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A barn or outbuilding of some sort, located at Theta, in Campbell County, Virginia. It was once a flourishing village but now has only a couple of homes and an old abandoned mill. It is all rural today.
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Boasting 35 hectares of greenery and 3,000 m² of ecological gardens promoting biodiversity, the Parc de la Villette is one of the largest and loveliest green spaces in Paris. A multi-disciplinary arts and culture venue, it attracts more than 10 million visitors each year.
With 26 bright red ‘follies’ – architectural structures designed by Bernard Tschumi – dotting the landscape (each devoted to a different cultural or leisure activity), the Parc de la Villette is one vast playground for Paris lovers.
Source: en.parisinfo.com/discovering-paris/walks-in-paris/explori...
Sydney Harbour Bridge, Sydney, NSW, Australia
It had been raining on and off all morning but there’s always something to shoot. Taking shelter under the bridge I thought I’d snap the under structure of the SHB… it’s amazing this was constructed without any safety gear or ropes!
Fort Lauderdale station is an inter-city rail station located in Fort Lauderdale, Florida. It is served by Brightline, which connects Miami, West Palm Beach, and Orlando International Airport. The station is located in downtown Fort Lauderdale, on NW 2nd Avenue between Broward Boulevard and NW 4th Street, adjacent to the Broward County Transit's Central Terminal.
Construction for the station began in October 2014 with the demolition of existing structures on the site. The complex consists of an elevated concourse above an 800-foot-long (240 m), 35-foot-wide (11 m) island platform for the trains. The station is a modern-style structure with illuminated V-shaped columns supporting the upper concourse, echoing the designs of the Miami and West Palm Beach stations on the line. It was planned and designed by Skidmore, Owings & Merrill in association with Zyscovich Architects, and was completed in January 2018.
Credit for the data above is given to the following websites:
en.wikipedia.org/wiki/Fort_Lauderdale_station_(Brightline)
www.gobrightline.com/fort-lauderdale
www.tripadvisor.com/Attraction_Review-g34227-d13396562-Re...
en.wikipedia.org/wiki/Brightline
© All Rights Reserved - you may not use this image in any form without my prior permission.
The imposing brick structure was erected at the beginning of 6th century by order of Bishop Ursicinus, using money from the Greek banker Iulianus Argentarius. It was certainly located next to a Christian cemetery, and quite possibly on top of a pre-existing pagan one, as some of the ancient tombstones were re-used in its construction.
Sant'Apollinare in Classe was consecrated on May 9, 549 by Bishop Maximian and dedicated to Saint Apollinaris, first bishop of Ravenna and Classe. The Basilica is thus contemporary with the Basilica of San Vitale of Ravenna. In 856, the relics of Saint Apollinaris were transferred from the Basilica of Sant'Apollinare in Classe to the Basilica of Sant' Apollinare Nuovo in Ravenna.
The exterior has a large façade with two simple uprights and one mullioned window with three openings. The narthex and building to the right of the entry are later additions, as is the fine 9th century round bell tower with mullioned windows.
The church is on a nave and two aisles. An ancient altar in the mid of the nave covers the place of the saint's martyrdom. The church ends with a polygonal apse, sided by two chapels with apses.
The nave contains 24 columns of Greek marble. The carved capitals of the columns depict acanthus leaves, but unlike most such carvings the leaves appear twisted as if being buffeted by the wind. The faded frescos depict some of the archbishops of Ravenna, and date to the 18th century. The lateral walls are bare, but were certainly once covered with gorgeous mosaics. These were likely demolished by the Venetians in 1449, although they left the mosaic decoration in the apse and on the triumphal arch, the church's most striking features.
The upper section of the triumphal arch depicts, inside a medallion, Christ. At the sides, within a sea of clouds, are the winged symbols of the four Evangelists: the Eagle (John), the Winged Man (Matthew), the Lion (Mark), the Calf (Luke). The lower section has, at its two edges, the walls showing precious gems from which twelve lambs (symbols of the Twelve Apostles) exit. The sides of the arch show two palms which, in the Bible's symbolism, represent justice; under them are the archangels Michael and Gabriel, with the bust of St. Matthew and another unidentified saint.
