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All the tunnels and bridges along the Princes Pier Railway have these excellent rusty plaques on the walls as you enter. 63 belongs to the Trafalgar Street Tunnel (also known as the Ann Street Tunnel). For the most part, the Trafalgar Street Tunnel is brick lined but at the portal, you can see that they've used stone. Many tunnels have this approach to construction and I know there's a good reason for it, I just can't think what that may be just now.
Commissioned Work
Myspace music layout for Digital Structures
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I found this at the edge of a recreation ground whilst looking for something else. At first I thought it was a railway tunnel air vent but there aren't any tunnels in the area. Also, whilst it seems circular, the other side is actually flat. So no idea, really.
The Brihadeshwara Temple at Thanjavur in the Indian state of Tamil Nadu, is a Hindu temple dedicated to Shiva. It is an important example of Tamil architecture achieved during the Chola dynasty. The temple is part of the UNESCO World Heritage Site known as the "Great Living Chola Temples".
This is one of the largest temples in India and one of India's most prized architectural sites. Built by emperor Raja Raja Chola I and completed in 1010 AD. Brihadeshwara Temple, also popularly known as the 'Big Temple', turned 1000 years old in 2010.
Thanjavur Periya Kovil stands amidst fortified walls that were probably added in the 16th century. The vimana (or temple tower) is 66 m high and is among the tallest of its kind in the world. The Kumbam (Kalasha or Chikharam, the apex or the bulbous structure on the top) of the temple is carved out of a single rock and it weighs around 80 tons. There is a big statue of Nandi (sacred bull), carved out of a single rock, at the entrance measuring about 16 feet long and 13 feet high. The entire temple structure is made out of granite, the nearest sources of which are close to Tiruchirappalli, about 60 km to the west of Thanjavur.
HISTORY
The temple had its foundations laid out by the Tamil emperor Arulmozhivarman, popularly called Rajaraja Chola I, in 1002 CE, as the first of the great Tamil Chola building projects.
The Brihadeshwarar Temple was built to grace the throne of the Chola empire in compliance to a command given to him in his dream. The scale and grandeur is in the Chola tradition. An axial and symmetrical geometry rules the temple layout. Temples from this period and the following two centuries are an expression of the Tamils (Chola) wealth, power and artistic expertise. The emergence of such features as the multifaceted columns with projecting square capitals signal the arrival of the new Chola style.
The Brihadeshwarar Temple was built to be the royal temple to display the emperor's vision of his power and his relationship to the universal order. The temple was the site of the major royal ceremonies such as anointing the emperor and linking him with its deity, Shiva, and the daily rituals of the deities were mirrored by those of the king. It is an architectural example showcasing the pure form of the Dravida type of temple architecture and representative of the Chola Empire ideology and the Tamil civilisation in Southern India. The temple "testify to the brilliant achievements of the Chola in architecture, sculpture, painting and bronze casting."
CONSTRUCTION
The wish to build a mammoth temple like this is said to have occurred to Raja Raja while he stayed at Sri Lanka as an emperor.
The esteemed architect and engineer of the temple was Kunjara Mallan Raja Raja Perunthachan as stated in inscriptions found at the temple. The temple was built per ancient texts called Vaastu Shastras and Agamas. He is the ancient ancestor of the doyan of Vaastu Vedic architecture, the late Dr. V. Ganapti Sthapati of Chennai and Mahabalipurim (architect of the 133' granite Thiruvalluvar statue at the tip of south India). Members of his family still live and practice the ancient art and science. The American University of Mayonic Science and Technology was initiated by Dr. V. Ganapati Sthapati to perpetuate the same form of architectural principles used by Kunjara Mallan Raja Raja Perunthachan to build the Brihadeeswarar temple. The temple was built using a measure of 1 3/8-inch called an angula (24 units equalling 33 inches called a hasta, muzam, or kishku). This is the same measure found in ancient Lothal and other sites in the Indus Valley dating back 4000 - 6000 years. This same measure is used to build structures compliant with the Vaastu Shastras and Agamas today. While some builders use a different measure this is considered a standard due to its antiquity.
