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Colonial Williamsburg is the historic district of the independent city of Williamsburg, Virginia. It consists of many of the buildings that, from 1699 to 1780, formed colonial Virginia's capital. The capital straddled the boundary of two of the original shires of Virginia, James City Shire (now James City County), and Charles River Shire (now York County). For most of the 18th century, Williamsburg was the center of government, education and culture in the Colony of Virginia.
Colonial Williamsburg is meant to be an interpretation of a Colonial American city, with exhibits including dozens of authentic or accurately-recreated colonial houses and relating to American Revolutionary War history. Prominent buildings in Colonial Williamsburg include the Raleigh Tavern, the Capitol, The Governor's Palace, and Bruton Parish Church. However, rather than simply an effort to preserve antiquity, the combination of extensive restoration and thoughtful recreation of the entire colonial town facilitates envisioning the atmosphere and understanding the ideals of 18th century American revolutionary leaders. It was here that Thomas Jefferson, Patrick Henry, James Monroe, James Madison, George Wythe, Peyton Randolph, and dozens more helped mold democracy in the Commonwealth of Virginia and the United States.
The Historic Area is located just east of the College of William and Mary, founded at Middle Plantation in 1693, just prior to the establishment of the town as capital of Virginia and its renaming. The university's historic Wren Building stands at the west end of Duke of Gloucester Street.
Colonial Williamsburg is a major source of tourism to Williamsburg, as well as a touchstone for many world leaders and heads of state, including U.S. Presidents. The United States hosted the first World Economic Conference at Colonial Williamsburg in 1983. It is the centerpiece of the surrounding Historic Triangle of Virginia area, which has become a popular tourist destination for visitors domestic and foreign. The other two points of the Historic Triangle are Jamestown and Yorktown.
Contents
Early in the 20th century, the restoration and recreation of Colonial Williamsburg, one of the largest historic restorations ever undertaken, was championed by the Reverend Dr. W.A.R. Goodwin and the patriarch of the Rockefeller family, John D. Rockefeller, Jr., along with the active participation of his wife, Abby Aldrich Rockefeller, who wanted to celebrate the patriots and the early history of the United States.
Many of the missing Colonial structures were reconstructed on their original sites during the 1930s. Other structures were restored to the best estimates of how they would have looked during the eighteenth century, with all traces of later buildings and improvements removed. Dependency structures and animals help complete the ambiance. Most buildings are open for tourists to look through, with the exception of several buildings that serve as residences for Colonial Williamsburg employees.
Notable structures include the large Capitol and the Governor's Palace, each carefully recreated and landscaped as closely as possible to original 18th century specifications, as well as Bruton Parish Church and the Raleigh Tavern.
The major goal of the Restoration was not to merely preserve or recreate the physical environment of the colonial period, but to facilitate education about the origins of the idea of America, which was conceived during many decades before the American Revolution.
In this environment, Colonial Williamsburg strives to tell the story of how diverse peoples, having different and sometimes conflicting ambitions, evolved into a society that valued liberty and equality.
Here is the trophy for Best Structure in the Castle theme at Bricks Cascade 2015. The trophy features a Gothic cathedral inspired by a number of actual cathedrals in Europe.
The Structure Gauging train zaps its way through Portobello on 16.04.10 top and tailed by 31105 and 31285, running from Machynlleth to Derby.
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September 29, 2021 - Kearney Nebraska US
Late September....
Very late in the Storm Season
Apparently I didn't go through all my images thoroughly!
Enjoy these GEMs of some of night photography in 2021. Outflow dominate till it reached Kearney Nebraska. Then this storm got its severe thunderstorm warning and we actually have a small cuplet (small but you can see in this set of images. It only lasted for about 2 mins it lasted and it was night so there were not that many pics @15 intervals)
Thought it was going to produce a brief nader but it didn't. Nice structure for this late in the year and I waited til the last second to leave to get under the belly of the beast!
