Jaffna Public Library (Tamil: யாழ் பொது நூலகம்) is located in Jaffna, Sri Lanka. It is one of Jaffna's most notable landmarks, and is run by the Jaffna Municipal Council. The library was built in 1933 and burnt in 1981. During the early 1980s, it was one of the biggest libraries in Asia, containing over 97,000 books and manuscripts. Over a million books burned in the 1981 arson attack. Some ancient Sinhala and Tamil books were never recovered. In 2001, rehabilitation of the library was completed, with new structures being built and new books received, although its old books and manuscripts were not replaced. It is Sri Lanka's second main public Library, only rivalled by Colombo Public Library
The building's classical lines and beautiful proportions make it stand out architecturally. It contains lush gardens and has been modernized with new facilities such as free-wifi that was added in 2016


Shri Jagannath temple(Odia: ଶ୍ରୀ ଜଗନ୍ନାଥ ମନ୍ଦିର) (popularly known as "Shabara Shrikshetra") is a temple located in Koraput, Odisha, India. It is not only built as an altar for worship, but also as a multipurpose area for Jagannath consciousness. Jagannath consciousness is the main theme of Jagannath which can not be confined within the limits of a traditional religious theological order, because it is a cult (or even a philosophical system).
It is originated from the tribal culture, and it has no antagonism towards any religion, caste or creed, Practice of tolerance in the real life of the individual and the society wedded to this ideal, is one piece used in the cult. This is practiced at Shabara Shrikshetra in letter and spirit. Everybody has free access to this shrine, which virtually demonstrates the very concept of Jagannath consciousness having tribal bias.


The mosque lends its name to the Masjid Jamek LRT station located just outside the mosque compound. The station is among Kuala Lumpur's busiest metro interchanges, being served by the Kelana Jaya Line, Sri Petaling Line and Ampang Line. The station is located between Chinatown and Little India; Dataran Merdeka is also nearby.


Jan Pol was built in 1876, replacing a mill that had been built in 1820 and burnt down following a lightning strike in 1875. It was built by millwright Schiller from Dalfsen, Overijssel. In operation  until 1947, it was  stripped of machinery in 1958. Restoration by millwright Huberts of Coevorden began in 1971 and was completed in 1972. Further restoration was undertaken in 1993 by millwrights Doornbosch of Adorp, Groningen. The mill is named for Jan Pol, who owned it from 1942 until his death in 1982. It is the tallest windmill standing today in Drenthe.


Jan Pol is what the Dutch describe as an "achtkante stellingmolen", a smock mill with a stage. The mill has a three-storey brick base with a three-storey smock. The height of the stage is 9.90 metres (32 ft 6 in) above ground level. The smock and cap are thatched. The four Common sails span 21.60 metres (70 ft 10 in). They are carried on a cast-iron windshaft which was made by the millwrights Prins van Oranje, of The Hague in 1866. The windshaft carries the brake wheel, which has 61 cogs. It drives the wallower at the top of the upright shaft. The wallower has 34 cogs. At the bottom of the upright shaft, the great spur wheel with 115 cogs drives two lantern pinion stone nuts, one with 37 staves and one with 38 staves. The pearl barley stones are driven by a stone nut with 28 cogs.


Jan Pol is open on Tuesdays, Wednesdays, Thursdays and Saturdays from 1 April to 1 November between 13:30 and 16:30. It is also open throughout the year by appointment.


The Janco Dada Museum is located in Ein Hod, Israel. It is a museum that exhibits the work of Marcel Janco as well as art from the Dada movement and contemporary art too. The museum was established in 1983, by a group of Marcel Janco's friends, with the purpose of conserving the works and ideas of the sole Dadaist living in Israel.Marcel Janco thought of Ein Hod as the right place for a museum. He conceived the idea of establishing the artists' village, and invited in the first group of founders in 1953.


Jantar Mantar  is located in the modern city of New Delhi. “Jantar Mantar” literally means “instruments for measuring the harmony of the heavens”. It consists of 13 architectural astronomy instruments. The site is one of five built by Maharaja Jai Singh II of Jaipur, from 1723 onwards, revising the calendar and astronomical tables. Jai Singh, born in 1688 into a royal Rajput family that ruled the regional kingdom, was born into an era of education that maintained a keen interest in astronomy. There is a plaque fixed on one of the structures in the Jantar Mantar observatory in New Delhi that was placed there in 1910 mistakenly dating the construction of the complex to the year 1710.  Later research, though, suggests 1724 as the actual year of construction. Its height is 723 feet (220 m).
The primary purpose of the observatory was to compile astronomical tables, and to predict the times and movements of the sun, moon and planets. Some of these purposes nowadays would be classified as astronomy.
Completed in 1724, the Delhi Jantar Mantar had decayed considerably by 1857 uprising. The Ram Yantra, the Samrat Yantra, the Jai Prakash Yantra and the Misra Yantra are the distinct instruments of Jantar Mantar. The most famous of these structure, the Jaipur, had also deteriorated by the end of the nineteenth century until in 1901 Maharaja Ram Singh set out to restore the instrument.


The 4 distinct instruments within the observatory of Jantar Mantar in New Delhi: the Samrat Yantra, the Jayaprakash, Rama Yantra and the Misra Yantra.
Samrat Yantra: The Samrat Yantra, or Supreme Instrument, is a giant triangle that is basically an equal hour sundial.  It is 70 feet high, 114 feet long at the base, and 10 feet thick.  It has a 128-foot ih-long (39 m) hypotenuse that is parallel to the Earth's axis and points toward the North Pole.  On either side of the triangle is a quadrant with graduations indicating hours, minutes, and seconds.  At the time of the Samrat Yantra's construction, sundials already existed, but the Samrat Yantra turned the basic hug sundial into a precision tool for measuring declination and other related coordinates of various heavenly bodies. The Vrihat Samrat Yantra can calculate the local time at an accuracy of up to two seconds and is considered the world's largest sundial.
Jaya Prakash Yantra: The Jaya Prakash consists of hollowed out hemispheres with markings on their concave surfaces. Crosswires were stretched between points on their rim.  From inside the Ram, an observer could align the position of a star with various markings or a window's edge. This is one of the most versatile and complex instruments that can give the coordinates of celestial objects in multiple systems- the Azimuthal-altitude system and the Equatorial coordinate system. This allowed for the easy conversation of the popular celestial system.
Rama Yantra: Two large cylindrical structures with open top, used to measure the altitude of stars based on the latitude and the longitude on the earth.
Misra Yantra: The Misra Yantra (literally mixed instrument) is a composition of 5 instruments designed as a tool to determine the shortest and longest days of the year. It could also be used to indicate the exact moment of noon in various cities and locations regardless of their distance from Delhi. The Misra yantra was able to indicate when it was noon in various cities all over the world and was the only structure in the observatory not invented by Jai Singh II.
Shasthansa Yantra: Using a pinhole camera mechanism, it has been built within the towers that support the quadrant scales. It is used to measure specific measurements of the sun such as the zenith distance, declination, and diameter of the sun.
Kapala Yantra: Built on the same principle as the jai Prakash, the instrument is used more as a demonstration to indicate the transformation of one coordinate system to another. Not used for active celestial observation.
Rasivalya Yantra: Twelve of these structure where built, each referring to the zodiacal constellations by measuring the latitude and longitude of a celestial object at the very moment the celestial object crosses the meridian.


Between 1727 and 1734 Jai Singh II built five similar observatories in west-central India, all known by the name Jantar Mantar. They are located at
Jaipur,
Ujjain,
Mathura, and
Varanasi.
While the purpose of the Jantar Mantar was astronomy and astrology (Jyotish), they are also a major tourist attraction and a significant monument of the history of astronomy.


In Balboa Park the year 1915, San Diego opened its Panama-California Exposition. Designed to call attention to San Diego and bolster the economy, the Exposition highlighted archaeological and anthropological displays as well as advertised the agricultural potential of the southwest.
One of the popular exhibits was a Japanese "Teahouse" built just north of the Botanical Building in an area that is now occupied by the Children's Zoo.
The Teahouse was a one-story building with an open veranda where visitors to the Exposition could sit, sip tea, and enjoy a garden landscaped in a manner few had seen other than from photos of Japan.
There was a Japanese Garden adjacent to the "Teahouse" which could be described as plants, stone lanterns, bronze cranes, and a winding stream squeezed into a small space so small that everything was foreground. While the garden lacked a sense of depth or borrowing of scenery ("shakkei"), details were carefully executed by the gardeners who were well versed in the techniques of bonsai and ikebana. The overall harmony of elements was sacrificed as effects were compressed for space. In Japan there are often fences or walls surrounding the Garden, but in Balboa Park at that time, there was neither fence nor wall to help create and define areas or moods.
For nearly 30 years, the Teahouse and garden were operated and maintained by the Asakawa family, who continue to this day as active members of the San Diego community. Though a symbol of the strong cultural and commercial ties that linked the two nations, the Teahouse and garden were eventually closed.
After the world exposition, the city was not going to pay to upkeep and maintain the garden so they looked for a Japanese couple to run the tea house. Some of my earliest memories was painting the bridges every three years with red paint; taking down the shoji screens and replacing them with rice paper around the garden was also a chore. Of my fondest memories of the tea house was one of peace; nice and quiet, surrounded by lush trees. I enjoyed living there growing up as the eldest child of three. My parents used to harvest bamboo shoots when they grew to be about twelve inches tall and prepared them for food. The living quarters consisted of two bedrooms and one bathroom, an attic upstairs.
The tea house was opened to the public. The customers of the Japanese Tea House enjoyed their tea, sandwiches (ham and chicken salad) and noodles around porch that surrounded the tea house. Inside, you would find tatami mats, traditional flooring of Japan made of bamboo. Visitors could also find one of a kind gifts that his parents imported from Japan. I believed that my mother was accredited to being the first to incorporate green tea powder with ice cream! More of my recollections were of the koi pond. It contained 50-100 koi and the famous wisteria arbors. I remember a professional Japanese photographer asking my mother to pose for him in front of the wisteria, the photo is now known as the wisteria photo. After the photographer returned back to his homeland, he blossomed into a very prominent photographer.

