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A southbound Canadian National manifest freight passes the massive grain elevator complex in Ashkum, Illinois, on the Chicago Subdivision.
A SpaceX Falcon 9 rocket with the company's Crew Dragon spacecraft onboard is seen at sunset on the launch pad at Launch Complex 39A as preparations continue for the Crew-2 mission, Monday, April 19, 2021, at NASA’s Kennedy Space Center in Florida. NASA’s SpaceX Crew-2 mission is the second crew rotation mission of the SpaceX Crew Dragon spacecraft and Falcon 9 rocket to the International Space Station as part of the agency’s Commercial Crew Program. NASA astronauts Shane Kimbrough and Megan McArthur, ESA (European Space Agency) astronaut Thomas Pesquet, and Japan Aerospace Exploration Agency (JAXA) astronaut Akihiko Hoshide are scheduled to launch at 6:11 a.m. ET on Thursday, April 22, from Launch Complex 39A at the Kennedy Space Center. Photo Credit: (NASA/Joel Kowsky)
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A simple impression of the Sprinkenhof in Hamburg - have a great week everyone. ;o)
Check out my new art gallery: Click here
On the west side of Dataran Putrajaya (Putrajaya Square) is the Putrajaya Corporation Complex which includes an archway leading into Kiblat Walk and the Tuanku Mizan Zainal Abidin Mosque.
Putrajaya; October 2022
The former Hospital de la Santa Creu i Sant Pau (Hospital of the Holy Cross and Saint Paul) in the neighborhood of El Guinardó, Barcelona, Catalonia, Spain, is a complex built between 1901 and 1930, designed by the Catalan modernist architect Lluís Domènech i Montaner
Barcelona, Catalonia, Spain
Part of the now totally defunct non operational power system that once distributed power around the Green River Launch Complex and Missile Base.
Green River Launch Complex, Emery County, Utah.
To see more of this cold war era missile base check out my album here: www.flickr.com/photos/19779889@N00/albums/721577191887490...
Happy Telegraph Tuesday!
The Heydar Aliyev Center is a 57,500 m2 building complex designed by Iraqi-British architect Zaha Hadid and noted for its distinctive architecture and flowing, curved style that eschews sharp angles.
The Center houses a conference hall (auditorium), a gallery hall and a museum.
Laphria - sericea complex 6-04-2017 McClaughry Springs Forest Preserve, Cook County, Illinois, USA According to Bug guide - These flies are normally not determinable from photos
The former Western Maryland Railway shop complex sits forlorn and mostly abandoned save for a crew of volunteers who have formed the Hagerstown Roundhouse Museum with the intention of acquiring the site in order to transform it into a working museum. November 11, 1990.
I took the chance during our Egret challenge to check out this small colony. There were only 3 birds seen on this morning but one was a very young bird on the ground and the parents naturally stayed nearby.
Poi-Kalyan Complex seen from the Arq of Bukhara. Uzbekistan.
Poi-Kalyan visto desde el Arq de Bukhara. Uzbekistan.
The United Launch Alliance Delta IV Heavy rocket with the Parker Solar Probe onboard is seen shortly after the Mobile Service Tower was rolled back, Friday, Aug. 10, 2018, Launch Complex 37 at Cape Canaveral Air Force Station in Florida. Parker Solar Probe is humanity’s first-ever mission into a part of the Sun’s atmosphere called the corona. Here it will directly explore solar processes that are key to understanding and forecasting space weather events that can impact life on Earth. Photo Credit: (NASA/Bill Ingalls)
The Bara Gumbad, or "big dome," is a large domed structure grouped together with the Friday mosque of Sikander Lodi and a mehman khana (guesthouse), located in New Delhi's Lodi Gardens. The buildings were constructed at different times during the Lodi era and occupy a common raised platform. Formerly an outlying area of Delhi, the Lodi Gardens are a British-planned landscaped garden which includes a number of monuments (primarily tombs) from the Sayyid and the Lodi dynasties. Originally called Willingdon Park, the gardens were located in the former village of Khairpur, now on the edge of Lutyen's Delhi, the colonial capital built by the British in the early 20th century. The gardens, which cover approx. 70 acres, have come to be surrounded by institutional buildings and some of contemporary Delhi's most expensive real estate.
