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Courtesy of Paul and Paula Knapp
Miniature Engineering Museum
Freestate Electrical Construction Co.
Architect: Gensler
Engineer: GHT Ltd.
General Contractor: DAVIS Construction
The fourth module, sized to extend the surface area to support a queen-sized mattress, contains three large cubby nooks for boxes or laundry baskets. I designed, built, and painted it in Philadelphia.
Unfortunately, there was no way to design it to fit inside a Subaru Outback. But one encounters the same difficulty with a queen-sized mattress, so that point doesn't matter so much.
Not seen very well here is the headboard shelf, constructed to be freestanding and braced against the wall. The headboard is the old twin mattress on its side.
This is the image of a Zippo Lighter that our client sent us - asking if we could build them a Slayer that looked the same? Of course we said YES!
Say hello to freckles ! Lol Couldn't believe the eye to detail and craftsmanship they put into these dolls.
The beautiful craftsmanship and stone work at one out of the many tombs at Makli Graveyard.
Makli Hill is one of the largest necropolises in the world, with a diameter of approximately 8 km. It lies approx. 98 km east of Karachi and is the burial place of some 125,000 local rulers, Sufi saints and others. Makli is located on the outskirts of Thatta, the capital of lower Sindh until the seventeenth century, in what is the southeastern province of present-day Pakistan. It was inscribed on the World Heritage List in 1981 under the name of Historical Monuments of Thatta.
Legends abound about its inception, but it is often believed that the cemetery grew around the shrine of a fourteenth-century Sarwa, Muhammad Hussain Abro. According to other sources however, the credit for establishing Makli as a holy place for worship and burial goes to the immigrant saint, poet and scholar Shaikh Hammad Jamali and the then local ruler, Jam Tamachi. Another legendary person buried at Makli is the saint Pir Murad (1428-1488).
The tombs and gravestones spread over the cemetery are material documents marking the social and political history of Sind. Many have been build using a local sandstone, others are plastered brick buildings (which have suffered the most, generally). The impressive royal mausoleums are divided into two major groups, those from the Samma (1352–1520) and from the Tarkhan (1556–1592) period. In total four historical periods are represented architecturally, namely the Samma, the Arghun, the Tarkhan and the Mughals periods. The tomb (or maqbara) of the King Jam Nizamuddin II (reigned 1461–1508), is an impressive square structure built of sandstone and decorated with floral and geometric medallions. Similar to this is the mausoleum of Isa Khan Hussain II (d. 1651), a two-story stone building with majestic cupolas and balconies. In contrast to the synthetic architecture of these two monuments, which integrate Hindu and Islamic motifs, are mausoleums that clearly show the Central Asian roots of the Tarkhan and Moghul dynasties. An example is the tomb of Jan Beg Tarkhan (d. 1600), a typical octagonal brick structure whose dome is covered in blue and turquoise glazed tiles. Pavilion or canopy tombs (chattri maqbara or umbrella tomb) are another typical Indo-Islamic architectural feature, as well as enclosure tombs. the Moghul period is represented by many tombs on the southern side of the necropolis, including the mausoleum of Mirza Jani & Mirza Ghazi Baig, that of Nawab Shurfa Khan, the enclosure of Mirza Baqi Baig Uzbek and of Mirza Jan Baba as well as the impressive restored tomb of Nawab Isa Khan Tarkhan the Younger.
Today, Makli Hill is a United Nations Educational, Scientific and Cultural Organization (UNESCO) World Heritage Site that is visited by both pilgrims and tourists, but in strong need of conservation and maintenance. The 2010 flooding unfortunately added to the deterioration of the site.
en.wikipedia.org/wiki/Makli_Hill
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Vellore Fort is a large 16th-century fort situated in heart of the Vellore city, in the state of Tamil Nadu, India built by Vijayanagara Kings. The Fort was at one point of time the headquarters of the Aravidu Dynasty of Vijayanagara Empire. The fort is known for its grand ramparts, wide moat and robust masonry.
The Fort's ownership passed from Vijayanagara Kings, to the Bijapur Sultans, to Marathas, to the Carnatic Nawabs and finally to the British, who held the fort until India gained independence. The Indian government maintains the Fort with the Archaeological Department. During British rule, the Tipu Sultan's family and the last king of Sri Lanka, Sri Vikrama Rajasinha were held in as prisoners in the fort. The fort houses the Jalakanteswarar Hindu temple, Christian St. John's Church and a Muslim mosque, of which the Jalakanteswarar Temple is famous for its magnificent carvings. The first rebellion against British rule erupted at this fort in 1806, and it is also a witness to the massacre of the Vijayanagara royal family of Sriranga Raya.
HISTORY
PART OF VIJAYANAGARA EMPIRE
Vellore Fort was built by Chinna Bommi Reddy and Thimma Reddy, subordinate Chieftains under Sadasiva Raya of the Vijayanagara Empire in the year of 1566 AD. Vellore Fort gained strategic prominence following the re-establishment of Vijayanagar rule with Chandragiri as their 4th capital after the Talikota battle. The Aravidu Dynasty that held the title of Rayas in 17th century resided in this fort, using it as a base in the battle of Toppur in the 1620s. This major battle took place for the claiming of the Raya title between two factions of the Raya family. Each faction was by their respective subordinates; the Nayaks of Tanjore, the Gingee and the Madurai taking sides to suit their interests.
The Rayas also had long-running battles with their longtime rivals, the Bijapur Sultans, and with the Nayaks of Madurai and the Gingee over non-remittance of annual tributes. In the 1640s, during the reign of Sriranga Raya III, the Fort was briefly captured by the Bijapur army, but was eventually recaptured with the help of the Nayaks of Tanjore.
During Sriranga Raya's reign in 1614, a coup broke out within the royal family and the reigning Emperor Sriranga Raya and his royal family were murdered by the rival factions of the Royal family, with the younger son Rama Deva Raya of the Emperor smuggled out from the fort by supporting factions of the emperor. These events led to the Battle of Toppur in 1616, one of the largest South Indian wars of the century.
