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AD Classics: AD Classics: Getty Center / Richard Meier & Partners

• Written by Megan Sveiven

• Architects: Richard Meier & Partners
• Year Completion year of this architecture project Year:  1997
• Photographs Photographs: wikimedia commons
• Manufacturers Brands with products used in this architecture project Manufacturers:   Goppion

Text description provided by the architects. The Getty Center occupies a narrow, hilly stretch high above the San Diego Freeway in Los Angeles California. Jutting southward from the Santa Monica Mountains, the museum’s acropolis-like stature affords spectacular views over the city, the mountains and the ocean.

Coined, “the commission of the century”, this $1 billion arts facility began in 1984 with the mandate to advance knowledge and nurture critical seeing through the growth and presentation of its collections and by advancing the understanding and preservation of the world's artistic heritage. Today the Museum’s permanent collection contains Greek and Roman antiquities, 18th-century French furniture and European paintings, and is visited by more than 1.8 million people a year.

Completed in 1997, Richard Meier’s program brings the seven components of the Getty Trust into a coherent unity, while maintaining their individual identities. The layout establishes a dialogue between the angle of intersection and a number of curvilinear forms that are largely derived from the contours of the site inflected by the Freeway, the metropolitan grid and the natural topography; the overall parts relate to both the City of Los Angeles and the Santa Monica Mountains.

The Center covers almost 100,000 square feet of area, and is organized along two ridges in the topography of the 110-acre parcel.

The Museum acts as the centerpiece and the main entrance to the Center. Stepping off the tram that takes you from the base of the mountain and parking area to the Welcome Center and into the Museum. The entrance lobby has a sun-lit circular foyer, and provides views through the courtyard to gallery structures arrayed in a continuous sequence.

Throughout the Museum there is a layering in section between paintings, illuminated by skylights on the top floor and artworks which must be shielded from ultraviolet light on the lower levels.

The smaller pavilion buildings, connected by gardens, break down the scale of the museum experience allowing for pauses and encouraging interplay between the interior and exterior. 

Each pavilion cluster has its own atrium with an adjacent stairway and elevator linking the sculpture drawing, manuscript, and photography galleries on the first floor to the paintings and galleries above.

A 450-seat auditorium, west of the Getty Trust offices and the Art History Information Program, terminate the east elevation. The Getty Conservation Institution, The Getty Center for Education, and The Getty Grant Program take advantage of the climate through the use of loggias, pergolas and full-height glazing at the external perimeter. Along the more secluded western ridge, the Getty Research Institute for the History of Art and the Humanities completes the complex.

The Getty Center was the first building to be LEED certified after the standard was established by the U.S. Green Building Council (USGBC) in 1998. It is a reflection of Richard Meier & Partners design philosophy that innately considers sustainable elements like natural light, circulation and energy saving technologies and materials.

Special thanks to Richard Meier & Partners Architects and Scott Frances ESTO for the images, drawings, data and detailed description of the Getty Center.

This building is part of our Architecture City Guide: Los Angeles . Check all the other buildings on this guide right here.

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Address: los angeles, california.

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The J. Paul Getty Museum at the Getty Villa

TripSavvy / Christian Hundley 

Oil magnate J. Paul Getty used some of his vast wealth to amass an incredible art and antiquities collection, first displayed in his ranch house on a bluff overlooking the Pacific. In the early 70s, he had a Romanesque villa constructed next to his house to be a permanent museum for his collection. The Malibu Villa, modeled after the partially excavated Villa dei Papiri in Italy, became the home of the J. Paul Getty Museum in 1974. In 1997, the Getty Villa was closed and the collection was relocated to the hilltop Getty Center in Brentwood (Los Angeles).

After a nine-year, $275 million renovation and expansion, the J. Paul Getty Museum at the Getty Villa re-opened in 2006 as home to the Museum’s Antiquities Collection. The Villa and gardens are familiar to those who visited in the past. The original building was stripped down to the bare framework and re-built as an earthquake-resistant, enhanced version of itself. The rest of the canyon was built up from bottom to top, covering the steep hillside with strata of wood-grained concrete and stone in a high-concept version of an archaeological dig. They also added a new parking structure, Entry Pavilion, Outdoor Theater, Auditorium, expanded Café and Museum Store in the narrow canyon. If you’re not overly obsessed with architectural accuracy, you’ll be charmed by the updated Villa, despite its cramped quarters. Use this guide to get the most out of your visit. Like the Getty Center, the Getty Villa is one of the top free things to do in LA  and one of the ​top art museums in Los Angeles .

Address:  17985 Pacific Coast Highway (PCH), Pacific Palisades, Los Angeles Hours:  Wednesday - Monday 10 am - 5 pm. Closed Tuesday and on January 1, July 4, Thanksgiving, and December 25. Cost:  Admission is FREE, but advance timed tickets are required for every person over 5 years old. Each adult tickets may bring up to 3 children 15 and under in the same car. 

Getting There: By Car:  The Getty Villa is located at 17985 Pacific Coast Highway (PCH) in Pacific Palisades (Malibu), just north of the intersection with Sunset Boulevard. The Villa can only be accessed from the northbound side of PCH. By Bus:  Metro Bus 434 stops in front.

Accessibility:  All parts of the Getty Villa compound are handicapped accessible via ramps and elevators. Standard wheelchairs and strollers are available without charge in the Entry Pavilion on a first come basis. Select materials are available in Large Print or Braille. Sign Language Interpretation is available by advance request at public events. Assisted Listening Devices are available at the Tour Meeting Point and Information Desk.

Getty Villa Architecture I - The Grounds

TripSavvy / Christian Hundley

The Getty Center and Getty Villa are as much about the architecture as the art collection. Like much art, they are better appreciated with an understanding of their creators’ intentions. Knowing the architects' concept of re-imagining the site as an archaeological dig, puts otherwise incongruous details in context. Oddly placed walls in the Entry Pavilion overlooking the Villa to one side and a concrete courtyard below re-create the sense of looking down into the dig pit - if you know that's what it's supposed to represent.

Stairs from the garage through the Entry Pavilion and the Path to Museum bring you to the top of the Outdoor Theater , from where you can look down to the Villa Entrance. This, again, gives the impression of looking down into the site. But if you don't feel like ascending all those stairs just to climb back down through the theater, the archway to the right as you come up the stairs will take you through the Herb Garden to the Museum entrance. There are also elevators.

Beyond the Villa and Outdoor Theater, between the Auditorium and the Museum Store, a flat, square pool of Chinese black marble collects water seeping from between layers of travertine, bronze, red porphyry stone and board-formed concrete to add to the archaeological concept. The different textures represent the strata of volcanic deposits that covered the Villa dei Papiri when Vesuvius erupted in A.D. 79. An Orientation Tour gives architectural highlights.

