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Another river, another bridge. This one has a temporary bridge across the broken section.
Photo taken somewhere in Malaya in August 1967.
Find out more: simplifiedsafety.com/safety-railing/portable-railing/
Find out more: simplifiedsafety.com/safety-railing/portable-railing/
During World War Two, many river crossings were destroyed in Malaya. By 1967 many of these had become ferries but some temporary bridges had been erected post war such as this one.
I got my Blue x Pink Maya today and since my other Maya stole the default outfit right away, this new girl got to borrow the other one's clothes for now XD I'm still deciding what will be Kira's final style, but here's what she looks like now~
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Kirari - Azone Pureneemo Blue x Pink Maya (DS ver.)
I'm always thinking of how to take a proper picture of this building named 'Delftse Poort' in Rotterdam, located right next to the central train station. As they are completely rebuilding the train station at the moment, photo opportunities arise that haven't been there before (or I would have been hit by traffic!). Yet this building offers plenty of nice options, as it usually reflects the clouds ;-) This time I got the reflections twice, both on the building and in the puddle in which I was stood.
I'm eagerly awaiting the train station to be finished, because trust me, that looks promising!!
Crews lowered this 100-foot span of temporary pedestrian walkway into place in August. It ties to the existing walkway and will be in use while the new walkway is being built right next to it.
On Jan. 4, 2018, crews remove temporary shoring from the northern area of the southbound pier in the South Talbot Road exit area. This work is part of ongoing construction for the I-405/SR 167 Interchange Direct Connector Project in Renton.
Built up as a fixed-gear so I can shovel some miles onto it before painting it, boxing it, and sending it off to (approximately) the east coast.
NOBR AKES -- I have yet to braze on the canti (we agreed to not do centerpulls) posts, brake and chainstay bridges, or the wiring ports for internal wiring. When I get the brakes onto this thing (and get a half link to tighten the chain; geared bicycle w/ vertical dropouts, so I can't push the rear wheel back and forth to get the right chain tension) I'll drop fenders onto it and loop it further from home than the approximately 1800 feet I took it w/o anything but my legs to stop the thing.
A look at Conwy Castle, part of a UNESCO World Heritage site with the other North Wales Edward I castles, as well as with the Town Walls.
Didn't really come to Conwy for the castle, mainly for the Conwy Suspension Bridge and Aberconwy House. Also have been to two of the other castles in this UNESCO listing months earlier (Beaumaris and Caernarfon). Although did see Beaumaris once more during this second holiday in North Wales in summer 2018.
Conwy Castle (Welsh: Castell Conwy, English: Conway Castle) is a medieval fortification in Conwy, on the north coast of Wales. It was built by Edward I, during his conquest of Wales, between 1283 and 1289. Constructed as part of a wider project to create the walled town of Conwy, the combined defences cost around £15,000, a huge sum for the period. Over the next few centuries, the castle played an important part in several wars. It withstood the siege of Madog ap Llywelyn in the winter of 1294–95, acted as a temporary haven for Richard II in 1399 and was held for several months by forces loyal to Owain Glyndŵr in 1401.
Following the outbreak of the English Civil War in 1642, the castle was held by forces loyal to Charles I, holding out until 1646 when it surrendered to the Parliamentary armies. In the aftermath the castle was partially slighted by Parliament to prevent it being used in any further revolt, and was finally completely ruined in 1665 when its remaining iron and lead was stripped and sold off. Conwy Castle became an attractive destination for painters in the late 18th and early 19th centuries. Visitor numbers grew and initial restoration work was carried out in the second half of the 19th century. In the 21st century the ruined castle is managed by Cadw as a tourist attraction.
UNESCO considers Conwy to be one of "the finest examples of late 13th century and early 14th century military architecture in Europe", and it is classed as a World Heritage site. The rectangular castle is built from local and imported stone and occupies a coastal ridge, originally overlooking an important crossing point over the River Conwy. Divided into an Inner and an Outer Ward, it is defended by eight large towers and two barbicans, with a postern gate leading down to the river, allowing the castle to be resupplied from the sea. It retains the earliest surviving stone machicolations in Britain and what historian Jeremy Ashbee has described as the "best preserved suite of medieval private royal chambers in England and Wales". In keeping with other Edwardian castles in North Wales, the architecture of Conwy has close links to that found in the kingdom of Savoy during the same period, an influence probably derived from the Savoy origins of the main architect, James of Saint George.
