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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
(Recovery of the first scaffolding for the construction of the monument to Henry Dundas, alias Lord Melville in St. Andrew Square: a support structure put in place owing to the risk of imminent collapse) en Interview Room 11 Gallery (43 Pennywell Road. EH4 4QR Edinburgh) www.ir11.org.uk/
An ephemeral structure surrounds the monument in honour of Henry Dundas in St Andrew Square, in the economic centre of the city. Taking this as a starting point, a story that depicts the relationship between the monument and the provisional support structure is created.
The towering stone column stands as a metaphor for a power struggle. It conveys an ideology and occupies a symbolic space. The temporary armature made of wood harks back to the very beginnings of this monumental project. It highlights the nature of the monument-to-be, hinting at the collapse of this outsized column.
While the urban icon still remains in the middle of the square, a disused supermarket on the outskirt of the city will serve as an exhibition space. This show seeks to question the urban structure, the planning laws and by-laws guidelines allowed the project to proceed, and the changes that the symbols are suffering.
The sculpture is surrounded by a provisional structure, an empty framework that creates a threshold, a space that extends the centre of the square. The wooden structure does not come into contact with the solid stone of the monument, but it just approaches without actually touching; it seems to be embracing for afar. Once the announced collapse is fulfilled, the column, now turned into stone ruins, can continue to be ‘re-built’ into the vacated space.
The wooden armature is presented as a way to build desires. It is brittle and separated from power only a few centimetres; like a utopia, a tenacious desire that always fails but resists thanks to the fact that it seems to fulfil a function:
Do not let columns drop.
_____________________________
The artist Jacobo Bugarín visits Edinburgh to carry out a specific project in the new space of Interview Room 11 Gallery. This space, on the outskirts of the Scottish capital, belonged to a well-known supermarket chain. After being abandoned, it was converted into studios for artists by the Interview Room 11 team. The Galician artist will exhibit in the building, still in the process of rehabilitation, to create an installation that belongs to and is in a dialogue with the building. Part of the exhibition will also refer to the monument on St Andrew Square where Bugarín visited in Edinburgh during his first trip to the city.
Jacobo Bugarín questions the traditional modes of representation and receptivity. He proposes a modification to perceiving a specific context/reality through an analysis and/or alteration of the relationships that exist between its elements. It makes a difference to know the systems of relations that intervene in the structuring our perception, and the goal is to make the viewer aware of this. The affections, the distance, the empathy, the superposition of structures or the externalisation of the discourse are some concepts on which his latest works of artistic research are based.
Bugarín had already been part of an exhibition at Interview Room 11, The Oracle, in 2014. In his career, he has participated in solo shows, including those in Baleiro and Zona C, in Santiago de Compostela, the Niémeyer Center in Avilés and the recent exhibition at Laboral de Gijón. He also participated in numerous group exhibitions, such as Velar y desvelar at the Museum of Contemporary Art Gas Natural Fenosa and Project Moscow at the Galician Center for Contemporary Art (CGAC).
This project is supported by Acción Cultural Española (PICE, Programme for the Internationalization of Spanish Culture).
Furthermore, the gallery thanks for the generous help of Indaba Deli. Spanish and South African Food and Bodega Soul. Spanish Wine from Small Producers
We will also host the album launch ‘1.4’ by the Edinburgh electronic music collective Bless This Machine, with an exhibition and a performance, starting at 8pm.
Taken around 12AM this morning at Lakewood Ln in Dollar Point, CA. We saw this large structure fire on our way home. When we originally drove by it was a complete inferno with flames pouring out of the front of the house. About ten minutes later, after we had gotten home and walked back, the fire trucks had contained the blaze to the back of the structure.
We continued to watch it burn for about 30 minutes. No further information about how it was started, except for the people in whose apartment the fire had started in were able to escape safely.
Serpentine Pavilion 2019 designed by Junya Ishigami "The Japanese architect Junya Ishigami, celebrated for his experimental structures that interpret traditional architectural conventions and reflect natural phenomena, was selected to design the Serpentine Pavilion 2019.
