<rdf:RDF xmlns:rdf="http://www.w3.org/1999/02/22-rdf-syntax-ns#" xmlns:dcterms="http://purl.org/dc/terms/">
<rdf:Description rdf:about="https://www.worldarchitecture.artinterp2.org/items/show/16">
    <dcterms:title><![CDATA[House of the Narawa Family,  Fukushima Minka-en]]></dcterms:title>
    <dcterms:description><![CDATA[The building is a reconstruction of the House of the Narawa family, originally made in the mid-18th century, or the Edo period. With wooden and concrete outer walls, the house has a rectangular floor plan emphasized by its yosemune-zukuri (four-sided hipped) thatched roof.  Its interior is separated into four rooms, each having small, solid wood doors. On the exterior of the home, shoji sliding doors, made from a lighter material like paper or cloth, contrast with the interior. Despite the shoji, the overall structure of the building lets little light reach inside. It is a private abode.<br />
<br />
This house is an example of minka-style homes popularized in Japan by the non-samurai class, namely farmers, merchants, and artisans.  While not the upper class, a position reserved for samurai and the shogun&#039;s prefectural advisors, these workers would accumulate wealth during the Edo period. This specific home was likely owned by a wealthy farmer, as highlighted by its large yard and guest room.]]></dcterms:description>
    <dcterms:creator><![CDATA[Patron - Narawa Family]]></dcterms:creator>
    <dcterms:source><![CDATA[Image 1 - Former_House_of_the_Narawa_Family_at_Fukushima_City_Minka-en (https://upload.wikimedia.org/wikipedia/commons/4/42/Former_House_of_the_Narawa_Family_at_Fukushima_City_Minka-en.jpg)]]></dcterms:source>
    <dcterms:source><![CDATA[Image 2 - Interior_of_Former_House_of_the_Narawa_Family_at_Fukushima_City_Minka-en (https://commons.m.wikimedia.org/wiki/Category:Fukushima_City_Minka-en#/media/File%3AInterior_of_Former_House_of_the_Narawa_Family_at_Fukushima_City_Minka-en.jpg)]]></dcterms:source>
    <dcterms:source><![CDATA[Image 3 - Household objects at the Former House of the Narawa Family at Fukushima City Minka-en.jpg (https://upload.wikimedia.org/wikipedia/commons/e/e6/Household_objects_at_the_Former_House_of_the_Narawa_Family_at_Fukushima_City_Minka-en.jpg)]]></dcterms:source>
    <dcterms:source><![CDATA[Image 4 - Fukushima_City_Minka-en_entrance (https://upload.wikimedia.org/wikipedia/commons/0/02/Fukushima_City_Minka-en_entrance.jpg)]]></dcterms:source>
    <dcterms:date><![CDATA[Mid-18th c. - Estimation of original construction]]></dcterms:date>
    <dcterms:date><![CDATA[May 1981 - Reconstructed]]></dcterms:date>
    <dcterms:contributor><![CDATA[Moanna Dixson ]]></dcterms:contributor>
    <dcterms:license><![CDATA[Image 1 - Creative Commons<br />
]]></dcterms:license>
    <dcterms:license><![CDATA[Image 2 - Creative Commons]]></dcterms:license>
    <dcterms:license><![CDATA[Image 3 - Creative Commons ]]></dcterms:license>
    <dcterms:license><![CDATA[Image 4 - Creative Commons]]></dcterms:license>
    <dcterms:format><![CDATA[Minka]]></dcterms:format>
    <dcterms:extent><![CDATA[Area - 165.9 meters]]></dcterms:extent>
    <dcterms:medium><![CDATA[Wood, thatch, concrete ]]></dcterms:medium>
    <dcterms:language><![CDATA[Initial - Joraguchi, Yamada, Fukushima City, Fukushima, Japan]]></dcterms:language>
    <dcterms:language><![CDATA[Current - Oishimae Kaminagura, Fukushima, Japan]]></dcterms:language>
    <dcterms:type><![CDATA[Domestic]]></dcterms:type>
    <dcterms:bibliographicCitation><![CDATA[“⑫旧奈良輪家 – 福島市民家園 (Facility No. 12, Former Narawa House).” *福島市民家園 (Fukushima City Folk House Garden).* https://minka‑en.com/shisetsu/shisetsu\_12.<br />
]]></dcterms:bibliographicCitation>
    <dcterms:bibliographicCitation><![CDATA[Sasaki, Takashi. “The Japanese House: The Basic Elements of Traditional Japanese Residential Architecture.” Meguri Japan. English version by Judy Evans.  https://meguri-japan.com/en/knowledge/20210627_1697/.]]></dcterms:bibliographicCitation>
    <dcterms:bibliographicCitation><![CDATA[“Minka: Vernacular Houses of Japan.” Leaflet. Minka Preservation Project, English translation. https://minka-en.com/images/engleaflet.pdf.]]></dcterms:bibliographicCitation>
    <dcterms:spatial><![CDATA[37.735944651277, 140.37117663265383]]></dcterms:spatial>
    <dcterms:temporal><![CDATA[Edo period (1603 -1868)]]></dcterms:temporal>
</rdf:Description><rdf:Description rdf:about="https://www.worldarchitecture.artinterp2.org/items/show/7">
    <dcterms:title><![CDATA[Mātaatua Wharenui]]></dcterms:title>
