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Structures rise in the distance,
Only to be torn down in time.
While we sit warm inside,
The sun still shines.
NORTHRIDGE - 40 firefighters found the garage (attached) of a single-family home fully involved and extinguished the fire in 13 minutes. Initial reports of a person trapped in the fire room proved to be false after a thorough search. The fire was stopped quickly before extending into the home. No reported injuries.
© Photo by Jacob Salzman
LAFD Incident: 060419-1230
Connect with us: LAFD.ORG | News | Facebook | Instagram | Reddit | Twitter: @LAFD @LAFDtalk
Sand, silt, clay and organic matter bind together to provide stucture to the soil. The individual units of structure are called peds.
At 6:12PM on September 19, 2019 the Los Angeles Fire Department responded to a reported structure fire in the 3900 block of W 1st St in Koreatown. Firefighters arrived to find a detached garage fully engulfed in flames. 40 firefighters took 23 minutes to fully extinguish the fire. A nearby utility pole was exposed to flames, but all adjacent properties were protected from the blaze. There were no reported injuries.
Photo Use Permitted via Creative Commons - Credit: LAFD Photo | Chris Conkle
LAFD Incident: 091919-1301
Connect with us: LAFD.ORG | News | Facebook | Instagram | Reddit | Twitter: @LAFD @LAFDtalk
At 6:12PM on September 19, 2019 the Los Angeles Fire Department responded to a reported structure fire in the 3900 block of W 1st St in Koreatown. Firefighters arrived to find a detached garage fully engulfed in flames. 40 firefighters took 23 minutes to fully extinguish the fire. A nearby utility pole was exposed to flames, but all adjacent properties were protected from the blaze. There were no reported injuries.
Photo Use Permitted via Creative Commons - Credit: LAFD Photo | Chris Conkle
LAFD Incident: 091919-1301
Connect with us: LAFD.ORG | News | Facebook | Instagram | Reddit | Twitter: @LAFD @LAFDtalk
Italy. Florence (Firenze).
Piazza del Duomo.
By the beginning of the 15th century, after a hundred years of construction, the structure was still missing its dome. The basic features of the dome had been designed by Arnolfo di Cambio in 1296. His brick model, 4.6 metres (15 ft) high, 9.2 metres (30 ft) long, was standing in a side aisle of the unfinished building, and had long ago become sacrosanct. It called for an octagonal dome higher and wider than any that had ever been built, with no external buttresses to keep it from spreading and falling under its own weight.
The commitment to reject traditional Gothic buttresses had been made when Neri di Fioravante's model was chosen over a competing one by Giovanni di Lapo Ghini. That architectural choice, in 1367, was one of the first events of the Italian Renaissance, marking a break with the Medieval Gothic style and a return to the classic Mediterranean dome. Italian architects regarded Gothic flying buttresses as ugly makeshifts. Furthermore, the use of buttresses was forbidden in Florence, as the style was favored by central Italy's traditional enemies to the north.[9] Neri's model depicted a massive inner dome, open at the top to admit light, like Rome's Pantheon, but enclosed in a thinner outer shell, partly supported by the inner dome, to keep out the weather. It was to stand on an unbuttressed octagonal drum. Neri's dome would need an internal defense against spreading (hoop stress), but none had yet been designed.
The building of such a masonry dome posed many technical problems. Brunelleschi looked to the great dome of the Pantheon in Rome for solutions. The dome of the Pantheon is a single shell of concrete, the formula for which had long since been forgotten. A wooden form had held the Pantheon dome aloft while its concrete set, but for the height and breadth of the dome designed by Neri, starting 52 metres (171 ft) above the floor and spanning 44 metres (144 ft), there was not enough timber in Tuscany to build the scaffolding and forms.[10] Brunelleschi chose to follow such design and employed a double shell, made of sandstone and marble. Brunelleschi would have to build the dome out of bricks, due to its light weight compared to stone and easier to form, and with nothing under it during construction. To illustrate his proposed structural plan, he constructed a wooden and brick model with the help of Donatello and Nanni di Banco, a model which is still displayed in the Museo dell'Opera del Duomo. The model served as a guide for the craftsmen, but was intentionally incomplete, so as to ensure Brunelleschi's control over the construction.
Brunelleschi's solutions were ingenious. The spreading problem was solved by a set of four internal horizontal stone and iron chains, serving as barrel hoops, embedded within the inner dome: one at the top, one at the bottom, with the remaining two evenly spaced between them. A fifth chain, made of wood, was placed between the first and second of the stone chains. Since the dome was octagonal rather than round, a simple chain, squeezing the dome like a barrel hoop, would have put all its pressure on the eight corners of the dome. The chains needed to be rigid octagons, stiff enough to hold their shape, so as not to deform the dome as they held it together.