In 1639, Francis Day of the East India Company obtained a small strip of land in the Coromandel Coast from the Chieftains of Vellore-Chandragiri regions to do trading, which is now in present day Chennai.
UNDER BIJAPUR (1656–1678)
In the 1650s, Sriranga allied with the Mysore and Tanjore Nayaks and marched south to attack Gingee and Madurai. His first stop was the capture of Gingee Fort, but Thirumalai Nayak of Madurai responded by requesting the Sultan of Bijapur to attack Vellore from the North to divert Sriranga's attention. The Bijapur Sultan promptly dispatched a large army and captured Vellore Fort. Subsequently, both the Madurai-Bijapur armies converged on Gingee, defeating the Vellore-Tanjore forces. After a melee, both the Forts ended up in the hands of the Sultan of Bijapur. The defeat also marked the end of the last direct line of Vijayanagara emperors. Within 20 years after this incident, the Marathas seized the fort from the Bijapur Sultans.
UNDER THE MARATHAS (1678–1707)
In 1676, the Marathas under Chatrapati Shivaji Maharaj marched south to the Tanjore country, which had recently been attacked and captured by Chokkanatha Nayak of Madurai. That same year, Ekoji, the brother of Chatrapati Shivaji Maharaj, took control of Tanjore, but was under threat from his immediate neighbours Madurai and Bijapur Sultans, based in Gingee and Vellore respectively. Chatrapati Shivaji Maharaj's army first captured the Gingee Fort in 1677, but left the task of attacking Vellore to his assistant and rushed to Deccan as his territories were being attacked by Mughal Emperor Aurangazeb. In 1688, after a prolonged fourteen-month siege, the Fort passed on to the Marathas. Shivaji's representative strengthened the fort's fortifications and ruled the area in relative peace.
UNDER THE MUGHAL ARMY (1707–1760)
In 1707, the year that Aurangazeb died, the Delhi Army under Daud Khan captured Vellore Fort after defeating the Marathas. The struggle for the Delhi throne empowered the Deccan Muslim governors to declare independence. In 1710 the recently established Nawab of Arcot under Sadat Ullah Khan followed suit. Dost Ali, the latter's successor in 1733, gifted the fort to one of his sons-in-law.
UNDER CONTROL OF BRITISH (1760–1947)
Following the decline of Madurai Nayaks, the revolt from people and coinciding with the emergence of the British on the Madras coast, the Nawab and his sons-in-law broke out into a feud over the title of Nawab. The Nawab was supported by the British and the rival claimants by the French resulting in the Carnatic Wars. The British Nawab's victory in the 1760s in the Battle of Plassey finally sealed the fate of the French in India and launched Britain's dominance of the Indian subcontinent. In addition, the British took possession of Vellore fort with relative ease and used the Fort as a major garrison until the Indian independence. In 1780, the fort was besieged by Hyder Ali in the Second Anglo-Mysore War, but the English garrison held out against Hyder Ali for over two years after which the siege was lifted.
VELLORE MUTILY (1806)
In 1806 Vellore fort was used by the British to station two infantry regiments of the Madras Army plus four companies of an English regiment. The British Commander in chief of the Madras Army had prescribed a new round hat for the Madras sepoys to replace their turbans, plus the removal of beards, caste markings and jewelry. These measures were intended merely to improve the appearance of the Madras soldiers on parade but the sepoys considered them to be an offensive meddling with their religious beliefs. The situation was worsened by the fact that the hat included a leather cockade, made from cow hide.
On July 10, 1806, before sunrise, the Indian sepoys stationed in the fort attacked the European barracks there, and by late morning had killed about 15 Officers and 100 English soldiers and ransacked their houses. Some of the rebelling soldiers also urged the sons of Tipu Sultan to lead the campaign. The news quickly reached the colonel commanding the Cavalry Cantonment in Arcot, who reached the Fort with several squadrons of British and Indian cavalry. The mutineers, numbering more than 800, were scattered with heavy losses. By noon the mutiny was put down. The events lead to a court of inquiry by the British, who decided to shift the Tipu Sultan's family from Vellore to faraway Calcutta, in isolation.
The news of the Vellore Rebellion sent shockwaves to England. The Governor, Lord William Bentinck, and Commander-in-Chief of the Madras Army, Sir John Cradock both were recalled on this count. This was the first rebellion experienced in the fort by the British.
ARCHITECTURE
It is mentioned that "there is no such fort on the face of earth like the one in Vellore. It had a deep wet ditch (moat) where once 10,000 crocodiles swarmed, waiting to grab every intruder into this impregnable fort. It has huge double walls with bastions projecting irregularly, where two carts can be driven abreast". The fort was constructed in granite from the nearby quarries in Arcot and Chittor districts. It spreads over an area of 0.54 km2 and is located at an altitude of 220 m within a broken mountain range. The fort is surrounded by a moat which was once used as an additional line of defence in the case of an invasion. It includes an escape tunnel leading to Virinjipuram about 12 km away, which could be used by the king and other royals in the event of an attack, later disputed by Researchers of the ASI who found no evidence of existence of such passage. The fort is considered to be among the best of military architecture in Southern India and is known for its grand ramparts, wide moat and robust masonry.
The fort houses a Temple, a Mosque and a Church, the renowned Vellore Christian Hospital, and many other buildings that are now used as public offices. The Jalagandeeswarar Temple, dedicated to Jalagandeeswar, is noted for its sculptures, and speaks volumes of the exquisite craftsmanship of the highly skilled artisans of that period. The sculpture in the porch on the left of the entrance is a masterpiece appreciated by the connoisseurs of art and architecture. The temple was long used as an arsenal, and remained without a deity, although several years ago it was sanctified with an idol of Lord Shiva.
The Mosque inside the fort was constructed during the last Arcot Nawab's period. Presently, Muslims are not allowed to pray inside the fort mosque despite protest by several thousand people living in Vellore. Vellore's inhabitants believe that the Archaeological Survey of India (ASI) is being discriminatory by stopping Muslims from Mosque while Hindus and Christians are not stopped from entering temple and church respectively. However, some refute the claims of the Muslims, as in the late 1980s, Muslims late by the Late Abdul Samad had given a commitment that the Muslims did not want to worship inside the Fort structure, in support of re-opening of the Jalagandeeswarar Temple. The local jamaath leadership was also against this move, and blamed fringe political organisations of whipping up communal dis-harmony. The Church inside the fort was constructed during the early British period (Robert Clive, East Indian Company). Muthu Mandapam is a memorial built around the tombstone of Sri Vikrama Rajasinha, the last ruler of Sri Lanka.
