Issue 1
Produced by: Europa Nostra and AkzoNobel
The Guide to Colourful Europe seeks to highlight interesting and lesser-known examples of Europe’s colourful heritage. This first edition of the guide is part of a new and exciting partnership between Europa Nostra and AkzoNobel. Europe is home to a plethora of colouful heritage buildings and sites which are powerful symbols of our cultural history and diversity, provoking thoughts, memories and emotions. With this Guide, we seek to highlight that besides the plain masonry of Europe’s many cathedrals and palaces, there are many examples spread throughout the continent of distinctive detailing and colour palates, dramatic juxtapositions of tint and tone, and uplifting splashes of brightness, which add local colour and create traditions in vernacular architecture and urban settings. We hope you enjoy this guide and invite you to visit our website (www.europanostra.org) to participate in an interactive forum about this project.
Editorial Content: Aspect Consulting and Europa Nostra Copyright © 2009 Europa Nostra and AkzoNobel. All rights reserved. This information may be freely used and copied provided that the source is acknowledged.
Europa Nostra Europa Nostra is proud to introduce the Guide to Colourful Europe which highlights the vast spectrum of colour integral to Europe’s objects and buildings, monuments and sites. Colour has served as a significant symbol throughout our history, and has been and continues to be used to create specific atmospheres within our cities and living environments. Colour augments the true diversity of our cultural heritage. In this first edition of the Guide, we have chosen a varied selection of sites from throughout Europe which embody a strong use of either interior or exterior colour. We have chosen lesser known sites from the vast array of Europe’s built heritage, yet sites that are of consequence to their communities. The diversity of these sites is also significant. The range of colours, architectural styles and building materials, as well as the buildings’ and spaces’ functions and uses, represent, on the one hand, the unique identity of their community, while, on the other hand, they demonstrate the cultural bonds that unite us as Europeans. By recognising and valuing a wide range of expressions of Europe’s cultural heritage, we help ensure that they remain protected and well preserved for future generations to enjoy. Often lesser-known sites are the ones most at risk from falling into disrepair due to neglect, and in some cases are threatened with destruction due to urban development and ignorance of the important role our cultural heritage plays in our history, society and our quality of life. We also recognise that our built heritage has economic value beyond its intrinsic value. Most European countries benefit immensely from cultural tourism, driven as it is by the beauty and variety of Europe’s architectural and urban masterpieces, be they well known landmarks, the less obvious surrounding urban fabric, or gems of vernacular architecture. This built heritage compliments the natural grandeur of the continents’ landscapes, and the whole creates a setting for the plethora of available cultural and outing activities which add up to the perfect holiday. Employment surrounding this industry, directly or indirectly, is employment of a most sustainable kind. The decision to highlight the colourful aspects of our heritage is also a strategic decision. Paint and coatings that were used in the past to decorate, tint and protect building surfaces, were created to deal with the ambient climate during the time of construction. Currently, climate change is threatening our colourful heritage by exposing it to different weather patterns with varying intensity, making these sites extremely vulnerable. Europa Nostra is working to raise awareness of this growing threat in order to preserve the vibrant colours so integral to our built heritage. We hope that through the creation of this Guide to Colourful Europe we can help European citizens reconnect or deepen their appreciation for their cultural heritage and, literally, the colour it brings into their lives. We encourage all readers to actively participate in a special forum that has been developed on our website, which allows anyone to post comments, testimonials, photos and videos about the sites we have selected, as well as contribute your own favourite sites to the forum.