Although they were built under the same dynasty, each of the three structures was undertaken separately. The Bara Gumbad, completed in 1490, is considered to have the first full dome constructed in Delhi. Its original purpose is contested; although it appears to be a freestanding tomb, it contains no tombstone. This causes the speculation that the building might have been intended as a gateway for the Friday mosque; however, their respective placements, stylistic differences, and construction dates do not support this theory. The Friday mosque, completed in 1494, is the first example of the new mosque type that developed during the Lodi era. Characterized by a relatively simple five bay prayer hall building adjacent to a simple open courtyard, this type was an important precedent for mosque architecture in the Lodi and Mughal eras.
The complex can be accessed from various points along the roads bordering the Lodi Gardens, with the access from the Lodi road towards the south most prominent. The buildings are situated at a distance of about 300 meters from Muhammad Shah's tomb towards the south and about 380 meters from Sikander Lodi's tomb towards the north. Another prominent structure, the Shish Gumbad, is located facing the Bara Gumbad at a distance of about seventy-five meters towards the north. The area surrounding the buildings is landscaped with manicured grass lawns. Few trees are planted in the immediate vicinity, leaving the view of the structures unobscured. The path winding through the Lodi Gardens approaches the buildings axially from the north, although the building plinth is accessible all from all sides.
The buildings are sited on a three-meter-high platform, measuring approximately 30 meters (east-west) by 25 meters (north-south). The Friday mosque is located along the western edge of the platform; the guesthouse is sited opposite it, occupying the eastern edge, while the Bara Gumbad is located along the southern edge. Stone masonry walls, about six meters high, connect the three structures along the southern edge. The northern edge is provided with staircases for accessing the platform. A centrally located straight flight comprising of eight steps, about ten meters wide, connects the ground to a generous mid landing. Another 'C' shaped flight of eight steps wraps around the landing, creating an amphitheatre-like space and reaching the top of the platform. The current arrangement of steps appears to be more recent, and the remains of walls adjoining the southern face of the guesthouse and the mosque indicate that the northern edge might have originally been walled. In the center of the raised court, with its southern edge along the staircase, are the remains of a square shaped platform, 8 meters wide, which appears to be a grave.
Friday mosque:
The Friday mosque is a single aisled, rectangular building, approx. 30 meters (north-south) by 8 meters (east-west). The mosque is organized in five unequal bays, which correspond to the five arched doorways on the eastern (entry) elevation. The width of the arched doorways decreases from the center towards the sides. The arches span across grey granite piers. The central arch is framed within a projecting rectangular portal, measuring about 8 meters in height by 6 meters wide. The piers of the rectangular frame are cased in dressed granite and have three shallow arched niches in red sandstone, occurring vertically above the springing point of the arch, on either side. The doorway itself is described by four receding planes of ogee arches, the outermost one being in line with the external face of the rectangular portal. The doorways immediately to the side of the central portal are about 5 meters wide, while those at the two ends are approx. 1.5 meters wide with two receding planes of ogee arches, adding to the prominence of the central doorway. The apex of each innermost arch is constant, measuring approx. 5 meters from the top of the platform. Each arch is finished in plaster and embellished with intricate carved Arabic inscriptions. The spandrels are also heavily carved with geometric motifs, and their the corners are adorned with round inscribed plaster medallions. Red sandstone eaves (chajjas) on stone brackets top the arches, interrupted only by the central projecting portal that extends above them. There is a blank plastered frieze above the eaves, followed by the projecting horizontal bands of the cornice that is topped by a blind masonry parapet adorned with petal shaped crenellations with inscribed plaster medallions.
The interior of the prayer hall reflects the five bay division of the eastern elevation. It is a rectangular space, measuring about 27 meters (north-south) by about 7 meters (east-west). Additional arches spanning between the piers on the eastern elevation and the engaged piers of the western wall emphasize the demarcation of the interior space into bays. These internal ogee arches reach a height of about five meters. They are finished in plaster and profusely decorated with carvings of Arabic inscriptions. The piers are unornamented, dressed gray granite.
