as a tourist attraction, but the Tower never formally dissolved its function as a garrison, prison and execution site. The fortress actively carried out all three roles during the war, even as it remained open to visitors.

Taos Pueblo is the only living Native American community designated both a World Heritage Site by UNESCO and a National Historic Landmark. The multi-story adobe buildings have been continuously inhabited for over a 1,000 years. The Pueblo is 3 miles northeast of Taos Plaza. Archaeologists say that ancestors of the Taos Indians lived in this valley long before Columbus discovered America and hundreds of years before Europe emerged from the Dark Ages. Ancient ruins in the Taos Valley indicate our people lived here nearly 1000 years ago. The main part of the present buildings were most likely constructed between 1000 and 1450 A.D. They appeared much as they do today when the first Spanish explorers arrived in Northern New Mexico in 1540 and believed that the Pueblo was one of the fabled golden cities of Cibola. The two structures called Hlauuma (north house) and Hlaukwima (south house) are said to be of similar age. They are considered to be the oldest continuously inhabited communities in the United States. The Pueblo is made entirely of adobe – earth mixed with water and straw, then either poured into forms or made into sun-dried bricks. The walls are frequently several feet thick. The roofs of each of the five stories are supported by vigas – large timbers hauled down from the mountain forests. Smaller pieces of wood – pine or aspen latillas – are placed side-by-side on top of the vigas; the whole roof is covered with packed dirt. The outside surfaces of the Pueblo are continuously maintained by re plastering with thin layers of mud. Interior walls are carefully coated with thin washes of white earth to keep them clean and bright. The Pueblo is actually many individual homes, built side-by-side and in layers, with common walls but no connecting doorways. In earlier days there were no doors or windows and entry was gained only from the top.

For almost 100 years, Monticello has been maintained and kept open to the public by the Thomas Jefferson Foundation, Inc., which owns over 2,500 acres of Jefferson's 5,000-acre plantation. As a private, nonprofit 501(c)3 corporation, the Foundation receives no ongoing federal, state, or local funding in support of its dual mission of preservation and education. Monticello is the autobiographical masterpiece of Thomas Jefferson—designed and redesigned and built and rebuilt for more than forty years—and its gardens were a botanic showpiece, a source of food, and an experimental laboratory of ornamental and useful plants from around the world. Monticello, Thomas Jefferson’s plantation near Charlottesville, Va., was the center of his world. To understand Jefferson, one must understand Monticello; it can be seen as his autobiographical statement. Monticello encompassed a house, an ornamental landscape, a farm, a plantation, a small mountain, and a large and diverse community. It encapsulated the interests, talents, ideals, ambitions, and realities of its creative and complex owner. In 1923, Monticello was purchased by the Thomas Jefferson Foundation, a private nonprofit corporation and was opened as a public attraction in 1924. Since then, the Foundation has instituted numerous research and educational programs and major restoration and renovation projects, and Monticello has attracted more than 27 million people. Today, the Thomas Jefferson Foundation remains committed to a twofold mission: preservation – to conserve, protect, and maintain Monticello in a manner which leaves it enhanced and unimpaired for future generations – and education – to interpret and present Thomas Jefferson to the widest possible audiences, including scholars and the general public. Monticello is a National Historic Landmark, an international Site of Conscience, and the only presidential house in the United States designated a UNESCO World Heritage site. The Thomas Jefferson Foundation seeks to bring history forward into national and global dialogues. The Foundation seeks to facilitate conversations and to use its extensive research and knowledge to stimulate interactions on a variety of topics that were of keen interest to Jefferson, the most powerful of which are liberty and self government. Through virtual, off-site and on-site engagement, the Foundation seeks to excite the world about Jefferson’s relevance today and ignite a passion for history.

