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On Sept. 19, 2018, crews form a cast-in-place wall in the median work zone of SR 167. This work is part of ongoing construction for the I-405/SR 167 Interchange Direct Connector Project in Renton.
Um vestidinho caseado com mini botões ...
Agora ela vai levar suas coisas para a escola de forma ecologicamente correta!
Casapueblo atelier-museu, Punta Bellena - Punta del Este, UY.
Residence and atelier of Carlo Paez Vilaró.
La Iglesia de la Compañía de Jesús considerada el ejemplo más representativo del estilo barroco del Quito colonial, forma parte del conjunto arquitectónico monumental jesuita, mismo que constituye un verdadero emporio de fe, arte e historia de la ciudad.
La Compañía, construida por los jesuitas a partir de 1605, tomó aproximadamente 160 años en ser terminada. Sólo dos años después, los jesuitas fueron expulsados de estas tierras, debido al Edicto de extrañamiento decretado en 1767 por Carlos III, Rey de España. La Compañía de Quito quedó abandonada hasta 1794, fecha en la que fue confiada a los frailes Camilos. Toda la obra evangelizadora, misional y educativa, realizada por los jesuitas en la época colonial, fue extrañada durante el tiempo de su ausencia (1767-1862).
Sobrecoge la belleza y el esplendor del templo y resulta inolvidable la sensación de recogimiento personal que produce admirar el ambiente único de pan de oro que cubre cada centímetro de pilares, bóvedas y cúpulas; su fachada barroca, es una obra de arte en piedra: columnas, cornisas, corazones y querubines sagrados, fueron finamente tallados en piedra volcánica andina. Las influencias moriscas son visibles en la ornamentación del techo abovedado y pilares; el estilo barroco se halla presente en las columnas salomónicas y figuras talladas en cada uno de los retablos.
FUENTE: www.quito.com.ec/index.php/explora-y-disfruta/centro-hist...
Bicycle racks line the entire path on the street outside an MTR station in Hong Kong.
# SML Data
+ Date: 2013-02-22
+ Dimensions: 4766 x 3177
+ Exposure: 1/320 sec at f/5.6
+ Focal Length: 215 mm
+ ISO: 1000
+ Flash: Did not fire
+ Camera: Canon EOS 7D
+ Lens: Canon EF 70-200mm f/4L USM + Canon EF 1.4x Extender III
+ GPS: 22°25'8" N 114°13'34" E
+ Location: 中國香港馬鞍山馬鐵恆安站對出西沙路單車徑 中国香港马鞍山马铁恒安站对出西沙路自行车道 Bicycle lane at Sai Sha Road near the Heng On MTR Station in Ma On Shan, Hong Kong, China
+ Serial: SML.20130222.7D.24245
+ Workflow: Lightroom 4
+ Series: 人流 Human Logistics, 形 Forms
“單車架 Bicycle Racks” / 人流設施之形 Human Logistics Infrastructure Forms / SML.20130222.7D.24245
/ #人流 #HumanLogistics #形 #Forms #SMLForms #CCBY #SMLPhotography #SMLUniverse #SMLProjects
/ #中國 #中国 #China #香港 #HongKong #馬鞍山 #MaOnShan #街 #Street #城市 #Urban #攝影 #摄影 #photography #單車 #自行车 #Bicycle
This is my finished model of the TARDIS in its original form. Although the ship doesn't have a base in 'The Name Of The Doctor' I felt that it looked unfinished without it. So I added a base and fitted a thicker, more sturdy door
A visit to the National Trust property that is Penrhyn Castle
Penrhyn Castle is a country house in Llandygai, Bangor, Gwynedd, North Wales, in the form of a Norman castle. It was originally a medieval fortified manor house, founded by Ednyfed Fychan. In 1438, Ioan ap Gruffudd was granted a licence to crenellate and he founded the stone castle and added a tower house. Samuel Wyatt reconstructed the property in the 1780s.
The present building was created between about 1822 and 1837 to designs by Thomas Hopper, who expanded and transformed the building beyond recognition. However a spiral staircase from the original property can still be seen, and a vaulted basement and other masonry were incorporated into the new structure. Hopper's client was George Hay Dawkins-Pennant, who had inherited the Penrhyn estate on the death of his second cousin, Richard Pennant, who had made his fortune from slavery in Jamaica and local slate quarries. The eldest of George's two daughters, Juliana, married Grenadier Guard, Edward Gordon Douglas, who, on inheriting the estate on George's death in 1845, adopted the hyphenated surname of Douglas-Pennant. The cost of the construction of this vast 'castle' is disputed, and very difficult to work out accurately, as much of the timber came from the family's own forestry, and much of the labour was acquired from within their own workforce at the slate quarry. It cost the Pennant family an estimated £150,000. This is the current equivalent to about £49,500,000.
Penrhyn is one of the most admired of the numerous mock castles built in the United Kingdom in the 19th century; Christopher Hussey called it, "the outstanding instance of Norman revival." The castle is a picturesque composition that stretches over 600 feet from a tall donjon containing family rooms, through the main block built around the earlier house, to the service wing and the stables.
It is built in a sombre style which allows it to possess something of the medieval fortress air despite the ground-level drawing room windows. Hopper designed all the principal interiors in a rich but restrained Norman style, with much fine plasterwork and wood and stone carving. The castle also has some specially designed Norman-style furniture, including a one-ton slate bed made for Queen Victoria when she visited in 1859.
Hugh Napier Douglas-Pennant, 4th Lord Penrhyn, died in 1949, and the castle and estate passed to his niece, Lady Janet Pelham, who, on inheritance, adopted the surname of Douglas-Pennant. In 1951, the castle and 40,000 acres (160 km²) of land were accepted by the treasury in lieu of death duties from Lady Janet. It now belongs to the National Trust and is open to the public. The site received 109,395 visitors in 2017.
Grade I Listed Building
History
The present house, built in the form of a vast Norman castle, was constructed to the design of Thomas Hopper for George Hay Dawkins-Pennant between 1820 and 1837. It has been very little altered since.
The original house on the site was a medieval manor house of C14 origin, for which a licence to crenellate was given at an unknown date between 1410 and 1431. This house survived until c1782 when it was remodelled in castellated Gothick style, replete with yellow mathematical tiles, by Samuel Wyatt for Richard Pennant. This house, the great hall of which is incorporated in the present drawing room, was remodelled in c1800, but the vast profits from the Penrhyn slate quarries enabled all the rest to be completely swept away by Hopper's vast neo-Norman fantasy, sited and built so that it could be seen not only from the quarries, but most parts of the surrounding estate, thereby emphasizing the local dominance of the Dawkins-Pennant family. The total cost is unknown but it cannot have been less than the £123,000 claimed by Catherine Sinclair in 1839.
Since 1951 the house has belonged to the National Trust, together with over 40,000 acres of the family estates around Ysbyty Ifan and the Ogwen valley.
Exterior
Country house built in the style of a vast Norman castle with other later medieval influences, so huge (its 70 roofs cover an area of over an acre (0.4ha)) that it almost defies meaningful description. The main components of the house, which is built on a north-south axis with the main elevations to east and west, are the 124ft (37.8m) high keep, based on Castle Hedingham (Essex) containing the family quarters on the south, the central range, protected by a 'barbican' terrace on the east, housing the state apartments, and the rectangular-shaped staff/service buildings and stables to the north. The whole is constructed of local rubblestone with internal brick lining, but all elevations are faced in tooled Anglesey limestone ashlar of the finest quality jointing; flat lead roofs concealed by castellated parapets. Close to, the extreme length of the building (it is about 200 yards (182.88m) long) and the fact that the ground slopes away on all sides mean that almost no complete elevation can be seen. That the most frequent views of the exterior are oblique also offered Hopper the opportunity to deploy his towers for picturesque effect, the relationship between the keep and the other towers and turrets frequently obscuring the distances between them. Another significant external feature of the castle is that it actually looks defensible making it secure at least from Pugin's famous slur of 1841 on contemporary "castles" - "Who would hammer against nailed portals, when he could kick his way through the greenhouse?" Certainly, this could never be achieved at Penrhyn and it looks every inch the impregnable fortress both architect and patron intended it to be.
East elevation: to the left is the loosely attached 4-storey keep on battered plinth with 4 tiers of deeply splayed Norman windows, 2 to each face, with chevron decoration and nook-shafts, topped by 4 square corner turrets. The dining room (distinguished by the intersecting tracery above the windows) and breakfast room to the right of the entrance gallery are protected by the long sweep of the machicolated 'barbican' terrace (carriage forecourt), curved in front of the 2 rooms and then running northwards before returning at right-angles to the west to include the gatehouse, which formed the original main entrance to the castle, and ending in a tall rectangular tower with machicolated parapet. To the right of the gatehouse are the recessed buildings of the kitchen court and to the right again the long, largely unbroken outer wall of the stable court, terminated by the square footmen's tower to the left and the rather more exuberant projecting circular dung tower with its spectacularly cantilevered bartizan on the right. From here the wall runs at right-angles to the west incorporating the impressive gatehouse to the stable court.
West elevation: beginning at the left is the hexagonal smithy tower, followed by the long run of the stable court, well provided with windows on this side as the stables lie directly behind. At the end of this the wall turns at right-angles to the west, incorporating the narrow circular-turreted gatehouse to the outer court and terminating in the machicolated circular ice tower. From here the wall runs again at a lower height enclosing the remainder of the outer court. It is, of course, the state apartments which make up the chief architectural display on the central part of this elevation, beginning with a strongly articulated but essentially rectangular tower to the left, while both the drawing room and the library have Norman windows leading directly onto the lawns, the latter terminating in a slender machicolated circular corner tower. To the right is the keep, considerably set back on this side.