The qibla (western) wall of the prayer hall is a blind wall divided into five unequal bays expressed as recessed ogee arched niches, reflecting the arched openings on the eastern wall. The two bays adjacent to the central bay have three equal niches carved out from the portion below the springing line of the main arch. These niches are separated by granite piers, which have smaller arched niches in the top third of their elevation. The three niches are made of two layers of ogee arches framed by the piers. The external layer is in gray-yellow granite, while the interior arch is made of red sandstone. The central niche is mildly distinguishable from the others because its arched portion is curved and the imposts are engraved, while those of the adjacent arches are plain. The innermost rectangular portion of the central niche is blank, while that of the adjoining niches has the carving of a vase and flora inscribed in it. The tympanum of the main outer arch is finished in plaster and has an additional niche directly above the central niche which is embellished heavily with plaster carvings of Arabic inscriptions. A band of similar inscriptions runs along the interior perimeter of the arch and around the upper niche in a closed loop. The voussoirs of the outer arch are plastered and embellished with another layer of carvings. The central bay of the western wall also has three niches, each made of four recessed planes of alternating rectangular and arched profiles. The central mihrab niche is taller and wider. It is also shallower and the innermost plane is blank, while the other two niches are deeper set with relief work. A stone minbar with three steps has been provided abutting the northern pier of the central niche.
Hemispherical domes cover the three central bays, while the terminal bays are covered by low flat vaulted ceilings. The square plan of the three central bays transitions into an octagonal drum through the application of corbelled pendentives at the corners. The corbelling occurs in four layers, which increases in width from the bottom up. The layers are further embellished with curved niches set into rectangular frames, which also increase in number, the lowest corbel having one and the last corbel having five such niches. The last layers of the pendentives form alternate edges of the octagonal drum; the remaining edges being formed by the extension of the walls and are also provided with similar curved niches. The octagonal drum transitions into a hexadecagon, followed by a thirty-two-sided polygon by the provisions of small struts. Each face of the hexadecagon is provided with shallow niches, while the thirty-two-sided polygon is described by a projecting band of red sandstone, followed by a band of inscriptions finally topped by the hemispherical dome. The dome is finished in plain plaster. The voussoirs of the arches, the pendentives and the tympanum are all covered by intricate stucco Arabic inscriptions. The central dome is relatively higher that the other two domes.
The northern and southern walls of the mosque are punctured by ogee arch doorways below the springline of the main arch. Each opening leads to a projecting balcony, comprising of red sandstone posts supporting a tiered roof. The balconies protrude out from the faade and are supported on red sandstone brackets, whose profiles and carvings are characteristic of Hindu architecture. An elaborately carved arched niche is provided above each opening on the interior wall. It is set into a rectangular frame embossed with Arabic text.
The plasterwork on the external northern and southern walls of the mosque has fallen off, exposing the stone masonry, while that on the western wall has survived. The central bay of the western wall projects out and is marked by two solid towers at the corners. These towers are divided vertically into four layers; the first two layers from the bottom are orthogonal, while the third layer has alternating curved and angular fluting; the top layer, extending over the parapet of the mosque, has a circular section. The corners of the mosque are marked by similar tapering towers, which are divided into four layers. Each layer is circular in plan except the third layer, which is described by alternating curved and angular fluting. All the towers have the remains of finials at their apex. The central projecting wall has four red sandstone brackets in its upper third portion, which may have supported a projecting balcony similar to those on the north and south elevations.
The plasterwork on the walls of the plinth is now gone, exposing the rubble masonry construction below. The western face of the plinth is punctured by five ogee arch openings set into rectangular frames, one in the center and two each on the sides. These openings provide access to the basement within the plinth.
The roof has three domes corresponding to the three central bays of the prayer hall and the three central arches on the eastern elevation. The extrados of the domes are finished in plaster. The octagonal drums supporting the domes protrude out over the roof level, above which the circular bases of the domes are decorated with blind crestings having floral motifs. The central dome is marginally larger than the adjacent domes and all three have the remains of lotus finials at their apex.
