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Down at the end of the Leslie Street Spit, I found something vaguely ominous.
Mamiya 645 AFD with ZD digital back. 1/350" @ f/3.5, 35mm f/3.5 lens. ISO 200, WB cloudy.
Post in Capture One and Photoshop.
Over a 106 years old, the Egmore Railway Station in Chennai, remains one of the cities centrally located, renowned landmarks. Its bright red and white colors, and vaulted metal ceiling on the interiors are what make it striking. With typical Victorian wrought iron beams,
EFESTO responds with style also to the tree higest of Europe!!!! Easy and functional aluminum structures :easy to assemble system thanks to modular composition. This structure protects from atmospheric agents.
*EFESTO , also, remind that even this year will be at PROLIGHT+SOUND (Frankfurt ) which will be held April 4 to 7. Efesto in Hall 3.0 at the stand A30 presents great news!!!*
Estrutura dos brincos ginastas.
Structure for the gymnast earrings.
Blogged here: thelittlecreatures.wordpress.com/2012/08/11/gymnasts-gina...
A view of the Union Switch & Signal Model S-8 electro-mechanical interlocking machine, showing both the mechanical levers (large levers extending to the floor) and electrical levers mounted above the frame.
I've not had a lot of time to play with Structure Synth lately, but hopefully that will change.
The image is a variation on the Nouveau system. Rendered in Sunflow, post-processed in Paint.net.
VAN NUYS - The Los Angeles City Fire Department responded to a structure fire consuming two mobile homes and several vehicles at the 7600 block of North Balboa Boulevard at 5:22 AM on December 18, 2022. It took 42 LAFD firefighters just 42 minutes to access, confine and fully extinguish fire that destroyed two modular homes, in Space 57 (origin) and Space 56 to the east. Firefighters greatly limited damage to an exposed modular home to the west in Space 58, as well as nearby industrial buildings. No injuries reported. Fire cause under investigation.
© Photo by Ismael Miranda
LAFD Incident 121822-0335
Connect with us: LAFD.ORG | News | Facebook | Instagram | Reddit | Twitter: @LAFD @LAFDtalk
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Browsing through some photos from about two years ago I came upon a few I quite liked.
Ellora (\e-ˈlȯr-ə\, Marathi: वेरूळ Vērūḷa), is an archaeological site, 29 km North-West of the city of Aurangabad in the Indian state of Maharashtra built by the Rashtrakuta dynasty. It is also known as Elapura (in the Rashtrakuta literature-Kannada). Well known for its monumental caves, Ellora is a World Heritage Site. Ellora represents the epitome of Indian rock-cut architecture. The 34 "caves" are actually structures excavated out of the vertical face of the Charanandri hills. Buddhist, Hindu and Jain rock-cut temples and viharas and mathas were built between the 5th century and 10th century. The 12 Buddhist (caves 1–12), 17 Hindu (caves 13–29) and 5 Jain (caves 30–34) caves, built in proximity, demonstrate the religious harmony prevalent during this period of Indian history. It is a protected monument under the Archaeological Survey of India.
ETYMOLOGY
Ellora, also called Verula or Elura, is the cave form of the Ancient name Elapura.
HISTORY
Ellora is known for Hindu, Buddhist and Jain cave temples built during (6th and 9th centuries) the rule of the Kalachuri, Chalukya and Rashtrakuta dynasties. The Jagannatha Sabha a group of five Jain cave temples of 9th century built by Rashtrakuta.
THE BUDDHIST CAVES
These caves were built during the 5th-7th century. It was initially thought that the Buddhist caves were one of the earliest structures, created between the fifth and eighth centuries, with caves 1-5 in the first phase (400-600) and 6-12 in the later phase (mid 7th-mid 8th), but now it is clear to the modern scholars that some of the Hindu caves (27,29,21,28,19,26,20,17 and 14) precede these caves.[citation needed] The earliest Buddhist cave is Cave 6, followed by 5,2,3,5 (right wing), 4,7,8,10 and 9. Caves 11 and 12 were the last. All the Buddhist caves were constructed between 630-700.
These structures consist mostly of viharas or monasteries: large, multi-storeyed buildings carved into the mountain face, including living quarters, sleeping quarters, kitchens, and other rooms. Some of these monastery caves have shrines including carvings of Gautama Buddha, bodhisattvas and saints. In many of these caves, sculptors have endeavoured to give the stone the look of wood.
Most famous of the Buddhist caves is cave 10, (refer map) a chaitya hall (chandrashala) or 'Vishvakarma cave', popularly known as the 'Carpenter's Cave'. Beyond its multi-storeyed entry is a cathedral-like stupa hall also known as chaitya, whose ceiling has been carved to give the impression of wooden beams. At the heart of this cave is a 15-foot statue of Buddha seated in a preaching pose. Amongst other Buddhist caves, all of the first nine (caves 1–9) are monasteries. The last two caves, Do Tal (cave 11) and Tin Tal (cave 12) have three stories.
CAVE 10
Cave 10 is a vihara with eight cells, four in the back wall and four in the right wall. It had a portico in the front with a cell. Possibly served as a granary for other viharas.