"The Statue of Liberty Enlightening the World" was a gift of friendship from the people of France to the United States and is recognized as a universal symbol of freedom and democracy. The Statue of Liberty was dedicated on October 28, 1886. It was designated as a National Monument in 1924. Employees of the National Park Service have been caring for the colossal copper statue since 1933. In 1865, a French political intellectual and anti-slavery activist named Edouard de Laboulaye proposed that a statue representing liberty be built for the United States. This monument would honor the United States' centennial of independence and the friendship with France. French sculptor Auguste Bartholdi supported de Laboulaye's idea and in 1870 began designing the statue of "Liberty Enlightening the World." While Bartholdi was designing the Statue, he also took a trip to the United States in 1871. During the trip, Bartholdi selected Bedloe's Island as the site for the Statue. Although the island was small, it was visible to every ship entering New York Harbor, which Bartholdi viewed as the "gateway to America." In 1876, French artisans and craftsmen began constructing the Statue in France under Bartholdi's direction. The arm holding the torch was completed in 1876 and shown at the Centennial Exposition in Philadelphia. The head and shoulders were completed in 1878 and displayed at the Paris Universal Exposition. The entire Statue was completed and assembled in Paris between 1881 and 1884. Also in 1884, construction on the pedestal began in the United States. After the Statue was presented to Levi P Morton, the U.S. minister to France, on July 4, 1884 in Paris, it was disassembled and shipped to the United States aboard the French Navy ship, Isère. The Statue arrived in New York Harbor on June 17, 1885, and was met with great fanfare. Unfortunately, the pedestal for the Statue was not yet complete and the entire structure was not reassembled on Bedloe's Island until 1886. Once the pedestal was completed in 1886, the Statue was reassembled with surprising speed by a fearless construction crew - many of whom were new immigrants. The first piece of the Statue to be reconstructed was Alexandre-Gustave Eiffel's iron framework. The rest of the Statue's elements followed without the use of scaffolding - all construction materials were hoisted up by steam driven cranes and derricks. In order to sculpt the Statue's skin Eiffel used the repoussé technique developed by Eugene Viollet-le-Duc. This technique was the process of molding light-weight copper sheets by hammering them onto the Statue's hallowed wooden framework. The last section to be completed was the Statue of Liberty's face which remained veiled until the Statue's dedication. Although Fort Wood remained on Bedloe's Island, it was not an obstacle in the design, construction, or reassembly of the Statue of Liberty. Instead, the star-shaped structure became a part of the Statue's base - the pedestal sits within its walls. On October 28, 1886, the statue of "Liberty Enlightening the World" was officially unveiled. The day's wet and foggy weather did not stop some one million New Yorkers from turning out to cheer for The Statue of Liberty. Parades on land and sea honored the Statue while flags and music filled the air and the official dedication took place beneath the colossus "glistening with rain." When it was time for Bartholdi to release the tricolor French flag that veiled Liberty's face, a roar of guns, whistles, and applause sounded. In 1982, four years before the Statue's centennial anniversary, President Ronald Reagan appointed Lee Iacocca, the Chairman of Chrysler Corporation, to head the Statue of Liberty - Ellis Island Foundation. The Foundation was created to lead the private sector effort and raise the funds for the renovation and preservation of the Statue for its centennial in 1986. The Foundation worked with the National Park Service to plan, oversee, and implement this restoration. A team of French and American architects, engineers, and conservators came together to determine what was needed to ensure the Statue's preservation into the next century. In 1984, scaffolding was erected around the exterior of the Statue and construction began on the interior. Workers repaired holes in the copper skin and removed layers of paint from the interior of the copper skin and internal iron structure. They replaced the rusting iron armature bars (which joined the copper skin to the Statue's internal skeleton) with stainless steel bars. The flame and upper portion of the torch had been severely damaged by water and was replaced with an exact replica of Bartholdi's original torch. The torch was gilded according to Bartholdi's original plans. The restoration was completed in 1986 and the Statue's centennial was celebrated on July 4 with fireworks and fanfare. On July 5th, a new Statue of Liberty exhibit opened in the base of the pedestal.