Bara Gumbad:
Square in plan, the Bara Gumbad measures approx. 20 meters per side. Set on a plinth 3 meters high, it joins the common plinth on the north and projects beyond it to the south. Its plinth is decorated on the east, south, and west with ogee arch openings set into rectangular frames. These provide access to a basement.The walls of the Bara Gumbad are approx. 12 meters tall, above which a hemispherical dome on a hexadecagonal drum extends another 14 meters from the roof level, for a total building height of 29 meters above ground level.
Each of its elevations is nearly identical and divided into 2 horizontal sections. A projecting portal composed of an ogee arch set in a rectangular frame (approx. 8 meters wide), is centered in each elevation and rises approximately 75 cm above the parapet line of the building. The 1.5 meter wide frame is made of dressed gray granite. Each vertical pier of the frame has six shallow red sandstone niches arranged atop one another at varying heights; nine niches continue in a line along the horizontal portion of the frame. The portal is described by two receding planes of grey granite ogee arches; the spandrels are cased with black granite with a thin projecting edge of red sandstone. Two round plaster medallions adorn the spandrels. The lower layer of the portal has a central doorway, spanned by two red sandstone brackets that form a trabeated arch supporting a black granite lintel. These brackets are supported on grey granite posts. An intricately carved red sandstone frame adorns the brackets and the lintel; it starts at the springing point of the arch and frames the lintel of the doorway. The entire composition is set in a rectangular yellow sandstone frame. An ogee arch window has been provided above the trabeated entrance. The portal is crowned by the arched crenellations of the blind parapet. Solid turrets mark the projecting corners of the portal.
The remainder of the elevation, that flanking the central portal on either side and recessed behind it, is divided vertically into two equivalent parts by projecting horizontal bands of stone. Each part is described by two equal arched panels set into rectangular frames. Both the panels of the upper part on either side of the portal are blind and filled with granite masonry. The lower panels located adjacent to the portal are windows, while the lower panels at the edges are filled in. The parapet, like the portal, is decorated with arched crenellations, and the roof has solid turrets at each corner.
A single hemispherical dome surmounted on a sixteen-sided drum crowns the building. Each face of the drum is described by an ogee arched niche set in a rectangular frame. The voussoirs of the arches are gray granite, while the spandrels are clad with red sandstone. The top edge of the drum is decorated with a band of arched crenellations, similar to those on the roof parapets, running above a projecting band of stone that surrounds the drum. Below this projection is band of leaves carved in relief. The extrados of the dome are finished in smooth plaster. The lotus base, possibly for a vanished calyx finial, is still extant.
The structure can be entered either from the raised courtyard via the north elevation or from a double flight of steps located on the western elevation. Inside, the square building measures about seven meters per side. An 80 cm high, 45 cm wide solid seat runs continuously along the interior perimeter of the building. Light streams in from all four walls, which are punctured by the openings of the doorway at the ground level and the ogee arch window above. The interior surfaces of the Gumbad are unornamented and finished in dressed granite. The square plan of the room transitions into an octagon via squinches, which then support the thirty-two-sided drum and the dome. The apex of the dome has two bands of floral inscriptions; otherwise, the dome is finished in plaster. The absence of historical inscriptions has contributed to the confusion over the original purpose of the Bara Gumbad.
Mehman Khana:
The third structure in the group is rectangular in plan, measuring about 27 meters (north-south) by 7 seven meters (east-west). Located along the eastern edge of the common plinth, it faces the mosque and is connected to the Bara Gumbad by a masonry wall along its northern face. The structure is believed to have either been a mehman khana, (guesthouse) or a majlis khana (assembly hall).
The building is accessed from the common plinth through its western wall, which is divided into five bays, mirroring the eastern elevation of the mosque opposite it. The three central bays are considerably larger and have ogee arch doorways, giving access to the interior, while windows puncture the smaller end bays. The arches are set in rectangular frames, which are recessed from the face of the elevation. Each opening is composed of two recessed planes of arches. The spandrels are clad in red sandstone, contrasting with the gray granite of the elevation, and are decorated with round plaster medallions with lotus motifs. The window openings have an additional tie beam or lintel at the springline. The tympanum of the window towards the south has been filled with stone, while that of the window towards the north has been left open. A continuous chajja, supported on equidistant stone brackets, projects from the western wall above the rectangular frame. The cornice is unornamented and is topped by the projecting horizontal band of the parapet, which reaches a height of approximately five meters from the top of the raised plinth. The roof of the structure is flat. The exterior of the building lacks decoration and is finished in dressed granite.