    <dcterms:description><![CDATA[The building has a rectangular layout with a gable roof. At the front of the structure, there is a roofed porch-like area, with walls at the back and on the side, but only a small fence at the front. At the back of the porch, there is a door on the viewer’s left side, and a window on the right. Coming from the small fence in the front of the porch is a red beam that supports the roof, connecting to the roof at its peak. There are two sets of twin statues at opposing sides of the front facade, resembling somewhat of a totem pole with a large face below each statue. There are another two carvings that sit at either end of the supporting beam, one of a man (which is on the bottom) and one of a face (which sits at the top). The building is made of wood, with lots of brown colors, plenty of red accents along the borders and statues, and smaller details painted with white, black, and green. On the inside of the roof, there are squared off sections with raised beams decorated with white motifs. The outside of the roof is black in color. Along the inner side walls of the porch there also stands another four carved statues along each side and situated at the end of each of the raised beams from the roof.<br />
<br />
The building had played a religious purpose as a meeting ground for the Ngāti Awa tribe. The large roof provides shade for the porch, and the wood in which this structure was made was easily accessible. This building provokes a ritual movement as a sensory experience. ]]></dcterms:description>
    <dcterms:creator><![CDATA[Builder: Ngāti Awa (tribe)]]></dcterms:creator>
    <dcterms:source><![CDATA[Image 1: mataatua-wharenui-5.jpg (https://wanderlusters.com/mataatua-wharenui-the-house-that-came-home/)]]></dcterms:source>
    <dcterms:source><![CDATA[Image 2: British Empire Exhibition, Wembley Stadium, 23 April 1924 (16963240130).jpg (https://upload.wikimedia.org/wikipedia/commons/8/87/British_Empire_Exhibition%2C_Wembley_Stadium%2C_23_April_1924_%2816963240130%29.jpg)]]></dcterms:source>
    <dcterms:date><![CDATA[1875: Mātaatua Wharenui was built]]></dcterms:date>
    <dcterms:date><![CDATA[1879: Relocated to display the building in multiple locations]]></dcterms:date>
    <dcterms:date><![CDATA[2011: Returned to the place of its origin]]></dcterms:date>
    <dcterms:contributor><![CDATA[Hannah Demory]]></dcterms:contributor>
    <dcterms:license><![CDATA[Image 1: N/A]]></dcterms:license>
    <dcterms:license><![CDATA[Image 2: Creative Commons]]></dcterms:license>
    <dcterms:extent><![CDATA[79 ft long, 41 ft wide, and 24 ft high]]></dcterms:extent>
    <dcterms:medium><![CDATA[Wood]]></dcterms:medium>
    <dcterms:language><![CDATA[Whakatāne, New Zealand]]></dcterms:language>
    <dcterms:type><![CDATA[Religious]]></dcterms:type>
    <dcterms:bibliographicCitation><![CDATA[https://wanderlusters.com/mataatua-wharenui-the-house-that-came-home/]]></dcterms:bibliographicCitation>
    <dcterms:bibliographicCitation><![CDATA[https://www.tripadvisor.com/Attraction_Review-g652408-d2724411-Reviews-Mataatua_The_House_That_Came_Home-Whakatane_Bay_of_Plenty_Region_North_Island.html]]></dcterms:bibliographicCitation>
    <dcterms:bibliographicCitation><![CDATA[http://maorilifestyles.blogspot.com/2011/08/house-that-came-home.html]]></dcterms:bibliographicCitation>
    <dcterms:spatial><![CDATA[37°56&#039;59&quot;S 177°00&#039;11&quot;E]]></dcterms:spatial>
    <dcterms:temporal><![CDATA[Late Victorian Period]]></dcterms:temporal>
</rdf:Description><rdf:Description rdf:about="https://www.worldarchitecture.artinterp2.org/items/show/6">
    <dcterms:title><![CDATA[Bayt Al-Suhaymi]]></dcterms:title>
    <dcterms:description><![CDATA[The Bayt al-Subyami is a 17th-century Ottoman house located in Cairo, Egypt. The house is rather rectangular, with a courtyard at the center of its three-story foundation. Primarily made from stone, the upper levels are made of timber and brickwork. Latticed screens allow privacy and light into the main rooms, adding a rich elegance to the spaces. The rooms are also decorated with painted beams and tiled ceilings/walls utilizing geometric patterns and floral motifs.]]></dcterms:description>
    <dcterms:creator><![CDATA[Abdel Wahab el Tablawy]]></dcterms:creator>
    <dcterms:source><![CDATA[Image 1: Flickr_-_Gaspa_-_Cairo,_Bayt_es-Suhaimi<br />
(https://en.wikipedia.org/wiki/Bayt_al-Suhaymi#/media/File:Flickr_-_Gaspa_-_Cairo,_Bayt_es-Suhaimi.jpg)]]></dcterms:source>
    <dcterms:source><![CDATA[Image2: GD-EG-Caire-Suhaymi033<br />