Getty Villa Architecture II - The Villa

J. Paul Getty modeled the Malibu Villa after the Villa dei Papiri in Herculenium near Pompeii. Only part of the villa was excavated, but from floor plans, architects were able to recreate the dimensions of the ancient Roman villa. Details of floor and wall designs come from several other Greek and Roman edifices.

The Museum interior consists of 29 galleries on two levels, a reading room, and two interactive exhibits. Downstairs galleries open off an Atrium with an open skylight over a central pool. Beyond the Atrium, sculptured figures flank a long fountain amid Mediterranean plants in the Inner Peristyle , a courtyard surrounded by a columned porch. The doorway straight ahead under the yellow marble stairs leads to the East Garden .

To the right of the Inner Peristyle, is the Triclinium - a fancy dining room in a 1st-century Roman villa. This space is vacant to allow you to appreciate the intricate geometric marble designs on the floor and walls and the grapevine-painted ceiling. The Triclinium opens to the Outer Peristyle and Garden with a reflecting pool running its length. Unlike the Inner Peristyle, there are no galleries behind the long porticos. Latticed openings in the mural-covered walls look through to the grounds beyond. The landscaping of the Villa includes over 1000 Mediterranean plants.

From the south end of the Outer Peristyle, you can look out over the canyon to the Pacific Ocean. Another great view is from the south terrace on the Museum’s second floor.

The Getty Villa Permanent Antiquities Collection

The Getty Villa houses the Museum’s antiquities collection, focusing on Greek, Roman and Etruscan artifacts. The exhibit areas are organized thematically, which allows you to compare the different styles used across time and place. For example, the Stories of the Trojan War display contains any item that made reference to Achilles, whether on an Etruscan Vase, a Roman sarcophagus or a stone likeness of the Greek hero. There is a little bit of overlap or overflow of themes. Hercules/Herakles has his own Temple and appears also in the Mythological Heroes gallery. There is a lot to see, which can lead to museum fatigue, so plan your visit to see what interests you most first. Downstairs Galleries:

• Terracotta and Marble Vessels
• Silver Treasures
• Bronze Vessels
• Gods and Goddesses
• Luxury Vessels
• Basilica (more Gods and Goddesses)
• Monsters and Minor Deities
• Temple of Herakles (Hercules)
• Mythological Heroes
• Stories of the Trojan War
• Dionysus and the Theater
• Interactive Exhibits (see next page)

Upstairs Galleries:

• Changing Exhibitions
• Funerary Sculpture
• Animals in Antiquity
• Arts of Greco-roman Egypt
• Women and Children in Antiquity
• Religious Offerings
• Men in Antiquity
• The Victorious Youth
• Athletes and Competition
• Gems, Coins, and Jewelry
• Prehistoric and Bronze Age Arts

The colors, textures, and materials of the gallery spaces are designed to complement the artifacts and mimic the spaces that might have housed these items in earlier times.

Interactive Exhibits at the Getty Villa

Kayte Deioma

On the first floor off of the Triclinium are two interactive exhibit rooms. The Family Forum provides a space where children and adults can explore ancient cultures with hands-on activities. The artistically inclined can draw designs on replica vases and urns with dry-erase markers. A shadow play area allows you to grab a sword or pitcher and become a live part of the black on red vase motif. A touchy-feely display lets you reach through holes in a wall to feel what the clay for the vases would have felt like.

On the other side of the Triclinium, the TimeScape exhibit helps to put the Greek, Roman and Etruscan cultures into geographical and chronological perspective. Three parallel timelines wrap around three walls. An interactive map allows you to visualize who covered what territory when. Video stations highlight stylistic differences in the representational art of the three cultures. There are also GettyGuide stations where you can use the computer directory to look up specific artifacts to learn more about them and find their location in the Museum.

Upstairs on the east side of the building, there are more GettyGuide stations. You can also access the collection online  to get a preview.

Getty Villa Amenities

Café The Café at the Getty Villa has expanded and has indoor and outdoor seating. The Café offers Mediterranean cuisine from salads, pizza, and panini to pork chops with polenta. Espresso Cart The Espresso Cart is located near the outdoor Café seating. In addition to a variety of coffee and tea beverages, they have a limited selection of reasonably priced sandwiches, soup, salad, and baked goods. Museum Store The Museum Store is located below the Café, next to the Outdoor Theater on the same level as the Museum entrance. They have typical Museum Store goods including replicas and miniatures of some of the Museum’s collection or related items, books, jewelry, souvenirs and educational games and activities for kids. Tours Free Orientation Tours and Collection Highlights Tours leave from the Tour Meeting Spot across from the Villa entrance. Audio Tours are available at the Audio Guide Pickup near the cloakroom. There are five pre-programmed tours you can choose from. Alternately, some of the artifacts in each room are marked with a red PLAY arrow and a number that you can punch into the keypad to hear a description of the item including relevant history and myths. There are only a few numbered pieces in each gallery, so you’re left to read what you like about the rest.

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Los Angeles: Planning Your Trip

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5. Central Garden

Give your nose something to smell, your eyes something to admire, and your feet something to explore when you soak in the glorious ever-changing work of art that is the Central Garden at the heart of the Getty Center. Created by artist Robert Irwin, the 134,000 square-foot Central Garden is the perfect place to spend a sunny afternoon, with tree-lined paths, peaceful sanctuaries and more than 500 varieties of plants to enjoy. Whether cactuses, fountains or shaded spots are your favorite, the lush Central Garden offers visitors an escape from the city’s bustle and a banquet for the eyes.

6. Cactus Garden

The Center’s succulent cactus garden at the South Promontory is the perfect blend of elegance and structure, weaving in the prickliness of the cacti against the garden’s angular city silhouettes. Visitors that scope out this hidden gem are rewarded with a serene ambiance to take in the panoramic city views. There are 32 full-time gardeners maintaining the grounds of the Getty Center, providing the essential care these rare plants require.

7. Family Room

Learn and play with your kids in the Getty Center's Family Room . Featuring five activity coves and treasure-hunt walls that surround the room, it's bursting with cool things to see and do. The Family Room is free and no reservations are needed.

8. Public Programs

Throughout the year, the Getty Center presents a wide range of public programs , including talks, family workshops, and special film screenings. Live performances include Ever Present , an ongoing experimental series that brings contemporary performance into the Getty's architecture and gardens. The Getty Center also hosts free daily tours of the museum’s architecture and major works. Tours are first-come, first-served - sign up 15 minutes before the tour at the Information Desk.

9. GettyGuide

Amplify your museum experience with GettyGuide , a free mobile app with audio tours that tell fascinating stories about the works of art on view and the Central Garden. Get immersed in atmospheric soundscapes and hear insights from curators, artists, scientists, and others. The GettyGuide app is available at the App Store and Google Play in English and numerous languages.

10. Picnic on the Lawn

During a full day of viewing exhibits, exploring the gardens and participating in workshops, your hunger can be soothed at one the Getty Center’s many dining options , from an elegant, full-service restaurant to a self-service or garden terrace café, coffee and pizza carts, and boxed lunches. It’s bound to be your toughest decision of the day. We suggest picking up a gourmet to-go lunch outside the restaurant on the Plaza Level and then grabbing a grassy spot for a leisurely picnic .

