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Dún Aonghasa (Unofficial anglicised version Dun Aengus) is the best-known of several prehistoric hill forts on the Aran Islands of County Galway, Republic of Ireland. It lies on Inis Mór, at the edge of a 100-metre-high (330 ft) cliff.
A popular tourist attraction, Dún Aonghasa is an important archaeological site.
History
It is not known exactly when Dún Aonghasa was built, though it is now thought that most of the structures date from the Bronze Age and Iron Age. T. F. O'Rahilly surmised in what is known as O'Rahilly's historical model that it was built in the 2nd century BC by the Builg following the Laginian conquest of Connacht.Excavations at the site indicate that the first construction goes back to 1100 BC, when rubble was piled against large upright stones to form the first enclosure. Around 500 BC, the triple wall defenses were probably constructed along the fort's western side.
The 19th-century artist George Petrie called "Dún Aonghasa" "the most magnificent barbaric monument in Europe". Its name, meaning "Fort of Aonghas", may refer to the pre-Christian god of the same name described in Irish mythology, or the mythical king, Aonghus mac Úmhór. It has thus traditionally been associated with the Fir Bolg.
Form and function
The fort consists of a series of four concentric walls of dry stone construction, built on a high cliff some one hundred metres above the sea. At the time of its construction sea levels were considerably lower and a recent Radio Telefis Eireann documentary estimates that originally it was 1000 metres from the sea. Surviving stonework is four metres wide at some points. The original shape was presumably oval or D-shaped but parts of the cliff and fort have since collapsed into the sea. Outside the third ring of walls lies a defensive system of stone slabs, known as a cheval de frise, planted in an upright position in the ground and still largely well-preserved. These ruins also feature a huge rectangular stone slab, the function of which is unknown. Impressively large among prehistoric ruins, the outermost wall of Dún Aonghasa encloses an area of approximately 6 hectares (14 acres).
Today
The walls of Dún Aonghasa have been rebuilt to a height of 6m and have wall walks, chambers, and flights of stairs. The restoration is easily distinguished from the original construction by the use of mortar.[citation needed]
There is a small museum illustrating the history of the fort and its possible functions. Also in the vicinity is a Neolithic tomb and a small heritage park featuring examples of a traditional thatched cottage and an illegal poteen distillery.
These old elevators were designed for function not so much for form or prettiness. Over time though their patina transforms them into a wonderful artistic looking form.
Each rhododendron bloom is a gathered colony of small, near-identical flowers—delicate, deliberate, and designed to draw in early summer’s pollinators. Their symmetry has both function and grace.
MLC Centre architecture cannot be overlooked. With elegantly contoured, stark white concrete, white quartz and glass, the façade presents itself as a handsomely moulded sculpture.
Harry Seidler AC QBE is a luminary of Australian architecture. Widely considered as the first architect to fully express the Bauhaus aesthetic here. The MLC Centre remains one of his most definitive works on the Sydney Skyline.
244m to antenna and 227m to roof. The MLC Centre was Sydney’s tallest building in Sydney from 1977 to 1992. It is currently the fifth tallest building behind the Meriton World Tower (230m), Deutsche Bank Place (240m), Citigroup Centre (243m) and Chifley Tower (244m). The tallest structure in Sydney is still the Sydney Tower at 309m.
In France we say: "La fonction fait la forme". Here, one could say: "The form generates the function".
The Coso Petroglyphs have been subject to various interpretations as to their meaning and function. One perspective argues that the drawings are metaphoric images correlated with individual shamanic vision quests. Alternatively it has been argued that they are part of a hunting religion that included increase rites and were associated with a sheep cult ceremonial complex.[3][4] However these alternative explanations might be somewhat complementary in that the medicine persons could have been the artisans but their messages might have often been associated with religious observances centering on the veneration of bighorn sheep.[5]
In addition to the extant petroglyph rock art, the Coso People carried out extensive working of obsidian tools and other 'manufacturing.' There is considerable archaeological evidence substantiating trade of these products between the Coso People and other Indigenous peoples of the Americas and Native American tribes.[6] For example, distant trade with the southern Californian Pacific coast Chumash People is confirmed by archaeological recovery from California sites in San Luis Obispo County, California[7] and other coastal indigenous peoples' sites.