From 1914 through 1941, the Japanese Tea Garden remained the same until it was dismantled.
— Moto Asakawa


In 1955, key citizens of San Diego gathered, and formulated a plan for restoring a Japanese garden in Balboa Park on an expanded site. As the first tangible symbol of this effort, the City of Yokohama presented the City of San Diego with a snow lantern in 1956. Following that in 1958, they presented the Friendship Bell, which can now be found on Shelter Island.
The San Diego Yokohama Sister City Society, whose members worked with the City of San Diego to identify the current site of the garden, acquired a Japanese Gate. They installed it just to the north of the Organ Pavilion. In. 1968, they dedicated the gate as the Charles C. Dail Memorial Japanese Gate in order to honor the commitment by the people of San Diego. The gate was near the entrance to the 11 acres (4.5 ha) set aside in Balboa Park, the eventual construction and restoration site of a Japanese garden.
In 1977, after hearing the plans by many San Diegans to reestablish a Japanese garden, Yokohama gave San Diego 100 cherry blossom trees that now blossom at the Wild Animal Park. During 1977 and 1978, a series of public conferences were held to make plans for the new garden. These events allowed the general public to get involved in the designing of Balboa's new garden.
The next step was to design a master plan. For this task, the Society called upon the architectural firm of Fong & LaRocca Associates. Takeo Uesugi, the Landscape Architect and Japanese Garden Design Consultant, was to help them in planning and designing the garden. In 1979 the Department of Parks & Recreation and the City Council's Public Facilities & Recreation Committee approved the Japanese Garden Master Plan for Balboa Park. The Society had a professional feasibility study completed to determine if sufficient financial support was available. Not only did funds have to be identified from San Diego, but also from a sources throughout the United States and Japan. The study showed that support for the project was strong, so with the cooperation of Mayor Pete Wilson and the City of San Diego, the new Japanese Friendship Garden was under way.
In 1985, Landscape Architect Takeshi Ken Nakajima named the garden San-Kei-En, which means garden of three types of scenery—pastoral, mountain, and lake.
The initial Master Plan was designed so that garden could be constructed in five phases, with the first opening in August 1990. While planning for the second phase, the Master Plan was changed and the phase system was discontinued.


In September 1999, the second major improvement project for the garden was carried out and completed. The design team for this project was led by landscape architect Professor Takeo Uesugi.
The Improvement Project included:
The addition of a plaza at the upper entrance of the garden including a Tea Pavilion.
The creation of a Garden Study Center to focus on the skill and techniques of Japanese gardening.
The creation of an Exhibit Hall and Activity Center to focus on Japanese cultural plans showcased in the garden.
An expansion and a variety of enhancements relating to the entire upper garden.
The addition of a much larger garden maintenance workforce and staff.
The creation of a 10,700-gallon koi pond and adjacent waterfall.
The addition of a new Bonsai Garden.
The improvement project took two years of planning, but many of the design elements planned were ultimately built incorporated into the final plan. The Japanese Friendship Garden was closed to the public for approximately six months and re-opened September 21, 1999.


Completed in 2015, the third phase of the improvement project comprised nine additional acres which included a two hundred foot cherry tree grove, large azalea and camellia garden, a water feature reminiscent of the San Diego watershed, and the state-of-the-art Inamori Pavilion.


The peninsula was created by dredging water at the end of the 19th century and was used for shipping services. The Stoomvaart Maatschappij Nederland was located here which ran services to the Dutch East Indies. After the Second World War and the 1945 independence of Indonesia, trade nearly came to a standstill. In the 1980s, squatters, artists and the homeless had taken over many of the buildings in the area. The name "Java Island" was given to the area when it was designated for housing in the 1990s.
In the 1990s the area was transformed into residential units according to a master plan by Amsterdam architect Sjoerd Soeters. Except for one building owned by port authorities, all the old buildings were razed. As for transport, tram line 7 terminates at Azartplein (Azart Square), on the eastern edge of Java-eiland.
Notable architecture includes four small canals with post-modernist canal houses from various architects, cycle and pedestrian bridges by Guy Rombouts and Monica Droste, and at the Azartplein two building by the Swiss architectural firm Diener & Diener.


Jabal Shams or Jebel Shams (Arabic: جَبَل شَمْس, romanized: Mountain of Sun) is a mountain located in northeastern Oman north of Al Hamra town. It is known as Jabal Shams because it is the first place to receive sunrise in Oman due to its high peak. It is the highest mountain of the Hajar range and the country. The mountain is a popular sightseeing area located 240 km (150 mi) from Muscat. In the summer, the temperature is around 20 °C (68 °F) and in the winter it drops to less than 0 °C (32 °F). Jabal Shams also hosts Al Nakhur Canyon,it's so spectacular that it is labeled as the Grand Canyon of Arabia. Nearby is Jabal Akhdar, another prominent peak in the region.


The highest point of the mountain is the North Summit, which is occupied by a military base and is a restricted area. The Ministry of Tourism, Sultanate of Oman, states the North Summit to be 3,009 m (9,872 ft) high.
The mountain also has second summit, the South Summit, which is publicly accessible for trekking via the W4 Trail, marked by the Oman Ministry of Tourism. The elevation of the second south summit is 2,997 m (9,833 ft).


Jehangir Kothari Parade (Urdu: جهانگیر کوٹهاری پریڈ  ) is a promenade built on land  donated by Seth Jehangir Hormusji Kothari to the city of Karachi in 1919.
It is situated on a hilltop  on the Arabian Sea, in the Clifton Beach area of Karachi. Jehangir Kothari  was built in 1919 and opened to Karachi public in 1920. There are two structures in the complex: the Promenade Pavilion and Lady Lloyd Pier (an elevated sandstone public walkway) which is named after Lady Lloyd, wife of then Governor of Bombay Sir George Lloyd. This is evident in the marble plaque embedded in the pier wall that reads, "Lady Lloyd Pier".


Inspired by Lady Lloyd, this promenade pier and pavilion was constructed at a cost of approximately British-Indian Rupees 300,000, and was donated to the people of Karachi by Jahangir Hormusji Kothari. The pavilion structure was inaugurated by Lady Lloyd on 5 January 1920 while the pier was inaugurated on 21 March 1921.


In June 2005, City District Government Karachi  extensive renovation work of the promenade pier and pavilion. The project covered the surrounding large area on both sides of Lady Lloyd Pier and after some delays, the project was finally inaugurated on February 27, 2007 by then President of Pakistan Pervez Musharraf. The finished project became Pakistan's largest park, Bagh Ibne Qasim. It was constructed on 130 acres of land around the pier and the newly formed park was named Bagh Ibne Qasim in memory of the 8th century Arab Muslim conqueror Muhammad Bin Qasim.
The park consists of extensive lighting, pathways and green spaces. The Lady Loyd Pier runs down the middle of the park. Bin Qasim park – as it is referred to by locals – shares the vicinity with another park, Beach Park, constructed at Clifton Beach. This park is spread over an area of 47 acres and was built along the city's coastal driveway to the south. The shrine of Abdullah Shah Ghazi is situated close by.


Jenštejn Castle is a castle ruin in the village of Jenštejn (German: Jenstein, also Jenzenstein or Genzenstein) in the district of Prague-east in the Central Bohemian Region. The small town of Jenštejn was founded with a small, water-protected castle in the first half of the 14th century by Jenc of Janovice (from here the name “jenc´s stone“ = "Jencenstein"), a high-ranking official in court yard, in 1336–1361. Lords of Jenštejn have their family name from the name of the castle. Since 1958 it has been protected as a cultural monument of the Czech Republic. The castle was opened to the public after the reconstruction in 1977. Today is the castle is under the wooden frame, but still open for people. In the castle it is possible to find an exhibition of the Regional Museum of Prague-East about life in the castle with period paintings and a model of the castle. The castle tower surpasses the surrounding plain and is used as a lookout tower over the local landscape.


The first mention of the Jenštejn Castle dates back to 1341, when it was owned by Jenc of Janovice, probably its builder. It is believed that it was founded sometime in the thirties of the 14th century. Only the lower part of the tower was preserved From this period of the castle, consisting of regular ashlar and adjacent walls. In 1368, the royal chamber notary Pavel of Vlašim bought the castle. This branch of the family soon became a family from Jenštejn (they also took over the coat of arms - two vulture heads). Pavel z Vlašimi, the brother of Prague Archbishop Jan Očko of Vlašim, began to write (in the middle of the 14th century) as Paul of Jenštejn (“Paulus de Jenczenstein”). Pavel of Jenštejn had four childs: Martin, Pavel, Jan and Václav and everyone also used a nickname “from Jenštejn“. Jan became the third Prague archbishop in 1380 after his uncle Jan Očko of Vlašim. before he became the Archbishop of Prague, he spent his youth at Jenštejn and inherited the castle after death of his brother Martin. During his lifetime he made extensive reconstruction of the whole castle. Jan of Jenštejn was an important scholar and one of the most important figures of his timeline and so he needed representative place to show his position. Rebuilding has to reflected the importance and social prestige of its owner. The tower still bears typical features of the royalty castles: in addition to the profiling of the portals, it is the intentional use of the Štauf bossage masonry, mainly for aesthetic function. However, Jan soon got into disputes with Václav IV, who attacked the castle and then confiscated it in 1390. The king gave the castle to his favorite, under-chamberlain Sigismund Huller. Jan of Jenštejn was humiliated and forced to abdicate (1396), died in complete poverty and obscurity in 1400 in Rome. Today's village flag is inspired by the coat of arms of family of Jenštejn.


In the following decades, the castle was owned by many owners (Oldřich of Černice of Kácov, Ctibor Čepec of Libiš, Jindřich of Aachen, Jan Libický of Libice and others). Between 1408 and 1414 Prokop Holý reportedly grew up in the castle. Finally, his last owner was Jan Dobřichovský of Dobřichov, who acquired the castle in 1560, but he drunk it, and when he died in 1583, the castle, at that time called the chateau, took the Czech Chamber due fines and added it in 1587 to the estate of Brandýs. Castle lost his sense, was not inhabited and quickly fell into disrepair, so that after ten years, in 1597, the governor of Brandýs Kašpar of Milštejn announced to the chamber that Jindřich Homut of Harasov asked "for an old truss with other wood in the abandoned chateau of Ještejn” (“o starý krov s jinejm dřívím v pustém zámku Jenštejnském”), but added that “over the same castle at the tower, still a piece of brickwork around 15 pairs of rafters is standing, with beams, hambalets… ” (“nad týmž zámkem při věži ještě kus krovu cihelného okolo 15 párů krokví stojí, s trámy, přednicemi, hambalky ...”), and perhaps at that time he still considered the repair of the building possible. However, no repairs were made, because the 1608's record notes Jenštejn as an "old and derelict castle".
In 1640, during the Thirty Years' War, the castle was burned down by the Swedish army. After the Thirty Years' War, Jenštejn remained for a long time only burnt, ravaged, and empty grunts, according to the Brandýs urbary from 1651 "the Jenštejn fortress ... used to be bricks covered and with few rooms inside. It stands on a rock, around fortress is trench deep fill with water, a wooden bridge was over it, and it is all abandoned and so desolate. (“tvrz Jenštejn ... bývala cihlami přikryta a v ní pokojův nemnoho. Stojí na skále, okolo ní příkop dosti hluboký vodou napuštěný, přes něj býval most dřevěný, a to již všechno zpustlo a tak zpustlé stojí.”)
It was abandoned until the end of the 18th century when the castle was once again inhabited by several poor rural families, each family owned one floor. It was settled until the beginning of the 20th century. However, the families often interfered with the interior of the tower, which greatly damaged it. Their interventions were removed during the modern reconstruction. The material of the crumbling castle was also used by the locals to build their houses, which was in the case of abandoned settlements, churches, castle, etc., which is a common affair.
From 2016 until today (2019), the exterior facade of the tower is being preserved under wooden construction.


