The talajangha is carved with a series of khakhara mundi pilasters and bandhana has three mouldings without any carvings. The upara jangha is carved with a series of pidhamundi. The baranda has five mouldings and Gandi is plain except udyota simha in the central raha and dopichha simha at the above the kanika paga. The doorjambs are carved with three vertical bands of puspa sakha, nara sakha and lata sakha. At the base of the jambs there are two pidha mundi dvarapala niches that house unusual kind of doorkeepers of male and female figures. At the lalatabimba there is a Gajalaxmi panel sitting in lalitasana over a lotus pedestal. While her left hand is holding lotus the right hand is in varada mudra. The deity is flanked by two full blown lotuses. Inside the Sanctum, the eastern wall is carved with two large sized pidha mundi niches, which was originally enshrining the presiding deity, which is now missing.
The majestic temple of Lord Shree Jagannatha at Puri is said to have been built by emperor Anangabhimadeva, historically identified as Angangabhima III belonging to Ganga dynasty. Some historians are of opinion that the construction was commenced during the reign of emperor Chodagangadeva, the founder of the dynastic rule in Odisha. It is described in Madala Panji, the temple chronicle of Puri that Anangabhima contemplated to construct a temple of Srivatsa khandasala type with 100 cubits in height. But on the advice of the ministers and royal priests, the height was reduced to 90 cubits. Accordingly the temple was built, as it stands today. Babu Manamohan Ganguly has measured the height of the present temple by theodolite method and has concluded that it is 214 feet 8 inches.
The Temple of Haeinsa, on Mount Gaya, is home to the Tripitaka Koreana , the most complete collection of Buddhist texts, engraved on 80,000 woodblocks between 1237 and 1248. The buildings of Janggyeong Panjeon, which date from the 15th century, were constructed to house the woodblocks, which are also revered as exceptional works of art. As the oldest depository of the Tripitaka , they reveal an astonishing mastery of the invention and implementation of the conservation techniques used to preserve these woodblocks
In 743, Emperor Shōmu issued a law in which he stated that the people should become directly involved with the establishment of new Buddha temples throughout Japan. His personal belief was that such piety would inspire Buddha to protect his country from further disaster. Gyōki, with his pupils, traveled the provinces asking for donations. According to records kept by Tōdai-ji, more than 2,600,000 people in total helped construct the Great Buddha and its Hall; contributing rice, wood, metal, cloth, or labor; with 350,000 working directly on the statue's construction. The 16 m (52 ft) high statue was built through eight castings over three years, the head and neck being cast together as a separate element. The making of the statue was started first in Shigaraki. After enduring multiple fires and earthquakes, the construction was eventually resumed in Nara in 745, and the Buddha was finally completed in 751. A year later, in 752, the eye-opening ceremony was held with an attendance of 10,000 monks and 4,000 dancers to celebrate the completion of the Buddha. The Indian priest Bodhisena performed the eye-opening for Emperor Shōmu. The project nearly bankrupted Japan's economy, consuming most of the available bronze of the time; the gold was entirely imported. 48 lacquered cinnabar pillars, 1.5 m in diameter and 30 m long, support the blue tiled roof of the Daibutsu-den. The original complex also contained two 100 m pagodas, among the tallest structures at the time. These were destroyed by an earthquake. The Shōsōin was its storehouse, and now contains many artifacts from the Tenpyo period of Japanese history.
The mosque's interior is supported by 45 columns, 33 of which are white marble and 12 of stone. The column rows of the central aisles are heavy and stunted. The remaining four rows are better proportioned. The capitals of the columns are of four different kinds: those in the central aisle are heavy and primitively designed, while those under the dome are of the Corinthian order, and made from Italian white marble. The capitals in the eastern aisle are of a heavy basket-shaped design and those east and west of the dome are also basket-shaped, but smaller and better proportioned. The columns and piers are connected by an architectural rave, which consists of beams of roughly squared timber enclosed in a wooden casing. A great portion of the mosque is covered with whitewash, but the drum of the dome and the walls immediately beneath it are decorated with mosaics and marble. Some paintings by an Italian artist were introduced when repairs were undertaken at the mosque after an earthquake ravaged the mosque in 1927. The ceiling of the mosque was painted with funding by King Farouk of Egypt. The minbar ("pulpit") of the mosque was built by a craftsman named Akhtarini from Aleppo on the orders of the Zengid sultan Nur ad-Din. It was intended to be a gift for the mosque when Nur ad-Din would capture Jerusalem from the Crusaders and took six years to build (1168–74). Nur ad-Din died and the Crusaders still controlled Jerusalem, but in 1187, Saladin captured the city and the minbar was installed. The structure was made of ivory and carefully crafted wood. Arabic calligraphy, geometrical and floral designs were inscribed in the woodwork. After its destruction by Rohan in 1969, it was replaced by a much simpler minbar. In January 2007, Adnan al-Husayni—head of the Islamic waqf in charge of al-Aqsa—stated that a new minbar would be installed; it was installed in February 2007. The design of the new minbar was drawn by Jamil Badran based on an exact replica of the Saladin Minbar and was finished by Badran within a period of five years. The minbar itself was built in Jordan over a period of four years and the craftsmen used "ancient woodworking methods, joining the pieces with pegs instead of nails, but employed computer images to design the pulpit [minbar].