AkzoNobel Colour and heritage have always been a part of AkzoNobel. Ever since our beginnings in 1646, we have created and supplied innovative products which have protected and beautified many of the world’s most familiar - and unfamiliar - buildings and structures. We are therefore delighted to partner with Europa Nostra in its quest to preserve the beauty and cultural diversity of Europe’s built heritage. Colour plays a key role in the way we interact with shapes and forms. It adds spice to our lives and can affect the way we behave, feel, perceive or orientate ourselves in a given space. The history of colour dates back over 20,000 years to the first cave paintings. One of the earliest colour innovations was made by Plato, who discovered that by mixing two colour pigments a third is produced, changing the manufacturing of colour forever. The very essence of paint is to be both durable yet aesthetically pleasing; keeping important monuments and buildings safe from the elements so that future generations can enjoy their beauty. Without quality coating products, the colourful element of our monuments can be lost from our collective memory, as was the case of Greek temples whose original striking and bright colours were only rediscovered in the first half of the 19th century, contradicting accepted knowledge that these temples were pure and white. AkzoNobel has significant expertise in colour with our products and services being used to decorate numerous items – from buildings and houses to cars and boats. This also includes the preservation of colour. We have been involved in numerous restoration projects across Europe, helping to return some of Europe’s most familiar heritage sites to their former glories. These include La Scala Opera House in Milan, Las Ramblas in Barcelona, the historic façades of Munich, the Royal Palace of Laeken in Brussels, and the Rijksmuseum and the Anne Frank House in Amsterdam. Renovating these buildings to their original colours is just as delicate and specialised an activity as restoring old paintings. Restorers need to look carefully at the buildings themselves, analyse original paint slivers and understand the paint manufacturing and application techniques used at the time. Chemical composition is also important and modern paints must be compatible with old plaster and building materials whilst being durable and colour stable. Inside this, the first edition of the Guide to Colourful Europe, you will find a range of colourful heritage sites to visit, many of which may come as a surprise. The history of Europe is rich and varied and we have tried to reflect this in the sites selected. We hope that you find this guide both stimulating and inspirational and that it will lead you on a journey of discovery into the lush, colourful and diverse heritage of Europe.
FRANCE
Riquewihr - Alsace The picturesque town of Riquewihr, located along the Alsace wine route 80km south of Strasbourg, is an historical timepiece and one of the most beautiful villages in France. Every piece of its medieval architecture has been miraculously maintained to the extent that one journalist declared that Riquewihr was so perfectly preserved that it seemed permanently on the brink of a pageant.1 History and Architecture Many of the houses in Riquewihr are fantastic examples of Alsatian architecture, which date back to the 16th Century and the layout of the village has not changed since. With its fortified perimeter wall, the village features narrow cobbled streets, houses with richly sculpted timber frames, wrought iron ensigns, typical courtyards and fountains, and façades with corbelled constructions – the so called “oriels” that were used in the Middle Ages to provide more light within the house and to allow inhabitants to see activity on the street. The steep roofs of each building are unaligned and the walls unevenly caress each other producing a dynamic skyline. Many of the town houses carry the hallmark tall chimneys of the Alsatian region.
All three photos courtesy of Martine and Jean-Paul Krebs.
There are also a number of unique façades which feature specific colours and half-timber drawings. The later includes the cross of Saint-André, considered a symbol of protection, the “curule” cross, indicating the house belonged to an important person, and the “Mann”, a silhouette of a man standing, symbolising virility.
Colour The architecture of Riquewihr defies the traditional white plaster and dark beams that were typical characteristics of medieval buildings and instead embraced the use of rich and vibrant colours that compliment the natural beauty of the region. The colours vary from baby blue, pale yellow, mauve, faded turquoise and light green. The colours of the façades also had special significance during the Middle Top right, bottom left; Rue de Général-de-Gaulle, the main street of Riquewihr. Right: Typical square in the centre.
Photo courtesy of Martine and Jean-Paul Krebs.
Ages. Since few people could read, the acute colours were used to identify different members of the various craft guilds.
Photo courtesy of villagedefrance.fr.
How to get there Riquewihr is on the Alsace wine route and a visit to the village provides an ideal opportunity to sample regional wines – the most famous being Alsatian
Riesling. Visitors may want to hire a car or bicycle to tour the region, visit various wineries, and tour the neighbouring village of Hunawihr, another well preserved medieval village. Riquelwihr is easily accessible from Strasbourg to the north or Basel from the south. Alternatively the neighbouring town of Colmar is well connected by train from key European cities including Paris, Brussels, Amsterdam, Basel and Zurich. From Colmar station it is a 25 minute bus journey to Riquewihr.
Neighbouring village of Hunawihr.
