The Great Mosque of Djenné is the largest mud brick building in the world. The mosque is located in the city of Djenné in Mali on the flood plain of the Bani River. It is one of the most famous landmarks in Africa. Along with the 'Old Towns of Djenné' it was dubbed a World Heritage Site by UNESCO in 1988.
The date of construction of the first mosque in Djenné is unknown but dates as early as 1200 and as late as 1330 have been suggested.
The walls of the Great Mosque are made of sun-baked mud bricks called 'ferey', a mud based mortar, and are coated with a mud plaster which gives the building its smooth, sculpted look. The walls are between 16 in and 24 in (0.4 to 0.6 m) thick. The thickness varies depending on the wall's height: taller sections were built thicker because the base has to be wide enough to support the weight.Bundles of deleb palm wood were included in the building to reduce cracking caused by frequent drastic changes in humidity and temperature and to serve as readymade scaffolding for annual repairs.
The walls insulate the building from heat during the day and by nightfall have absorbed enough heat to keep the mosque warm through the night. Gutters, made of ceramic pipes, extend from the roofline and direct water drainage from the roof away from the walls. Half of the mosque is covered by a roof and the other half is an open air prayer hall or courtyard. The roof of the mosque is supported by ninety wooden pillars that span the interior prayer hall. Vents in the roof are topped with removable ceramic caps, which when removed allow hot air to rise out of the building and so ventilate the interior.
The Great Mosque was constructed on a raised platform with a surface area of 5625 m² (62,500 ft²), which has so far protected the mosque from even the most severe floods.
Mexican artist Jason De Caires creates beautiful underwater sculptural pieces which are strengthened by the coral, algae, and marine life that grow on them. These pieces are created on land, transported by boat, and carefully submerged into shallow areas of water. Larger works are made in pieces and are bolted to the ocean floor. The sculptures are sited in clear shallow waters to afford easy access by divers, snorkellers and those in glass-bottomed boats.
Only about 10 – 15% of the sea bed has a solid enough substratum to allow reefs to form naturally. In order to increase the number of reefs in these areas artificial reefs have recently been created from materials that are durable, secure and environmentally sensitive. These reefs appear to have been successful in that they have attracted coral growth which, in turn, can support an entire marine ecosystem.
One of the greatest benefits of artificial reefs is that they have lifted the pressure off natural reefs which, over the past few decades, have been over-fished and over-visited. By diverting attention to artificial reefs, natural reefs have now been given a greater chance to repair and to regenerate.
His sculptures highlight ecological processes whilst exploring the intricate relationships between modern art and the environment. By using sculptures to create artificial reefs, the artist’s interventions promote hope and recovery, and underline our need to understand and protect the natural world. Viewers are invited to discover the beauty of our underwater planet and to appreciate the processes of reef evolution.
Moilinere bay in Grenada, within an area designated a National Marine Park, is now home to sixty-five sculptures, covering an area of 800sq metres. Moiliniere Bay suffered considerable storm damage in recent years and the placement of an artificial structure has provided a new base for marine life to proliferate. The sculptures were also designed to create a diversion from other areas of coral reef currently endangered by over use from water actvities.
Arjuna's Penance Mahabalipuram, Indië The beautifully carved 27 metres long and 9 metres high rock, Arjun’s Penance, named after the Mahabharatha hero, Arjuna, is the largest bas relief sculpture in the world. This bas relief, carved in the mid-seventh century, is an extensive panel of life size images.
Arjuna's Penance presents a deftly sculpted scene depicting man's view of the universe with over 100 figures of gods and semi divine creatures, birds and beasts, men and saints. All the figures are carved so that they either face the crevasse or seem to approach it while they have their hands folded in admiration. One of the notable, and perhaps most ironic figures in the bas-relief is the figure of a cat standing on one leg.
There are two beliefs as to the theme of the sculptures. Arjuna, one of the Pandava brothers is said to have done penance asking for a powerful weapon with which to destroy his enemies. The huge gathering of celestials and humans witness the great scene. According to the second belief, it is Bhagiratha's penance to get river Ganges down to the earth. His prayers are answered and Lord Shiva sends the Ganges down to the earth, controlling its rapid flow by allowing it to trickle from his matted locks.
A natural crevasse separates the two halves of the relief. Water was poured down this cleft in order to simulate a natural waterfall (the Ganges descent). To the left, just above the shrine, Arjuna/Bhagiratha stands on one leg, his arms upraised, in a yoga posture. Behind him appears Shiva, holding a weapon and accomodated by ganas.
To the right of the cleft, life-sized elephants protect their young below a scene of numerous other animals and flying celestials, all carved with the greatest vivacity, skill, naturalism, and joyousness.It is difficult to do justice to such a large and beautiful relief in photographs. person can barely reach the elephants' feet.
