<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://worldarchitecture.artinterp2.org/items/show/149">
    <dcterms:title><![CDATA[The Grand Egyptian  Museum]]></dcterms:title>
    <dcterms:contributor><![CDATA[Stanley Ojibeka]]></dcterms:contributor>
</rdf:Description><rdf:Description rdf:about="https://worldarchitecture.artinterp2.org/items/show/105">
    <dcterms:title><![CDATA[The Great Hall of the People]]></dcterms:title>
    <dcterms:date><![CDATA[November 1958 - Construction begins]]></dcterms:date>
    <dcterms:date><![CDATA[September 1959 - Construction complete ]]></dcterms:date>
    <dcterms:contributor><![CDATA[Moanna Dixson]]></dcterms:contributor>
    <dcterms:language><![CDATA[Beijing, China]]></dcterms:language>
    <dcterms:bibliographicCitation><![CDATA[http://www.npc.gov.cn/zgrdw/englishnpc/GreatHall/node_3072.htm]]></dcterms:bibliographicCitation>
</rdf:Description><rdf:Description rdf:about="https://worldarchitecture.artinterp2.org/items/show/38">
    <dcterms:title><![CDATA[The Great Ziggurat of Ur]]></dcterms:title>
    <dcterms:abstract><![CDATA[In progress]]></dcterms:abstract>
    <dcterms:creator><![CDATA[Ur-Nammu - Builder &amp; Ruler of the Sumerian Third Dynasty of Ur]]></dcterms:creator>
    <dcterms:source><![CDATA[Image 1: Geena_Truman: (https://www.bbc.com/travel/article/20220822-the-ziggurat-of-ur-iraqs-answer-to-the-pyramids)]]></dcterms:source>
    <dcterms:source><![CDATA[Image 2: Drawing_of_the_Ziggurat_of_Ur,_Iraq,_by_Marjorie_V._Duffell_for_C._L._Woolley,_1937: (https://upload.wikimedia.org/wikipedia/commons/1/18/Drawing_of_the_Ziggurat_of_Ur%2C_Iraq%2C_by_Marjorie_V._Duffell_for_C._L._Woolley%2C_1937.jpg)]]></dcterms:source>
    <dcterms:source><![CDATA[Image 3: Leonard Woolley, photo with excavation workers, c. 1923–24, featuring the ziggurat of Ur, c. 2100 B.C.E., Tell el-Mukayyar, Iraq (photo: Penn Museum, Philadelphia): (https://smarthistory.org/ziggurat-of-ur/)]]></dcterms:source>
    <dcterms:date><![CDATA[c. 2040 BCE - Construction Started]]></dcterms:date>
    <dcterms:date><![CDATA[c. 2000 BCE - Completed]]></dcterms:date>
    <dcterms:contributor><![CDATA[Markeita Durham-Brinkley]]></dcterms:contributor>
    <dcterms:format><![CDATA[Neo-Sumerian ziggurat architecture]]></dcterms:format>
    <dcterms:extent><![CDATA[Length: 64 meters (210 ft)]]></dcterms:extent>
    <dcterms:extent><![CDATA[Width: 46 meters (150 ft)]]></dcterms:extent>
    <dcterms:extent><![CDATA[Original Height (speculative): Over 30 meters (98 ft)]]></dcterms:extent>
    <dcterms:medium><![CDATA[Mudbrick]]></dcterms:medium>
    <dcterms:language><![CDATA[Nasiriyah, Iraq]]></dcterms:language>
    <dcterms:type><![CDATA[Religious]]></dcterms:type>
    <dcterms:bibliographicCitation><![CDATA[1. https://smarthistory.org/ziggurat-of-ur/]]></dcterms:bibliographicCitation>
    <dcterms:bibliographicCitation><![CDATA[2. https://en.wikipedia.org/wiki/Ziggurat_of_Ur]]></dcterms:bibliographicCitation>
    <dcterms:spatial><![CDATA[Latitude: 30.9628° N <br />
Longitude: 46.1032° E]]></dcterms:spatial>
    <dcterms:temporal><![CDATA[Third Dynasty of Ur / Early 21st Century BCE]]></dcterms:temporal>
</rdf:Description><rdf:Description rdf:about="https://worldarchitecture.artinterp2.org/items/show/92">
    <dcterms:title><![CDATA[The Kennedy Center]]></dcterms:title>