There might be more but likely this will be my last batch of 2021.
Enjoy!
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The stone in the second-term space is simple and treated with a smooth thermal finish that readily accepts President Roosevelt’s carved quotations. In fact, the stone walls in this room are in large measure covered over by large, bronze artworks. The main messages here are delivered through the media of sculpture, water, and quotations carved into the granite walls. The stone itself does not have the powerful, expressive impact in this space that it will have in the rooms representing the third and fourth terms.
“I see one-third of a nation ill-housed, ill-clad, ill-nourished. The test of our progress is not whether we add more to the abundance of those who have much; it is whether we provide enough for those who have too little.”
—Second Inaugural Address, Washington, D. C., January 20, 1937
The central focus of FDR’s second term was developing and executing the New Deal to bring the country out of economic turmoil. In this room, there are three scenes depicting the state of American citizens in the United States during the Great Depression. In front of you, against the large central wall, a rural family is depicted suffering from the effects of drought, dust bowls, and poverty. A bread line is also shown, representing the poverty and desperation of the working class during the Great Depression. Inscribed above the sculptures is the following quote from FDR’s second inaugural address: “I see one-third of a nation ill-housed, ill-clad, ill-nourished.”
Turning away from this historic scene, visitors encounter two more sculptural vignettes by George Segal which exemplify the overwhelming issue of poverty. One scene, Appalachian Couple, captures a farm couple caught in what appears to be an unending cycle of despair. They appear in front of their barn, their only obvious possession a wooden chair.
The urban companions to the rural couple are represented by a five-man portion of an urban breadline shuffling its way alongside a brick building. These lines, which formed outside food kitchens offering bread, soup, or groceries, often extended for many city blocks.
George Segal
George Segal was born in the Bronx, New York City, in 1924. His parents had immigrated from eastern Europe. George exhibited an interest in art early and won honors for his work while still in high school. George was raised in New Jersey, where his family settled, and he helped his parents with their chicken-raising business throughout his teens. Later, he took over the farm and still lives there with his wife Helen. Today, the old chicken coops house his art studio.
Everyday life and everyday happenings form the basis of George Segal’s sculptures. His pieces are cast directly from live models, mostly friends and relatives. George’s method of sculpting is unique. It depends heavily on real-life events and people said within environments which he constructs from real elements and furnishings. Segal’s work is therefore figurative but it does not romanticize or idealize the people whom he casts.
As the critic Phyllis Tuckman explains in the book, George Segal: Recent Painted Sculpture, “Segal’s figures radiate an aura of the familiar. They look like the kind of people with whom you come in daily contact…. These slices of life’s scenarios belie or masked other aspects of this haunting art.” Segal’s environments express more than what is visible on the surface. They dig deeply and say much about the universal elements of life through their focus on simple tasks.
It was for these reasons that George Segal was chosen to work within the themes of the Memorial. George has strong feelings and deep empathy for the Roosevelt era. He quickly selected three everyday images that were descriptive of the essence of the Depression years in our country, which had such a deep influence on the character and quality of our culture. Within these depictions the message is one of inherent individual dignity in the face of overwhelming odds.
George Segal developed his very personal casting technique in the early 1960s. He starts by dipping cloth bandages in wet plaster and then applying them directly to a body or to an object. He spends time working with his models before casting, describing the gestures he is trying to achieve and choreographing the positioning of their bodies in space within the constructed environment. Artist and model work together to finalize the pose before wrapping begins. Once the format has been fixed, the bandages are fitted around the various parts of the body. Hardening takes only minutes and then the bandages are removed by splitting them into sections. Later, they are reassembled to form the final figures or, as was the case for figures in the Memorial, they become molds for the final bronze sculptures.
it is one of many structures; hardly built, easilly ruined. The same as Iran fate, under the current and former president.
At 5:02PM on June 10, 2019 the Los Angeles Fire Deparatment responded to a reported structure fire in the 9500 block of N Lubao Av in Chatsworth. Firefighters extinguished this non-injury fire in 16 minutes.