ST. JOHN´S CHURCH, VELLORE FORT
St. John's Church, Vellore located inside the Vellore Fort was raised in 1846 by the Government of Madras for the officers and men of the East India Company military station. The church is named afer St. John the Evangelist. However, the church was never officially consecrated and hence not officially named as St. John’s Church. St. John's Church is the oldest standing church in the Vellore Diocese.
ROYAL PRISONERS
Vellore Fort has housed several royal captives over its history. After the fall of Srirangapatnam in 1799 and the death of Tipu Sultan, his family, including his sons, daughters, wife and mother (who was the wife of Hyder Ali), was detained in the fort. After the 1806 Sepoy Mutiny, the British transferred Tipu's sons and daughters to Calcutta. The Tombs of Bakshi Begum (died 1806), widow of Hyder Ali and Padshah Begum, Tipu's wife & sons, who died in 1834 are located with a kilometre to the eastern side of the Fort.
Vellore Fort also became the final destination for the last ruling monarch of Sri Lanka, Sri Vikrama Rajasinha (1798–1815). The king and his family were kept as prisoners of war at this fort for 17 years with his family. His grave can be found in the fort along with last raya kings of Vijayanagara Empire.
CULTURE
The Fort is situated in the centre of Vellore town opposite to the Old Bus stand. Vellore is on the Chennai-Bangalore highway and is 120 km from Chennai and 210 km from Bangalore. The nearest rail station is Vellore-Katpadi Junction, where all super fast trains stop. The nearest airports are Tirupati Airport, Chennai International Airport and Bengaluru International Airport. In 1981 the Post and Telegraph Department of India released a stamp commemorating the Fort, and in July 2006 a stamp marking the 200th anniversary of the Mutiny was released by the Tamil Nadu Chief Minister. This 13th-century fort was opened up to tourists and is now maintained by the Archaeological Survey of India. Government Museum is a multi purpose museum maintained by the Department of Museum Government of Tamil Nadu. Its treasures include ancient- and present-day curiosities relating to subjects such as anthropology, botany, geology, numismatics, pre-history, and zoology. Historical monuments of the erstwhile composite North Arcot district are gracefully depicted in the gallery. This museum is kept open on all days between 9.00 a.m. and 12.30 p.m. and 2.00 p.m and 5.00 p.m. except on holidays, and admission fee is INR 5/- - Tourists INR 100.
WIKIPEDIA
Boatman and Magnani Inc.
Architect: Cunningham | Quill Architects
General Contractor: Chesapeake Contracting Group, Inc.
Bolo-Khauz Mosque was built in 1712 by order of Emir's wife. The other legend says that Emir Shakhmurad (1785-1800) built it for public prayers, because he liked to be among common people. A wooden ceiling of ayvan (traditional verandah), which leans on refined columns, is abundantly decorated with fretwork and ornamented with floral and geometrical ornamental patterns. A short minaret was built in 1917 by Shirin Muradov, a famous master of Bukhara.
A lovely sketch by Edward Bawden illustrates an advert for the company who made the paper it was printed on - John Dickenson, based at Croxley Mills, were one of the UK's best known paper makers with 'domestic' brands such as Basildon Bond.
Basic Camp, 2nd Regiment Cadets form a crescent shape to hear the Cadre’s lesson on Field Craftmanship as part of Cadet Summer Training at Fort Knox, Ky., July 6. | Photo by Jordyn McCulley, CST Public Affairs Office.
The Gumpert Apollo is the perfect synthesis between road vehicle and racing car. It exceeds all expectations with its passion and maximum driving fun. 650 HP, up to 360 km/h top-speed and an acceleration of 0 to 100 km/h in just 3.0 seconds make it a full-blooded super sports car to which there is no alternative. The complete package is available at a cost-performance ratio unequalled in this exclusive vehicle class.
The production process is the one part of the manufacture philosophy in which exclusivity and precision are paramount to speed. Gumpert Sportwagenmanufaktur associates the term ‚manufacture' with it's the commitment to achieve quality and luxury by means of craftsmanship and hand-made production.
Roland Gumpert, founder, managing director and the driving force behind Sportwagenmanufaktur, has created a manufacturing environment that combines engineering excellence with a broad automotive and racing competence. Experts within the motorsports scene are all familiar with the name Gumpert: In the mid 1970s, the long-standing Audi manager was the driving force behind the development of the four-wheel drive "Iltis", the original predecessor of today's "Quattro". In 1979 he not only succeeded in preparing the gnarled four-wheel drive "Iltis" for the Paris-Dakar rally, but also achieved victory. In the years that followed under his management, Audi Sport won a total of 25 World Rally Championship races and was the 4-time winner of the World Rally Championship. Gumpert's professional success is distinguished by his ability to combine innovative ideas with proven technology effectively and successfully.
Gumpert Apollo (2008)
2008 Gumpert Apollo
A team of automotive and motor sports specialists joined forces to pool their enthusiasm and energy into developing and creating the Gumpert Apollo. Their abilities create the space for the finest workmanship and utmost individuality, with the use of high-tech processes and integration of proven standard components securing the technical basis.
With the Gumpert Apollo we are providing a select clientele of ambitious sports drivers and car enthusiasts with the opportunity of experiencing the unique synergy between hand-made high-end components optimised for performance on the road and the track, and of distinguishing themselves from the remainder of the world of sports cars. Up to 100 vehicles will leave the factory each year - just enough to ensure that these exceptional vehicles retain their exclusive status.
Gumpert Sportwagenmanufaktur is an independent, privately financed company. The financial stability of the company is being secured by well-known investors. Their operative commitment will also promote the international sales and distribution of Gumpert Apollo.