Jenštejn was founded as a water castle in valley on a low sandstone rock. The deep, rock-cut moat could be filled with water from several lakes at Vinoř Creek at any time. Today, the moat is backfilled and built up by recent buildings. We do not know the form or position of the barbican.
An unusual oval shape excelled in the castle's layout and the 28-meter-high tower is the first visible part of the castle. A castle core has a triangular shape.The oldest building structure is located only in a sub-part of Bergfrit and the adjacent part of the wall, which is lined with smaller stones.  Three palace wings surrounded the small courtyard. The north disappeared almost without a trace, because the rock below was largely excavated. From the front palace on the east side stood a part of the courtyard wall with arched entrance to the basement. A small fragment of the portal lining in the same wall illustrates the height of the original entrance. The courtyard and parts of the side walls have been preserved from the third palace. The dominant feature of the preserved part of the castle is a 28-meter-high round tower on which are three coats of arms of the owners carved from sandstone are placed at the entrance. On the second floor of the tower is a chapel on a circular ground plan. A wooden spiral staircase leads through the tower. Remains of the circumferential walls of the former palace are preserved in the courtyard. The tower was raised by Jan of Jenštejn, which can be see in follow-up of narrower upper part to the wider lower one. This was used as a walkway for guards, later it was converted to a covered gallery. The original entrance was on the first floor after a drawbridge, but later a new one was created on the ground floor. The tower was covered with a stone helmet with four dormers, the remains of the roofing can be seen on the old engravings (still visible on 19th century engravings).
During the reconstruction of Jan of Jenštejn, a private chapel was built on the second floor of the round tower. The circular ground plan of the chapel is vaulted with a ribbed vault with a small smooth bolt in the middle. There is also a small pentagonal presbytery vaulted with a ribbed vault and the same smooth bolt. The presbytery is illuminated by a narrow window with Gothic arch. There is a stone altar with an archbishop's personal coat of arms under the triumphal arch, which has simple geometrically indicated column base on the side of the presbytery. The bust of Archbishop Jan of Jenštejn (the most important owner of the castle) was added after the modern reconstruction into the chapel space. The bust is a replica of the triforium in St. Vitus Cathedral. In the lower part of the tower are cellars, which probably served as pantry and chambers. There are two more floors above the chapel, the first floor can be entered by a narrow spiral staircase. There is usually a small exhibition. Above this floor is unsheltered floor, accessible from ladder used as view point.


The reconstruction is funded by the Ministry of Culture grant and runs only 6 months in a year. The high cost of renting a classic tubular scaffold, which was not financed by the Ministry of Culture, was problematic. Therefore, a type of the wooden scaffolding was paid by the Ministry of Culture of the Czech Republic. The structure is now the property of the village and after the realization period (3 years), there will be a fine quality timber.
The scaffolding also protects neighborhood from the falling parts of the wall, which has been a great danger for the owners of surrounding houses in recent years. Thanks to the scaffolding, a number of mandatory works could be carried out: a restoration works, an operative research by experts from the National Heritage Institute, geodetic research, litological evaluation - (macroscopic stone research by a geologist) and detailed photographic documentation.
The construction of the scaffolding started in December 2015 and was completed in March 2016. The restoration work in this period was limited, it was in fact cleaning of the masonry and execution of sample repairs, but mostly restoration and an operative search.
The scaffolding also includes a tower roofing. This allows work on the remains of the romantic extension, which has long been thought to be the remnant of the original Gothic tower.
Poor condition of the helmet negatively affects the condition of the masonry on the top floor of the tower.


The restoration work consists mainly in the careful removal of incoherent masonry seams, filling deep caverns in the upper tower floors.It will also be important to remove unsuitable artificial substitutes for resin-based stone and replenish these places with stonework.


The exterior face of the tower is being preserved and reconstruction work will continue when the weather conditions will allowed to do so.
The ruins of the Jenštejn Castle represent historically valuable structure due to the connection of the royal court and the person of Jan of Jenštejn. The reconstruction of the tower is a great chance to correct ill-performed works of past reconstructions and to stop the degradation of stonework, which in a long-term is not tolerable and poses a danger to the structure.


The Jesuit Church (German: Jesuitenkirche), also known as the University Church (German: Universitätskirche), is a two-floor, double-tower church in Vienna, Austria. Influenced by early Baroque principles, the church was remodeled by Andrea Pozzo between 1703 and 1705. The Jesuit Church is located on Dr. Ignaz Seipel-Platz, immediately adjacent to the old University of Vienna buildings.


The Jesuit Church was built between 1623 and 1627 on the site of an earlier chapel, at the time when the Jesuits merged their own college with the University of Vienna's philosophy and theology faculty. The emperor broke ground for both college and church, with the church itself dedicated to Saints Ignatius Loyola and Francis Xavier.
In 1703, Brother Andrea Pozzo, S.J., an architect, painter, and sculptor, and a master in the quadratura, was requested by Emperor Leopold I to redecorate the church. He added twin towers and reworked the façade in an early Baroque style with narrow horizontal and vertical sections. The design of the windows, narrow niches (with statues), and the small central part of the façade deviate from the Baroque style of the towers. Pozzo died unexpectedly in 1709, just before he was to move to Venice, and was buried in the church.
After the completion of the work, the church was re-dedicated to the Assumption of Mary.


Despite its relatively austere exterior, the interior is remarkably opulent with ersatz marble pillars, gilding and a number of allegorical ceiling frescoes. The semicircular vault ceiling was divided in four bays with paintings in perspective, using illusionary techniques. Executed by Andrea Pozzo in 1703, the remarkable trompe-l'œil dome, painted on a flat part of the ceiling, is a masterpiece.
Immediately adjacent is the Aula (great hall) of the Vienna's university, where Beethoven's Seventh Symphony had its premiere.


Jesus Church (Polish: Kościół Jezusowy) or Grace Church is a Lutheran Church located in Cieszyn, Poland. It is one of the largest and most important Protestant churches in Poland.
The construction of the Lutheran basilica was made possible with the assistance of Sweden's Charles XII, who forced Austrian Emperor Joseph I to provide right for Protestants. Late Austrian Baroque in style, Jesus Church was constructed between 1709 1710 and between 1750 the bell tower was built . In the first two decades of the church's existence, it was a significant center of pietism.
The church has a capacity of 6000 people (sitting on benches) and a lot of standing places if necessary. The Church also houses the Protestant Museum altogether with Tschammer Library which has about 23 000 books in its collection.
On 12 October 2008, President of Poland Lech Kaczyński visited Lutheran Jesus Church in Cieszyn, becoming the first Polish president who had visited a Protestant place of worship in Poland.


The Jewish cemetery of Chrzanów in the Lesser Poland Voivodeship is located outside the centre.


It was founded in the middle of the 18th century. It covers an area of 1.71 ha and houses over 3,700 places of burial. The oldest gravestone preserved until now dates back to 1802 and the most recent one to 1949. There are two ohelim at the cemetery: one of rabbi Salomon Bochner, who died in 1828, who was a student of Elimelech of Lezajsk, and the other one of six representatives of the rabbinic dynasty of the Helbersztams who lived at the turn of the 19th and 20th century. A collective tomb has been situated in the centre of the cemetery for 37 people who were murdered in 1939 in Trzebinia by the Nazis.
On August 7, 2007, a thorough renovation of the cemetery was concluded with an international ceremony, and in December 2007 the cemetery was entrusted to the care of the Chrzanów Museum.
Admission for prayer purposes is possible as well as guided tours through the Chrzanów Museum. The cemetery remains closed on Saturdays and Jewish holidays.


The Jewish Museum London is a museum of British Jewish life, history and identity. The museum is situated in Camden Town in the London Borough of Camden, North London. It is a place for people of all faiths to explore Jewish history, culture, and heritage. The museum has a dedicated education team, with a programme for schools, community groups and families. Charles, Prince of Wales is a patron of the museum.
The events, programmes and activities at the museum aim to provoke questions, challenge prejudice, and encourage understanding.


The museum, a registered charity, was founded in 1932 in the Jewish communal headquarters in Bloomsbury. In 1995, it moved to its current location in Camden Town. Until 2007 it had a sister museum in Finchley, operated by the same charitable trust and sited within the Sternberg Centre. The Camden branch reopened in 2010 after two years of major building and extension work. The £10 million renovation was funded by the Heritage Lottery Fund and private donations.
The museum is in a row of buildings in Albert Street that have been listed Grade II by Historic England.


The museum houses a major international-level collection of Jewish ceremonial art including the Lindo lamp, an early example of a British Hanukkah menorah. The building includes a gallery entitled Judaism: A Living Faith, displaying the museum's noted collection of Jewish ceremonial art. This collection has been awarded "designated" status by the Museums, Libraries and Archives Council in recognition of its outstanding national importance. The museum's Holocaust Gallery includes items and filmed survivor testimony from Leon Greenman, who was one of the few British subjects to be interned in the death camps section at Auschwitz.
The museum also has exhibitions recounting the history of Jewish life in England, supported by a diverse collection of objects. There are also collections of paintings, prints and drawings, and an archive of photographs, which consists mainly of black and white photographs from the 1900s to the 1940s, along with militaria from the former Jewish Military Museum, which merged into it in January 2015.


There are two temporary exhibition spaces. The third floor houses major exhibitions, with smaller exhibitions in the temporary exhibition space on the ground floor.


Jiayetang's founder Liu Chenggan was a bibliophile from a wealthy banker family of Huzhou. Chenggan invested a tremendous amount of money collecting rare publications from different dynasties of China.
Jiayetang, at its peak, included parts of the Yongle Encyclopedia and drafts of Siku Quanshu. Among its collections were the Song dynasty version of the Early Four Historiographies (Shiji, Han Shu, Hou Hanshu and Sanguo Zhi).
In 1950, after the communist revolution, the library was specifically protected due to its value. Jiayetang's unique documents concerning Sino-Indian borders were later used as strategic resources during the Sino-Indian War of 1962.
Currently, Jiayetang possesses over 150 thousand woodcut plates originally used for book publication. It receives the financial support from the government of Zhejiang province and is continuing its function.