(https://en.wikipedia.org/wiki/Bayt_al-Suhaymi#/media/File:GD-EG-Caire-Suhaymi033.JPG)]]></dcterms:source>
    <dcterms:source><![CDATA[Image 3: GD-EG-Caire-Suhaymi008 (https://en.wikipedia.org/wiki/Bayt_al-Suhaymi#/media/File:GD-EG-Caire-Suhaymi008.JPG)]]></dcterms:source>
    <dcterms:source><![CDATA[Image 4: GD-EG-Caire-Suhaymi023.JPG<br />
(https://commons.m.wikimedia.org/wiki/File:GD-EG-Caire-Suhaymi023.JPG#mw-jump-to-license)]]></dcterms:source>
    <dcterms:date><![CDATA[Construction started: 1648]]></dcterms:date>
    <dcterms:contributor><![CDATA[Sultana Rahim]]></dcterms:contributor>
    <dcterms:license><![CDATA[Image 1: Creative Commons]]></dcterms:license>
    <dcterms:license><![CDATA[Image 2: Creative Commons]]></dcterms:license>
    <dcterms:license><![CDATA[Image 3: Creative Commons]]></dcterms:license>
    <dcterms:license><![CDATA[Image 4: Creative Commons]]></dcterms:license>
    <dcterms:format><![CDATA[Ottoman architecture ]]></dcterms:format>
    <dcterms:extent><![CDATA[ Approximately 2000 square meters]]></dcterms:extent>
    <dcterms:medium><![CDATA[Stone]]></dcterms:medium>
    <dcterms:medium><![CDATA[Wood]]></dcterms:medium>
    <dcterms:language><![CDATA[Cairo, Egypt]]></dcterms:language>
    <dcterms:type><![CDATA[Domestic]]></dcterms:type>
    <dcterms:bibliographicCitation><![CDATA[https://egymonuments.gov.eg/en/monuments/bayt-al-suhaymi-house-of-suhaymi/<br />
https://www.etbtoursegypt.com/Wiki/Egypt-Travel-Guide/bayt-al-suhaymi-house-of-suhaymi<br />
https://egypttimetravel.com/bayt-al-suhaymi-in-cairo<br />
https://en.wikipedia.org/wiki/Bayt_al-Suhaymi]]></dcterms:bibliographicCitation>
    <dcterms:spatial><![CDATA[30.05232415216862, 31.262479467437743]]></dcterms:spatial>
    <dcterms:temporal><![CDATA[Medieval Cairo, Egypt]]></dcterms:temporal>
</rdf:Description><rdf:Description rdf:about="https://www.worldarchitecture.artinterp2.org/items/show/61">
    <dcterms:title><![CDATA[Wangjing SOHO]]></dcterms:title>
    <dcterms:description><![CDATA[<em>Wangjing SOHO Beijing is a three-tower office development by Zaha Hadid Architects that opened in 2014, standing 118 m, 127 m, and 200 m high and comprising a floor space of more than 500,000 m². The layout is irregular and fluid, with the piers distributed as if they were river-smoothed stones, and it is featured by continuous glass façade walls and white aluminium bands forming horizontal ribbons along their curved volumes. Ground-level entrances give access into shopping and office circulation space, vertical circulation by elevator and stair/escalators, and rooftop plazas linking the piers. Composed of reinforced concrete, steel, and glass, the building is focused on transparency and contemporariness, as light and darkness move across the day-long flowing façades. The work is an expression of metaphors of motion and nature radiating corporate splendour and innovative spirit within Beijing’s fast-expanding skyline and is a question of modern epigraph about sustainability and branding functions of iconic architecture.</em>]]></dcterms:description>
    <dcterms:abstract><![CDATA[Wangjing SOHO exemplifies Zaha Hadid’s work of a parametric design language to a commercial commission that unifies retail, office space, and leisure within a single continuous architectural formation.]]></dcterms:abstract>
    <dcterms:abstract><![CDATA[As a SOHO China commission, it is an expression of corporate branding as much as of urban landmark creation that positions itself as a Beijing new business district focal point. These towers express the futuristic exuberance of the Hadid style while having useful commercial functions.]]></dcterms:abstract>
    <dcterms:creator><![CDATA[Zaha Hadid]]></dcterms:creator>
    <dcterms:creator><![CDATA[Patrik Schumacher]]></dcterms:creator>
    <dcterms:source><![CDATA[Image 1: 489-1683x1080.jpg <br />
https://www.zaha-hadid.com/wp-content/uploads/2019/12/489-1683x1080.jpg]]></dcterms:source>
    <dcterms:source><![CDATA[Image 2: zha_wangjingsoho_f_01.jpg<br />
https://www.zaha-hadid.com/wp-content/uploads/2019/12/zha_wangjingsoho_f_01.jpg]]></dcterms:source>
    <dcterms:source><![CDATA[Image 3: zha_wangjingsoho_f_10.jpg <br />
https://www.zaha-hadid.com/wp-content/uploads/2019/12/zha_wangjingsoho_f_10.jpg]]></dcterms:source>
    <dcterms:source><![CDATA[Image 4: zha_wangjingsoho_f_28.jpg<br />
https://www.zaha-hadid.com/wp-content/uploads/2019/12/zha_wangjingsoho_f_28.jpg]]></dcterms:source>
    <dcterms:date><![CDATA[Design: 2009]]></dcterms:date>