Discover LA Newsletter

10 Reasons Why Museum Hack's Tour of the Getty Museum is Totally Worth Your Saturday

Los Angeles city views from the South Pavilion's observation deck at the Getty Center.

Piano Curve architecture outside the Getty Center.

Hello and welcome to our California family adventures! This blog post is all about our family trip to the Getty Museum in Los Angeles. And more specifically, we took Museum Hack’s fun tour through the enormous museum.

Keep reading to find tips on how to maximize your own visit to The Getty, including great spots for photos with panoramic LA city skyline views.

All About the Getty Museum

The Getty Center , commonly referred to as the Getty, is a museum and research center located in the Brentwood neighborhood of Los Angeles in California. It is a campus of the J. Paul Getty Trust, which also operates the Getty Villa in Malibu.

The Getty Center houses a vast collection of art and artifacts, including paintings, sculptures, photographs, manuscripts, and decorative arts, from ancient times to the present day. The collection features works from Europe, America, and Asia, with a focus on Western art from the Middle Ages to the present. The museum also hosts temporary exhibitions throughout the year.

The Getty Center is known for its striking architecture and beautiful gardens, designed by renowned architect Richard Meier . The complex is situated on a hilltop overlooking the city of Los Angeles and provides visitors with stunning views of the surrounding landscape.

Museum Hack’s Tour of the Getty Museum

I consider myself to be somewhat of a pro at Museum Hack Tours, this past tour at The Getty Museum was my third time around. Every excursion is like a completely new experience because each one is custom curated by the guide. During our Los Angeles visit we were guided by Baxter on the Un-Highlights Tour. I highly recommend him if you get the chance to join one of his tours!

Columns at the Getty Center Garden Terrace Cafe.

Birds of Paradise Garden at South Pavilion's observation deck at the Getty Center.

Pro Tips from a Museum Hack Veteran

A lot of naughty and a little less nice.

The first thing you should know about a Museum Hack tour is there’s going to be a lot of “adult” themed topics discussed, i.e. sex, drugs, violence and pretty much any other taboo subject you can think of. The best part is you'll feel totally classy while indulging your naughty side.

With that being said, you’ll want to make sure that the friends and family that you bring along with you are down for the cause. Putting it bluntly, don’t bring overly conservative or easily offended folks with you on a Museum Hack Tour. With the right crowd you’ll have a blast, but with the wrong one you’ll end up with some awkward silences.

Vase of Flowers By Jan van Huysum on display at Getty Museum East Pavilion.

Polaroids of South Pavilion's Upper Deck at Getty Center.

Arrive Early

The parking garage for the Getty Museum is located at the bottom of the hillside and you’ll have to take a tram up to the the museum main entrance. The entire process of boarding and riding the train can take up to 20 minutes. To avoid being late for your tour, give yourself a good buffer of time.

Travertine Stone Walls at Getty Museum.

South Pavilion's upper deck at the Getty Center.

Ditch the Stuffy Art Talk

When you’re taking the “Un-Highlights Tour,” you won’t be stopping to look at the most popular or well-known pieces of artwork. You can forget about analyzing brushstroke technique and labored conversations about art periods. Most of your conversations will be anecdotal with some interesting tidbits on the history surrounding certain pieces of art.

Los Angeles skyline views from Getty's South Pavilion's upper deck.

Smarty Pants Tour Guides

The Museum Hack guides are very knowledgeable and really take the time to do their research. You’ll feel comfortable and encouraged to ask all kinds of questions, which often leads to some lively discussions.

Family photos inside Cactus Garden at Getty Center.

Dress Cute But Comfortable

There will be many photo opportunities during your visit to the museum, so you’ll want to plan accordingly. You will also be on your feet walking around for at least 2 hours so be sure to wear comfortable walking shoes.

Central Garden inside The Getty Center.

Getty Center Courtyard.

Eat Beforehand

A rookie mistake I made on my first tour was rushing straight to the museum and skipping breakfast. My rumbling stomach and low energy was a bit of a distraction and slightly detracted from my experience. Museum Hack tours are highly energetic and engaging, you’ll have much more fun when you’re awake and fully charged. If you’re a caffeine addict, don’t forget your morning coffee before the tour!

Central Garden outside The Getty Center.

The Perfect Daytime Date

Shake up your routine and take your sweetheart out for a few hours of fun. Whether you’re in the beginning phases of dating or an old married couple like us, your Museum Hack adventures will make for some fun pillow talk later on. Take the time to reconnect and maybe make some new friends.

Rebar and bougainvillea trees in Central Garden outside The Getty Center.

Bachelorette Party

If you’re looking for a sophisticated but still risqué way to celebrate upcoming nuptials, a Museum Hack Tour could be perfect for you. Plan a special day of bonding and giggles with your girl gang.

Windows full of light inside Getty Center.

Clear Your Schedule

After each Museum Hack Tour, we like to take the time to explore more areas of the the museum and re-visit some of our favorite art pieces from the tour. If you book another event immediately afterwards, you won’t have to the opportunity to take full advantage of your museum visit. The Getty Museum is an especially large property and it can take several hours to see everything. Don’t forget to check out the gardens!

My Getty Museum Favorites

By far the most famous work of art inside the Getty Museum is Vincent Van Gogh's canvas Irises . I wanted to take a photo with the renowned painting but there was consistently a large crowd gathering in that area.

The Getty Museum’s modern buildings were designed by Richard Meier. Although it houses so many great masterpieces, the museum is in and of itself a great piece of art. I personally love the way the architecture captures the light with curves and strategically placed glass. The off-white color scheme of the buildings combined with the lighting makes for great photography backdrops.

Lastly, the geographic location of the Getty Museum being high upon the mountainside makes for some of the best skyline views in Los Angeles. There’s multiple vantage points throughout the Getty property, providing great photo opportunities.

Red Baroque wallpaper inside French Régence style rooms at Getty Center.

French Régence style antique furniture inside Getty Center.

In conclusion:

The thing I love most about Museum Hack Tours is its ability to make classic works of art not only more relatable and interesting, but it also adds humor and intrigue to a past world that often seems so far removed from modern day. Book your tickets today at the Museum Hack website .

Camera and photography exhibit at Getty Center.

Little Scout at the photography exhibit at Getty Center.

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6 of the Most Infamous Murder Houses in American History

By Charlotte Collins

Audiences have long been spellbound by murder houses, as evidenced by the number of cult favorite TV shows and box office hits centered around places where the unthinkable happened. From the true crime story turned 1979 classic The Amityville Horror to the 2011 debut that ignited the American Horror Story anthology franchise (subtitled simply: Murder House ) , the intrigue in abodes with dark backstories has been enough to attract viewers for decades.