    <dcterms:description><![CDATA[The Kennedy Center’s layout is rectangular. On the outside of the building, there are tall, thin steel pillars in a golden shade. These pillars run along each side of the Kennedy Center, adding drama and dimension to its facade. The building itself is built of a white concrete, with walls that tower over the visitors and a large overhang that is supported by the pillars. Along the two longer sides of the building are windows that stretch floor to ceiling. On top of the basic structure, there is a slightly smaller, and much shorter, upper level of the building. This second level has windows evenly dispersed along each side. There are two different main entrances, one on each side of the building with windows. As one walks into the Kennedy Center, they are met with bright red carpet, dramatic chandeliers, and mirrors covering the walls opposite the entrance. The high ceilings in the structure add to its elegance and charm. There are three main performance rooms in the building, the Concert Hall, the Opera House, and the Eisenhower Theatre. Each of these rooms are decorated elegantly, with large stages and plenty of seating. There are two hallways separating these rooms and connecting one side of the building to the other. It is in these hallways that giant flags hang from the ceiling, representing different states and nations. The Kennedy Center stands as a place to appreciate the arts, acknowledge American history, and to enjoy a night out in Washington, D.C.. The materials chosen allow for an elegant theme and charming exterior. The Kennedy Center both harbors notes of political authority and social status with its architecture, all while touching on the sight and sound of the viewer. ]]></dcterms:description>
    <dcterms:creator><![CDATA[Architect: Edward Durell Stone]]></dcterms:creator>
    <dcterms:creator><![CDATA[Structural Engineer: Severud Associates ]]></dcterms:creator>
    <dcterms:source><![CDATA[Image 1: Kennedy Center - panoramio (cropped).jpg (https://upload.wikimedia.org/wikipedia/commons/8/8a/Kennedy_Center_-_panoramio_%28cropped%29.jpg)]]></dcterms:source>
    <dcterms:source><![CDATA[Image 2: Kennedy_Center_(46399777861).jpg https://upload.wikimedia.org/wikipedia/commons/2/28/Kennedy_Center_%2846399777861%29.jpg]]></dcterms:source>
    <dcterms:source><![CDATA[Image 3: Kennedy_center_diagram.svg.png https://en.wikipedia.org/wiki/John_F._Kennedy_Center_for_the_Performing_Arts#/media/File:Kennedy_center_diagram.svg]]></dcterms:source>
    <dcterms:source><![CDATA[Image 4: John_F._Kennedy_Center,_interior_000_0017.jpg https://upload.wikimedia.org/wikipedia/commons/c/c2/John_F._Kennedy_Center%2C_interior_000_0017.jpg]]></dcterms:source>
    <dcterms:source><![CDATA[Image 5: Messiah_Sing-Along_at_Kennedy_Center_2023_01.jpg https://upload.wikimedia.org/wikipedia/commons/e/ee/Messiah_Sing-Along_at_Kennedy_Center_2023_01.jpg]]></dcterms:source>
    <dcterms:source><![CDATA[Image 6: Kennedy_Center_(53844537746).jpg https://upload.wikimedia.org/wikipedia/commons/b/b6/Kennedy_Center_%2853844537746%29.jpg]]></dcterms:source>
    <dcterms:date><![CDATA[Start of Fundraising: January 29, 1959]]></dcterms:date>
    <dcterms:date><![CDATA[Start of Construction: December 11, 1965]]></dcterms:date>
    <dcterms:date><![CDATA[Building Opened: September 8, 1971]]></dcterms:date>
    <dcterms:contributor><![CDATA[Hannah Demory]]></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: Public Domain]]></dcterms:license>
    <dcterms:license><![CDATA[Image 5: Creative Commons]]></dcterms:license>
    <dcterms:license><![CDATA[Image 6: Creative Commons]]></dcterms:license>
    <dcterms:format><![CDATA[Modern architecture]]></dcterms:format>
    <dcterms:extent><![CDATA[60,000 square feet]]></dcterms:extent>
    <dcterms:medium><![CDATA[Concrete]]></dcterms:medium>
    <dcterms:medium><![CDATA[Steel]]></dcterms:medium>
    <dcterms:language><![CDATA[Washington, D.C.]]></dcterms:language>
    <dcterms:type><![CDATA[Public]]></dcterms:type>
