View allAll Photos Tagged Structures
A whistlestop tour of the Structures Exhibition in Henley on Thames, organised by the Quilters' Guild Contemporary Quilt Group.
First conceptional approach with the topic structure close-ups.
Shot with Nikon D5100.
ISO 1000
105 mm
f/5.6
1/320 sec
Editing in PS Lightroom 5.
CANOGA PARK- The Los Angeles Fire Department battled a Major Emergency Structure Fire in the west San Fernando Valley on Monday, October 18, 2021.
The fire at 8423 Canoga Avenue in Canoga Park, was first noted at 12:18 PM by an LAFD Paramedic Ambulance crew returning from a nearby emergency. Within moments of their reporting the fire, flames were through the roof of the 125' x 125' one-story industrial building that also housed an adjoining but unrelated business at 8425 Canoga Avenue.
As that first-arriving LAFD Paramedic crew circled the structure to gain situational awareness and guide fellow responders, they encountered the first of three adult male civilians with severe burn injuries outside the burning building. Two proved to be in critical condition and the other in serious condition. All three were taken to area hospitals. Sadly, one of the critically injured men died later while undergoing hospital care.
The rapid spread of intense flames and multiple explosions heard within the building guided first-arriving firefighters to quickly commence defensive operations, applying multiple large diameter hose streams from the exterior, including two from atop extended aerial ladders, to prevent flames from extending beyond the well involved structure.
With the exception of a forty square-foot section of the roof at 8427 Canoga Avenue destroyed by surface fire, the tactics proved successful in holding the blaze to the pair of unrelated businesses under one roof at 8423 and 8425 Canoga Avenue.
It took 150 Los Angeles Firefighter just 75 minutes to extinguish the flames.
Firefighters remained active through the night extinguishing hotspots and minimizing hazards at the structurally compromised building with the help of LAFD's robotic firefighting vehicle and heavy equipment.
At daylight Tuesday, LAFD crews resumed a systematic search within the largely destroyed premises. During their methodical search among tons of burnt debris inside the structure, firefighters discovered the remains of an adult male, bringing the overall patient count to four, with a total of two deceased and two remaining hospitalized.
No other injuries were reported.
Scientific testing of materials inside the building of fire origin yielded positive results for hemp, and it appears that the operation inside involved the extraction from hemp, not dissimilar to that used in the Butane Honey Oil extraction process.
Though the business was a legal enterprise, the operation inside appeared to be illegal, as it did not adhere to established permitting processes and safety requirements.
Pursuant to protocol, the fire's cause remains the focus of a joint active investigation by the Los Angeles Fire Department, Los Angeles Police Department and the Los Angeles Interagency Metropolitan Police Apprehension Crime Task Force (L.A. Impact).
A positive identification of the dead men, as well as the cause, time and manner of their death will be determined by the Los Angeles County Department of Medical Examiner-Coroner.
© Photo by Austin Gebhardt
LAFD Incident 101821-0791
Connect with us: LAFD.ORG | News | Facebook | Instagram | Reddit | Twitter: @LAFD @LAFDtalk
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
[There are 4 images in this set on the La Tour House] This is a creative commons image, which you may freely use by linking to this page. Please respect the photographer and his work.
The Louis LaTour House, built in 1898, was designed by local Lynchburg, Virginia architect Edward G. Frye in a Queen Anne style. It’s a 2 1/2 story brick structure with hipped and gable roofs; the hipped roof section has a central dormer with three windows, corbelled brick and detail work in terra cotta. The front gable also has corbelled brick work and detailing in terra cotta, including the hood moldings. An open arched bay is visible on the second story; terra cotta is used ornately in this bay. The wooden porch is relatively small with a flat roof; below roof line is a metal entablature that is decorated. The roof is supported on pairs of turned columns and it has turned balusters. The central entrance is a pair of wooden doors with a 1-pane transom. The doors have raised panels and a decorated hood above the window lights that seems Neo-classical. Even though the windows positions on first and second floors correspond, the open 2nd level bay, the gable and the roofline give the building its asymmetrical appearance. The house is listed in the Court House Hill-Downtown Historic District, which was added to the National Register of Historic Places September 11, 2002 with ID#01000853; a boundary increase was added in November of 2002 with ID#02001361
A photograph of the house before renovation is on the Library of Congress website lcweb2.loc.gov/pnp/habshaer/va/va1100/va1158/photos/16014...