Practical information Tourist Centre 2 rue de la 1ère Armée, Riquewihr Tel: +33 3 89 73 23 23 www.ribeauville-riquewihr.com
ITALY
The Orgosolo Murales - Sardinia The small village of Orgosolo, in the east of Sardinia, features a colourful array of expressive ‘murales’ which reflect the hopes, fears and desires of an entire community. The themes expressed in the hundred or so murals range from the tough conditions of village life to global political struggles. History The murales, which cover the walls of shops, houses and public buildings of Orgosolo, date back to the late 1960s. They reflect the historical views of the time particularly attacking oppressive rulers and social injustices around the world. Targets included the Italian state and portrayed America as an imperialistic and war-mongering nation. Other murales mock President Leone, quote antiNATO protestor Emilio Lussu and show fugitives and bandits hiding from the Carabinieri. This murale resembles the style of such Diego Rivera paintings as “the Girl with Lilies”, 1941.
All three photos courtesy of Heather Cowper.
One of the most beautiful murales pays tribute to the famous Mexican painter Frida Kahlo, painted in a style similar to the artist’s own work by incorporating nature in the foreground. Interestingly, the politically inspired murales reflect the style of her famed husband, the Mexican muralist Diego Rivera. Both Frida and Diego were very active in the Communist Party and much of Rivera’s work reflected his political sentiments.
Depiction of the hardship of village life.
Many murales vividly portray political struggles. This particular murale also demonstrates the wide use of cubism, which became a dominate style.
It was during the mid 1970s that the number of murales began to dramatically increase. This was when Siennese teacher Francesco Del Casino and his students chose to commemorate the 30th anniversary of Italian liberation with a wall painting in Orgosolo. Approximately 90% of the murales were painted by del Casino in his unique and unmistakable style.
Photo courtesy of Manuel Todde.
Murale of famed Mexican painter Frida Kahlo.
During Italy’s ‘Economic Miracle’ of the 1980s, Del Casino began painting every day village scenes including men on horseback, women and children, shepherds shearing their flock and farmers scything their crops. Political images re-emerged in the mid1990s with murales depicting the Yugoslavian conflict and the destruction of Sarajevo.
How to get there Orgosolo is approximately 130km (a 2h30m drive) from the nearest big towns in the North of Sardinia, Sassari or Olbia. Alternatively, buses run from the nearby town of Nuoro with timetables at the ARST bus station or on their website http://arst.sardenga.it.
The murales have changed over time, reflecting the rhythms of nature, the destruction of the past and subsequent rebuilding. However, they have always stayed true to the old values and traditions of the Orgosolo community.
Excellent example of cubist, abstract influence.
Photo courtesy of Corrado Strazzabosco.
“Walls which speak" - colours and style The bright colours used in the murals seem to jump out from dark backgrounds. Figures are large, square, solid and imposing with sharp profiles. Many of the paintings have clear cubist origins and have been compared to works by Picasso and Léger.
MALTA
Dghajsas and Luzzus - Marsaxlokk An eye catching feature of the Marsaxlokk Harbour is the colourful array of local fishing boats – called dghajsas and luzzus – which ply their trade along the Maltese coast. These unique and sturdy boats, which can be put to sea in almost any kind of weather, were originally used to ferry passengers from their ships to land and vice versa.
Photos courtesy of Stefan Falzon.
History The design of the dghajsas and luzzus dates back to the 17th century. The colours, traditionally red, blue and yellow, are unique to each fisherman, passed down from generation to generation and are rarely changed.
Many of the boats feature the Eye of Osiris, also known as the Eye of Horus, painted or carved on the bow. This symbol, said to have been brought to Malta by the Phoenicians, is believed to provide protection from the evil eye which many Maltese of the older generation – especially fisherman – still believe in. The original dghajsas and luzzus were much smaller than today’s models and the traditional oars and sails have now been replaced with inboard engines.
Colour, materials and preservation The wood used for the boats is dependent on the owner. The main strakes, which run from stern to stem, are made of white deal, while the inner works such as the floor and side frames are made from ash and red deal. The short sterns, or moustaches – the triangular shaped spaces painted at the bow and stern – are the main feature of the boats and this is often where the Eye of Osiris is painted. These moustaches are often featured in floral motifs, incorporating a name, and are used to indicate the village where the vessel is from.