The challenge was to develop an exceptional design that combined the extreme aerodynamic requirements of a performance-oriented, purist super sports car with the aesthetic design of an exclusive vehicle. We wanted to achieve the perfect synthesis of design and function. Without compromising. And we have succeeded with Gumpert Apollo: Its silhouette, optimised in numerous wind tunnel tests, reflects its by far superior capabilities.
In its profile, the Gumpert Apollo dynamic appearance is further enhanced by its dimensions (4.46 m length, almost 2 m width and 1.24 m height) and its streamlined, long and wide shoulder lines. The mid-engine layout is emphasised by the cockpit, which is clearly located toward the front of the vehicle, and the long wheel base; both factors ensure optimum driving qualities. Massive air inlets and outlets in the front and on the side in front of and behind the doors leave no doubt about its potency. Above all, though, they supply the two turbo-chargers and the high-performance braking system with enough fresh air to ensure optimum operation for the duration of a race. The high-set air intake for the engine is reminiscent of Formula 1 vehicles and emphasises Gumpert Apollo racing character. The dominant rear provides a view of the diffuser and the underbody, encased completely in carbon, - which, combined with the front diffuser and flow channels, achieves an exceptionally high negative lift for a road vehicle.
Gumpert Apollo leaves a lasting impression on anyone who sees it: It symbolises unusual power, dynamism and sportiness. It reflects above-average performance capability paired with timeless elegance, and even when it is not moving, shows that the design can only adhere to function: driving dynamics.
The secret of Gumpert Apollo is an innovative design concept from racing car engineering. The base and symbolic backbone of Gumpert Apollo consists a round tube frame made of top-quality and highly stable chrome-molybdenum-steel with an integrated monocoque safety cell made of high quality carbon fibre screwed directly onto the frame. The 161 kg (355 lbs.) construction design is so effective, so torsion proof and bend resistant that it complies with both the specifications of the European MOT approval and the international manufacture specifications of motor sports (see annex J of the FIA regulations). Gumpert Apollo succeeds in combining low weight with the rigidity of a racing car, finest driving dynamics and maximum safety. The Gumpert Apollo is one of the safest and most agile vehicles of its class.
PERFORMANCE IN A NEW DIMENSION
The Gumpert Apollo is not the only sports car on the market; however its concept is so unique and realised so consistently that it aspires to redefine the standard for this vehicle class. The Gumpert Apollo has more to offer:
•Approved both for use on the road and on the track
•Maximum safety in accordance with the international motor racing standards
•Low curb weight of below 1,200 kg (2,645 lbs.)
•Perfect road-holding and ultra-precise handling
•Maximum driving pleasure and unbeatable driving performance
•Excellent aerodynamic efficiency and driving dynamics
•Synthesis of reliable racing and series technology
•Unique, futuristic, and striking design
•Best cost-benefit ratio
Despite the series production process, every Gumpert Apollo is unique. It is customized to the owner's wishes and needs and proudly bears his touch. We can also offer you:
•Luxury package with air conditioning, navigation radio with DVD/CD-Player and backwards facing camera with rear-view mirror function
•Car body made of fibreglass (GFK) or carbon-fibre (CFK)
•Carbon fibre for various components and car body parts
•Design variants created by use of different air intakes for the engine
•Carbon rear wing (optional available)
•Engine variants with 650 / 700 / 800 HP output
In addition to these different options and equipment packages, we can of course also accommodate any other special requests made by our customers. Just talk to us.
The consistent achievement of maximum driving dynamics and uncompromising functionality is also visible in the interior design: Every detail was designed according to functional viewpoints equivalent to those of a racing car, yet without neglecting the required amount of comfort and quality.
TAILOR-MADE PURISM AND LUXURY
Light weight was the top priority and has been achieved through the exclusive use of high-tech materials. The instrument panel, like the monocoque it is integrated into, is made of carbon fibre. The seat buckets, too, are fitted into the monocoque - although you will not find seats in the conventional meaning in the Gumpert Apollo. The seat position is adjusted to each customer individually, using padding, upholstery, adjustable pedals, and the steering column. Yet you are not required to forgo proven technology in the Gumpert Apollo: air conditioning, high-end navigation system with an integrated reverse camera, CD/DVD player and much more are available.
The Gumpert Apollo is a tailor-made sports car, and individual masterpiece. In line with this principle, customers can design the interior to meet their preferences, be it pure performance or somewhat more luxurious. Decide the colours and designs yourself, whether leather, seams or embroideries are concerned. We guarantee you a car that will fulfil all of your requirements. Just talk to us.
READY FOR RACETRACK
A sports car's supremacy is not defined by pure engine power alone: only a car that can put this power on the asphalt and create a balance between all occurring internal and external forces will leave the contestants behind, on the road and the race track. The chassis is the key to this supremacy - and Gumpert Apollo has already proven itself spectacularly under the toughest testing conditions on various test tracks, public roads and real racing tracks such as Hockenheim, Imola and the historical "Nordschleife".
The Gumpert Apollo is built as a racing car according to FIA GT and ACO regulations upon request.
Success is one of Gumpert Sportwagenmanufaktur's clearly defined objectives in racing. Naturally the factory benefits from the years of experience in motor sports and the remarkable successes of company owner Roland Gumpert.
The Gumpert Apollo made a great third place with the Belgian racing driver, Ruben Maes, in the cockpit at its racing debut at the Divinol Cup in Hockenheim in April 2005.
PROVEN PERFORMANCE IN A NEW DIMENSION
The impressive power of the high-performance eight cylinder engine is based on proven V8-high-performance aggregates from Audi. In the standard configuration this engine is optimised for use in racing and road vehicles and produces 650 HP as a Biturbo engine. Weighing only 196 kg (432 lbs.), it plays a major role in ensuring the ideal weight and fascinating driving dynamics of Gumpert Apollo. An angle of 90° between the two cylinder banks is a sign of a classic 8-cylinder engine. Efficient utilisation of its remarkable energy in the back wheels guarantees the fully-synchronised, sequential six-speed transmission that incorporates Formula 1 know-how. The short gear paths allow high speed gear changes. The arrangement of the gears in a longitudinal direction in the path of travel ensures a very low centre of gravity and optimum weight distribution. The characteristic sound of the double-flow exhaust system of the Gumpert Apollo with its 3-way catalytic converters says it best - the Gumpert Apollo is pure, unbeatable performance as reflected in the data. Like a comet, the Gumpert Apollo catapults its pilot from 0 to 100 km/h (0-62 mph) in just 3.0 seconds and only requires 8.9 seconds from 0 to 200 km/h (0-124 mph).