    <dcterms:date><![CDATA[Completed: 2014]]></dcterms:date>
    <dcterms:contributor><![CDATA[Mursal Abdullah]]></dcterms:contributor>
    <dcterms:license><![CDATA[Image 1: Creative Commons]]></dcterms:license>
    <dcterms:license><![CDATA[Image 2: Creative Commons]]></dcterms:license>
    <dcterms:license><![CDATA[Image 3: Creative Commons]]></dcterms:license>
    <dcterms:license><![CDATA[Image 4: Creative Commons]]></dcterms:license>
    <dcterms:format><![CDATA[Neo-Futurism]]></dcterms:format>
    <dcterms:format><![CDATA[Parametricism]]></dcterms:format>
    <dcterms:extent><![CDATA[Total floor area: ~521,265 m² (5.61 million ft²)]]></dcterms:extent>
    <dcterms:extent><![CDATA[Three towers: 118 m, 127 m, and 200 m tall]]></dcterms:extent>
    <dcterms:medium><![CDATA[Steel]]></dcterms:medium>
    <dcterms:medium><![CDATA[Glass]]></dcterms:medium>
    <dcterms:medium><![CDATA[Reinforced Concrete]]></dcterms:medium>
    <dcterms:language><![CDATA[Beijing, China]]></dcterms:language>
    <dcterms:type><![CDATA[Commercial]]></dcterms:type>
    <dcterms:bibliographicCitation><![CDATA[Zaha Hadid Architects. “Wangjing SOHO.” Zaha Hadid Architects. https://www.zaha-hadid.com.]]></dcterms:bibliographicCitation>
    <dcterms:bibliographicCitation><![CDATA[Jodidio, Philip. Zaha Hadid: Complete Works 1979–Today. Taschen, 2020]]></dcterms:bibliographicCitation>
    <dcterms:bibliographicCitation><![CDATA[Schumacher, Patrik. The Autopoiesis of Architecture, Vol. II. Wiley, 2012]]></dcterms:bibliographicCitation>
    <dcterms:coverage><![CDATA[N/A : currently not  housed in museum collection]]></dcterms:coverage>
    <dcterms:spatial><![CDATA[Latitude: 39.9892° N<br />
Longitude: 116.4746° E]]></dcterms:spatial>
    <dcterms:temporal><![CDATA[Contemporary, 21st Century China]]></dcterms:temporal>
</rdf:Description><rdf:Description rdf:about="https://www.worldarchitecture.artinterp2.org/items/show/60">
    <dcterms:title><![CDATA[Robāt-e Sharaf Caravanserai]]></dcterms:title>
    <dcterms:description><![CDATA[Located in Sarakhs, within the Khorasan-e Razavi Province of Iran and one of the fifty-four Caravanserais within The Persian Caravanserai, the Robāt-e Sharaf Caravanserai is a rectangular, fortified building, that resembles to the equivalent to a modern-day inn. This archeological site that resides on the Silk Road, was primarily used as a rest stop for travelers; a commercial hub for merchants to sell, trade, and purchase goods; a royal palace for the elite for special occasions; as well as a rest stop for pilgrims when traveling to Merv and Nishapur. Having an area of 4,863 square meters, incorporating Seljuk and Iranian architectures, and made entirely of baked brick, plaster, and stucco carvings, the Robāt-e Sharaf Caravanserai’s interior is comprised of a two-courtyard layout; guest rooms that were used for all social classes containing amenities; a four-iwan plan, which in Islamic architecture, usually consisted of a vaulted room with open sides; and decorated brickwork, which displayed Islamic art, and reflected the traditions of the Seljuk period. While there was a total of fifty-four Caravanserais throughout Iran, the Robāt-e Sharaf Caravanserai was the most well-known, and significant.  ]]></dcterms:description>
    <dcterms:abstract><![CDATA[The Robāt-e Sharaf Caravanserai is one of the fifty-four Caravanserais, that are located throughout Iran, and each archeological site falls under the primary title, The Persian Caravanserai.  ]]></dcterms:abstract>
    <dcterms:creator><![CDATA[Sharaf al-Din Qummi - Governor of Khorasan and Vizier to Sultan Sanjar]]></dcterms:creator>
    <dcterms:creator><![CDATA[Restored and Remodeled: Turkan Khatun - Daughter of the Khan and the Wife of Sultan Sanjar]]></dcterms:creator>
    <dcterms:source><![CDATA[Image 1: Hadidehghanpour (https://upload.wikimedia.org/wikipedia/commons/f/fd/%D9%86%D9%85%D8%A7%DB%8C_%D8%B3%D9%87_%D8%B1%D8%AE_%D8%B1%D8%A8%D8%A7%D8%B7_%D8%B4%D8%B1%D9%81.jpg)]]></dcterms:source>
    <dcterms:source><![CDATA[Image 2: Babak Sedighi (https://whc.unesco.org/en/documents/196538)]]></dcterms:source>
    <dcterms:source><![CDATA[Image 3: Babak Sedighi (https://whc.unesco.org/en/list/1668/gallery/&amp;index=1&amp;maxrows=12)]]></dcterms:source>
    <dcterms:date><![CDATA[1114-15 - Construction Started]]></dcterms:date>
    <dcterms:date><![CDATA[Early 12th Century - Completed]]></dcterms:date>
    <dcterms:date><![CDATA[1154 - Restored and Remodeled ]]></dcterms:date>
    <dcterms:contributor><![CDATA[Markeita Durham-Brinkley]]></dcterms:contributor>
