View allAll Photos Tagged Structure
Interior structure of the SCA. Most of the 747's fuselage and skin endures the weight of each Space Shuttle, but there are several aluminum members that have been added to increase the rigidity along the Shuttle's mounting struts. The majority of the SCA's interior has been gutted to save weight, and most of the components you see here are stock to the early model 747.
A huge thanks goes out to the NASA SCA crewmembers who have become fans of my photography and gave me the oppertunity to travel to New York's JFK International Airport and see NASA's operations onboard and around the SCA and Space Shuttle Enterprise. I was invited to stay for the demating, but unfortunately I had other obligations the next day back home in Washington, DC. NASA was kind enough to let me bring along a few lucky friends of mine to see everything up close, in person. I love how excited NASA is about their programs, and how eager they are to share it with others and get the public excited!
This view shows the structure after the tent fabric was installed but before placement of the cap or roof.
------------
This informal set of photographs captures various stages of a project to rebuild a camera obscure originally made by Peter Drew in England. The apparatus is slated for installation in a new, demountable structure located on the Observatory Deck at San Francisco's Exploratorium (end of Pier 15).
3-24-2016
400-blk Pecan Lane off of Cornwallis Rd
Mobile Home and brush fire
Garner FD, Clayton FD, Cleveland FD, NC Forest Service, Johnston County Sheriff's Office, Johnston County Fire Marshal's Office
3-24-2016
400-blk Pecan Lane off of Cornwallis Rd
Mobile Home and brush fire
Garner FD, Clayton FD, Cleveland FD, NC Forest Service, Johnston County Sheriff's Office, Johnston County Fire Marshal's Office
Mad props to shop-keepers who clean their windows!
Indulging my reflective side (and love of double images and window-shopping) in Newtown, Sydney.
3-24-2016
400-blk Pecan Lane off of Cornwallis Rd
Mobile Home and brush fire
Garner FD, Clayton FD, Cleveland FD, NC Forest Service, Johnston County Sheriff's Office, Johnston County Fire Marshal's Office
From amalficoastweb.com:
The original structure dates back to the ninth century, but the church was completely rebuilt in 1203 in Arabo-Normanno styles. The cathedral's front is rich with many golden mosaics, and it was rebuilt in 1861.
The central mosaic is by Domenico Morelli. The bronze doors of the Duomo were casted in Costantinopoli in 1066, at the time, the town of Amalfi was a powerful sea-republic.
Turtle inflatable structure. A temporary, pop up structure ideal for concerts, gigs, performances, theaters, festivals and shows. It can also be used as a pop up shop, bar or catering space. Alternatively it can be used for exhibitions and conferences. #EvolutionDome #Venue #Stage #Festival #Alternative #Theater #CateringSpace #PopUpShop #PopUpBar #ShowSpace #Inflatable #Temporary #Structure #Awning #ConferenceSpace #ExhibitionSpace
The Groundbreaking Ceremony for Sacramento State's new Parking Structure V and Welcome Center / University Transportation & Parking Services (UTAPS) Office Building was held today at the campus. Robert Nelsen, president of California State University, Sacramento, along with Tony Lucas, senior director of UTAPS; Robert Clark, president and owner of Clark Pacific, and John Webre, president and managing principal of Dreyfuss + Blackford Architecture spoke.
Located by the main entrance to the Sacramento State campus, Parking Structure V is designed to blend and complement the dense trees of the nearby arboretum. Replacing existing Parking Lot 1, the 1,750 stall, six-level parking structure serves a campus in dire need of parking, and provides a structure exceeding the quality and efficiency of any of the previous parking facilities.
The structure’s skin creates a dialog with the surrounding trees. Combined with columnar trees, the facade is dressed with vertical fins painted in tints of green. The thousands of individual square fins are a digital representation of nature, and form patterns like leaves of a tree canopy overhead. Covering the three upper levels of the structure, precast concrete is textured with a pattern that nods to the rough bark of the birch trees in the adjacent arboretum.
Serving a sizable percentage of the campus’ parking need, automobile circulation is designed to move traffic into the structure as efficiently as possible with queuing space off-street to handle periods of high volume. Taking advantage of Clark Pacific’s Total Precast architectural concrete system, the design quality and level of material finish is second to none. Because of the increased erection speed possible with the precast solution, the overall project schedule is more aggressive and intended to be completed over a single school semester.