© Photo by Jacob Salzman
LAFD Incident: 061019-1271
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Troubled Assets is a photo series that documents the abundance of repurposed bank buildings in Detroit, Michigan. The dominance of these buildings, and the bold architecture they employed, was a testament to Detroit's wealth. Today, many of these historic structures still stand -- no longer as banks, but rather as churches, hair salons, nightclubs, pawn shops, and day cares; others are abandoned, for sale, for lease, or status unknown.
This map compiles the locations of these bank buildings.
Iglesia de Jesuchristo El Buen Smaritano M.I.
Michigan at Junction
Detroit, Michigan
Curtain Walling is a non-load bearing glazing system which is generally hung on a buildings structure (hence the curtain reference), but can also be dead loaded. Curtain walling forms an integral part of a buildings envelope and there are a number of factors that must be taken into account during its design including; weather tightness (air permeability, water tightness, wind resistance), acoustic requirements, thermal performance, solar shading, and ventilation. Curtain walling is usually characterised by a square or rectangular grid of mullions and transoms, however designs can be further enhanced to incorporate facets, curves, sloped roofs, ridges, hips and valleys. Curtain wall facades can also incorporate a variety of inserts including; Windows (concealed vents, tilt & turn, pivots, top/side hung), photo voltaic panels and Doors. The curtain wall facades aesthetic appearance can be manipulated to offer a flush appearance with the exclusion of face caps (SSG), or can be given enhanced vertical or horizontal emphasis using a Trame/Aerofoil face cap.
Dortech (www.dortech.co.uk) are approved fabricators of Schuco, Technal and Senior Architectural Systems Curtain Wall Systems. Each suppliers visible grid curtain wall suite works around three basic elements; 1) A back box which determines the rigidity and structural span capabilities of the system, 2) A pressure Plate which is mechanically tensioned to retain the glass and 3) A face cap to give a neat external finish. The face caps are available in a number of different designs from each of our suppliers. Most commonly they are supplied with a square or 'aerofoil' type design.
The major differences between these systems is in how they drain; they can either be zone/transom drained or mullion drained. For transom drained curtain wall systems drainage holes are routed out of each transom face cap to allow water to drain through the system. This mechanism is called 'zone' drainage as any water is drained out of the transom above each pane of glass. For mullion drained systems, water is channelled along the transoms and down the curtain wall systems mullions. This method is often the preferred application for medium to high rise glazed screens which can be difficult/costly to clean regularly i.e. it reduces the potential of water markings on the glass. Curtain wall screens can be faceted to varying degrees, raked and can be designed on either a positive of negative gradient providing sufficient structural support is provided. Dortech has a considerable amount of experience in designing, manufacturing and installing the following visible grid curtain wall suites:
Returning once more to the Peak District and on the 1 in 100 grade up from Sheffield Victoria where coal trains used to ply their path up to the mouth of Woodhead Tunnel after passing through the 'country station' of Penistone; junction of the MSLR's line from Sheffield through here and on through Woodhead and so 'down' to Manchester London Road. The right-hand junction at Huddersfield signal box, at the east end of the station, took passenger traffic through (literally in some instances) the hills and Denby Dale and on to the large mill-town of Huddersfield. With 4 photographers and 1 young enthusiast (Oscar once more) present on his own form of heavy BMX transport, the Network Rail test train working comes into view over the grand Penistone viaduct, seen earlier in the week from the hills above Scout Dike reservoir with Barnsley's signal 1053 at red to stop the imminent passenger DMU from entering the single line section at the only place the two workings can pass one another; Penistone Station. It would be grand to see services pass one another on double track rail over the bridge but the paucity of passenger services, one each way per hour between Sheffield and Huddersfield, with the odd working like this one, hardly warrants the reinstatement of double track line anywhere it has been singled. In the background, looking towards the higher moors of the Peak National Park, the 1080 foot grade II listed TV mast at Emley Moor can be seen; its also the 23rd tallest structure in the world...! The original (and 2nd on the site) guy-supported tubular steel mast was erected in 1966 in anticipation of the new PAL colour TV services from the ITV (which followed the BBC service) and the whole lot was brought down at 17:01 on the 19th March 1969 by strong winds and severe ice formation on the guy ropes. The masts demise completely cut off BBC2 and ITV (there was only one then!) UHF services and an inferior signal was restored within 28 days from a smaller, portable mast, this resulted in loss of colour signal with many faced with only B/W TV services for a longish period. The new concrete tower structure opened almost 2 years later on 21st January 1971 since when it has undergone sever ITV and BBC upgrades; it stands as a very visible landmark from many places in the Peak National Park.