    <dcterms:format><![CDATA[Seljuk Architecture]]></dcterms:format>
    <dcterms:format><![CDATA[Iranian Architecture]]></dcterms:format>
    <dcterms:extent><![CDATA[4,863 Square Meters (52,340 sq ft)]]></dcterms:extent>
    <dcterms:medium><![CDATA[Baked Brick]]></dcterms:medium>
    <dcterms:medium><![CDATA[Plaster]]></dcterms:medium>
    <dcterms:medium><![CDATA[Stucco Carvings]]></dcterms:medium>
    <dcterms:language><![CDATA[Sarakhs, Khorasan-e Razavi Province, Iran]]></dcterms:language>
    <dcterms:type><![CDATA[Commercial]]></dcterms:type>
    <dcterms:bibliographicCitation><![CDATA[1. https://en.wikipedia.org/wiki/Ribat-i_Sharaf]]></dcterms:bibliographicCitation>
    <dcterms:bibliographicCitation><![CDATA[2. https://whc.unesco.org/en/list/1668]]></dcterms:bibliographicCitation>
    <dcterms:bibliographicCitation><![CDATA[3. https://en.wikipedia.org/wiki/Iwan]]></dcterms:bibliographicCitation>
    <dcterms:coverage><![CDATA[Part of The Persian Caravanserai]]></dcterms:coverage>
    <dcterms:spatial><![CDATA[Latitude: 36.2661° N<br />
Longitude: 60.6554° E]]></dcterms:spatial>
    <dcterms:temporal><![CDATA[Seljuk Era - Early 12th Century]]></dcterms:temporal>
</rdf:Description><rdf:Description rdf:about="https://www.worldarchitecture.artinterp2.org/items/show/57">
    <dcterms:title><![CDATA[Voya Financial Building, Original Name: Northwestern National Life Insurance Building.]]></dcterms:title>
    <dcterms:description><![CDATA[The Voya Financial building (also known historically as the Northwestern National Life Insurance Building) is a six‑story office structure located at 20 Washington Avenue South in downtown Minneapolis. It was designed by architect Minoru Yamasaki and completed in 1965. The building is known for its striking white‑quartz concrete columns about 63 slender columns that support an eighty‑foot high portico at one entrance. The design mixes modern architecture with formal, classical touches. Between the columns are thin marble panels (Verde‑antique marble) and dark tinted glass, which give the facade a refined appearance. There are reflecting pools and landscaped areas around the building, plus a grand porch/entrance that frames views down Nicollet Mall.]]></dcterms:description>
    <dcterms:abstract><![CDATA[Visual Termination / City Planning: The building is purposely placed so that its portico serves as a visual terminus for Nicollet Mall. In other words, the sightline down Nicollet Mall ends at the building’s portico towards the direction of the Mississippi River.<br />
<br />
Interior features: Originally, the top floor housed the company president’s office, decorated richly (rosewood, teak, large doors, etc.), and the cafeteria was on that level with arched windows and bright colors. There was also a large sculpture “Sunlit Straw” by Bertoia in the lobby.]]></dcterms:abstract>
    <dcterms:creator><![CDATA[Architect: Minoru Yamasaki]]></dcterms:creator>
    <dcterms:source><![CDATA[Image 1<br />
https://cloudfront-us-east-1.images.arcpublishing.com/startribunemedia/KRBYBRUW6RAGDHCNKFVOAEFNHE.jpg<br />
<br />
Image 2<br />
https://media.bizj.us/view/img/12005409/broadwest-office-tower-10*xx6016-3384-0-316.jpg<br />
<br />
Image 3<br />
https://media.bizj.us/view/img/12253071/190426agesgthemarq004v2*900xx2500-1406-0-149.jpg<br />
<br />
Image 4<br />
https://media-cdn.tripadvisor.com/media/photo-s/01/38/13/f0/northwestern-national.jpg]]></dcterms:source>
    <dcterms:date><![CDATA[completed in 1965]]></dcterms:date>
    <dcterms:contributor><![CDATA[Justin Forster]]></dcterms:contributor>
    <dcterms:license><![CDATA[Image 1: Creative Commons<br />
Image 2: Creative Commons<br />
Image 3: Creative Commons<br />
Image 4: Creative Commons]]></dcterms:license>
    <dcterms:format><![CDATA[New Formalism]]></dcterms:format>
    <dcterms:extent><![CDATA[The building is six stories tall. The total floor area is 220,000 square feet of office space.]]></dcterms:extent>
    <dcterms:medium><![CDATA[Marble and concrete]]></dcterms:medium>
    <dcterms:language><![CDATA[Minneapolis, Minnesota]]></dcterms:language>
    <dcterms:type><![CDATA[Commercial]]></dcterms:type>
    <dcterms:spatial><![CDATA[Latitude: 44.98211804793023, <br />
Longitude: -93.26730335880224]]></dcterms:spatial>
    <dcterms:temporal><![CDATA[Modern Era of the 1960s.]]></dcterms:temporal>
</rdf:Description><rdf:Description rdf:about="https://www.worldarchitecture.artinterp2.org/items/show/54">
    <dcterms:title><![CDATA[Ness County Bank Building]]></dcterms:title>
