The City of Hyste Talma
Designed to be self-sufficient and sustainable, Hyste Talma is a fortress no one has dared to conquer. Situated in the mountains of Herenyakal, it’s ridiculously hard to get into. No army should risk losing most of its troops to the biting frost and treacherous terrain.
The city consists of three circles-alike layers, with a hexagonal perimeter and an empty center. They are built one on top of the other. Yet, instead of growing up, like so many of its counterparts across the continents, it burrows itself deeper into the ground. King Germund, aided by many capable dwarves and elves, designed his city to be easy to get into, but impossible to get out of. Therefore, the first—outer circle—is commonly called “the Dome” and the only way to enter it is through the opening in the ceiling made out of magically reinforced glass. There are plenty of hidden exits, evacuation tunnels, and secret passages, though the knowledge of their whereabouts is strictly controlled.
Throughout the ages, the style of architecture and the trends in masonry varied greatly. King Germund favored a sleek, modern style of geometrical shapes and clean lines. His designs were meant to represent luxury and prosperity in the new land he had led his people to. Over the decades, new generations of artists took it upon themselves to improve their designs—adding more decorative and frivolous elements. It is easy, therefore, to recognize how old the building one enters truly is. If the construction is made of expensive materials, including jade, silver, ivory, chrome, and even obsidian, it was built under the late King Germund. However, if one can spot floral designs incorporated into geometrical shapes, this indicates a style found in the later centuries when elves and dwarves reconnected and reforged their alliance under the common goal of fighting Dragsa.
Whereas symmetry and repetition of elements are typical in all circles of the city, the themes differ depending on the level. In the outer circle, ornaments, sculptures, mosaics, and frescoes tend to represent nature—both animals and plants. The colors lean toward warm yellows and reds, soft purples, and deep burgundy. The architecture and the materials used in buildings are chosen carefully to catch as much of the sunshine as possible and to reflect it to light the houses and the streets. Mirrors can often be found, placed at even intervals on the streets, to ensure that even the darkest alley has at least some light during the day.
The middle circle is characterized by more liberal architecture, vying for vertical proportions, pointed arches, and—in most forward and controversial cases—asymmetry. High ceilings allow for better air circulation and a vast network of vents functions as a filtering system, allowing fresh air access to the city. The main themes found in this layer focus on the dwarves themselves. Each street sprouts at least a couple of sculptures or commemorative frescoes. Dwarven heroes are immortalized, and it’s a common sight to spot parents, teaching their children about their stories.
Finally, in the most defensible, most guardable part of Hyste Talma, the style is simple and traditional. Without ornaments and decorations, the buildings, though big and grand, remain plain in comparison to the architectural feats from the upper layers. However, what they lack in beauty, they more than make up for in efficiency. Most of the buildings of the Inner Layer could be defensible outposts, with thick walls and build built-in. The streets, easily converted into deadly traps, were designed to stop enemies within seconds.
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City
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