The Dekum Building is an eight-story, Richardsonian Romanesque edifice constructed between 1891 and 1892. Frank Dekum commissioned the Portland architectural firm of McCaw & Martin to design the building in 1890. Located at 519 Southwest Third Avenue in Portland, the Dekum Building was listed on the National Register of Historic Places in 1980.
Frank Dekum, who was born in Bavaria, Germany, in 1829, immigrated with his family to the United States in 1837 and settled in Illinois. He moved to San Francisco in early 1852 and relocated to Portland the following year. Along with Fred Bickel, in 1853 he established Dekum & Bickel, the city’s first confectionary business, and later became a successful realtor, banker, and insurance and railway executive. He oversaw the construction of many buildings in Portland, including an earlier Dekum Building, an 1871 cast iron structure at Front Avenue and Washington Street. Dekum died in 1894.
The firm of McCaw & Martin, a partnership of William F. McCaw and Richard H. Martin, Jr., completed plans for the Dekum Building in January 1891. In June 1891, Frederick Manson White, who had been a draftsman and foreman for the firm, became a partner. Some historians have attributed the building’s design to McCaw, Martin & White, since that was the firm’s name when the building was constructed.
The firm was one of the most prominent architectural firms in Portland in the late nineteenth century. Among its surviving designs in Portland are the New Market Annex, the Portland Armory Annex, Waldschmidt Hall at the University of Portland, and the Kenneth A. J. Mackenzie House. White left the firm in June 1892 and began his own practice, and the partnership between McCaw and Martin dissolved in 1897.
McCaw & Martin designed the Dekum Building in the Richardsonian Romanesque style, made prominent by American architect Henry Hobson Richardson. Elements typical of the style include rough cut stone on the base of the building, red brick in the upper stories, terra cotta ornamentation, and the prominent use of massive stone-block arches. The style was popular in Portland from 1889 to 1895.
The firm was responsible for the design of the city’s first example of Richardsonian Romanesque architecture, the 1889 New Market Annex. Many architectural historians consider the Dekum Building the best example of the style in Portland. The first three floors feature rusticated stone, including ashlar and Siskiyou sandstone quarried in Oregon. The arched entryways include elaborate stone carvings. The upper floors are faced in brick made in Newberg, decorated with unglazed terra cotta in organic floral patterns. The exterior has undergone little change since construction, while the interior has been remodeled and renovated over time.
When the Dekum Building opened in 1892, the department store Lipman, Wolfe & Co. occupied the first two floors. The company remained in the building until 1912. McCaw & Martin and Frederick Manson White opened offices in the Dekum, as did physicians, dentists, and lawyers.
The building faced a threat of demolition in early 1973, when owner Stan Terry announced he would raze the structure to make room for a high-rise parking garage. The building was soon purchased by Norcrest China Company, which declared that it would not demolish the building. The Dekum was rehabilitated in the 1970s and 1980s. Various tenants have occupied by the building since, with Wieden + Kennedy being one of the best known occupants in the late twentieth century.