For connoisseurs form whom driving fun does not necessarily equal maximum motor performance and ultimate acceleration, the engine is also ideally suited for day-to-day driving at lower speeds.
DRIVING DYNAMICS REDEFINED
The Gumpert Apollo's suspension was developed to ideally complement the body's sophisticated aerodynamics. The resulting is unusual driving dynamics. The Gumpert Apollo is taut but not hard and provides driver and passenger with an extraordinar level of comfort for a car designed purely for performance. It demands the pilot's unswerving attention, yet due to its ultra-precise and predictable driving characteristics does not overwhelm, even at top speed.
An ideal weight balance of 42 to 58 percent between the front and rear axis rounds it off: It provides optimum traction during acceleration, whilst ensuring stable control even when braking in critical situations.
The Gumpert Apollo owes the finely tuned sensitivity of the suspension system and the optimised exertion of power to its double transverse control arm pushrod configuration at the front and back. The double transverse control arms ensure that the tires maintain optimum contact with the road surface, independent of the bound rate of suspension system. The suspension system allows the owner to seamlessly set the ground clearance in a range between 40 and 120 mm (1.57-4.72 in). Sealed uniball joints ensure that the forces are transferred precisely and with little friction. Stabilisers support the efficiency of the suspension and pitch compensation prevents the vehicle from diving during braking and lifting during accelerating. Despite its low trim, the Gumpert Apollo provides long wheel travel in compression and rebound, facilitating the finely-tuned and precise functioning of the absorbers and springs.
The high level of driving dynamics is supported by an agile electro-hydraulic power steering system that provides the driver with direct feedback. In order to securely transfer the 850 nm torque to the road, Gumpert Apollo has a traction control system (TCS) used in motor sports. Developed together with the company Racelogic, the permitted slip can be accurately set on the rear axle - according to the drivers wishes. An optional launch control, adjusted to the Gumpert Apollo especially, ensures swift starts like those of Formula 1. The Gumpert Apollo's driving performance is controlled with a 2-circuit high-performance braking system with adjustable 3-level Bosch-ABS, 378 mm (14.9 in) ventilated discs, and 6-piston callipers on the front and rear axle.
All of these are primary technical principles, the sportive orientation of which could not be clearer. Thanks to its suspension, the Gumpert Apollo proves itself in every curve: It redefines the term ‚driving dynamics'.
TECHNICAL SPECIFICATIONS
•DIMENSIONS◦Length 4,460 mm / 175.6"
◦Width 1,998 mm / 78.6"
◦Height 1,114 mm / 43.8"
◦Wheel base 2,700 mm / 106.3"
◦Wheel gauge ◾front: 1,670 mm / 65.7"
◾back: 1,598 mm / 62.9"
◦Boot volume: 100 l
•WEIGHT◦Kerb weight: below 1,200 kg / 2,645 lbs
◦Allowed total weight: 1,500 kg / 3,306 lbs
◦Approved axle load ◾front: 650 kg / 1,452 lbs
◾back: 900 kg / 1,984 lbs
•ENGINE◦Cylinders: 8
◦Type: 90° - V
◦Valves per cylinder: 5
◦Displacement: 4,163 cm3 / 254 in3
◦Stroke: 93 mm / 3.66"
◦Bore: 84.5 mm / 3.32"
◦Nominal output: 478 kW (650 HP) @ 6,500 rpm
◦Maximum torque: 850 Nm (626.9 lb-ft) @ 4,000 rpm [with 820 Nm @ 2700 rpm]
◦Maximum revs: 7,200 rpm
◦Compression ratio: 9,3
◦Recommended fuel type: 98 ROZ / 88 MOZ
◦Emission standard: Euro 4
•GEARBOX◦Sequential six-speed gear box with synchronisation and oil cooling
◦Twin plate clutch configuration (diameter 200 mm / 7.87" each)
◦Differential lock by Torsen
◦Custom-made gear ratios
•WHEELS◦Tire dimension ◾front: 255/35ZR19
◾back: 345/35ZR19
◦Wheel dimension ◾front: 10J x 19
◾back: 13J x 19
◦Wheel rim type: Aluminium cast wheels with centre lock
•PERFORMANCE◦Top speed: 360 km/h (224 mph)
◦0-100 km/h (0-62 mph): 3.0 s
◦0-200 km/h (0-124 mph): 8.9 s
The art of paper-cutting (jiǎnzhǐ 剪纸) in China may date back to the second century C.E., since paper was invented by Cai Lun in the Eastern Han Dynasty in China. As paper became more affordable, paper-cutting became one of the most important types of Chinese folk art. Later, this art form spread to other parts of the world, with different regions adopting their own cultural styles. Because the cut-outs are often used to decorate doors and windows, they are sometimes referred to as chuāng huā (窗花), window flowers or window paper-cuts. People glued the papercuts to the exterior of windows, so the light from the inside would shine through the negative space of the cutout. Usually, the artworks are made of red paper, as red is associated with festivities and happiness in Chinese culture, but other colours were also used. Normally paper-cutting artwork is used on festivals like Spring Festival, weddings and childbirth. Papercuts always symbolize luck and happiness.
Origin
Chinese paper-cutting originated from ancient activities of worshipping ancestors and gods, and is a traditional part of Chinese culture. According to archaeological records, it originates from the 6th century, although some believe that its history could be traced as far back as the Warring States period (around 3 BC), long before the paper was invented. At that time, people used other thin materials, like leaves, silver foil, silk and even leather, to carve hollowed patterns. Later, when paper was invented, people realized that this material was easy to cut, store and discard, and paper became the major material for this type of artwork. During the Ming and Qing dynasties (1368–1912), this artistry witnessed its most prosperous period. For over a thousand years, people (mainly women) have been making paper-cuts as part a leisure activity. They created different type of paper-cutting and shared and passed this traditional craftsmanship to their children, so that this traditional art style became more and more popular and is still practiced to this day.