The decoration of the apse date to the 6th century, and can be divided into two parts:
in the upper one, a large disc encloses a starry sky in which is a cross with gems and the face of Christ. Over the cross is a hand protruding from the clouds, the theme of the Hand of God. At the side of the disc are the figures of Elijah and Moses. The three lambs in the lower sector symbolize the saints Peter, James and John, alluding the Transfiguration of Jesus on Mount Tabor.
in the lower one is a green valley with rocks, bush, plants and birds. In the middle is the figure of Saint Apollinaris, portrayed in the act of praying God to give grace to his faithful, symbolized by twelve white lambs.
In the spaces between the windows are the four bishops who founded the main basilicas in Ravenna: Ursicinus, Ursus, Severus and Ecclesius, all with a book in a hand. At the sides of the apse are two 7th century panels: the left one, which has been much restored, portrays the Byzantine Emperor Constantine IV granting privileges to an envoy of the Ravenna's archbishop. In the right panel are Abraham, Abel and Melchisedek around an altar, on which they offer a sacrifice to God.
The choice of the subject is closely linked to the fight against Arianism, as it restates the both divine and human nature of Christ, the former negated by the Arians. In addition, the representation of Apollinaris among the apostles was a legitimation to Maximian as the first bishop of a diocese directly related to the early followers of Jesus, being Apollinaris, according to the legend, a disciple of St. Peter.
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Tiny hair-like structures of salt grow and combine to form the salt flats at Badwater in Death Valley. Here is a wider view of the same area showing how the salt combines to form geometric pools.
Photo taken in the Badwater area of Death Valley National Park (California, USA).
Scrap Collector:
Roaming the barren wastelands and old ruins of bygone civilization, the Scrap Collector picks his way through the crumbling and decaying structures in an apocalyptic land, searching for scrap and junk that he can tinker and alter to sell or utilize. Wearing a handcrafted re-breather to filter out the poisonous fumes and choking dust and tattered rags, the Scrap Collector braves the dangerous wastes for weeks at a time to find valuable salvage.
On his backpack, he has outfitted himself with a pair of powerful mechanical grappling arms, able to dig through sand and stone to uncover the scrap. Once he has found something he deems useful, his mechanical arms strap the junk to a dilapidated wooden hanger above his head.
None have seen the face of this solitary wanderer, and many believe that he may not even be a human, but a mutant who has been affected by the toxic fumes of the waste. He only ever travels to settlements to barter and trade what his salvage before departing again to roam the barren ruins, chittering and chattering to himself in an incomprehensible speech.
(This is my Minifig Face Off Round 1 Lego Apocalypse entry. My minifigure is going up against JShortForJay and his figure: www.flickr.com/photos/135745767@N02/49626807373)
(As a primarily custom builder, I am quite surprised and proud to say that this is an unmodded and non custom minifig. There was no painting, cutting, gluing, etc in creating this fig and all pieces are either Lego or 3rd party pieces. It was definitely a fun challenge to try and create a non custom figure and took a lot of tries lol. Several of the pieces are very precariously placed. Thanks for reading!)
A utility pole that uses the minifigure zip line handles so that string can be fed through to link multiple poles together. Would work well for layouts I think. It's also made to be pretty sturdy. Free Instructions here: rebrickable.com/mocs/MOC-50464/MasterBuilderKTC/utility-p...
The article below originated from:
Traditional Building Magazine
Updated: Jan 6, 2020
Original: Feb 2, 2016
Originally built in 1916, the Palm Beach courthouse was a tour de force of Neoclassical architecture. The architect Wilber Burt Talley designed a granite base, brick and stone façades, soaring Indiana limestone columns and Corinthian capitals that held up triangle pediments, and a dentil molding below the cornice. The four-story, 40,000-sq.ft. the building housed the county government offices and records, as well as the jail.
Almost immediately the courthouse ran out of space, and 11 years later an addition was constructed 25 feet to the east. Talley again served as the courthouse architect, and the 1927 addition was similar in appearance and used many of the same materials as the original building. In 1955, the two buildings were connected with usable rooms to accommodate the growing county.
Yet another addition was required in the late ’60s; it was completed in 1969. The architecture firm Edge & Powell delivered a brick building that nearly doubled the square footage to 180,000 sq. ft. This time, the addition was less than sympathetic. In fact, the 1916 and 1927 buildings were lost in the center of the new construction, which wrapped around them completely.