    <dcterms:description><![CDATA[The layout of the structure is seemingly quadratic in its form. Its seemingly rectangular base connects to a smaller square, looking from the front angle of the bank. The structure is a three-level building, with an additional raised basement level. It is also worth noting that the structure is considered to be towering due to the context of its location. In Ness, the buildings are typically one-story. It appears that there are a few entrance ways into the structure. There is a two-way pillar that meets at the edge of the front-side of the structure. In addition to these main entrances, there are a barrage of windows. On the side that connects to the smaller square of the structure, there are only two large windows. The structure does have notable additions to its form near the top of the structure. On the side of the two-way opening, there is a brown triangular pyramid topped with the flag of the U.S. There are also cylindrical posts on the top that are seen over the top of the structure. Its patterns are quite interesting given that its style is that of Richardsonian Romanesque. Here we get these arch patterns on multiple sets or standalone windows throughout the mostly tan structure. Indoors we have several spaces for rental spaces for small businesses, firms and to house the bank itself as intended from the designs from the architect. It is the first building that the style used, as the area designed most of the courtly buildings, following the structure, in the Richardsonian Romanesque style. Its main material is Limestone as its outside walls are greatly made up of this medium. There was renovation done on the structure, with the exception of the roof, over the years as its usage has changed. Ultimately, the structure still stands as one of the most important buildings of the early settlement of the midwest in the U.S. Though it has seen its share of change, its legacy is still prominent. <br />
]]></dcterms:description>
    <dcterms:abstract><![CDATA[researching any photographic sources (plans in particular) for this building is quite difficult]]></dcterms:abstract>
    <dcterms:creator><![CDATA[Architect: J. C. Holland]]></dcterms:creator>
    <dcterms:source><![CDATA[Image 1:  Ness_County_Bank<br />
https://upload.wikimedia.org/wikipedia/commons/b/bc/Ness_County_Bank.jpg]]></dcterms:source>
    <dcterms:source><![CDATA[Image 2: Ness_County_Bank_Entrance<br />
https://upload.wikimedia.org/wikipedia/commons/d/d1/Ness_County_Bank_Entrance.jpg]]></dcterms:source>
    <dcterms:date><![CDATA[Begun: 1888]]></dcterms:date>
    <dcterms:date><![CDATA[Completed: 1890]]></dcterms:date>
    <dcterms:contributor><![CDATA[Julian Forster]]></dcterms:contributor>
    <dcterms:license><![CDATA[Image 1: Creative Commons]]></dcterms:license>
    <dcterms:license><![CDATA[Image 2: Creative Commons]]></dcterms:license>
    <dcterms:format><![CDATA[Richardsonian Romanesque]]></dcterms:format>
    <dcterms:extent><![CDATA[85 x 55 feet ]]></dcterms:extent>
    <dcterms:medium><![CDATA[Limestone]]></dcterms:medium>
    <dcterms:language><![CDATA[Ness City, Kansas, U.S.]]></dcterms:language>
    <dcterms:type><![CDATA[Commercial]]></dcterms:type>
    <dcterms:bibliographicCitation><![CDATA[David Sachs, George Erlich, &quot;Ness County Bank Building&quot;, [Ness City, Kansas], SAH Archipedia, eds. Gabrielle Esperdy and Karen Kingsley, Charlottesville: UVaP, 2012—, http://sah-archipedia.org/buildings/KS-01-135-0028.]]></dcterms:bibliographicCitation>
    <dcterms:spatial><![CDATA[38.45420079362418, -99.90523563051852]]></dcterms:spatial>
    <dcterms:temporal><![CDATA[The Victorian Era]]></dcterms:temporal>
</rdf:Description><rdf:Description rdf:about="https://www.worldarchitecture.artinterp2.org/items/show/49">
    <dcterms:title><![CDATA[Bethabara Moravian Church<br />
]]></dcterms:title>