Paper is a kind of material which mildews and rots easily. In the southeast of China, it usually rains in May and June, which makes paper mildew and rot quickly. As a result, people in southeast did not keep them, and it is hard to find paper-cutting from that time. On the contrast, the weather in the northwest of China is usually dry, which makes it possible to find paper-cutting made in the Northern dynasties in Turpan, Sinkiang province.
When paper-cutting passed down to the Tang dynasty, the skills of handcraft became mature. Paper-cutting was not only a kind of handcraft, but also a piece of artwork, as it could express the idea through the pattern. In Ming and Qing dynasty, paper-cutting experienced its peak development. Folk paper-cutting spread to a wider range and had abundant means of artistic expression. Paper-cutting was used to decorate doors, windows and walls to show happiness and festival.
Uses
Today, paper cuttings are chiefly decorative. They liven up walls, windows, doors, columns, mirrors, lamps and lanterns in homes and are also used on presents or are given as gifts themselves. Paper cut-outs pasted on or near entrances are supposed to bring good luck. Paper cuttings used to be used as patterns, especially for embroidery and lacquer work. Papercuts are used by younger generation as a decoration for their kits and books.
Paper-cutting was and is mostly used as a decoration, or an aesthetic way to express people’s hopes, gratitude and other emotions. With a pair of scissors cutting through a piece of red paper, the paper-cuttings are endowed with a simple but exaggerated beauty. The vividly depicted paper-cuttings have different meanings. Some express the wish for a harvest or a wealthy life, such as paper-cuttings of a golden harvest, thriving domestic animals, good fortunes, a surplus year or a carp jumping over a dragon gate (a traditional Chinese story, indicating a leap towards a better life); some depict animals and plants, such as paper-cuttings of polecats, lions, kylins (Chinese mythical creature), jade rabbits (animal from a Chinese legend), pomegranates and peonies; some illustrate legendary figures or scenes from traditional myths or stories, such as paper-cuttings of the Yellow Emperor, the meeting of Niulang and Zhinv and 24 stories of filial piety; and others show people’s gratitude towards life, such as paper-cuttings of a doll with two twisted hair on each side of the head, fish swimming through lotus and dishes. (a strong passion for life can be easily seen from the paper-cuttings of the women)
The most famous paper-cutting characters in Chinese are “福” (fú, meaning 'lucky') and “囍” (xǐ, meaning 'double happiness'). Even to this day, Chinese people love to hang paper-cutting of these two characters at their doors. “福” is usually used during the Chinese New Year’s Festival, indicating people’s wishes for a lucky year. “囍” can often be seen at the windows or door of newly-weds.
Window paper-cuts have a close relationship with Spring begins, as it has been a way to welcome spring since ancient times in China. In many areas in China, especially in North, when spring comes, people like to paste window paper-cuts on the window to express their happiness. Since Song and Yuan Dynasty, people change the time to the Spring Festival in order to welcome Chinese New Year. Through pasting window paper-cuts, people decorate their home to show their joy, happiness and good intentions.
Source: Wikipedia
A couturier works as his customers wait, on a small shop at the Old Medina, in Casablanca, Morocco. via 500px ift.tt/2E1uGch
Vellore Fort is a large 16th-century fort situated in heart of the Vellore city, in the state of Tamil Nadu, India built by Vijayanagara Kings. The Fort was at one point of time the headquarters of the Aravidu Dynasty of Vijayanagara Empire. The fort is known for its grand ramparts, wide moat and robust masonry.
The Fort's ownership passed from Vijayanagara Kings, to the Bijapur Sultans, to Marathas, to the Carnatic Nawabs and finally to the British, who held the fort until India gained independence. The Indian government maintains the Fort with the Archaeological Department. During British rule, the Tipu Sultan's family and the last king of Sri Lanka, Sri Vikrama Rajasinha were held in as prisoners in the fort. The fort houses the Jalakanteswarar Hindu temple, Christian St. John's Church and a Muslim mosque, of which the Jalakanteswarar Temple is famous for its magnificent carvings. The first rebellion against British rule erupted at this fort in 1806, and it is also a witness to the massacre of the Vijayanagara royal family of Sriranga Raya.
HISTORY
PART OF VIJAYANAGARA EMPIRE
Vellore Fort was built by Chinna Bommi Reddy and Thimma Reddy, subordinate Chieftains under Sadasiva Raya of the Vijayanagara Empire in the year of 1566 AD. Vellore Fort gained strategic prominence following the re-establishment of Vijayanagar rule with Chandragiri as their 4th capital after the Talikota battle. The Aravidu Dynasty that held the title of Rayas in 17th century resided in this fort, using it as a base in the battle of Toppur in the 1620s. This major battle took place for the claiming of the Raya title between two factions of the Raya family. Each faction was by their respective subordinates; the Nayaks of Tanjore, the Gingee and the Madurai taking sides to suit their interests.
The Rayas also had long-running battles with their longtime rivals, the Bijapur Sultans, and with the Nayaks of Madurai and the Gingee over non-remittance of annual tributes. In the 1640s, during the reign of Sriranga Raya III, the Fort was briefly captured by the Bijapur army, but was eventually recaptured with the help of the Nayaks of Tanjore.
During Sriranga Raya's reign in 1614, a coup broke out within the royal family and the reigning Emperor Sriranga Raya and his royal family were murdered by the rival factions of the Royal family, with the younger son Rama Deva Raya of the Emperor smuggled out from the fort by supporting factions of the emperor. These events led to the Battle of Toppur in 1616, one of the largest South Indian wars of the century.
In 1639, Francis Day of the East India Company obtained a small strip of land in the Coromandel Coast from the Chieftains of Vellore-Chandragiri regions to do trading, which is now in present day Chennai.
