By Alan Balfour
A hugely unique architectural heritage of Solomon’s Temple and Islam’s Dome of the Rock that doubles as a social and cultural historical past of the region
* the main wide learn of the interrelated historical past of 2 monuments, Solomon’s Temple and The Dome of the Rock, drawing on an exhaustive overview of all of the visible and textual evidence
* Relayed as a gripping narrative, permitting readers to re-enter and event the sentiments and the visceral truth of the most important occasions in its heritage
* Integrates representation with the textual content to provide a hugely particular and exact portrait of the key buildings and figures interested in the heritage of the temple
* Opens up a desirable line of wondering into the traditional interpretation of occasions, rather Christ’s activities within the Temple
* Reproduces hardly obvious unique drawings of the subterranean passages underneath Temple Mount as a part of the British survey within the nineteenth century
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Extra info for Solomon's Temple: Myth, Conflict, and Faith
Example text
Certamly it is analogous in terms of its differences: in New York the old wood and iron piers enter the Hudson and are separated from the city by the old and often collapsed highways. This is what I have called a zone ofindustrial archaeology, once again using the tenn in a sense that is different from general usage. In a project designed with students in New York, houses are built on the piers, and at times the old buildings are left standing, long warehouses of iron and brick with incredible PaIladian heads.
It is like the testimony of a crime or a love affair. An architectural project is a vocation or a love affair; in either case, it is a eonstruction. One can hold oneself back in the face of this vocation or affair, but it will always remain an unresolved thing. I have experienced this in the public gardens at Ferrara or Seville, where [ have thought that any number of descriptions would have been valid; but in fact when I come to describe these garciens later. I have managed only to draw palms.
It is the Venice of Carpaccio, and I see it in the interior light, in the wood, and I am reminded of certain Dutch interiors which evoke ships ancl are near the sea. This Venice of wood is aIso closely related to the Po delta as weU as to the bridges which cross the Venetian canals, of which the Accademia bridge, although of course a nineteenth-century construction, offers a better idea than the Rialto. But the rediscovery of this Venice was possible only through the intervention of some precise, discreetly colored object, representing an elementary but sure teehnology—for example, a barge or, indeed, a theatrical machine.