    <dcterms:bibliographicCitation><![CDATA[https://en.wikipedia.org/wiki/John_F._Kennedy_Center_for_the_Performing_Arts]]></dcterms:bibliographicCitation>
    <dcterms:spatial><![CDATA[38°53&#039;45&quot;N 77°03&#039;20&quot;W]]></dcterms:spatial>
    <dcterms:temporal><![CDATA[20th Century]]></dcterms:temporal>
</rdf:Description><rdf:Description rdf:about="https://worldarchitecture.artinterp2.org/items/show/39">
    <dcterms:title><![CDATA[The Palace of Shaki Khans]]></dcterms:title>
    <dcterms:description><![CDATA[Building Description: Located in Shaki, northwestern Azerbaijan, the Palace of Shaki Khans is a two-story building, used as a summer residence for the Shaki khans. The exterior of the building has an area size of 300 square meters, and was primarily constructed using raw bricks, river stones, wood, which usually consist of plane and oak. The interior, however, was primarily constructed with shebeke, a type of color glass created by Azerbaijani craftspeople, wood, venetian glass.  <br />
<br />
...]]></dcterms:description>
    <dcterms:creator><![CDATA[Builder: Muhammed Hasan Khan]]></dcterms:creator>
    <dcterms:source><![CDATA[Image 1 Palace_of_Shaki_Khans.jpg: (https://upload.wikimedia.org/wikipedia/commons/2/29/%C5%9E%C9%99ki_xan_saray%C4%B1.jpg)]]></dcterms:source>
    <dcterms:date><![CDATA[Completed: 1797]]></dcterms:date>
    <dcterms:contributor><![CDATA[Markeita Durham-Brinkley]]></dcterms:contributor>
    <dcterms:format><![CDATA[Eastern/Iranian and Azerbaijani architecture  ]]></dcterms:format>
    <dcterms:extent><![CDATA[Area Size: 300 square meters ]]></dcterms:extent>
    <dcterms:extent><![CDATA[Two-story structure ]]></dcterms:extent>
    <dcterms:medium><![CDATA[Exterior: Raw Bricks]]></dcterms:medium>
    <dcterms:medium><![CDATA[Exterior: River Stones]]></dcterms:medium>
    <dcterms:medium><![CDATA[Exterior: Wood (Plane &amp; Oak)]]></dcterms:medium>
    <dcterms:medium><![CDATA[Interior: Shebeke]]></dcterms:medium>
    <dcterms:medium><![CDATA[Interior: Wood]]></dcterms:medium>
    <dcterms:medium><![CDATA[Interior: Venetian Glass]]></dcterms:medium>
    <dcterms:language><![CDATA[Shaki, northwestern Azerbaijan]]></dcterms:language>
    <dcterms:type><![CDATA[Palace-Castle]]></dcterms:type>
    <dcterms:spatial><![CDATA[Latitude: 41.2044° N<br />
Longitude: 47.1976° E]]></dcterms:spatial>
    <dcterms:temporal><![CDATA[18th Century, Azerbaijan]]></dcterms:temporal>
</rdf:Description><rdf:Description rdf:about="https://worldarchitecture.artinterp2.org/items/show/235">
    <dcterms:title><![CDATA[The Professed: Temple of San Felipe Neri]]></dcterms:title>
    <dcterms:description><![CDATA[Today the Church La Profesa stands as an elegant example of Mexican baroque architecture in the hearth of Mexico city. The front has twin bell towers and intricate stonework flanking a central entrance. The main entrance draws you in with a beautiful carved portal framed by floral motifs and religious figured. At the top there is a curved pediment that adds a sense of movement and elegance all around the building. The windows that the top are arched that each reveal a glimpse of the interior. The textured stone and carefully places pilasters create a pattern that gaze upward towards the towers in the sky. The exterior combines elegance, symmetry and rich patterns to stand out in the streets of Mexico City. ]]></dcterms:description>
    <dcterms:creator><![CDATA[Pedro De Arrieta lead reconstruction]]></dcterms:creator>
    <dcterms:source><![CDATA[Image 1 &amp; 2: https://profesa.oratorio.mx/profesa/<br />
Image 3: https://bibliotecadigital.ilce.edu.mx/sites/1847/patria/textos/sec_12.html#ID1563<br />
Image 4: https://web.archive.org/web/20110719071627/http://www.palaciomineria.unam.mx/arquitectura/obra_arquitectonica_4.php]]></dcterms:source>
