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The soap dish is actually an aluminum body step used on large trucks... I found it in a towing equipment catalog.
My mother bought a greenhouse. It needed some construction. I did the Mechano-type bits and my brother did the concrete and timber foundations.
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
Above: Construction of the KCR rail way on a reclamation land. Below: Construction of the tunnel to Shatin.
A few frames from the timelapse I'm doing for the construction of the stage for the Much Music Video Awards 2012 in Toronto.
This cake was a little fella turning 1. He's dad is a concrete driver so a 'construction cake' is was! Chocolate cake filled with raspberry buttercream. Made without nuts. There was a dump truck, concrete mixer and bulldozer on the cake.
This is a remodeling project under construction by Brock Builders. We are general contractors in Asheville.
Final pool exercise: building a scaffold frame and recording the construction with video and photo. Some of the results of which you find here...
One of the two enormous entry driveways off of SW Loop 410 into the new Traders Village Marketplace in San Antonio.
Construction continues on the new headquarters building, part of the Central Campus in the industrial area at NASA’s Kennedy Space Center in Florida. In view is the round steel framing for an awning. The new seven-story, 200,000-square-foot facility will house about 500 NASA civil service and contractor employees. The building will be more energy efficient than the current Headquarters building and will feature the latest in office and administrative building technology to fulfill Kennedy's role as the premiere spaceport for NASA and, increasingly, commercial entities. Photo credit: NASA/Ben Smegelsky
Built in 1901, this Hawaiian Gothic-style hotel, mixing elements of the Queen Anne, Classical Revival, Beaux Arts, and Renaissance Revival styles, was designed by Oliver G. Traphagen and built by the Lucas Brothers for Walter Chamberlain Peacock as the first large hotel on Waikiki. Expanded in 1918 with the addition of two six-story concrete wings and a large rooftop addition on the original building, the hotel has changed scale and massing considerably from its original design, but maintains its original facade, roof, and decorative trim and ornament. The first hotel on Waikiki, the Moana featured 75 guest rooms with bathrooms and telephone service, a main parlor, salon, billiard room, and library, and a main reception area on the first floor, a grand staircase, ionic fluted columns inside the main lobby, an electric elevator, and an open two-story portion of the lobby ringed by balustrades on the second floor, with the hotel being considered very modern and luxurious for its time. In 1904, a banyan tree was planted in the courtyard on the ocean side of the hotel by Jared Smith, Director of the Department of Agriculture Experiment Station, which has since grown to be 75 feet tall and 150 feet wide. The hotel proved a bit too ambitious for the investment Peacock had put into it, and it was sold to Alexander Young in 1905 after encountering financial difficulties. Following Young’s death in 1910, the building became the property of the Territorial Hotel Company, founded by Young, which expanded the hotel with two wings in 1918, but went bankrupt during the Great Depression, with ownership then coming under the Matson Navigation Company. Various famous guests stayed at the hotel over the years, including the Prince of Wales and future King Edward VIII in 1920, author Agatha Christie and her husband in 1922, and Jane Stanford, co-founder of Stanford University, whom mysteriously died of strychnine poisoning in the hotel, though her murder remains unsolved. The original building features lots of classical Ionic columns, a hipped roof with broad overhanging eaves and brackets, clapboard siding, arched openings at the lanais with fleur-de-lis motif panels between them and supported by doric columns, decorative balustrades, one-over-one double-hung windows in singles and groups. In the center of the building is a tower with oxeye windows below the main roofline, doric pilasters on the corners, a lanai on the sixth floor with arched openings and a long row of french doors, and a tall porte cochere in the center of the first and second floors of the tower with fluted ionic columns, a roofline wrapped with a decorative balustrade, and an architrave featuring festoons, dentils, and brackets. The building also features lanais on the fifth floor below the roofline with decorative columns and sawn balustrades supported by brackets and featuring decorative trim, lanais with arched openings and sawn balustrades on the ends of the fifth floor of the original side wings, large arched openings at the base of the original side wings with large windows and juliet balconies, accented with circular panels featuring fleur-de-lis motifs, and crowned with another juliet balcony supported by columns, hipped dormers, and a multi-tier lanai on the rear of the building facing the ocean. The hotel was expanded with two Renaissance Revival-style six-story wings on either side in 1918, which featured concrete construction and stucco-clad exteriors with arched and rectangular double-hung one-over-one windows with decorative trim surrounds, open staircases on the front and rear facades with arched exterior openings, juliet balconies, small ionic columns, brackets, and corner pilasters, a hipped roof with broad overhanging bracketed eaves, small rooftop towers with hipped roofs, and arched vents, and pilasters at the corners of the wings themselves, dividing the side facades into three segments. After the construction of the wings in 1918, a large breezeway with double-hung windows making up most of the exterior was constructed across the ridge of the hipped roof of the original hotel building, running straight through the original building’s tower in the middle, which saw the addition of a similar rooftop tower with arched vents to the two 1918 wings. The hotel was renovated multiple times in the 20th Century, with the loss of the original porte cochere, reconfiguration of the interior, and the addition of bungalows across Kalakaua Avenue in 1925, which led to the hotel becoming known as the Moana-Seaside Hotel & Bungalows during the period between the 1920s and 1950s. A new hotel, known as the Surfrider, was built immediately Diamond Head of the Moana Hotel by the Matson Navigation Company in 1952, which stood 8 stories tall, towering over the older hotel next door. The hotel’s bungalows were demolished the following year and replaced by the Princess Kaiulani Hotel, with the Moana Hotel, Surfrider Hotel, and Princess Kaiulani Hotel being sold to Sheraton Hotels and Resorts in 1959. The Moana Hotel and Surfrider Hotel were sold to the Kyo-Ya Company, led by Japanese industrialist Kenji Osano, in 1963, but remained under the Sheraton banner. In 1969, a new and much taller Surfrider Hotel was built immediately Ewa of the Moana Hotel, with a new taller tower being added to the Princess Kaiulani Hotel in 1970. After the completion of the new Surfrider Hotel, the old Surfrider, built in 1952, became the Moana Ocean Lanai, and later, the Diamond Head Tower of the Moana Hotel. The Moana Hotel was listed on the National Register of Historic Places in 1972. In 1989, the Moana Hotel was restored under the direction of architect Virginia D. Murison to its 1920s exterior appearance, with the restoration of deteriorated exterior elements, interior common spaces, and reconstruction of the original porte cochere, as well as better integration of the historic hotel with the adjacent 1952 and 1969 buildings on either side. Now known as the Sheraton Moana Surfrider, the resort maintained the historic charm of the original Moana Hotel and conserved the hotel’s iconic banyan tree, while boasting 793 modern guest rooms, a new pool, with the project winning many preservation awards. The hotel has since been rebranded as the Westin Moana Surfrider Hotel.