UNDER BIJAPUR (1656–1678)
In the 1650s, Sriranga allied with the Mysore and Tanjore Nayaks and marched south to attack Gingee and Madurai. His first stop was the capture of Gingee Fort, but Thirumalai Nayak of Madurai responded by requesting the Sultan of Bijapur to attack Vellore from the North to divert Sriranga's attention. The Bijapur Sultan promptly dispatched a large army and captured Vellore Fort. Subsequently, both the Madurai-Bijapur armies converged on Gingee, defeating the Vellore-Tanjore forces. After a melee, both the Forts ended up in the hands of the Sultan of Bijapur. The defeat also marked the end of the last direct line of Vijayanagara emperors. Within 20 years after this incident, the Marathas seized the fort from the Bijapur Sultans.
UNDER THE MARATHAS (1678–1707)
In 1676, the Marathas under Chatrapati Shivaji Maharaj marched south to the Tanjore country, which had recently been attacked and captured by Chokkanatha Nayak of Madurai. That same year, Ekoji, the brother of Chatrapati Shivaji Maharaj, took control of Tanjore, but was under threat from his immediate neighbours Madurai and Bijapur Sultans, based in Gingee and Vellore respectively. Chatrapati Shivaji Maharaj's army first captured the Gingee Fort in 1677, but left the task of attacking Vellore to his assistant and rushed to Deccan as his territories were being attacked by Mughal Emperor Aurangazeb. In 1688, after a prolonged fourteen-month siege, the Fort passed on to the Marathas. Shivaji's representative strengthened the fort's fortifications and ruled the area in relative peace.
UNDER THE MUGHAL ARMY (1707–1760)
In 1707, the year that Aurangazeb died, the Delhi Army under Daud Khan captured Vellore Fort after defeating the Marathas. The struggle for the Delhi throne empowered the Deccan Muslim governors to declare independence. In 1710 the recently established Nawab of Arcot under Sadat Ullah Khan followed suit. Dost Ali, the latter's successor in 1733, gifted the fort to one of his sons-in-law.
UNDER CONTROL OF BRITISH (1760–1947)
Following the decline of Madurai Nayaks, the revolt from people and coinciding with the emergence of the British on the Madras coast, the Nawab and his sons-in-law broke out into a feud over the title of Nawab. The Nawab was supported by the British and the rival claimants by the French resulting in the Carnatic Wars. The British Nawab's victory in the 1760s in the Battle of Plassey finally sealed the fate of the French in India and launched Britain's dominance of the Indian subcontinent. In addition, the British took possession of Vellore fort with relative ease and used the Fort as a major garrison until the Indian independence. In 1780, the fort was besieged by Hyder Ali in the Second Anglo-Mysore War, but the English garrison held out against Hyder Ali for over two years after which the siege was lifted.
VELLORE MUTILY (1806)
In 1806 Vellore fort was used by the British to station two infantry regiments of the Madras Army plus four companies of an English regiment. The British Commander in chief of the Madras Army had prescribed a new round hat for the Madras sepoys to replace their turbans, plus the removal of beards, caste markings and jewelry. These measures were intended merely to improve the appearance of the Madras soldiers on parade but the sepoys considered them to be an offensive meddling with their religious beliefs. The situation was worsened by the fact that the hat included a leather cockade, made from cow hide.
On July 10, 1806, before sunrise, the Indian sepoys stationed in the fort attacked the European barracks there, and by late morning had killed about 15 Officers and 100 English soldiers and ransacked their houses. Some of the rebelling soldiers also urged the sons of Tipu Sultan to lead the campaign. The news quickly reached the colonel commanding the Cavalry Cantonment in Arcot, who reached the Fort with several squadrons of British and Indian cavalry. The mutineers, numbering more than 800, were scattered with heavy losses. By noon the mutiny was put down. The events lead to a court of inquiry by the British, who decided to shift the Tipu Sultan's family from Vellore to faraway Calcutta, in isolation.
The news of the Vellore Rebellion sent shockwaves to England. The Governor, Lord William Bentinck, and Commander-in-Chief of the Madras Army, Sir John Cradock both were recalled on this count. This was the first rebellion experienced in the fort by the British.
ARCHITECTURE
It is mentioned that "there is no such fort on the face of earth like the one in Vellore. It had a deep wet ditch (moat) where once 10,000 crocodiles swarmed, waiting to grab every intruder into this impregnable fort. It has huge double walls with bastions projecting irregularly, where two carts can be driven abreast". The fort was constructed in granite from the nearby quarries in Arcot and Chittor districts. It spreads over an area of 0.54 km2 and is located at an altitude of 220 m within a broken mountain range. The fort is surrounded by a moat which was once used as an additional line of defence in the case of an invasion. It includes an escape tunnel leading to Virinjipuram about 12 km away, which could be used by the king and other royals in the event of an attack, later disputed by Researchers of the ASI who found no evidence of existence of such passage. The fort is considered to be among the best of military architecture in Southern India and is known for its grand ramparts, wide moat and robust masonry.
The fort houses a Temple, a Mosque and a Church, the renowned Vellore Christian Hospital, and many other buildings that are now used as public offices. The Jalagandeeswarar Temple, dedicated to Jalagandeeswar, is noted for its sculptures, and speaks volumes of the exquisite craftsmanship of the highly skilled artisans of that period. The sculpture in the porch on the left of the entrance is a masterpiece appreciated by the connoisseurs of art and architecture. The temple was long used as an arsenal, and remained without a deity, although several years ago it was sanctified with an idol of Lord Shiva.
The Mosque inside the fort was constructed during the last Arcot Nawab's period. Presently, Muslims are not allowed to pray inside the fort mosque despite protest by several thousand people living in Vellore. Vellore's inhabitants believe that the Archaeological Survey of India (ASI) is being discriminatory by stopping Muslims from Mosque while Hindus and Christians are not stopped from entering temple and church respectively. However, some refute the claims of the Muslims, as in the late 1980s, Muslims late by the Late Abdul Samad had given a commitment that the Muslims did not want to worship inside the Fort structure, in support of re-opening of the Jalagandeeswarar Temple. The local jamaath leadership was also against this move, and blamed fringe political organisations of whipping up communal dis-harmony. The Church inside the fort was constructed during the early British period (Robert Clive, East Indian Company). Muthu Mandapam is a memorial built around the tombstone of Sri Vikrama Rajasinha, the last ruler of Sri Lanka.