The interior is divided into seven chambers occurring from north to south; the central chamber is the largest, measuring about 5 meters (north-south) long. It is abutted by relatively narrow chambers (approx. 2.5 meters long). The outside chambers which flank the 2.5 meter wide chambers on either side are approximately the size of the central chamber, and correspond to the arched openings in the western wall. The chambers are separated from each other by gray granite walls, punctured by simple ogee arched doorways set in rectangular frames. Square in plan, the outer rooms are separated from the adjacent chambers by stone walls with rectangular door openings with blind ogee arches and rectangular frames. Each doorway has shallow rectangular recesses on either side, as well as a small arched window set into a rectangular recess and a stone jali screen set above the doorway within the tympanum of the main arch. The eastern wall of the building has blind ogee arches, occurring as two successive planes, reflecting the arched openings of the western elevation.
The roof of the central chamber is flat and supported on arches located on four sides; flat stone brackets appear at the corners. The two adjacent rooms are covered by shallow domes supported on squinches. The interior domes are finished in plaster with carved concave fluting. The exterior of the domes has been filled to blend with the flat roof of the central room.
Certain stylistic continuities are recognizable in the three buildings; each was constructed with (local) gray granite and lime mortar. However, the degree and type of embellishment, both interior and exterior, on the mosque differs substantially from that found on the other two, relatively unadorned, buildings.
Apart from the grouping of the three structures and their stylistic similarities, the buildings do not appear to have been planned as a complex. The Friday mosque is the first example of the panchmukhi building type, where "panch" (five) and "mukhi " (facade) characterize a five-bay prayer hall. This approach was influential in both the Lodi and the Mughal periods. The Bara Gumbad is significant for having the first complete hemispherical dome in Delhi.
The differences in the surface ornament of the buildings suggest that the buildings were constructed at different times, with the Bara Gumbad and the guesthouse being similar in style and decoration, without the multilayered arches of the Friday mosque. The function of the Bara Gumbad is still unknown; its geometry and form aligns with the predominant tomb architecture of the period (like the neighboring Shish Gumbad). However, there is no grave or cenotaph in the building, and rather than being blank, its qibla wall (like its other walls) is punctured by an entrance. While the continuous stone bench in the interior is also found in gateway architecture, (as in the Alai Darwaza at the Quwat-ul-Islam Mosque in Mehrauli), the size of the Bara Gumbad vis-a-vis the Friday mosque does not support this conjecture. Some scholars surmise that the structure might have been a gateway to the larger complex of tombs within the Lodi Gardens.
Lodi Dynasty
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The Lodi dynasty in India arose around 1451 after the Sayyid dynasty. The Lodhi Empire was established by the Ghizlai tribe of the Afghans. They formed the last phase of the Delhi Sultanate. There were three main rulers in the history of Lodi dynasty. All three of them have been discussed in detail in the following lines. So read on about the Lodi dynasty history.
Buhlul Khan Lodi
Buhlul Khan Lodi (1451-1489) was the founder of the Lodi dynasty in India and the first Afghan ruler of Delhi. He was an Afghan noble who was a very brave soldier. Buhlul Khan seized the throne without much resistance from the then ruler, Alam Shah. His territory was spread across Jaunpur, Gwalior and northern Uttar Pradesh. During his reign in 1486, he appointed his eldest son Barbak Shah as the Viceroy of Jaunpur. Though he was an able ruler, he really couldn't decide as to which son of his should succeed him as the heir to the throne.