In real life, dwellings that were once crime scenes sometimes struggle to sell due to their stigmatized pasts. The Tudor-style manor at the center of the JonBenet Ramsey murder in Boulder, Colorado, was removed from the market this spring after multiple price cuts yielded no buyers. A massive devaluation isn’t always in order, though; about 20 miles away, the Watts home in Frederick, Colorado—where Chris Watts killed his pregnant wife, Shannan, in a case that sparked public outcry and a slew of documentary adaptations —saw a 29% price increase from its 2022 sale to its listing earlier this year, according to Realtor.com .

Dr. Randall Bell has dealt with his fair share of properties forever stained by their heartbreaking, high-profile lore. As the CEO of Landmark Research , a firm specializing in real estate damage economics, Bell has been retained on cases including the Ramsey house, Nicole Brown Simpson’s Brentwood home, and the Santa Fe, California, manse that was the site of the Heaven’s Gate cult mass suicide. In Bell’s experience, such infamous properties will typically see a 15% to 25% decline in value. While the events that unfolded in these homes may draw in passersby, Bell says it’s unlikely that the true crime boom has ever made for an increased valuation in such circumstances.

“There’s a lot of people who have a macabre interest [in murder houses], but I don’t really see people particularly buying these homes because of their fascination with crime; it’s more that they’re getting a discount.” As with the properties destroyed in Hurricane Katrina (which Bell also worked on), buyers tend to “swoop in” for better rates than they’d typically get in the area: “It’s the same concept as a bankruptcy,” Bell explains. “People buy distressed properties, and [murder sites] are distressed properties.”

Razing the residence completely is apparently a common consideration for those trying to offload a murder house, per Bell. When it falls under their ownership, the municipality on which a stigmatized property is located sometimes sees fit to order an edifice knocked down to offer some semblance of closure. In 2011, the home where “Cleveland Strangler” Anthony Sowell stored the bodies of his victims was demolished before a group of satisfied onlookers. Family members of the those killed by Sowell reportedly received a letter from the city assuring them that the destruction of the home would be “performed in such a way that no piece of the property will remain,” an action the note says was taken “in order to prevent actions that would be disrespectful to the memory of your loved one, your family and our community.”

Photographers swarm the entrance of the home where 39 followers of cult leader Marshall Applewhite died in March 1997. The home has since been demolished.

Though total demolition may seem like the best way to exorcize a property of its harrowing past, Bell cautions sellers against taking that approach in every case. “It comes up all the time, and my answer is: You’re not helping anything,” he says. “Bulldozing and rebuilding is very expensive, and the stigma, or the risk—which is the technical term—attaches to the land. The fact that this is the site is what counts and you can’t erase that. Think of a Revolutionary War battlefield: there’s nothing there, no bodies, no swords, no cannons. It’s just a field, and yet what occurred on that site is at the forefront of thought. It’s the same thing with these crime scenes. Heaven’s Gate was an old, outdated property which had some design problems, but the improvements were still ok. They bulldozed every blade of grass on that property. Still, people go by and look at it like it‘s the Heaven’s Gate house. And it’s an entirely new house.”

On the other hand, Bell explains that giving an estate a facelift might help dissipate the attention of voyeurs who flock to the grounds. Rather than tearing down the Brown Simpson house entirely, the family overhauled its exterior. “[Nicole’s father] Lou [Brown and I] were talking about how to mitigate and manage the issues, and he changed the façade of the house, [which] in my opinion was a good thing to do and he did a really good job at it,” he says. “I went by to see what he had eventually done and I couldn’t even recognize it. Architecturally, it had been dramatically altered to the point that—I can’t make this stuff up—a station wagon of tourists with Florida license plates pulled up and took pictures of the entirely wrong property.”

While they might appear as inconspicuous as any other residence from the curb, the following homes are some of the most notorious murder sites in American history.

The Lizzie Borden house

The Borden home has been converted into a bed and breakfast, complete with period-appropriate furnishings and artifacts.

By Rachel Davies

By Amy Tara Koch

By Claudia Williams

In 1892, Andrew Borden and his wife, Abby Borden, were slain in broad daylight inside their home on Second Street in Fall River, Massachusetts. Andrew’s daughter Lizzie Borden and the family’s maid were the only other people home at the time. Lizzie stood accused of killing her father and stepmother with a hatchet in a crime so publicized it spawned an enduring nursery rhyme . Lizzie, then 32 years old, was acquitted of both killings at trial and briefly returned to the house before purchasing a 14-room Queen Anne–style home in Fall River with her sister. Today, the murder site is a bed and breakfast. Per the Historic Lizzie Borden House ’s website , the abode’s decor has been “painstakingly duplicated, and the original hardware and doors are still intact. Artifacts from the murder case are displayed while memorabilia from the era line shelves and mantel tops.” The double murder remains unsolved.

10050 Cielo Drive

Actor Sharon Tate, who was eight months pregnant, and four other people were murdered at 10050 Cielo Drive in 1969. The house has since been torn down.

A cult of youths led by aspiring musician Charles Manson, known as the Manson family, struck fear into the hearts of Los Angeles residents after two bloody home invasions across two days in August 1969 claimed the lives of seven victims in total. The murders carried out by Manson and his followers would become fodder for true crime documentaries , TV show narratives , and big-budget blockbusters alike , though the final resident of the original LA home where 26-year-old actor Sharon Tate and four more were killed eventually saw the folly in sensationalizing the abode. Trent Reznor of Nine Inch Nails, who rented the house in 1992 and recorded the majority of The Downward Spiral there, moved out the next year following a chance encounter with Tate’s sister.

“She said: ‘Are you exploiting my sister’s death by living in her house?’” Renzor recalled in a Rolling Stone interview . For the first time the whole thing kind of slapped me in the face. I said, ‘No, it’s just sort of my own interest in American folklore. I’m in this place where a weird part of history occurred.’ I guess it never really struck me before, but it did then. She lost her sister from a senseless, ignorant situation that I don’t want to support. When she was talking to me, I realized for the first time, What if it was my sister? I thought, Fuck Charlie Manson; I don’t want to be looked at as a guy who supports serial-killer bullshit. I went home and cried that night.”

Reznor took the front door with him upon his departure. The dwelling was torn down in 1994 and replaced by an 18,000-square-foot, nine-bedroom Mediterranean-style home. In an effort to remove all traces of stigma, the address was also changed to 10066 Cielo Drive.

The Amityville Horror house

The home at 112 Ocean Avenue in Amityville, New York, where Ronald DeFeo Jr. killed six members of his family in 1974.

Situated on Long Island’s south shore is a home that would put its quaint village setting on the map for the grisliest of reasons. The Dutch Colonial Revival–style home was the site of six murders; Ronald DeFeo Sr., Louise DeFeo, and four of their five children, Dawn, Allison, Marc, and John, were fatally shot by their eldest, Ronald DeFeo Jr., on the evening of November 13, 1974. The home’s haunting saga continued with George and Kathy Lutz , who subsequently moved in and claimed they were terrorized by paranomal happenings inside the home, among them oozing walls and appearances of demonic figures. Their plight inspired the plot to Jay Anson’s 1977 book, The Amityville Horror . The story was later adapted into the 1979 film of the same name starring James Brolin and Margot Kidder.