Ishigami’s design takes inspiration from roofs, the most common architectural feature used around the world. The design of the 2019 Serpentine Pavilion was made by arranging slates to create a single canopy roof that appeared to emerge from the ground of the surrounding park. Within, the interior of the Pavilion was an enclosed cave-like space, a refuge for contemplation. For Ishigami, the Pavilion articulated his ‘free space’ philosophy in which he seeks harmony between man-made structures and those that already exist in nature.
Describing his design, Ishigami said: ‘My design for the Pavilion plays with our perspectives of the built environment against the backdrop of a natural landscape, emphasising a natural and organic feel as though it had grown out of the lawn, resembling a hill made out of rocks. This is an attempt to supplement traditional architecture with modern methodologies and concepts, to create in this place an expanse of scenery like never seen before. Possessing the weighty presence of slate roofs seen around the world, and simultaneously appearing so light it could blow away in the breeze, the cluster of scattered rock levitates, like a billowing piece of fabric.’
Junya Ishigami (b. 1974) worked as an architect at SANAA before founding the prize-winning Junya Ishigami + Associates in 2004. Winner of the Golden Lion award at the Venice Biennale of Architecture in 2010, he was the subject of a major and critically acclaimed solo exhibition at the Fondation Cartier pour l’art contemporain in 2018 that is traveling to the Power Station of art in Shanghai later this year. He is known for designs with dream-like qualities that incorporate the natural world, such as landscapes, forests and clouds, in an architectural practice that places humankind as part of nature.
He is the nineteenth architect to accept the invitation to design a temporary Pavilion on the Serpentine Gallery’s lawn in Kensington Gardens. This pioneering commission, which began in 2000 with Zaha Hadid, has presented the first UK structures by some of the biggest names in international architecture. In recent years it has grown into a highly-anticipated showcase for emerging talent, from Frida Escobedo of Mexico to Francis Kéré of Burkina Faso and Bjarke Ingels of Denmark, whose 2016 Pavilion was the most visited architectural and design exhibition in the world.
Serpentine Galleries Artistic Director Hans Ulrich Obrist and former CEO Yana Peel selected 2019’s architect with advisors Sir David Adjaye OBE, Lord Richard Rogers and David Glover alongside Julie Burnell (Head of Construction and Buildings, Serpentine Galleries) and Amira Gad (Curator, Exhibitions and Architecture, Serpentine Galleries).
Serpentine Pavilion Architect's Statement
The design for the 2019 Serpentine Pavilion takes roofs, the most common architectural feature, as its point of departure and inspiration. It is reminiscent of roofing tiles seen around the world, bridging both architectural and cultural references through this single architectural feature. The roof of the Pavilion is made by arranging slates to create a canopy that alludes to nature. It appears to emerge from the ground of the surrounding Park.
My design for the Pavilion plays with our perspectives of the built environment against the backdrop of a natural landscape, emphasising a natural and organic feel as though it had grown out of the lawn, resembling a hill made of rocks. This is an attempt to supplement traditional architecture with modern methodologies and concepts, to create in this place an expanse of scenery like never seen before. Possessing the weighty presence of slate roofs seen around the world, and simultaneously appearing so light it could blow away in the breeze, the cluster of scattered rock levitates, like a billowing piece of fabric.
The interior of the Pavilion is an enclosed cave-like space, a refuge for contemplation. For me, the Pavilion articulates a ‘free space’ philosophy that is to harmony between man-made structures and those that already exist in nature.”
Text above © Copyright The Serpentine Gallery 2019
from www.serpentinegalleries.org/exhibitions-events/serpentine...
Meenakshi Amman Temple is a historic Hindu temple located on the southern bank of the Vaigai River in the temple city of Madurai, Tamil Nadu, India. It is dedicated to Parvati, known as Meenakshi, and her consort, Shiva, here named Sundareswarar. The temple forms the heart and lifeline of the 2,500-year-old city of Madurai and is a significant symbol for the Tamil people, mentioned since antiquity in Tamil literature though the present structure was built between 1623 and 1655 CE. It houses 14 gopurams (gateway towers), ranging from 45–50m in height. The tallest is the southern tower, 51.9 metres high, and two golden sculptured vimanas, the shrines over the garbhagrihas (sanctums) of the main deities. The temple attracts 15,000 visitors a day, around 25,000 on Fridays, and receives an annual revenue of ₹ 60 million. There are an estimated 33,000 sculptures in the temple. It was on the list of top 30 nominees for the "New Seven Wonders of the World". The temple is the most prominent landmark and most visited tourist attraction in the city. The annual 10-day Meenakshi Tirukalyanam festival, celebrated during April and May, attracts 1 million visitors.
