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Photo of root structure after a 5.5 month stint in a low light condition in a basement.
Average temp 60 degrees
One of two similar structures bordering the Juego de Pelota or ball court. Note the stone ring near the center of the structure. The players would attempt to pass the ball through this ring using their bodies, mostly by deflecting it with their hips.
Zona Arqueológica de Uxmal
Yucatan - Mexico
The Castle is a medieval fortification in Newcastle upon Tyne which gave the city its name.
The most prominent remaining structures on the site are the Castle Keep, the castle's main fortified stone tower, and the Black Gate, its fortified gatehouse.
Use of the site for defensive purposes dates from Roman times, when it housed a fort and settlement called Pons Aelius, guarding a bridge over the River Tyne. In 1080, a wooden motte and bailey style castle was built on the site of the Roman fort, which was the 'New Castle upon Tyne'. It was built by Robert Curthose, eldest son of William I (William the Conqueror). Nothing remains of the Roman fort or the original motte and bailey castle.
The stone Castle Keep was built between 1172 and 1177 by Henry II on the site of Curthose's castle. The Black Gate was added between 1247 and 1250 by Henry III.
The site is in the centre of Newcastle, and lies to the east of Newcastle Central Station. The 75 feet (23 m) gap between the Keep and the Gatehouse is almost entirely filled by a railway viaduct, carrying the East Coast Main Line from Newcastle to Scotland.
The Castle Keep and Black Gate pre-date the construction of the Newcastle town wall, construction of which started sometime around 1265.
The Keep is a Grade I listed building, and a Scheduled Ancient Monument and is owned by the City Council, which leases it to the Society of Antiquaries of Newcastle upon Tyne, who manage it as a visitor attraction.
April 24, 2014:.
14444212
Mississauga
Commuter Rail System
Metrolinx (Greater Golden Horseshoe Regional Transit System)
GO Transit
GOT Lakeshore Line West
GOT Stations
Clarkson GO Station
GOT Stations Parking Structures
New Clarkson GO Station Parking Structure
What does the Instant structures Mod (ISM) by MaggiCraft?
official website: instant-structures-mod.com/
With the Instant Structures Mod (short: ISM) you can choose one of 365+ structures and place them with just a few click in your Minecraft world. The structures sizes range between a few 100 blocks and 3,000,000 blocks. Placing larger structures accordingly takes longer. Structures are divided in themes and are easily accessible through a wiki. The structures of the Instant Structures Mod (ISM) are quite detailed, published structures are listed in the sub-side Structures.
Furthermore you can scan (save) your own structures and place them as many times as you like. You can share your saved structures with your friends or even with the entire Minecraft community ISM is available for Minecraft Versions 1.7.10 and 1.8. To install ISM you need Minecraft Forge.
official website: instant-structures-mod.com/
These buildings are so beautifully designed and pleasing to the eye, I had to share them all with you. We passed these structures when leaving the Port of Miami.
These are taken in the late afternoon Florida sun light.
9-23-2016
Structure Fire
SouthMeade Dr
Thanksgiving FD, Archer Lodge FD, Wilson's Mills FD, JCEMS, Fire Marshal
Occidental THUMS Islands Location Tour– Sept. 25, 2009 – Long Beach, Calif.: Waterfall and structures on one of the THUMS Islands
This most interesting of structures was originally erected in the 1880s. In 1938 it underwent a remodeling effort that changed it to a Classical Revival structure with columns in the front. In 1996 it was further remodeled into its current state. It is one of few blue courthouses in the country.
The courthouse is a contributing property to the Forest Downtown Historic District, which was placed on the National Register of Historic Places in 2014.
The county seat of Forest is appropriately located in the Bienville National Forest.
Please see preceding photograph in the photo stream for a pre-amble to this one (concerning structural damage to the pillar.)
This photograph was taken in April 2017 during a time of international tension between the United States and the leader of North Korea.
I was standing under Rodney's Pillar on Breidden Hill above the village of Criggion in Powys, Wales, minding my own business when suddenly the ground shook violently beneath my feet followed a millisecond or two later by a loud thud. Instinctively, I ran away from the pillar thinking it was going to come down on top of me.
Over the space of a couple of seconds I thought...
(1) the world was coming to an end. (2) The North Koreans had developed long range intercontinental ballistic missiles. (3) I was standing directly on top of a designated potential target of the USSR (once-secret Cold War Naval Telecommunications Base at Criggion). (4) The USSR and North Korea often exchanged information. (5) Someone must have forgotten to tell the Dear Leader the station had been de-commissioned.
However, after 2 seconds I felt an aftershock and a few seconds later I realised, together with friends who were with me that it was probably the quarry below and they'd been blasting. Phew, that was a relief but it highlighted the ground shaking effect of rock blasting at a quarry. I hear the blasting regularly as I live nearby but I'd never actually stood on the ground above the blasting.
I was talking to the aeronaut, pictured flying a hang glider and he said he felt the blast when he was up in the air ! Does make you wonder how repeated shaking of the ground and air might affect a tall structure such as Rodney's Pillar.
Anyway, once we realised World War III had been averted we all went down to the Admiral Rodney pub where they sell Salopian Oracle beer.
This drawing was initially an attempt at recreating a photograph of a modern styled home I saw in a book. I used the core structure of a few lines drawn in pencil, and overlayed the freehand patterns that were then colored with marker. The coloration is meant to highlight the 4 planes from the original photograph: the house entry; the house's sidewall; the ground; the sky.