Grade I listed building
History
Conwy Castle was begun in 1283 following the successful conquest of Snowdonia by the armies of Edward I of England. It was one of a defensive ring of castles erected around the North Wales coast from Aberystwyth to Flint, and in addition protected a walled town that was the largest of the medieval boroughs of North Wales. Work began with digging the rock-cut ditches, under the direction of Richard of Chester, master engineer. The design of the castle and supervision of building was under the control of James of St George, Master of the King's Works in Wales and the foremost secular architect of his age. Other subordinate master craftsmen included Henry of Oxford and Laurence of Canterbury, both master carpenters, and John Francis who, like James of St George, was from Savoy. The castle and town wall were substantially complete by 1287.
Modifications were made to the buildings in 1346-7 by Henry de Snelleston, mason to Edward, Prince of Wales (the Black Prince). This included replacing original roof trusses and strengthening the roofs by adding masonry arches. By the end of the C15 its military importance was diminishing and the castle slowly decayed. It was described as in poor condition in 1627, and in 1631 it was sold to Charles I's secretary of state, who assumed the title Viscount Conway of Conway Castle. During the Civil War the castle was repaired and fortified for the Royalists under the leadership of John Williams, exiled archbishop of York and a native of Conwy. The castle surrendered in 1646 and in 1655 the castle was 'disabled' by blowing up a portion of the bakehouse tower, making a substantial breach. The castle was restored to the Conway family after the Restoration, when some of the buildings, and the lead roofs, were taken down. Ownership passed to the Seymour family until, in 1865, it was given to the town. During this period there was some restoration and the bakehouse tower was rebuilt by the LNWR, whose railway line passed the foot of the castle. Since 1953, when more substantial conservation work began, the castle has been a guardianship monument in the care of the state.
Exterior
A castle whose compact design is dictated by the rocky outcrop on which its stands. Roughly rectangular in plan, it has a curtain wall with 8 higher round towers enclosing an outer ward on the W side, and smaller near-square inner ward to the E overlooking the river. Additional defence was provided by barbicans at E and W entrances. Walls are coursed rubble, with freestone dressings of pink sandstone. They are embattled with saddleback copings to the merlons, which also have arrow loops on the towers. The round towers have loops and openings of 2-light mullioned windows, although few of the mullions have survived, and higher round stair turrets. Many features are consistent throughout the building, including freestone fireplaces with raked stone hoods, and window seats.
The main entrance from the town is on the W side. It retains part of a ramp on the N side from the modern Castle Square. The gap over which the drawbridge was lowered has been covered by a timber platform. The entrance arch to the W barbican has a pointed arch with portcullis slots, flanked by round turrets with corbel tables. Inside the gateway are later stone steps to a gate passage, where there is a modern breach in the wall for visitor access, and the springers and draw-bar sockets of another gateway. The W barbican has an almost straight wall with 3 turrets. The town wall is attached to the southernmost turret.
Entrance to the E barbican was from the Water Gate. The outer steps have disappeared, probably lost when Thomas Telford built the suspension bridge in 1822-6, but they are shown on the Buck brothers' 1742 engraving of the castle. Steps inside the barbican have survived, but of the doorway in the barbican wall only the draw-bar sockets have survived. The faceted E barbican wall has 3 turrets similar to the W side.
The castle has 8 towers, of which 6 enclose the outer ward, one at the corners and one half way along each of the N and S walls, and 4 enclose the inner ward, of which 2 (stockhouse and bakehouse towers) are common to both inner and outer wards. In the outer ward the S wall is faceted and the W wall is narrower than the E. Otherwise the whole castle is rectangular in plan. The W wall of the outer ward has a pointed arch, below deep corbels of former machicolations. On the N side of the outer ward, both sections of wall have 2 loops and 2 latrine shafts, including one on the W side contained within a shallow projection and low round turret. Attached to the stockhouse tower, between inner and outer wards, is the town wall. The inner ward N wall has 2 loops and 2 low-level outlets of latrine shafts. On the S side each section of the outer ward has 3 windows, 2 loops to the cellar and latrine shaft at wall-walk level. The bakehouse tower between inner and outer wards is partly rebuilt in snecked stone, with a battered plinth of rock-faced stone, repairs carried out by LNWR in the 1870s of the deliberate breach made in 1655. The inner ward S wall has a doorway at ground-floor level above a battered rubble plinth (the only section not built directly on bedrock). At 1st-floor level are 2 loops, a larger opening centre-R, and a former doorway at the R end. Above 1st-floor level are 3 latrine shafts. The E wall, from the E barbican, has a shoulder-headed doorway, 4 1st-floor windows with stepped lintels, and deep corbelled machicolations, although the embattled parapet has not survived.