Interior
Only those parts of the castle generally accessible to visitors are recorded in this description. Although not described here much of the furniture and many of the paintings (including family portraits) are also original to the house. Similarly, it should be noted that in the interests of brevity and clarity, not all significant architectural features are itemised in the following description.
Entrance gallery: one of the last parts of the castle to be built, this narrow cloister-like passage was added to the main block to heighten the sensation of entering the vast Grand Hall, which is made only partly visible by the deliberate offsetting of the intervening doorways; bronze lamp standards with wolf-heads on stone bases. Grand Hall: entering the columned aisle of this huge space, the visitor stands at a cross-roads between the 3 principal areas of the castle's plan; to the left the passage leads up to the family's private apartments on the 4 floors of the keep, to the right the door at the end leads to the extensive service quarters while ahead lies the sequence of state rooms used for entertaining guests and displayed to the public ever since the castle was built. The hall itself resembles in form, style and scale the transept of a great Norman cathedral, the great clustered columns extending upwards to a "triforium" formed on 2 sides of extraordinary compound arches; stained glass with signs of the zodiac and months of the year as in a book of hours by Thomas Willement (completed 1835). Library: has very much the atmosphere of a gentlemen’s London club with walls, columned arches and ceilings covered in the most lavish ornamentation; superb architectural bookcases and panelled walls are of oak but the arches are plaster grained to match; ornamental bosses and other devices to the rich plaster ceiling refer to the ancestry of the Dawkins and Pennant families, as do the stained glass lunettes above the windows, possibly by David Evans of Shrewsbury; 4 chimneypieces of polished Anglesey "marble", one with a frieze of fantastical carved mummers in the capitals. Drawing room (great hall of the late C18 house and its medieval predecessor): again in a neo-Norman style but the decoration is lighter and the columns more slender, the spirit of the room reflected in the 2000 delicate Maltese gilt crosses to the vaulted ceiling. Ebony room: so called on account of its furniture and "ebonised" chimneypiece and plasterwork, has at its entrance a spiral staircase from the medieval house. Grand Staircase hall: in many ways the greatest architectural achievement at Penrhyn, taking 10 years to complete, the carving in 2 contrasting stones of the highest quality; repeating abstract decorative motifs contrast with the infinitely inventive figurative carving in the newels and capitals; to the top the intricate plaster panels of the domed lantern are formed in exceptionally high relief and display both Norse and Celtic influences. Next to the grand stair is the secondary stair, itself a magnificent structure in grey sandstone with lantern, built immediately next to the grand stair so that family or guests should not meet staff on the same staircase. Reached from the columned aisle of the grand hall are the 2 remaining principal ground-floor rooms, the dining room and the breakfast room, among the last parts of the castle to be completed and clearly intended to be picture galleries as much as dining areas, the stencilled treatment of the walls in the dining room allowing both the provision of an appropriately elaborate "Norman" scheme and a large flat surface for the hanging of paintings; black marble fireplace carved by Richard Westmacott and extremely ornate ceiling with leaf bosses encircled by bands of figurative mouldings derived from the Romanesque church of Kilpeck, Herefordshire. Breakfast room has cambered beam ceiling with oak-grained finish.
Grand hall gallery: at the top of the grand staircase is vaulted and continues around the grand hall below to link with the passage to the keep, which at this level (as on the other floors) contains a suite of rooms comprising a sitting room, dressing room, bedroom and small ante-chamber, the room containing the famous slate bed also with a red Mona marble chimneypiece, one of the most spectacular in the castle. Returning to the grand hall gallery and continuing straight on rather than returning to the grand staircase the Lower India room is reached to the right: this contains an Anglesey limestone chimneypiece painted to match the ground colour of the room's Chinese wallpaper. Coming out of this room, the chapel corridor leads to the chapel gallery (used by the family) and the chapel proper below (used by staff), the latter with encaustic tiles probably reused from the old medieval chapel; stained and painted glass by David Evans (c1833).
The domestic quarters of the castle are reached along the passage from the breakfast room, which turns at right-angles to the right at the foot of the secondary staircase, the most important areas being the butler's pantry, steward's office, servants' hall, housekeeper's room, still room, housekeeper's store and housemaids' tower, while the kitchen (with its cast-iron range flanked by large and hygienic vertical slabs of Penrhyn slate) is housed on the lower ground floor. From this kitchen court, which also includes a coal store, oil vaults, brushing room, lamp room, pastry room, larder, scullery and laundry are reached the outer court with its soup kitchen, brewhouse and 2-storey ice tower and the much larger stables court which, along with the stables themselves containing their extensive slate-partitioned stalls and loose boxes, incorporates the coach house, covered ride, smithy tower, dung tower with gardeners' messroom above and footmen's tower.
Reasons for Listing
Included at Grade I as one of the most important large country houses in Wales; a superb example of the relatively short-lived Norman Revival of the early C19 and generally regarded as the masterpiece of its architect, Thomas Hopper.
A look around the inside of the castle / house.
The Library
Billiard Table
Seen before going up the Grand Staircase.
Sacred Harp singing is a form of church music started in the early 19th century in the northeast, which went on to be popular in the south. It's an art form that came close to dying out, but has had a resurgence in popularity due in part to the Internet. The locals who enjoy this singing have formed the Harpeth Valley Sacred Harp Singers and you can find out more about them here: sacredharpnashville.org/
Here's what's going on in the picture: Chairs are arranged to form a square. That song's leader stands in the middle and faces the largest group who sings the melody. On one side are the basses, who are opposite from the trebles, with the altos in the back. The book they use is a modern reprint of a book dating back to 1844 called The Sacred Harp. The music is sung a cappella, which means they don't use instruments, but with everyone singing they can belt out the notes really loud. The leader and some of the singers wave their hand in a pattern to help keep the rhythm. This meetup was at the 2011 Wilson County Fair in Lebanon, TN
A visit to the National Trust property that is Penrhyn Castle
Penrhyn Castle is a country house in Llandygai, Bangor, Gwynedd, North Wales, in the form of a Norman castle. It was originally a medieval fortified manor house, founded by Ednyfed Fychan. In 1438, Ioan ap Gruffudd was granted a licence to crenellate and he founded the stone castle and added a tower house. Samuel Wyatt reconstructed the property in the 1780s.
The present building was created between about 1822 and 1837 to designs by Thomas Hopper, who expanded and transformed the building beyond recognition. However a spiral staircase from the original property can still be seen, and a vaulted basement and other masonry were incorporated into the new structure. Hopper's client was George Hay Dawkins-Pennant, who had inherited the Penrhyn estate on the death of his second cousin, Richard Pennant, who had made his fortune from slavery in Jamaica and local slate quarries. The eldest of George's two daughters, Juliana, married Grenadier Guard, Edward Gordon Douglas, who, on inheriting the estate on George's death in 1845, adopted the hyphenated surname of Douglas-Pennant. The cost of the construction of this vast 'castle' is disputed, and very difficult to work out accurately, as much of the timber came from the family's own forestry, and much of the labour was acquired from within their own workforce at the slate quarry. It cost the Pennant family an estimated £150,000. This is the current equivalent to about £49,500,000.
Penrhyn is one of the most admired of the numerous mock castles built in the United Kingdom in the 19th century; Christopher Hussey called it, "the outstanding instance of Norman revival." The castle is a picturesque composition that stretches over 600 feet from a tall donjon containing family rooms, through the main block built around the earlier house, to the service wing and the stables.
It is built in a sombre style which allows it to possess something of the medieval fortress air despite the ground-level drawing room windows. Hopper designed all the principal interiors in a rich but restrained Norman style, with much fine plasterwork and wood and stone carving. The castle also has some specially designed Norman-style furniture, including a one-ton slate bed made for Queen Victoria when she visited in 1859.
Hugh Napier Douglas-Pennant, 4th Lord Penrhyn, died in 1949, and the castle and estate passed to his niece, Lady Janet Pelham, who, on inheritance, adopted the surname of Douglas-Pennant. In 1951, the castle and 40,000 acres (160 km²) of land were accepted by the treasury in lieu of death duties from Lady Janet. It now belongs to the National Trust and is open to the public. The site received 109,395 visitors in 2017.
Grade I Listed Building
History
The present house, built in the form of a vast Norman castle, was constructed to the design of Thomas Hopper for George Hay Dawkins-Pennant between 1820 and 1837. It has been very little altered since.
The original house on the site was a medieval manor house of C14 origin, for which a licence to crenellate was given at an unknown date between 1410 and 1431. This house survived until c1782 when it was remodelled in castellated Gothick style, replete with yellow mathematical tiles, by Samuel Wyatt for Richard Pennant. This house, the great hall of which is incorporated in the present drawing room, was remodelled in c1800, but the vast profits from the Penrhyn slate quarries enabled all the rest to be completely swept away by Hopper's vast neo-Norman fantasy, sited and built so that it could be seen not only from the quarries, but most parts of the surrounding estate, thereby emphasizing the local dominance of the Dawkins-Pennant family. The total cost is unknown but it cannot have been less than the £123,000 claimed by Catherine Sinclair in 1839.
Since 1951 the house has belonged to the National Trust, together with over 40,000 acres of the family estates around Ysbyty Ifan and the Ogwen valley.
