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Sunken 18th-century ship discovered by chance off famed Game of Thrones filming spot

Sunken 18th-century ship discovered by chance off famed Game of Thrones filming spot

Independent18 hours ago

An 18th-century boat has been discovered by chance near the majestic stone walls of Croatia 's medieval city of Dubrovnik.
The remarkable discovery was made in April by Ivan Bukelic, who was working on a water pipeline in Dubrovnik's old port when he stumbled upon a wooden structure buried in the seabed.
'I can now say I discovered a boat at the Old Town Dubrovnik,' Bukelic, who is a diver and undersea builder from Dubrovnik, said.
He said the vessel was some 60 to 80 centimetres (23-31 inches) under the sea bottom.
A key trade port in the Adriatic Sea in medieval times, Dubrovnik has been declared a UNESCO- protected heritage site. It attracts huge crowds of tourists, especially during the summer, and is also known as a filming site for HBO 's Game of Thrones series.
The remains of the boat in Dubrovnik's old port have been protected for further examination.
'We still cannot speak of the type of vessel or its dimensions, but we can say for certain, based on the results of radiocarbon analysis, that it was from the late 18th century,' marine archaeologist Irena Radić Rossi said.
Radić Rossi said the aim is to continue with the research in cooperation with Croatia's Ministry of Culture.
'We must protect it for the future,' she said.
Dubrovnik is a prime example of the effects of mass tourism, a global phenomenon in which the increase in people travelling means standout sites, particularly small ones, get overwhelmed by crowds.
In 2017, local authorities announced a 'Respect the City' plan that limits the number of tourists from cruise ships to a maximum of 4,000 at any one time during the day. On a typical day in 2018, about eight cruise ships anchored at the town of 2,500 people, each dumping some 2,000 tourists into the streets.

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The architects redesigning death
The architects redesigning death

Spectator

time8 hours ago

  • Spectator

The architects redesigning death

Unesco doesn't hand out world-heritage status to absences, but if it did, there would be memorials all over the western world to our genius in erasing death from our consciousness. We have airbrushed the deceased from our lives with a ruthless efficiency, banishing them to suburban cemeteries where they can spend eternity unvisited. Burials and cremations are today spiritless, functional affairs, death rituals perfunctory, public grieving rare, graves unworthily negligible or unspeakably vulgar, our wakes pretexts to get drunk and obliterate the memory of what just happened. I exaggerate, but not much. The Maltese architect Anthony Bonnici wants to change all that. He wants to design death anew, create a funerary architecture that, if not quite as monumental and beautiful as the pyramids, would be more democratic. He is a member of a seven-strong team – including architects and designers, an art director, photographer, filmmaker and curator – that has just won the London Design Biennale medal for, as the judges put it 'a remarkable contemplation of death and memory, a subject not often addressed through design'. Called Urna, the project involves mingling the ashes of the cremated dead with limestone dust from defunct Maltese quarries to make beautiful, spherical urns. The spur for Urna was a 2019 decision by the Maltese government to legalise cremation. The reason for this move was to reduce the need for cemetery extensions – an important consideration given that the rocky Mediterranean island is only 27 by 14.5km in size. The solution was all around them. 'Malta is sedimentary rock. We walk on the dead all the time,' says Urna's artistic director, Matthew Attard Navarro. He tells me he was raised in a village close to a 6,000-year-old underground burial chamber called Hal Saflieni Hypogeum, one of Europe's only known neolithic necropolises. 'For me the dead were our neighbours and so death for me has always been part of life.' The collective behind Urna were in particular drawn to the island's obsolete quarries, seeing these beautifully carved caverns as both offering source material and outdoor stages to display their revolutionary designs for death. The architects would pour and compact the Globigerina limestone dust into compressed discs, which would then be stacked. Each disc might contain the remains of one person and you can add new layers until perfect spheres are formed. The results, with orbs of different dimensions arranged theatrically along terraces, effectively transform a quarry into a contemplative sculpture park. Bonnici says that what he and his colleagues have done in Malta can be cheaply replicated around the world. Urna's research teams have studied how Syrian and Icelandic volcanic rock can also be harnessed. Perhaps in the future, your ashes might be mingled with Cotswold oolitic limestone, Highland granite or, here's an idea, with siliceous sandstone, the material from which Stonehenge's sarsens were constructed. As I examined a model of one of these spheres at London's Somerset House where Urna's installation is on show, a woman told me its stepped layers reminded her of the rings of a tree. Good point. They reminded me of the step pyramid designed by the architect Imhotep for 27th-century bc pharaoh Djoser. I ask Bonnici if these spheres might become commercial propositions, replacing graves, family vaults or columbaria. 'Why not? It's got to be better than some shitty little gravestone.' Or an abject tin of a loved one's ashes on the mantelpiece. Bonnici tells me he imagines such urns being installed in parks. The Somerset House installation includes a film in which actors perform funerary rites in the Maltese quarries from which the urn materials are taken. There are very few public mourners any more, the filmmaker Stephanie Sant explains, 'but we wanted to imagine what it would be like to introduce new rituals of death in memorialising the dead'. The problem of what to do with the remains of the dead is hardly confined to Malta. And many architects and designers have turned their minds to a solution. Philippe Starck and Daniel Libeskind have designed funeral urns for Alessi. Sanchit Arora, of the architect firm Renesa, was impelled to design a new crematorium for New Delhi after the death of his grandmother. 'When my grandmother passed away, we saw the sad situation of crematoriums in New Delhi. They are left dirty and uncared for,' Arora recalled. 'It just adds to your psychological distress during an already upsetting time.' 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Should they be left to rot or do we have responsibility to maintain them and, if so, why and for whom? I well remember visiting Père-Lachaise cemetery in Paris with Oscar Wilde's grandson Merlin. He bemoaned how Jacob Epstein's flying angel headstone had been twice castrated, how commemorative candles had scorched the front of his grandfather's tomb and multilingual graffiti and lipstick kisses corroded it. 'Each man kills the thing he loves,' wrote Wilde. After death things can be even worse: the beloved's grave might be defaced by boneheaded fans. These are matters that architect Rem Koolhaas might muse upon as he restores the Mausoleum of Augusto and Piazza Augusto Imperatore in Rome and builds an allied museum to display archaeological finds in a project due to open next year. They are also matters that should weigh heavy on Kathryn Gustafson, the architect responsible for the Diana, Princess of Wales Memorial Fountain in Hyde Park, as she and her practice disrupt the eternal resting places of Karl Marx, George Eliot, George Michael and Michael Faraday with landscaping works at Highgate Cemetery as part of a 25-year masterplan. 'We wish,' says a statement on Gustafson Porter + Bowman's website, 'to echo the grid of the surrounding city with new avenues of trees that frame meadows of graves, woodland bosques and mosaics of flowering perennials. When you reach the West Cemetery, the topography becomes steeper, and it is here that we imagine the woodland opening and closing to reveal rays of sunlight that provide unexpected views, hidden graves, and woodland plants.' Which sounds both delightful and fanciful. Rays of sunlight are scarcely dependable sources of illumination in damp old London. And yet the point remains. The business of death is being dragged from the shadows. And from our ashes maybe something beautiful will arise – to honour the dead and nourish the living. Something that will at least prevent us all from experiencing the scene in The Big Lebowski, when John Goodman's Walter Sobchak chucks Donny's ashes on to the Pacific breeze – and watches them catch in the Dude's beard. Sign up for the Arts newsletter Sign up