Sikandar Lodi
After the death of Buhlul Khan, his second son succeeded him as the king. He was given the title of Sultan Sikander Shah. He was a dedicated ruler and made all efforts to expand his territories and strengthen his empire. His empire extended from Punjab to Bihar and he also signed a treaty with the ruler of Bengal, Alauddin Hussain Shah. He was the one who founded a new town where the modern day Agra stands. He was known to be a kind and generous ruler who cared for his subjects.
Ibrahim Lodhi
Ibrahim Lodhi was the son of Sikander who succeeded him after his death. Due to the demands of the nobles, his younger brother Jalal Khan was given a small share of the kingdom and was crowned the ruler of Jaunpur. However, Ibrahim's men assassinated him soon and the kingdom came back to Ibrahim Lodhi. Ibrahim was known to be a very stern ruler and was not liked much by his subjects. In order to take revenge of the insults done by Ibrahim, the governor of Lahore Daulat Khan Lodhi asked the ruler of Kabul, Babur to invade his kingdom. Ibrahim Lodhi was thus killed in a battle with Babur who was the founder of the Mughal dynasty in India. With the death of Ibrahim Lodhi, the Lodhi dynasty also came to an end.
Jesuit Church - Dubrovniks most beautiful baroque complex
Church of St Ignatius
The baroque stairs connecting Gundulić Square with another square named after the great Dubrovnik physicist Ruđer Bošković are reminiscent of some etymologists who believe that the word baroque originated from the word shell. The one time venue of Shakespeares play Romeo and Juliet, the beautiful stairs very much resemble the ones leading to the Trinit? dei Monti Church in Rome from the Piazza di Spagna. Designed by the Roman architect Pietro Passalacque in 1738, the stairs lead to St Ignatius Church adjacent to the famous Jesuit school Collegium Ragusinum. The Church of St Ignatius - or the Jesuits, as the people of Dubrovnik call it - is the work of the famed Jesuit architect and painter Ignazio Pozzo, who worked on the church from 1699 to 1703.
The church was completed in 1725 and opened in 1729. The construction of both the Church and the Collegium began with the funds donated by a Jesuit from the Gundulić family, yet the donor had died before the designs were completed. The Collegium Ragusinum was actually founded because the people of Dubrovnik were dissatisfied with the Italian teachers with whom they often came into conflict. As soon as he was appointed, the Italian born head of the Dubrovnik diocese Beccadelli initiated the opening of the Jesuit Collegium in 1555.
The idea was realised as late as in 1658, after numerous problems with the ownership of the land had been solved. Namely, in order to build the Collegium and the Church, a large number of houses in the oldest part of the city had to be demolished. This complex is considered to be the finest Baroque set of buildings in Dubrovnik, and - according to many - in all of Dalmatia. It is thus not surprising that theatre directors at the Dubrovnik Summer Festival often use this venue as an open-air stage.
tekst from:
tzdubrovnik.hr/lang/en/get/sakralni_objekti/5101/church_o...
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The first column shows a cannonball shot fired from Srđ in 1814 from an English cannon during the Dubrovnik uprising against the French and their expulsion from the City. There are 2 more bullet holes on Stradun, one of which was destroyed (closed) by the owner of Orlando. The claim that these are Russian bullets from 1806 is not correct because everything is finally documented correctly and the exact information about this was given by a relative of the then English captain from whose ship the cannons were. This does not mean that Russian cannons (and Montenegrins) did not fire in 1806. On the contrary. The destruction, the number of dead and burned houses and the siege that lasted a month were much more devastating. But, as with the attack on the City in 1991/92, not much evidence remains.
Antun Tonci Karuzic
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Crkva sv. Ignacija isusovačka je crkva u Dubrovniku.
Prve je planove za izgradnju čitavog isusovačkog kompleksa s crkvom izradio tadašnji rektor kolegija Giovanni Battista Canauli. Plan je obuhvaćao rušenje crkvenih i privatnih građevina kako bi crkva stajala na dominantnom mjestu i odobren je tek 1656., nakon što je Canuli bio opozvan. Superior Orsat Ranjina započeo je s otkupom zemljišta i građevina dvije godine nakon toga. Izgradnja kompleksa započela je 1662., a sama crkva tek nakon Nastala je tijekom više od stotinu godina. Građena je kao barokna jednobrodna crkva s reprezentativnim pročeljem, po uzoru na crkvu sv. Ignacija u Rimu. Projektiralo je izradio arhitekt Andrea Pozzo, a gradnja je dovršena 1725. godine. Iluzionističke barokne freske u unutrašnjosti, s prizorima iz života sv. Ignacija Lojolskog, izveo je slikar Gaetano Garcia. Godine 1885. u crkvi je postavljena umjetna spilja, posvećena Gospi Lurdskoj, jedna od najstarijih u Europi.