This temple is the first building fully built by granite and finished within 5yrs [1004AD – 1009AD]. The solid base of the temple raises about 5 metres, above which stone deities and representatives of Shiva dance. The huge kalasam or Vimanam (top portion of the shrine) is believed to weigh 81.28 tonnes of single stone block and was raised to its present height by dragging on an inclined plane of 6.44 km. The big Nandi (bull), weighing about 20 tonnes is made of a single stone and is about 2 m in height, 6 m in length and 2.5 m in width. The presiding deity of lingam is 3.7m tall. The prakaram (outer precincts of the temple) measures 240m by 125m. The outer wall of the upper storey is carved with 81 dance karanas – postures of Bharathanatyam, the classical dance of Tamil Nadu. The shrine of Goddess was added by Pandyas during the 13th century, Subramanya Shrine by Vijayanagara rulers and the Vinayaka shrine was renovated by Maratha rulers.
TEMPLE COMPLEX
The temple complex sits on the banks of a river that was channelled to make a moat around the complex's outer walls, the walls being built like a fortress. The complex is made up of many structures that are aligned axially. The complex can be entered either on one axis through a five-story gopuram or with a second access directly to the huge main quadrangle through a smaller free-standing gopuram. The massive size of the main Vimanam (Shikhara) is ca. 60 meters high, with 16 elaborately articulated stories, and dominates the main quadrangle. Pilaster, piers, and attached columns are placed rhythmically covering every surface of the Vimanam.
The gopuram of the main entrance is 30 m high, smaller than the vimana. It is unusual in the dravidian architecture where the gopurams are generally the main towers and taller than the vimana.
MAIN TEMPLE
A first rectangular surrounding wall, 270 m by 140 m, marks the outer boundary. The main temple is in the center of the spacious quadrangle composed of a sanctuary, a Nandi, a pillared hall and an assembly hall (mandapas), and many sub-shrines. The most important part of the temple is the inner mandapa which is surrounded by massive walls that are divided into levels by sharply cut sculptures and pilasters providing deep bays and recesses. Each side of the sanctuary has a bay emphasising the principle cult icons. The karuvarai, a Tamil word meaning the interior of the sanctum sanctorum, is the inner most sanctum and focus of the temple where an image of the primary deity, Shiva, resides. Inside is a huge stone linga. The word Karuvarai means "womb chamber" from Tamil word karu for foetus. Only priests are allowed to enter this inner-most chamber.
In the Dravida style, the Karuvarai takes the form of a miniature vimana with other features exclusive to southern Indian temple architecture such as the inner wall together with the outer wall creating a pradakshina around the garbhagriha for circumambulation (pradakshina). The entrance is highly decorated. The inside chamber housing the image of the god is the sanctum sanctorum, the garbhagriha. The garbhagriha is square and sits on a plinth, its location calculated to be a point of total equilibrium and harmony as it is representative of a microcosm of the universe. In the center is placed the image of the deity. The royal bathing-hall where Rajaraja the great gave gifts is to the east of the hall of Irumudi-Soran.
The circumambulation winds around the massive lingam in the garbhagriha and is repeated in an upper story, presenting the idea that Chola Empire freely offered access to the gods.
The inner mandapa leads out to a rectangular mandapa and then to a twenty-columned porch with three staircases leading down. Sharing the same stone plinth is a small open mandapa dedicated to Nandi, Shiva's sacred bull mount.