This work is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported License.
Shravanabelagola (Kannada:ಶ್ರವಣಬೆಳಗೊಳ Śravaṇa Beḷagoḷa) is a city located near Channarayapatna of Hassan district in the Indian state of Karnataka and is 158 km from Bangalore, the capital of the state. The statue of Gommateshvara Bahubali at Shravanabelagola is one of the most important tirthas (pilgrimage destinations) in Jainism, one that reached a peak in architectural and sculptural activity under the patronage of Western Ganga dynasty of Talakad. Chandragupta Maurya is said to have died here in 298 BCE after he became a Jain monk and assumed an ascetic life style.
LOCATION
Shravanabelagola is located at 13 km to the south-east of Channarayapatna in the Channarayapatna taluk of Hassan district of Karnataka. It is at a distance of 51 km south-east of Hassan, Karnataka, the district centre. It is situated at a distance of 12 km to the south from the Bangalore-Mangalore road (NH-48), 78 km from Halebidu, 89 km from Belur, 83 km from Mysore, 233 km from Mangalore, 17 km from Hirisave and 157 km from Bangalore, the capital of Karnataka.
ETYMOLOGY
Shravanabelagola "White Pond of the Shravana" is named with reference to the colossal image of Gommaṭa - the prefix Śravaṇa serves to distinguish it from other Belagolas with the prefixes Hale- and Kodi-, while Beḷagoḷa "white pond" is an allusion to the pond in the middle of the town. The Sanskrit equivalents Śvetasarovara, Dhavalasarovara and Dhavalasarasa used in the inscriptions that support this meaning.
Some inscriptions mention the name of the place as Beḷguḷa, which has given rise to another derivation from the plant Solanum ferox (hairy-fruited eggplant). This derivation is in allusion to a tradition which says that a pious old woman completely anointed the colossal image with the milk brought by her in a gullakayi or eggplant. The place is also designated as Devara Beḷgoḷa "White Pond of the God" and Gommaṭapuram "city of Gommaṭa" in some epigraphs.
HISTORY
Shravanabelagola has two hills, Chandragiri and Vindhyagiri. Acharya Bhadrabahu and his pupil Chandragupta Maurya are believed to have meditated there. Chandragupta Basadi, which was dedicated to Chandragupta Maurya, was originally built there by Ashoka in the third century BC. Chandragiri also has memorials to numerous monks and Śrāvakas who have meditated there since the fifth century AD, including the last king of the Rashtrakuta dynasty of Manyakheta. Chandragiri also has a famous temple built by Chavundaraya
The 58-feet tall monolithic statue of Gommateshvara is located on Vindyagiri Hill. It is considered to be the world's largest monolithic stone statue. The base of the statue has an inscriptions in Prakrutha i.e. devnagari script, dating from 981 AD. The inscription praises the king who funded the effort and his general, Chavundaraya, who erected the statue for his mother. Every twelve years, thousands of devotees congregate here to perform the Mahamastakabhisheka, a spectacular ceremony in which the statue is anointed with Water, Turmeric, Rice flour, Sugar cane juice, Sandalwood paste, saffron, and gold and silver flowers. The next Mahamastakabhisheka will be held in 2018. The Statue is called as 'Statue of Gommateshvara' by the Kannada people of Karnataka, but the jains refer to the same as "Bahubali".
INSCRIPTIONS
More than 800 inscriptions have been found at Shravanabelagola, dating to various times from 600 to 1830. A large number of these are found in the Chandragiri and the rest can be seen in the Vindhyagiri Hill and the town. Most of the inscriptions at the Chandragiri date back before the 10th century. These inscriptions include texts in the Kannada, The second volume of Epigraphia Carnatica, written by B. Lewis Rice, is dedicated to the inscriptions found here. It is said to be the oldest Konkani inscription. The inscriptions are written in various Halegannada (Old Kannada) and Purvahalagannada (Ancient Kannada) characters. Some of these inscriptions mention the rise and growth in power of the Western Ganga Dynasty, the Rashtrakutas, the Hoysala Empire, the Vijayanagar Empire and the Wodeyar dynasty. These inscriptions have helped modern scholars to understand the nature and development of the Kannada language and its literature.