The Great Living Chola Temples were built by kings of the Chola Empire, which stretched over all of south India and the neighbouring islands. The site includes three great 11th- and 12th-century Temples: the Brihadisvara Temple at Thanjavur, the Brihadisvara Temple at Gangaikondacholisvaram and the Airavatesvara Temple at Darasuram. The Temple of Gangaikondacholisvaram, built by Rajendra I, was completed in 1035. Its 53-m vimana (sanctum tower) has recessed corners and a graceful upward curving movement, contrasting with the straight and severe tower at Thanjavur. The Airavatesvara temple complex, built by Rajaraja II, at Darasuram features a 24-m vimana and a stone image of Shiva. The temples testify to the brilliant achievements of the Chola in architecture, sculpture, painting and bronze casting. The great Cholas established a powerful monarchy in the 9th CE at Thanjavur and in its surroundings. They enjoyed a long, eventful rule lasting for four and a half centuries with great achievements in all fields of royal endeavour such as military conquest, efficient administration, cultural assimilation and promotion of art. All three temples, the Brihadisvara at Thanjavur, the Brihadisvara at Gangaikondacholapuram and Airavatesvara at Darasuram, are living temples. The tradition of temple worship and rituals established and practised over a thousand years ago, based on still older Agamic texts, continues daily, weekly and annually, as an inseparable part of life of the people. These three temple complexes therefore form a unique group, demonstrating a progressive development of high Chola architecture and art at its best and at the same time encapsulating a very distinctive period of Chola history and Tamil culture. The Brihadisvara temple at Tanjavur marks the greatest achievement of the Chola architects. Known in the inscriptions as Dakshina Meru, the construction of this temple was inaugurated by the Chola King, Rajaraja I (985-1012 CE) possibly in the 19th regal year (1003-1004 CE) and consecrated by his own hands in the 25th regal year (1009-1010 CE). A massive colonnaded prakara with sub-shrines dedicated to the ashatadikpalas and a main entrance with gopura (known as Rajarajantiruvasal) encompasses the massive temple. The sanctum itself occupies the centre of the rear half of the rectangular court. The vimana soars to a height of 59.82meters over the ground. This grand elevation is punctuated by a high upapitha, adhisthana with bold mouldings; the ground tier (prastara) is divided into two levels, carrying images of Siva. Over this rises the 13 talas and is surmounted by an octagonal sikhara. There is a circumambulatory path all around the sanctum housing a massive linga. The temple walls are embellished with expansive and exquisite mural paintings. Eighty-one of the one hundred and eight karanas, posed in Baharatanatya, are carved on the walls of second bhumi around the garbhagriha. There is a shrine dedicated to Amman dating to c.13th century. Outside the temple enclosure are the fort walls of the Sivaganga Little Fort surrounded by a moat, and the Sivaganga Tank, constructed by the Nayaks of Tanjore of the 16th century who succeeded the imperial Cholas. The fort walls enclose and protect the temple complex within and form part of the protected area by the Archaeological Survey of India. These temples represent the development of Dravida architecture from Chola period to Maratha Period. All three monuments have been in a good state of preservation from the date of the inscription of the property and no major threats affect the World Heritage monuments. These monuments are being maintained and monitored by the Archaeological Survey of India. The tradition of temple worship and rituals established and practiced over a thousand years ago, based on still older Agamic texts, continues daily, weekly and annually, as an inseparable part of life of the people.