A 2005 image of the waterfront Amityville Horror house

The DeFeos purchased the stately three-story home in 1965. A sign outside the home bore the words “High Hopes,” a name which DeFeo Sr. reportedly bestowed upon the house in reference to the family moving up in the world from their more modest quarters in Brooklyn to the spacious abode at 112 Ocean Avenue. Its address has since been changed to 108 Ocean Avenue.

The Clutter family farmhouse

Truman Capote’s seminal true crime novel In Cold Blood told the story of the quadruple murder at the Clutter family’s Kansas residence.

The Clutter family, largely beloved and respected by their community, met their ends on a fateful night in November 1959 that sent shockwaves through their small heartland town. Media descended upon Holcomb, Kansas, in the wake of the fatal shootings of Herb, Bonnie, Nancy, and Kenyon Clutter—among them, Truman Capote , who would write an account of the murders that delivered him to literary superstardom. The In Cold Blood author described the rural town as “flat, and the views are awesomely extensive; horses, herds of cattle, a white cluster of grain elevators rising as gracefully as Greek temples are visible long before a traveler reaches them.” According to Realtor.com , the two-story dwelling was completed in 1948 at a cost of $40,000.

Holcomb locals Leonard and Donna Mader, who bought the home in 1990, recalled the chilling feeling of life in the town when the killers’ identities were still unknown. “I didn’t sleep for nights and nights and nights. We nailed all our windows shut,” Donna told The Oklahoman . Upon moving into the former Clutter home years later, “We had a lot of, you know, weird feelings,” she said. “But after several years, you realize the house didn’t do anything.” At one point, the Maders opened the home for tours at $5 a pop, but that endeavor was eventually sidelined by zoning restrictions as well as disapproval from folks in the Holcomb community. “It was upsetting for some people who had ties to the house,” the Maders’ daughter Sue Wieland said .

Jeffrey Dahmer’s Milwaukee apartment

The apartment in the Milwaukee building where Jeffrey Dahmer murdered most of his victims.

Serial killer Jeffrey Dahmer was convicted of 15 homicides, many of which took place behind the door of his Milwaukee apartment. In addition to his strange behavior, neighbors complained about the rancid odor emanating from Dahmer’s unit. Bell did not directly work with the buyers of the complex, but he met with the owners as part of a study of the case. “I was surprised [the building] sold at a premium, I tracked down the buyers and asked them why and the reason why is that they were a redevelopment entity associated with Marquette University,” he says. “They were redeveloping the neighborhood and wanted to buy the property and demo it so it didn’t throw a wrench in their overall project.”

H.H. Holmes’s “Murder Castle”

Holmes’s “murder castle” burned down in 1895, while he was in prison.

H.H. Holmes left his wife and child behind in New Hampshire when he set his sights on Chicago in 1885. Born Herman Webster Mudgett, he rebranded upon arrival to usher in his new life, reportedly adopting the surname Holmes as an homage to Sherlock Holmes. He would become a character in a number of mysteries, but unlike the Sir Arthur Conan Doyle sleuth, he cast himself as the villain. Holmes confessed to 27 murders but was convicted of only one: that of Benjamin Pitezel, for which he was executed in 1896 at the age of 34.

Much of the intrigue with Holmes, whose life inspired the 2003 historical nonfiction book The Devil in the White City (as well as an ill-fated Scorsese adaptation, once slated to star Leonardo DiCaprio but since caught in “ development hell ”) concerns his “Murder Castle,” the massive three-story manse he had built on Chicago’s West 63rd Street. Holmes crafted the dwelling to employ a labyrinthine design, allegedly complete with rooms for torturing victims and spaces such as a quicklime pit and furnaces for the disposal of remains. Sensationalistic journalism at the turn of the 20th century, rumors coursing through the city, and some fabrications by Holmes himself made for an inflated murder count and a number of false narratives around the killer and his abode. According to History.com, the house burnt down in 1895 after witnesses saw two men entering the building late one night.

By Katie Schultz

By Michelle Duncan

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By Zoë Sessums

More From Forbes

Tanya lukin linklater reveals and withholds in exhibition at wexner center for the arts in columbus, ohio.

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Installation view of Tanya Lukin Linklater 'Held in the air I never fell (spring lightning ... [+] sweetgrass song)' (2022) at Wexner Center for the Arts.

Tanya Lukin Linklater’s Held in the air I never fell (spring lightning sweetgrass song) (2022) soars overhead of visitors at the Wexner Center for the Arts at Ohio State University in Columbus. Bright red Kohkom scarves decorated with vivid floral patterns drape in concentric arcs, commanding its light filled gallery.

“Kohkom” means “grandmother” in Cree and Lukin Linklater happily shares some of the intention behind the piece.

“The scarves are worn by women across what the Anishinabe call Turtle Island ,” Lukin Linklater (b. 1976; Sugpiak) told Forbes.com. “They’re worn by old ladies, by aunties, by powwow dancers. They're also worn by land defenders, by grassroots people, by water protectors .”

Kohkom scarves are a material the artist returns to frequently in her work.

“They gesture towards Indigenous knowledge, which is often land based, and also cultural ways of being. They operate as a kind of symbol and evoke older knowledge, or knowledge of the land and the water and being in those places,” Lukin Linklater explains. “They're a garment. The way that I use them, they're a kind of soft sculpture. They're a textile, but I also think about how this material is a way of honoring practices and communities and lineages of Indigenous peoples, and that those far exceed the idea of who we are, they far exceed these reductive ideas of who Indigenous peoples are.”

These notions begin taking onlookers into understandings the artist is unwilling to share. For example, what is the “spring lightning sweetgrass” song?

“I'm not going to explain the specificity of this particular title because it would mean that I would have to explain components of Indigenous knowledges that just aren't relevant for this particular article,” Lukin Linklater said. “In my practice at large, I'm concerned with repair of our communities and peoples which so many of our communities and peoples are undertaking on the ground, and my practice often cites that, or gestures towards that reparative work which is required because of these ongoing storms of colonialism that we have endured and continue to endure. I also choose not to fully disclose to a museum viewer or audience completely what's happening in the work because there's the kind of work that (viewers) have to do in order to know that, there's a kind of labor that's required of them, and that's all that's all I’ll say about that.”

All Indigenous knowledge does not belong to all people. Even all Indigenous people. Such information isn’t withheld out of pridefulness, but of protection. These aren’t secrets, they’re sacred.

‘The Acolyte’ Rotten Tomatoes Score Keeps Falling, And Maybe It Should If We Ever Hope To Find Balance In The Force

Wwe raw results, winners and grades after great wyatt sicks follow-up, china delivers another economic blow to russia, ‘structure of sustenance three’.