TEMPLE DEITIES
The "moolavar" or prime deity of the Brihadeeswarar Temple is Shiva. All deities, particularly those placed in the niches of the outer wall (Koshta Moorthigal) like Dakshinamurthy, Surya, Chandra are of huge size. The Brihadiswarar temple is one of the rare temples which has idols for "Ashta-dikpaalakas" (Guardians of the directions) – Indra, Agni, Yama, Nirṛti, Varuṇa, Vāyu, Kubera, Īśāna – each of whom was originally represented by a life-sized statue, approximately 6 feet tall, enshrined in a separate temple located in the respective direction. (Only Agni, Varuṇa, Vāyu and Īśāna are preserved in situ.)
ADJOINING STRUCTURES
Surrounding the main temple are two walled enclosures. The outer wall is high, defining the temple complex area. Here is the massive gopuram or gateway mentioned above. Within this a portico, a barrel vaulted gorpuram with over 400 pillars, is enclosed by a high wall interspersed with huge gopurams axially lined up to the main temple.
FEATURES
Another widely held belief is that the shadow of the gopuram (pyramidal tower usually over the gateway of a temple) never falls on the ground. The temple is said to be made up of about 130,000 tons of granite. The Kumbam itself, a 60 ton granite stone carved in one piece, on top of the main gopuram is believed to have been taken to the top by creating an inclined slope to the height of 66m to the top of the gopuram. The prevailing belief is that a mud-slope, which starts at about three miles from the temple site, from Thirukoilore (birthplace of Raja raja's mother) near Sri Virateshvara swamy temple. Elephants might have been used to drag the stone up the slope. This was claimed to be the only part of the gopuram, which does not cast a shadow that fall on the ground, at least not within the temple premises.
MURALS
The temple has Chola frescoes on the walls around the sanctum sanctorum potryaing Shiva in action, destroying demonic forts, dancing and sending a white elephant to transport a devotee to heaven. These frescoes were discovered in the 1940s and portray the mythological episodes of the journey of Saint Sundarar and the Chera King to heaven, the battle scene of Tripurantaka (Lord Siva) with Asuras (demons). The Chola artists have proved their mettle by portraying even the Asura women with a sense of beauty. Some of the paintings in the sanctum sanctorum and the walls in the passage had been damaged because of the soot that had deposited on them. Owing to the continuous exposure to smoke and soot from the lamps and burning of camphor in the sanctum sanctorum over a period of centuries certain parts of the Chola paintings on the circumambulatory passage walls had been badly damaged. The Tanjore Nayak kings replaced them with a few paintings of their own, about 400 years ago. The Archaeological Survey of India, for the first time in the world, used its unique de-stucco process to restore 16 Nayak paintings, which were superimposed on 1000-year-old Chola frescoes. These 400-year-old paintings have been mounted on fibre glass boards, displayed at a separate pavilion.
TEMPLE PERSONNEL
The temple was consecrated in 1010 CE by Raja Raja Chola I & in 2010 a celebration commemorated the temple's thousandth anniversary. The temple maintained a staff of 1000 people in various capacities with 400 being temple dancers Besides the Brahmin priests, these included record-keepers, musicians, scholars, and craftsman of every type as well as housekeeping staff. In those days the temple was a hub of business activities for the flower, milk, oil, and ghee merchants, all of whom made a regular supply of their respective goods for the temple for its poojas and during festival seasons. Moreover as evidenced by the inscriptions that found in the compound wall of this temple, the temple had always been serving as a platform for the dancers who excelled in the traditional dance form of Bharatnatyam. vallamuthu minnadi generation worshipped this temple.
MILLENNIUM CELEBRATIONS
Built in the year 1010 CE by Raja Raja Chola in Thanjavur, Brihadeeswarar Temple popularly known as the 'Big Temple' turned 1000 years old in September 2010. To celebrate the 1000th year of the grand structure, the state government and the town held many cultural events. It was to recall the 275th day of his 25th regal year (1010 CE) when Raja Raja Chola (985–1014 CE) handed over a gold-plated kalasam (copper pot or finial) for the final consecration to crown the vimana, the 59.82-metre tall tower above the sanctum.