LEGEND
Meenakshi (IAST Mīnākṣī Tamil மீனாட்சி) is an avatar of the Hindu goddess Parvati - the consort of Shiva, one of the few Hindu female deities to have a major temple devoted to her. The name "Mīnachchi" means fish-eyed and is derived from the words "mīna" meaning fish and "akṣi" meaning eyes. The lady goddess Meenakshi is the principal deity of the temple, not Sundareswarar, unlike most Shiva temples in South India where Shiva is the principal deity. According to Hindu legend, in order to answer the prayers of the second Pandya king Malayadwaja Pandya and his wife Kanchanamalai, Parvati appeared out of the holy fire of the Putra Kameshti Yagna (sacrifice for childhood) performed by the king. According to another legend, the goddess herself gave notice to Kanchanamalai in one of her previous births that Kanchanamalai would have the privilege of mothering the goddess. The girl who came out of the holy fire had three breasts. A voice from the heavens told the king not to worry about the abnormality and added that the third breast would vanish as soon as the girl met her future husband. The happy king named the girl "Tadaatagai" and as the heir to the throne, Tadaatagai was trained carefully in all the 64 sastras, the fields of science .
As the time came for Tadaatagai's coronation, she had to wage war in three worlds encompassing eight directions. After conquering Brahma's Abode, Sathyaloka, Vishnu's Abode, Vaikunta, and Devas' abode Amaravati, she advanced to Shiva's Abode Kailasha. She very easily defeated the bhoota ganas (IAST: Bhūtagana, meaning Shiva's army) and Nandi, the celestial bull of Shiva, and headed to attack and conquer Shiva. The moment she looked at Shiva, she was unable to fight and bowed her head down due to shyness, and the third breast vanished immediately. Tadaatagai realized that Shiva was her destined husband. She also realized that she was the incarnation of Parvati. Both Shiva and Tadaatagai returned to Madurai and the king arranged the coronation ceremony of his daughter, followed by her marriage with Shiva.
The marriage was to be the biggest event on earth, with the whole earth gathering near Madurai. Vishnu, the brother of Meenakshi, prepared to travel from his holy abode at Vaikuntam to preside over the marriage. Due to a divine play, he was tricked by the Deva, Indra and was delayed on the way. After the marriage, the pair ruled over Madurai for a long time and then assumed divine forms as Sundareswarar and Meenakshi, the presiding deities of the temple. Following the tradition, every evening, before closing the temple, a ritual procession led by drummers and a brass ensemble carries the image of Sundareswarar to Meenakshi's bedroom to consummate the union, to be taken back the next morning in dawn. The marriage is celebrated annually as Chithirai Thiruvizha in Madurai. During the period of Nayakar rule in Madurai, the ruler Thirumalai Nayakar linked the festival Azhakar Thiruvizha and the Meenakshi wedding ceremony.
HISTORY
The Meenakshi temple is believed to have been founded by Indra (king of Deva celestial deities). While he was on a pilgrimage to atone for his misdeeds. He felt his burden lifting as he neared the swayambu lingam (self formed lingam, a representation of Shiva used for worship in temples) of Madurai. He ascribed this miracle to the lingam and constructed the temple to enshrine it. Indra worshipped Shiva, who caused golden lotuses to appear in the nearby pool. Tamil literature speaks of the temple over the last two millennia. Thirugnanasambandar, the famous Hindu saint of Saiva philosophy, mentioned this temple as early as the 7th century, and described the deity as Aalavai Iraivan. The temple is believed to have been sacked by the infamous Muslim invader Malik Kafur in 1310 and all the ancient elements were destroyed. The initiative to rebuild the structure was taken by first Nayak king of Madurai, Viswanatha Nayak (1559–1600) under the supervision of Ariyanatha Mudaliar, the prime minister of the Nayak Dynasty and the founder of the Poligar System. The original design by Vishwanatha Nayak in 1560 was substantially expanded to the current structure during the reign of Thirumalai Nayak (1623–55). He took considerable interest in erecting many complexes inside the temple. His major contributions are the Vasantha Mandapam for celebrating vasanthorsavam (spring festival) and Kilikoondu Mandapam (corridor of parrots). The corridors of the temple tank and Meenatchi Nayakar Mandapam were built by Rani Mangammal.