THE VISHWAKARMA
The Vishwakarma (Cave 10) is the only chaitya griha amongst the Buddhist group of caves. It is locally known as Vishwakarma or Sutar ka jhopda "carpenter's hut". It follows the pattern of construction of Caves 19 and 26 of Ajanta. On stylistic grounds, the date of construction of this cave is assigned to 700 A.D. The chaitya once had a high screen wall, which is ruined at present. At the front is a rock-cut court, which is entered through a flight of steps. On either side are pillared porticos with chambers in their back walls. These were probably intended to have subsidiary shrines but not completed. The pillared verandah of the chaitya has a small shrine at either end and a single cell in the far end of the back wall. The corridor columns have massive squarish shafts and ghata-pallava (vase and foliage) capitals. The main hall is apsidal on plan and is divided into a central nave and side aisles by 28 octagonal columns with plain bracket capitals. In the apsidal end of the chaitya hall is a stupa on the face of which a colossal 3.30 m high seated Buddha in vyakhyana mudra (teaching posture) is carved. A large Bodhi tree is carved at the back. The hall has a vaulted roof in which ribs have been carved in the rock imitating the wooden ones.
THE HINDU CAVES
The Hindu caves were constructed between the middle of sixth century to the end of the eighth century. The early caves (caves 17–29) were constructed during the Kalachuri period. The work first commenced in Caves 28, 27 and 19. These were followed by two most impressive caves constructed in the early phase - Caves 29 and 21. Along with these two, work was underway at Caves 20 and 26, and slightly later at Caves 17, 19 and 28. The caves 14, 15 and 16 were constructed during the Rashtrakuta period. The work began in Caves 14 and 15 and culminated in Cave 16. All these structures represent a different style of creative vision and execution skills. Some were of such complexity that they required several generations of planning and co-ordination to complete.
THE KAILASANATHA TEMPLE
Cave 16, also known as the Kailasa temple, is the unrivaled centerpiece of Ellora. This is designed to recall Mount Kailash, the abode of Lord Shiva – looks like a freestanding, multi-storeyed temple complex, but it was carved out of one single rock, and covers an area double the size of Parthenon in Athens. Initially the temple was covered with white plaster thus even more increasing the similarity to snow-covered Mount Kailash.
All the carvings are done in more than one level. A two-storeyed gateway resembling a South Indian Gopura opens to reveal a U-shaped courtyard. The courtyard is edged by columned galleries three storeys high. The galleries are punctuated by huge sculpted panels, and alcoves containing enormous sculptures of a variety of deities. Originally flying bridges of stone connected these galleries to central temple structures, but these have fallen.
Within the courtyard are three structures. As is traditional in Shiva temples, the first is a large image of the sacred bull Nandi in front of the central temple. The central temple - Nandi Mantapa or Mandapa - houses the Lingam. The Nandi Mandapa stands on 16 pillars and is 29.3 m high. The base of the Nandi Mandapa has been carved to suggest that life-sized elephants are holding the structure aloft. A living rock bridge connects the Nandi Mandapa to the Shiva temple behind it. The temple itself is a tall pyramidal structure reminiscent of a South Indian Dravidian temple. The shrine – complete with pillars, windows, inner and outer rooms, gathering halls, and an enormous lingam at its heart – carved from living stone, is carved with niches, pilasters, windows as well as images of deities, mithunas (erotic male and female figures) and other figures. Most of the deities at the left of the entrance are Shaivaite (followers of Shiva) while on the right hand side the deities are Vaishnavaites (followers of Vishnu). There are two Dhvajastambhas (pillars with the flagstaff) in the courtyard. The grand sculpture of Ravana attempting to lift Mount Kailasa, the abode of Lord Shiva, with his full might is a landmark in Indian art. The construction of this cave was a feat of human genius – it entailed the removal of 200,000 tonnes of rock, and took 100 years to complete.
The temple is a splendid achievement of Rashtrakuta Karnata architecture. This project was started by Krishna I (757–773) of the Rashtrakuta dynasty that ruled from Manyakheta in present day Karnataka state. His rule had also spread to southern India, hence this temple was excavated in the prevailing style. Its builders modelled it on the lines of the Virupaksha Temple in Pattadakal. Being a south Indian style temple, it does not have a shikhara common to north Indian temples. – The Guide to the Architecture of the Indian Subcontinent, 1996, Takeo Kamiya, Japan Architects Academy and archaeological Survey of India.
THE DASHAVATARA
The Dashavatara (Cave 15) was begun as a Buddhist monastery. It has an open court with a free-standing monolithic mandapa at the middle and a two-storeyed excavated temple at the rear. The layout of the temple is closely related to caves 11 and 12. Large sculptural panels between the wall columns on the upper floor illustrate a wide range of themes, which include the ten avatars of Vishnu. An inscription of grant of Dantidurga is found on the back wall of the front mandapa. According to Coomaraswamy, the finest relief of this cave is the one depicting the death of Hiranyakashipu, where Vishnu in man-lion (Narasimha) form, emerges from a pillar to lay a fatal hand upon the shoulder of Hiranyakashipu.