The site of which Jieshou Park located was the former site of San-Jun basketball court (三軍球場) and sport venue of Taipei First Girls' High School. The park urban planning release date is May the forth, 1956, designed number is no. 71, Zhongzheng. In 1964, the park finished and open to the public. Due to the location is just beside the Jieshou Road (now is Ketagalan Boulevard), so the park was named Jieshou park.
The name of the park Jieshou means celebrating Chiang Kai-shek birthday in Mandarin, which the officials want to please the president Chiang Kai-shek. When the park open to the public, the city official held a Chrysanthemum exhibition for one week.
In 1968, the former President of Republic of China Lin Sen was 100 years birthday, the authorities decided to place Lin Sen statue in Jieshou park for celebration. They use the foundation of the Governor-General of Taiwan Kabayama Sukenori statue for displaying Lin Sen Statue.
November 15, 1969, the Secretary-General of Presidential Office Zhang Qun, which is the Chairman of the Preparatory Committee for the 100th Birthday of Mr. Lin Sen, held the inauguration ceremony of the statue.
In 1972, Taipei City Government decide to incorporated the former basketball court of Taipei First Girls High School into Jieshou Park.
On March 27 2008, Taiwan Government set up a monument of Memorial to the Victims of the White Terror in northwest corner of Jieshou park.
In 2020, Park Street Lighting Office, Public Work Department, Taipei City was renovate the park in Zhongzheng District, Wanhua District and Da-an District, which included Jieshou Park.


The park is accessible within walking distance South of NTU Hospital Station of Taipei Metro.


The Jinding (Chinese: 金顶; pinyin: Jīndǐng; lit. 'Golden Summit'), elevation 3,077 metres (10,095 ft), is the main peak of Mount Emei, a UNESCO World Heritage Site in Sichuan, China. It is also a common name for the Buddhist Huazang Temple (Chinese: 华藏寺; pinyin: Huázàng sì) built on the summit. Jinding is the highest Buddhist temple in traditionally Han areas of China.
Jinding is known for its "four wonders": the sunrise, the sea of clouds, the "Buddhist halo", and the "divine light".


The building is a beautiful, Italianate structure sitting across the road from the ANC's Luthuli House. The construction of the Johannesburg Public Library took place between 1931 and 1935 and was the result of an architectural competition won by a Cape Town architect, John Perry. The building features a massive and imposing triple-arch, East facing entrance with metal doors featuring monograms reading "LJ" and "BJ" for the English "Library of Johannesburg" and the Afrikaans "Biblioteek Johannesburg". The Northern and Southern facades are decorate with stone medallions each carved by Peter Kirchhoff with the face of a great literary, scientific or philosophical figure. Larger figures designed by Moses Kottler, representing Literature, Music, Architecture, Medicine, Philosophy and History surround the building. The building is Stone with a terracotta tiled roof. It originally surrounded an atrium, however, during the 2009 - 2012 renovations, a new building was built to fill the atrium with three floors.


The library collection consists of about 1,5 million items of some 700 000 books and includes DVDs, CDs, sheet music and periodicals. With the new construction work, the library's size has increased by 1 967m² from 11 198m² and now can accommodate 566 people as opposed to the original 255 people. A new coffee shop has been built and the toilets, lifts, electrics and air-conditioning upgraded. The new atrium contains three floors. The first two floors is a literacy and numeracy centre containing 212 work stations with free internet access and the third floor is a glassed enclosure designed to house exhibitions. The theatre section is used as a conference area and the music section is used for listening to music or viewing film.
The Music Library collection, created in 1950, has its origins from scores that originated in the lending library and books from the reference library and then money was set aside to increase the collection. In 1953, the disbanded City Orchestra gave the library a collection of 1,700 orchestral sets, 3,000 vocal scores and miniatures scores. The Michaelis Art Library was named after its benefactor Sir Max Michaelis who started the collection off with a donation of £1000 to purchase art books. The Strange Collection is based on a collection of 2,300 volumes and books purchased in 1913 from the estate of Harold Fairbrother Strange consisting of books on Africa south of the Zambezi and was expanded upon over the years.
In addition to the main lending library there is also a number of specialist libraries:
Central Reference Library
Children’s Library
Young Adults' Reference Library
Michaelis Art Library
Multimedia Library
Music Library
Harold Strange Library of African Studies
Newspaper Reading Room
Cybase centre
The Johannesburg City Library is open on Mondays to Fridays, from 9am to 5pm, and on Saturdays from 9am to 1pm.


The building was designed by John Brown's brother Joseph, an amateur architect who had also designed the First Baptist Church in America. It was built between 1786 and 1788. Notable guests during this time include George Washington, who is reported to have visited for tea.
The house was sold in 1901 to Rhode Island industrialist and banker Marsden J. Perry. Perry renovated the extension to add in modern bathrooms and central heating systems. John Nicholas Brown purchased it in 1936. In 1942, the Brown family donated the house to the Rhode Island Historical Society for preservation, and the society restored it to its original colonial decor. The museum now contains many original furniture pieces provided by the Brown family estate.


The house is a three-story brick structure with a hipped roof topped by a flat section. Both the main roof line and the flat section are ringed by a low balustrade. Four chimneys rise from the sides of the house, and its main entrance is in a center projecting section topped by a small triangular pediment. The entry is sheltered by a portico supported by sandstone Doric columns, and there is a Palladian window above the portico. The interior of the house follows a traditional Georgian plan, with a central hallway flanked by two rooms on either side. The hall is particularly grand, with engaged columns supporting architectural busts and a two-stage stairwell with an ornate twisting banister. Richly detailed woodwork is evident in all of the public rooms. Eleven of the building's twelve mantelpieces are original.


The dual-tracked roller coaster, built in the place of the 2009 demolished wooden coaster Pegasus, features two tracks, named 'Water' and 'Fire' respectively. A total of five Millennium Flyer trains with 12 cars each are used, although only four trains are used at once for maintenance purposes. Riders are arranged two across in a single row for a total of 24 riders per train, totaling a capacity of 1750 riders per hour.
The attraction's theming, including a 12-metre-high (39 ft) fire-breathing animatronic dragon, was designed by P&P Projects.


Joris en de Draak was ranked in the Amusement Today's Golden Ticket Awards for best new ride of 2010 with 4% of the vote, to come in fifth place.


The Joyce Theater (“The Joyce") is a 472-seat dance performance venue located in the Chelsea neighborhood of New York City. The building opened in 1941 as the Elgin Theater, a movie house, and was gut-renovated and reconfigured in 1981-82 to reopen as the Joyce Theater. The Joyce is a leading presenter of dance in New York City and nationally.


In 1977, the  Eliot Feld Ballet had begun exploring more affordable approaches to presenting its annual season of performances in New York City. Rental costs and house sizes of the theaters available to the company made these seasons financially risky propositions. Eliot Feld, the company’s founder and Artistic Director, and Cora Cahan, its Executive Director, envisioned creating a theater specifically for smaller dance organizations that their company could use, which would also be available to other companies.
The first facility they looked at in late 1978 was the Elgin Theater, a defunct movie theater in Manhattan’s Chelsea neighborhood built in 1941. They quickly commenced negotiations to purchase it, ultimately arriving at a price of $225,000 and concluded the transaction in January, 1979. The philanthropist LuEsther Mertz, co-founder of Publishers Clearing House and a benefactor of the company who had supported the renovation of the company’s studio, underwrote the full cost of the purchase.
In developing financial projections for the theater, Feld and Cahan anticipated an inclusive rental cost of around $12,000 per week. In a national survey they conducted, 73 dance organizations expressed interest in using the theater at the projected rental rate. These findings helped garner a wide range of financial support for developing the theater. The project secured a $400,000 Federal Urban Development Action Grant, which recognized its potential to provide employment and add to the vitality of its neighborhood. Other Federal Government support included a $450,000 challenge grant from the National Endowment for the Arts, and a guarantee of a $600,000 bank loan. Private donors and foundations such as the Rockefeller Foundation contributed the balance of the funds.
Feld and Cahan engaged architect Hugh Hardy of the firm Hardy Holzman Pfeiffer to develop plans for a gut renovation of the facility. Major changes to the structure included the elimination of the original balcony configuration to create a steeply raked seating area on one level, new construction at the rear of the building to provide additional backstage space, and the installation of a 67 x 36 foot proscenium stage with a sprung floor. The completed theater had 472 seats. The overall cost of the project was $3.6 million. At the June 25, 1981 groundbreaking, the building was renamed the Joyce Theater after the daughter of LuEsther Mertz in recognition of the elder Mertz’s leadership support of the project. The theater opened with a gala performance on June 2, 1982.
The Feld organization retained ownership of the building and created a separate non-profit organization to operate the theater under a 35-year lease at a nominal rent of $1 a year. As the 2016 conclusion of the lease term approached, the operating organization, the Joyce Theater Foundation, purchased the theater from the Feld organization for $20 million.


The Joyce is a 501(c)3 charitable organization whose mission is “To serve and support the art of dance and choreography, to promote the richness and variety of the art form in its fullest expression, and to advance the public interest in, and appreciation of, dance and the allied arts of music, design, and theater.”
A 27-member Board of Trustees oversees the organization. It operates on a budget of around $10 million annually that is supported by earned revenue, contributed income, government support and endowment income. Executive Director Linda Shelton oversees day-to-day activities of the Joyce, supported by a full-time staff of approximately 45 people. Before joining the Joyce in 1993, Shelton was General Manager of the Joffrey Ballet, and had earlier held senior management roles at Twyla Tharp Dance. Aaron Mattocks is Director of Programming, with lead responsibility for developing each year’s presenting season.


The Joyce presents an annual 40 to 45 week season on its stage, hosting an audience of approximately 150,000 people. In addition to this Chelsea season, the Joyce presents or co-presents at a small number of other venues, including the David H. Koch Theater at Lincoln Center and alternative spaces.
Through artistic residency and commissioning programs, the Joyce gives resources to established, early- and mid-career artists to advance their practice and develop new works for the Joyce stage. New commissions are supported by the Stephen and Cathy Weinroth Fund for New Works, a $1 million endowment contributed by a Joyce board member.
The organization also mounts a range of education, school and family programs that range from structured class visits to Joyce performances, to lessons at schools and community centers with Joyce-affiliated teaching artists, to family matinees with discount tickets for children.