Exterior
Country house built in the style of a vast Norman castle with other later medieval influences, so huge (its 70 roofs cover an area of over an acre (0.4ha)) that it almost defies meaningful description. The main components of the house, which is built on a north-south axis with the main elevations to east and west, are the 124ft (37.8m) high keep, based on Castle Hedingham (Essex) containing the family quarters on the south, the central range, protected by a 'barbican' terrace on the east, housing the state apartments, and the rectangular-shaped staff/service buildings and stables to the north. The whole is constructed of local rubblestone with internal brick lining, but all elevations are faced in tooled Anglesey limestone ashlar of the finest quality jointing; flat lead roofs concealed by castellated parapets. Close to, the extreme length of the building (it is about 200 yards (182.88m) long) and the fact that the ground slopes away on all sides mean that almost no complete elevation can be seen. That the most frequent views of the exterior are oblique also offered Hopper the opportunity to deploy his towers for picturesque effect, the relationship between the keep and the other towers and turrets frequently obscuring the distances between them. Another significant external feature of the castle is that it actually looks defensible making it secure at least from Pugin's famous slur of 1841 on contemporary "castles" - "Who would hammer against nailed portals, when he could kick his way through the greenhouse?" Certainly, this could never be achieved at Penrhyn and it looks every inch the impregnable fortress both architect and patron intended it to be.
East elevation: to the left is the loosely attached 4-storey keep on battered plinth with 4 tiers of deeply splayed Norman windows, 2 to each face, with chevron decoration and nook-shafts, topped by 4 square corner turrets. The dining room (distinguished by the intersecting tracery above the windows) and breakfast room to the right of the entrance gallery are protected by the long sweep of the machicolated 'barbican' terrace (carriage forecourt), curved in front of the 2 rooms and then running northwards before returning at right-angles to the west to include the gatehouse, which formed the original main entrance to the castle, and ending in a tall rectangular tower with machicolated parapet. To the right of the gatehouse are the recessed buildings of the kitchen court and to the right again the long, largely unbroken outer wall of the stable court, terminated by the square footmen's tower to the left and the rather more exuberant projecting circular dung tower with its spectacularly cantilevered bartizan on the right. From here the wall runs at right-angles to the west incorporating the impressive gatehouse to the stable court.
West elevation: beginning at the left is the hexagonal smithy tower, followed by the long run of the stable court, well provided with windows on this side as the stables lie directly behind. At the end of this the wall turns at right-angles to the west, incorporating the narrow circular-turreted gatehouse to the outer court and terminating in the machicolated circular ice tower. From here the wall runs again at a lower height enclosing the remainder of the outer court. It is, of course, the state apartments which make up the chief architectural display on the central part of this elevation, beginning with a strongly articulated but essentially rectangular tower to the left, while both the drawing room and the library have Norman windows leading directly onto the lawns, the latter terminating in a slender machicolated circular corner tower. To the right is the keep, considerably set back on this side.
Interior
Only those parts of the castle generally accessible to visitors are recorded in this description. Although not described here much of the furniture and many of the paintings (including family portraits) are also original to the house. Similarly, it should be noted that in the interests of brevity and clarity, not all significant architectural features are itemised in the following description.
Entrance gallery: one of the last parts of the castle to be built, this narrow cloister-like passage was added to the main block to heighten the sensation of entering the vast Grand Hall, which is made only partly visible by the deliberate offsetting of the intervening doorways; bronze lamp standards with wolf-heads on stone bases. Grand Hall: entering the columned aisle of this huge space, the visitor stands at a cross-roads between the 3 principal areas of the castle's plan; to the left the passage leads up to the family's private apartments on the 4 floors of the keep, to the right the door at the end leads to the extensive service quarters while ahead lies the sequence of state rooms used for entertaining guests and displayed to the public ever since the castle was built. The hall itself resembles in form, style and scale the transept of a great Norman cathedral, the great clustered columns extending upwards to a "triforium" formed on 2 sides of extraordinary compound arches; stained glass with signs of the zodiac and months of the year as in a book of hours by Thomas Willement (completed 1835). Library: has very much the atmosphere of a gentlemen’s London club with walls, columned arches and ceilings covered in the most lavish ornamentation; superb architectural bookcases and panelled walls are of oak but the arches are plaster grained to match; ornamental bosses and other devices to the rich plaster ceiling refer to the ancestry of the Dawkins and Pennant families, as do the stained glass lunettes above the windows, possibly by David Evans of Shrewsbury; 4 chimneypieces of polished Anglesey "marble", one with a frieze of fantastical carved mummers in the capitals. Drawing room (great hall of the late C18 house and its medieval predecessor): again in a neo-Norman style but the decoration is lighter and the columns more slender, the spirit of the room reflected in the 2000 delicate Maltese gilt crosses to the vaulted ceiling. Ebony room: so called on account of its furniture and "ebonised" chimneypiece and plasterwork, has at its entrance a spiral staircase from the medieval house. Grand Staircase hall: in many ways the greatest architectural achievement at Penrhyn, taking 10 years to complete, the carving in 2 contrasting stones of the highest quality; repeating abstract decorative motifs contrast with the infinitely inventive figurative carving in the newels and capitals; to the top the intricate plaster panels of the domed lantern are formed in exceptionally high relief and display both Norse and Celtic influences. Next to the grand stair is the secondary stair, itself a magnificent structure in grey sandstone with lantern, built immediately next to the grand stair so that family or guests should not meet staff on the same staircase. Reached from the columned aisle of the grand hall are the 2 remaining principal ground-floor rooms, the dining room and the breakfast room, among the last parts of the castle to be completed and clearly intended to be picture galleries as much as dining areas, the stencilled treatment of the walls in the dining room allowing both the provision of an appropriately elaborate "Norman" scheme and a large flat surface for the hanging of paintings; black marble fireplace carved by Richard Westmacott and extremely ornate ceiling with leaf bosses encircled by bands of figurative mouldings derived from the Romanesque church of Kilpeck, Herefordshire. Breakfast room has cambered beam ceiling with oak-grained finish.
Grand hall gallery: at the top of the grand staircase is vaulted and continues around the grand hall below to link with the passage to the keep, which at this level (as on the other floors) contains a suite of rooms comprising a sitting room, dressing room, bedroom and small ante-chamber, the room containing the famous slate bed also with a red Mona marble chimneypiece, one of the most spectacular in the castle. Returning to the grand hall gallery and continuing straight on rather than returning to the grand staircase the Lower India room is reached to the right: this contains an Anglesey limestone chimneypiece painted to match the ground colour of the room's Chinese wallpaper. Coming out of this room, the chapel corridor leads to the chapel gallery (used by the family) and the chapel proper below (used by staff), the latter with encaustic tiles probably reused from the old medieval chapel; stained and painted glass by David Evans (c1833).
The domestic quarters of the castle are reached along the passage from the breakfast room, which turns at right-angles to the right at the foot of the secondary staircase, the most important areas being the butler's pantry, steward's office, servants' hall, housekeeper's room, still room, housekeeper's store and housemaids' tower, while the kitchen (with its cast-iron range flanked by large and hygienic vertical slabs of Penrhyn slate) is housed on the lower ground floor. From this kitchen court, which also includes a coal store, oil vaults, brushing room, lamp room, pastry room, larder, scullery and laundry are reached the outer court with its soup kitchen, brewhouse and 2-storey ice tower and the much larger stables court which, along with the stables themselves containing their extensive slate-partitioned stalls and loose boxes, incorporates the coach house, covered ride, smithy tower, dung tower with gardeners' messroom above and footmen's tower.
Reasons for Listing
Included at Grade I as one of the most important large country houses in Wales; a superb example of the relatively short-lived Norman Revival of the early C19 and generally regarded as the masterpiece of its architect, Thomas Hopper.
Clocks - went up a tower and they had thousands of clocks all over the place!
Harrison's Garden
An installation of over 5000 clocks creates an imagined landscape in the derelict 'unloved' rooms of the keep.
You needed a token to go up here, and only a certain number of people were allowed up here at each time.
Well, 2014 finds me continuing the same activity; documenting colour forms of globular springtails in the genus Sminthurinus.
Towards the end of December 2013, I started seeing darkly-pigmented forms of what looked like Sminthurinus reticulatus. Sminthurinus reticulatus are similar to the reticulata form of Sminthurinus aureus but the reticulate abdominal patterning contains dark pigment.
Here's a selection of Sminthurinus sprintails from today. All show some degree of reticulate patterning but it is very variable and barely noticeable in some. 4 and 5 do show some of the "dark form" characteristics that I've been seeing locally though, with an area of dark pigmentation between the eyes and a "moustache" radiating out underneath with a number of dark "spokes" (compare with 2 and 6).
It's all of little import really, but it keeps me amused!
Canon 5D3 + MP-E 65mm (at 5x) + 1.4x Extender + 36mm extension tube + MT24-EX Flash. Magnification x8. All cropped significantly for the collage.
From my set entitled ‘Sumac”
www.flickr.com/photos/21861018@N00/sets/72157607186471302/
In my collection entitled “The Garden”
www.flickr.com/photos/21861018@N00/collections/7215760718...
From Wikipedia, the free encyclopedia
Sumac (also spelled sumach) is any one of approximately 250 species of flowering plants in the genus Rhus and related genera, in the family Anacardiaceae. The dried berries of some species are ground to produce a tangy purple spice often used in juice.
Sumacs grow in subtropical and warm temperate regions throughout the world, especially in North America.
Sumacs are shrubs and small trees that can reach a height of 1-10 meters. The leaves are spirally arranged; they are usually pinnately compound, though some species have trifoliate or simple leaves. The flowers are in dense panicles or spikes 5-30 cm long, each flower very small, greenish, creamy white or red, with five petals. The fruits form dense clusters of reddish drupes called sumac bobs.
Sumacs propagate both by seed (spread by birds and other animals through their droppings), and by new sprouts from rhizomes, forming large clonal colonies.