Rous Peter (1786–1828), the Collector of Madurai in 1812, was nicknamed 'Peter Pandian’ as he respected and treated people of all faiths equally. He donated a set of golden stirrups studded with diamonds and red stones to the temple. Goddess Meenatchi is believed to have saved Rous Peter from a fatal incident. He also wished that after his death, his body be buried in a position that would enable his eyes to face the temple.
During the period of early pandian kings, the king taxed the people for constructing this temple. People paid taxes and donations in the form of gold and silver. But the king wanted contribution as low as a bag of rice which would help in feeding the masans who constructed the temple. so the kings collected one handful of rice daily from every house. This would make few bags of rice in the month end. Thus people from all sectors of life contributed in building the temple. Thus, every family has an emotional attachment towards the temple.
THE TEMPLE
ARCHITECTURE
The temple is the geographic and ritual center of the ancient city of Madurai and one of the largest temple complexes in Tamil Nadu. The temple complex is divided into a number of concentric quadrangular enclosures contained by high masonry walls. It is one of the few temples in Tamil Nadu to have four entrances facing four directions. Vishwantha Nayaka allegedly redesigned the city of Madurai in accordance with the principles laid down by Shilpa Shastras (Sanskrit: śilpa śāstra, also anglicized as silpa sastra meaning rules of architecture) relevant to urban planning. The city was laid out in the shape of square with a series of concentric streets culminating from the temple. These squares continue to retain their traditional names, Aadi, Chittirai, Avani-moola and Masi streets, corresponding to Tamil month names. Ancient Tamil classics mention that the temple was the center of the city and the streets happened to be radiating out like lotus and its petals. The temple prakarams (outer precincts of a temple) and streets accommodate an elobrate festival calendar in which dramatic processions circumabulate the shrines at varying distances from the centre. The vehicles used in processions are progressively more massive the further they travel from the centre. The complex is in around 180,000 m2.
GOPURAMS
The temple is surrounded by gopurams (gateway tower), - There are 14 gopuram the tallest of which, the famous southern tower, rises to over 52 m and was built in 1559. The oldest gopuram is the eastern one, built by Maravarman Sundara Pandyan during 1216-1238 Each gopuram is a multi-storeyed structure, covered with thousands of stone figures of animals, gods and demons painted in bright hues. The outer gopuram presents steeply pyramidal tower encrusted with plaster figures, while the inner gopuram serves as the entrance to the inner enclosure of Sundareswarar shrine.
SHRINES
The central shrine of Meenakshi Amman temple and her consort Sundareswarar are surrounded by three enclosures and each of these are protected by four minor towers at the four points of the compass, the outer tower growing larger and reaching higher to the corresponding inner one. The Meenakshi shrine has the emerald-hued black stone image of Meenakshi. The Sundareswarar shrine lies at the centre of the complex, suggesting that the ritual dominance of the goddess developed later. Both the Meenakshi and Sundareswarar shrines have gold plated Vimanam (tower over sanctum). The golden top can be seen from a great distance in the west through the apertures of two successive towers. The area covered by the shrine of Sundareswarar is exactly one fourth of the area of the temple and that of Meenakshi is one fourth that of Sundareswarar.
The tall sculpture of Ganesh carved of single stone located outside the Sundareswarar shrine in the path from Meenashi shrine is called the Mukuruny Vinayakar. A large measure of rice measuring 3 kurini (a measure) is shaped into a big ball of sacrifice and hence the Ganesh is called Mukkurni Vinayagar (three kurinis). This deity is believed to be found during a 17th-century excavation process to dig the Mariamman temple tank.