On August 5, 2007, the statue at Shravanabelagola was voted by the readers of Times of India as the first of the Seven Wonders of India. 49% votes went in favor of the statue.
BASADI
1. Akkana Basadi: built in 1181 A.D. Akkana Basadi has twenty-third Jain Tirthankar (saint) Parshwanath as main deity of the temple.
2. Chandragupta basadi: established in 9th century. The middle cell of this temple has the figure of Parshvanatha, the one to the right the figure of Padmavathi and the one to the left the figure of Kushmandini, all in a seated posture.
3. Shantinatha Basadi: This temple is dedicated to Shantinatha. It was built around 1200 A.D.
4. Parshwanatha Basadi: This is a beautiful structure with decorated outer walls. The image of Parshwanatha is the tallest on the hill which is 18 feet in height. The manastambha (pillar) is sculptured on all four sides which contains the figure of Padmavathi on the south, Yaksha on the east, seated Kushmandini on the north and a galloping horseman on the west. The pillars in the navaranga are of round Ganga type with bell, vase and wheel mouldings.
5. Kattlae Basadi: This is situated to the left of Parshwanatha Basadi and in fact this is the biggest of all the Basadis on this hill. Kattlae Basadi has first Jain Tirthankar (saint) Rishabhnatha as main deity of the temple. Here one finds the image of Adinatha Thirthankara and also of Pampavathi in the Kaisale.
6. Chandraprabha Basadi: It is dedicated to the worship of the Eighth Thirthankara, Chandraprabha. The images of Shyama and Jwalamalini, Yaksha and Yakshi are to be found. The basadi is a brick structure raised over a stone base. This temple might be one of the oldest on the hill and its date would be about 800 A.D. It is said to have been constructed by the Ganga king Sivamara II.
7. Suparshwanatha Basadi: Seven headed serpent is carved over the head of the Suparshvanatha image.
8. Chamundarayaraya basadi: is the finest and one of the largest temples on the hill.It is dedicated to Neminatha, the twenty second tirthankara. The sukhanasi consists of good figures of Sarvahna and Kushmandini, the yaksha and yakshi of Neminatha. It is dated back to 982 A.D.
9. Chavundaraya Basadi: This Basadi was constructed in 982 by Chavundaraya. It is dedicated to the worship of Neminatha Swamy, the 22nd Thirthankara. This is constructed as the most beautiful of all the Basadis.
ODEGAL BASADI
Odegal Basadi also known as Vadegal Basti or Trikuta Alaya is a wonderful 14th century basadi situated on Vindhyagiri hill on the way to Bahubali Gomateshwara Temple.
The Odegal Basadi is named so because of the stone proportions placed against its basement. It is the only trikutachala in Shravanabelagola. The basadi is built on a highly elevated platform supported by huge blocks of stone pillars. It is impressive for the commanding position it occupies. The temple has a small mukhamandapa followed by a large mahamandapa with circular pillars. The mahamandapa has three sanctums facing different directions with beautifully statues of Tirthankaras housed inside.
The Odegal Basadi is the first structure one encounters after entering the main fortification on the hill top of Vindhyagiri. The main sanctum of Adinatha Thirthankara is a beautiful sculpture carved out of black granite stone in sitting posture with wonderfully carved background. The other two sanctums house Neminatha Thirthankara and Shanthinatha Thirthankara statues. This is an active temple with regular poojas performed.
OTHER NOTABLE THINGS
Shravanabelagola is the seat of the ancient Bhattaraka Matha, belonging to the Desiya Gana lineage of Mula Sangh, from the Digambara monstic tradition. The Bhattarakas are all named Charukirti. Bahubali College of Engineering is an educational institute at Śravaṇa Beḷgoḷa.
PROMINENT PERSONALITIES
- Charukeerthi Bhattaraka Swamiji, pontiff of the Shravanabelagola Jain Mutt
- SV Bhaskrachar, prominent leader
WIKIPEDIA
Serpentine Gallery Pavillion 2017, text from website copyright of serpentinegalleries.org
Summary
Diébédo Francis Kéré, the award-winning architect from Gando, Burkina Faso, was commissioned to design the Serpentine Pavilion 2017, responding to the brief with a bold, innovative structure that brings his characteristic sense of light and life to the lawns of Kensington Gardens.