Photo courtesy of Stefan Falzon.
Every five years most fishermen give their boats a thorough check-up. The old paint is stripped off, planks are replaced and joints are opened and resealed. There are hundreds of joints on each boat and these are all meticulously checked.
Photo courtesy of Stefan Falzon.
Smaller joints are filled with putty whilst the major ones are stuffed with a thick gauze-like material called xogga and then liquid tar is used. After this dries, putty is applied and sanded and the boat is then repainted to its original colourful splendour. How to get there The best place to see the beauty of these boats is in the Maltese city of Marsaxlokk, which has one of the oldest ports in the country. The nicest way to travel to Marsaxlokk is by making the 35km trip from Valletta, Malta’s capital, with one of the charming old buses that frequently liaise between the two cities. Besides enjoying the picturesque surroundings of the harbour and the city, discover some of Europe’s oldest archaeological sites, such as Tas Silg, to the east of the city. For more information about attractions and events in Malta check out www.visitmalta.com.
THE NETHERLANDS
Zaanse Schans Museum – Zaandam The colourful village of Zaanse Schans nestled on the banks of the river Zaan, close to Amsterdam, is a remarkable living testament to seventeenth and eighteenth century industrial life. The village, home to a number of windmills, storehouses, barns and warehouses, as well as craft workshops and museums, is a living reminder of the industrial revolution and a vital link in the European Route of Industrial Heritage (ERIH). History Zaanse Schans is a replica of a Zaanland village from the 1700s. Typical old wooden houses and windmills of the 17th and 18th centuries were taken down, re-erected here and carefully restored mainly during the 1960s due to urban development. The village was turned into a museum in 1949 by the Stichting Zaanse Schans, a private organization that preserves threatened industrial developments.
Of the thousand industrial windmills built along the banks of the river Zaan only thirteen remain, six of which can be found at the Zaanse Schans. These include two saw mills (De Gekroonde Poelenburg and Het Jonge Schaap), a mustard mill (De Huisman), two oil mills (De Zoeker and De Bonte Hen) and a paint mill (De Kat). Today, the village is more than just an open air museum, being a colourful living and working neighbourhood in its own right.
Clockwise: The Bakery Museum; Albert Heijn Museum; Tsar Peter House.
Photos courtesy www.zaanseschans.nl.
Photos courtesy of Luis Lacorte.
Photo courtesy of Luis Lacorte.
Architecture and colour With its network of rivers and canals and proximity to the sea, Zaanse Schans and the surrounding area is an important part of the industrial heritage of the Netherlands. Nearby Zaandam was an important lumber port with a link to the whale industry and also houses a museum of Peter the Great of Russia, who studied shipbuilding in 1697 and was a great admirer of Dutch culture. The windmills and warehouses are painted in different shades of green, a traditional colour of the time. Many of the windmills in the area powered saws to process wood for the shipbuilding and paper industries and were revolutionary as they used a crankshaft system to convert wind energy to power the grinder. Cornelis Corneliszoon of Uitgeest, an inventor at the beginning of the Golden Age applied the principle for the first time with a floating sawmill in 1592. This process was so successful that timber production in the area rose by 3000 percent. With an abundance of wind and water and the close proximity to Amsterdam, the stage was set for Zaanstreek to become the first industrial area in the world.
Practical information Address: Zaanse Schans Zaans Museum, Schansend 7, Zaandam, Noord-Holland 1509 AW Telephone: +31 (0)75 6162862 Email: info@zaanseschansmuseum.nl Opening Hours: 1 April to October 31 - 9-5 all week. Admission: â‚Ź 7.50 Website: http://www.zaanseschans.nl
Just outside Zaanse Schans you will find the 'Schoolmeester' (Teacher), the last remaining paper windmill in the world. For many centuries, paper produced in this region was considered the best quality paper in the world. Did you know that America's 'Declaration of Independence' was written on paper from De Zaan? Photo courtesy of Luis Lacorte.