The drupes of the genus Rhus are ground into a deep-red or purple powder used as a spice in Middle Eastern cuisine to add a lemony taste to salads or meat; in the Turkish cuisine e.g. added to salad-servings of kebabs and lahmacun. In North America, the smooth sumac (Rhus glabra), and the staghorn sumac (Rhus typhina), are sometimes used to make a beverage, termed "sumac-ade" or "Indian lemonade" or "rhus juice". This drink is made by soaking the drupes in cool water, rubbing them to extract the essence, straining the liquid through a cotton cloth and sweetening it. Native Americans also used the leaves and berries of the smooth and staghorn sumacs combined with tobacco in traditional smoking mixtures.
Species including the fragrant sumac (Rhus aromatica), the littleleaf sumac (R. microphylla), the skunkbush sumac (R. trilobata), the smooth sumac and the staghorn sumac are grown for ornament, either as the wild types or as cultivars.
The leaves of certain sumacs yield tannin (mostly pyrogallol), a substance used in vegetable tanning. Leather tanned with sumac is flexible, light in weight, and light in color, even bordering on being white.
Dried sumac wood is fluorescent under long-wave UV light. Mowing of sumac is not a good control measure as the wood is springy resulting in jagged, sharp pointed stumps when mowed. The plant will quickly recover with new growth after mowing. See Nebraska Extension Service publication G97-1319 for suggestions as to control.
At times Rhus has held over 250 species. Recent molecular phylogeny research suggests breaking Rhus sensu lata into Actinocheita, Baronia, Cotinus, Malosma, Searsia, Toxicodendron, and Rhus sensu stricta. If this is done, about 35 species would remain in Rhus. However, the data is not yet clear enough to settle the proper placement of all species into these genera.
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We're back at the Monaco Ballroom on Friday December 12th for the final show of 2008!! Make sure you make it to see how the year's feuds end at this season ending super show - GPW: "Christmas Crunch"
We promise we wont crunch your credit.... we'll only crunch your Christmas!!
GPW Heavyweight Title Match
Bubblegum © vs. Dirk Feelgood
Just a few months ago you'd be forgiven for taking a double take at this match. The friendship between the two former friends totally imploded with the desire to become Heavyweight champion. Refusing to accept the demise of his friendship with Dirk Feelgood, Bubblegum spent months in turmoil not wanting to retaliate to the cutting comments and brutal attacks levelled his way by former friend and champion Feelgood. As time went by however, Bubblegum eventually unloaded on Feelgood but this will be the first time the two have ever come face to face in a one on one match. And to make things just a little more interesting... it's for the GPW Heavyweight Title. Can the fairytale championship reign continue for Bubblegum, or can Dirk shatter his dreams and become the first ever 2 time Heavyweight Champ?
Tag Team Special, Skeletor vs. Stella
Lethal Dose vs. Voodoo & "Sober" Mike Holmes
Alan Alan Alan Tasker's henchmen, Lethal Dose march into battle against former stable member Mike Holmes and the man they hold responsible for Holmes' new found sobriety - Voodoo. Cyanide and Toxic hope to tempt Holmes back over to the stable that two months ago he turned his back on. They want to snap him out of the spell they accuse Voodoo of putting him under. However, Holmes seems very happy with his new outlook on life and he and Voodoo look to send Lethal Dose packing in this tag team special. Lethal Dose have warned they will not be coming to the ring alone though, with them along with their attorney and law - Alan Alan Alan Tasker will be a 12 pack of Stella. Hoping the case of beer will prove to be a bigger demon to Holmes than the tag team itself. To fend off the 12 pack, Holmes and Voodoo will have Vooodoo's trusty skull, Skeletor in their corner. An unpredictable tag team match. Can MIke Holmes stay sober? Will Voodoo's spells work? Or will Lethal Dose deliver a beating big enough to break Voodoo's spell?
GPW British Title Match
Jak Dominotrescu vs. "Super" Sam Bailey
After pinning the British Champion last month in a tag team match, WKD's "Super" Sam Bailey has earned himself a title shot at GPW: "Christmas Crunch". Bailey, already a former tag team champion looks to add to his growing reputation by capturing his first ever singles gold in GPW. While reigning champion, Romanian Jak Domitrescu along with his cohorts - The Eastern Bloc look to make life as difficult as possible for the energetic live wire. Domitrescu has held onto the title since April this year with help from his fellow countrymen, but are his days numbered as champ? He surely wont be alone in this title outing and will have the Eastern Bloc close by, but can "Super" Sam Bailey overcome the odds to win his first singles gold in GPW?
And, the main event for the evening is...
GPW Tag Team Title 2/3 Falls Match
MIl-Anfield Connection © vs. Young Offenders
The heat just got turned up in this feud. The re-united Young Offenders have the most established tag team in GPW - The Mil-Anfield Connection firmly in their sights and not to mention the tag team trophy. These two teams met in September this year where there was no clear winner decided after the match ended in a draw. There will be NO excuses this time to not find a winner. This, for the first time in our history will be a 2/3 Falls Match for the tag team titles. A winner HAS to be decided, but who will it be? A truley epic encounter is in our midst as Jiggy Walker & "The Model" Danny Hope try to cling onto the championship that has defined them as a team and "Dangerous" Damon Leigh & Joey Hayes, The Young Offenders chase the title that one of the most popular tag teams in Europe have never held. Can the re-united friends overcome the well established unit that is The Mil-Anfield Connection? Or can the well oiled duo of the Mil-Anfield do what they've been doing all year and win again?
GPW British Title No.1 Contenders Match
Harry Doogle vs. Juice vs. Dylan Roberts vs. Chris Echo
After an eye catchingly good year from rookie Dylan Roberts, he has been included in this battle to earn a shot at the British Title. With a burning desire to win and the fans firmly behind him, Roberts could well mark his arrival onto the main roster by becoming the No.1 Contender and going for gold here. However, his opponents wont give him an easy ride. In a wonderful CC-08 tournament, no one impressed more than WKD's Chris Echo. Echo reached the CC-08 finals with two broken wrists and proved he is ready to take a step up. His previous attempts for British gold have been thwarted by the foreign legion numbers of the Eastern Bloc, is he ready to prove again that he is worthy of being No.1 Contender and finally lift the British title? Juice, the current CC8 champion has been as impressive as ever in singles competition this year, but can he compete in this match with 3 others all vying to be No.1 Contender? Also replacing Jervis Cottonbelly due to injury is Harry Doogle as a last minute entry could one half of the next gen score the upset win? , but with so many possible outcomes who will leave with the plaudits and go on to challenge for the British Title next year?
Lumberjack Match
Si Valour vs. Heresy
A violent and personal feud that has lasted all year long finally comes to a head in what promises to be a violent Lumberjack Match. Ever since brutalising Valour and cutting off all his hair, Heresy has, in some form or other dodged the challenge of Valour. Heresy claimed not to have lost his bottle or be running scared of the 2007 Break Out Star, yet during their Bull Rope clash at GPW: "V" where the two were tied to one another, Heresy still managed to find a way of escaping and creating distance between him and Valour. This time, in a special Lumberjack Match, no matter where either man go - there will be no escape. All lumberjacks will be at the ready to ensure neither man can escape the others clutches and a clear winner, one way or the other will HAVE to be decided. There will be nowhere to run to and nowhere to hide, no matter where they look. Heresy has been one step ahead of Valour all year, is this where he runs out of excuses, or can the master manipulator manipulate another win?
Former Mecca Bingo Hall located at 125 Fountainbridge in Edinburgh prior to demolition.
The building was originally constructed in around 1911 - 1912 on the site of a former iron foundry and saw mill. At least part of it is an ice rink, but this was later converted to a cinema (called the Coliseum) and then a dance hall (called the Palais de Danse). It closed down as a Dance Hall in the early 1970s. After a period of redundancy, the building then functioned as the Mecca Bingo Hall, which closed down in the 2000s.
A visit to the National Trust property that is Penrhyn Castle
Penrhyn Castle is a country house in Llandygai, Bangor, Gwynedd, North Wales, in the form of a Norman castle. It was originally a medieval fortified manor house, founded by Ednyfed Fychan. In 1438, Ioan ap Gruffudd was granted a licence to crenellate and he founded the stone castle and added a tower house. Samuel Wyatt reconstructed the property in the 1780s.
The present building was created between about 1822 and 1837 to designs by Thomas Hopper, who expanded and transformed the building beyond recognition. However a spiral staircase from the original property can still be seen, and a vaulted basement and other masonry were incorporated into the new structure. Hopper's client was George Hay Dawkins-Pennant, who had inherited the Penrhyn estate on the death of his second cousin, Richard Pennant, who had made his fortune from slavery in Jamaica and local slate quarries. The eldest of George's two daughters, Juliana, married Grenadier Guard, Edward Gordon Douglas, who, on inheriting the estate on George's death in 1845, adopted the hyphenated surname of Douglas-Pennant. The cost of the construction of this vast 'castle' is disputed, and very difficult to work out accurately, as much of the timber came from the family's own forestry, and much of the labour was acquired from within their own workforce at the slate quarry. It cost the Pennant family an estimated £150,000. This is the current equivalent to about £49,500,000.
Penrhyn is one of the most admired of the numerous mock castles built in the United Kingdom in the 19th century; Christopher Hussey called it, "the outstanding instance of Norman revival." The castle is a picturesque composition that stretches over 600 feet from a tall donjon containing family rooms, through the main block built around the earlier house, to the service wing and the stables.
It is built in a sombre style which allows it to possess something of the medieval fortress air despite the ground-level drawing room windows. Hopper designed all the principal interiors in a rich but restrained Norman style, with much fine plasterwork and wood and stone carving. The castle also has some specially designed Norman-style furniture, including a one-ton slate bed made for Queen Victoria when she visited in 1859.