    <dcterms:date><![CDATA[1585 : Church began construction.<br />
1629: Church was damaged by flood. <br />
1714: Reconstruction begins. <br />
1720: Reconstruction has finished.]]></dcterms:date>
    <dcterms:contributor><![CDATA[Kevin ]]></dcterms:contributor>
    <dcterms:license><![CDATA[Image 1,2,3 &amp; 4 : Public Domain. ]]></dcterms:license>
    <dcterms:format><![CDATA[Mexican Baroque]]></dcterms:format>
    <dcterms:extent><![CDATA[- A medium size church with the length of 55 meters and width of 55 meters. <br />
- The tallest point reachers 67 meters. ]]></dcterms:extent>
    <dcterms:medium><![CDATA[- Stone.<br />
- Brick.<br />
- Marble.<br />
-Wood.]]></dcterms:medium>
    <dcterms:language><![CDATA[Mexico City, Mexico ]]></dcterms:language>
    <dcterms:type><![CDATA[Religious]]></dcterms:type>
    <dcterms:bibliographicCitation><![CDATA[- Templo de San Felipe Neri – La Profesa (n.d.) La Profesa – Oratorio de San Felipe Neri de México. <br />
<br />
- En defensa de la patria: México en armas 1846‑1848 – Sec. 12 (n.d.) Biblioteca Digital ILCE. <br />
<br />
- Obra arquitectónica – Palacio de Minería (n.d.) Palacio de Minería, F.I., UNAM. ]]></dcterms:bibliographicCitation>
    <dcterms:spatial><![CDATA[19.433619074698605, -99.1363670268441]]></dcterms:spatial>
    <dcterms:temporal><![CDATA[Colonial Period]]></dcterms:temporal>
</rdf:Description><rdf:Description rdf:about="https://worldarchitecture.artinterp2.org/items/show/87">
    <dcterms:title><![CDATA[The Walter&#039;s Art Museum]]></dcterms:title>
    <dcterms:description><![CDATA[The structure is very quadratic in its form. Viewed from overhead, its form is just a simple rectangle. Though it is worth noting that this form is made up of essentially two buildings. Continuing from overhead the left side building top appears ordinary compared to the right side which features a green, almost tile-like texture that bounds a glass square on the roof where light proceeds to enter the structure. It features 2 distinct levels that feature several interior rooms and an interior courtyard in the middle where the building truly shows its grandeur. This middle interior courtyard features a full look-around from the middle of the structure where it appears you can then space out into the individual rooms that contain the historic art pieces on display. The exterior features this glass atrium entrance lobby, added later during the building’s existence, this entrance helped combine the two sides of the museum. Its patterns and construction method seem to be rather ordinary, at least for the exterior. For the interior, there is a significant use of archway patterns for what appears to be entrances of hallways that lead to the rooms. The rooms seem to be very quadratic in form as well, with all featuring variations of rectangular and squarish forms. The rooms have varying colors and the courtyard features a brighter yellow. Standing as one of the cultural anchors for Mt. Vernon&#039;s place, the historic district the building is a part of, the structure started as a personal collection of Henry Walters and his son William T. Walters. Eventually, Henry made his collection viewable for the public in 1874. Ultimately, he requested a redesign from several architectural firms and renovations began in 1905 for the collection to be transformed into a museum and subsequently, the museum officially opened in 1909. A little over two decades later, after his death, the museum officially was given to the city. <br />
]]></dcterms:description>
    <dcterms:creator><![CDATA[Architect: Delano and Aldrich(firm)]]></dcterms:creator>