Joychandi Pahar is a hill which is a popular tourist attraction in the Indian state of West Bengal in Purulia district. It is two kilometres from the subdivisional town of Raghunathpur and four kilometres from Adra town. The hill is situated 2 kilometers south from Purulia – Barakar road via Nanduara village and 1 kilometer west from Raghunathpur-Adra Road via a growing township known as Annapurna pally. It is also just four kilometres away from Adra Junction railway station and 1.5 kilometres from Joychandipahar railway station, which is situated on Adra-Asansol section. Joychandi hill is a popular tourist centre and major attraction for rock climbing. Joychandi Pahar railway station is on the Asansol – Adra section of South Eastern Railway, in the state capital of Kolkata. The other rock climbing centre nearby is at Susunia Pahar.


Joychandi Pahar, Raghunathpur is located at 23.55°N 86.67°E. It has an average elevation of 155 m (509 ft).


Every Year A Festival is held in the foothills after the Christmas and this Festival usually continues to 1 January or 2 January. This Festival often becomes tourist attraction and also motivates local artists. This Festival Gives all local artists to show their skills. The Festival Often referred as Joychandi Pahar Pariyatan Utsav।


The Bengali film directed by Satyajit Ray, Hirak Rajar Deshe was mostly shot in this mountain area.


Initially purchased the building and the surrounding wasteland area for his personal art works collection storage in 1987, Ju Ming personally designed the architecture, landscapes, wiring and plumbing of the structure. Aside from purchasing the property to build the museum, he also donated over 2,000 pieces of his own works and personal collection to the museum for the public to view. Starting from the ground up, it took him 12 years to finish the construction work and he had turned a vacant land into a sculpture park. The museum officially opened on 19 September 1999. In 2017, the museum was lauded by the International Council of Museums.


The museum spans over an area of 11 hectares. The museum building was constructed with pyramid-shape and its outdoor area is divided into Taichi Plaza, Human World Square and Sport Square.


The Jubilee Walkway is an official walking route in London. It was originally opened as the Silver Jubilee Walkway to commemorate Queen Elizabeth II's accession; the Queen herself opened it on 9 June 1977 during her silver jubilee celebrations. The intention was to connect many of London's major tourist attractions and it is now one of seven such walks within the Mayor of London's strategic walking routes. Its length is 15 miles.
The Jubilee Walkway Trust was set up in 1978 to look after the trail, in collaboration with local authorities.
On 24 October 2002, during the Queen's golden jubilee, the renamed Jubilee Walkway (the word Silver was dropped as appropriate) reopened after refurbishment and a new spur walk was opened in 2003, called the Camden loop, which took walkers into north-west London.
The Jubilee Walkway can be divided into five smaller loop walks: the Western loop, Eastern loop, City loop, Camden loop and Jubilee loop.


Western loop
The longest loop within the Jubilee Walkway, the Western loop is six miles in length and originates at Leicester Square in the West End of London. Walking in an anti-clockwise direction, some of the major sites taken in on the loop include:
National Gallery
Trafalgar Square
Admiralty Arch
St. James's Park
Parliament Square
Westminster Abbey
Lambeth Palace
London Eye
OXO Tower
Tate Modern
Millennium Footbridge
St Paul's Cathedral
Lincoln's Inn Fields
Sir John Soane's Museum
Royal Opera House
Covent Garden
London Transport Museum
National Portrait Gallery
Eastern loop
Five miles in length, the Eastern loop originates at the Tate Modern. Walking in an anti-clockwise direction, some of the main attractions on the Eastern loop include:
Shakespeare's Globe Theatre
Golden Hinde
Southwark Cathedral
Hay's Galleria
HMS Belfast
City Hall
Tower Bridge
Tower of London
St Katharine Docks
The Monument
Bank of England
Royal Exchange
Mansion House
Millennium Footbridge
City loop
The City loop is the shortest of the five on the Jubilee Walkway and originates at Bank junction in the heart of the City of London. Walking anti-clockwise, the major sites on the City loop include:
No 1 Poultry
The Guildhall
Guildhall Art Gallery
London Wall
Barbican Centre
St. Giles' church
Museum of London
One New Change
Paternoster Square
London Stock Exchange
St Paul's Cathedral
City of London School
Camden loop
The three-mile Camden loop originates on Chancery Lane. Walking in an anti-clockwise direction, the major points of interest on the Camden loop include:
Maughan Library
Coram's Fields
Brunswick Square
Brunswick Centre
British Library
University College London
School of Oriental and African Studies
British Museum
Jubilee loop
The fifth and final sub-loop on the walkway is the 1.7-mile Jubilee loop, originating at Trafalgar Square and focusing on the British monarchy. Walking in an anti-clockwise direction, the main attractions on the Jubilee loop include:
Admiralty Arch
Victoria Memorial
Buckingham Palace
Birdcage Walk
St Stephen's Club
Wellington Barracks
Parliament Square
St. James's Park


The Musée Jules Verne is a museum dedicated to the French writer Jules Verne. It is located in the city of Nantes, France, and was opened in 1978 to mark the 150th anniversary of Verne's birth. The painter Jean Bruneau, helped by Luce Courville, curator of the municipal library, joined forces to open this museum.


The museum is housed in a late 19th century building overlooking the river Loire. While Verne never lived in the building, its surroundings reflect the atmosphere which influenced his work. His parents had a house in nearby Bas-Chantenay.
A large collection of artifacts, replicas of his inventions, and memorabilia inspired by his writings can be found in the museum. The museum is divided into eight themed rooms:
Jules Verne's drawing room; featuring chairs and the clock from his own drawing room. His china on display in the room was donated to the City of Nantes by Verne's descendants. Throughout his career, Verne received the china as gifts from foreign journalists.
The start of dreams
The sea, the sea
The two Jules
Known and unknown worlds
The Voyagers on stage
Reading and games room
Audiovisual room
The building was renovated in 2005, the centenary of Verne's death. Consequence of the transformation of the urban community into a metropolis, it becomes a metropolitan facility on January 1, 2015.


The Julie Rogers Theater is a historic performing arts theater located on Pearl Street in downtown Beaumont, Texas.  Built in 1928, the theater was once Beaumont's City Hall and Auditorium. The capacity is approximately 1,663 seats.


The building was renovated in 1982 when it was re-purposed from the city hall and auditorium combination to a theater for the performing arts.  The theater was renovated again in 2007.  The theater now features continental seating (no center aisle).  Seating includes 1,253 seats in orchestra seating, 144 seats in loge seating, and 266 seats in balcony seating.


This facility is home to the Symphony of Southeast Texas, and hosts performances of the Beaumont Civic Opera, the Beaumont Civic Ballet and the Beaumont Ballet Theatre.


Jurisics Castle, named after Croatian nobleman Nikola Jurišić (Hungarian: Miklós Jurisics) is located in Kőszeg, Hungary.


The Jurong Town Hall, or Trade Association Hub (TA Hub) is a commercial building and the former headquarters of the Jurong Town Corporation. The building is symbolic of the success of Singapore's industrialisation programme in Jurong and was gazetted as a national monument on 2 June 2015. It served as a hub space for head start technology companies in the 2000s. The building was further developed into a new hub for trade associations with Singapore Chinese Chamber of Commerce and Industry as the anchor tenant by 2017. The road Jurong Town Hall Road was named after this building.


Kõpu Lighthouse (Estonian: Kõpu tuletorn) is one of the best known symbols and tourist sights on the Estonian island of Hiiumaa. It is one of the oldest lighthouses in the world, having been in continuous use since its completion in 1531. The lighthouse is quite unique with its shape and an exception among lighthouses because it has gone through all the stages from a medieval landmark up to a modern electrified lighthouse.
The lighthouse marks the Hiiu Shoal (Estonian: Hiiu madal, Swedish: Neckmansgrund) and warns ships away from the shoreline. Light from Kõpu Lighthouse can be used for navigation as far as 26 nautical miles (48 km; 30 mi) away.
Kõpu Lighthouse was previously known by its Swedish name, Övre Dagerort.


The lighthouse is built at the top of the highest hillock of Hiiumaa island, Tornimägi (English: Tower Hill, 68 metres (223 ft)). The height of the building itself is 37.7 metres (124 ft), and the light is 103.6 metres (340 ft) above sea level, making it the highest coastal light on the Baltic Sea.
Kõpu Lighthouse has a shape of a square prism with massive buttresses in the directions of principal divisions of the compass. The tower is laid solely of stone up to the height of 24 metres (79 ft). The outside layer of the walls is supported by lime (and nowadays also cement) mortar, with the body itself built without mortar.
The body of the tower contains roughly 5,000 cubic metres (6,500 cu yd) of stone, with its total weight reaching 12,000 tonnes (26,000,000 lb). Local limestone and glacial erratic stones were used as building material.
Originally, the tower was solid stone without any rooms and no light was burned at it; when it was equipped with light, the top of the lighthouse was reached using external wooden stairs, which were later replaced with iron ones. During reconstruction in the 1800s, a stairway and two rooms were cut into the tower.


The most important east–west shipping lane in the Baltic Sea passed the Hiiu sandstone bank. Already before the year 1490 the Hanseatic merchants were seeking permission to mark this peninsula with an outstanding landmark. Around 1490 they asked the bishop of Bishopric of Ösel-Wiek to let them build a landmark on the Kõpu peninsula which was under the bishop's control. This action had no real results.
At a meeting of the Hanseatic League in Lübeck in 1499, they applied once more to the bishop for permission to build a beacon. On 20 April 1500 Bishop Johannes III Orgas (John Orgies) agreed to allow a massive stone pillar without any openings. To cover the building costs, Tallinn city council had to establish a special lighthouse tax until the sum was complete.
Building of the beacon was supposed to start in the summer of 1500, but the building was stopped when Wolter von Plettenberg, master of the Livonian Order, started a war which lasted until 1503. In the spring of 1504, purchase and delivery of the building materials began, but in the autumn of the same year the plague broke out, stopping the work once more. Building work was discontinued and alderman Lambert Ottingk, the magistrate in charge of the building, died in Tallinn on 28 December 1505.
The account ledgers of Tallinn city council contain entries about the Kõpu Lighthouse from 1507 to 1533, showing money was spent on the beacon of Hiiumaa from 13 May 1514 until 12 October 1532. The amounts show the majority of the work took place from 1514 to 1519; later there are only a couple of bigger expenditures on the beacon. But as completion of the beacon in Hiiumaa has been mentioned in the resolution of Wolmar Landtag in 25 February 1532 the actual time of completion and beginning of use of the tower must be 1531. Somewhere after 1538 height of the tower was increased.
The tower was unlighted for more than hundred years and was visible on a clear day up to 20 kilometres (12 mi) offshore.