How to get there Just 10 miles northwest of Amsterdam the Zaanse Schans is easily accessible by car, train or bus: By car: Take A8 and then A7 direction Purmerend. By train: Only four stops (20 minutes) from Amsterdam Central Station. Take the stop train direction Alkmaar to Koog-Zaandijk. By bus: Bus 91 leaves Amsterdam Central Station twice hourly and stops at the St. Michael College next to the Zaans Museum and Zaanse Schans.
NORWAY
The Kjeungskjaer Lighthouse - Uthaug Situated on a small strip of land in the northwest of Norway, the gloriously striking red Kjeungskjaer Lighthouse marks the entrance to the Sea of Fro. It is one of the oldest lighthouses in Norway and sits 3 kilometres west of Uthaug. The colour of this beautiful and historic lighthouse boldly compliments the dark blues of the sea and the gentle flow of puffy white clouds that glide across the sky.
History Built in 1880 to help ships navigate the rocky Sea of Fro, the lighthouse stands on a tiny shoal that is completely covered at high tide. The lighthouse was inhabited for over 100 years until it was automated in 1987 and the keepers moved to the mainland. The lighthouse is still active today, shining a white, red or green light to guide the direction of passing ships.
Photos courtesy of Morten Oddvik.
Architecture and colour The eight-sided Kjeungskjaer Lighthouse stands more than 20 metres and is completely painted in red. The lighthouse is unique in its design and colour as most Norwegian lighthouses are circular rather than octagonal and are painted either white or a combination of white and red. The stone tower includes a boathouse with communal table on the first floor and, as you go upstairs, you will find a kitchen, sitting room and sleeping quarters. The panoramic view from the top of the lighthouse provides a breathtaking view of the surrounding landscape – the Fosen peninsula to the north and west, and the large islands of Hitra and Frøya in the west and south.
Practical information The lighthouse is only accessible by boat. The Kjeungen Coastal Heritage Society will pick up guests from the harbour at Uthaug and take them to the lighthouse or, for an authentic and memorable experience, you can charter a vintage sailing boat. There is also an excellent view of the lighthouse from the coastal road (the Breidablikkveien) extending westward from Uthaug. How to get there Air Norway, a regional operator, runs daily flights between Oslo and Orland. Uthaug is a short drive from Orland Airport. As part of your trip, be sure to visit the Ramsar Bird Sanctuary in Orland, which boasts over 240 different species of birds. Near Orland you can also find the impressive Austr책ttborgen Renaissance Palace built in the 17th century, which hosts exhibitions, guided tours and concerts. Most importantly, it is the perfect destination to enjoy and appreciate nature. For more information visit www.lighthouse.no.
All three photos courtesy of Morten Oddvik.
PORTUGAL
Pena Palace – Sintra Situated on top of a rocky peak of the Serra de Sintra mountain range, a brightly coloured 19th century palace dominates the horizon of the palace-rich town of Sintra and can been seen from as far away as Lisbon on a clear day. Regarded as one of the seven wonders of Portugal, Pena Palace is the most complete and notable example of Portuguese architecture from the Romantic period. Pink, yellow and grey tones characterise this vibrant Palace, which has been honoured as a UNESCO World Heritage Site. History The Palace dates back to 1839, when King Fernando II bought a century ruined 16th monastery and transformed it into a castle for use as a summer royal residence. In accordance to the exotic tastes of Romanticism, he incorporated a plethora of architectural styles, including Gothic, Egyptian, Moorish and Renaissance, as well as motifs of Portuguese art and the Wagnerian spirit of the Schinkel Castles of Central Europe. This also extended to the sprawling 200 hectare park surrounding the castle which blended local and exotic species of trees. Photos courtesy of Isabel Solano.
Architecture The castle exterior features a drawbridge, a conglomeration of turrets, ramparts, and domes, and a gargoyle above a Neo-Manueline arch, all washed in an array of pastel shades. The extravagant interior is decorated in late Victorian and Edwardian furnishings, rich ornaments, paintings, and priceless porcelain. Other highlights include the spacious ballroom, the marvellous "Arab Room", and an impressive 16th-century chapel altarpiece, part of the original convent founded to celebrate the first sight of Vasco da Gama's returning fleet. Colour The vibrant colours of Pena Palace stand in stark contrast to the rich forest yet, at the same time, the Palace compliments its natural host. However, this colourful vista was not always as it is today. The Palace was painted grey for many years and when it was restored to its former glory during the 1990s, many local Portuguese were shocked as they were completely unaware of the original colour scheme.
