Sharp Serif Display PanEuro
Sharp Serif Display is in dialogue with these charming and irreverent formulations, as well as a more contemporaneous approach to the stenciled genre as pioneered by Paul Barnes with Dala Floda, in which contrast in serif typography is simply dialed to the point at which the hairlines disappear entirely. As a display counterpart to our quintessential textface Sharp Serif, Sharp Serif Display brings a hefty dose of flare to the family, which can peacock display settings all on its own, or serve as a chic counterpart to its more understated textface mate.
Ιστορικά, ο όρος «Ελληνορθόδοξοι» έχει χρησιμοποιηθεί για να περιγράψει όλες τις Ανατολικές Ορθόδοξες εκκλησίες, αφού ο όρος «Έλληνες» μπορεί να αναφέρεται στην κληρονομιά της Βυζαντινής Αυτοκρατορίας.
The mosque was designed by Guido Ferrazza, in a blend of the architectural styles of Rationalist, Classical, and Islamic. The minaret at its end, fluted and of Roman design, is visible from all parts of the city. It has two platforms and two balconies of the Italian rococo or late baroque style. Below the minaret, the mosque's fascia has a neoclassical loggia (exterior galleries), which is split in three parts. The building's double columns are made from Dekemhare travertine and are fitted with capitals made of Carrara marble. Other features include Islamic domes and arches. The mosque's miḥrāb (a niche which faces the direction of Mecca) is made of Carrara marble. Additional marble from the same quarry is used in other areas of this mosque. The front open yard of the mosque is covered with black stone slabs set in geometrical design.
Царква Сан-Джавані Батыста знаходзіцца ў Моньо ў швейцарскім кантоне Тичино. Ён быў пабудаваны паміж 1994 і 1996 гадамі па праекце швейцарскага архітэктара Марыё Бота, які выкарыстаў мармур і граніт з далін гэтага раёна. The church (in a simple wooden structure) was present in Asmara since the late 19th century. In the early 1930s, the Italian governor of Asmara ordered to create an improved structure with modern building materials and under the supervision of Italian architects. In its present rationalist / modernist style, the church dates from 1938, when an unknown Italian architect, added the upper portions of the two flanking towers and the modernistic treatment of the façade to the 1920 form designed by Ernesto Gallo.
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The style of Sagrada Família is variously likened to Spanish Late Gothic, Catalan Modernism or Art Nouveau. While the style falls within the Art Nouveau period, Nikolaus Pevsner points out that, along with Charles Rennie Mackintosh in Glasgow, Scotland, Gaudí carried the Art Nouveau style far beyond its usual application as a surface decoration.
The Sagrada Familia, is the largest church under construction in Barcelona, Spain. It was designed by Catalan architect Antoni Gaud. (1852–1926). On 19 March 1882, construction of Sagrada Família began under architect Francisco de Paula del Villar. In 1883, when Villar resigned, Gaudí took over as chief architect, transforming the project with his architectural and engineering style, combining Gothic and curvilinear Art Nouveau forms. Gaudí devoted the remainder of his life to the project, and he is buried in the church's crypt. At the time of his death in 1926, less than a quarter of the project was complete. The central nave vaulting was completed in 2000 and the main tasks since then have been the construction of the transept vaults and apse. In 2002, the Sagrada Família Schools building was relocated from the eastern corner of the site to the southern corner, and began housing an exhibition. The school was originally designed by Gaudí in 1909 for the children of the construction workers.
Relying solely on private donations, Sagrada Família's construction progressed slowly and was interrupted by the Spanish Civil War. In July 1936, anarchists from the FAI set fire to the crypt and broke their way into the workshop, partially destroying Gaudí's original plans. In 1939, Francesc de Paula Quintana took over site management, which was able to go on with the material that was saved from Gaudí's workshop and that was reconstructed from published plans and photographs. Construction resumed to intermittent progress in the 1950s. Gaudí's original design calls for a total of eighteen spires, representing in ascending order of height the Twelve Apostles, the four Evangelists, the Virgin Mary, and, tallest of all, Jesus Christ. Thirteen spires had been completed as of 2023, corresponding to four apostles at the Nativity façade, four apostles at the Passion façade, the four Evangelists, and the Virgin Mary. The Evangelists' spires are surmounted by sculptures of their traditional symbols: a winged bull (Saint Luke), a winged man (Saint Matthew), an eagle (Saint John), and a winged lion (Saint Mark). The central spire of Jesus Christ is to be surmounted by a giant cross; its total height (172.5 metres (565.9 ft)) will be less than that of Montjuïc hill in Barcelona, as Gaudí believed that his creation should not surpass God's. The lower spires are surmounted by communion hosts with sheaves of wheat and chalices with bunches of grapes, representing the Eucharist.