The Dome is maintained by the Ministry of Awqaf in Amman, Jordan. Until the mid-twentieth century, non-Muslims were not permitted in the area. Since 1967, non-Muslims have been permitted limited access; however non-Muslims are not permitted to pray on the Temple Mount, or carry any form of religious artifact or anything with Hebrew letters. The Israeli police help enforce this. Due to security concerns, Israel has restricted access of Palestinian residents of the West Bank to Jerusalem. Very rarely are exceptions made. West Bank Palestinian men must be over 35 to be eligible for a permit. Palestinian residents of Jerusalem, who hold Israeli residency cards, and Palestinians with Israeli citizenship are permitted unrestricted access. In 2006, the Temple Mount was reopened to non-Muslim visitors during the hours of 7:30–11:30 am and 1:30–2:30 pm during summer and 7:30–10:30 am and 1:30–2:30 pm during winter (now the hours are 7:30-10:00 and 12:30-13:30 during winter). Non-Muslims are prohibited from entering after 2:30 pm and may not enter on Fridays, Saturdays, or Muslim holidays. Entry is through a wooden walkway next to the northern entrance to the Western Wall. Non-Muslims are prohibited from entering the mosques, entering the Dome of the Rock, and accessing the Temple Mount through the Cotton Market. Visitors are subject to strict security screening. Some Orthodox rabbis encourage Jews to visit the site, while most forbid entry to the compound lest there be a violation of Jewish law. Even rabbis who encourage entrance to the Temple Mount prohibit entrance to the actual Dome of the Rock.
The church plan is that of a Latin cross with five aisles. The central nave vaults reach forty-five metres (150 ft) while the side nave vaults reach thirty metres (100 ft). The transept has three aisles. The columns are on a 7.5 metre (25 ft) grid. However, the columns of the apse, resting on del Villar's foundation, do not adhere to the grid, requiring a section of columns of the ambulatory to transition to the grid thus creating a horseshoe pattern to the layout of those columns. The crossing rests on the four central columns of porphyry supporting a great hyperboloid surrounded by two rings of twelve hyperboloids (currently under construction). The central vault reaches sixty metres (200 ft). The apse is capped by a hyperboloid vault reaching seventy-five metres (250 ft). Gaudí intended that a visitor standing at the main entrance be able to see the vaults of the nave, crossing, and apse; thus the graduated increase in vault loft. There are gaps in the floor of the apse, providing a view down into the crypt below. The columns of the interior are a unique Gaudí design. Besides branching to support their load, their ever-changing surfaces are the result of the intersection of various geometric forms. The simplest example is that of a square base evolving into an octagon as the column rises, then a sixteen-sided form, and eventually to a circle. This effect is the result of a three-dimensional intersection of helicoidal columns (for example a square cross-section column twisting clockwise and a similar one twisting counter-clockwise). Essentially none of the interior surfaces are flat; the ornamentation is comprehensive and rich, consisting in large part of abstract shapes which combine smooth curves and jagged points. Even detail-level work such as the iron railings for balconies and stairways are full of curvaceous elaboration.
The church acquired its present-day vivid colors in several stages from the 1680s to 1848. Russian attitude towards color in the 17th century changed in favor of bright colors; icon and mural art experienced an explosive growth in the number of available paints, dyes and their combinations. The original color scheme, missing these innovations, was far less challenging. It followed the depiction of the Heavenly City in the Book of Revelation: And he that sat was to look upon like a jasper and a sardine stone: and there was a rainbow round about the throne, in sight like unto an emerald. And round about the throne were four and twenty seats: and upon the seats I saw four and twenty elders sitting, clothed in white raiment; and they had on their heads crowns of gold. The 25 seats from the biblical reference are alluded to in the building's structure, with the addition of nine small carrot domes around the central tent, four around the western side church and four elsewhere. This arrangement survived through most of the 17th century. The walls of the church mixed bare red brickwork or painted imitation of bricks with white ornaments, in roughly equal proportion. The domes, covered with tin, were uniformly gilded, creating an overall bright but fairly traditional combination of white, red and golden colors. Moderate use of green and blue ceramic inserts provided a touch of rainbow as prescribed by the Bible. While historians agree on the color of the 16th-century domes, their shape is disputed. Boris Eding wrote that they most likely were of the same onion shape as the present-day domes. However, both Kolomenskoye and Dyakovo churches have flattened hemispherical domes, and the same type could have been used by Barma and Postnik.[62
In 2007, the mosque underwent a fourth extension project which is estimated to last until 2020. King Abdullah Ibn Abdulaziz planned to increase the mosque's capacity to 2 million; although the King died in 2015, his successor, King Salman, is likely to continue renovations. Northern expansion of the mosque began in August 2011 and was expected to be completed in one and a half years. The area of the mosque will be expanded from the current 356,000 m2 (3,830,000 sq ft) to 400,000 m2 (4,300,000 sq ft). A new gate named after King Abdullah will be built together with two new minarets, bringing their total to eleven. The cost of the project is $10.6 billion and after completion the mosque will house over 2.5 million worshipers. The Mataaf (the circumambulation areas around the Kaaba) will also see expansion and all closed spaces will be air conditioned.
The two tiered mosque has a rectangular plan. The Ottoman prayer hall faces towards the south. It has a flat paved roof topped with 27 sliding domes on square bases. Holes pierced into the base of each dome illuminate the interior. The roof is also used for prayer during peak times, when the domes slide out on metal tracks to shade areas of the roof, creating light wells for the prayer hall. At these times, the courtyard of the Ottoman mosque is also shaded with umbrellas affixed to freestanding columns. The roof is accessed by stairs and escalators. The paved area around the mosque is also used for prayer, equipped with umbrella tents. Sliding Domes and retractable umbrella-like canopies are designed by the German architect Mahmoud Bodo Rasch and his firm SL Rasch GmbH and Buro Happold.[