Buildings Styled After Famous Landmarks
Novelty architecture in the form of famous landmarks has been built in China, Georgia, Japan, and the United States. Such replica buildings are extensively used in casinos, hotels or amusement parks such as Disneyland where the apparent playfulness and whimsy are intended to add to their appeal. In some cases, such as Carhenge, the structure is an adaptation of a well-known building.
Casinos on the Las Vegas Strip, in the form of novelty architecture include the pyramid-shaped Luxor Hotel and the New York-New York Hotel & Casino, a building designed to look like the New York City skyline; Paris Las Vegas whose front suggests the Paris Opera House and the Louvre; and Excalibur Hotel and Casino (1990), with its stylized façade of King Arthur's castle (Camelot). In Macau, The Venetian Macao, like its counterpart in Las Vegas, features a replica of St Mark's Campanile and other buildings in Venice.
In Batumi on Georgia's Black Sea coast new high-rise landmark buildings and the renovation of the Old Town have incorporated novelty buildings, including. Many of these constructions are novelty architecture, including the Sheraton Hotel, designed in the style of the Great Lighthouse at Alexandria, Egypt; the Alphabet Tower (145 metres (476 ft) high), celebrating Georgian script and writing; Piazza, a mixed-used development in the form of an Italian piazza; and buildings designed in the style of the Leaning Tower of Pisa, the Acropolis, and an upside-down White House.
In China, the New South China Mall in Dongguan, features a 25 metres (82 ft) replica of the Arc de Triomphe, another replica of Venice's St Mark's Campanile, a 2.1 kilometres (1.3 mi) canal with gondolas, and a 553-meter indoor-outdoor roller coaster. In Japan, there is the Huis Ten Bosch (theme park) near Nagasaki which are replicas of Dutch landmarks like Huis ten Bosch and the Dom Tower of Utrecht.
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Famous quotes containing the words buildings, styled, famous and/or landmarks:
“Now, since our condition accommodates things to itself, and transforms them according to itself, we no longer know things in their reality; for nothing comes to us that is not altered and falsified by our Senses. When the compass, the square, and the rule are untrue, all the calculations drawn from them, all the buildings erected by their measure, are of necessity also defective and out of plumb. The uncertainty of our senses renders uncertain everything that they produce.”
—Michel de Montaigne (1533–1592)
“Down the road, on the right hand, on Brister’s Hill, lived Brister Freeman, “a handy Negro,” slave of Squire Cummings once.... Not long since I read his epitaph in the old Lincoln burying-ground, a little on one side, near the unmarked graves of some British grenadiers who fell in the retreat from Concord,—where he is styled “Sippio Brister,”MScipio Africanus he had some title to be called,—”a man of color,” as if he were discolored.”
—Henry David Thoreau (1817–1862)
“When I was bound apprentice, in famous Lincolnshire,
Full well I served my master for more than seven year,
Till I took up poaching, as you shall quickly hear:
Oh, ‘tis my delight on a shining night, in the season of the year.”
—Unknown. The Lincolnshire Poacher (l. 1–4)
“The lives of happy people are dense with their own doings—crowded, active, thick.... But the sorrowing are nomads, on a plain with few landmarks and no boundaries; sorrow’s horizons are vague and its demands are few.”
—Larry McMurtry (b. 1936)