    <dcterms:description><![CDATA[The structure is considerably sound with a firm rectangular form, as it hails as one of the last structures to represent the German Colonial church structure. It includes two levels, two chimneys, and a belfry at the top. While it does feature a second level, it does appear that there is more space on the main lower level. It is also worth noting that it appears there were initial plans to have a basement level, however ultimately was not added. The structure presents a multitude of windows and doors. There are two front entrances on the North-East side of the structure that one may enter through. From there to the immediate left is the Structure’s auditorium. To the right of these entrances lies two bedrooms, a living room, and a kitchen toward the back right of the structure (facing from the front). There are similarly two exits through the back that leads directly to what appears to be a well. The second level also features a smaller auditorium, which is considered a part of the main one on the lower level, and another bedroom. The structure has an angled roof which does present in its interior design as well as the exterior design. Its patterns are quite simplistic in its exterior, with the majority of the building possessing a stone masonry wall into brick pattern. On its interior, its patterns are also simplistic, as they follow a simple white color into a more natural wood color on objects like window arches and doors. Its structural process and build deliver on the structure&#039;s signaling of religious context. It establishes an iconicity when we think of an old, colonial, well-established church in the United States. <br />
]]></dcterms:description>
    <dcterms:abstract><![CDATA[The church has been added to the Historic Bethabara Park. This may partly impacts its lack of documentation of its dimensions.]]></dcterms:abstract>
    <dcterms:creator><![CDATA[Architect: Frederic William Marshall ]]></dcterms:creator>
    <dcterms:creator><![CDATA[Architect: Abraham Loesch]]></dcterms:creator>
    <dcterms:source><![CDATA[Image1: <br />
Bethabara_Moravian_Church<br />
https://upload.wikimedia.org/wikipedia/commons/6/61/Bethabara_Moravian_Church.JPG]]></dcterms:source>
    <dcterms:source><![CDATA[Image 2: <br />
<br />
Bethabara_Moravian_Church,_2147_Bethabara_Road_(State_Route_1681),_Old_Town,_Forsyth_County,_NC_HABS_NC,34-OLTO,1-_(sheet_1_of_6)<br />
<br />
https://upload.wikimedia.org/wikipedia/commons/2/2f/Bethabara_Moravian_Church%2C_2147_Bethabara_Road_%28State_Route_1681%29%2C_Old_Town%2C_Forsyth_County%2C_NC_HABS_NC%2C34-OLTO%2C1-_%28sheet_1_of_6%29.png]]></dcterms:source>
    <dcterms:source><![CDATA[Image 3: <br />
<br />
Bethabara_Moravian_Church,_2147_Bethabara_Road_(State_Route_1681),_Old_Town,_Forsyth_County,_NC_HABS_NC,34-OLTO,1-_(sheet_2_of_6)<br />
<br />
https://upload.wikimedia.org/wikipedia/commons/4/47/Bethabara_Moravian_Church%2C_2147_Bethabara_Road_%28State_Route_1681%29%2C_Old_Town%2C_Forsyth_County%2C_NC_HABS_NC%2C34-OLTO%2C1-_%28sheet_2_of_6%29.png]]></dcterms:source>
    <dcterms:date><![CDATA[Begun: 1788]]></dcterms:date>
    <dcterms:date><![CDATA[Completed: 1788]]></dcterms:date>
    <dcterms:contributor><![CDATA[Julian Forster]]></dcterms:contributor>
    <dcterms:license><![CDATA[Image1: Creative Commons]]></dcterms:license>
    <dcterms:license><![CDATA[Image 2: Creative Commons]]></dcterms:license>
    <dcterms:license><![CDATA[Image 3: Creative Commons]]></dcterms:license>
    <dcterms:format><![CDATA[German Colonial religious type]]></dcterms:format>
    <dcterms:extent><![CDATA[Area: 8 acres]]></dcterms:extent>
    <dcterms:medium><![CDATA[Stone, brick and wood]]></dcterms:medium>
    <dcterms:language><![CDATA[Winston-Salem North Carolina]]></dcterms:language>
    <dcterms:type><![CDATA[Religious]]></dcterms:type>
    <dcterms:bibliographicCitation><![CDATA[https://historicbethabara.org/historic-building-grounds/the-gemeinhaus/]]></dcterms:bibliographicCitation>
    <dcterms:bibliographicCitation><![CDATA[https://www.bethabara.org/]]></dcterms:bibliographicCitation>
    <dcterms:bibliographicCitation><![CDATA[Worth Alexander Younts, &quot;Bethabara Moravian Church&quot;, [Winston-Salem, North Carolina], SAH Archipedia, eds. Gabrielle Esperdy and Karen Kingsley, Charlottesville: UVaP, 2012—, http://sah-archipedia.org/buildings/NC-01-067-0077.]]></dcterms:bibliographicCitation>
    <dcterms:spatial><![CDATA[36.15270418805049, -80.29455856130483]]></dcterms:spatial>
    <dcterms:temporal><![CDATA[18th century German Colonial]]></dcterms:temporal>
</rdf:Description><rdf:Description rdf:about="https://www.worldarchitecture.artinterp2.org/items/show/45">
    <dcterms:title><![CDATA[Monastery of Saint Anthony]]></dcterms:title>
    <dcterms:description><![CDATA[The Monastery is designed in the Coptic style, with a tall fortress serving as a defense mechanism for the monks.  Inside the monastery, there are buildings where the monks live.]]></dcterms:description>
    <dcterms:creator><![CDATA[The creators of the building were the followers of Saint Anthony the Great.]]></dcterms:creator>