OTHER HINDU CAVES
CAVE 21
Other notable Hindu caves are the Rameshvara (Cave 21), which has figurines of river goddesses Ganga and Yamuna at the entrance and the Dhumar Lena (Cave 29) whose design is similar to the cave temple on Elephanta Island near Mumbai. Two other caves, the Ravan ki Khai (Cave 14) and the Nilkantha (Cave 22) also have several sculptures. The rest of the Hindu caves, which include the Kumbharvada (Cave 25) and the Gopilena (Cave 27) have no significant sculptures.
The five Jain caves at Ellora belong to the ninth and tenth centuries. They all belong to the Digambara sect. Jain caves reveal specific dimensions of Jain philosophy and tradition. They reflect a strict sense of asceticism – they are not relatively large as compared to others, but they present exceptionally detailed art works. The most remarkable Jain shrines are the Chhota Kailash (cave 30), the Indra Sabha (cave 32) and the Jagannath Sabha (cave 33). Cave 31 is an unfinished four-pillared hall and a shrine. Cave 34 is a small cave, which can be approached through an opening on the left side of Cave 33. Amongst other devotional carvings, a place called samvatsarana can be found in Elora caves. Samvatsarana is of special interest to Jains, as it is a hall where the tirthankara preaches after attaining omniscience.
THE INDRA SABHA
The Indra Sabha (Cave 32) is a two storeyed cave with one more monolithic shrine in its court. It has a very fine carving of the lotus flower on the ceiling. It got the appellation "Indra Sabha" probably it is significantly ornate and also because of the sculpture of the yaksha (dedicated attendant deity) Matanga on an elephant, which was wrongly identified as that of Indra. On the upper level of the double-storied shrine excavated at the rear of the court, an U image of Ambika, the yakshini of Neminath, is found seated on her lion under a mango tree, laden with fruits.
OTHER JAIN CAVES
All other Jain caves are also characterized by intricate detailing. Many of the structures had rich paintings in the ceilings - fragments of which are still visible.
GEOLOGY OF ELLORA
Ellora occupies a relatively flat region of the Western Ghats. Ancient volcanic activity in this area created many layered basalt formations, known as Deccan Traps. During the Cretaceous, one such volcanic hill formed on the southwest-facing side of Ellora. Its vertical face made access to many layers of rock formations easier, enabling architects to pick basalt with finer grains for more detailed sculpting.
INSCRIPTIONS AT ELLORA
Several inscriptions at Ellora range from 6th century to 15th century. The best known of them is an inscription of Rashtrakuta Dantidurga (c. 753-57 A.D.) on the back wall of the front mandapa of Cave 15, which gives an account of his conquests. Inscriptions on the Kailash temple itself range from 9th to 15th century. Jain cave Jagannatha Sabha has 3 inscriptions that give the names of monks and donors. A Parshvanth temple on the hill has a 11th-century inscription that gives the name of the donor from Vardhanapura.
The Great Kailasa (Cave 16) is attributed to Krishna I (c. 757-83 A.D.), the successor and uncle of Dantidurga. A copper plate grant by Karka II (c. 812-13 A.D.) narrates that a great edifice was built on a hill by Krishnaraja at Elapura (Ellora).
The Ellora caves, unlike Ajanta, were never lost. There have been several written records that indicate that these caves were visited regularly. The earliest is that of the Arab geographer Al-Mas‘udi of the 10th century A.D. In 1352 A.D. Sultan Hasan Gangu Bahmani, who camped at the site and visited the caves. The others are by Firishta, Thevenot (1633–67), Niccolao Manucci (1653-1708), Charles Warre Malet (1794), and Seely (1824)
WIKIPEDIA
(to see further pictures and read other information please go to the end of page!)
Flaktowers
Flakturm, Arenbergpark
Picture: Flakturm, Arenbergpark
The Vienna flak towers are six large, of reinforced concrete erected defensive and protective structures in Vienna, which were built in the years 1942-1945 as giant bomb shelters with fitted anti-aircraft guns and fire control. The architect of the flak towers was Friedrich Tamms (1904-1980).
Flakturm, Arenbergpark
Image: Terrace of the flak tower in Arenbergpark
The system of the Vienna flak towers consists as a whole of six buildings, three turrets, each with a Feuerleitturm (fire-control tower). The three bunker pairs are arranged in a triangle in the approximate middle of which the Stephansdom is situated. The towers are of different heights, but their upper platforms are in exactly the same altitude, so that an overall coordination of air defense was possible. The maximum operating radius of the four main guns (12.8 cm twin) of each tower was under ideal conditions 20 km. The smaller platforms of combat and fire-control towers were provided for 2 cm anti-aircraft guns, but they were never used in Vienna. In addition to its military crew the flak towers in Vienna served as makeshift hospitals, housed radio stations and partly war-relevant technical companies and offered on a large scale air raid shelters for the population.