“Tanya Lukin Linklater: Inner blades of grass (soft) inner blades of grass (cured) inner blades of grass (bruised by the weather)” brings together visual and performance art in the artist’s first U.S. survey exhibition and the largest presentation of her work to date.

The exhibition’s title derives from an interview with the late Sugpiaq cultural worker Eunice von Scheele Neseth and a poem by Oglala Lakota poet Layli Long Solider. Describing grass in different states—soft, cured, and bruised by the weather—references the procedures that women of Kodiak Island follow when harvesting and processing plant material used to weave baskets. Lukin Linklater was raised in the Kodiak archipelago of southwestern Alaska.

As was the case with the presentation’s opening June 1, during its closing days, August 13 through 17, visitors can experience a multiday series of improvisational open rehearsals with Indigenous dance artists in the galleries. The dancers will center their activities around Structure of Sustenance Three (2024), a sculpture in seven triangular parts.

“My initial impulse (for the artwork) was in relation to the architecture and responding to the architecture of those particular galleries,” Lukin Linklater explained. “Then I realized this structure was similar to a bentwood hunting hat from my homelands and the Aleutian chain.”

The rounded headgear often resembling golf visors are produced by scraping, soaking, steaming, pouring, cracking, sewing, bending, and bracing wood. That process serves as the title for another of the artist’s multimedia artworks on view.

“Tanya Lukin Linklater: Inner blades of grass (soft) inner blades of grass (cured) inner blades of ... [+] grass (bruised by the weather),” installation view at the Wexner Center for the Arts, 2024.

Those fortunate enough to see the dancers will not be observing a strictly choreographed performance, but “open rehearsals” in the artist’s words. Open rehearsals will take place from 2–5 PM in the galleries.

Lukin Linklater prompts the dancers with notions of what inspired the artwork, they take it from there.

“I think about how these sculptures are listening, how they’re hearing our conversations and they’re feeling the body of the dance artist in relation to them,” Lukin Linklater said. “Sometimes I’ve given them the instruction to hold the structure or be held by the structure; what does that feel like for the structure and what does that feel like for the dancer?”

Lukin Linklater does not attempt to provide answers as much as she does stimulate questions. Her artmaking is an inquiry. An inquiry of Native traditions across North America. An inquiry that led her to an undergraduate degree at Stanford University on a Mellon Fellowship . To a PhD in cultural studies last year at Queens University in Kingston, ON.

“It is unruly, it’s ongoing, it’s every day, it’s daily life, it’s immersive,” Lukin Linklater says of the research-intensive process of her art practice that regularly finds her digging through museum archives and talking to culture bearers.

Some of which she shares.

Some of which she doesn’t.

All of which goes into her work.

Make a Day of It

COLUMBUS, OH - AUGUST 13, 2020, The Oval at Ohio State University.

The Wexner Center for the Art’s prime location along bustling North High Street on the eastern edge of Ohio State’s massive campus places guests on the school’s doorstep. Those who venture to take a look around will be rewarded.

Adjacent to the Wexner is the Billy Ireland Cartoon Library and Museum housing the world’s largest collection of materials related to cartoons and comics, including original art, books, magazines, journals, comic books, archival materials, and newspaper comic strip pages and clippings. Special exhibitions are always on view and admission is free, same as at the Wexner.

Under the same roof as the Wexner, Ohio State’s Fine Arts Library contains over 150,000 volumes of arts-related material from around the world. The public is welcome. Hours are irregular, so check before arriving.

Behind the Wexner, OSU’s sprawling The Oval and South Oval offer a grassy respite amidst some of the most magnificent trees you ever will see. Their prime, accessible location (flat and paved) on a campus of nearly 50,000 students in a major metropolitan area makes this grandeur all the more exceptional. Yes, there are Buckeyes, but it’s the sky-scraping sycamores–10-plus feet around–that drop jaws.

The University’s main library is at the opposite end of The Oval from the Wexner.

For overnight visitors, consider accommodations at The Graduate in Columbus, one of a chain of college-themed hotels in college towns around the country. Smack dab in the heart of the city’s vibrant restaurant, bar, and boutique-filled Short North Arts District , the hotel is less than two miles along North High Street from the Wexner, making for a lovely walk when the weather cooperates.

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Unesco social media, kyiv: saint-sophia cathedral and related monastic buildings, kyiv-pechersk lavra.

• Description

Designed to rival Hagia Sophia in Constantinople, Kyiv's Saint-Sophia Cathedral symbolizes the 'new Constantinople', capital of the Christian principality of Kyiv, which was created in the 11th century in a region evangelized after the baptism of St Vladimir in 988. The spiritual and intellectual influence of Kyiv-Pechersk Lavra contributed to the spread of Orthodox thought and the Orthodox faith in the Russian world from the 17th to the 19th century.

Description is available under license CC-BY-SA IGO 3.0

Kyiv : Cathédrale Sainte-Sophie et ensemble des bâtiments monastiques et Laure de Kyiv-Petchersk

Conçue pour rivaliser avec l'église Sainte-Sophie de Constantinople, la cathédrale Sainte-Sophie de Kyiv symbolise la « nouvelle Constantinople », capitale de la principauté chrétienne créée au XI e siècle dans une région évangélisée après le baptême de saint Vladimir en 988. Le rayonnement spirituel et intellectuel de la laure de Kyiv-Petchersk contribua largement à la diffusion de la foi et de la pensée orthodoxes dans le monde russe aux XVII e , XVIII e et XIX e siècles.

كييف: كاتدرائية القديسة صوفيا ومجموعة الأديرة ودير لافرا كييف بيشيرسكا

ترمز كاتدرائية القديسة صوفيا في كييف التي تم تصميمها لمنافسة كنيسة آية صوفيا في القسطنطينية الى "القسطنطينية الجديدة" التي اصبحت عاصمة الإمارة المسيحية الناشئة في القرن الحادي عشر في منطقة تم تنصيرها بعد عمادة القديس فلاديمير عام 988. وقد ساهم الإشعاع الروحي والفكري الخاص بدير لافرا كييف بيشيرسكا على نحو ملحوظ في نشر المذهب الأورثوذكسي في العالم الروسي طوال القرون السابع والثامن والتاسع عشر.

source: UNESCO/CPE Description is available under license CC-BY-SA IGO 3.0

基辅：圣•索菲娅教堂和佩乔尔斯克修道院

基辅的圣·索菲娅教堂的设计可与君士坦丁堡的圣·索菲娅教堂媲美，象征着“新君士坦丁堡”，它建于11世纪，是基辅基督公国的首都。这一地区于988年经圣·法拉蒂米尔洗礼后基督化。基辅-拉夫拉在精神和文化上的影响对东正教思想在俄罗斯17世纪至19世纪的传播做出了贡献。

Kiev: catedral de Santa Sofía, conjunto de edificios monásticos y laura de Kievo-Petchersk

Proyectada para rivalizar con Santa Sofía de Constantinopla, la catedral Santa Sofía de la capital ucraniana es el símbolo de la “Nueva Constantinopla”, denominación dada a la capital del principado de Kiev, creado en el siglo XI en una región evangelizada después del bautismo de San Vladimir en el año 988. La influencia espiritual e intelectual del monasterio de Kievo-Petchersk contribuyó considerablemente a la propagación de la fe y el pensamiento ortodoxos en el mundo ruso entre los siglos XVII y XIX.