Each of Brunelleschi's stone chains was built like an octagonal railroad track with parallel rails and cross ties, all made of sandstone beams 43 centimetres (17 in) in diameter and no more than 2.3 metres (7.5 ft) long. The rails were connected end-to-end with lead-glazed iron splices. The cross ties and rails were notched together and then covered with the bricks and mortar of the inner dome. The cross ties of the bottom chain can be seen protruding from the drum at the base of the dome. The others are hidden. Each stone chain was supposed to be reinforced with a standard iron chain made of interlocking links, but a magnetic survey conducted in the 1970s failed to detect any evidence of iron chains, which if they exist are deeply embedded in the thick masonry walls. Brunelleschi also included vertical "ribs" set on the corners of the octagon, curving towards the center point. The Ribs, 13 feet (4 meters) deep, are supported by 16 concealed ribs radiating from center. The ribs had slits to take beams that supported platforms, thus allowing the work to progress upward without the need for scaffolding.
A circular masonry dome, such as that of Hagia Sophia in Istanbul can be built without supports, called centering, because each course of bricks is a horizontal arch that resists compression. In Florence, the octagonal inner dome was thick enough for an imaginary circle to be embedded in it at each level, a feature that would hold the dome up eventually, but could not hold the bricks in place while the mortar was still wet. Brunelleschi used a herringbone brick pattern to transfer the weight of the freshly laid bricks to the nearest vertical ribs of the non-circular dome.
The outer dome was not thick enough to contain embedded horizontal circles, being only 60 centimetres (2 ft) thick at the base and 30 centimetres (1 ft) thick at the top. To create such circles, Brunelleschi thickened the outer dome at the inside of its corners at nine different elevations, creating nine masonry rings, which can be observed today from the space between the two domes. To counteract hoop stress, the outer dome relies entirely on its attachment to the inner dome at its base; it has no embedded chains.[14]
A modern understanding of physical laws and the mathematical tools for calculating stresses was centuries into the future. Brunelleschi, like all cathedral builders, had to rely on intuition and whatever he could learn from the large scale models he built. To lift 37,000 tons of material, including over 4 million bricks, he invented hoisting machines and lewissons for hoisting large stones. These specially designed machines and his structural innovations were Brunelleschi's chief contribution to architecture. Although he was executing an aesthetic plan made half a century earlier, it is his name, rather than Neri's, that is commonly associated with the dome.
Brunelleschi's ability to crown the dome with a lantern was questioned and he had to undergo another competition. He was declared the winner over his competitors Lorenzo Ghiberti and Antonio Ciaccheri. His design (now on display in the Museum Opera del Duomo) was for an octagonal lantern with eight radiating buttresses and eight high arched windows. Construction of the lantern was begun a few months before his death in 1446. Then, for 15 years, little progress was possible, due to alterations by several architects. The lantern was finally completed by Brunelleschi's friend Michelozzo in 1461. The conical roof was crowned with a gilt copper ball and cross, containing holy relics, by Verrocchio in 1469. This brings the total height of the dome and lantern to 114.5 metres (375 ft). This copper ball was struck by lightning on 17 July 1600 and fell down. It was replaced by an even larger one two years later.
The commission for this bronze ball [atop the lantern] went to the sculptor Andrea del Verrocchio, in whose workshop there was at this time a young apprentice named Leonardo da Vinci. Fascinated by Filippo's [Brunelleschi's] machines, which Verrocchio used to hoist the ball, Leonardo made a series of sketches of them and, as a result, is often given credit for their invention.
Leonardo might have also participated in the design of the bronze ball, as stated in the G manuscript of Paris "Remember the way we soldered the ball of Santa Maria del Fiore".
The Tillamook Structure moves light rail track from one side of the freight tracks to the other, keeping both modes of transportation out of each other’s way.
the structure of the arch keeps coming back to me, over and over again. lt still looks unreal...
*decided to keep this one in color*
9-23-2016
Structure Fire
SouthMeade Dr
Thanksgiving FD, Archer Lodge FD, Wilson's Mills FD, JCEMS, Fire Marshal
an abandoned naval building that many of us have visited to photograph burns in Alameda. firefighters have worked all day to extinguish this blaze that started around 2am. this building contains untold loveliness that is being converted into stinky smoke and blown throughout Alameda.
Sand, silt, clay and organic matter bind together to provide stucture to the soil. The individual units of structure are called peds.
From the Parks Department sign:
At the eastern end of the promenade, near the World's Fair Marina's Pier One, artist Jackie Ferrara has enhanced the soaring white shade structures - known as Candela structures for the artist Felix Candela (1910-1997) who designed them for the 1964-65 World's Fair - with a complementary abstract geometric paving pattern. Ferrara's design also includes special benches, an in the artist's words, the project as a whole is meant to "be a part of, include, and interface with the site . . . reflect the topography, the functions, and the history of the area . . . and pay homage to the memory of the World's Fairs."
This Structure chair's organic shape shell is made in a low-density integral polyurethane solid-colored foam material. The smooth surface of the chair's inner shell conforms to the body to allow seating comfort.