En 1900, cuando se inició la construcción del Park Güell, Barcelona era una metrópolis moderna y cosmopolita que basaba su economía en la potencia de su industria y que superaba el medio millón de habitantes. Ya hacía casi medio siglo que se habían derribado sus murallas y la ciudad nueva, el Ensanche proyectado por el ingeniero Ildefons Cerdà, había crecido de manera espectacular a partir de 1860. Fue la mayor operación urbanística del siglo XIX en Europa. Eusebi Güell encargó a Gaudí el proyecto de hacer una urbanización para familias acomodadas en una gran finca que había adquirido en la zona conocida popularmente como la Montaña Pelada. Su situación era inmejorable, en un entorno saludable y con unas espléndidas vistas del mar y la llanura de Barcelona. En la urbanización se preveían unas 60 parcelas con forma triangular, con una compleja red de caminos, viaductos y escaleras que salvaban la topografía del terreno. Güell quería recrear los parques residenciales británicos y por ese motivo lo llamó Park Güell, en inglés. Gaudí respetó la vegetación existente en la antigua finca, como los algarrobos y los olivos. En cuanto a la introducción de nuevas especies, optó por plantas mediterráneas con baja demanda de agua. Asimismo, ideó diversos sistemas de captación y almacenamiento de agua a partir de los sistemas de riego que conocía del entorno rural de su niñez. De esa manera, tanto la vegetación como la gestión de los recursos hídricos contribuían a evitar la erosión del terreno ocasionada por las torrenciales lluvias mediterráneas, al tiempo que ayudaban a cubrir las necesidades de agua de los habitantes de la urbanización. Las complejas condiciones de la venta de las parcelas, mediante antiguos contratos enfitéuticos, la falta de un transporte adecuado y el carácter muy exclusivo de la urbanización la hicieron inviable. A falta de compradores, las obras se abandonaron en 1914. Solo se habían construido dos de las 60 casas previstas. El parque se convertía así en un gran jardín privado, que Güell cedía para actos públicos, mientras empezaba a aparecer en las guías turísticas de Barcelona como uno de los puntos de atracción de la ciudad. Eusebi Güell murió en su casa del Park Güell en 1918, y sus herederos ofrecieron al parque al Ayuntamiento, que acordó su compra en el pleno municipal celebrado el 26 de mayo de 1922. En 1926 se abrió como parque municipal. La casa de la familia Güell se habilitó como escuela pública, que adoptó el nombre del pedagogo catalán Baldiri Reixac, y la zona situada a la izquierda de la entrada se destinó a vivero de flores ornamentales para el Ayuntamiento. El Park Güell se convirtió así en un parque público muy apreciado por los barceloneses y en un importante foco de atracción de visitantes. Fue reconocido como monumento artístico en 1969 y fue declarado Patrimonio Cultural de la Humanidad por la UNESCO en 1984.

Casa Batlló se sitúa en el número 43 de Paseo de Gracia, una calle que antiguamente unía la ciudad con la Villa de Gracia, hoy plenamente integrada como barrio de la ciudad. Originalmente, el edificio fue construido en 1877 por Emilio Sala Cortés (uno de los profesores de arquitectura de Gaudí), cuando en Barcelona todavía no había luz eléctrica. En 1903 lo adquirió D. Josep Batlló y Casanovas, un industrial textil propietario de varias fábricas en Barcelona y destacado hombre de negocios. D. Josep Batlló concedió total libertad creativa a Antoni Gaudí, encargándole unas obras que en principio consistían en derribar el edificio. Sin embargo, gracias la audacia de Gaudí, se descartó el derrumbe de la Casa, llevando a cabo una reforma integral entre 1904 y 1906. El arquitecto cambió completamente la fachada, redistribuyendo la tabiquería interior, ampliando el patio de luces y haciendo de su interior una auténtica obra de arte. Además de su valor artístico, la obra reviste una enorme funcionalidad, más propia de nuestro tiempo que del pasado. Incluso hay quien ve en ella elementos precursores de las vanguardias arquitectónicas de finales del s. XX. La Casa Batlló dejó de pertenecer a la familia Batlló en la década de los 50. Tras acoger diferentes empresas y particulares, desde la década de los 90 el edificio está en manos de los actuales propietarios, la familia Bernat, quien ha restaurado íntegramente la casa. En 1995 la familia abre la casa a la sociedad y presenta esta joya arquitectónica al mundo, ofreciendo el espacio para eventos. A partir de 2002, coincidiendo con el Año Internacional Gaudí, Casa Batlló acoge también visitas culturales. Ambas actividades se desarrollan en la actualidad innovando constantemente en su oferta y contenidos. Actualmente, Casa Batlló es Patrimonio Mundial de la UNESCO y un icono de Barcelona, una parada imprescindible para conocer la obra de Gaudí y el modernismo en su máxima expresión. También es uno de los atractivos culturales y turísticos mejor valorados, acogiendo a 1 millón de visitantes al año.