キエフ：聖ソフィア大聖堂と関連する修道院建築物群、キエフ-ペチェールスカヤ大修道院　　

source: NFUAJ

Sint-Sophia kathedraal en bijbehorend Kiev-Pechersk Lavra kloostercomplex

De Sint-Sophia kathedraal van Kiev werd ontworpen om te wedijveren met de Hagia Sophia in Constantinopel. De kathedraal symboliseert het 'nieuwe Constantinopel', de hoofdstad van het christelijk vorstendom Kiev dat in de 11e eeuw werd gebouwd in een - na de bekering van Sint Vladimir in 988 - geëvangeliseerd gebied. Kiev-Pechersk Lavra is van uitzonderlijke betekenis binnen het nationale Oekraïense erfgoed. De oude kloosterstichting speelt een zeer belangrijke rol in het geestelijke en intellectuele leven van de Russische wereld. Het droeg bij aan de verspreiding van het orthodoxe geloof en gedachtegoed in de Russische wereld van de 17e tot de 19e eeuw.

Source: unesco.nl

Outstanding Universal Value

Brief synthesis

The Kyiv: Saint-Sophia Cathedral and Related Monastic Buildings, Kyiv-Pechersk Lavra represent two outstanding complexes of cultural heritage monuments from the Middle Ages and Early Modern period (Kyivan Rus’ and Hetmanate Periods).

The property consists of two separate components: Saint-Sophia Cathedral and its related monastic buildings and the monastic complex of Kyiv-Pechersk Lavra with the Church of the Saviour at Berestovo.

Saint-Sophia Cathedral, located in the historic centre of Kyiv, is one of the major monuments representing the architectural and the monumental art of the early 11th century. The Cathedral was built with the participation of local builders and Byzantine masters during the reign of the Great Prince of Kyiv, Yaroslav the Wise, as the main Christian Church of the Kyivan Rus’ capital. The Cathedral has preserved its ancient interiors and the collection of mosaics and frescoes of the 11th century is unique for its integrity. Its masterpieces include the Pantocrator, the Virgin Orans, the Communion of the Apostles, the Deisis and the Annunciation. The architecture and monumental art of the Cathedral had a wide influence on the architecture and decoration of the Kyivan Rus’ temples. Monastic buildings constructed in the 17th and 18th centuries in the Ukrainian Baroque style surround the Cathedral. The architectural ensemble includes the bell tower, Metropolitan’s house, the refectory, the Zaborovsky gate, the south entrance tower, the cells of cathedral elders and the seminary encircled by a stone wall. Over the centuries, the Cathedral and monastic buildings have expressed a unique harmony of architectural and natural forms,   and national spirit and have held a significant place in the traditional historic landscape of Kyiv.

The Kyiv-Pechersk Lavra is an architectural ensemble of monastic buildings situated on the plateau overlooking the right bank of the Dnieper River. The ensemble was formed over many centuries in organic combination with the landscape, and acts as a general urban dominant. Founded by St. Anthony and St. Theodosy in the 11th century, the monastery became a prominent spiritual and cultural centre that made a significant contribution to the development of education, art and medicine. The architectural ensemble of Kyiv-Pechersk Lavra comprises unique surface and underground churches from the 11th to the 19th centuries, in a complex of labyrinthine caves that expands more than 600m, as well as domestic and household buildings from the 17th to the19th centuries. The architectural ensemble acquired its modern aspect as a result of construction activities in the 17th to the 18th centuries in the heyday of the Ukrainian Baroque. The main monuments of the Kyiv-Pechersk Lavra ensemble are the Dormition Cathedral, the Trinity Gate Church, the Great Bell Tower, the Church of All Saints, the Refectory Church, the monastery defensive walls with towers, the cave complexes of St. Anthony (Near) and St. Theodosy (Far) with surface churches, the Exaltation of the Cross and the Nativity of the Virgin and the Church of the Saviour on Berestovo.

For centuries, the Kyiv-Pechersk Monastery, with relics of saints buried in caves, has been one of the most important Christian pilgrimage centres in the world. 

Criterion (i): Kyiv: Saint-Sophia Cathedral and Related Monastic Buildings, Kyiv­-Pechersk Lavra represents a masterpiece of human creative genius in both its architectural conception and its remarkable decoration.

Saint-Sophia Cathedral is a unique monument of architecture and monumental art of the early 11th century having the biggest preserved collection of mosaics and frescoes of that period. The Cathedral’s architecture is distinguished by supplementary naves added to the five-nave core and pyramidal spatial composition of the cross dome church. The monumental decoration of the Cathedral composes an ensemble unique for its conceptual design that reflects the major theological ideas of the time and is an outstanding example of Byzantine art. The huge pantheon of Christian saints depicted in the Cathedral has an unrivalled multiplicity among Byzantine monuments of that time. The mural paintings of the Cathedral also include a complex of unique secular frescoes in the stair towers made in the tradition of Byzantine art.

The ensemble of Kyiv-Pechersk Lavra is a masterpiece of Ukrainian art that was definitely formed during the Baroque period. It integrates unique surface and underground buildings and structures of the 11th-19th centuries combined with a rich landscape.

Criterion (ii): The property is a result of the cultural interaction of the Kyivan Rus’, the Byzantine Empire and Western Europe. Architecture and monumental painting at the property reflect the changes of Byzantine architectural and artistic traditions that acquired a new sense under the influence of local vision. It revealed, in spiritual tradition as well as in architectural planning, encompassing the tradition of underground Orthodox cult architecture of Kyiv-Pechersk Lavra. The Dormition Cathedral was an example for the construction of similar churches in the Eastern Europe region during the 12th to15th centuries.  

Criterion (iii): Kyiv: Saint-Sophia Cathedral and Related Monastic Buildings, Kyiv­-Pechersk Lavra bears exceptional testimony to the centuries-old Byzantine cultural traditions of neighbouring countries in general and of Kyivan Rus’ in particular. Over the centuries the property had a major spiritual influence in Eastern Europe.

Criterion (iv): Saint-Sophia Cathedral is a unique edifice that reflects in its architecture and mural decoration the peculiarities of churchwarden order. The construction of the Cathedral laid the foundation of an architectural school that influenced the cult architecture and monumental art of Kyivan Rus’ and then of Eastern Europe.