The technology, design, innovations, placemaking and conservation programs implemented at Parking Structure V allow it to achieve a Parksmart Gold certification by the Green Parking Council, making it the highest-performing, most-sustainable parking structure on campus.
Construction of the parking structure is expected to be complete in December 2017.
The Visitors Center, to be built after the parking structure is completed, will house UTAPS offices and areas to welcome campus guests and the media.
Port House Antwerp, Belgium by Zaha Hadid Architects.
The Port House combines a new beam-shaped structure and a former fire brigade building into a new headquarter building for the Port Authority. The project is strategically located between city and harbour, with magnificent views over both the centre and the port from behind the articulate glass walls – some transparent, others reflective – in reference to the Antwerp diamond trade.
In early September 2012 Zaha Hadid gave the official order to begin construction work on Port House, the new headquarters for Antwerp Port Authority on the Kattendijk dock. The new Antwerp Port Authority headquarters will house approximately 500 staff in a single new location that comprises both a former fire station and a new extension. Together, these two entities form an impressive new landmark as the headquarters of the Antwerp Port Authority, overlooking both the city and the harbour. Staff and visitors arrive in the central atrium from where public counters, offices and meeting rooms in the existing building are directly accessible. The offices, meeting rooms, auditorium and panoramic restaurant in the new extension are accessible via panoramic lifts just off the central courtyard. Two underground levels of car and bicycle parking, the restoration and renovation of the existing building and the exterior landscaping of the site also form an integral part of the design. The new extension is positioned asymmetrically over the central courtyard, allowing light to enter the heart of the building. Leaving the existing structure untouched, it is supported by two sculpted concrete pillars that house stairs and lifts as well as a series of carefully placed steel columns that land in the courtyard. The new volume is enclosed by articulated surfaces of triangular glass panels which are slightly rotated with respect to one another to achieve ever-changing reflections that enhance its diamond shaped geometry. From the new building visitors will have a truly impressive view over the city as well as the port, so further strengthening the dialogue between the people of Antwerp and their port.
Total Floor Area: 12,800m2 (Gross); 114m Length; 24m Width; 46m Height (4 Extra Floors) Site Area: 16,400 m2 Date: 2008-2016.
TO VIEW sit back from your monitor 2 feet and place your index finger about 10 inches in front of your eyes and focus on your finger. This will cause your eyes to go comfortably cross eyed. Keep that same cross eyed focus and notice there are now 3 photos in the back ground. Do not let your eyes leave the cross eye as you look at the middle picture which has appeared. Now increase or decrease how much your eyes are cross eyed until the image pops into 3D. Your eyes will want to leave the cross eye, but fight that urge. This is an acquired skill and takes practice. Stop if it's uncomfortable.
I used Reflectix for the top and south-side of my shade structure. It did a great job of keeping things nice and cool.
"This chapel was a fifteenth-century addition to the cathedral. It is almost identical in structure to the Chapel of the Corporal. The construction of this chapel (also known as the Cappella Nuova and Signorelli chapel) was started in 1408 and completed in 1444. It is closed off from the rest of the cathedral by two wrought iron gates. The first one closes off the right arm of the transept. It was signed by the Sienese master Conte di lello Orlandi (1337). The second gate stands at the entrance of the chapel and is of a much later date. It was signed by master Gismondo da Orvieto (1516).
"Originally called the Cappella Nuova, or New Chapel, in 1622 this chapel was dedicated to Saint Britius (San Brizio), one of the first bishops of Spoleto and Foligno, who evangelized the people of Orvieto. Legend says that he left them a panel of the Madonna della Tavola, a Madonna enthroned with Child and Angels. This painting is from an anonymous late 13th-century master from Orvieto, who was probably influenced by Cimabue and Coppo di Marcovaldo. The face of the Child is a restoration from the 14th century. This panel stands on the late-Baroque altar of the Gloria, dating from 1715 and made by Bernardino Cametti.
"Fra Angelico and Benozzo Gozzoli began the decoration of the vault of the chapel in 1447. They painted only two sections: Christ in Judgment and Angels and Prophets as they were summoned in the same year to the Vatican by Pope Nicholas V to paint the Niccoline Chapel. Work came to a halt until Perugino was approached in 1489. However, he never began. After being abandoned for about 50 years, the decoration of the rest of the vault was awarded to Luca Signorelli on 5 April 1499. He added the scenes with the Choir of the Apostles, of the Doctors, of the Martyrs, Virgins and Patriarchs.