The Bukhara Museum was established in November 8, 1922. Since 1945, the museum has been situated in the Ark citadel, the former residence of the Bukharan emirs. And that’s where the main office of the museum is located. In 1985, the museum got the status of the Bukhara State Art-Architectural Museum-Preserve. The museum-preserve consists of six branches, including 18 permanent exhibitions placed in the architectural monuments. In the depositories of the museum-preserve, there are over 100000 objects, representing material and spiritual culture of the region. Bukhara is one of the most famous and picturesque cities in Central Asia. This is an amazing museum city, where a large number of cultural and architectural monuments from different eras are concentrated - in total, there are more than 140 structures and buildings from the Middle Ages alone. The historical center of Bukhara, along with its sights, is included in the list of World Heritage Sites, compiled by UNESCO. For 100 years, within the walls of the museum, wonderful collections of archeological items, numismatics and epigraphy, arts and crafts, books and documents, everyday life and ethnography, a collection of paintings, graphics and sculptures, etc. have been collected and carefully kept. All these items are exhibited in numerous expositions and exhibitions of the museum-reserve and reflect the richest history of Bukhara. The collection of the Bukhara Museum-Reserve is represented by primary sources and material evidence of the history of the Bukhara oasis and covers almost all spheres of public life in the region. The closest analogues of the Bukhara Museum-Reserve are the museums of Novgorod, Vladimir-Suzdal, Venice, Athens, Louvre, the Metropolitan Museum, the State Hermitage.

This magnificent building is the oldest surviving from the Great Exhibition era that is still operating as an exhibition hall. Standing strong in Carlton Gardens, the Royal Exhibition Building is beautiful inside and out—a true landmark of Melbourne. In 1879 the somewhat unkempt Carlton Gardens were redeveloped with grand avenues, decorative fountains and parterre garden beds, creating an ornamental pleasure garden for the new Exhibition Building. Designed by Joseph Reed and built by David Mitchell for the 1880 Melbourne International Exhibition, the Exhibition Building epitomised the wealth, opulence, excitement, energy and spirit of Marvellous Melbourne. Together the 1880 and 1888 International Exhibitions attracted over three million visitors, brought cultures, technology and ideas from across the world to Melbourne, and were a place to see and be seen. The Exhibition Building cemented its status Melbourne’s leading event venue and a tourist icon on 9 May 1901, hosting the opening of Australia’s Federal Parliament. Since that time baby shows, home shows, motor shows, bicycle races and pole sitting competitions are just some of the events that have found a home in the Exhibition Building. More than just a setting for events the Exhibition Building and Carlton Gardens have been at the heart of many of Melbourne’s stories. People delight in remembering childhood visits to Australia’s first aquarium or marvelling at the view over Melbourne from the dome. Recalling the building’s use as a makeshift hospital and morgue during the 1919 Spanish Influenza pandemic and the aquarium fire in 1953 prompt sombre reflections. Memories of the building filled with rows of desks and the sound of pens quietly scratching away during exams still strikes fear into the hearts of past and current Victorian students. While as a migrant reception centre in the 1950s its stories were ones of new beginnings and hope. In 1980 the Exhibition Building became the lead character in this never ending series of stories when Princess Alexandra bestowed the Royal title on the building and program of restoration works commenced. The 1 July 2004 was the start of yet another a new chapter in the history of the Royal Exhibition Building and Carlton Gardens with the site inscribed onto the World Heritage List. It’s outstanding value the result of it being the only International Exhibition Place of Industry, with its garden setting, to survive largely intact and still be used as an exhibition and event venue. Today, as in the 1880s, events take over both the building and gardens and draw international crowds. First held in 1995 the Melbourne International Flower and Garden Show is the largest in the Southern Hemisphere attracting over 100,000 visitors in 5 days. While the Virgin Australia Melbourne Fashion Festival continues the tradition of drawing the most fashion forward and stylish to the building and gardens to see and be seen, whether on the runway or promenading on the plaza.

