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                <text>Waldemar Barrios</text>
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&#13;
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Image 3: Artstor Collection License </text>
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                <text>Diameter Total: Around 80 M &#13;
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                <text>A three story stage with a Greco-Roman classical facade, originally adorned with statues and other regalia, sits in front of a semi-circle of steppes that serve as its audience, the cavea. The theater seems to sink into the ground, leading all attention to the stage in front. While the whole building was at one point covered in a roof made out of Cedar from the Levant, it now serves as an open air venue. The purpose same as it is today, music,festivities, and poetry recitals. After restoration in the 1950s it has become a popular place for concerts, shows, and other live events. It is a testament to ancient understanding of the needs of the population, that being a desire for public spaces.</text>
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                <text>Image 1: https://commons.wikimedia.org/wiki/File:Cisterna_Bas%C3%ADlica,_Estambul,_Turqu%C3%ADa,_2024-09-28,_DD_73-75_HDR.jpg</text>
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                <text>Image 1: Diego Delso, CC BY-SA 4.0 &amp;lt;https://creativecommons.org/licenses/by-sa/4.0&amp;gt;, via Wikimedia Commons.</text>
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&#13;
3.https://www.angkorenterprise.gov.kh/temple/65/angkor-wat#:~:text=Angkor%20Wat%20is%20a%20temple,1%2C626%2C000%20m2%3B%20402%20acres).&#13;
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                <text> Angkor Wat is a very large temple complex that is primarily square in shape. Currently the stone walls are white with brown stains caused by weathering. The brown color tends to be more apparent on the roofs of the structure. The temple itself is surrounded by a large stone wall with pillars supporting a small overhang. There are two types of towers that protrude from the temple. Smaller flat topped cylindrical towers mark the corners of the temple's inner wall. While the temple itself has five taller pointed cylindrical towers at its four corners and a large one present in the center. Angkor Wat contains various bas reliefs of important religious figures of the region. The building and entire complex was and is still primarily used as a religious site for both Buddhist and Hindu religions. &#13;
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&lt;p class="w7sjNrXZl6krNFFuZhqE"&gt;&lt;em&gt;Itsukushima Shinto Shrine is located on Miyajima Island, partially elevated over the water on wooden stilts. Its design is axial, comprising long, covered corridors which connect to the world-famous “floating” torii gate in the bay. The building is low and horizontal in design to convey harmony with the coastline. Constructed of wooden posts and beams painted bright vermilion, it has tiled roofs that curve upward at its edges. Everything is simple, but the surfaces are striking, columns repeat, and shadows are rhythmic, accentuating the corridors. The open sides of the halls shine with natural light, while the water below glints off them; the halls, for example, appear glowy at high tide. The primary materials used are cypress wood and stone footings to sustain tides and earthquakes. The constructed shrine incorporates elements of the sea and of the mountain surroundings. With the “floating” form, it becomes clear the sacred purity of one, harmony with nature, and the spiritual boundaries between human and divine worlds.&lt;/em&gt;&lt;/p&gt;
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                <text>"Itsukushima Shrine at high tide" by Bernard Gagnon – Wikimedia Commons (https://commons.wikimedia.org/wiki/File:Itsukushima_Shrine_at_high_tide.jpg)</text>
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                <text>Coaldrake, William H. Architecture and Authority in Japan. Routledge, 1996.</text>
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                <text>&lt;em&gt;The dynastic mausoleum of Timur exists at Gur-e-Amir in Samarkand with its tall ribbed turquoise dome resting above a brick chamber which is accessed through a monumental iwan entrance. The interior design of the space features marble walls and muqarnas transitions and fine blue tile decorations which showcase Timurid artistic elements while leading viewers toward the dome. The building design leads visitors through its entrance portal to reach a single domed room which functions as a dedicated funeral area for Timur and his family members. The mausoleum served as a royal burial ground during the early 1400s to showcase political power and ceremonial functions while developing architectural elements which became central to Timurid and Central Asian sacred building design.&lt;/em&gt;</text>
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            <name>Title</name>
            <description>A name given to the resource</description>
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                <text>Tilla-Kari Madrasa, Samarkand</text>
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            <name>Language</name>
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                <text>Samarkand, Uzbekistan</text>
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            <name>Date</name>
            <description>A point or period of time associated with an event in the lifecycle of the resource</description>
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                <text>Built: 1646–1660 (mid-17th century)</text>
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            <name>Creator</name>
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                <text>Patron: Yalangtush Bakhodur&#13;
Architects unknown (Bukharan court workshops)&#13;
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                <text>Late Timurid / Bukharan period</text>
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            <description>Spatial characteristics of the resource.</description>
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                <text>Latitude: 39.6541 N&#13;
Longitude: 66.9750 E</text>
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            <name>Medium</name>
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                <text>Brick, stucco, glazed tile, gold leaf interior decoration</text>
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            <name>Extent</name>
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                <text>Madrasa with mosque, courtyard, and vaulted arcades</text>
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                <text>&lt;em&gt;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.&lt;/em&gt;</text>
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                <text>N/A</text>
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            <name>Source</name>
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                <text>Image 1: https://upload.wikimedia.org/wikipedia/commons/f/ff/Registan_Tillya-Kari_madrasah2014.JPG</text>
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                <text>Image 2: https://dwc.kg/wp-content/uploads/2023/08/09-photo-workshop-adventures-uzbekistan.jpg</text>
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                <text>Image 3: https://dwc.kg/wp-content/uploads/2023/08/5e30abe02b808-6061-medrese-tillja-kari.jpeg</text>
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                <text>Image 4: https://dwc.kg/wp-content/uploads/2023/08/may-holidays-31.jpg</text>
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            <name>License</name>
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                <text>Image 1: Creative Commons&#13;
Image 2: Creative Commons&#13;
Image 3: Creative Commons&#13;
Image 4: Creative Commons</text>
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            <name>Contributor</name>
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                <text>Mursal Abdullah</text>
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                <text>Blair, S. and Bloom, J. (1995) The Art and Architecture of Islam 1250–1800. New Haven: Yale University Press.</text>
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                <text>Golombek, L. and Wilber, D. (1988) The Timurid Architecture of Iran and Turan. Princeton: Princeton University Press.</text>
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                <text>Archnet (n.d.) Tilla-Kari Madrasa, Samarkand. Available at: https://archnet.org/ (Accessed: December 6, 2025).</text>
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