In the outer ward, the gate passage has portcullis slots and draw-bar sockets, and a high-level door on the S side, to stone steps up to the wall walk. The inner side of the wall is corbelled out at parapet level. The NW and SW towers form a pair. They each have 2 superimposed newel stairs restored in concrete. Both have fireplaces to 1st and 2nd floors. In addition the SW tower has a domed bread oven at ground floor, and latrine to the 1st floor. The kitchen tower in the centre of the N side of the outer ward has a ruined newel stair. The wall walk is corbelled out around its faceted inner side. The prison tower on the corresponding S side has a dungeon, but otherwise similar details to the other towers, including restored newel stairs and ruined fireplaces, except for a 2nd-floor fireplace with flat stone arch instead of a corbelled lintel.
Remains of buildings can be seen against each of the outer ward walls. Of the guard rooms to the W, flanking the gate passage, and kitchen and stables on the N, only footings have survived. Against the S wall is a long faceted range housing lesser hall and a small chamber in the W facet, great hall in the central facet, passage and chapel in the E facet. At the W end are stone steps leading down to a pointed cellar doorway with continuous chamfer. To its L is a pointed window, its tracery missing but originally 2-light. Further L is a similar former 2-light window to the great hall that retains fragments of bar tracery. In the E facet are the passage doorway, the dressings of which are mostly missing and with modern stone steps, and 2-light chapel window, also with fragments of bar tracery. The chapel has a similar former 3-light E window. Inside, this range has one transverse arch and the springers and haunches of 7 others, all inserted in the mid C14 to support the roof. The lesser hall has a fireplace in its W end wall; the small chamber between halls has a N fireplace; the great hall has a fireplace against the prison tower. Access to the prison tower is from the embrasure of one the S windows of the great hall. The cellar has a dividing wall below the chapel with doorway.
On the E side of the outer ward is a stone-lined well, approximately 91 feet deep. Behind the well was a drawbridge to a small gatehouse at the middle gate between inner and outer wards. The gatehouse is square in plan with narrow loop in the W wall. The middle gate has a doorway with shouldered lintel to each end of its passage, and draw-bar socket.
The other entrance to the inner ward, the E gate, has draw-bar sockets, and a passage giving access to mural stairs to the king's tower and chapel tower. The stockhouse and bakehouse towers are similar to the towers in the outer wards. The bakehouse tower has a domed oven behind the ground-floor fireplace, and restored newel stairs. The stockhouse tower has ruined newel stairs. The NE chapel tower has a restored conical slate roof. From the inner ward is a C19 restored doorway with red sandstone jamb to the ground floor. It also has a passage and doorway above the water gate on the outer (E) side. A mural stair leads to the 1st-floor chapel, where there is also a separate latrine. The rib-vaulted chapel is round with an apsidal sanctuary. The sanctuary has wall shafts and cusped arcading, incorporating sedilia on the S side, below 3 pointed windows with leaded glazing. On the S side is a squint from a small cell. On the N side of the chapel is a deep window seat, which also features a squint to the sanctuary. A restored mural stair leads to the upper chamber. The SW king's tower has a restored newel stair. At 1st-floor level is a small keeled tunnel-vaulted chamber.