Creatività, stile, sperimentazione e innovazione convivono con tutti gli elementi della tradizione nelle perle della ditta S.U.V. fondata nel centro storico di Venezia durante gli anni ‘40 da Umberto Scognamiglio, consolidata dal genero Oscar Sito, il cui figlio Salvatore ne è oggi titolare assieme alla moglie Antonella. Nello storico laboratorio artigianale si respira ancora l’aria dell’autenticità dei prodotti, manufatti artistici di esperti perleri in cui il vetro si mescola e si confonde ad altri materiali preziosi. La lavorazione adottata dal laboratorio è principalmente “a lume”, una tecnica che permette di modellare una canna vitrea facendo raggiungere al vetro una temperatura tale da renderlo “morbido” e quindi modellabile. Con tale tecnica si creano innumerevoli nuances di colore, mescolando a caldo canne differenti e personalizzando ogni singolo pezzo con decori realizzati con finissime vette colorate, fuse sull’elemento di base, o mediante l’accorpamento ad esso di murrine, graniglia in vetro, foglie d’oro o d’argento. Oltre all'attività artigianale di lavorazione a lume, questi artigiani conservano un enorme archivio di perle e usano proprio il vetro storico per le loro creazioni, anche eseguite su misura, perché ne hanno una quantità infinita. Creativity, style, experimentation and innovation coexist with all the elements of tradition in the pearls of the SUV company founded in the historic center of Venice during the 1940s by Umberto Scognamiglio, consolidated by his son-in-law Oscar Sito, whose son Salvatore is today the owner together with wife Antonella. In the historic artisan workshop you can still breathe the air of the authenticity of the products, artistic artifacts by perleri experts in which glass mixes and merges with other precious materials. The process adopted by the laboratory is mainly "lamp-based", a technique that allows you to model a glass rod by making the glass reach a temperature that makes it "soft" and therefore modelable. With this technique, countless shades of color are created, by hot mixing different rods and personalizing each single piece with decorations made with very fine colored peaks, fused on the base element, or by combining it with murrine, glass grit, gold or silver leaves. In addition to the artisan activity of lampworking, these artisans keep an enormous archive of pearls and use historical glass for their creations, even made to measure, because they have an infinite quantity of them. If you are looking for those big antique glass beads but also want to compose something unique of yours with an infinity of other glass objects, this is the right place for you! In addition to the artisan activity of lampworking, these artisans keep an enormous archive of pearls and use historical glass for their creations, even made to measure, because they have an infinite quantity of them. If you are looking for those big antique glass beads but also want to compose something unique of yours with an infinity of other glass objects, this is the right place for you! In addition to the artisan activity of lampworking, these artisans keep an enormous archive of pearls and use historical glass for their creations, even made to measure, because they have an infinite quantity of them.