Kéré, who leads the Berlin-based practice Kéré Architecture, is the seventeenth architect to accept the Serpentine Galleries’ invitation to design a temporary Pavilion in its grounds. Since its launch in 2000, this annual commission of an international architect to build his or her first structure in London at the time of invitation has become one of the most anticipated events in the global cultural calendar and a leading visitor attraction during London’s summer season. Serpentine Artistic Director Hans Ulrich Obrist and CEO Yana Peel made their selection of the architect, with advisors David Adjaye and Richard Rogers.
Inspired by the tree that serves as a central meeting point for life in his home town of Gando, Francis Kéré has designed a responsive Pavilion that seeks to connect its visitors to nature – and each other. An expansive roof, supported by a central steel framework, mimics a tree’s canopy, allowing air to circulate freely while offering shelter against London rain and summer heat.
Kéré has positively embraced British climate in his design, creating a structure that engages with the ever-changing London weather in creative ways. The Pavilion has four separate entry points with an open air courtyard in the centre, where visitors can sit and relax during sunny days. In the case of rain, an oculus funnels any water that collects on the roof into a spectacular waterfall effect, before it is evacuated through a drainage system in the floor for later use in irrigating the park. Both the roof and wall system are made from wood. By day, they act as solar shading, creating pools of dappled shadows. By night, the walls become a source of illumination as small perforations twinkle with the movement and activity from inside.
As an architect, Kéré is committed to socially engaged and ecological design in his practice, as evidenced by his award-winning primary school in Burkina Faso, pioneering solo museum shows in Munich and Philadelphia.
Serpentine Pavilion Architect's Statement:
The proposed design for the 2017 Serpentine Pavilion is conceived as a micro cosmos – a community structure within Kensington Gardens that fuses cultural references of my home country Burkina Faso with experimental construction techniques. My experience of growing up in a remote desert village has instilled a strong awareness of the social, sustainable, and cultural implications of design. I believe that architecture has the power to, surprise, unite, and inspire all while mediating important aspects such as community, ecology and economy.
In Burkina Faso, the tree is a place where people gather together, where everyday activities play out under the shade of its branches. My design for the Serpentine Pavilion has a great over-hanging roof canopy made of steel and a transparent skin covering the structure, which allows sunlight to enter the space while also protecting it from the rain. Wooden shading elements line the underside of the roof to create a dynamic shadow effect on the interior spaces. This combination of features promotes a sense of freedom and community; like the shade of the tree branches, the Pavilion becomes a place where people can gather and share their daily experiences.
Fundamental to my architecture is a sense of openness. In the Pavilion this is achieved by the wall system, which is comprised of prefabricated wooden blocks assembled into triangular modules with slight gaps, or apertures, between them. This gives a lightness and transparency to the building enclosure. The composition of the curved walls is split into four elements, creating four different access points to the Pavilion. Detached from the roof canopy, these elements allow air to circulate freely throughout.
At the centre of the Pavilion is a large opening in the canopy, creating an immediate connection to nature. In times of rain, the roof becomes a funnel channelling water into the heart of the structure. This rain collection acts symbolically, highlighting water as a fundamental resource for human survival and prosperity.
In the evening, the canopy becomes a source of illumination. Wall perforations will give glimpses of movement and activity inside the pavilion to those outside. In my home village of Gando (Burkina Faso), it is always easy to locate a celebration at night by climbing to higher ground and searching for the source of light in the surrounding darkness. This small light becomes larger as more and more people arrive to join the event. In this way the Pavilion will become a beacon of light, a symbol of storytelling and togetherness.
At the centre of the Pavilion is a large opening in the canopy, creating an immediate connection to nature. In times of rain, the roof becomes a funnel channelling water into the heart of the structure. This rain collection acts symbolically, highlighting water as a fundamental resource for human survival and prosperity.
In the evening, the canopy becomes a source of illumination. Wall perforations will give glimpses of movement and activity inside the pavilion to those outside. In my home village of Gando (Burkina Faso), it is always easy to locate a celebration at night by climbing to higher ground and searching for the source of light in the surrounding darkness. This small light becomes larger as more and more people arrive to join the event. In this way the Pavilion will become a beacon of light, a symbol of storytelling and togetherness.