Buildings are ranged against the walls of the inner ward, including the king's private apartments. Against the S wall are the 1st-floor king's chamber on the E and king's hall on the W (known as presence chamber and privy chamber respectively in a survey of 1627), with a passage to the bakehouse tower at the W end. This passage has a segmental-pointed arch. Two windows to its L have dressings mostly missing, and further L is a segmental-headed ground-floor doorway and another window. Entrance to the 1st-floor hall is by a doorway above the passage, which has a 2-light cusped square-headed window immediately to its L. Further L are 2 hall windows and a 3rd to the king's chamber, all square-headed with relieving arches, bar-tracery fragments and fragments of sunk spandrels. Next L is the wall over the passage to the E gate (later used as a buttery). From inside the passage the range has a ground-floor doorway with chamfered dressings and springers of a possible cambered arch, and at the L end a 1st-floor doorway with segmental head. The W wall of the hall has 2 1st-floor doorways with segmental heads. Inside, beneath the hall is a ground-floor fireplace to the W wall, and larger former corbelled 1st-floor fireplace in the S wall. One floor-length window reveal in the S wall has a short passage to a latrine. Hall and chamber have one complete and the springers of 3 other C14 stone transverse arches supporting the former roof. In the king's chamber the 1st-floor has floor-length S and E window reveals opening to mural passages to a latrine and the king's tower.
Against the E wall of the inner ward are the passage to the E gate, and what was known in 1627 as the 1st-floor great chamber. The passage on the R has a pointed segmental arch, to the L of which the ground floor has a segmental-headed window and a small window further L. The 1st-floor great chamber was entered by a doorway at the R end over the passage, which has a cambered head. The chamber has one large square-headed W window under a relieving arch. Inside, fireplaces were built into the W walls, with tripartite lintel in the ground floor. The springers and haunches survive of 2 former transverse arches added in the mid C14 to support the roof.
Reasons for Listing
Listed grade I as one of the oustanding Edwardian medieval castles of Wales.
Scheduled Ancient Monument CN004
The view from Vicarage Gardens Car Park
Caterpillar of the Gulf Fritillary Butterfly on passion vine!!!
Agraulis vanillae (Linnaeus, 1758)
Gulf Fritillary - Agraulis vanillae, uses the passion flower vine for its larval foodplant.
For info on this lovely future butterfly see: www.sasionline.org/fritillary/fritillary.html
Better viewed on black if you have time!!!
EXPLORED at #464 on June 18. Thanks so much to everyone for making this possible!!!
Temporary water meter for drawing water from a hydrant for a construction site. Switzerland, April 22, 2022.
from accessoire, via anthro. looks a bit strange b/c i'm wearing toeless tights under. must take a pic that really shows off these babies...
Tried this wig on Nashira, but it's a bit too big. Solution? Stuff it under a flower crown! hehe
(These crowns are currently available in my etsy shop)
She's getting a complete make-over soon, so I figured I should play with her as-is for a bit. ♥
I also removed her eyelashes, since they seemed to just get in the way.
MAN010 leading MAN002, MAN006 ahead of 9375 cooling their heels at the temporary crew change platform at Junee after a non-stop run from Wollongongs Inner Harbour. The platform has been constructed to avoid trains blocking the Olympic hwy level crossing which is currently the only railway crossing in town due to the Kemp St bridge being closed due to reconstruction works for the Inland Rail. Down train crews no longer changeover at the station platform.
On the bank of the Somass River. Normaly crows are harrassing the Eagles but on this occasion they were quite calm
The temporary gear selector was refitted after the gearbox was replaced. This was due to a fault with the buses own loom / gear selector which had yet to be checked. The temporary selector allows a direct connection to the gearbox.
The little roombox is all done until the loft house arrives, then I can really go crazy and decorate. Nimm is quite at home though now. :)
And now for some shots with the 50mm, of the details and fittings of the church. More to follow.
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Augustus Welby Northmore Pugin (1 March 1812 – 14 September 1852) was an English architect, designer, artist and critic, chiefly remembered for his pioneering role in the Gothic Revival style; his work culminated in the interior design of the Palace of Westminster. Pugin designed many churches in England, and some in Ireland and Australia.[1] Pugin was the son of Auguste Pugin, and the father of E.W. and Edmund Peter Paul Pugin, who continued his architectural firm as Pugin & Pugin.
Pugin was the son of a French draughtsman, Auguste Pugin, who had come to England as a result of the French Revolution and had married Catherine Welby of the Denton, Lincolnshire Welby family.[3] Augustus was born at his parents' house in Bloomsbury. Between 1821 and 1838 Pugin's father had published a series of volumes of architectural drawings, the first two entitled, Specimens of Gothic Architecture, and the following three, Examples of Gothic Architecture, that were to remain both in print and the standard references for Gothic architecture for at least the next century.