The Blaenavon World Heritage Centre is situated within the former St. Peter’s Church School which was founded in 1816 by Sarah Hopkins to provide free education for children whose parents worked for the Blaenavon Company. Like its historic predecessor, learning lies at the very heart of the World Heritage Centre. The Blaenavon World Heritage Centre aims to create a world-class learning resource helping people to understand the Outstanding Universal Value of the Blaenavon Industrial Landscape World Heritage Site. It aims to become a centre for education of the sciences, technology, engineering, maths, innovation and development, using the story of Blaenavon’s Industrial Landscape. It will provide access for all to a wide range of learning opportunities, both formal and informal, and will inspire people to relate to their place in the global culture. Blaenavon’s Industrial landscape became a World Heritage Site in December 2000. It is a landscape shaped by human hand, dating from the early days of the Industrial Revolution - a significant stage in human evolution, when the iron and coal industries of South Wales were of global importance. The Blaenavon Industrial Landscape is an important place of study of the Industrial Revolution. It is an ideal venue for schools studying changes in people’s daily lives in the 19th century, as well as changes that happened in Wales, Britain and the wider world between 1760 and 1914. It provides an excellent case-study for students studying urban decline and economic regeneration. The Blaenavon World Heritage Centre was established to provide a focal reference point to the area’s rich industrial legacy, telling the story of the people who have shaped this landscape from the earliest days of the Industrial Revolution to the present day using a range of media including film, audio, graphics and interactive displays. The Blaenavon World Heritage Centre currently houses a resource room with items covering a wide range of topics relevant to the Blaenavon World Heritage Site. There is an interactive display in the main exhibition space, with touch screens hosting both adult and child-friendly programs to explore key information relevant to the World Heritage Site. A new Victorian replica classroom and learning facility has recently been created in the World Heritage Centre with costumes, slates, and other props and toys of a 19th century Schoolroom. The Centre also has many educational resources, covering the history through time of the Blaenavon Industrial Landscape. The Blaenavon World Heritage Centre works in close partnership with learning staff at Big Pit National Coal Museum, Blaenavon Ironworks and Natural Resources Wales to deliver education across the World Heritage Site. The Blaenavon World Heritage Centre is a logical starting point for visits into the Blaenavon Industrial Landscape. The former heavy industries left their mark on the environment, which is full of hidden treasures, making it an ideal location for outdoor educational visits that can be facilitated by staff. In order to maximise the educational benefit of a visit, we recommend that you take advantage of one or more organised activities or workshops led by an experienced education officer. Blaenavon’s Industrial landscape became a World Heritage Site in December 2000. It is a landscape shaped by human hand, dating from the early days of the Industrial Revolution - a significant stage in human evolution, when the iron and coal industries of South Wales were of global importance. The Blaenavon Industrial Landscape is an important place of study of the Industrial Revolution and is an ideal venue for schools studying changes in people’s daily lives in the 19th century and changes that happened in Wales, Britain and the wider world between 1760 and 1914. It is also an excellent case-study for students of urban decline and economic regeneration. The Blaenavon World Heritage Site now boasts three visitor attractions which offer full-time, dedicated educational services: The Blaenavon World Heritage Centre is based in the former St Peter’s School founded in 1816 to educate the ironworker’s children. Now it offers an overview of the World Heritage Site and offers educational workshops for all age groups, focusing on the lives of local people from the early Celts through to modern days. It is also the starting point for a number of outdoor activities. Big Pit National Coal Museum offers guided underground tours conducted by former coal miners. The restored pithead baths features displays and interactive exhibitions enabling visitors to learn about the history of coal mining, and the people who lived and worked in coal mining communities in Wales. Blaenavon Ironworks is the most significant historical feature within the Blaenavon Industrial Landscape. Today you can view the extensive remains of the blast furnaces, cast houses and iconic water-balance tower, and gain a fascinating insight into the social history of the Industrial Revolution at the reconstructed company ‘truck’ shop, 19th century workers’ cottages and the newly interpreted cast houses.