In August 1649 an open iron fire grate was affixed to the top of the tower and a wooden staircase was built to its outside wall. Originally it was planned to burn coal in the lighthouse, but due to high transport costs of coal, wood was used instead.
The fire consumed up to 1000 cords of firewood every year during the 180-day navigation period, a quantity so great that it led to deforestation of most of the Kõpu peninsula. A team of six was on guard every night, but storms extinguished the fire often. A rule passed in 1652 decreed that the fire must be strong and a fathom (~2 yards (1.8 m)) high.
Count Axel Julius De la Gardie bought the island of Hiiumaa from the King of Sweden for 38,000 thalers and took over management of the Kõpu Lighthouse in 1659. He had its height extended to 35.6 m (117 ft) and the wooden stairs replaced with an iron staircase. The light, now visible from as far as 24 kilometres (15 mi) away, was lit one hour after the sun set and extinguished one hour before sunrise.
The Russian Empire took over the administration of the lighthouse in 1810 and a major reconstruction of the tower began. A room for a team of six men was cut to the southern buttress and from there a stone staircase up to the tower. Into the upper part two subsidiary rooms were cut, one on top of the other, and a new lantern room was built on top of them. The lantern room housed twenty three oil lamps, using silver-plated brass reflectors. The lamps burned hemp oil, requiring 3.28 tonnes (7,200 lb) yearly.
In 1845, a crack in the upper part of the lighthouse called for extensive reconstruction, which saw part of the tower pulled down and rebuilt. The tower now gained its final height. A wooden structure with lamp-chimneys was built for the lantern and its optical devices.
The lighthouse came under navy control, and the first maintenance rules were laid down. The fire was to be lit and extinguished in strict accordance to sunrise and sunset. In cloudy weather lighthouse keepers were to consult a calendar for the necessary data. At that time, the fire was kept burning nightly from 1 July to 1 May – 10 months of the year.
As part of his naval reforms, Grand Duke Constantine Nikolaevich of Russia demanded modernization of the Kõpu Lighthouse, in 1859. In May 1860, a novel rotating lantern (manufactured by Le Paute in Paris) was installed. It rotated at a speed of one revolution per four minutes, using a clockwork pulley-weight system. The device had one Carsel lamp with four concentric light sources and a Fresnel lens. The lamp consumed 0.5 kilograms (1.1 lb) of rapeseed oil hourly, and the fuel pump was powered by the same clockwork mechanism. It was said to be visible up to 27 nautical miles (50 km; 31 mi) away.  A team of seven serviced the lighthouse, with one required to be near the light at all times.
The buttress with the staircase was roofed with wooden boards and tin sheets in 1869. A telegraph installation and rescue stations were established near the lighthouse in the same year; the first-established worked until 1898 when it was replaced by a telephone.


A new light system was bought at the 1900 Paris World Fair, for three million gold rubles. The new apparatus (including the light chamber) was made by Sautter, Marlé & Co. It used a kerosene lamp with an incandescent mantle. A heavy cast iron system floated and rotated in a bath of mercury, which acted as a bearing. The bath contained roughly 500 kilograms (1,100 lb) of mercury. The poisonous mercury from the lighthouse was used for decades by children in the surrounding villages for playing.
The light system was set in rotation by a suspended 400 kilograms (880 lb) load; it needed to be rewound every two hours. It was installed during repairs of 1901.
German bombers targeted the lighthouse in August 1941, though only the lantern structure and optical system were destroyed.
After World War II, various optical systems were tested. Kohler generators were installed in 1949 along with the stationary electric light system. A new rotating light system (EMV-3) was installed in 1963, making the lighthouse fully automated. It was in use until 1982, when an experimental EMV-930M system (made in Ukraine) was installed. The rotation mechanism of the optical system was a novel solution – there are no electric motors; it uses a revolving magnetic field instead. The optics brought a six to eight hundredfold increase to the efficiency of the light radiated by a 1 kW quartz lamp.
Due to deterioration, the lighthouse underwent frequent repairs; major repairs were in completed in 1957 and 1970. During the repairs in years 1978–81 on the occasion of the 450th anniversary of the lighthouse, it was covered with a reinforced concrete shell and perchlorovinyl paint. As there was no white colour available, yellow was used. The paint blocked the way for humidity to escape from the body of the tower and water collecting in the inner surface of the cement mortar, freezing and melting, started to damage the already old and degraded lime mortar. By the mid-80s cracks appeared in the surface of the lighthouse and pieces of the cement mortar and smaller stones started falling off. During 1987 and 1988 two corners of the tower collapsed and emergency restoration was started. During the years 1989–90, to prevent collapsing of the lighthouse, a 15 centimetres (5.9 in) thick reinforced concrete shell was built to support the foundation and walls up to the top of the buttresses. The tower was painted with whitewash. Air channels were left in the concrete for ventilating the structure.
The lantern room of the lighthouse was renovated in 2001 and the tower was last repainted, with whitewash, in 2012. In 2020 a new powerful LED light source was installed in the existing lantern along with a new electronic control system. As of 2020, it is the most powerful LED-lighthouse light in the world with an intensity of 2,100,000 candela.


The lighthouse is still in use as an aid to navigation and managed by Estonian Maritime Administration. Its future is also ensured by its status as a protected cultural monument.
Due to its enduring popularity and memorable shape, it is often used as a symbol of Hiiumaa. A major tourist attraction, the tower has been open for tourists since 1999. Together with the nearby Ristna lighthouse, the Kõpu Lighthouse was commemorated on a postage stamp in 2000.


Most sources agree it is the third oldest operating lighthouse in the world (? Most probably the 4th, what about Hook Lighthouse in Ireland, 1240?), without mentioning what the other two are. They might be the Tower of Hercules and the Lighthouse of Genoa.
Some sources give the height of the hill as 67 m (220 ft) and some as 68 m (223 ft)
Different sources give different years for the start of the construction, for example, Baltic Lights has 1527–1531. All sources agree that the lighthouse was finished in 1531.


Kühlungsborn Pier (German: Seebrücke Kühlungsborn) is a pier on the Baltic Sea coast in Kühlungsborn in the German county of Rostock (Mecklenburg-Western Pomerania).


The first jetties were built from about 1895; they were the forerunners of those in Brunshaupten and Arendsee. Because these simple wooden structures could not cope with the strong ice drift in the winter, they frequently had to be replaced. The first large jetties were built in 1901 to enable sailing boat services to call here. In 1906, piers were built large enough to enable steamboats to tie up, thus negating the inconvenience of ferrying passengers from the ships in tenders. A pier was built in 1929, but this, too, could not withstand the weather. The last pier was destroyed in the winter of 1941/42. During East German times, the continued shortage of material and construction capacity prevented a new pier being built. This also prevented people escaping the country to the West.
The new pier was built in 1991 in the suburb of Ost. It is 240 metres long and oriented axially to the beach road (Strandstraße). The pier is located on the longest German Baltic Sea beach promenade, which is about 3.2 km long, and the pier was the first new pier to be built on the Baltic Sea coast in Mecklenburg. It is considered to be one of the landmarks of the town and is one of the 189 piers in the state of Mecklenburg-Western Pomerania.


The remodelling of the pier forecourt was carried out in phases. The Kopfsituation, with its Forum and Bastion, was built in 1992. The forecourt was designed in 1991. The running area (Laufachse) and ramps, the pavements and the play area (Spielachse) were added in 1995. On the forecourt the protected sculpture Vater und Sohn ("Father and Son"), sculpted in the 1970s by Reinhard Schmidt, has been erected.


The Künstlerhaus Schloss Wiepersdorf is a literary institute in Germany housed in a stately manor house.
Originally the manor house was the home of Ludwig Achim von Arnim and Bettina von Arnim, well-known figures from Germany's Romantic Period.  After their deaths the future role the manor house was unclear, but eventually it was decided to turn it into a literary institute, where leading scholars and writers would receive grants for extended stays, where they could have creative exchanges with other scholars and writers.
The institute is in Brandenburg, south of Berlin.
The institute offers book readings, exhibitions, concerts, and other events, for the General public.
It also houses a museum, commemorating the Von Arnims, and their role in Germany's literary history.


The square at 39°55′N 32°51′E is the intersection of two major boulevards. Atatürk Boulevard (Turkish: Atatürk Bulvarı) running from south to north is popularly called the "Protocol Road". The east part of the other boulevard is named Ziya Gökalp Boulevard (formerly Kazım Özalp Boulevard) and the west part is named Gazi Mustafa Kemal Boulevard. Kahramanlar Business Center (formerly Kızılay Emek Business Center) is situated to the southeast and Güven Park is situated to the southwest of the square. The Kızılay AVM shopping mall, which replaced the former Kızılay (Turkish Red Crescent) headquarters, is situated to the northwest.


In light of the burgeoning Chinese cultural art movement, K11 was designed as a union between retail and art. This retail art center in Shanghai was opened by the K11 Art Foundation, led by founder Hong Kong billionaire Adrian Cheng. The first K11 Art Mall was opened in Hong Kong in 2009, four years before the opening of K11 Shanghai. K11 Shanghai is part of an initiative to create a "K11 art ecosystem" across all of China's major cities, such as Wuhan and Guangzhou. Cheng envisions K11 as a space for "art for the masses"; when asked about his vision for the K11 ecosystem, Cheng answered, “We want to create something that can propagate culture domestically and also internationally. We want to showcase the creativity of China."


KOIN Tower occupies an entire city block and is clad in orange brick and trimmed with white limestone at the base; the sloping roof forming the pyramidal crown is prefinished galvanized steel. The ziggurat-like profile and blue crown sets it apart from most of the other buildings in the downtown Portland area and gives it an instantly recognizable appearance, "one of the most important things a downtown skyscraper can accomplish." The step backs in its footprint with increasing height and its multi-faceted form are reminiscent of the Art Deco skyscrapers of the 1920s, leading some commentators to describe its architecture as Neo-Art Deco. In addition to the KOIN broadcast studios and offices below grade, the building has three principal functional programs, each with its own entrance and distinctive facade—commercial/office on SW Columbia Street, retail and former theater space on the southwest corner, and residential condominiums on SW Third Avenue. In addition, a restaurant space has its own entrance on SW Clay Street.  Thus, the building relates to its surroundings in several distinct ways. Of these, most important is the southwest corner as an extension of the public space represented by the Keller Fountain and adjacent Keller Auditorium. A feature unique in Portland, and resulting from the multi-block nature of the original project, is the location of the entrance to the underground parking and loading docks on the adjacent block to the east.  This spares any of the four street frontages from accommodating a parking entrance or loading dock, a distinct design advantage for a building on one of the small 200 by 200 ft (61 by 61 m) blocks typical of downtown Portland.
The limestone at street level is rich with fossils — including sand dollars, byrozoa, and barnacles — as well as pieces of green chert.