Photos courtesy of Isabel Solano.
How to get there Sintra is only 24 kilometres from Lisbon and easily accessible by train. The road up to Pena Palace, accessible by bus or car, snakes through the wooded park and features daredevil corners with sheer drops. While in Sintra it is also worth visiting the Castle of the Moors (Castelo dos Mouros) which offers spectacular views of the town, Pena Palace and the surrounding geography.
Practical information Address: Estrada de Pena, 2710-609 Sintra Telephone: +351 21 910 53 40 Email: info@parquesdesintra.pt Opening Hours: 16 Sept -30 June 10.00 - 17.30 / 01July 15 Sept 10.00 - 19.00. Open all year apart from Christmas & New Year. Last entry is one hour before closing Admission: 7 â‚Ź (Pena park included) Website: www.parquesdesintra.pt
ROMANIA
The Painted Monasteries - Bucovina The unique exteriors of the 15th and 16th century Painted Monasteries of Bucovina, in the north east of Romania, are elaborately decorated with extravagant frescos featuring dramatic biblical scenes and imagery. The bestpreserved monasteries are in Humor, Moldovita, Patrauti, Probota, Suceava, Sucevita, and Voronet. Another, a small church, is located in the village of Arbore. Seven of the churches were placed on UNESCO’s World Heritage list in 1993 and the eighth, Sucevita, is a candidate. History Many of the monasteries date back to the 15th Century when Stefan the Great fought the Turks. To celebrate his success and to praise God for leading him to victory, he built a monastery after each battle. His descendant, Petru Rares, continued his work by setting the foundations for many other famous monasteries.
Suceava monastery
Photo courtesy of Wagas Ahmed.
Architecture The one-of-a-kind Painted Monasteries of Bucovina are deemed masterpieces of Byzantine art. Not merely wall decorations, the murals represent important religious milestones, which were intended to educate local villagers about Christianity and the stories of the bible through visuals means, as most inhabitants were illiterate. The outstanding composition, elegant outline and harmonious colours blend perfectly with the surrounding landscape.
Photo courtesy of Wagas Ahmed.
Colour Perhaps the most famous and stunning of the painted monasteries is Voronet, widely known throughout Europe as "the Sistine Chapel of the East" due to its interior and exterior frescos. The predominant colour of this monastery is a vivid blue, known as ‘Voronet blue.’ The composition of the paint remains a mystery more than 500 years after the church was built.
Moldovita monastery
Highly skilled painters were needed to create the frescos. The rough stone of the walls were evened out with a thick layer of mortar, after which a fined grained layer of lime plaster mixed with natural fibres such as straw was applied. The artists then had only a few hours to paint before the plaster dried. The artists also needed to understand the chemistry of the paint; from mixing pigments from rare clays to using azurite and malachite to create vivid blues and greens and heating ochre from clay to produce reds, yellows and browns. As the plaster dried, it reacted with the mineral pigments, fixing the colours. The technique, which involved no organic materials, unlike other frescoes that use egg whites as a binder, made the colours unusually durable.
How to get there The monasteries are best accessed by a 30 minute car journey from Suceava. Day trips can be organised from Suceava and Gura Humorului. Bucovina is also worth visiting for its natural beauty, featuring thick forests, valleys and imposing crests. For more information about Suceava please visit www.RomaniaTourism.com/Suceava.html.
All three photos courtesy of Wagas Ahmed.
All three pictures are of the famous Voronet monastery, known for its particular shade of blue.