"His work pleased the board and they assigned him to paint frescoes in the large lunettes of the walls of the chapel. Work began in 1500 and was completed in 1503. (There was a break in 1502 because funds were lacking.) These frescoes in the chapel are considered the most complex and impressive work by Signorelli. He and his school spent two years creating a series of frescoes concerning the Apocalypse and the Last Judgment, starting with the Preaching of the Antichrist, continuing with tumultuous episodes of the End of the World, finding a counterpart in the Resurrection of the Flesh. The fourth scene is a frightening depiction of the Damned taken to Hell and received by Demons. On the wall behind the altar, Signorelli depicts on the left side the Elect being led to Paradise and on the right side the Reprobates driven to Hell. He added to these expressive scenes some striking details.
• The Preaching of the Antichrist was painted shortly after the trial on charges of heresy and execution of the Observant Dominican friar, Giralamo Savonarola in Florence on 23 May 1498. The Antichirst is depicted under the influence of the incarnated angel named Satan who suggests him what to say, while touching his rib cage. The analogy of the Antichrist sowing discord by preaching slander and calumny, would not have been lost on late 15th-century viewers. To underscore the contemporary analogy, at lower right, Signorelli includes recognizable portraits of the young Raphael, in a striking pose; Dante; possibly Christopher Columbus; Boccaccio; Petrarch; and Cesare Borgia, and, on the left, he depicts himself, dressed in noble garments, and Fra Angelico, in his Dominican habit.
• In the left background the Antichrist is expelled from heavens by the archangel Michael, and his acolytes killed by a rain of fire. In the right background he depicts a large, domed temple in the Renaissance style.
• 'The End of the World' is painted over the arch of the entrance to the chapel. Signorelli paints frightening scenes as cities collapse in ruins and people flee under darkened skies. On the right side below he shows the Sibyl with her book of prophesies, and King David with raised hand predicting the end of the world. In the left corner below, people are scrambling and lying in diverse positions on the ground, producing an illusion as if falling out of the painting. This successful attempt in foreshortening was striking in its day.
• 'The Resurrection of the Flesh' is a study by Signorelli, exploring the possibilities of the male and female nude, while trying to recreate a three-dimensional setting. Signorelli shows his mastery in depicting the many positions of the human body. The risen, brought back to life, are crawling in an extreme effort from under the earth and are received by two angels in the sky blowing on a trumpet.
• 'The Damned are taken to Hell' and received by Demons is in stark contrast to the previous one. Signorelli has gone to the extremes of his fantasy and evocative powers to portray his cataclysmic vision of the horrible fate, the agony and the despair of the damned. He uses the naked human body as his only expressive element, showing the isolated bodies entangling each other, merging in a convoluted mass. They are overpowered by demons in near-human form, depicted in colours of every shade of decomposing flesh. Above them, a flying demon transports a woman. This is probably a depiction of the Whore of the Apocalypse.
• 'The Elect in Paradise' shows the elect in ecstasy looking up to music-making angels. The few extant drawings, made in preparation for this fresco, are kept in the Uffizi in Florence. They show each figure in various positions, indicating that Signorelli must have used real models in the nude to portray his figures.
"Below this are smaller paintings of famous writers and philosophers watching the unfolding disaster above them with interest. Legend states that the writers depicted here are Homer, Empedocles, Lucan, Horace, Ovid, Virgil, and Dante, but the identifications are disputed by modern scholars. Several small-scale grisaille medallions depicting images from their works, including the first eleven books of Dante's Purgatorio, Orpheus, Hercules, and various scenes from Ovid and Virgil, among others.
"In a niche in the lower wall is shown a Pietà that contains explicit references to two important Orvietan martyr saints, S. Pietro Parenzo (podestà of Orvieto in 1199) and S. Faustino. They stand next to the dead Christ, along with Mary Magdalen and the Virgin Mary. The figure of the dead Christ, according to Giorgio Vasari, is the image of Signorelli's son Antonio, who died from the plague during the course of the execution of the paintings. This fresco was Signorelli's last work in the chapel. But Tom Henry in his book "The Life and Art of Luca Signorelli" (Yale University Press, 2012) states that Vasari's story is not correct: "Signorelli had two sons, Antonio and Tomasso. Tomasso outlived his father and Antonio was alive when this Lamentation was delivered in February 1502, dying a few months later in July 1502." (Preface, p. xiii)"
Source: Wikipedia