As a child he was taken each Sunday by his mother to the services of the fashionable Scottish presbyterian preacher Edward Irving (later founder of the Holy Catholic Apostolic Church), at his chapel in Cross Street, Hatton Garden.[4] He soon rebelled against this version of Christianity: according to Benjamin Ferrey, Pugin "always expressed unmitigated disgust at the cold and sterile forms of the Scotch church; and the moment he broke free from the trammels imposed on him by his mother, he rushed into the arms of a church which, pompous by its ceremonies, was attractive to his imaginative mind.
Pugin learned drawing from his father, and for a while attended Christ's Hospital. After leaving school he worked in his father's office, and in 1825 and 1827 accompanied him on visits to France.[6] His first commissions independent of his father were for designs for the goldsmiths Rundell and Bridge, and for designs for furniture at Windsor Castle, from the upholsterers Morrel and Seddon. Through a contact made while working at Windsor, he became interested in the design of theatre scenery, and in 1831 obtained a commission to design the sets for the production of a new opera called Kenilworth at Covent Garden.[7] He also developed an interest in sailing, and briefly commanded a small merchant schooner trading between Britain and Holland, which allowed him to import examples of furniture and carving from Flanders,with which he later furnished his house at Ramsgate.[8] During one voyage in 1830 he was wrecked on the Scottish coast near Leith,[9] as a result of which he came into contact with Edinburgh architect James Gillespie Graham, who advised him to abandon seafaring for architecture.[10] He then set up a business supplying historically accurate carved wood and stone details for the increasing number of buildings being constructed in the Gothic style, but the enterprise soon failed.
In 1831, aged nineteen, Pugin married the first of his three wives, Anne Garnet.[11] Anne died a few months later in childbirth, leaving him with a daughter. He had a further six children, including the architect Edward Pugin, with his second wife, Louisa Burton, who died in 1844. His third wife, Jane Knill, kept a journal of their married life together, between their marriage in 1848 and his death; it was later published.[12] Their son was Peter Paul Pugin.
Following his second marriage in 1833, Pugin moved to Salisbury with his wife,[13] and in 1835 bought half an acre of land, at Alderbury, about a mile-and-a-half outside the town, On this he built a medieval-inspired house for his family, called "St Marie's Grange".[14] Charles Locke Eastlake said of it "he had not yet learned the art of combining a picturesque exterior with the ordinary comforts of an English home".
In 1834, Pugin became a Roman Catholic convert,[16] and was received into the faith in the following year.[17] His conversion resulted in the loss of some commissions,[citation needed] but also brought him into contact with new patrons and employers. In 1832 he had made the acquaintance of John Talbot, 16th Earl of Shrewsbury, a Roman Catholic, sympathetic to his aesthetic views who employed him in alterations and additions to his residence Alton Towers, which subsequently led to many other commissions.[18] Shrewsbury commissioned him to build St. Giles' Catholic Church, Cheadle, completed in 1846, and Pugin was also responsible for designing the oldest Catholic church in Shropshire, St Peter and Paul at Newport,
n 1836, Pugin published Contrasts, a polemical book which argued for the revival of the medieval Gothic style, and also "a return to the faith and the social structures of the Middle Ages".[19] Each plate in the book selected a type of urban building and contrasted the 1830 example with its 15th-century equivalent. In one example, Pugin contrasted a medieval monastic foundation, where monks fed and clothed the needy, grew food in the gardens – and gave the dead a decent burial – with "a panopticon workhouse where the poor were beaten, half starved and sent off after death for dissection. Each structure was the built expression of a particular view of humanity: Christianity versus Utilitarianism."[19] Pugin's biographer, Rosemary Hill, wrote: "The drawings were all calculatedly unfair. King's College London was shown from an unflatteringly skewed angle, while Christ Church, Oxford, was edited to avoid showing its famous Tom Tower because that was by Christopher Wren and so not medieval. But the cumulative rhetorical force was tremendous."