The Dekum Building is one of the oldest buildings still standing on Southwest Third Avenue. The intersection of Southwest Washington Street and Third Avenue contains a high concentration of architectural styles, including two examples of Second Renaissance Revival Style, the Postal Building (1900) and the Hamilton Building (1893), both designed by Whidden & Lewis, and the Twentieth Century Classical styled Spalding Building (1910), designed by Cass Gilbert.
The stark contrast in style between the Dekum Building and the Hamilton Building, built one year apart, shows the shift in architectural aesthetic in Portland away from Richardsonian Romanesque and toward classic detailing.
www.oregonencyclopedia.org/articles/dekum_building_portla...
NORTH HOLLYWOOD - It took thirty-four members of the Los Angeles Fire Department just 24 minutes in largely defensive operations to access, confine and fully extinguish the stubborn flames of a non-injury fire within a vacant one-story commercial building at 6669 Lankershim Boulevard early February 24, 2023.
© Photo by Ismael Miranda
LAFD Incident 022423-0023
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Haboob consuming the sunset and White Tank Mountains, and the shelf cloud rising above the gust front on which it rides.
Limited edition
Dimensions: H 250 cm x Diam 190 cm
Materials: Metal structure, plastic, foam cushion
with coated fabric, ultraviolet Wood’s lamp
Consisting of a platform topped by a corolla, an umbrella-shaped structure, « Aequorea » was inspired by the majesty of the jellyfish, with the title of the work taken from its species name. Jellyfish and spineless are often mentioned in the same breath and it is true that the creature’s structure is very fluid. If we take away the water, we are left with just a gelatinous skin. Emulating the grace of this marine animal, matali crasset uses her materials parsimoniously and concentrates her work on the empty space, the site of the lovers’ encounter. « Aequorea » is more space than object. Contemporary architecture has decompartmentalized the home to allow more malleable pathways better adapted to the need for speed, but also respite, in modern life. And yet, for the same reason, we have lost many of our private places. matali embraces the challenge of recreating an environment conducive to intimacy while conceiving a structure that is modular enough to reap the benefits of openness in architectural spaces. « Aequorea » is therefore situated midway between design and architecture, on an intermediate plane. Her work necessarily brings to mind the improvised cubbyholes we built in our bedrooms, using sheets, chairs and any number of other objects, when we were children. We recall the excitement we felt when we snuggled into this space, away from the world of adults and their rules. We could exchange secrets, invent our own little games and – since, after all, the subject here is preliminaries, or foreplay – sometimes play doctor as well.
By enclosing the couple within a curtain of ropes, « Aequorea » has the same effect on adults, with elegance as an added bonus. It’s all about intimacy, the need to be cut off from the rest of the world and rediscover the other face-to-face and alone. To reinforce this severed link with everyday life, matali has placed an ultraviolet Wood’s lamp inside the corolla. Colour perception is thus transformed and the lovers drift into a dreamlike state, a new dimension. And to make matters even more interesting, matali draws inspiration from the parallel worlds of Barbarella, the comic book heroine imagined by Jean-Claude Forest, paying tribute to this lyrical and sensual universe. It is a space serving as a reference: a quasi-aquatic, entirely fluid, space that softens contours, an invitation to let go completely and get in touch with inner feelings. This nod to the first liberated female comic book character also carries a feminist message, not a protest but instead a paean to the liberation of the body.
If matali’s design could be seen as taking another stand it would certainly be a desire to break with routine and standardized behaviour. We need to upend our daily rituals. « Aequorea »’s rounded surface is in direct contrast to the trivial rectangle of the bed, and thus allows bodies to move more freely. The contoured edge that defines the borders of the platform creates a kind of circular pillow opening myriad possibilities for lovers in all 360 degrees. Although matali challenges our habits, she does not consider ritual as a bad thing in itself. On the contrary! Rituals are essential to provide rhythm for our lives. It is the rote, humdrum, here-we-go-again quality that snuffs out the spark kindled by our shared moments. We need to learn how to renew our rituals so that they continue to enrich our lives: In order to ensconce oneself within « Aequorea », the ropes need to be pulled gradually to the exterior of the corolla, and the same operation must be performed in reverse in order to open it again. In both cases, space is being modified, creating a ritual that marks the beginning and the end of an intimate moment. In sum, « Aequorea » works like an air lock that disconnects us from our everyday lives in order to awaken the sensuality within. Far from accessorizing foreplay, matali’s triumphant design gives it a new playing field.