Flakturm Augarten
Picture: Flakturm, Augarten
After the war, the Red Army undertook blasting tests in Gefechtsturm (flak tower with battle platform) Augarten, but a removal of the towers failed because of the proximity to residential areas. Nowadays, a removal of the towers would be possible, but now existing only an official decision as to the two anti-aircraft towers in Augarten from 5 April 2000 (GZ 39.086/2/2000) because all six buildings ex lege have been put under monument protection. Today, the towers are partially owned by the City of Vienna and partly owned by the Republic of Austria. There were repeatedly attempts to rebuild the flak towers and make it usable. The ideas range from depot for important backup data to a café or hotel.
Planning
Flakturm, Arenbergpark
Picture: Flakturm, Arenbergpark - Notstiege (Emergency flight of stairs)
Flakturm, Arenbergpark
Picture: Flakturm, Arenbergpark
Elevator shaft to the left, original instructions for lift usage right
After the battles of World War II also spread more and more to Vienna, Adolf Hitler ordered on 9 September 1942 the construction of flak towers in Vienna. The Air Force leadership provided for this purpose as building sites the Schmelz (Vienna), the Prater and Floridsdorf but Hitler rejected these places since the city center would not have been adequately protected because of the large distances. After discussions with Reichsstatthalter (Reich Governor) Baldur von Schirach, the final locations were determined. Instead of the Augarten, however, was initially the Roßauer barracks under discussion. The decisive factor for the choice of the places were on the one hand, the easy availability of the building ground and on the other hand the possibility to establish railway connections. The plan provided after the victorious end of the war to disguise the flak towers with marble and devote them as monuments to the fallen German soldiers. As with all the flak towers Friedrich Tamms was responsible for the planning, he was represented in Vienna by Anton Ruschitzka, construction management held Franz Fuhrmann from Vienna's city building department. The military leadership rested with Major Wimberger, which, however, had no mission staff. The material procurement was carried out by the Organisation Todt.
Construction
Flakturm, Arenbergpark
Picture: Flakturm, Arenbergpark
Emergency Exit Photo: Flakturm, Arenbergpark
With the construction of the flak towers the companies Philipp Holzmann and Gottlieb Tesch were commissioned, smaller firms being integrated via joint ventures. Since the availability of local workers due to conscription declined steadily, more and more prisoners of war, foreign and forced laborers were used in the course of the war. Cement was delivered primarily from Mannersdorf at Leithagebirge, to a lesser extent from Rodaun (situated in the outskirts of Vienna). The gravel stemmed from the gravel pits Padlesak in Felixdorf and Gustav Haager at Heidfeld at the Bratislava railway (Pressburger Bahn), about in the area of today's airport Wien-Schwechat. Sand was delivered in ships over the Danube Canal, which is why in the area of Weißgerberlände sand silos of the United Baustoffwerke AG were built. In this area was already in 1918 a feeder track of the tram through the Drorygasse. Although this was already in 1925 shut down it was restored in 1941 and enlarged in the following year after the construction of a new silo to two tracks. For the then due to the excavation of the foundations coming up overburden, at the Kratochwijlestraße (then Weissenbachstraße) in 22 District was created a landfill, which also got a tram connection.
This report is based on an article in the
WIKIPEDIA - The Free Encyclopedia
and is licensed under the GNU license
Free Documentation Creative Commons CC -BY- SA 3.0 Unported.
On Wikipedia there is List of the authors Available .
de.wikipedia.org
The monstrous remnants of the "Third Reich"
District II (Leopoldstadt), anti-aircraft towers in the Augarten, tram line 31 from metro station Scots ring/Schottenring (U2, U4).
On 15 March 1938 gathered some 200 000 Wiener (Viennese people) on Heldenplatz in order to celebrate the "Anschluss" of Austria to the so-called fatherland Germany, something, since the end of the first World War I many had been longing for. Adolf Hitler himself appeared on the balcony of the Neue Burg and announced: "As leader and Chancellor of the German nation and the Reich I report before story now the entry of my home in the German Reich". Then he boarded a plane back to Germany, the rest, as they say, is history. A few years later the magnificent Heroes Square (Heldenplatz) was dug up to plant vegetables there, they needed food for the distraught people who suffered the privations in Hitler's zusammenbrechendem (breaking down) "millennial Reich".
Right: Gefechtsturm in the Augarten
In Leopoldstadt
Below: The Leitturm (control tower) in Arenbergpark
In III. District highway (Landstraße).