Diver makes remarkable discovery near Dubrovnik's stone walls
Diver makes remarkable discovery near Dubrovnik's stone walls

The Independent

time16 hours ago

  • The Independent

Diver makes remarkable discovery near Dubrovnik's stone walls

An 18th-century boat was discovered by chance near the medieval city of Dubrovnik, Croatia. Ivan Bukelic, a diver and undersea builder, found the wooden structure buried in the seabed while working on a water pipeline in Dubrovnik 's old port in April. Radiocarbon analysis confirmed that the vessel dates back to the late 18th century, though its specific type and dimensions are yet to be determined. The remains of the boat have been protected for further examination, with marine archaeologist Irena Radić Rossi stating the aim is to continue research and protect it for the future. Dubrovnik, a UNESCO-protected heritage site and former key trade port, is known for its historical significance and as a popular tourist destination after being featured in HBO 's Game of Thrones series.

Sunken 18th-century ship discovered by chance off famed Game of Thrones filming spot
Sunken 18th-century ship discovered by chance off famed Game of Thrones filming spot

The Independent

time18 hours ago

  • The Independent

Sunken 18th-century ship discovered by chance off famed Game of Thrones filming spot

An 18th-century boat has been discovered by chance near the majestic stone walls of Croatia 's medieval city of Dubrovnik. The remarkable discovery was made in April by Ivan Bukelic, who was working on a water pipeline in Dubrovnik's old port when he stumbled upon a wooden structure buried in the seabed. 'I can now say I discovered a boat at the Old Town Dubrovnik,' Bukelic, who is a diver and undersea builder from Dubrovnik, said. He said the vessel was some 60 to 80 centimetres (23-31 inches) under the sea bottom. A key trade port in the Adriatic Sea in medieval times, Dubrovnik has been declared a UNESCO- protected heritage site. It attracts huge crowds of tourists, especially during the summer, and is also known as a filming site for HBO 's Game of Thrones series. The remains of the boat in Dubrovnik's old port have been protected for further examination. 'We still cannot speak of the type of vessel or its dimensions, but we can say for certain, based on the results of radiocarbon analysis, that it was from the late 18th century,' marine archaeologist Irena Radić Rossi said. Radić Rossi said the aim is to continue with the research in cooperation with Croatia's Ministry of Culture. 'We must protect it for the future,' she said. Dubrovnik is a prime example of the effects of mass tourism, a global phenomenon in which the increase in people travelling means standout sites, particularly small ones, get overwhelmed by crowds. In 2017, local authorities announced a 'Respect the City' plan that limits the number of tourists from cruise ships to a maximum of 4,000 at any one time during the day. On a typical day in 2018, about eight cruise ships anchored at the town of 2,500 people, each dumping some 2,000 tourists into the streets.

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