Love,
Exquise crew
Slott | Exquise design
12 rue du Château Landon 75010 Paris
M° Château Landon-Gare de lʼEst-Louis Blanc
The tombs of the seven Qutub Shahi rulers in the Ibrahim Bagh (garden precinct) are located close to the famous Golkonda Fort in Hyderabad, India. The galleries of the smaller tombs are of a single storey while the larger ones are two storied. In the centre of each tomb is a sarcophagus which overlies the actual burial vault in a crypt below. The domes were originally overlaid with blue and green tiles, of which only a few pieces now remain.
LOCATION
They lie about a kilometre north of the outer perimeter wall of Golkonda Fort and its Banjara Darwaza (Gate of the Gipsies, or itinerant merchants), amidst the Ibrahim Bagh.
DESCRIPTION
The tombs form a large cluster and stand on a raised platform. The tombs are domed structures built on a square base surrounded by pointed arches, a distinctive style that blends Persian, Pashtun and Hindu forms. The tombs are structures with intricately carved stonework and are surrounded by landscaped gardens.
The tombs were once furnished with carpets, chandeliers and velvet canopies on silver poles. Copies of the Quran were kept on pedestals and readers recited verses from the holy book at regular intervals. Golden spires were fitted over the tombs of the sultans to distinguish their tombs from those of other members of the royal family.
the seven tombs are made by the kings of hyderabad, in the tombs the grave of the king and the grave of the kings companion, all the king's graves are present in the seven tomb.
HISTORY
During the Qutub Shahi period, these tombs were held in great veneration. But after their reign, the tombs were neglected until Sir Salar Jung III ordered their restoration in the early 19th century. A garden was laid out, and a compound wall was built. Once again, the tomb-garden of the Qutub Shahi family became a place of serene beauty. All except the last of the Qutub Shahi sultans lie buried here.
Sultan Quli Qutub ul Mulk's tomb, the style of which sets the example for the tombs of his descendants, is on an elevated terrace measuring 30 meters in each direction. The tomb chamber proper is octagonal, with each side measuring around 10 meters. The entire structure is crowned by a circular dome. There are three graves in this tomb chamber and twenty-one laid out on the surrounding terrace, all of which lack inscription except for the main tomb. The inscription on Sultan Quli's tomb is in three bands, in the Naskh and Tauq scripts. The inscription refers to Sultan Quli as Bade Malik (Great Master) — the endearing term by which all people of the Deccan used for him. The tomb was built in 1543 A.D. by the Sultan, during his lifetime, as was the custom.
Near the tomb of Sultan Quli is that of his son, Jamsheed, the second in the line of Qutub Shahi sultans. Built in 1550 A.D., this is the only Qutub Shahi tomb which has not been fashioned from shining black basalt. Its appearance, too, is quite unlike the other tombs in the garden — it rises gracefully in two stories, unlike the squat tombs of the other kings. Jamsheed Quli Qutub Shah's is the only tomb of a Qutub Shahi ruler without any inscriptions; of course, Jamsheed's son, Subhan's tomb also does not have any inscriptions. Subhan Quli Qutub Shah ruled for a short time. Subhan's tomb stands mid-way between the tombs of his father and grandfather. He was popularly called Chhote Malik (Small Master).