The already existing and sometimes bombastic Viennese architecture the occupiers seems to have pleased, no major buildings were added during their reign. On 9 September 1942, however, Hitler decreed that the city center of Vienna like in Berlin and Hamburg should be protected by some huge flak towers, three pairs should form a defensive triangle, St. Stephen's Cathedral was the center. 1943/44, the German troops began the construction of two flak towers in the Augarten and defaced in this way Austria's oldest still existing and in 1712 laid out baroque garden. Another pair of flak towers emerged in Arenberg Park in III. District (Landstraße), a third near the Mariahilferstraße (in Esterházypark and in the courtyard of the barracks Stiftskaserne) in the VI. resp. VII. District (Mariahilf/Neubau). The towers have been made of almost indestructible, 2.5 to 3.5 meters thick reinforced concrete and were self-sufficient, and they possessed their own water and power supply, first aid station and air filters if it should come to a gas attack. Each pair of flak towers contained a big, provided with a heavy gun flak tower and a smaller control tower for communication. The first is either a square tower in the style of a fortress, like the one in the Arenbergpark (neunstöckig - nine storeys), 41.6 meters high, 57 meters in diameter) or a round tower, in fact, sixteen -sided, as in the Augarten Park and the yard of the Stiftskaserne Barracks (zwölfstöckig - twelve storeys, 50.6 meters high, 43 meters in diameter). The heaviest artillery gun (105-128 mm) was standing on the roof, on the projecting balconies below there were lighter guns (20 to 30 millimeters). The Leittürme, from which the air defense was coordinated, were all rectangular (neunstöckig - nine storeys, 39 to 51.4 meters high, 24 to 39 feet long) and equipped with a lighter gun, they possessed communication devices and searchlights on the roof. Toward the of the war the towers only just were functional. They also served as air-raid shelter for the people in the area and each tower had space for 30 000 people. In the event that the war ended with a victory, the architect, the builder of the Reichsautobahn Friedrich Tamms, already had prepared designs to dress up the towers with black marble plates in which the names of the dead German soldiers should be engraved in gold letters. So the towers would also have been victory and war memorials (and thus in a strange way similar to the Mausoleum of Theodoric in Ravenna or the Castel de Monte in Apulia).
In the bureau of an architect of Berlin were even found plans to demolish the Jewish Quarter in the Leopoldstadt and to build a huge Nazi forum. Today, however, there is in Leopoldstadt again a thriving Jewish life and the flak towers are frozen monuments to the darkest times of Viennese history (in fact, the Russians tried to destroy the tower in Augarten with dynamite, which later on was mistaken for the vandalism of a few schoolboys, by mistake a forgotten weapon depot setting on fire).
In a famous quote Hitler Vienna compared with a pearl, which he wanted to give a socket. Towards the end of war, however, this socket only consisted of bombed-out buildings and abandoned flak towers, silent witnesses of the delusion of their builder. As a result, only the Leitturm was used in Esterhazy Park, and today in it the house of the sea (Zoo - Haus des Meeres) is accommodated. Outside there is a climbing wall with 25 different routes, and the vertical wall and the projecting balconies give a perfect imitation of an overhanging cliff of 34 meters of height. A conservatory (or biotope) with a miniature rain forest along with monkeys and birds has been added on one side; it is entered through a door that only with difficulty could be broken in the two and a half meters thick reinforced concrete, but this also ensures a uniform temperature for aquariums and vivariums in the tower.
The stable temperatures also have the Museum of Applied Arts (MAK) brought to take advantage of the flak tower in Arenberg Park as a magazine and occasional exhibition space; in the meantime it is known as Contemporary Art Tower (CAT).
A former air-raid shelter at the base of the Leitturm in Esterhazy Park now contains the Museum of Medieval legal history: the history of torture
Excerpts from
Duncan J. D. Smith; Only in Vienna
A travelling guide to strange places, secret places and hidden attractions
Translated from English by Brigitte Hilzensauer
Photographs by Duncan JD Smith
"The streets of Vienna are paved with culture, the streets of other cities with asphalt". Karl Kraus (1874-1936)
Vienna is certainly one of the greatest and also the most homogeneous capitals in Europe. And it is one of the most fascinating. The overabundance of travel guides that are out there to buy, presents the not too demanding visitor a magical (and easily accessible) abundance of museums, churches, palaces and culinary venues, and they recount the history of the city since the times of the Romans over those of the Habsburg Empire to the present.
Courtesy
Christian Brandstätter Verlag mbH
The publishing service for museums, businesses and public authorities
www.brandstaetter - verlag.at
Total, totalitarian, dead
Picture: Flak tower in 1943 /44, Augarten
At the zero point of the knowledge about the progress of the world stands since 11 September 2001 "Ground Zero". The debris field of the World Trade Center was used as a metaphor, which for its part marks a zero point. "Ground Zero" is called the area that lies in the center of a nuclear explosion. In Hiroshima and Nagasaki this area has been explored, the experiments that began with Albert Einstein's warning of a nuclear policy of Nazi Germany, were successful beyond measure. The name for the nuclear program, "Manhattan Project". With the beginning of the new millennium "Ground Zero" is real returned to where it had once taken its nominal starting point. The skyscraper obviously is able to stimulate the imagination of physicists, ballistics and aeronauts. In the skyscraper the obsessions of the 20th century are concentrated, self-sufficiency and utopia become one in the sky billowing tower. It is the exalted and the sublime. It provides a beacon, of the construction as well as of the destruction.
As the World Trade Center each of the Viennese "flak towers" come along as pairs: One serves as control tower, the other as a flak tower. The central component is the platform, it was needed in high altitudes in order to have a clear field of fire over the city. The tower architecture, which thereby became necessary, one used for bunker systems, no fewer than 40,000 people should here find shelter. For other facilities there was also space: the Gaupropagandaleitung (Regional propaganda direction) for example, the radio station, a munitions factory. At three locations in the city - the triangle that they abzirkelten (encircled), took in Vienna's historic center - in the years 1943/44 had established an own self-contained world, with it corresponded an outside, the world of total war. The flak towers gave this world the architectural icon.