The building was utilized for 36 years in this configuration, until 1995, when a new courthouse opened across the street. Expansions had plagued the 1916 courthouse almost as soon as it was built, and this was no exception. “After the new courthouse opened, the old one was slated for demolition,” says Rick Gonzales, Jr., AIA, CEO and principal at REG Architects. “Since I knew about the 1916 courthouse, I recognized the potential of the site and got in touch with preservation specialists in the area. It took some time, but a group of us eventually convinced the county to fund a feasibility study, which we conducted in 2002.”
Gonzales talks about stimulating interest in the project: “We would go to the new courthouse to sell our idea and walk people up to the windows to look at the old site,” he says.
“‘Believe it or not, there’s a building inside that building,’ I’d say. That really piqued people’s interest.”
The county agreed to fund the project, and demolition of the additions began in January 2004 and was completed two years later. “It took a long time because it was a selective demolition,” says Gonzales. “We needed to be careful to salvage many of the materials from the 1927 building to use in the restoration of the 1916 structure. It resembled the original, so we took everything we could for reuse.” A number of materials were recovered, including limestone, granite, wood windows, doors, marble wainscot, mosaic floor tiles, wood flooring, trim, and hardware.
While a majority of the materials were the same from building to building, the detailing was not identical. “We were working from the drawings of the 1927 building because we couldn’t find drawings for the earlier structure,” says Gonzales. “We had thought the detailing was the same, but when we put our studies together we saw that the rhythm, proportion, and cornices were different.”
When REG Architects couldn’t apply the 1927 documentation to the restoration, the firm examined what was remaining of the building and the few images that had survived. “For a while, we had no cornice pieces, because all of the exterior ornamentations had been destroyed when the façades were smoothed for the addition,” says Gonzales. “Then a contractor found a 16-in. piece, which we used to re-create the cornice line.”
Other elements that needed to be re-created, such as the granite and limestone porticos on the north, south, and west façades, were designed using historic photographs. “We found limestone with the same vein from the same Indiana quarry that was originally used,” says Gonzales. “We were extremely lucky in that the quarry ran out of that vein right after our order.” REG Architects was also able to match the granite.
Many components of the building were salvaged and restored. The cornerstones were restored and placed in their original locations at the northwest corner. The 12 Corinthian capitals and the load-bearing limestone columns – each of which weighs 30,600 lbs. – were pieced back together and repaired. “Placement of the capitals was especially tedious,” says Gonzales, “because it needed to be precise. They were then secured with pegs and glue.”
On the north, south, and west elevations, the brick was restored and, when necessary, replaced. “We couldn’t locate replacement brick with the same hues as the existing brick hues,” says Gonzales, “so we hired artists to stain it so that it blended with the original brick.” On the east elevation, REG Architects specified new brick so the new façade clearly stood out from the old ones.
To the same point, new hurricane-proof wood windows were chosen for the east elevation, while REG Architects was careful to preserve as many old windows as possible on the other elevations. Hedrick Brothers repaired 76 original wood windows as well as the window hardware. “We found a local manufacturer, Coastal Millwork of Riviera Beach, FL, to get the original windows tested for hurricane-preparedness,” says Gonzales. “The company reinforced and laminated the windows, so we were able to reinstall them.”
The crowning achievement of the exterior work was the re-creation of an eagle crest on the west pediment.
Based on a small postcard and images of other eagle crests, Ontario, Canada-based Traditional Cut Stone designed the crest for Palm Beach. “They created a small scale model and then a full-scale model in clay,” says Gonzales. “The final piece, which took five months to produce, was hand-carved from five pieces of Indiana limestone.” Traditional Cut Stone was also responsible for all of the limestone work on the building. REG Architects based much of its interior design on the Desoto County Courthouse in Arcadia, FL, which was built by Talley in 1913.
“The dilemma about the interiors was that there was little archival material and few original photographs to give a precise vision for the interiors,” says Gonzales. “Emphasis was placed on trying to restore the character of the main courtroom and the main interior public spaces.” The main courtroom on the third and fourth floors was especially aided by the Desoto research. The millwork was re-created and the plaster ceiling and moldings, maple flooring, doors, and door hardware were restored. Replica lighting was fabricated.