    <dcterms:source><![CDATA[Image 1: https://upload.wikimedia.org/wikipedia/commons/thumb/1/19/MonasteroAntonio2.jpg/960px-MonasteroAntonio2.jpg]]></dcterms:source>
    <dcterms:date><![CDATA[356 AD]]></dcterms:date>
    <dcterms:contributor><![CDATA[Stanley Ojibeka]]></dcterms:contributor>
    <dcterms:format><![CDATA[Coptic]]></dcterms:format>
    <dcterms:extent><![CDATA[The size of the Monastery of Saint Anthony is over 18 acres.]]></dcterms:extent>
    <dcterms:medium><![CDATA[The main structure of the building is made up of sandstone and mudbrick]]></dcterms:medium>
    <dcterms:medium><![CDATA[Wood was also used for doors and windows for the buildings inside the monastery.]]></dcterms:medium>
    <dcterms:language><![CDATA[The building was established in the Eastern Sahara near the Red Sea.]]></dcterms:language>
    <dcterms:type><![CDATA[Religious]]></dcterms:type>
    <dcterms:spatial><![CDATA[28°55′N 32°21′E﻿, ﻿28.92°N 32.35°E]]></dcterms:spatial>
    <dcterms:temporal><![CDATA[This building was built during the 4th century]]></dcterms:temporal>
</rdf:Description><rdf:Description rdf:about="https://www.worldarchitecture.artinterp2.org/items/show/43">
    <dcterms:title><![CDATA[The Zacatecas Cathedral]]></dcterms:title>
    <dcterms:description><![CDATA[   The Zacatecas Cathedral has a Latin cross layout, with a long nave crossed by two transepts, and side aisles. It is not square, circular, or irregular but instead follows the common and traditional design of a Latin cross plan, which is an axial layout defined by its cross-like shape. The Zacatecas Cathedral has an octagonal dome with a lantern. The construction of the Zacatecas Cathedral used the Spanish Baroque style and involved building it in sections over a period of about 30 years, from 1730 to 1760, with its materials being mainly local pink colored stone. The detailed, ornate facade is a hallmark of the Baroque style, which the Spanish brought to the Americas during the colonial era.]]></dcterms:description>
    <dcterms:abstract><![CDATA[   The cathedral&#039;s exterior is covered in a dense and varied tapestry of ornamental patterns that reflect the &quot;ultra-baroque&quot; Churrigueresque style. The facade and altarpieces of the cathedral are adorned with numerous sculptures of religious figures, demonstrating the style&#039;s integration of sculpture and architecture. The overwhelming visual texture of the cathedral is created by the intricate, deeply carved stonework that covers nearly every surface of the facade. The cathedral&#039;s striking colors comes from the specific local materials used for its construction like pink sandstone, yellow-gold, and Bronze and Marble.]]></dcterms:abstract>
    <dcterms:creator><![CDATA[Financial/Construction Patrons: Spanish mine owners and wealthy elites of Zacatecas during the silver boom.]]></dcterms:creator>
    <dcterms:source><![CDATA[Image 1<br />
https://whc.unesco.org/uploads/thumbs/site_0676_0001-750-750-20090928171726.webp<br />
Image 2<br />
https://www.thehistoryhub.com/wp-content/uploads/2015/03/Zacatecas-Cathedral-Inside-150x150.jpg<br />
Image 3<br />
https://lugares.inah.gob.mx/sites/default/files/2023-05/_DSC5236.JPG<br />
]]></dcterms:source>
    <dcterms:date><![CDATA[1772]]></dcterms:date>
    <dcterms:contributor><![CDATA[Justin Forster]]></dcterms:contributor>
    <dcterms:license><![CDATA[Creative Commons]]></dcterms:license>
    <dcterms:format><![CDATA[Spanish Baroque style]]></dcterms:format>
    <dcterms:extent><![CDATA[   There is no single definitive height for the Cathedral from ground to top because of the city&#039;s location within the valley and on hillsides, different buildings will have different heights. Although, the city of Zacatecas is situated at an elevation of approximately 2,469 meters (8,100 feet) above sea level. ]]></dcterms:extent>
    <dcterms:medium><![CDATA[   The Zacatecas Cathedral is made from different types of stone, specifically trachyte and sandstone, with some elements like sculptures and canopies fashioned from limestone. These materials, including the golden-pink hue of the native trachyte, are characteristic of the region and are prominently featured in the cathedral&#039;s architecture.]]></dcterms:medium>
    <dcterms:language><![CDATA[Historic Centre of Zacatecas, Mexico]]></dcterms:language>
    <dcterms:type><![CDATA[Religious]]></dcterms:type>
    <dcterms:spatial><![CDATA[Latitude: 22.775912217080126, <br />
Longitude: -102.57191645045556]]></dcterms:spatial>
    <dcterms:temporal><![CDATA[New Spanish Baroque, 18 century]]></dcterms:temporal>
</rdf:Description></rdf:RDF>