On 14 February 1943, the British Air Force had carpet bombings on German cities announced after it adversary those commitments to civility, just in war of some validity, namely to protect non- military targets, long ago had abandoned. It was a strategy that should give World War II a decisive turn. The Germans had their production concentrated on weapons with immediate penetrating power, especially on fighter planes and tanks. The Allies, however, swore on sustainability, on long-range bombers that now more and more were used. Against such so-called "flying fortresses" should prepare the city's flak towers.
On 18 February 1943 already, the Nazi regime had reacted propagandistically. Joseph Goebbels delivered in the Sportpalast (Sports Palace) those infamous speech in which an unleashed crowd at the top of its voice loud the hysterical question "Do you want total war?" applauded. From then on, the action would no longer overridingly occur on the fronts. Now, as Goebbels put it, the "phalanx of the homeland" was at stake. The war would be carried to the cities. In their midst, in the urban milieu that would now lose all nonchalance and any worth of life. Also, and just that is what the flak towers stand for: their comfort is the security wing, their promise the ammunition depot. They guarantee offensive and defensive in one. In this hard as reinforced concrete alignment, imagined the regime each of every Volksgenossen (member of the German nation).
The flak towers are the architecture of total war par excellence: monumental exclamation marks for military preparedness, towering icons of the resistiveness, uniform archetypes of a technical, an instrumental progress, to which the Nazi state with due atavism was always committed. Furthermore, comes to some extent the domestic political effect: The flak towers are citadels against the own population, reduits in the face of a psychological and social situation, which solely by forced violence, by martial law and concentration camps could be overmastered.
The prototype of the flak towers built up in Berlin, as well as their principle was conceived in the capital, especially by Albert Speer, the Minister for the war economy. But as a kind of urban identification mark they stand in Vienna, and also for this the logic of total war can be used. It is the logic of destruction, the so-called "Nero-command", which after Hitler's disposal would have provided the destruction of all remaining infrastructure in the German Reich. It is the logic of a perverted Darwinism, which would have applied the dictum of unworthy life in the moment of defeat on the own population.
In one of his table talks in May 1942, Hitler blustered about the "huge task to break ... the supremacy of Vienna in the cultural field ...". The hatred toward the city of his youth was notorious, and one may assume that the flak towers, whose placement the "Führer" personally ordered, the enemy, in a manner of speaking, definitely should stake out a target area. Because naturally, the towers would increasingly attract attacks on themselves. But they have the war unscathed as hardly another building survived. That they are standing for the long shot, the totalitarism this very day is clear. To eliminate them, would mean to turn the city with them in rubble.
"Bridge 2"
STRUCTURES is a series of generative art pieces the explores the constructions of our world by taking photographs of man-made and natural structures and placing them into a new structure. This process semi-randomly fragments and rearranges the photographs into a grid of my design. I'll often run the images through this process several times, using various grid structures along the way.
Programs used: Lightroom, Photoshop, Processing
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
This red structure used to be a tram stop. Now it has no use as they have changed the trams routes.
It had costed a few hundred thousands euros to build two such stops, designed by the Finnish industrial designer Stefan Lindfors.
editori.wds.fi/kuluttaja/stefan-lindfors-lisaa-yksilollis...
[ see www.flickr.com/photos/midea_foto/albums ]
Located where there once stood the 14th-century Stinche Prison, the same site there was also a wash house of the Arte della Lana in Florence, the Teatro Verdi was originally named Teatro Pagliano. Teatro Verdi was later established in 1854 and renamed in 1901, to honor Giuseppe Verdi.
Used as a prison for five hundred years, the building was sold by grand-ducal decree in August 1833, then purchased by Messrs Giovacchino Faldi, Cosimo Canovetti, Giuseppe Galletti and Michele Massai. These purchases proceeded to transform it into its current larger building (from 1834-39), under the direction of architect Francesco Leoni with Luigi Manetti. The structure was eventually developed on four floors, partly occupied by neighborhoods (a total of 188 rooms served by six staircases), partly by shops, and characterized both by the presence of a large riding hall with attached stables, saddlery, shed and rooms for entertainment, and a room for the Philharmonic Society on the first floor..
Around 1850, a grandiose theater was erected based on the project and direction of the works by architect Telemaco Buonaiuti and the initiative of the entrepreneur Girolamo Pagliano, former baritone and known for a famous syrup "centerbe di long life ", which is also responsible for the birth of the corner pharmacy since 1934, Selva pharmacy. Thus an ovoid-shaped theater was created with a large hall that could accommodate about four thousand spectators between the stalls and its six tiers of boxes. In the interiors the painters Luigi Dell'Era and Cesare Maffei intervened, while the curtain, depicting the challenge of Barletta, was painted by Bandinelli.