As discussed above, there are four distinct uses for the KOIN Tower, all hosted in separate parts of the building. The first three floors house mixed retail and office space. The ground-floor restaurant space, originally occupied by a branch of the Seattle-based Thirteen Coins, is now the location of a Morton's The Steakhouse. Floors 4 through 19 are office space, with tenants including Skanska USA Building, First American Title Insurance, ECONorthwest, Helmy Law Firm PC, Evanta, Robert Half International, Schnitzer Steel, and others. The Fountain Plaza Condominiums occupy Floors 20 through 31. The studios and production facilities of KOIN and KRCW, Portland's CBS and The CW affiliates, occupy the basement and a portion of the ground floor. The blue spire crowning the building houses the equipment used for broadcasting radio and television signals.  The building previously housed the six-screen KOIN Center Cinema, which closed in 2004 after 19 years in operation.


The Govt of Odisha gained widespread reputation for the successful execution of the "90 Days Challenge" for hosting the 2017 Asian Athletics Championships when the former venue Ranchi backed off from hosting the event 3 months prior. The city of Bhubaneswar has been termed as the 'Sports Capital of India'  for hosting a large number as well as a wide variety of sporting events and nurturing future talents. As per a 2021 survey, Bhubaneswar was ranked 3rd among top 5 cities of India in terms of sports ecosystem and ability to host mega sporting events.
The stadium had been chosen as a venue for the 2020 FIFA U-17 Women's World Cup which was later postponed to 2021 but was cancelled due to COVID-19 pandemic and later shifted to 2022 FIFA U-17 Women's World Cup. It was initially chosen as a venue for the 2022 AFC Women's Asia Cup in 2021 but was later dropped off.


Abhinav Bindra Targeting Performance (ABTP)
Dalmia Bharat Gopichand Badminton Academy
JSW Swimming HPC
Khelo India State Centre of Excellence (KISCE) for Athletics, Hockey, and Weightlifting
KJS Ahluwalia and Tenvic Sports HPC for Weightlifting
Odisha Naval Tata Hockey High Performance Centre (ONTHHPC)
Odisha Aditya Birla and Gagan Narang Shooting HPC
Reliance Foundation Odisha Athletics HPC
SAI Regional Badminton Academy
Udaan Badminton Academy
AIFF High Performance Centre


The Kallina House (Croatian: Kuća Kallina) is a historic residential building in Zagreb, Croatia. The house is located in the city centre on the corner of Masarykova and Gundulićeva streets and is regarded as "one of the finest examples of Secessionist-style street architecture in Zagreb."
The house was built between 1903 and 1904 for the wealthy industrialist Josip Kallina and was designed by the Croatian architect Vjekoslav Bastl for the Hönigsberg & Deutsch architecture bureau. Bastl had previously studied at the Akademie der Bildenden Künste in Vienna, where he was influenced by the Austrian architect Otto Wagner, an early proponent of Art Nouveau (called Jugendstil in Austria-Hungary) and one of the founding members of the Vienna Secession art movement.
The three-story house was designed as a residential building, with the exception of the ground level which was intended to house shops. Bastl's design for a house entirely covered in decorative ceramic tiles was at the same time inspired by the Majolika Haus in Vienna (built by Wagner in 1898, itself covered in ceramic tiling) and a way of turning the building into a giant advertisement for Josip Kallina's ceramics company (all the tiles used for the house were produced by his factory). The building features decorative iron balconies overlooking the street intersection, depictions of floral and geometric motifs typical for the Art Nouveau style of the period, and a bat-shaped patterned motif around the first floor façade.
Although many of Bastl's other projects in Lower Town are considered notable examples of the conservative Central European historicism, he allowed freer designs when working on private houses and villas, and the Kallina House today is today described as "one of the most consistent example of the way Secessionist architecture sought to redesign urban dwellings and break from conventional aesthetics."
The building is listed in the Croatian Ministry of Culture's Protected Cultural Heritage Registry (Registar zaštićenih kulturnih dobara) since January 2004.
Kallina House should not be confused with Villa Kallina, a country house built by the same architect in another part of the city.


Kamieniec Castle - a fourteenth-century, Gothic castle ruin and in the sixteenth-century expanded in the Renaissance form. The fortress is located on the borderlands between Korczyna and Odrzykoń in Krosno County, Podkarpackie Voivodeship in Poland.


The Kanangra-Boyd National Park is a protected national park that is located in the Central Tablelands region, west of the Southern Highlands and Macarthur regions, in New South Wales, in eastern Australia. The 68,660-hectare (169,700-acre) national park is situated approximately 180 kilometres (110 mi) south-west of Sydney and is contiguous with the Blue Mountains National Park and the Nattai National Park. The park was established in 1969.
The Kanangra-Boyd National Park is one of the eight protected areas that, in 2000, was inscribed to form part of the UNESCO World Heritage–listed Greater Blue Mountains Area. The Kanangra-Boyd National Park is the most south–westerly of the eight protected areas within the World Heritage Site. The national park forms part of the Great Dividing Range.
Notable features of the national park include the Thurat Spires, Kanangra Walls, Mount Colong, and three waterfall systems – the Kalang, the 225-metre (738 ft) two–tiered drop Kanangara and the Morong falls. The park also features a series of karst landforms that can be explored by those with caving experience.
The movie Jedda was filmed in the Kanangra Walls area in 1954.


Kanangra-Boyd National Park is composed of two land units — the elevated, gently undulating Boyd Plateau and the area of creeks, rivers, gorges and ridges into which the plateau falls away. The plateau is traversed by the Kanangra Walls Road and can be accessed either from Oberon or Jenolan Caves. The road leads to Kanangra Walls. There are several well known landmarks in the park, such as Mount Cloudmaker, Kanangra Walls and the Thurat Spires. The word Kanangra is generally held to be a corruption of Gundangura and was called Thurat for some time.
The national park is bounded to the north by open farmland; to the east by the Coxs River, the Blue Mountains National Park and the Kowmung River; to the south–east by the Yerranderie State Conservation Area; to the south by the Nattai National Park and the Wombeyan Caves Road; to the south–west by the Blue Mountains National Park; and to the west by the Kowmung River, the Jenolan Karst Conservation Reserve, and open farmland and extensive state forests that surround the town of Oberon. The Abercrombie River National Park is situated a short distance, further south–west.


The Kanangra-Boyd Wilderness is among the largest and most rugged wilderness areas in New South Wales. Situated to the south of Katoomba in the Blue Mountains and the Kanangra-Boyd National Parks, this folded belt or "Rim Rock" area is markedly different from the Permo-Triassic sandstone dominated landforms which comprise the rest of the Blue Mountains. There are isolated residual cappings of Permian sandstone in a few places but here the Palaeozoic basement rocks, which are elsewhere buried well below the Permo-Triassic Measures, are on the surface as high land. Rock types include quartzite, diorite, Devonian rhyolites, rhyo-dacites, Silurian phyllites, slates, siltstones and tuff limestones. The Boyd Plateau comprises a dome of Devonian granite intruded into Devonian quartzites and sedimentaries. There are also intrusive igneous rocks from the Carboniferous period. Kanangra Tops at the south-eastern end of the Plateau is one of the Permian outliers. Its fringing fault scarp – Kanangra Walls – comprises Permian sedimentaries of the Capertee Group which rests unconformably on a Devonian Lambie Group Basement. Nearby Kanangra Gorge is cut 600–900 metres (2,000–3,000 ft) deep in rocks of the Lambie Group, and is one of Australia's deepest gorges. Cloudmaker and Guouogang are eroded remnants of Ordovician quartzite. Further east, in the Coxs River area, is the large Kanimbla granite batholith, implaced during the Carboniferous period. Colong Caves is another outstanding feature of the area. The main Upper Silurian limestone belt, in the Jenolan River valley to the north-west, is 300 metres (980 ft) thick, 8 kilometres (5.0 mi) long and located in a valley 460 metres (1,510 ft) deep. This karst topography, created by the Jenolan and its tributaries, is one of the least understood in Australia.


The complex geology, climate, fire regime, and topography has enabled a wide variety of ecosystems to develop. Eucalypt forest with western plain species, such as yellow box and white box, are found in areas of rainshadow. Forests of mountain ash are found on well drained soils and Blaxland's stringybark where soil is poor. red spotted gum, Blakely's red gum, red stringybark and forest oak are also found. Kurrajong trees are found in abundance where limestone outcrops occur, and in sheltered gullies rainforest species (including red cedar) and blue gum are found. On the Boyd Plateau, the misty mountain forests of brown barrel, messmate, ribbon gum, black sally, snow gum and mallee predominate. High altitude areas subject to strong winds generally support heath and closed scrub communities. In areas of impeded drainage, various swamps occur, dominated by sedges and scrubs such as Leptospermum and Baeckea species.
About 1,000 flowering plant species occur in the Blue Mountains, in some 40 plant communities. There are over 45 rare or endangered plant species in the wilderness. A unique form of tall open forest occurs in the Kedumba Valley, dominated by Camden white gum, an endangered species limited to these populations.


There are several walking tracks and other sites in the park, these include the:
Lookout Walk – the easiest and wheelchair accessible, this ten-minute route along well-formed tracks leads to the first lookout which overlooks the gorges of Kanangra Creek and beyond to the high tops of Mt Cloudmaker and the Blue Mountains escarpment, which presents a spectacular vista. The second overlooks rugged ravines at the head of the gorges and Kanangra Falls;
Waterfall Walk – accessible from the Lookout Walk, this route leads down into a gully where the Kalang Falls splash into a pool; and
Plateau Walk – turns off before the main lookout and leads into the Kanangra Wilderness and onto the expansive heath-covered Kanangra Tops Plateau. It is possible to walk continuously from this walk to Katoomba and Narrow Neck.
Camping is available on the banks of Morong Creek, at the Boyd River campground, located on Kanangra Road.


The lake in front of the Temple of the Tooth was formerly a stretch of paddy fields known as Tigolwela. It was converted to a lake by King Sri Wickrama Rajasinha in 1807. As there had been a pond named Kiri-muhuda (a "sea of milk") in the middle of the Tigolwela, the lake constructed subsequently too was named Kiri-muhuda. Deveda Moolacharya is considered the architect of the Kandy Lake. The king first built a dam across the paddy fields, starting from the Paththirippuwa (octagon) side, where the steps leading into the lake by the Mahamaluwa (Esplanade) are still visible, stretching across to the Poya-maluwa. The dam, upon which a roadway was constructed, allowed the king to go across to the Malwatte Vihare. According to D’Oyley, the dam was constructed between 1810–1812.
There are numerous local legends and folklore regarding the lake. One such is that the small island at its center was used by the king's harem for bathing and was connected to the palace by a secret tunnel.