    <dcterms:creator><![CDATA[Architect: Shepley, Bullfinch, Richardson and Abbott(firm)]]></dcterms:creator>
    <dcterms:creator><![CDATA[Architect: Kallmann, McKinnell and Wood (firm)]]></dcterms:creator>
    <dcterms:source><![CDATA[image 1: File:Walters Art Museum, 600 N. Charles Street, Baltimore, MD 21201 (35452161645).jpg - Wikimedia Commons<br />
]]></dcterms:source>
    <dcterms:source><![CDATA[image 2:<br />
https://commons.wikimedia.org/wiki/File:Walters_Art_Museum_ceiling_-_Stierch.jp]]></dcterms:source>
    <dcterms:date><![CDATA[Built: 1905]]></dcterms:date>
    <dcterms:date><![CDATA[Addition: 1974]]></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[Brutalist and Beaux-Arts (style)]]></dcterms:format>
    <dcterms:extent><![CDATA[90,000 sq ft.]]></dcterms:extent>
    <dcterms:medium><![CDATA[limestone, glass ]]></dcterms:medium>
    <dcterms:language><![CDATA[Baltimore, Maryland]]></dcterms:language>
    <dcterms:type><![CDATA[Public]]></dcterms:type>
    <dcterms:bibliographicCitation><![CDATA[Lisa Pfueller Davidson and Catherine C. Lavoie, &quot;WALTERS ART MUSEUM&quot;, [Baltimore, Maryland], SAH Archipedia, eds. Gabrielle Esperdy and Karen Kingsley, Charlottesville: UVaP, 2012—, http://sah-archipedia.org/buildings/MD-01-BC6.<br />
<br />
Last accessed: November 4, 2025.]]></dcterms:bibliographicCitation>
    <dcterms:spatial><![CDATA[39.29652976572545, -76.61647300552309]]></dcterms:spatial>
</rdf:Description><rdf:Description rdf:about="https://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:Description rdf:about="https://worldarchitecture.artinterp2.org/items/show/79">
    <dcterms:title><![CDATA[Tianjin Binhai Library]]></dcterms:title>
    <dcterms:description><![CDATA[<em>The Tianjin Binhai Library stands as a contemporary public structure situated within the Binhai district of Tianjin, China. The Dutch architectural firm MVRDV collaborated with the Tianjin Urban Planning and Design Institute to create this building, which finished its construction in 2017. The building design features a rectangular floor plan that extends to five stories, while its main attraction is the "Eye" auditorium that glows from within. The building's glass exterior lets natural light enter the main hall while showing off the curved design of its interior. The interior design features continuous white shelves that create wave-like walls, which function as both stairs and seating areas while surrounding the central sphere. The open design of the space enables visitors to move freely between reading and meeting areas, which lack defined separation points. The building structure incorporates reinforced concrete and steel, and glass materials to achieve its smooth white surfaces, which generate a clean and bright environment. The glass walls and skylights allow natural light to enter, which produces gentle shadows that emphasize the curved lines of the interior design. The building achieves a harmonious fusion of futuristic design with peaceful ambiance through its combination of architectural elements and sculptural features. The design transforms traditional library spaces into interactive spaces that combine visual and social elements. The "Eye" serves as a symbol that represents both vision and knowledge, and discovery. The flowing shelves in the design represent the natural flow of knowledge and information. The building design promotes exploration instead of silence because learning in today's world requires active participation and shared knowledge. The building demonstrates China's dedication to cultural development and educational progress, and technological advancement. The Tianjin Binhai Library has achieved status as a worldwide symbol of contemporary architectural design. The building's striking design draws numerous visitors and photographers who demonstrate how public architecture can generate public interest and national pride. The building sparks debate about library design priorities between visual appeal and operational needs, while demonstrating that architectural design needs to unite aesthetic value with practicality and meaningful purpose.</em>]]></dcterms:description>