TEMPLE TANK AND SURROUNDING PORTICO
The sacred temple tank Porthamarai Kulam ("Pond with the golden lotus"), is 50 m by 37 m in size. In the Tamil legends, the lake is supposed to judge the worth of a new piece of literature. Authors place their works here and the poorly written works are supposed to sink and the scholastic ones are supposed to float, Tirukkural by Tiruvalluvar was one such work.
Only a fraction of 17th and 18th century paintings of Nayak period survives and one such portion is found in the small portico on the western side of the tank. It depicts the marriage of Sundareswarar and Meenkashi attended by Vijayaranga Chokkanatha and Rani Mangammal. The painting is executed on a vivid red background, with delicate black linework and large areas of white, green and ochre. The celestial couple is seated inside an architectural frame with a flowering tree in the background.
HALLS
The corridor surrounding the sanctum the Meenakshi is called kilikoondu Mandapam ("bird cage corridor"). The space was once used to keep green parrots that were trained to utter the name of Meenakshi. There are two large cages full of squawking green parrots.
The Kambatadi Mandapam ("Hall of temple tree") with its seated Nandi (sacred bull) has various manifestations of Shiva carved and also contains the famous "Marriage of Meenakshi" sculpture. Sculptures of Shiva and Kali trying to out-dance one another are pelted with balls of ghee by devotees. A golden flagstaff with 32 sections symbolizes the human backbone and is surrounded by various gods, including Durga and Siddar.
The Puthu Mandapam ("new hall") constructed by Tirumala Nayak contains large number of sculptures. It is situated opposite to the east gopuram.
The Ashta Shakthi Mandapam ("Hall of eight goddess") is the first hall in the entrance of Meenakshi shrine tower near to East Tower. Ashta indicates eight and Shakthi refers to goddess - the hall has statues of eight goddesses. The gopurams (towers) can be viewed from this hall. The passage was named for eight forms of goddess Shakti carved on its pillars. Other sculptures and paintings depict the Tiruvilayadal (holy games of Shiva). The sculptures of heroes of Mahabharata, the Pancha pandavas can be seen in the Pancha Pandava Mandapam (Hall of Pandavas).
The Viravasantharaya Mandapam is a large hall with huge corridors. To the south of this hall is the kalyana mandapam, to the south of the pillared hall, is where the marriage of Shiva and Parvati is celebrated every year during the Chithirai Festival in mid-April. The golden images of Meenakshi and Sundareswarar are carried into the 16th century oonjal mandapam (swing corridor) and placed on the swing every Friday at 5:30 p.m. The shrine has a 3-storied gopuram guarded by two stern dwarapalakas (guardians) and supported by golden, rectangular columns that bear lotus markings. Along the perimeter of the chamber, granite panels of the divine couple are present. The hall is situated in the western bank of the temple tank.
The Mudali Pillai Mandapam or Iruttu Mandapam (Dark hall) is a wide and long hall built by Muthu Pillai during 1613. On the pillars of the halls, there are fine sculptures depicting the story of Shiva taking the form of Bikshadanar to teach the sages a lesson.
The Mangayarkarasi mandapam is a newly built hall situated opposite to the marriage halls and bears the name of saindy queen, Mangayarkarasi who contributed to Saivism and Tamil language. To the south of Mangayarkarasi mandapam lies the Servaikarar Mandapam, a hall built by Marudu brothers in 1795. The Nagara mandapam (Hall of beating drums) lies opposite to Sundareswarar shrine was built by Achaya Rayar, the minister of Rani Mangammal in 1635. The Kolu Mandapam is a hall for displaying dolls during the Navarathri festival celebrated during September–October. This hall is situated in the second corridor of the Meenakshi shrine at the western side.