The Structure chair was part of the "Polish Red Dots" exhibition, which showcased award-winning Polish Red Dot designs. The exhibition, at WIPO's Geneva headquarters from May 27 to 31, 2013 was organized jointly by WIPO and the Government of Poland.
Design: Przemyslaw "Mac" Stopa.
Copyright: WIPO. Photo: Emmanuel Berrod. This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 3.0 IGO License..
131 South Main Street, Middlebury, Vermont USA • This two-story brick structure was from 1809 until 1819 the home of Emma Hart Willard, an influential pioneer in the development of women's education in the United States. It is now used as the admissions office for Middlebury College, which was known as the Middlebury Female Seminary when it was founded in 1814 by Emma Willard. – from the NPS Statement of Significance.
☞ On December 21, 1965, the National Park Service designated this structure a National Historic Landmark (#66000798).
National Historic Landmarks are nationally significant historic places designated by the Secretary of the Interior because they possess exceptional value or quality in illustrating or interpreting the heritage of the United States. Today, fewer than 2,500 historic places bear this national distinction. – [And one of only 17 in Vermont.] – Working with citizens throughout the nation, the National Historic Landmarks Program draws upon the expertise of National Park Service staff who work to nominate new landmarks and provide assistance to existing landmarks.
National Historic Landmarks are exceptional places. They form a common bond between all Americans. While there are many historic places across the nation, only a small number have meaning to all Americans -- these we call our National Historic Landmarks. – from the National Park Service.
☞ On October 15, 1966, the Emma Willard House was added to the National Register of Historic Places (#66000798).
☞ This structure is listed on the Vermont State Register of Historic Places. Source: Data excerpts from "The Historic Architecture of Addison County: including a listing of the Vermont State Register of Historic Places"; Vermont Division of Historic Preservation; Curtis B. Johnson, Editor; © 1992.
• More info: The GeoHack for 44°0′27″N 73°10′29″W; and a link to the Emma Willard School, in Troy, New York.
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In July, 2010, I started a project to visit and document all seventeen Landmarks in Vermont. Here they are (in order of designation by the National Park Service):
[01] 09/22/60 – JUSTIN S. MORRILL HOMESTEAD, Strafford, Orange County
[02] 01/28/64 – TICONDEROGA (Side-paddle-wheel Lakeboat), Shelburne, Chittenden County
[03] 06/23/65 – CALVIN COOLIDGE HOMESTEAD DISTRICT, Plymouth Notch, Windsor County
[04] 12/21/65 – EMMA WILLARD HOUSE, Middlebury, Addison County
[05] 11/13/66 – ROBBINS AND LAWRENCE ARMORY AND MACHINE SHOP, Windsor, Windsor County
[06] 06/11/67 – GEORGE PERKINS MARSH BOYHOOD HOME, Woodstock, Windsor County
[07] 05/23/68 – ROBERT FROST FARM, Addison County
[08] 12/30/70 – VERMONT STATEHOUSE, Montpelier, Washington County
[09] 11/28/72 – MOUNT INDEPENDENCE, Addison County
[10] 12/20/89 – STELLAFANE OBSERVATORY, Springfield, Windsor County
[11] 11/04/93 – NAULAKHA (Rudyard Kipling House), Dummerston, Windham County
[12] 06/19/96 – OLD ROUND CHURCH, Richmond, Chittenden County
[13] 06/19/96 – ST. JOHNSBURY ATHENAEUM, St. Johnsbury, Caledonia County
[14] 12/09/97 – ROKEBY, Ferrisburgh, Addison County
[15] 05/16/00 – ROCKINGHAM MEETING HOUSE, Windham County
[16] 05/16/00 – SOCIALIST LABOR PARTY HALL, Barre, Washington County
[17] 01/03/01 – SHELBURNE FARMS, Shelburne, Chittenden County
[There are 15 images in this set] This is a creative commons image, which you may freely use by linking to this page. Please respect the photographer and his work.
The congregation of Agudath Sholom Synagogue (Reform Judaism) in Lynchburg, Virginia, was founded in 1897. The unassuming stone and brick structure, set back off the street, dates from 1956 as a stone on the lower left of the front façade states. The building appears to be a single story, and is noteworthy for the sculpted stone religious symbols that adorn the front façade to the left of the entrance. The words “Love Thy Neighbor As Thyself” fills the top portion of this space; below to the left is the menorah (images 3 and 11) and in the upper right are two tablets with the Ten Commandments in Hebrew (images 4 and 10). A brick section is just to the right, in alignment with the entrance (image 2); upon this section are square tablets representing the Twelve Tribes of Israel (image 5). Three windows, each with three panes (the central one the largest and opening inwards) are on the right of the front façade. Above the entrance is a string of nine windows each with the Star of David (image 6). The entrance (image 1) consists of three sets of double doors, separated from each other by stone partitions. Each of the doors has 10 recessed panels. Images 7-9 are black and white shots of the building. A date stone is shown in image 12. Abstractions derived from the view of the menorah constitue images 13-15.
The website of the Agudath Sholom Synagogue is va017.urj.net/
This work is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported License.