BHARATHANATYAM YAJNA
To mark the occasion, the state government organised a Bharathanatyam Yajna, classical dance show under noted dancer Padma Subramaniam. It was jointly organised by the Association of Bharatanatyam Artistes of India (ABHAI) and the Brhan Natyanjali Trust, Thanjavur. To mark the 1000th year anniversary of the building, 1000 dancers from New Delhi, Mumbai, Pune, Tamil Nadu, Andhra Pradesh, Karnataka, Kerala, Singapore, Malaysia and the US danced in concert to the recorded 11 verses of divine music Thiruvichaippa (ninth of Thirumurai) composed by Karuvur Thevar (the guru of Raja Raja Chola) named Tiruvisaippa. The small town turned into a cultural hub for two days beginning 26 September 2010 as street performers and dancers performed throughout the town.
WIKIPEDIA
Slanted Magazine #23 – Swiss Issue
The Editors of Slanted magazine embarked on a two week “Tour de Suisse” and talked to some of the most innovative and interesting Swiss designers about tradition, transgression and progression. The resulting photos, text and video interviews with the 23 designers and studios give insight to contemporary design work in Switzerland and a glance behind the scenes.
The 23rd issue of Slanted magazine contains numerous essays reflecting Swiss graphic design, an illustrated section “Helvetica Illustrated”, a photo series of the former Bond-girl, Ursula Andress, interviews and a Carte Blanche in cooperation with form magazine. Also, included is a special “work and life” of typographer and graphic designer Hans Rudolf Lutz, edited and designed by students of the Karlsruhe University of Arts and Design under the Direction of Prof. Urs Lehni.
Furthermore, this 336-page issue utilizes materials to interpreted the opposing sides of Switzerland: A very shiny and structured surface against the raw and rough. This juxtaposition is represented in this issue with the use of the Chromolux-material. On the high glossy side, readers can follow the Tour de Suisse and the uncoated side features content of the Suisse Issue.
Thanks to Augmented Reality and the Junaio app, readers can easily watch embedded videos of the Tour de Suisse on mobile devices.
Tour de Suisse
Eric Andersen, Ludovic Balland, Angela Thomas (über Max Bill), Jacques Borel, Bringolf Irion Vögeli, Büro Destruct, Claudiabasel, Heyday, Hi, Hochparterre, Jost Hochuli, Matthias Hofmann, IDPURE, Komet, Matrix, Norm, Feixen, François Rappo, Rawcut, Aurèle Sack, Niklaus Troxler, Von B und C, Wolfgang Weingart
Suisse Issue
Essays, Helvetica Illustrated, Ursi National, Interviews, Carte Blanche / form, Lutz Special / HfG KA
The booklet “Contemporary Typefaces” presents fourteen recently published typefaces we think are important and interesting: Allegra (Jost Hochuli / abc litera), Apeloig Type Library (Philippe Apeloig / Nouvelle Noire), Austin Text (Paul Barnes / Commercial Type), Balto (Tal Leming / Type Supply), Camingo Mono (Jan Fromm), Coperto (Alexander Colby / Milieu Grotesque), DF Riga (Ko Sliggers / Dutchfonts), Duplicate Collection (Christian Schwartz, Miguel Reyes / Commercial Type), FS Maja (Jason Smith / Fontsmith), Karloff (Peter Bi’lak, Pieter van Rosmalen / Typotheque), Lalola (Laura Meseguer / Type-Ø-Tones), Odesta (Ondrej Jób / Urtd), Shameless (Neil Summerour / Positype), Voyage (Emil Bertell / Fenotype)
Slanted Magazine #23 – Swiss Issue
Publisher, Design and Editor: MAGMA Brand Design
Release: May 2014
Format: 16 × 24 cm
Volume: 336 pages
Language: English, German
Cupar Burgh Chambers is a municipal structure in St Catherine Street in Cupar, Fife, Scotland. The building, which was the meeting place of Cupar Burgh Council, is a Category B listed building.