Kyiv-Pechersk Lavra is an exceptionally valuable architectural ensemble formed over the course of almost nine centuries, which reflects changes in stylistic trends in architecture, as well as the process of the improvement of engineering structures. 

All important elements and attributes necessary to convey the Outstanding Universal Value are contained within the boundaries of the property and are preserved.

According to the original design, Saint-Sophia Cathedral was built as a dominant architectural element of the urban environment open to a wide and overall view. In the 19th century, the setting of the Cathedral changed due to the modification of the traditional urban fabric.

The integrity of the ensemble of the Kyiv-Pechersk Lavra suffered during the Second World War, when the Dormition Cathedral, the main Lavra church, was almost entirely destroyed, with the exception of its southeast tower. In 1999-2000, the Cathedral was reconstructed according to the architectural forms of the period of the Ukrainian Baroque in the late 18th century.

With regards to the hydrogeological conditions, the Kyiv-Pechersk Lavra caves require a constant monitoring over the state of their preservation and the implementation of preventive measures.

Rapid urban development, particularly from high-rise buildings, and the lack of protection and planning mechanisms can threaten the immediate surroundings of the property. The integrity of the property in terms of spatial links between its components and their relationship with the surrounding urban and monastic river landscapes also requires a structured planning to address any potential threat. 

Authenticity

The property’s attributes reflect its Outstanding Universal Value. All built elements are restored by using original materials.

Reconstruction works undertaken at Saint-Sophia were awarded the “European Gold Medal for the Protection of Historic Monuments” in 1987. Saint-Sophia Cathedral and Related Monastic Buildings are used as a museum for educational purposes and for state events.

Kyiv-Pechersk Lavra is used for museum purposes as well as for religious practices that correspond to its original purpose.

Although the dominance of the silhouette of the ensemble has been diminished by urban development, the traditional panoramas and silhouettes of Kyiv-Pechersk Lavra along the Dnieper River are preserved. 

Protection and management requirements

Kyiv-Pechersk Lavra was declared a “State historical and cultural reserve” in 1926 and Saint-Sophia Cathedral with Related Monastic buildings in 1934.

The property is managed according to the relevant legislation, including the Laws of Ukraine “On Protection of Cultural Heritage”, “On Protection of Archaeological Heritage”. In addition, various Decrees of the Cabinet of Ministers of Ukraine are providing the site-specific legal framework for the protection, conservation and use of the property.

The National Conservation Area “Saint-Sophia of Kyiv” and the National Kyiv-Pechersk Historical and Cultural Reserve are managed by the Ministry of Culture of Ukraine, which is now responsible for the unified operational management of the whole property.

According to the national legislation Plans of the Territory Organization of both components of the property (National Conservation Area “Saint-Sophia of Kyiv” and Kyiv-Pechersk National Historical and Cultural Reserve) were developed. These plans define the boundaries and regimes for the buffer zone of the property, the action plan for restoration, conservation and protection of the property. The above-mentioned plans correspond to the Conservation Plan. Moreover, annual plans of restorations of monuments, territories and engineering systems of the property are approved at the national level.

In order to secure the preservation of the Varangian caves, a draft conservation program and an action plan have been developed for those sections of the caves that require preventive and rehabilitation measures.

To address conservation and management challenges, the Management Plan will need to be fully operational. Enforcement of legislative and regulatory measures will be crucial to ensure that the Outstanding Universal Value of the property is sustained. Planning tools will need to be coordinated to ensure that a policy, based on studies of the urban landscape and defined views, is in place to control development within the buffer zone and its wider setting.

• Saint-Sophia Cathedral Official website
• St Sophia of Kyiv National Reserve Facebook page (only in ukrainian)
• Saint-Sophia Cathedral Instagram account (in Ukrainian only)
• National Conservation Area 'St Sophia of Kyiv' YouTube Channel (in Ukrainian nonly)
• National Preserve Kyiv-Pechersk Lavra
• Kyiv-Pechersk Lavra Facebook page (in Ukrainian only)
• Kyiv Pechersk Lavra National Reserve YouTube channel (only in ukrainian)
• Kyiv-Pechersk Lavra National Reserve Audio Tour

List of World Heritage in Danger

Inscription Year on the List of World Heritage in Danger

The Nomination files produced by the States Parties are published by the World Heritage Centre at its website and/or in working documents in order to ensure transparency, access to information and to facilitate the preparations of comparative analysis by other nominating States Parties.

The sole responsibility for the content of each Nomination file lies with the State Party concerned. The publication of the Nomination file, including the maps and names, does not imply the expression of any opinion whatsoever of the World Heritage Committee or of the Secretariat of UNESCO concerning the history or legal status of any country, territory, city or area or of its boundaries.

State of Conservation (SOC)

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Avril Lavigne Takes a Break From Touring for Couture Week

By Hannah Jackson

For Avril Lavigne , nothing is complicated about Paris. “My father was born here," she tells Vogue. "I used to live here and I took French classes, so I actually know the city very well. I feel very connected to Paris.”

Just days after she released her Greatest Hits record, Lavigne took to Paris for Iris van Herpen’s museum-like fall 2024 couture show . Straight from the Southside Festival in Baden-Württemberg, Germany, she hopped right into glam. “I got in and had a crêpe, French toast, and a cappuccino,” she says. While this may be her first couture show of the season, Lavigne is no stranger to fashion week. “My first time at Paris Fashion Week was a Chanel show and it was so wonderful. I hung out with Karl Lagerfeld and went to visit the Coco Chanel apartment,” she recalls. “I did my own hair and makeup that trip and kept it very minimal, and enjoyed wearing such iconic, beautiful garments.”

This time around, the Sk8r Boi singer is trading in her miniskirt and combat boots for a sculptural black-and-white piece by van Herpen. “I love to go extra for a fashion show and really experiment with new hairstyles and more experimental makeup looks. And I am willing to try anything wild and out there clothing wise! It’s all about having an open mind,” she says. As for what drew her to this specific dress? “It was a very different silhouette and fabric than I am used to which made it fun.”

Below, Avril Lavigne brought Vogue along as she attended the Iris van Herpen fall 2024 couture show in Paris.

Just rolled off the tour bus and went straight into glam! Still buzzing from the show the night before at Southside Festival

Glam before the event

Arriving at the Show no Idea what to expect. All we have been told is we will move through the show

Ran into my close friend Guram. We ended up walking through the show together and admiring the work.

Meeting Iris van Herpen

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See all Tours

• PERFORMANCES

Architecture Tour

GETTY CENTER

Daily, through February 28, 2019, at 10:15 am, 1:15 pm, 3 pm, 4 pm

The Getty Center

Free | No ticket required

Discover more about the architecture and the design of the Getty Center site in this 45-minute tour. Meet the docent outside at the bench near the Museum's front entrance.

Contact us!

9 am–5 pm, 7 days a week

(310) 440-7300

VisitorServices @getty.edu

Performances

Directions, hours, parking, and more

Getty Center

Getty Villa