ST. JOHN´S CHURCH, VELLORE FORT
St. John's Church, Vellore located inside the Vellore Fort was raised in 1846 by the Government of Madras for the officers and men of the East India Company military station. The church is named afer St. John the Evangelist. However, the church was never officially consecrated and hence not officially named as St. John’s Church. St. John's Church is the oldest standing church in the Vellore Diocese.
ROYAL PRISONERS
Vellore Fort has housed several royal captives over its history. After the fall of Srirangapatnam in 1799 and the death of Tipu Sultan, his family, including his sons, daughters, wife and mother (who was the wife of Hyder Ali), was detained in the fort. After the 1806 Sepoy Mutiny, the British transferred Tipu's sons and daughters to Calcutta. The Tombs of Bakshi Begum (died 1806), widow of Hyder Ali and Padshah Begum, Tipu's wife & sons, who died in 1834 are located with a kilometre to the eastern side of the Fort.
Vellore Fort also became the final destination for the last ruling monarch of Sri Lanka, Sri Vikrama Rajasinha (1798–1815). The king and his family were kept as prisoners of war at this fort for 17 years with his family. His grave can be found in the fort along with last raya kings of Vijayanagara Empire.
CULTURE
The Fort is situated in the centre of Vellore town opposite to the Old Bus stand. Vellore is on the Chennai-Bangalore highway and is 120 km from Chennai and 210 km from Bangalore. The nearest rail station is Vellore-Katpadi Junction, where all super fast trains stop. The nearest airports are Tirupati Airport, Chennai International Airport and Bengaluru International Airport. In 1981 the Post and Telegraph Department of India released a stamp commemorating the Fort, and in July 2006 a stamp marking the 200th anniversary of the Mutiny was released by the Tamil Nadu Chief Minister. This 13th-century fort was opened up to tourists and is now maintained by the Archaeological Survey of India. Government Museum is a multi purpose museum maintained by the Department of Museum Government of Tamil Nadu. Its treasures include ancient- and present-day curiosities relating to subjects such as anthropology, botany, geology, numismatics, pre-history, and zoology. Historical monuments of the erstwhile composite North Arcot district are gracefully depicted in the gallery. This museum is kept open on all days between 9.00 a.m. and 12.30 p.m. and 2.00 p.m and 5.00 p.m. except on holidays, and admission fee is INR 5/- - Tourists INR 100.
WIKIPEDIA
A view of the Betley lantern open, revealing the removable candlestick and holder. I think I found the candlestick holder at a Quaker jumble sale.
This is the result of a composition representing a modern Nativity scene, during these days of Christmas time in Sant Pere de Torelló church in Catalonia. Joint production between Pere Pujolassos and myself. Good work, interesting reflection.
Photo: Raquel Vaqué.
Resultat de la composició presentada a l'esglèsia de Sant Pere de Torelló a Osona, durant aquestes festes de Nadal. Un treball en equip entre Pere Pujolassos i Eudald Alabau.
example of Japanese craftsmanship and artistry which will stand the test of time. All silk, embroidered or hand-painted, one of a kind. Japanese wedding kimono (in Japanese they are called uchikake) are traditionally very colorful in shades of red and other vibrant colors, liberally embroidered with auspicious symbols. This one is royal red lined with gold embroidery.
Uchikake is a highly formal kimono worn only by a bride or at a stage performance. The Uchikake is often heavily brocaded and is supposed to be worn outside the actual kimono and obi, as a sort of coat. One therefore never ties the obi around the uchikake. It is supposed to trail along the floor, this is also why it is heavily padded along the hem. The uchikake of the bridal costume is either white or very colorful often with red as the base color.
The Japanese kimono is the traditional clothing of Japan. It is a long robe with wide sleeves worn as an outer garment. It is complemented by a sash, called "obi", worn around the mid-section of the body. The obi's function is to hold the kimono closed and in place (traditional kimono don't have zippers, buttons, or fasteners of any type, so wearing an obi is very important). The literal translation of the word "kimono" is "a thing to wear".
The Japanese kimono and obi have been the traditional wear in Japan for hundreds of years. Although not used as often today as they were half a century ago (they have been replaced by western-style clothes), they are still widely used for important occasions, such as weddings and special festivals.
But the Japanese kimono and obi are more than clothing. Like most Japanese things, they are an expression of sensitivity, beauty, and, particularly, harmony with one's surroundings. They are also a way of personal expression. It is said that the kimono doesn't "become" until someone wears it. It is the person wearing it that gives the kimono its look, in that person's own way.
Wearing a kimono is an experience everyone should have. It's almost as if the kimono has magic powers that bestow peace and gracefulness upon the person wearing it. The minute you put it on, your view and attitude towards the entire world change. It's a unique experience. Wearing a kimono is as much a state of mind as it is a state of dress.
There are many rules that govern the wear of Japanese kimono and obi. Some two hundred rules were at one time established, dictating such things as the combination of colors. Even today, only certain colors are considered Image of lady wearing a wedding kimono acceptable for certain times of the year, depending on the seasons, for example.
But the purist view, with all its rules, has not proven to be very practical in this day and age and have become a turn off for many people. There is good news, however. There is a new movement, a new drive to re-introduce the kimono as regular wear (not just for special occasions) and part of this drive is making kimono and obi more wearer-friendly as well as having a more relaxed attitude without so many rules.
In addition to traditional clothing, Japanese kimono (particularly wedding kimono) and obi are also popular as home decorating accessories. Their exquisite silk fabrics, beautiful colors, and interesting patterns make them perfect for that purpose. Kimono and obi are hung for display, often creating a dramatic effect. Their fabric is used for cushion covers, patches for jeans, and to make clothing accessories such as belts. They are often framed and displayed as art. Like many ofJapan's traditions, the Japanese kimono and obi developed over time, from practical and utilitarian clothing, to the exquisite works of art we see today. Their long history includes influences from the cultures of China, Korea, India, and others in Southeast Asia.