Sultan Ibrahim Quli Qutub Shah's tomb, built in 1580, after his death, is slightly larger than Sultan Quli's tomb. Traces of the enameled tiles, which once adorned this mausoleum, can still be seen on the southern wall. The tomb has two graves in the main chamber and 16 on the terrace; some of them probably are those of his six sons and three daughters. There are inscriptions in the Thuluth script on all faces of the sarcophagus. The three famous calligraphists — Isphalan, Ismail and Taqiuddin Muhammad Salih — who left a store of Naskh, Thuluth and Nastaliq inscriptions on the many Qutub Shahi edifices in the city, were contemporaries of Ibrahim Shah.
Sultan Muhammed Quli Qutub Shah's mausoleum is considered the grandest of the Qutub Shahi tombs. Built in 1602 A.D., the tomb is on a terrace of 65m square and 4m high. A flight of steps leads to the mausoleum proper, which is 22 m square on the outside and 11 m square on the inside. There are entrances on the southern and eastern sides. The tomb is in a vault below the terrace. Inscriptions in Persian and the Naskh scripts decorate it.
Another grand mausoleum is that of the sixth sultan, Muhammed Qutub Shah. The facade of this tomb was once decorated with enameled tiles; only traces are now evident. There are six graves nd inscriptions in Thuluth and Naskh. The mausoleum was built in 1626. Sultan Abdullah Qutub Shah's tomb is the last of the royal tombs, as Abul Hasan Qutub Shah (Tana Shah), the last Qutub Shahi Sultan, was a prisoner in the fortress of Daulatabad, near Aurangabad, when he died. While the tombs of those who ruled dominate the area, interspersed are many other monuments, most of them tombs of other members of the royal family.
The tomb of Fatima Sultan, with its bulbous dome, is near the entrance to the tomb-garden. Fatima was the sister of Muhammed Qutub Shah. Her tomb houses several graves, two with inscriptions. Immediately to the south of Muhammed Quli's tomb are three uninscribed tombs. There are the mausoleums of Kulthoom, Muhammed Qutub Shahi’s granddaughter born of the son of the sultan's favourite wife Khurshid Bibi, her (Kulthoom's) husband and daughter. Kulthoom's tomb is on the west of this cluster.
The twin-tombs of the two favourite hakims (physicians) of Sultan Abdullah — Nizamuddin Ahmed Gilani and Abdul Jabbar Gilani — were built in 1651. They are among the few Qutub Shahi tombs that are not of royalty. Another pair are those of Premamati and Taramati, the favourite courtesans of Sultan Abdullah Shah, were laid to rest beside his tomb. One other tomb which is not that of a Qutub Shahi family member is that of Neknam Khan. Neknam Khan, who served in Abdullah's army, was the commander-in-chief of the Carnatic. His tomb is on a platform outside the mausoleum of Ibrahim Qutub Shah. It was built in 1672, two years after Nekam Khan's death.
The mausoleum which Abdul Hasan, the last Qutub Shahi Sultan, began building for himself, actually houses the grave of Mir Ahmed, the son of Sultan Abdullah's son-in-law and the sister of Abbas II Safair, the Shah of Persia. The tomb of Fadma Khanum, one of Sultan Abdullah's daughters, stands near the mausoleum of her husband, Mir Ahmed. Hers is the only Qutub Shahi tomb not surmounted by a dome.
To the west of the tombs lies the dargah of Hazrat Hussain Shah Wali, the revered Sufi saint. He is most affectionately remembered by people as the builder of Hussain Sagar in 1562. Among other monuments in the garden that are not tombs, the most important are the mortuary bath and the Masjid of Hayat Bakshi Begum.
The mortuary bath, which stands opposite the tomb of Muhammad Quli, was built by Sultan Quli to facilitate the ritual washing of the bodies of the dead kings and others of the royal family before they were carried to their final resting place. The practice followed was to bring the body out of the fort, through the Banjara Gate, to this bath, before carrying it away for burial with the ritualistic pomp that was required to mark the occasion. A large number of people, fond subjects, friends and relatives attended. The bath is one of the finest existing specimens of ancient Persian or Turkish baths.