This amazing glass couture piece Structures of Self was recently modeled by one of the collaborating artists during the new Beakerhead festival of science, art and engineering. The idea to collaborate on an a photoshoot that paired the alien/bug like garment with the 40 foot RayGun Gothic Rocketship during the setting sun, made for some pretty creative images
Structures of Self:
lead artist: Farlee Mowat
artist: Lana Collier
Raygun Gothic Rocketship:
Sean Orlando
Nathaniel Taylor
David Shulman
Out walking with the PEN E-P5 and some old Minolta ROKKOR-X lenses tonight.
50mm f/1.4
©2013 Jamie A. MacDonald
RAF MILDENHALL, England -- Senior Airman Vincente Andrade, 100th Civil Engineer Squadron structural journeyman from Emeryville, Calif., cuts a piece of wood here April 15, 2013. The structures shop maintains all the doors, windows, framing walls and woodwork on base. (U.S. Air Force photo/Gina Randall)
9-23-2016
Structure Fire
SouthMeade Dr
Thanksgiving FD, Archer Lodge FD, Wilson's Mills FD, JCEMS, Fire Marshal
This colorful parking structure is located near Michigan State University in East Lansing, Michigan.
Sagrada FamÃlia Barcelona, Spain - situation 2017
Construction of the Temple Expiatori de la Sagrada FamÃlia began in 1882. The temple is still under construction, with completion expected in 2026. It is perhaps the best known structure of Catalan Modernism, drawing over three million visitors annually. Architect Antoni Gaudi worked on the project until his death in 1926, in full anticipation he would not live to see it finished.
Gaudi was appointed architect in 1883 at 31 years of age, following disagreements between the temple’s promoters and the original architect, Francisco de Paula del Villar y Lozano. He maintained del Villar’s Latin cross plan, typical of Gothic cathedrals, but departed from the Gothic in several significant ways. Most notably, Gaudi developed a system of angled columns and hyperbolical vaults to eliminate the need for flying buttresses. Rather than relying on exterior elements, horizontal loads are transferred through columns on the interior. La Sagrada Familia utilizes three-dimensional forms comprised of ruled surfaces, including hyperboloids, parabolas, helicoids, and conoids. These complex shapes allow for a thinner, finer structure, and are intended to enhance the temple’s acoustics and quality of light. Gaudi used plaster models to develop the design, including a 1:10 scale model of the main nave measuring five meters in height and width by two meters in depth. He also devised a system of strings and weights suspended from a plan of the temple on the ceiling. From this inverted model he derived the necessary angles of the columns, vaults, and arches. This is evident in the slanted columns of the Passion facade, which recall tensile structures but act in compression.
Gaudi embedded religious symbolism in each aspect of La Sagrada Familia, creating a visual representation of Christian beliefs. He designed three iconic facades for the basilica, the Glory, Nativity, and Passion facades, facing south, east, and west, respectively. The sculpting of the Nativity facade recalls smooth, intricate corbelling and was overseen by Gaudi. The Passion Facade is characterized by the work of Josep Maria Subirachs, whose angular sculptures extend the modernist character of the temple. The sculptor Etsuro Sotoo is responsible for the window ornaments and finials, which symbolize the Eucharist. The central nave soars to a height of 45 meters, and is designed to resemble a forest of multi-hued piers in Montjuïc and granite. The piers change in cross section from base to terminus, increasing in number of vertices from polygonal to circular. The slender, bifurcating columns draw the eye upward, where light filters through circular apertures in the vaults. These are finished in Venetian glass tiles of green and gold, articulating the lines of the hyperboloids.
Once completed, La Sagrada Familia will feature eighteen towers. Four bell towers representing the Apostles crown each facade, reaching approximately 100 meters in height. At the north end, a tower representing the Virgin Mary will stand over the apse. The central tower will reach 72 meters in height and symbolize Christ, surrounded by four towers representing the Evangelists. Even as construction continues, older portions are undergoing cleaning and restoration. The temple has relied entirely on private donations since its inception, and has seen many delays due to lack of funding. A particularly significant setback occurred during the Spanish Civil War, when Gaudi’s workshop was destroyed, including much of the documentation he left behind. Subsequent generations of craftsman and architects have relied on the remaining drawings and plaster models to advance the project, adhering to Gaudi’s vision as closely as possible. As a result, the design of the temple is a collaboration spanning centuries. Gaudi himself viewed the project as the collective work of generations. "I will grow old but others will come after me. What must always be conserved is the spirit of the work, but its life has to depend on the generations it is handed down to and with whom it lives and is incarnated."
In recent decades, La Sagrada Familia has adopted contemporary digital design and construction technologies. Architects and craftsmen use Rhinoceros, Cadds5, Catia, and CAM to understand the complex geometries and visualize the building as a whole. Plaster models are still used as a design tool, now generated by a 3-D printer to accelerate the process.
Architect: Antoni Gaudi
Present Chief Architect: Jordi Fauli
Former Chief Architects: Jordi Bonet, Francesc de Paula Quintana i Vidal, Isidre Puig i Boada, LluÃs Bonet i GarÃ, , Francesc de Paula del Villar y Lozano
Deputy Chief Architects: Carles Buxadé, Joan Margarit, Josep Gómez Serrano
Technical Consultants: Universitat Politècnica de Catalunya, Royal Melbourne Institute of Technology
Project Department: Jordi Coll, Andrés de Mesa
Sculptors: Etsuro Sotoo, Josep Maria Subirachs
Stained Glass: Joan Vila-Grau
Area: 4.500 m2
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