Crkva je smještena na trgu zvanom Poljana Ruđera Boškovića. Na trg se pristupa monumentalnim stubištem iz 1738. godine, djelu Pietra Passalacque, građenom po uzoru na stubište Piazza di Spagna u Rimu. Na crkvu se nadovezuje Isusovački kolegij (Collegium Ragusinum), glasovito isusovačko učilište, a danas Biskupijska klasična gimnazija Ruđera Boškovića.
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The sky this night was breathtaking. Sometimes the complexity of the sky can be so overwhelming that all captures of it seem surreal!
I hope your week is going great....
The Ijen volcano complex at the eastern end of Java consists of a group of small stratovolcanoes constructed within the large 20-km-wide Ijen (Kendeng) caldera. The north caldera wall forms a prominent arcuate ridge, but elsewhere the caldera rim is buried by post-caldera volcanoes, including Gunung Merapi stratovolcano, which forms the 2799 m high point of the Ijen complex.
Le Kawah Ijen se situe en Indonésie, à l'extrême est de l'île de Java, dans la province de Java-Orientale et dans le sud-est de la caldeira de Kendeng du volcan Ijen, adossé au flanc ouest du Merapi, le point culminant de ce massif volcanique à ne pas confondre avec l'autre volcan Merapi de l'île de Java.
Il est entouré par le Merapi à l'est, la caldeira de Kendeng au nord-ouest, le Papak immédiatement à l'ouest et le Rante au sud-ouest.
Mission accomplie ! La structure pour les futurs panneaux solaires et un nouveau déperditeur statique sont installés et fonctionnels ☑️ Incroyable d’avoir vécu ça avec Aki à l’extérieur : c’est le genre d’expérience qui vous lie encore plus. Et grâce au professionnalisme de Megan, Mark et Shane à l’intérieur, aidés par Oleg et Piotr qui se remettaient tout juste de leur sortie à eux et avaient du travail tout le weekend, et des équipes sur 🌎, on ne s’est jamais senti seuls dans le grand vide. (Et on nous a même gardé de la 🍦 pour le retour, si ce n’est pas un équipage de rêve…) (oui, après presque 7 heures à se mouvoir dans un scaphandre aussi rigide que protecteur, les calories et un dîner roboratif sont *très* bienvenus). Emploi du temps léger aujourd'hui pour récupérer, puis retour des expériences mardi. 💪
My first spacewalk without Shane is a wrap, more than happy to be with Aki though! Even though it was just the two of us outside, we never feel alone, with Mark, Megan and Shane on the inside following and helping, and the best teams on Earth over the radio we felt like an extension of a well-oiled machine! They even saved some 🍨 for us afterwards, #dreamteam. Spacewalks last 7 hours and are like top sport so we need the calories afterwards! The new solar panels are ready to be slotted in to the base structure we assembled, these will be installed sometime next year, handing over to the next team to keep maintaining and improving the station and what it stands for.
Credits: NASA
421F4088
Just a hotel on the coast with some complex design to it. Not my normal subject matter, but at least old glory is flying out front!
Thank you for stopping in, I appreciate it my friends!
By renowned practice Bradshaw, Gass and Hope, 1929-32. Rebuilt after WWII bomb damage, completed 1961. Contemporary inter-war classical complex on wedge shaped site, consisting of D-plan Library and Registrar's Office with straight front to road, small Porter's Lodge to side and free-standing rectangular-plan Theatre (formerly Town Hall) off-centre to rear with curving colonnade corresponding to Library. Cream sandstone ashlar. Curved colonnade of paired Roman Doric columns, corners contain top-lit open lobbies to theatre entrances, each with 2 pairs of glazed timber doors and fanlights (main entrance to left, stage entrance to right).