A view from below the Tacoma structure from below. The structure will carry light rail trains over the ramp connecting SE Tacoma Street to McLoughlin Boulevard.
Licensed for all uses by TriMet.
Figure 3 from Functional Evolution of BRCT Domains from Binding DNA to Protein Published in Evolutionary Bioinformatics
These are the wire frame structures cover with tissue paper. I preferred the sculptures that way, but the client wanted more color and flash!!! ;-)
Structure Synth / Sunflow lighting experinment #1
I managed to find out (with the help of Groovelock) how to create light emitting objects. It will be fun :)
Please don't use this image on websites, blogs or other media without my explicit permission. © All rights reserved
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Title : Bagh-e Fin
Other title : Bagh-i Fin; Fin Garden
Date : 1571-1629 (construction) 1797-1834 (reconstruction)
Current location : Kashan, Esfahan, Iran
Description of work : The Bagh-e Fin was developed during the reign of the Safavid ruler Shah Abbas I (1571-1629) on the route to his new capital at Isfahan. Contained within massive enclosure walls and laid out on a series of low terraces, the garden follows a quadripartite chahar bagh scheme divided by the crossing of two watercourses which also line the perimeter of the garden. The crossing is marked by a two-story pavilion, while garden spaces and pathways fill the space. An additional watercourse, running adjacent to the central one, emanates from a small, but elaborately painted, pool house. The paintings date to the reign of the Qajar ruler Fath Ali Shah (1797-1834), who also replaced most of the earlier buildings. The water is delivered by a qanat (underground irrigation canal) and is forced through numerous fountains by gravity. Various hammams (bathhouses), residences, and a museum line the sides. It was declared a national monument in 1935 and has since undergone extensive repairs. (Sources: Hobhouse, Penelope. Gardens of Persia. Kales Press, 2004; Faghih, Nasrine and Amin Sadeghy. "Persian Gardens and Landscapes" Architectural Design 82.3, 2012, pp. 38-51.)
Description of view : View of benches covered with pillows and carpets in the tea room, located among the complex to the west of the Qajar pool house. The area was once restricted to only women.
Work type : Architecture and Landscape
Style of work : Safavid; Qajar
Culture : Iranian (Islamic)
Materials/Techniques : Stone
Brick
Trees
Source : Movahedi-Lankarani, Stephanie Jakle (copyright Stephanie Jakle Movahedi-Lankarani)
Date photographed : June 2009
Resource type : Image
File format : JPEG
Image size : 3000H X 4000W pixels
Permitted uses : This image is posted publicly for non-profit educational uses, excluding printed publication. Other uses are not permitted. alias.libraries.psu.edu/vius/copyright/publicrightsarch.htm
Collection : Worldwide Building and Landscape Pictures
Filename : WB2016-0044 Fin.jpg
Record ID : WB2016-0044
Sub collection : gardens
historic sites
garden structures
Copyright holder : Copyright Stephanie Jakle Movahedi-Lankarani
All the tunnels and bridges along the Princes Pier Railway have these excellent rusty plaques on the walls as you enter. 63 belongs to the Trafalgar Street Tunnel (also known as the Ann Street Tunnel). For the most part, the Trafalgar Street Tunnel is brick lined but at the portal, you can see that they've used stone. Many tunnels have this approach to construction and I know there's a good reason for it, I just can't think what that may be just now.
Healy Hall is the flagship building on the campus of the Georgetown University. The Flemish Romanesque building, which houses the Office of the President, was built between 1877-79. In addition to a 200 foot tall clock tower, this impressive structure also contains a collection of Baroque art, a 750-seat auditorium (Gaston Hall), and the Riggs Library. It was added to the National Register of Historic Places in 1971, and designated a National Historic Landmark in 1987.
Georgetown University. Georgetown, Washington D.C.
Dancing Rabbit is located in a county that has no building codes, which gives members a great deal of leeway in deciding what to build. They do have an environmental covenant that disallows lumber, except for reclaimed lumber and locally harvested wood. Many structures utilize clay taken right out of the ground, often combined with straw bale construction.
In this picture is an example of a larger single family home.
I found this at the edge of a recreation ground whilst looking for something else. At first I thought it was a railway tunnel air vent but there aren't any tunnels in the area. Also, whilst it seems circular, the other side is actually flat. So no idea, really.