HALL OF THOUSAND PILLARS
The Meenakshi Nayakkar Mandapam ("Hall of 1000 pillars") has two rows of pillars carved with images of yali (mythological beast with body of lion and head of an elephant), commonly used as the symbol of Nayak power. It is situated to the north of Sundareswarar flag staff hall. The Thousand Pillar Hall contains 985 (instead of 1000) carved pillars. The hall was built by Ariyanatha Mudaliar in 1569 and blends engineering skill and artistic vision. Ariyanatha Mudaliar was prime minister and general of Viswanatha Nayak, the first Nayaka of Madurai (1559–1600). He was also the founder of Poligar System, the quasi-feudal organization of the country dividing it into multiple palayams or small provinces in which each palayam was ruled by a palayakkarar or a petty chief. At the entrance of the hall is the statue of Ariyanatha Mudaliar seated on a horse-back, flanking one side of the entrance to the temple. The statue is periodically garlanded by worshippers. Each pillar in the hall is a carved monument of the Dravidian sculpture. The more prominent among the carved figures are those of Rati (wife of Kama), Karthikeya, Ganesha, Shiva as a wandering mendicant and endless number of yalis (mythical figures of lions). There is a Temple Art Museum in the hall where icons, photographs, drawings, and other exhibits of the 1200 years old history of the temple are displayed. Just outside this hall, towards the west, are the Musical Pillars. Each pillar, when struck, produces a different musical note.
RELIGIOUS SIGNIFICANCE OF THE TEMPLE
A distinct feature of Meenakshi in terms of iconography is the presence of parrot in her right hand. The parrot is generally associated with the Vaishnava azhwar saint Andal. "Pancha Sabhai" refers to the five royal courts of Nataraja (dancing form of Shiva) where he performed cosmic dance. The Tamil word velli means silver and ambalam means stage or altar. This massive Nataraja sculpture is enclosed in a huge silver altar and hence called "Velli Ambalam" (silver abode). This is a special figure of Natarja which usually differs from Chola bronzes; in the Chola images, Nataraja is shown dancing with his left leg raised, but this sculpture has the right leg raised. According to the Tiruvilayaadal Puranam (Shiva's sacred games), this is on the request of Rajasekara Pandya, who was a sincere devotee of Shiva. He requested the deity to change his position, as he felt that keeping the same foot raised would put enormous strain and got a graceful acquiescence from the divine master.
RITUALS
WORSHIP
There are close to 50 priests in the temple who perform the puja (rituals) during festivals and on a daily basis. Like other Shiva temples of Tamil Nadu, the priests belong to Shivaite to the Adishaivas, a Brahmin sub-caste. The priests live in a closed area north of the temple. The temple has a six time pooja calendar everyday, each comprising four rituals namely abhisheka (sacred bath), alangaram (decoration), neivethanam (food offerings) and deepa aradanai (waving of lamps) for both Meenakshi and Sundareswarar. The puja (worship) ceremonies are held amidst music with nadhaswaram (pipe instrument) and tavil (percussion instrument), religious instructions in the Vedas by priests and prostration by worshippers in front of the temple mast. The common practise is to worship Meenakshi before Sundareswarar. Margazhi (December–January) ritual is prominent one for winning a perfect, god-like husband - it is Meenakshi's ennai kappu festival. Aligned with the cardinal points, the street plans forms a giant mandala (group) whose sacred properties are believed to be activated during the mass clockwise circumambulation of the central temple.
FESTIVALS
The most important festival associated with the temple is the "Meenakshi Thirukalyanam" (the divine marriage of Meenakshi) that is celebrated in April every year. The wedding of the divine couple is regarded as a classic instance of south Indian female-dominated marriage, an arrangement referred as "Madurai marriage". The male dominated marriage is called "Chidambaram marriage", referring to Shiva's uncontested dominance, ritual and mythic, at the famous Shiva temple of Chidhambaram. The marriage brings together rural and urban people, deities and mortals, Saivas (those who worship Shiva) and Vaishnavas (those who worship Vishnu) in order to celebrate Meenakshi as the royal monarch. During the one-month period, there are a number of events including the "Ther Thiruvizhah" (chariot festival) and "Theppa Thiruvizhah" (float festival). Major Hindu festivals like Navrathri and Shivrathri are celebrated in the temple. Like most Shakti temples in Tamil Nadu, the Fridays during the Tamil months of Aadi (July–August) and Thai (January–February) are celebrated in the temple by thousands of devotees. "Avani Moola Utsavam" is a 10-day festival mainly devoted to Sundareswarar describes his various Thiruvilayadal meaning Shiva's sacred games.