Hugh Napier Douglas-Pennant, 4th Lord Penrhyn, died in 1949, and the castle and estate passed to his niece, Lady Janet Pelham, who, on inheritance, adopted the surname of Douglas-Pennant. In 1951, the castle and 40,000 acres (160 km²) of land were accepted by the treasury in lieu of death duties from Lady Janet. It now belongs to the National Trust and is open to the public. The site received 109,395 visitors in 2017.
Grade I Listed Building
History
The present house, built in the form of a vast Norman castle, was constructed to the design of Thomas Hopper for George Hay Dawkins-Pennant between 1820 and 1837. It has been very little altered since.
The original house on the site was a medieval manor house of C14 origin, for which a licence to crenellate was given at an unknown date between 1410 and 1431. This house survived until c1782 when it was remodelled in castellated Gothick style, replete with yellow mathematical tiles, by Samuel Wyatt for Richard Pennant. This house, the great hall of which is incorporated in the present drawing room, was remodelled in c1800, but the vast profits from the Penrhyn slate quarries enabled all the rest to be completely swept away by Hopper's vast neo-Norman fantasy, sited and built so that it could be seen not only from the quarries, but most parts of the surrounding estate, thereby emphasizing the local dominance of the Dawkins-Pennant family. The total cost is unknown but it cannot have been less than the £123,000 claimed by Catherine Sinclair in 1839.
Since 1951 the house has belonged to the National Trust, together with over 40,000 acres of the family estates around Ysbyty Ifan and the Ogwen valley.
Exterior
Country house built in the style of a vast Norman castle with other later medieval influences, so huge (its 70 roofs cover an area of over an acre (0.4ha)) that it almost defies meaningful description. The main components of the house, which is built on a north-south axis with the main elevations to east and west, are the 124ft (37.8m) high keep, based on Castle Hedingham (Essex) containing the family quarters on the south, the central range, protected by a 'barbican' terrace on the east, housing the state apartments, and the rectangular-shaped staff/service buildings and stables to the north. The whole is constructed of local rubblestone with internal brick lining, but all elevations are faced in tooled Anglesey limestone ashlar of the finest quality jointing; flat lead roofs concealed by castellated parapets. Close to, the extreme length of the building (it is about 200 yards (182.88m) long) and the fact that the ground slopes away on all sides mean that almost no complete elevation can be seen. That the most frequent views of the exterior are oblique also offered Hopper the opportunity to deploy his towers for picturesque effect, the relationship between the keep and the other towers and turrets frequently obscuring the distances between them. Another significant external feature of the castle is that it actually looks defensible making it secure at least from Pugin's famous slur of 1841 on contemporary "castles" - "Who would hammer against nailed portals, when he could kick his way through the greenhouse?" Certainly, this could never be achieved at Penrhyn and it looks every inch the impregnable fortress both architect and patron intended it to be.
East elevation: to the left is the loosely attached 4-storey keep on battered plinth with 4 tiers of deeply splayed Norman windows, 2 to each face, with chevron decoration and nook-shafts, topped by 4 square corner turrets. The dining room (distinguished by the intersecting tracery above the windows) and breakfast room to the right of the entrance gallery are protected by the long sweep of the machicolated 'barbican' terrace (carriage forecourt), curved in front of the 2 rooms and then running northwards before returning at right-angles to the west to include the gatehouse, which formed the original main entrance to the castle, and ending in a tall rectangular tower with machicolated parapet. To the right of the gatehouse are the recessed buildings of the kitchen court and to the right again the long, largely unbroken outer wall of the stable court, terminated by the square footmen's tower to the left and the rather more exuberant projecting circular dung tower with its spectacularly cantilevered bartizan on the right. From here the wall runs at right-angles to the west incorporating the impressive gatehouse to the stable court.
West elevation: beginning at the left is the hexagonal smithy tower, followed by the long run of the stable court, well provided with windows on this side as the stables lie directly behind. At the end of this the wall turns at right-angles to the west, incorporating the narrow circular-turreted gatehouse to the outer court and terminating in the machicolated circular ice tower. From here the wall runs again at a lower height enclosing the remainder of the outer court. It is, of course, the state apartments which make up the chief architectural display on the central part of this elevation, beginning with a strongly articulated but essentially rectangular tower to the left, while both the drawing room and the library have Norman windows leading directly onto the lawns, the latter terminating in a slender machicolated circular corner tower. To the right is the keep, considerably set back on this side.
Interior
Only those parts of the castle generally accessible to visitors are recorded in this description. Although not described here much of the furniture and many of the paintings (including family portraits) are also original to the house. Similarly, it should be noted that in the interests of brevity and clarity, not all significant architectural features are itemised in the following description.
Entrance gallery: one of the last parts of the castle to be built, this narrow cloister-like passage was added to the main block to heighten the sensation of entering the vast Grand Hall, which is made only partly visible by the deliberate offsetting of the intervening doorways; bronze lamp standards with wolf-heads on stone bases. Grand Hall: entering the columned aisle of this huge space, the visitor stands at a cross-roads between the 3 principal areas of the castle's plan; to the left the passage leads up to the family's private apartments on the 4 floors of the keep, to the right the door at the end leads to the extensive service quarters while ahead lies the sequence of state rooms used for entertaining guests and displayed to the public ever since the castle was built. The hall itself resembles in form, style and scale the transept of a great Norman cathedral, the great clustered columns extending upwards to a "triforium" formed on 2 sides of extraordinary compound arches; stained glass with signs of the zodiac and months of the year as in a book of hours by Thomas Willement (completed 1835). Library: has very much the atmosphere of a gentlemen’s London club with walls, columned arches and ceilings covered in the most lavish ornamentation; superb architectural bookcases and panelled walls are of oak but the arches are plaster grained to match; ornamental bosses and other devices to the rich plaster ceiling refer to the ancestry of the Dawkins and Pennant families, as do the stained glass lunettes above the windows, possibly by David Evans of Shrewsbury; 4 chimneypieces of polished Anglesey "marble", one with a frieze of fantastical carved mummers in the capitals. Drawing room (great hall of the late C18 house and its medieval predecessor): again in a neo-Norman style but the decoration is lighter and the columns more slender, the spirit of the room reflected in the 2000 delicate Maltese gilt crosses to the vaulted ceiling. Ebony room: so called on account of its furniture and "ebonised" chimneypiece and plasterwork, has at its entrance a spiral staircase from the medieval house. Grand Staircase hall: in many ways the greatest architectural achievement at Penrhyn, taking 10 years to complete, the carving in 2 contrasting stones of the highest quality; repeating abstract decorative motifs contrast with the infinitely inventive figurative carving in the newels and capitals; to the top the intricate plaster panels of the domed lantern are formed in exceptionally high relief and display both Norse and Celtic influences. Next to the grand stair is the secondary stair, itself a magnificent structure in grey sandstone with lantern, built immediately next to the grand stair so that family or guests should not meet staff on the same staircase. Reached from the columned aisle of the grand hall are the 2 remaining principal ground-floor rooms, the dining room and the breakfast room, among the last parts of the castle to be completed and clearly intended to be picture galleries as much as dining areas, the stencilled treatment of the walls in the dining room allowing both the provision of an appropriately elaborate "Norman" scheme and a large flat surface for the hanging of paintings; black marble fireplace carved by Richard Westmacott and extremely ornate ceiling with leaf bosses encircled by bands of figurative mouldings derived from the Romanesque church of Kilpeck, Herefordshire. Breakfast room has cambered beam ceiling with oak-grained finish.
Grand hall gallery: at the top of the grand staircase is vaulted and continues around the grand hall below to link with the passage to the keep, which at this level (as on the other floors) contains a suite of rooms comprising a sitting room, dressing room, bedroom and small ante-chamber, the room containing the famous slate bed also with a red Mona marble chimneypiece, one of the most spectacular in the castle. Returning to the grand hall gallery and continuing straight on rather than returning to the grand staircase the Lower India room is reached to the right: this contains an Anglesey limestone chimneypiece painted to match the ground colour of the room's Chinese wallpaper. Coming out of this room, the chapel corridor leads to the chapel gallery (used by the family) and the chapel proper below (used by staff), the latter with encaustic tiles probably reused from the old medieval chapel; stained and painted glass by David Evans (c1833).
The domestic quarters of the castle are reached along the passage from the breakfast room, which turns at right-angles to the right at the foot of the secondary staircase, the most important areas being the butler's pantry, steward's office, servants' hall, housekeeper's room, still room, housekeeper's store and housemaids' tower, while the kitchen (with its cast-iron range flanked by large and hygienic vertical slabs of Penrhyn slate) is housed on the lower ground floor. From this kitchen court, which also includes a coal store, oil vaults, brushing room, lamp room, pastry room, larder, scullery and laundry are reached the outer court with its soup kitchen, brewhouse and 2-storey ice tower and the much larger stables court which, along with the stables themselves containing their extensive slate-partitioned stalls and loose boxes, incorporates the coach house, covered ride, smithy tower, dung tower with gardeners' messroom above and footmen's tower.
Reasons for Listing
Included at Grade I as one of the most important large country houses in Wales; a superb example of the relatively short-lived Norman Revival of the early C19 and generally regarded as the masterpiece of its architect, Thomas Hopper.
Tower
In the Swiss Alps near the Italian border is a small valley town called Lostallo. For the 5th summer in a row Shankra festival made this place its home for a goa-psytrance festival.
Video from 2017 youtu.be/sGJAhJp605k
Downloads on Flickr are free for fiends & followers but do tell the people where you got the picture.