In 1841 he left Salisbury,[20] finding it an inconvenient base for his growing architectural practice.[21] He sold St Marie's Grange at a considerable financial loss,[22] and moved temporarily to Cheyne Walk, Chelsea. He had however already purchased a piece of land at the West Cliff, Ramsgate, where he proceeded to build himself a large house and, at his own expense, a church on which he worked whenever funds allowed. His second wife died in 1844 and was buried at St. Chad's, Birmingham, a church which he had himself had designed.
Following the destruction by fire of the Palace of Westminster in 1834, Pugin was employed by Sir Charles Barry to supply interior designs for his entry to the architectural competition which would determine who would build the new Palace of Westminster. Pugin also supplied drawings for James Gillespie Graham's entry.[24] This followed a period of employment when Pugin had worked with Barry on the interior design of King Edward's School, Birmingham. Despite his conversion to Catholicism in 1834, Pugin designed and refurbished both Anglican and Catholic churches throughout the country.
Other works include St Chad's Cathedral, Erdington Abbey and Oscott College, all in Birmingham. He also designed the college buildings of St Patrick and St Mary in St. Patrick's College, Maynooth; though not the college chapel. His original plans included both a chapel and an aula maxima, neither of which were built because of financial constraints. The college chapel was designed by a follower of Pugin, the Irish architect J.J. McCarthy. Also in Ireland, Pugin designed St Mary's Cathedral in Killarney, St Aidan's Cathedral, Enniscorthy (renovated in 1996) and the Dominican church of the Holy Cross in Tralee. He revised the plans for St Michael's Church in Ballinasloe, Galway. Pugin was also invited by Bishop Wareing to design what eventually became Northampton Cathedral, a project that was completed in 1864 by Pugin's son Edward Welby Pugin.
Pugin visited Italy in 1847; his experience there confirmed his dislike of Renaissance and Baroque architecture, but he found much to admire in the medieval art of northern Italy.
In February 1852, while travelling with his son Edward by train, Pugin suffered a total breakdown and arrived in London unable to recognise anyone or speak coherently. For four months he was confined to a private asylum, Kensington House. In June, he was transferred to the Royal Bethlem Hospital, popularly known as Bedlam.[26] At that time, Bethlem Hospital was opposite St George's Cathedral, Southwark, one of Pugin's major buildings, where he had married his third wife, Jane, in 1848. Jane and a doctor removed Pugin from Bedlam and took him to a private house in Hammersmith where they attempted therapy, and he recovered sufficiently to recognise his wife.[26] In September, Jane took her husband back to The Grange in Ramsgate, where he died on 14 September 1852.[26]
On Pugin's death certificate, the cause listed was "convulsions followed by coma". Pugin's biographer, Rosemary Hill, suggests that, in the last year of his life, he was suffering from hyperthyroidism which would account for his symptoms of exaggerated appetite, perspiration, and restlessness. Hill writes that Pugin's medical history, including eye problems and recurrent illness from his early twenties, suggests that he contracted syphilis in his late teens, and this may have been the cause of his death at the age of 40.
In 1844, having won the architectural competition to design the new Palace of Westminster, Sir Charles Barry, asked Pugin to supply detailed designs for the interior of the new building, including stained glass, metalwork, wood carving, upholstery, furniture and a royal throne. Pugin's biographer, Rosemary Hill, shows that Barry designed the Palace as a whole, and only he could coordinate such a large project and deal with its difficult paymasters, but he relied entirely on Pugin for its Gothic interiors, wallpapers and furnishings.[28]
At the end of Pugin's life, in February 1852, Barry visited him in Ramsgate and Pugin supplied a detailed design for the iconic Palace clock tower, officially dubbed the Elizabeth Tower, but more popularly known as Big Ben. The design is very close to earlier designs by Pugin, including an unbuilt scheme for Scarisbrick Hall, Lancashire. The tower was Pugin's last design before descending into madness. In her biography, Hill quotes Pugin as writing of what is probably his best known building: "I never worked so hard in my life [as] for Mr Barry for tomorrow I render all the designs for finishing his bell tower & it is beautiful & I am the whole machinery of the clock."[29] Hill writes that Barry omitted to give any credit to Pugin for his huge contribution to the design of the new Houses of Parliament.[30] In 1867, after the deaths of both Pugin and Barry, Pugin's son Edward published a pamphlet, Who Was the Art Architect of the Houses of Parliament, a statement of facts, in which he asserted that his father was the "true" architect of the building, and not Barry.