La Pedrera, también conocida como Casa Milà, es el edificio civil más emblemático de Antoni Gaudí, tanto por su innovación constructiva y funcional, como por las soluciones decorativas y ornamentales. Es un edificio Patrimonio Mundial de la UNESCO y también la última obra civil del arquitecto. La Pedrera es el único centro de interpretación de Gaudí en Barcelona, imprescindible para conocer la totalidad de la obra del arquitecto y su inspiración. En 1900 el Paseo de Gracia era la avenida más importante de la ciudad, donde se empezaron a construir edificios emblemáticos, se instalaron los mejores teatros y cines y las tiendas, restaurantes y cafeterías más exclusivas. Fue también donde los burgueses más adinerados y con más empuje decidieron edificar sus casas y, en una carrera de osadía y exhibicionismo, encargaron los proyectos a los arquitectos más prestigiosos del momento. En 1905 Pere Milà y Roser Segimon contraen matrimonio. Atraídos por la fama del Paseo de Gracia, compran una torre con jardín que ocupa una superficie de 1.835 metros cuadrados y le encargan al arquitecto Antoni Gaudí la construcción de su nueva residencia con la intención de ocupar el piso principal y alquilar el resto de las viviendas. Construida entre 1906 y 1912, el edificio se compone de una sucesión de muros de piedra en su exterior. Mientras, el interior consta de distintos patios pintados, columnas y diversas habitaciones. La fachada, ondulada, está abierta con grandes ventanales y balcones de hierro forjado. Por su parte, en la azotea se sitúan las chimeneas, verdaderas esculturas dignas de ser admiradas, desde donde se puede contemplar una vista espléndida sobre toda Barcelona. Después de muchos años de abandono, La Pedrera fue declarada Patrimonio Mundial de la UNESCO en 1984. En 1996, fue restaurada y abierta al público como centro cultural. Actualmente, desde enero de 2013, el edificio es la sede de la Fundación Catalunya La Pedrera y aloja un importante centro cultural de referencia en la ciudad de Barcelona por el conjunto de actividades que organiza y por los diferentes espacios museísticos y de uso público que aloja. Uno de los proyectos de la Fundación es “La Pedrera inédita”, que contribuye a ampliar el conocimiento de este edificio de más de 100 años de historia.

As one of the country’s largest military installations, Charles Fort has been part of some of the most momentous events of Irish history. During the Williamite Wars, for example, it withstood a 13-day siege before it fell. Later, in the Civil War of the early 1920s, anti-Treaty forces on the retreat burned it out. Charles Fort is a massive star-shaped structure of the late seventeenth century, well-preserved despite its history. William Robinson, architect of the Royal Hospital in Kilmainham, Dublin, is credited with designing it. Its dimensions are awe-inspiring – some of the outer defences are 16 metres high. The view from the ramparts looking out over Kinsale Harbour is spectacular. The waterside location of Charles Fort is, without question, captivating. The ramparts and walks of the magnificent fortress provide for leisurely strolls – a great way to view the picturesque town of Kinsale and enjoy the fantastic scenery out to sea. Revel in the architectural magnificence of this star-shaped fortification, inspired by the French military engineer Vauban. Bastions, barracks, turrets and moats will transport you back to the seventeenth century, an era rocked by warfare and siege. Walk in the footsteps of the great military commanders associated with Charles Fort. Learn about the Williamite War and the bloody turbulence of 1690. Find out how, John Churchill, first Duke of Marlborough, laid siege to Charles Fort from high ground; and how the garrison held out for 13 days before finally surrendering to the Williamite forces. Charles Fort was a British Army barracks for 200 years. Visit our state-of-the-art multimedia exhibition centre and learn about the harsh realities of life in Charles Fort for the enlisted soldier. Find out about the day-to-day routines in the married soldier’s quarters and discover the austere experience of those who devoted their lives to duty and discipline. Listen to the haunting legend of the White Lady of Charles Fort, who is said to have hurled herself from the parapets on her wedding night after her new husband, Sir Trevor Ashurst, was shot dead for falling asleep at his watch post. The White Lady is reputed to walk the battlements of Charles Fort with the train of her ghostly wedding dress floating eerily behind her. Could you be the next person to catch a glimpse of her?