Opened though remaining unfinished on 12 June 1853, Teatro Verdi was officially inaugurated in September of 1854 with Verdi's opera "Rigoletto" (then called "Il Viscardello"). Though the opera was a failure, the new theatrical structure was much appreciated and characterized by seasons marked by lyrical and dramatic performances presented by companies of great appeal. Overall, due to the size of the stage and the overall capacity, it was one of the largest Italian theaters, certainly one of the few to allow the staging of even complex and grandiose musical performances. Initially called "delle Antiche Stinche", it was then mostly known as the Pagliano theater.
Remaining under the guidance of Pagliano, forthcoming years continued with lyrical representations both of the repertoire and new; the theater also hosting many festivals and famous patriotic and civic initiatives such as one to support the delivery of Garibaldi (1859), a concert for the Unification of Italy (1861) and a demonstration to ask for the abolition of the death penalty (1864), with great interpreters and important spectators participating, including Vittorio Emanuele II.
In 1865 a fire put a strain on the structure of the theater, until, due to the many debts incurred, it was expropriated from Pagliano in 1868, without however interrupting the activity.
Tradition has it that the Pagliano theater is indirectly referenced in the 24th chapter of the book 'Pinocchio' (Carlo Lorenzini):
- - "Che è grosso di molto questo Pesce-cane? - domandò Pinocchio, che digià cominciava a tremare dalla paura."
- - "Se gli è grosso!... - replicò il Delfino. - Perché tu possa fartene un'idea, ti dirò che è più grosso di un casamento di cinque piani,ed ha una boccaccia così larga e profonda, che ci passerebbe comodamente tutto il treno della strada ferrata colla macchina accesa."
The shark mentioned here, in 'Pinocchio', was none other than Girolamo Pagliano, known for being also a loan shark, with whom perhaps, due to gambling debts, the well-known writer and journalist Carlo Lorenzini (known as Collodi) had engaged, and the description of the "tenement" fits perfectly with the building that still houses the Teatro Verdi today.
Years followed when the property passed from hand to hand. From 1901, after being named after Luigi Cherubini, it took on the name Teatro Verdi, and over time it has adapted, due to changes in public taste, to host various events and shows, including cinema. Among the most famous 19th Century conductors who conducted at the Verdi in Florence is Antonino Palminteri (1901-02), staging works such as Puccini's 'La Bohème' and Verdi's 'I Lombardi'. In 1908, the world premiere of 'Rhea' (Spiro Samara with Edoardo Garbin) and, in 1914, of "La giostra dei falchi" (Domenico Monleone) took place. In the period between the two world wars the theater, with Raffaello Castellani, hosted the operetta and the first great actors of the twentieth century.
After the First World War, the theater resumed its activity on the initiative of the Society of Theater Workers and in the twenty years between the two wars its programming was characterized by comedies in the vernacular and variety shows that featuring the Riccioli-Primavera company.
From 1949-50 the theater and its premises were completely renovated, by architects Nello Baroni and Maurizio Tempestini, the current design of the main entrance on Via Ghibellina dates back to this intervention, vice versa with decidedly modern shapes, as well as various decorative bas-reliefs always placed in the interior spaces by the sculptor Giannetto Mannucci. In the sixties, the opening was dedicated to pop music and international stars.
Other renovations were carried out to remedy the damage caused by the flood of 1966 (on that occasion it was equipped with a new cinema screen, then the largest existing in Italy) and finally, after 1985, for the adaptation of the structure with current safety standards.
In 1998 the structure was acquired by the Tuscan Regional Orchestra Foundation. In 2004, for the 150th anniversary of the opening, interventions were carried out to improve both the aesthetics and acoustics.
Since the last post-war period, the theater, which often hosted the events of the Maggio Musicale Fiorentino during the periods of closure of the Municipal Theater, has increased its activity as a cinema hall and with a "light show" theatrical program, hosting artists such as Totò to Wanda Osiris, Macario to Walter Chiari. Despite this, the theater was also characterized by highly prestigious and successful programs such as the ballets of Maurice Béjart and Roland Petit, and the first national performances of Carmelo Bene, such as a famous staging by Adelchi.
In recent years, the theater has become the seat of the Tuscan Regional Orchestra Foundation and has resumed its important role in Florentine cultural life with programs that, in addition to traditional shows, have expanded to seasons of concerts curated by the ORT and experiences of involvement of the schools of the city in educational initiatives.
SPORTS604 VOLLEYBALL PLAYOFFS 2010
Sponsored by Red Bull & Terracotta Modern Chinese Restaurant
photos by Ron Sombion Gallery & PacBlue Printing
About Sports604 -Basketball-Bowling, Dodgeball-Volleyball-California Kickball
"Vancouver's Fastest Growing Recreational Sports League"
Sports604 leagues aim to cover all the fundamentals of league play: structure, competitiveness, recreation, exercise and fun!
Levels range from beginners to seasoned vets. Not to mention, we do it with a bit of style. Not only do we include team t-shirts as a part of the registration fee, we love to rock in our socks to music! Yup, we crank up the volume when the whistle blows so everyone can get hyped before they play and groove while they play
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The 1 mm spider seems to have made a bridge and be trying to hide in a tent under it. One wonders at the engineering skills of one so small.
