Excerpt from Wikipedia:
The town hall in Vaduz , the capital of Liechtenstein , was built in 1932 and 1933 according to plans by Franz Roeckle . The building, modeled on a medieval town-plan, has been the meeting place of the municipal council ever since.
In 1931 the municipality of Vaduz took the decision to build a new municipal hall. As a result, a competition was announced in which various architects took part with their own project proposals. In February 1932 the Liechtenstein architect Franz Roeckle finally received the planning order - after several revisions - and in September of the same year the Vaduz municipal council finally approved the plans.
The town hall was opened on November 19, 1933. The construction costs were almost three times the total income of the municipality in the year, so the municipal council decided to rent out parts of the building. In 1984 the last lease - with the Liechtensteinische Landesbank , which had used parts of the town hall as an exchange office - was finally terminated, so that the town hall has only been used for municipal purposes ever since.
The town hall has a rectangular floor plan with an attached tower. With its numerous architectural elements, the building is reminiscent of the heyday of medieval German urban developments.
The building is completed by a gable roof and two lower-lying monopitch roofs , and in the east and west by single-step gables .
On the east facade is a stone carved municipal coat of arms, which was made in 1983. A coat of arms created in 1932 and awarded by the Prince was unplaced from the old location on the northwest facade of the town hall in the 1980s.
The south-east side of the town hall is decorated by a fresco created in 1937 that is attached to the balcony area. It shows Saint Urban - patron saint of the winemakers - who holds the tips of a vine in his hands, which seem to grow up to him on the sides of the balcony door. The illustration illustrates the great tradition of viticulture in Vaduz. Saint Urban was mistakenly represented as Pope.
Excerpt from waymarking.com:
Tre Cavalli by Nag Arnoldi
Nag Arnoldi's expressive bronzes show influences of Marino Marini and Pablo Picasso, as well as of pre-Columbian art.
Arnoldi's works have a clear identity. The unique character of the structure of the broken cast area strongly contrasts with that of the partially polished surfaces. Here light, reflection and material dissolution play a very significant role. The theme is the myth of the horse and the human, depicted between joy and pain.
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