Le Sénégal, en forme longue la République du Sénégal, est un pays d'Afrique de l'Ouest appartenant à l'Afrique subsaharienne. Il est bordé par l'océan Atlantique à l'ouest, la Mauritanie au nord et à l'est, le Mali à l'est et la Guinée et la Guinée-Bissau au sud. La Gambie forme une quasi-enclave dans le Sénégal, pénétrant à plus de 300 km à l'intérieur des terres. Les îles du Cap-Vert sont situées à 560 km de la côte sénégalaise.
Located in the southeast corner of California, the Imperial Sand Dunes are the largest mass of sand dunes in the state.
Formed by windblown sands of ancient Lake Cahuilla, the dune system extends for more than 40 miles in a band averaging 5 miles wide. Dunes often reach heights of 300 feet above the desert floor, providing outstanding opportunities for recreation. A favorite place for off-highway vehicle (OHV) enthusiasts, the dunes also offer fabulous scenery, opportunities for solitude, and a home to rare plants and animals.
With most of the off-road action taking place in the recreation area south of Highway 78, the open areas allow all types of vehicle recreation. Limited areas surround the dunes require vehicles to travel on designated routes. Closed areas prohibit motorized vehicle use entirely. Information and maps for all of these areas are available at the ranger stations.
Photo by Eric Coulter, BLM
A visit to the National Trust property that is Penrhyn Castle
Penrhyn Castle is a country house in Llandygai, Bangor, Gwynedd, North Wales, in the form of a Norman castle. It was originally a medieval fortified manor house, founded by Ednyfed Fychan. In 1438, Ioan ap Gruffudd was granted a licence to crenellate and he founded the stone castle and added a tower house. Samuel Wyatt reconstructed the property in the 1780s.
The present building was created between about 1822 and 1837 to designs by Thomas Hopper, who expanded and transformed the building beyond recognition. However a spiral staircase from the original property can still be seen, and a vaulted basement and other masonry were incorporated into the new structure. Hopper's client was George Hay Dawkins-Pennant, who had inherited the Penrhyn estate on the death of his second cousin, Richard Pennant, who had made his fortune from slavery in Jamaica and local slate quarries. The eldest of George's two daughters, Juliana, married Grenadier Guard, Edward Gordon Douglas, who, on inheriting the estate on George's death in 1845, adopted the hyphenated surname of Douglas-Pennant. The cost of the construction of this vast 'castle' is disputed, and very difficult to work out accurately, as much of the timber came from the family's own forestry, and much of the labour was acquired from within their own workforce at the slate quarry. It cost the Pennant family an estimated £150,000. This is the current equivalent to about £49,500,000.
Penrhyn is one of the most admired of the numerous mock castles built in the United Kingdom in the 19th century; Christopher Hussey called it, "the outstanding instance of Norman revival." The castle is a picturesque composition that stretches over 600 feet from a tall donjon containing family rooms, through the main block built around the earlier house, to the service wing and the stables.
It is built in a sombre style which allows it to possess something of the medieval fortress air despite the ground-level drawing room windows. Hopper designed all the principal interiors in a rich but restrained Norman style, with much fine plasterwork and wood and stone carving. The castle also has some specially designed Norman-style furniture, including a one-ton slate bed made for Queen Victoria when she visited in 1859.
Hugh Napier Douglas-Pennant, 4th Lord Penrhyn, died in 1949, and the castle and estate passed to his niece, Lady Janet Pelham, who, on inheritance, adopted the surname of Douglas-Pennant. In 1951, the castle and 40,000 acres (160 km²) of land were accepted by the treasury in lieu of death duties from Lady Janet. It now belongs to the National Trust and is open to the public. The site received 109,395 visitors in 2017.
Grade I Listed Building
History
The present house, built in the form of a vast Norman castle, was constructed to the design of Thomas Hopper for George Hay Dawkins-Pennant between 1820 and 1837. It has been very little altered since.
The original house on the site was a medieval manor house of C14 origin, for which a licence to crenellate was given at an unknown date between 1410 and 1431. This house survived until c1782 when it was remodelled in castellated Gothick style, replete with yellow mathematical tiles, by Samuel Wyatt for Richard Pennant. This house, the great hall of which is incorporated in the present drawing room, was remodelled in c1800, but the vast profits from the Penrhyn slate quarries enabled all the rest to be completely swept away by Hopper's vast neo-Norman fantasy, sited and built so that it could be seen not only from the quarries, but most parts of the surrounding estate, thereby emphasizing the local dominance of the Dawkins-Pennant family. The total cost is unknown but it cannot have been less than the £123,000 claimed by Catherine Sinclair in 1839.
Since 1951 the house has belonged to the National Trust, together with over 40,000 acres of the family estates around Ysbyty Ifan and the Ogwen valley.
Exterior
Country house built in the style of a vast Norman castle with other later medieval influences, so huge (its 70 roofs cover an area of over an acre (0.4ha)) that it almost defies meaningful description. The main components of the house, which is built on a north-south axis with the main elevations to east and west, are the 124ft (37.8m) high keep, based on Castle Hedingham (Essex) containing the family quarters on the south, the central range, protected by a 'barbican' terrace on the east, housing the state apartments, and the rectangular-shaped staff/service buildings and stables to the north. The whole is constructed of local rubblestone with internal brick lining, but all elevations are faced in tooled Anglesey limestone ashlar of the finest quality jointing; flat lead roofs concealed by castellated parapets. Close to, the extreme length of the building (it is about 200 yards (182.88m) long) and the fact that the ground slopes away on all sides mean that almost no complete elevation can be seen. That the most frequent views of the exterior are oblique also offered Hopper the opportunity to deploy his towers for picturesque effect, the relationship between the keep and the other towers and turrets frequently obscuring the distances between them. Another significant external feature of the castle is that it actually looks defensible making it secure at least from Pugin's famous slur of 1841 on contemporary "castles" - "Who would hammer against nailed portals, when he could kick his way through the greenhouse?" Certainly, this could never be achieved at Penrhyn and it looks every inch the impregnable fortress both architect and patron intended it to be.
East elevation: to the left is the loosely attached 4-storey keep on battered plinth with 4 tiers of deeply splayed Norman windows, 2 to each face, with chevron decoration and nook-shafts, topped by 4 square corner turrets. The dining room (distinguished by the intersecting tracery above the windows) and breakfast room to the right of the entrance gallery are protected by the long sweep of the machicolated 'barbican' terrace (carriage forecourt), curved in front of the 2 rooms and then running northwards before returning at right-angles to the west to include the gatehouse, which formed the original main entrance to the castle, and ending in a tall rectangular tower with machicolated parapet. To the right of the gatehouse are the recessed buildings of the kitchen court and to the right again the long, largely unbroken outer wall of the stable court, terminated by the square footmen's tower to the left and the rather more exuberant projecting circular dung tower with its spectacularly cantilevered bartizan on the right. From here the wall runs at right-angles to the west incorporating the impressive gatehouse to the stable court.
West elevation: beginning at the left is the hexagonal smithy tower, followed by the long run of the stable court, well provided with windows on this side as the stables lie directly behind. At the end of this the wall turns at right-angles to the west, incorporating the narrow circular-turreted gatehouse to the outer court and terminating in the machicolated circular ice tower. From here the wall runs again at a lower height enclosing the remainder of the outer court. It is, of course, the state apartments which make up the chief architectural display on the central part of this elevation, beginning with a strongly articulated but essentially rectangular tower to the left, while both the drawing room and the library have Norman windows leading directly onto the lawns, the latter terminating in a slender machicolated circular corner tower. To the right is the keep, considerably set back on this side.
Interior
Only those parts of the castle generally accessible to visitors are recorded in this description. Although not described here much of the furniture and many of the paintings (including family portraits) are also original to the house. Similarly, it should be noted that in the interests of brevity and clarity, not all significant architectural features are itemised in the following description.
Entrance gallery: one of the last parts of the castle to be built, this narrow cloister-like passage was added to the main block to heighten the sensation of entering the vast Grand Hall, which is made only partly visible by the deliberate offsetting of the intervening doorways; bronze lamp standards with wolf-heads on stone bases. Grand Hall: entering the columned aisle of this huge space, the visitor stands at a cross-roads between the 3 principal areas of the castle's plan; to the left the passage leads up to the family's private apartments on the 4 floors of the keep, to the right the door at the end leads to the extensive service quarters while ahead lies the sequence of state rooms used for entertaining guests and displayed to the public ever since the castle was built. The hall itself resembles in form, style and scale the transept of a great Norman cathedral, the great clustered columns extending upwards to a "triforium" formed on 2 sides of extraordinary compound arches; stained glass with signs of the zodiac and months of the year as in a book of hours by Thomas Willement (completed 1835). Library: has very much the atmosphere of a gentlemen’s London club with walls, columned arches and ceilings covered in the most lavish ornamentation; superb architectural bookcases and panelled walls are of oak but the arches are plaster grained to match; ornamental bosses and other devices to the rich plaster ceiling refer to the ancestry of the Dawkins and Pennant families, as do the stained glass lunettes above the windows, possibly by David Evans of Shrewsbury; 4 chimneypieces of polished Anglesey "marble", one with a frieze of fantastical carved mummers in the capitals. Drawing room (great hall of the late C18 house and its medieval predecessor): again in a neo-Norman style but the decoration is lighter and the columns more slender, the spirit of the room reflected in the 2000 delicate Maltese gilt crosses to the vaulted ceiling. Ebony room: so called on account of its furniture and "ebonised" chimneypiece and plasterwork, has at its entrance a spiral staircase from the medieval house. Grand Staircase hall: in many ways the greatest architectural achievement at Penrhyn, taking 10 years to complete, the carving in 2 contrasting stones of the highest quality; repeating abstract decorative motifs contrast with the infinitely inventive figurative carving in the newels and capitals; to the top the intricate plaster panels of the domed lantern are formed in exceptionally high relief and display both Norse and Celtic influences. Next to the grand stair is the secondary stair, itself a magnificent structure in grey sandstone with lantern, built immediately next to the grand stair so that family or guests should not meet staff on the same staircase. Reached from the columned aisle of the grand hall are the 2 remaining principal ground-floor rooms, the dining room and the breakfast room, among the last parts of the castle to be completed and clearly intended to be picture galleries as much as dining areas, the stencilled treatment of the walls in the dining room allowing both the provision of an appropriately elaborate "Norman" scheme and a large flat surface for the hanging of paintings; black marble fireplace carved by Richard Westmacott and extremely ornate ceiling with leaf bosses encircled by bands of figurative mouldings derived from the Romanesque church of Kilpeck, Herefordshire. Breakfast room has cambered beam ceiling with oak-grained finish.