The first municipal building in the town was a medieval tolbooth which stood at The Cross and which dated back at least to the first half of the 15th century. The tolbooth incorporated prison cells on the ground floor and an assembly room on the first floor. King Charles II was entertained in the assembly room on his journey to Falkland in July 1650, and the aeronaut, Vincenzo Lunardi, was carried there in triumph after crossing the Firth of Forth in a hot-air balloon, in December 1785.
By the early 19th century, the tolbooth had become dilapidated and the provost, John Ferguson, proposed that the tolbooth and an adjacent property, Balgarvie House, be demolished as part of an initiative to create a new street: the south side of the new street would contain various civic buildings including, at the west end, the burgh chambers and, further to the east, the county buildings and the sheriff court. Demolition of the tolbooth took place one night in April 1815: the work caused some consternation because not all the burgh leaders had agreed to the proposal. The new building was designed by Robert Hutchison in the neoclassical style, built in ashlar stone for £150 and was completed in 1817. The design involved a semi-circular section with three bays facing onto The Cross; the first and second floors featured sash windows in each of the three bays. The whole section was surmounted by a lead-covered dome, an octagonal belfry with a domed roof and a weather vane. On the north façade, while most of the ground floor was occupied by shops, there was a pend in the centre of the building and, to its right, a doorway with a fanlight, flanked by Doric order columns supporting an entablature, which gave access to the burgh chambers above.
The mercat cross was relocated from Wemyss Hall Hill to a site just to the east of the burgh chambers as part of the celebrations for the Diamond Jubilee of Queen Victoria in 1897. The building continued to serve as the headquarters of the burgh council for much of the 20th century, but ceased to be the local seat of government after the enlarged North East Fife District Council was formed further along the road at the county buildings in 1975. The burgh chambers continued to be used as workspace by council staff, but after Fife Council became the unitary authority for the area in 1996, the building then fell vacant and, after significantly deteriorating, was placed on the Buildings at Risk Register for Scotland.
An extensive programme of works to refurbish the burgh chambers to a design by Arc Architects was carried out at a cost of £571,000 and completed in August 2018. The works, which were carried out under the management of Fife Historic Buildings Trust and financed by the Heritage Lottery Fund, Historic Environment Scotland and Fife Council, involved converting the first and second floors into apartments for tourists. [Wikipedia]
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.
Haboob consuming the sunset and White Tank Mountains, and the shelf cloud rising above the gust front on which it rides.
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
Connect with us: LAFD.ORG | News | Facebook | Instagram | Reddit | Twitter: @LAFD @LAFDtalk
RESEDA - A wind-driven tree fire spread through several blocks burning structures and vegetation.
On Saturday, January 16, 2021 at 11:53 AM, LAFD responded to a structure fire at the 18000 block of Elkwood St. The fire appeared to have started in ornamental vegetation near Strathern St, then was fueled by wind and pushed several blocks to the south across Blythe, Arminta, Elkwood and Ingomar. A post-fire survey revealed that only two homes sustained minor fire damage, and four out buildings were damaged or destroyed. LAFD Firefighters were on scene just three minutes after being dispatched and acted quickly to prevent this situation from becoming much worse in the warm/windy conditions, with an attack that included water-dropping helicopters. It took 68 firefighters 49 minutes to extinguish all of the flames. There were no injuries. The fire is under investigation.
© Photo by Greg Doyle
LAFD Incident: 011621-0707
Connect with us: LAFD.ORG | News | Facebook | Instagram | Reddit | Twitter: @LAFD @LAFDtalk
I like the structure and the align...
See where this picture was taken.
You can download a high resolution, royalty free version of this picture from here: www.photocase.de/de/photodetail.asp?i=14021. The royalty free version can be used for any private and commercial projects.