Architectural elements in the corridors and staircases received similar treatment. Hendrick Brothers uncovered the original mosaic flooring and had it repaired. Only five percent of the tile needed to be replaced; in these cases, matching tile from the 1927 building was used. About 80 percent of the marble wainscoting was salvaged, while the other 20 percent was replaced with matching marble from the original quarry. Wood doors and door hardware were salvaged and reused.
All of the building code upgrades – including efficient HVAC, fire protection, and hurricane protection – were hidden as much as possible with historic finishes. The alley elevation provided an ADA-accessible entrance and space for elevators.
The newly restored Palm Beach County Court House now accommodates a museum for the historical society, as well as offices for the County’s Public Affairs Department and County Attorney. “People say this project was an alignment of the stars,” says Gonzales. “It was. We were lucky to have the opportunity to save this building, we worked with a lot of great people, and it turned out well. It was a great labor of love.” TB
Credit for the data above is given to the following websites:
www.traditionalbuilding.com/projects/courthouse-unwrapped
downtownwpb.com/things-to-do/history-museum-and-restored-...
en.wikipedia.org/wiki/Richard_and_Pat_Johnson_Palm_Beach_...
© All Rights Reserved - you may not use this image in any form without my prior permission.
A "structure" of concrete blocks and mortar by artist Sol Lewitt at the National Gallery of Art Sculpture Garden in Washington, DC
A different angle of The Wave structure in Arizona. What a place to see! But don't forget to get a permit to go there.
The patterns delineated here have not yet been classified by a Linnaeus of human bondage. They are all, perhaps, strangely, familiar.
In these pages I have confined myself to laying out only some of those I actually have seen. Words that come to mind to name them are: knots, tangles, fankles, impasses, disjunctions, whirligogs, binds.
I could have remained closer to the ‘raw’ data in which these patterns appear. I could have distilled them further towards an abstract logico-mathematical, calculus. I hope they are not so schematized that one may not refer back to the very specific experiences from which they derive; yet that they are sufficiently independent of ‘content’, for one to divine the final formal elegance in these webs of maya.
R.D. Laing "Knots"
Shot in Nantes, France.
Ondu 4x5 pinhole Camera
5 sec exposure, deep red filter
Kodak Tmax 100
developed in D76. 20°c, 10'45min
Kyoto station (京都駅)
Architect : Hiroshi Hara (設計：原広司)
Contractor : Obayashi Corporation (施工：大林組、鉄建、大鉄他JV).
Completed : 1997 (竣工：1997年).
Structured : Reinforced concrete (構造：鉄骨造、鉄骨鉄筋コンクリート造).
Height : 196ft (高さ：60m).
Floor : 16th (階数：16階).
Floor area : 238,000m2 (延床面積：238,000平米).
Location : 901 Higashi-Shiokojicho, Karasumadori, Kyoto City, Kyoto, Japan (所在地：京都府京都市下京区烏丸通塩小路下る東塩小路町901).
Escalator and structures...
Post privatisation but still in Network SouthEast livery Railtrack Plc owned Sandite/De-Icing unit 930 007 is seen waiting at Hastings to form sandite train 8Z42 13.20 to Tonbridge.
This departmental unit was one of the batch authorised for conversion at Selhurst Depot between 1977-82 from redundant 4-SUB (class 405) motor coaches. Set 007 was formed of ADB975592 (ex S10993 from set 4127) and ADB 975593 (ex S12659 from set 4604). The no.1 end ADB 975592 was the De-icing vehicle fitted with polythene lined steel tanks to prevent the tanks becoming live when de-icing fluid was being released onto the conductor rail. The no.2 coach ADB 975593 was initially empty on conversion but subsequently modified and fitted with hopper vats to carry Laponite solution (commonly known as Sandite). When laying sandite the train would be restricted to 20mph hence the class 8 headcode where as de-icer could be laid at 45mph. The units were fitted with extra shoe gear to create better contact in icy conditions and two shoes, one either side were fitted with air operated vibrating pins to dislodge any formed ice on the conductor rail rather than just frost or snow. Formed ice blobs could be a problem under overhanging structures like bridges where water could drip and freeze creating a lump on the conductor rail.