LITERARY MENTION
Down the centuries, the temple has been a centre of education of Tamil culture, literature, art, music and dance. All three assemblies of Tamil language, the Tamil Sangam (about the 3rd century BCE to the 3rd century CE), were held at Madurai. Tamil poets of different epochs participated in these assemblies and their composition is called Sangam literature. During the third Tamil sangam, the comparative merit of the poets was decided by letting the works float in the lotus tank of the temple. It was believed that a divine force would cause the work of superior merit to float on the surface while the inferior literary work would sink. Tevaram, the 7th-8th century Tamil canonoical work on Shiva, are works by the three prominent Nayanars (Saivites) namely Appar, Sundarar and Thirugnanasambandar. The temple has been glorified by the hymns of Tevaram by all the three poets. Different hymns of Sambandar on the temple mention the queen of Pandya Nadu, his desire to defeat Jains in debate, the miracles performed by him curing the king's fever, the Jains' provocation of Sambandar by burning his house and challenging him to debate, and Sambandar's eventual victory over them. A poem from the Third Tirumurai by Sambandar is as under –
"Lady who has eyes that are comparable to the startled eyes of the deer!
the great chief queen of the Vaḻuti! listen to what I say. Do not feel distressed that I am such a young boy from whose mouth milk is flowing. when the god in Tiruvālavāy stands by my side as help, I can not be easily defeated by the low people who inflict many sufferings on others and who live in hills beginning with great Āṉaimalai."
There are few poets in Tamil history who sang about goddess Parvati. The notable among them is Kumaraguruparar, a 17th-century Tamil poet, who composed Meenakshi Pillaitamil on Meenakshi of this temple. King Tirumalai Nayak's patronage of Kumaraguruparar has an important place in the history of pillaitamil (a genre of Tamil literature). Kumaraguruparar visited a lot of temples and when he visited this temple, he composed Meenakshi pillaitamil on Meenakshi. Legend has it that goddess appeared in the dreams of Nayak directing him to arrange the recital of Kumaraguruparar before a learned assembly. The king made elobrate arrangements for the event. Meenakshi impersonated herself in the form of a small girl and enjoyed the recital. As Kumaraguruparar was explaining the 61st verse, the goddess appreciated by garlanding the poet with a string of pearls and disappeared.
WIKIPEDIA
There are various WW2 defence structures on the eastern and south-eastern faces of Mersea Island, on the Essex coast to the south of Clacton-on-Sea. There are three pretty much intact pillboxes, one on the beach near the eastern tip of the island (this one), one on open ground slightly inland, and another in a small strip of trees [though whether this wood would've been present in 1940 is another matter]; there are also a further four structures - what's left of them! - along the beach, which consisted of gun emplacements and searchlight mountings.
Another homework for university. The idea was to create 3 different black and white structures each 20x20. The composition should range from calm to energetic.
Too bad the scrren with its 72ppi can't fully reproduce the thin lines. Maybe someone gets a kick by looking at the moiré ::]
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
It is two story, rectangular brick structure built in 1911 and enlarged in 1920 and 1956. The structure combines Neoclassical features and proportions with elements of the Spanish Mission and American Craftsman styles in an eclectic composition that is characteristic of early 20th century architectural fashion.
Architect:
Pedersen, C.C.
Architectural style(s):
Classical Revival
NRHP Reference#:
85000628
CAL FIRE/Placer County Fire Department assisted Placer Hills Fire Protection District with a structure fire on Ponderosa Lane Auburn February 2023.
The Hamerly series consists of very deep, somewhat poorly drained soils that formed in calcareous loamy till. Permeability is moderate in the upper horizons and moderate or moderately slow in the lower horizons. These soils are on flats on lake plains and on convex slopes surrounding shallow depressions and on slight rises on till plains. They have slopes ranging from 0 to 3 percent. Mean annual air temperature is 42 degrees F, and mean annual precipitation is 19 inches.