Allard Residence, Saint Louis, Missouri.
designer: Adrian Luchini
architect of record: Andrew Raimist
Photograph copyright © Andrew Raimist.
At 12:37AM on July 14, 2020 the Los Angeles City Fire Department responded to a reported structure fire in the 2200 block of E 1st St. Firefighters arrived to find a one story row of commercial units with fire showing. 100 firefighters battled and extinguished the stubborn fire in two hours and 10 minutes. This was an extended operation due to the difficulty accessing all areas of the fire because of the roof collapse. No were injuries reported. LAFD Arson Section responded for the cause investigation, per protocol for a fire of this size.
© Photo by Brandon Buckley
LAFD Incident: 071420-0054
Connect with us: LAFD.ORG | News | Facebook | Instagram | Reddit | Twitter: @LAFD @LAFDtalk
Wildfire Structure Protection near Shan Creek Road on the Taylor Fire by the Eugene Springfield Fire Department. By removing excess brush and debris, crews may have a chance to decrease potential wildfire damage. Credit: Darren Stebbins 7-27-18
Hong Kong Government Department
The Hong Kong Police Force | HKP
Police Vehicles, Police Officers, Marine Police, Traffic Police, Police Stations. All Districts, Hong Kong
Special Units & Divisions include Counter Terrorism, Police Tactical Unit (PTU), National Security Bureau, Diplomatic Protection & Security, Commercial Crime, CID, Dog Unit, Wanted & Missing Persons, Cyber Security & Technology Crime Bureau, Organised Crime and Triad Bureau, Narcotics Bureau, Criminal Intelligence, The Bomb Squad (EOD), Public Relations, Criminal Records, Police Training College and the Auxiliary Police etc.
All relevant and extensive information about the Hong Kong Police Force is available on their website
It is very comprehensive, the Hong Kong Police Force has a highly organised structure.
All Hong Kong Police Vehicles use the AM licence plate ie 2 digits and up to 4 numbers | Police vehicles have different colours, normal Police vehicles are white with red and blue stripes, the Police Traffic Division vehicles are white with yellow and blue checkerboard design.
Amazingly the Police Force have their own superstitions as well, the majority of the licence plates on Police Vehicles have lucky number combinations involving the numbers 6,8, and 9 ! Basically 6 means easy life, 8 means wealth and 9 means long life - this is very much Hong Kong Culture. The Police also use unmarked vehicles extensively which are NOT identified by the AM mark.
The Police Museum at 27 Coombe Road at the Peak is also worth a visit, see details on the website listed above.
☛.... and if you want to read about my views on Hong Kong, then go to my blog, link below
✚ www.j3consultantshongkong.com/j3c-blog
☛ Photography is simply a hobby for me, I do NOT sell my images and all of my images can be FREELY downloaded from this site in the original upload image size or 5 other sizes, please note that you DO NOT have to ask for permission to download and use any of my images!
Shukhov Hyperboloid Structure.
Hyperboloid structures are architectural structures designed using a hyperboloid in one sheet. Often these are tall structures such as towers where the hyperboloid geometry's structural strength is used to support an object high off the ground, but hyperboloid geometry is also often used for decorative effect as well as structural economy. The first hyperboloid structures were built by Russian engineer Vladimir Shukhov.
Hyperbolic structures have a negative Gaussian curvature, meaning they curve inward rather than curving outward or being straight. As doubly ruled surfaces, they can be made with a lattice of straight beams, hence are easier to build than curved surfaces that do not have a ruling and must instead be built with curved beams.
Hyperboloid structures are superior in stability towards outside forces compared with "straight" buildings, but have shapes often creating large amounts of unusable volume (low space efficiency) and therefore are more commonly used in purpose-driven structures, such as water towers (to support a large mass), cooling towers, and aesthetic features.
A good example of a Hyperboloid Structure is the control tower at Newcastle Airport.
The Structure was modelled in Autodesk Inventor and rendered in Autodesk 3DS.