    <dcterms:abstract><![CDATA[<em>The Tianjin Binhai Library serves as a modern Chinese urban architectural symbol that unites cultural progress with advanced architectural concepts.(Mursal)</em>]]></dcterms:abstract>
    <dcterms:abstract><![CDATA[<em>The Binhai Cultural Center master plan included the three-year construction of this library design. The central "Eye" serves dual purposes as a design centerpiece and community area, which reflects MVRDV's vision of libraries as active public spaces instead of traditional silent repositories.(Mursal)</em>]]></dcterms:abstract>
    <dcterms:creator><![CDATA[Architect: MVRDV (Rotterdam-based architecture firm)]]></dcterms:creator>
    <dcterms:creator><![CDATA[Collaborating Partner: Tianjin Urban Planning and Design Institute (TUPDI)]]></dcterms:creator>
    <dcterms:creator><![CDATA[Client/Patron: Tianjin Binhai Cultural Center]]></dcterms:creator>
    <dcterms:source><![CDATA[Image 1: MVRDV-Tianjin-Library-12-©-Ossip-van-Duivenbode.jpg https://i0.wp.com/archeyes.com/wp-content/uploads/2023/06/MVRDV-Tianjin-Library-12-©-Ossip-van-Duivenbode.jpg?ssl=1]]></dcterms:source>
    <dcterms:source><![CDATA[Image 2:MVRDV-Tianjin-Library-16-©-Ossip-van-Duivenbode.jpg https://i0.wp.com/archeyes.com/wp-content/uploads/2023/06/MVRDV-Tianjin-Library-16-©-Ossip-van-Duivenbode.jpg?ssl=1]]></dcterms:source>
    <dcterms:source><![CDATA[Image 3:MVRDV-Tianjin-Library-8-©-Ossip-van-Duivenbode.jpg<br />
https://i0.wp.com/archeyes.com/wp-content/uploads/2023/06/MVRDV-Tianjin-Library-8-©-Ossip-van-Duivenbode.jpg?ssl=1]]></dcterms:source>
    <dcterms:date><![CDATA[Begun: 2015]]></dcterms:date>
    <dcterms:date><![CDATA[Completed: 2017]]></dcterms:date>
    <dcterms:contributor><![CDATA[Mursal Abdullah]]></dcterms:contributor>
    <dcterms:license><![CDATA[mage 1: Creative Commons]]></dcterms:license>
    <dcterms:license><![CDATA[mage 2: Creative Commons]]></dcterms:license>
    <dcterms:license><![CDATA[mage 3: Creative Commons]]></dcterms:license>
    <dcterms:format><![CDATA[Public Library]]></dcterms:format>
    <dcterms:format><![CDATA[Cultural/Educational Building]]></dcterms:format>
    <dcterms:extent><![CDATA[33,700 square meters (approximately 362,700 square feet)]]></dcterms:extent>
    <dcterms:extent><![CDATA[Five stories high]]></dcterms:extent>
    <dcterms:medium><![CDATA[Reinforced concrete]]></dcterms:medium>
    <dcterms:medium><![CDATA[Glass]]></dcterms:medium>
    <dcterms:medium><![CDATA[Aluminum panels]]></dcterms:medium>
    <dcterms:medium><![CDATA[Steel]]></dcterms:medium>
    <dcterms:language><![CDATA[Tianjin, China]]></dcterms:language>
    <dcterms:type><![CDATA[Public]]></dcterms:type>
    <dcterms:bibliographicCitation><![CDATA[“The Tianjin Binhai Library by MVRDV: Fusing Culture &amp; Architecture.” ArchEyes, 29 June 2023.https://archeyes.com/the-tianjin-binhai-library-by-mvrdv-fusing-culture-architecture/?utm_source=chatgpt.com]]></dcterms:bibliographicCitation>
    <dcterms:bibliographicCitation><![CDATA[“Tianjin Binhai Library / MVRDV + Tianjin Urban Planning and Design Institute.” ArchDaily, 2 Nov. 2017.https://www.archdaily.com/882819/tianjin-binhai-library-mvrdv-plus-tianjin-urban-planning-and-design-institute?utm_source=chatgpt.com]]></dcterms:bibliographicCitation>