TAXONOMIC CLASS: Fine-loamy, mixed, superactive, frigid Aeric Calciaquolls
The mollic epipedon ranges from 7 to 18 inches in thickness. The top of the calcic horizon is at depths of less than 16 inches, and in some pedons the lower part of the mollic epipedon qualifies as part of the calcic horizon. The soil contains 1 to 10 percent by volume of rock fragments. The 10- to 40-inch particle-size control section has visible gypsum in some pedons. It has 18 to 35 percent noncarbonate clay. Saline and stony phases are recognized.
USE AND VEGETATION: Cultivated areas are used for growing small grains, flax, hay and pasture. Native vegetation is green needlegrass, little bluestem, big bluestem and western wheatgrass.
DISTRIBUTION AND EXTENT: Central and eastern North Dakota, northeastern South Dakota and northwestern Minnesota. The soils are extensive.
For additional information about the survey area, visit:
www.nrcs.usda.gov/Internet/FSE_MANUSCRIPTS/north_dakota/N...
For a detailed soil description, visit:
soilseries.sc.egov.usda.gov/OSD_Docs/H/HAMERLY.html
For acreage and geographic distribution, visit:
I suppose this counts as a house with a tower! The jail is attached to the back of this structure. I assume (but do not know) that it was also designed by Mr. Fulton, though it is in a fairly different style than the courthouse, it matches rather well.
"The First Battalion Virginia Volunteers Armory is the oldest Armory structure in existence in Virginia and was significant in the lives of many African Americans for decades. The Armory is one of six original armories in the city and one of two which survive. It is believed to be one of the oldest African American armories in the United States."
I'm always stunned by the numerous patterns you can observe in the vegetal reign and I particularly like to capture them with sunlight coming from behind, through the leaves. This one was shot near Belém, Brasil. If someone knew the name of that plant I would be very thankful if he'd let me know !
We stopped at Chichen Itza as part of a tour package. We didn't arrive until about 3 p.m. and it was very hot - and crowded. We had the slowest and most boring guide imaginable so my wife and I broke away from the group and saw as much as we could in the two hours we were there.
I was at Chichen Itza several times in the 1990s - back then you could climb to the top of El Castillo and other structures but now pretty much everything is roped off. No climbing and it's actually hard to see a lot of the carvings.
All in all it was a good trip but next time we'll go independently .
I took these photos in February 2017.
Title: Dumbarton Oaks Gardens: Rose Garden: Bench
Other title: Dumbarton Oaks Gardens (Washington, D.C.)
Creator: Farrand, Beatrix, 1872-1959
Creator role: Landscape Architect
Date: circa 1925 (constructed) 1978 (redesigned)
Current location: Washington, District of Columbia, United States
Description of work: The Dumbarton Oaks Gardens were designed by the noted landscape gardener Beatrix Farrand, in cooperation with her clients Mr. and Mrs. Robert Woods Bliss, who purchased the property in 1920. The formal gardens occupy 10 acres. The major work was completed between 1921 and 1941, although changes, notably the addition of the Pebble Garden and redesign of the Ellipse, continued to be made by Mrs. Bliss, working with Ruth Havey. Endowments were established expressly for the purpose of maintaining the gardens and for supporting a program of research in landscape architecture.
Description of view: View of garden from edge of garden looking across the rose plantings and pathways towards the stone bench.
Work type: Architecture and Landscape
Culture: American
Materials/Techniques: Shrubs
Stone
Herbaceous plants
Source: DeTuerk, James (copyright James DeTuerk)
Resource type: Image
File format: JPEG, TIFF archived offline
Image size: 1397H X 2100W pixels
Permitted uses: This image is posted publicly for non-profit educational uses, excluding printed publication. Other uses are not permitted. For additional details see: alias.libraries.psu.edu/vius/copyright/publicrightsarch.htm
Collection: Worldwide Building and Landscape Pictures
Filename: WB2007-0213 Dumbarton.jpg
Record ID: WB2007-0213
Sub collection: walkways
gardens
garden structures
Copyight holder: Copyright James DeTuerk