Grand hall gallery: at the top of the grand staircase is vaulted and continues around the grand hall below to link with the passage to the keep, which at this level (as on the other floors) contains a suite of rooms comprising a sitting room, dressing room, bedroom and small ante-chamber, the room containing the famous slate bed also with a red Mona marble chimneypiece, one of the most spectacular in the castle. Returning to the grand hall gallery and continuing straight on rather than returning to the grand staircase the Lower India room is reached to the right: this contains an Anglesey limestone chimneypiece painted to match the ground colour of the room's Chinese wallpaper. Coming out of this room, the chapel corridor leads to the chapel gallery (used by the family) and the chapel proper below (used by staff), the latter with encaustic tiles probably reused from the old medieval chapel; stained and painted glass by David Evans (c1833).
The domestic quarters of the castle are reached along the passage from the breakfast room, which turns at right-angles to the right at the foot of the secondary staircase, the most important areas being the butler's pantry, steward's office, servants' hall, housekeeper's room, still room, housekeeper's store and housemaids' tower, while the kitchen (with its cast-iron range flanked by large and hygienic vertical slabs of Penrhyn slate) is housed on the lower ground floor. From this kitchen court, which also includes a coal store, oil vaults, brushing room, lamp room, pastry room, larder, scullery and laundry are reached the outer court with its soup kitchen, brewhouse and 2-storey ice tower and the much larger stables court which, along with the stables themselves containing their extensive slate-partitioned stalls and loose boxes, incorporates the coach house, covered ride, smithy tower, dung tower with gardeners' messroom above and footmen's tower.
Reasons for Listing
Included at Grade I as one of the most important large country houses in Wales; a superb example of the relatively short-lived Norman Revival of the early C19 and generally regarded as the masterpiece of its architect, Thomas Hopper.
A look around the inside of the castle / house.
The Grand Hall
Piano
The original much older control tower probably dating back to the very early days of the base. RAF Swinderby closed on the 1st April 1993.
Got this plant also from Thailand trader with tag name S. aethiopica, wide leaf form. Clear cross bands and withered tips.
Schwierig zu erraten wo ich das Foto gemacht habe ists ja nicht... Allzuviel zu schreiben gibts hier auch nicht..., gesehen in Vaduz am 06.04.2015.
Crews work the Interstate 5 Glendale Bridges. They are building forms which will strengthen the vertical supports of the bridge, April 2021.
NON HINDUS
ARE NOT ALLOWED INSIDE THE TEMPLE
Lingaraj Temple is a Hindu temple dedicated to Harihara, a form of Shiva and is one of the oldest temples in Bhubaneswar, the capital of the East Indian state of Odisha (formerly Orissa). The temple is the most prominent landmark of the Bhubaneswar city and one of the major tourist attractions of the state.
The Lingaraj temple is the largest temple in Bhubaneswar. The central tower of the temple is 55 m tall. The temple represents the quintessence of the Kalinga Architecture and culminates the medieval stages of the architectural tradition at Bhubaneswar. The temple is believed to be built by the kings from the Somavamsi dynasty, with later additions from the Ganga rulers. The temple is built in the Deula style that has four components namely, vimana (structure containing the sanctum), jagamohana (assembly hall), natamandira (festival hall) and bhoga-mandapa (hall of offerings), each increasing in the height to its predecessor. The temple complex has 50 other shrines and is enclosed by a large compound wall.
Bhubaneswar is called the Ekamra Kshetra as the deity of Lingaraj was originally under a mango tree (Ekamra) as noted in Ekamra Purana, a 13th-century Sanskrit treatise. The temple is active in worship practises, unlike most other temples in Bhubaneswar and Shiva is worshipped as Harihara, a combined form of Vishnu and Shiva. The temple has images of Vishnu, possibly because of the rising prominence of Jagannath cult emnating from the Ganga rulers who built the Jagannath Temple in Puri in the 12th century.
Lingaraj temple is maintained by the Temple Trust Board and the Archeological Survey of India (ASI). The temple has an average of 6,000 visitors per day and receives lakhs of visitors during festivals. Shivaratri festival is the major festival celebrated in the temple and event during 2012 witnessed 200,000 visitors.
HISTORY
Lingaraj means "The king of Lingam", the symbol of Saivism. Shiva was worshipped as Kirtivasa and later as Harihara and is commonly referred as Tribhuvaneshwara (also called Bhubaneswar), the master of three worlds, namely, heaven, earth and netherworld). His consort is called Bhuvaneshvari.
The temple is more than 1100 years old, dating back in its present form to the last decade of the eleventh century, though there is evidence that part of the temple was built during the sixth century CE as the temple has been emphasized in some of the seventh century Sanskrit texts. Fergusson believes the temple might have been initiated by Lelat Indra Kesari who reigned from 615 to 657 CE. The Assembly hall (jagamohana), sanctum and temple tower wer built during the eleventh century, while the Hall of offering (bhoga-mandapa) was built during the twelfth century. The natamandira was built by the wife of Salini between 1099 and 1104 CE. By the time the Lingaraj temple was completely constructed, the Jagannath (form of Vishnu) cult had been growing in the region, which historians believe is evidenced by the co-existence of Vishnu and Shiva worship at the temple. The Ganga dynasty kings were ardent followers of Vaishnavism and built the Jagannath Temple at Puri in the 12th century.
The temple is believed to be built by the Somavanshi king Jajati Keshari, in 11th century CE. Jajati Keshari had shifted his capital from Jajpur to Bhubaneswar which was referred to as Ekamra Kshetra in the Brahma Purana, an ancient scripture. One of the Somavamsi queens donated a village to the temple and the Brahmins attached to the temple received generous grants. An inscription from the Saka year 1094 (1172 CE) indicates gifts of gold coins to the temple by Rajaraja II. Another inscription of Narasimha I from the 11th century indicates offer of beetel leaves as tambula to the presiding deity. Other stone inscriptions in the temple indicate royal grants from Chodaganga to village people.
ARCHITECTURE
The Lingaraj temple is the largest temple in Bhubaneswar. James Ferugsson (1808–86), a noted critic and historian, rated the temple as "one of the finest examples of purely Hindu temple in India". It is enshrined within a spacious compound wall of laterite measuring 160 m by 142 m. The wall is 2.3 m thick and surmounted by a plain slant coping. Alongside the inner face of the boundary wall, there is a terrace to protect the compound wall against outside aggression. The tower is 55 m high and the complex has 150 smaller shrines in its spacious courtyard. Each inch of the 55 m tall tower is sculpted. The door in the gate of the entrance porch is made of sandalwood.
The Lingaraja temple faces east and is built of sandstone and laterite. The main entrance is located in the east, while there are small entrances in the north and south. The temple is built in the Deula style that has four components namely, vimana (structure containing the sanctum), jagamohana (assembly hall), natamandira (festival hall) and bhoga-mandapa (hall of offerings). The dance hall was associated with the raising prominence of the devadasi system that existed during the time. The various units from the Hall of offering to the tower of the sanctum increase in height.
The bhogamandapa (Hall of offering) measures 13 m by 13 m from the inside, 17.15 m by 17.25 m from the outside and has four doors in each of the sides. The exterior walls of the hall has decorative sculptures of men and beast. The hall has a pyramidal roof made of up several horizontal layers arranged in sets of two with intervening platform. It bears an inverted bell and a kalasa in the top. The natamandira (festival hall) measures 12 m by 12 m from the inside, 15 m by 15 m from the outside, has one main entrance and two side entrances. The side walls of the hall has decortive sculptures displaying women and couples. It has a flat roof sloping in stages. There are thick pylons inside the hall. The jagamohana (assembly hall) measures 11 m by 9.1 m from the inside, 17 m by 15 m from the outside, entrances from south and north and has a 30 metres tall roof. The hall has a pyramidal roof made of up several horizontal layers arranged in sets of two with intervening platform as in the Hall of offering. The facade to the entrances are decorated with perforated windows with lion sitting on hind legs. The inverted bell above second unit is adorned by kalasa and lions. The rekha deula has a 60 m tall pyramidal tower over the sanctum and measures 6.7 m from the inside, 16 m from the outside over the sanctum. It is covered with decorative design and seated lion projecting from the walls. The sanctum is square in shape from the inside. The tower walls are sculpted with female figures in different poses.