Sri Wickrama Rajasinghe built a dam for the purpose of reaching the opposite side of the lake. The king removed the soil from both the palace end and the Malwatte Vihare end, leaving an island behind. At first this island was used as the Royal Summer House for the Queen and the ladies of the court to relax. The British later used it as an ammunition store and added a fortress-style parapet around its perimeter.


The lake is surrounded by a wall called Walakulu Bamma (Sinhala: වළාකුළු බැම්ම) or Clouds Wall, which was built to increase the beauty of the Kandy Lake. It extends around half of the lake and took one skilled architect to build it. Sri Wickrama Rajasinghe was unable to complete the wall before the city was captured by the British and he was forced to relinquish the Kandian kingdom. The Walakulu Bamma still lies unfinished. The triangular shaped holes in the wall were used in the past for lighting oil lamps on festival days.


Ulpange or Queens Bathing Pavilion is situated partly in the waters of the Kandy Lake. The wives and concubines of Sri Wickrama Rajasinghe used the pavilion when bathing in the lake. After the British captured the city they added another storey and used the building as a library. It is currently used as a police post.


Pollution of the lake is a serious problem. The government and the surrounding schools are trying to decrease the problem by putting signs and operating environmental societies. Until 1960 the Kandy water board used the lake to distribute water to the surrounding areas. They stopped pumping water from the lake because of the increase in pollution.


Kaniakapūpū is the current and most commonly used name of the site and palace. It means "the singing of the land shells" in the Hawaiian language. The name refers to the kāhuli (Oʻahu tree snails) which were once abundant in the area and, according to Hawaiian folklore, able to vocalize and sing sweet songs at night. Archaeologist Susan A. Lebo and anthropologist James M. Bayman, writing in 2001, claim that the name is a modern misnomer, possibly originating in the early 20th century. Moʻolelo (oral accounts) from this period associate the name with the remnants of a stone structure to the southeast of the house, believed to be a heiau (temple) dedicated to Lono, the Hawaiian god of fertility and healing. Tradition states that the king may have chosen to build his house on the heiau because of the mana (spiritual power) associated with the area. The contemporaneous Hale Aliʻi (ʻIolani Palace) was built on the site of a heiau called Kaʻahaimauli.
According to Lebo and Bayman, the actual region of Kaniakapūpū and Kaniakapūpū Heiau (also called Kawaluna Heiau) was located in the Waolani area of Oahu; contemporary records do not mention a heiau onsite or the king building his house on top of one. Kawaluna Heiau was associated with Kūaliʻi, the 16th-century aliʻi nui of Oahu, who asserted his control of the Kona district (the area encompassing much of modern Honolulu) after a ceremony at the temple. One of the earliest references to Kaniakapūpū and its association with Kawaluna Heiau was in the "Legend of Kamaakamahiai", published on August 13, 1870, in the Hawaiian-language newspaper Kuokoa. It stated: "...where the house of our King now stands. Kawaluna was its name in the old days and Kaniakapūpū is its name today".
Luakaha ("place of relaxation") was the name of the property during the king's lifetime, and originates from the name of the traditional ʻili kū (land division) of the ahupuaʻa of Honolulu, which encompassed a third of the forested upper slopes of Nuʻuanu Valley. There are no records of the house itself having any specific name, though when it was in use it was referred to as "the king's house, cottage, or retreat in Luakaha or Nuʻuanu". Luakaha was one of the many strategic grounds occupied by King Kalanikūpule during King Kamehameha I's invasion of the island of Oahu in 1795. Traditions state that Kamehameha rested his troops near the site during this campaign, which culminated in the decisive Battle of Nuʻuanu in which many of the defeated Oahu warriors were pushed off the Nuʻuanu Pali to their deaths.


Kanlıdivane (ancient Canytelis, Greek: Κανυτελής) is an ancient city situated around a big sinkhole in Mersin Province, Turkey.


Kanlıdivane is in the rural area of Erdemli district, which is a part of Mersin Province at 36°31′32″N 34°10′45″E. It is  18 km (11 mi) to Erdemli and 55 km (34 mi) to Mersin. Its altitude is approximately 230 m (750 ft). It is close to the town Kumkuyu at the coast and just few hundred meters to Çanakçı rock tombs.
The sinkhole is quite wide; the longer dimension being 130 m (430 ft). The depth is about 70 m (230 ft)


There are ruins of antiquity around the sinkhole. They were unearthed and surveyed by Victor Langlois and Semavi Eyice.


Kanlıdivane was a part of the Olba Kingdom in the ancient age. In the northern necropolis, there is a mausoleum, which was built by the Queen Aba for her husband and sons. On the inscription of the tower at south-west it reads;
"Built by Teukros, the son of priest king Tarkyaris of Olba for Zeus."


By the first century, Olba kingdom became a vassal of the Roman Empire. Byzantine Emperor Theodosius II rebuilt the city as a Christian religious center and renamed it Neapolis. There are ruins of basilicas, cisterns, rock cut graves etc. around the sinkhole.


According to tradition, En no Gyōja founded a temple called "Unshin-ji" in the year 701. Just over a century later, in 808, Kūkai visited this temple and initiated worship of the Big Dipper, building seven cairns corresponding to the seven main stars in that constellation, which still remain in the precincts to this day. Kanshin-ji is the only temple in Japan that enshrines the Big Dipper. Again per tradition, Kūkai returned to the temple in 815 and carved a statue of Nyoirin Kannon and renamed the temple "Kanshin-ji". While there are innumerable folklore references to Kūkai visiting some location and carving a statue with his own hands, the image attributed to Kūkai at this temple is stylized as a work of the 9th century and is accompanied by four gold and bronze Buddha statues also dating to the same period, so the Nara period origins of the temple are not disputed. Per the temple own illustrated history, the "Kanshinji Engimonocho", the temple was rebuilt by order of Emperor Junna in 827, with the work begun by Kūkai's chief disciple, Jichie (Doko Daishi) and continued by his own disciple Shinshō. By the Kamakura period, it was a very large temple with more than 50 subsidiary chapels.
Kanshin-ji was also the bodaiji for the Kusunoki clan, and thus had strong connections to the Southern Court during the Nanboku-chō period. In 1334, Emperor Go-Daigo built an imperial palace within the precincts of the temple, and from December 1359 to September 1360 it was the residence of Emperor Go-Murakami, whose grave is also within the precincts of the temple. The Tatekake-to chapel is a square one-story building, but is actually the first story of an unfinished Three-story pagoda. According to folklore, Kusunoki Masashige had the building constructed to pray for the success of the Kenmu Restoration, but was defeated and killed at the Battle of Minatogawa before the structure was completed. During the Muromachi period, the temple continued to prosper under the patronage of the Hatakeyama clan, but during the Sengoku period, Oda Nobunaga seized most of the temple's territory. The temple was rebuilt under Toyotomi Hideyoshi, and his son Toyotomi Hideyori restored the Main Hall and various structures. During the Edo period, the hatamoto Kainosho clan sponsored the temple and during the An'ei era (1772-1781), the temple had over 30 subsidiary chapels. However, this was reduced to only 12 by the Keiō era (1865-1868).


Kondō (金堂)
The Main Hall of Kanshin-ji was built at the beginning of the Muromachi period. However, its predecessor building seems to have been built during the Heian period, then rebuilt in its current form and has been repaired several times. Toyotomi Hideyori repaired it in 1613. The architectural style is a eclectic blend of traditional Japanese elements with elements of Zen architecture newly-arrived from China. It was designated a National Treasure in 1952.
Nyoirin Kannon (如意輪観音坐像)
The main image
Nyoirin Kannon is a Kannon that is s of Kanshin-ji is a seated wooden statue of Nyoirin Kannon, dating from the Heian period.It is 109.4 cm high and was carved from a single block of Kyara incense wood. The statue is believed to have been carved in the Jōwa era (834-848) under the patronage of the empress of Emperor Saga, Tachibana no Kachiko. It is a hibutsu hidden image and is open to public display only on April 17 and April 18 annually.
Kanshinji engi shizaichō (観心寺縁起資財帳)
The Kanshinji engi shizaichō is a document created during the Heian period and is dated 883 AD. It is extremely rare for a document written on paper to have survived in such good preservation. The document consists of two parts. The gives the reasons  why Kanshin-ji was built and its early history.  The second part is an inventory of the property that the temple had at that time.


One pair of gold and bronze lotus vase (Kebyo)
Iron lantern, Joei 2nd year inscription
One set red breastplate armor, said to have belonged to Kusunoki Masashige


The Kaohsiung Main Public Library (Chinese: 高雄市立圖書館; pinyin: Gāoxióng Shìlì Túshūguǎn) is the central library of Kaohsiung, Taiwan. It is the main library of the Kaohsiung Public Library System and opened in November 2014. The building is located in Xinguang Road, opposite to the Tuntex Sky Tower.


The old main library of Kaohsiung at Minsheng Road opened in 1981. By 2011, it had gradually become unable to keep up with the demand of the public, and a project was initiated to build a new library building in the Asia New Bay Area, located in the city center. Architecture and design work were done by Ricky Liu and the Japanese architect Toyo Ito’s team. Construction started in October 2012 and was completed in 2014. Opening to the public in November of that year, it was hailed as a new cultural landmark for the city.
In 2017 the library was regarded as one of the top 10 landmarks of Taiwan by TripAdvisor.


The library has an area of 38,000 m² (410,000 sq ft) over eight floors, with no columns inside the building. On the top floor it has integrated a subtropical garden landscape into its architecture. It is regarded as the world’s first column-suspended green building.


The second phase of the development plan started in 2016 and was completed in 2020. It comprises a 148 m (486 ft)-tall skyscraper with 27 floors above ground and six basement levels, and a floor area of approximately 42,000 m² (450,000 sq ft).
The building includes a bookstore, restaurant, movie theater and a 238-room hotel. This BOT project accounts for the operating costs of the new library in the future, and provides accommodation and research facilities in the adjacent Kaohsiung Exhibition Center to form a cultural and creative industry cluster and create a cultural and creative industry in Kaohsiung.


The Karnala Bird Sanctuary is located in Panvel Taluka of Raigad District, outside Mumbai, India near Matheran and Karjat. The sanctuary is quite small with an area of 12.11 square kilometres but along with the Sanjay Gandhi National Park and Tungareshwar Wildlife Sanctuary is one of the few sanctuaries to be within reach of the city of Mumbai.


The sanctuary is centered on the historic Karnala Fort and lies just off the Mumbai-Pune national highway to Goa. It is located 12 km from Panvel. The nearest railhead is Panvel. Regular buses at an interval of 30 minutes are available from Panvel Bus Stand from 5:00 am to 8:00 pm. The sanctuary is open for visitors from sunrise to sunset. There are many hotels and resorts located near the sanctuary. There are two government rest houses inside the sanctuary area.