Practical Information: Suceava Tourist Information Centre (Centrul Judetean de Informare Turistica InfoTurism Suceava) Address: Str. Stefan cel Mare 23 Email: infoturism@suceava.rdsnet.ro Open: Mon. – Fri. 8:00 a.m. – 4:00 p.m.; Closed Sat. & Sun. The Tourist Information Centre provides maps, brochures and information on accommodations, restaurants and transportation. APT Bucovina Information Center (Asociatia pentru Turism Bucovina) Address: Str. Universitatii 15-17; Room 10 Telephone: (230) 531.977 Email: contact@bucovinaturism.ro Web: www.bucovinaturism.ro (Romanian only)
RUSSIA
Neva Riverside Buildings – Saint Petersburg The imperial city of Saint Petersburg boasts a superfluity of stunning examples of our European heritage, such as the famous Hermitage Museum. Also worth visiting are the pastel coloured architectural marvels that rest along the banks of the Neva River. The numerous baroque style buildings give the city a real European flavour and have contributed to St. Petersburg being labelled as the Venice of the North. History & Architecture St. Petersburg is a relatively new city for European standards, having been established in 1703 when Peter the Great captured the territory from the Swedes during the Great Northern War. Constructed by conscripted serfs from all over Russia and Swedish prisoners of war, the original buildings of the new city were built in a Petrine Baroque style. Thus many of the buildings that still stand on the banks of the Neva River are dominated by baroque and neo-classicist style architecture, which were built during the 18th and 19th centuries.
The impressive Church of Our Saviour on the Spilled Blood, also known as the Cathedral of the Resurrection, was built on the command of Alexander III to commemorate the place where his father, Alexander II, was assassinated in 1881.
As decreed by Peter the Great, none of the buildings in St Petersburg can be taller than the spire on the Peter and Paul fortress (or a height of six storeys). Additionally, apart from Soviet buildings like the former KGB headquarters, all buildings are required to retain their original façades. Entrance to the magnificent Hermitage Museum housed in the famous Winter Palace.
All three photos courtesy of Europa Nostra
The Rostral Columns (1810), important landmarks of the city, between them the Maritime Exchange, often compared to La Madeleine Church in Paris.
Skyline at sunset of the Peter and Paul Fortress with the spire of its Cathedral.
Colour St Petersburg is a creation of the utmost beauty, a shimmering, translucent ensemble of Baroque palaces and pastel façades. Eighteenth Century baroque façades are characterized by contrast between the white drawings and the luxuriously coloured walls such as blue, green, red and ochre. With neoclassicism dominating the 19th century, the emperor Alexander the First issued a decree prescribing new pastel colours of yellow, green, blue, rose and grey.
will allow you to view the colourful riverside buildings and the Peter & Paul Fortress and Cathedral. You may like to time your trip with the St Petersburg Classical Music Spring Festival in April/May or the White Nights international arts festival in June, the later marking the height of the tourist season.
Practical information The best way to explore the marvellous architecture of St. Petersburg is to amble around on foot. Start at Nevsky Prospekt Street and take in the Admiralty, the Hermitage Museum and Palace Square, the Beloselsky Palace and the Church on Spilled Blood. A river tour Andréi Éfimov, « Les couleurs de Moscou et de SaintPétersbourg », Bulletin du Centre de recherche du château de Versailles, Couleurs de l'architecture, février 2002. 1
Photos courtesy of Europa Nostra.
Among these colours, there is a big predominance of yellow. As some experts have stressed 1 , several factors explain this. Firstly, yellow traditionally stands for gold, which expresses power. Secondly, yellow harmonizes well with the tones of the season – the greens of summer and the white snow that blankets the city in the winter. Finally and more pragmatically, yellow clay, which is used in the production of the yellow pigment, was a material that could easily be found throughout the country.
Portico of the Saints Peter and Paul Cathedral within the Fortress of the same name.
SPAIN
The Casa Vicens - Barcelona Situated in the peaceful Gracia neighbourhood of Barcelona, the exotic Casa Vicens was Gaudi’s first major commission. The building, with its Oriental and Moorish influences, is covered in spectacular green and white tiles and became a UNESCO World Heritage Site in 2005.
History, architecture and colour Gaudi was commissioned by Manuel Vicens Montaner in 1883 to create Casa Vicens and completed it in 1888.
Photos courtesy of Mónica Peñalba.
Casa Vicens is constructed of undressed stone and brick, and features coloured ceramic tiles in checkerboard and floral patterns. The tiles were designed by Gaudi and manufactured by Manuel Vicens, who was himself a tile maker by trade. Having been inspired by the French marigolds which grew on the estate, Gaudi incorporated yellow, zinnia-flowers on the tiles, marking the beginning of his widespread use of nature as an inspiration.