This extensive inter-war classical composition is set tightly on a prominent corner site and it is a major example of this building type for the period. Demonstrates good stone detailing with columned loggia. A prominent public commission by a successful English practice who came to specialise in Methodist churches and civic complexes during the inter-war period. Bradshaw, Gass and Hope's extraordinary output is comparable to that of Vincent Harris, with commissions for other civic complexes won at Wimbledon, Stratford, Lewisham, Luton, Chesterfield and Padiham. The practice was responsible for the reconstruction after it was bomb-damaged in World War 2.
Built on the site of North Leith Manse as a condition of Leith's final incorporation with Edinburgh. After many years of disuse the theatre is now in some disrepair and, although back in occasional use, is still fundraising.
Here we have the football-shaped moon, some fast-moving clouds and some branches. Sure does get dark early these days! Does not look so great LARGE. :-))
NO INVITES PLEASE
The temple of many faces, each of its tower has four faces of their own, some have dubbed it as "Mona Lisa of Southeast Asia."
One of Webb’s most complex instrument modes is with the MIRI Medium Resolution Spectrometer (MRS). The MRS is an integral-field spectrograph, which provides spectral and spatial information simultaneously for the entire field of view. The spectrograph provides three-dimensional ‘data cubes’ in which every pixel in an image contains a unique spectrum. Such spectrographs are extremely powerful tools to study the composition and kinematics of astronomical objects, as they combine the benefits of both traditional imaging and spectroscopy.
“The MRS is designed to have a spectral resolving power (observed wavelength divided by the smallest detectable wavelength difference) of about 3,000. That is high enough to resolve key atomic and molecular features in a variety of environments. At the highest redshifts, the MRS will be able to study hydrogen emission from the first galaxies. At lower redshifts, it will probe molecular hydrocarbon features in dusty nearby galaxies and detect the bright spectral fingerprints of elements such as oxygen, argon, and neon that can tell us about the properties of ionized gas in the interstellar medium. Closer to home, the MRS will produce maps of spectral features due to water ice and simple organic molecules in giant planets in our own solar system and in planet-forming disks around other stars.
“In order to cover the wide 5 to 28 micron wavelength range as efficiently as possible, the MRS integral field units are broken up into twelve individual wavelength bands, each of which must be calibrated individually. Over the past few weeks, the MIRI team (a large international group of astronomers from the USA and Europe) has been focusing primarily on calibrating the imaging components of the MRS. They want to ensure that all twelve bands are spatially well aligned with each other and with the MIRI Imager, so that it can be used to place targets accurately into the smaller MRS field of view. We show some early test results from this alignment process, illustrating the image quality achieved in each of the twelve bands using observations of the bright K giant star HD 37122 (located in the southern sky near the Large Magellanic Cloud).
“Once the spatial alignment and image quality of the several bands are well characterized, the MIRI team will prioritize calibrating the spectroscopic response of the instrument. This step will include determining the wavelength solution and spectral resolution throughout each of the twelve fields of view using observations of compact emission-line objects and diffuse planetary nebulae ejected by dying stars. We show the exceptional spectral resolving power of the MRS with a small segment of a spectrum obtained from recent engineering observations of the active galactic nucleus at the core of Seyfert galaxy NGC 6552. Once these basic instrument characteristics are established, it will be possible to calibrate MRS so that it is ready to support the wealth of Cycle 1 science programs due to start in a few short weeks.”
Read more: blogs.nasa.gov/webb/2022/06/16/webbs-mid-infrared-spectro...
This image: This portion of the MIRI MRS wavelength range shows engineering calibration data obtained of the Seyfert galaxy NGC 6552 (red line) in the constellation Draco. The strong emission feature is due to molecular hydrogen, with an additional weaker feature nearby. The blue line shows a lower spectral resolution Spitzer IRS spectrum of a similar galaxy for comparison. The Webb test observations were obtained to establish the wavelength calibration of the spectrograph. Credit: NASA, ESA, and the MIRI Consortium.