Big and Little Petroglyph Canyons are situated on property of the China Lake Naval Air Weapons Station. The two canyons are a designated U.S. National Historic Landmark. In 2001, they were incorporated into a larger National Historic Landmark District, called the Coso Rock Art District.[8]
In 2014, the Ridgecrest Petroglyph Festival was created as an annual celebration and showcase the petroglyphs located in the two canyons.
I borrowed all this info from wiki
2016 ©Isabelle Bommes. All rights reserved.
This image may not be copied, reproduced, distributed, republished, downloaded, displayed, posted or transmitted in any forms or by any means, including electronic, mechanical, photocopying & recording without my written permission.
Swallowtail, southwest France this summer. I liked the way the insect and the leaf have the same shape and pattern
Too damp to sit.
HBM!
For the curious, "Telegraph Clump" functioned as one of the locations for the semaphore line, an optical telegraph system that ran between London and Great Yarmouth from around the 1820's to around 1850.
Seville is full of these elegant and practical inner courtyards to apartments. I'm no architect but my understanding is that the Moors used this design to create a venturi effect in order to circulate relatively cooler air from the ground floor upwards.
Looking great in fresh paint, veteran S317 leads container train 1845 through Lithgow past the last-built member of the 81 class, 8184, in October 2015.
Streamlined bulldog and good looker S317 was about to turn 54 years old, while functional 8184, the newest of its class, was a youngish 24. The first of each class entered service in 1957 and 1982 respectively. 8184 was one of four additional 81 class built several years after the rest.
For a small town, Strathalbyn has some magnificent old churches which are still function. In my humble point of view, Saint Andrew's Uniting Church in Strathalbyn is the most impressive. The construction of the main part of the church was completed in 1849. Please see the Strathalbyn Uniting Church link below for more detailed information.
As with a lot of my photos, I came across this church and this angle by accident while heading somewhere else.
The church is currently undergoing restoration which is again detailed in the link below.
As a few have already guessed right, the little crank on the base has a purpose. The turning reveals an unique clockwork function in each castles.
I tried to inspire the motions by the animations in the Game of Thrones show intro, but kept it very simple to blend in with the castle design. Functionality is not one of my strengths so it was quite a challenge, but an interesting one.
List of all castles:
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I hope you like my series as much as I liked building it.
Your feedback was already overwhelming, so I'm motivated to work on a sequel for the next year. Stay tuned!
A dial on Rotel RX-303, a vintage receiver/amplifier.
Shot for Macro Mondays circles theme.
I realize i shot a different detail of this device for the last theme but I cant help myself. I love old tech and this one in particular. We have shared tunes together for 40 years.
The Mill began life as a cotton mill driven by water power through a 22ft diameter water wheel.
With the advent of bigger and better mills & machinery, cotton production became uncompetitive and so the mill was converted in 1810 to flax which was used for sails and sacking. Industrial expansion on the west coast and the ending of the Napoleonic wars brought the flax industry to its knees so the mill was converted once again in the 1820s to wool production.
Wool ceased to be a profitable commodity by the 1840s and production ceased.
The Mill, as a precursor to all of the late C20th industrial conversions, became a domestic property and some of the early Victorian wallpaper can still be seen.
By 1860 the Mill was once again converted – this time for use as a sawmill. The sawmill functioned until 1988 when it closed as a business. (gaylemill.org)
Taken from Gayle bridge, High Abbotside beyond
Gayle, Wensleydale, The Yorkshire Dales, North Yorkshire, UK
©SWJuk (2022)
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