    <dcterms:bibliographicCitation><![CDATA[MVRDV. “Tianjin Binhai Library.” MVRDV, 2017. https://www.mvrdv.nl/projects/246/tianjin-binhai-library]]></dcterms:bibliographicCitation>
    <dcterms:coverage><![CDATA[Located within the Tianjin Binhai Cultural Center complex]]></dcterms:coverage>
    <dcterms:spatial><![CDATA[Latitude: 39.0381° N<br />
Longitude: 117.7170° E]]></dcterms:spatial>
    <dcterms:temporal><![CDATA[Contemporary China, 21st Century]]></dcterms:temporal>
</rdf:Description><rdf:Description rdf:about="https://worldarchitecture.artinterp2.org/items/show/197">
    <dcterms:title><![CDATA[Tilla-Kari Madrasa, Samarkand]]></dcterms:title>
    <dcterms:description><![CDATA[<em>The Tilla-Kari Madrasa stands as a seventeenth-century educational complex situated on Samarkand's Registan square which features a central courtyard surrounded by vaulted arcades and an iwan that accesses a mosque with its interior surfaces adorned with luxurious gold decorations. The building exterior displays Central Asian decorative elements through its blue tile patterns and geometric and floral designs. The interior mosque area features gold leaf decorations which create a light-reflecting effect on the muqarnas and decorative paintings. The courtyard provides access to the domed sanctuary through which visitors experience a transition between educational areas and sacred areas. The construction of Tilla-Kari as part of a grand architectural complex demonstrates how Islamic education maintained its high status during the Bukharan era while enhancing the ceremonial value of the Registan area.</em>]]></dcterms:description>
    <dcterms:creator><![CDATA[Patron: Yalangtush Bakhodur<br />
Architects unknown (Bukharan court workshops)<br />
]]></dcterms:creator>
    <dcterms:source><![CDATA[Image 1: https://upload.wikimedia.org/wikipedia/commons/f/ff/Registan_Tillya-Kari_madrasah2014.JPG]]></dcterms:source>
    <dcterms:source><![CDATA[Image 2: https://dwc.kg/wp-content/uploads/2023/08/09-photo-workshop-adventures-uzbekistan.jpg]]></dcterms:source>
    <dcterms:source><![CDATA[Image 3: https://dwc.kg/wp-content/uploads/2023/08/5e30abe02b808-6061-medrese-tillja-kari.jpeg]]></dcterms:source>
    <dcterms:source><![CDATA[Image 4: https://dwc.kg/wp-content/uploads/2023/08/may-holidays-31.jpg]]></dcterms:source>
    <dcterms:date><![CDATA[Built: 1646–1660 (mid-17th century)]]></dcterms:date>
    <dcterms:contributor><![CDATA[Mursal Abdullah]]></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:extent><![CDATA[Madrasa with mosque, courtyard, and vaulted arcades]]></dcterms:extent>
    <dcterms:medium><![CDATA[Brick, stucco, glazed tile, gold leaf interior decoration]]></dcterms:medium>
    <dcterms:language><![CDATA[Samarkand, Uzbekistan]]></dcterms:language>
    <dcterms:type><![CDATA[Religious]]></dcterms:type>
    <dcterms:bibliographicCitation><![CDATA[Blair, S. and Bloom, J. (1995) The Art and Architecture of Islam 1250–1800. New Haven: Yale University Press.]]></dcterms:bibliographicCitation>
    <dcterms:bibliographicCitation><![CDATA[Golombek, L. and Wilber, D. (1988) The Timurid Architecture of Iran and Turan. Princeton: Princeton University Press.]]></dcterms:bibliographicCitation>
    <dcterms:bibliographicCitation><![CDATA[Archnet (n.d.) Tilla-Kari Madrasa, Samarkand. Available at: https://archnet.org/ (Accessed: December 6, 2025).]]></dcterms:bibliographicCitation>
    <dcterms:coverage><![CDATA[N/A]]></dcterms:coverage>
    <dcterms:spatial><![CDATA[Latitude: 39.6541 N<br />
Longitude: 66.9750 E]]></dcterms:spatial>
    <dcterms:temporal><![CDATA[Late Timurid / Bukharan period]]></dcterms:temporal>
</rdf:Description></rdf:RDF>