Found this rusty wheelbarrow leaning aginst the outside wall andchimney of an old abandonded cabin off the Blue Ridge Parkway that is now US property
The church of St Dunstan-in-the-West is in Fleet Street in London, England. An octagonal structure, it is dedicated to a former bishop of London and archbishop of Canterbury.
First founded between 988 and 1070 A.D., there is a possibility that a church on this site was one of the Lundenwic strand settlement churches, like St Martin's in the Fields, the first St Mary le Strand, St Clement Danes and St Brides. These may well pre-date any of the churches within the City walled area. It is not known exactly when the original church was built, but it was possibly erected by Saint Dunstan himself, or priests who knew him well. It was first mentioned in written records in 1185. King Henry III gained possession of it and its endowments from Westminster Abbey by 1237 and then granted these and the advowson to the 'House of Converts' i.e. of the converted Jews, which led to its neglect of its parochial responsibilities. This institution was eventually transformed into the court of the Master of the Rolls.
The church has been associated with the Worshipful Company of Cordwainers (old English for shoemakers) since the fifteenth century. Once a year the company holds a service here to commemorate the benefactors John Fisher and Richard Minge, after which children used to be given a penny for each time they ran around the church.
Samuel Pepys mentions the church in his diary. The church narrowly escaped the Great Fire of London in 1666. The Dean of Westminster roused forty scholars from Westminster School in the middle of the night, who formed a fire brigade which extinguished the flames with buckets of water only three doors away.
However, Pepys only knew the old medieval building, which was taken down in the early 19th century. The present building was built on its predecessor's churchyard to allow the widening of Fleet Street.
A fragment of the old churchyard remains near Bream's Buildings.
The new building was designed by John Shaw the Elder (1776–1832) who died before the church was completed so it was left in the hands of his son John Shaw the Younger (1803–1870) in 1833. It is based on the design of St Helen's Pavement in York. The Shaws were prominent architects of Fleet Street who designed two other buildings (now offices) close to the church. The communion rail is a survivor of the old church, having been carved by Grinling Gibbons during the period when John Donne served as vicar (1624-1631).
Apart from losing its stained glass, the church survived the London Blitz largely intact, however, bombs from German bombers did damage the open-work lantern tower.The building was restored in 1950.
The church was designated a Grade I listed building on 4 January 1950.
The church has often been associated with the legend of Sweeney Todd.
he church's facade holds an extraordinary chiming clock, with mannequins which strike the bells with their clubs. They perhaps represent Gog and Magog, the whole clock is mounted in a separate pavilion and dates from 1671 and adorned the previous church, perhaps commissioned to celebrate its escape from destruction in the Great Fire of 1666.[8] This was the first public clock in London to have a minute hand. The figures of the two giants strike the hours and quarters, and turn their heads. There are numerous literary references to the clock, including in Thomas Hughes’ Tom Brown's Schooldays, Oliver Goldsmith’s the Vicar of Wakefield and a poem by William Cowper. In 1828, when the medieval church was demolished, the clock was removed by Francis Seymour-Conway, 3rd Marquess of Hertford to his mansion in Regent's Park, which later became the St Dunstan's College for the Blind. It was returned by the generosity of Lord Rothermere, the press baron, in 1935 to ostensibly mark the Jubilee of King George V.
There is also a statue of Queen Elizabeth I, placed above the entrance to the old parochial school in 1766, which was taken from the front of the old Ludgate which had been demolished at that time. This statue dates from 1586 and hence contemporary with her, it is thought to be the oldest outdoor statue in London. Within the porch below are three statues of ancient Britons also from the gate which were probably meant to represent King Lud and his two sons.
Adjacent to the Virgin Queen is a bust of Lord Northcliffe, the newspaper proprietor; co-founder (together with Lord Rothermere) of the Daily Mail, first popular daily newspaper, and the Daily Mirror in 1903. Northcliffe acquired The Times in 1914, and is regarded as one of the founders of modern mass circulation journalism. Next to Lord Northcliffe is a memorial tablet to James Louis Garvin, another pioneering British journalist.
St Dunstan-in-the-West is the only church in England to share its building with the Romanian Orthodox community. The chapel to the left of the main altar is closed off by an iconostasis formerly from Antim monastery in Bucharest, dedicated in 1966.
Town Hall square 2
Town Hall. Homogenous structure of Venetian palazzo type with superelevated midblock and side towers, built in 1615/20 by Elias Holl, 1944 severely damaged, in exterior building restored, reconstructive expansion of the Interior since 1978, with historical equipment. D-7-61-000-824
Rathausplatz 2
Rathaus. Geschlossener Baukörper des venezianischen Palazzotyps mit überhöhtem Mittelblock und Seitentürmen, 1615/20 von Elias Holl erbaut, 1944 schwer beschädigt, im Außenbau wiederhergestellt, rekonstruierender Ausbau des Inneren seit 1978, mit historischer Ausstattung.D-7-61-000-824
de.wikipedia.org/wiki/Liste_der_Baudenkm%C3%A4ler_in_Augs...
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