The plan of Casa Vicens is asymmetrical and includes protruding gables and buttresses with galleries projecting even farther at the top. The rooftop towers are reminiscent of Moorish architecture, which extends to the black and white checkerboard design which is similar to the Islamic glazed tiles on the façade. Moreover, Casa Vicens was Gaudi’s first experiment using Catalan russillon, the distinctive style of arcs supporting shelves on layers of brick.
Photo courtesy of Mónica Peñalba.
Photo courtesy of Ivonne Marie.
How to get there Casa Vinces sits in the Gracia district of Barcelona, which is also home to a number of other Gaudi works including Parc Guell. With its narrow streets, lively bars and plazas, Gracia is a contrast to the wider boulevards of the neighbouring L’Eixample district. You might like to time your visit to Casa Vinces with the Festa Major de Gracia which takes place in August and celebrates the best of Catalan with a mass of street festivals. This is one of the liveliest festivals in the whole of Barcelona. Casa Vinces is a short walk from either Fontana or Lesseps metro stations and is also easily accessible by bus. An alternative is to walk up Passig de Gracia, the main shopping street in Barcelona, from the top of Plaza de Catalyuna (the opposite side to Las Ramblas and away from the sea), taking in both Casa Batllo and Casa Amatller. Practical information Address: 24 Carrer de les Carolines, Gracia Telephone: +34 934 020 243 www.gaudiclub.com
TURKEY
Sokullu Mehmet Paşa Mosque – Istanbul The Sokullu Mehmet Pașa Mosque in the Kadirga district of Istanbul is part of a complex built on an inclined slope which includes a madrasa (theological school), and a tekke (dervish lodge). Upon entering the mosque, visitors are greeted with an array of breathtaking blues, greens, purples and reds.
The mosque is designed as a hexagon inscribed in a rectangle and topped with a dome with four small semi-domes in the corners. The decorative niche, or mihrab, with its prismatic shape and pulpit are the finest example of marble workmanship of the time. The mihrab also features glazed tiles. Additionally, four small parts of Hacer-i-Esyed – the holy black stone of Kaaba – were placed on the niche, under the entrance and on the door of the pulpit and its cone. Beautiful examples of the mosque’s exterior architecture and design.
Top and bottom right photos courtesy of www.sinanasaygi.org.
History and Architecture Princess Esmahan, wife of Sokullu Mehmet Pașa, a prominent Grand Vizier of the Ottoman era, commissioned the construction of the mosque in 1571. The mosque was designed by the Ottoman imperial architect Mimar Sinan who overcame the issue of its challenging location on a steep slope by fronting the mosque with a two story courtyard. The first story, now in ruins, was divided into shops whilst the upper story contained a courtyard surrounded by the living quarters for the madrasa and the mosque itself.
Photo courtesy of Europa Nostra.
Photo courtesy of Europa Nostra.
Colour Exuberant colours fill the interior of the Sokulu Mehet Pașa Mosque. It is famous for its large quantities of exquisite iznik tiles which provide a sea of blue and green floral designs and panels of calligraphy in white letters set against a blue field. The interior columns make use of polychrome marble and the minbar, the mosque’s pulpit, is made of white marble with a conical cap, sheathed in turquoise tiles, which also frames the mihrab. The windows above the mihrab are stained glass. Photo courtesy of www.sinanasaygi.org.
How to get there The mosque is easily accessible via local transport links including bus, car and taxi. As the roads can get very busy, a good way to explore the city is to walk around on foot. The Galata Tower and Dolmabache Palace are close to the Sokullu Mehmet Pașa Mosque and crossing the Golden Horn provides easy access to other key sites including the Grand Bazaar, Topkapi Palace and the Blue Mosque. Practical information Address: Sehit Çesmesi Sok, Sultanahmet Email: info@kulturturizm.gov.tr Website: www.kultur.gov.tr
For more information regarding Europa Nostra and its efforts to protect Europe’s heritage please visit: www.europanostra.org. For more information regarding AkzoNobel’s restoration and preservation work please visit: www.akzonobel.com.