The Qutub Shahis built a number of masjids all over Golkonda and Hyderabad, and almost every tomb has a masjid adjacent. The biggest and the grandest such masjid is by the mausoleum of Hayat Bakshi Begum. Popularly known as the great masjid of the Golkonda tombs, it was built in 1666 A.D. Fifteen cupolas decorate the roof and the prayer-hall is flanked by two lofty minarets. The impression, as a whole, is one of majesty and splendour. The inscriptions in the masjid are in calligraphic art.
Hayat Bakshi Begum was the daughter of Muhammed Quli Qutub Shah, the fifth sultan, the wife of Sultan Muhammed Qutub Shah, the sixth sultan and the mother of Abdullah Qutub Shah, the seventh sultan. She was affectionately known as "Ma Saheba" (Revered Mother). The tomb-garden of the sultans of Golkonda was known as Lagar-e-Faiz Athar (a place for bountiful entertainment) in the days of the Qutub Shahi rulers, for some item or song or dance or even an occasional play was staged here every evening, free of cost, to entertain the poor.
WIKIPEDIA
At 10:32PM on December 24, 2020 the Los Angeles City Fire Department responded to the 4000 block of S Woodlawn Av for a reported structure fire. Firefighters found a one story bungalow with smoke showing. The first arriving fire companies extinguished the fire in 15 minutes with no injuries reported.
© Photo by Korey Cuico
LAFD Incident: 122420-1743
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Lily Flowers - Delightful Structures and Shapes of Nature.
Lilies are tall perennials ranging in height from 2–6 ft (60–180 cm). They form naked or tunicless scaly underground bulbs which are their overwintering organs. In some North American species the base of the bulb develops into rhizomes, on which numerous small bulbs are found. Some species develop stolons. Most bulbs are deeply buried, but a few species form bulbs near the soil surface. Many species form stem-roots. With these, the bulb grows naturally at some depth in the soil, and each year the new stem puts out adventitious roots above the bulb as it emerges from the soil. These roots are in addition to the basal roots that develop at the base of the bulb.
The flowers are large, often fragrant, and come in a range of colours including whites, yellows, oranges, pinks, reds and purples. Markings include spots and brush strokes. The plants are late spring- or summer-flowering. Flowers are borne in racemes or umbels at the tip of the stem, with six tepals spreading or reflexed, to give flowers varying from funnel shape to a "Turk's cap". The tepals are free from each other, and bear a nectary at the base of each flower. The ovary is 'superior', borne above the point of attachment of the anthers. The fruit is a three-celled capsule.
Seeds ripen in late summer. They exhibit varying and sometimes complex germination patterns, many adapted to cool temperate climates.
Naturally most cool temperate species are deciduous and dormant in winter in their native environment. But a few species which distribute in hot summer and mild winter area (Lilium candidum, Lilium catesbaei,Lilium longiflorum) lose leaves and remain relatively short dormant in Summer or Autumn, sprout from Autumn to winter, forming dwarf stem bearing a basal rosette of leaves until accept enough chilling requirement, the stem begins to elongate while warming.
Source Wikipedia.
OK, this book may not be everyone's cup of tea. If you want pretty pictures of aircraft in flight over snow-capped mountains during a sunset, the black-and-white drawings and photos of an airplane's skeleton just won't cut it. For those of us passionate about aircraft and want to know how our favorite birds were put together, however, this book will satisfy and gratify. Every section of the Boeing 767 (the -200 as well as the -300 models, both standard and -ER variants) is covered in superlative detail, accompanied by detailed photographs and line drawings. Those of us who want to know how everything is put together and the ingenious structures used will rejoice in the sharp line drawings and photographs of actual aircraft being assembled in the factory. Every structural system, from the nose bulkhead to the control surfaces, is covered thoroughly. This book is a wonderful curiosity for airplane aficianados and an excellent reference for modelers looking to add extra detail.
Nikon D700
Zenit MC Helios 44M-4 58 mm f/2
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