RELIGIOUS SIGNIFICANCE
Bhubaneswar is called the Ekamra Kshetra as the deity of Lingaraj was originally under a mango tree (Ekamra). Ekamra Purana, a Sanskrit treatise of the 13th century mentions that the presiding deity was not seen as lingam (an aniconic form of Shiva) during the Satya and Treta yugas and only during the Dwapara and Kali yugas, it emerged as a lingam. The lingam in the temple is a natural unshaped stone that rests on a Sakti. Such a lingam is called Krutibasa or Swayambhu and is found in 64 places in different parts of India. With the advent of the Ganga dynasty in the early 12th century, who had Vaishnavaite orientation, a new movement started resulting in the synthesis of Saivism and Vaishnavism. The Ekamra was associated with Vaishanavite gods Krishna and Balaram during the period. It is attributed the raising prominence of Jagannath cult that became predominant during the construction of the temple. The Ganges remodelled the temple and introduced certain Vaishnavite elements like images of Vaishnava Dwarapalas namely Jaya and Prachanda, Jagannatha, Lakshmi Narayan and Garuda were installed. Tulsi leaves, which are favoured by Vishnu, was used along with Bela leaves for the worship of Lingaraj. Lingaraja was thus came to be known as Harihara, a combination of Shiva and Vishnu. The flag of the temple was fixed to a Pinaka bow instead of trident usually found in Shiva temples. The temple priests also changed the mark in their forehead from horizontal to a "U" sign with a dotted middle line. The Ganges also introduced certain fairs like Swing festival, Sun worship and mock quarell between priests after chariot festival, similar to the practises in Jagannath Temple in Puri. The influence of the Ganges dynasty has led to a cosmopolitan culture, that has reduced the status of Lingaraja temple as a distinct Saivite shrine.
FESTIVAL & WORSHIP PRACTISES
As per Hindu legend, an underground river originating from the Lingaraj temple fills the Bindusagar Tank (meaning ocean drop) and the water is believed to heal physical and spiritual illness. The water from the tank is thus treated sacred and pilgrims take a holy dip during festive occasions. The central deity of the temple, Lingaraj, is worshipped both as Shiva and Vishnu. The harmony between the two sects of Hinduism, Saivism and Vaishanvism, is seen in this temple where the deity is worshipped as Harihara, a combined form of Vishnu and Shiva.
Shivaratri is the main festival celebrated annually in Phalgun month when thousands of devotees visit the temple. Apart from a full day of fasting, bel leaves are offered to Lingaraj on this auspicious day. The main celebrations take place at night when devotees pray all night long. The devout usually break their fast after the Mahadipa (a huge lamp) is lit on the spire of the temple. Every year the chariot festival (Ratha-Yatra) of Lingaraja is celebrated on Ashokashtami. The deity is taken in a chariot to Rameshwar Deula temple. Thousands of devotees follow and pull brightly decorated chariots containing the idols of Lingaraj and his sister Rukmani. This chariot procession stays for five days at the Rameshwar Temple and then will be brought back. This festival commemorates Lord Lingaraj having slayed a demon. Thousands of bol bom pilgrims carry water from river Mahanadi and walk all the way to the temple during the month of Shravana every year. Sunian day is observed from royal times in the month of Bhandra, a day when temple servants, peasants and other holders of temple lands offer loyalty and tribute to Lingaraja. Candan Yatra (Sandalwood ceremony) is a 22-day festival celebrated in the temple when servants of the temple disport themselves in a specially made barge in Bindusagar tank. The deities and servants of the temples are anointed with sandalwood paste to protect from heat. Dances, communal feasts and merrymaking are arranged by the people associated with the temple.
The Lingaraja temple is active in worship practises, unlike the other ancient temples of Bhubaneshwar which are not active worship centres. Non Hindus are not allowed inside the temple, but it can be viewed from the viewing platform located outside the temple. The viewing platform and the back of the temple can be reached via a lineway located to the right of the main entrance of the temple. Sanctity of the temple is maitained by disallowing dogs, unbathed visitors, menstruating women and families that encountered birth or death in the preceding 12 days. In case of a foreign tresspass, the temple follows a purification ritual and dumping of prasad (food offering) in a well.
RELIGIOUS PRACTICES
The image of Lingaraja is abluted with water (called mahasnana) several times a day and decorated with flowers, sandal paste and cloth. Hemlock or hemlock flowers which are generally offered in other Shiva temples is not allowed in the Lingaraja temple. Bilva leaves (Aegle marmelos) and tulasi (Ocimum sanctum) are used in daily worship. Offerings of cooked rice, curries and sweet-meats are displayed in the bhogamandapa (hall of offering) and the divinity is invoked to accept them amidst scores of chanting of Sanskrit texts. Coconut, ripe plantains and kora-khai are generally offered to Lingaraja by the pilgrims. Bhang beverage is offered to Lingaraja by some devotees especially on the day of Pana Sankranti (Oriya new year).
The Lingaraja temple is open from 6 a.m. to about 9 p.m. and is intermittently closed during bhoga (food offering) to the deity. During early morning, lamps in the cella are lit to awaken Lingaraja from his sleep, ablution is performed, followed by adoration and arati (waving of light). The temple is closed at about 12 p.m. until about 3.30 P.M. A ceremony known as Mahasnana (ablution) is performed once the doors are closed, followed by pouring of Panchamrita (a mixture of milk, curdled milk, clarified butter, honey and ghee) upon the deity for purification. At about 1 P.M., a ripe plantain is divided into two, one half is offered to Sun god and the other half to Dwarapala (the guarding deities in the doorway). Between 1.00 and 1.30 P.M. the food offering called Ballabha Bhoga (breakfast containing curdled milk, curd and vegetables) is offered to the deity. The consecrated food is carried to the temple of Parvati and placed before her as an offering, a practice commonly observed by the orthodox Hindu housewives. At about 2 P.M., the Sakala Dhupa (morning's offering of food) takes place. After the food is offered to Lingaraja, the offerings are carried to the temple of Parvati to serve her. An offering called Bhanda Dhupa is carried out at 3.30 P.M. at the hall of offering. This food is later offered by the inmates to the pilgrims as Mahaprasad.
A light refreshment known as Ballabha Dhupa is offered to the deity at around 4.30 P.M. At around 5 P.M., Dwipahar Dhupa (mid day meal) is offered. At around 7 P.M., another offering called Palia Badu is placed before the deity. Sandhya arati (waving of lights in the evening) is performed during that time. Another light meal called Sahana Dhupa is offered at around 8:30 P.M. After the meals, the ceremony of waving light (arati) is performed before the deity. At 9.30 P.M, the last service of the day, Bada Singara (the great decoration) is performed when the deity is decorated with flowers and ornaments after which a light food offering is made. A wooden palanquin is laid in the room, incense is lighted, drinking water is served and prepared betel is placed. Panchabaktra Mahadeva comes to the palanquin and returns to his own abode after the arati is performed. This is a bronze image of Mahadeva having five faces and Parvati in his lap. Each of these ceremonies is accompanied by ritual observances and recitations of mantras (Sanskrit texts) specified for each occasion.
TEMPLE STAFF & ADMINISTRATION
King Jajati Keshari, believed to be the founder of the Lingaraja temple, deputed Dravidian Brahmins as temple priests over the local Brahmins on account of their increased knowledge of Saivism. The focus was to enhance the temple practises from tribal rites to Sanskritic. While the exact number of castes involved in the nijogas (practises) is not known, Brahmins, tribal worshippers and inmates from Untouchable castes are believed to be part of the setup. Bose (1958) identified 41 services with the involvement of 22 separate castes and Mahaptra (1978) identified 30 services. It is understood from the records that kings and temple managers of different times introduced or discontinued certain services, fairs, offerings and caste-centred core services during their regime. As of 2012, the temple practised 36 different services (nijogas).
In modern times, the Lingaraja temple priests are from two communities, namely Brahman Nijog and Badu Nijog. The Badu are non-Brahmin servant groups, whose origin is not ascertained due to unavailability of authentic records, while they are described as Vadu in chapter 62 of the Ekamrapurana. The caste group of Badu is called Niyoga, which elects the officers every year during the Sandalwood festival. Every Badu undergoes three distinct rites, namely, ear-piercing, marriage and god-touching. Historically, the Badus performed five different temple duties - Paliabadu and Pharaka, which were considered important and Pochha, Pahada and Khataseja, which were considered inferior. From 1962, only Paliabadu and Pharaka practises are followed and the others are discontinued. The Badus also carry out ablution and dressing of the images of Siddhaganesh and Gopalini. The temple is maintained by the Temple Trust Board and the Archeological Survey of India (ASI). The temple is guarded by security personnel deputed by the Police Commissioner of Bhubaneswar and security guards appointed by the temple administration. The temple has an average of 6,000 visitors every day and receives lakhs of visitors during festivals. The Shivaratri festival during 2012 witnessed 200,000 visitors. As of 2011, the annual income of Lingaraja temple from hundis (donation boxes) is around INR1.2 million per annum. Another INR4 million is collected annually from other sources like rents from shops, cycle stands and agriculture lands. Starting 2011, the temple charges an amount for six types of religious worship (special pujas) carried out by the devotees.
WIKIPEDIA
For the form, we are using a fabric form, which will double as the moisture barrier after wards. Inside is 15m rebar, and cable ties which will be used to tether the upper bond beam to the foundation.
The steel arches forming the Veterans Drive Tunnel for eastbound traffic inch ever closer to the median wall.
Construction crews excavated the median of I-5 in SeaTac to build the tunnel as part of the SR 509 Completion Project.
The tunnel will provide a link between a new off-ramp (barely visible to the right of the interstate) and Military Road on the east side of I-5.
The SR 509 Completion Project is part of the Puget Sound Gateway Program which completes critical missing links in Washington state's highway and freight network.
The Pretenders are an English-American rock band formed in Hereford, England in March 1978. The original band consisted of initiator and main songwriter Chrissie Hynde (lead vocals, rhythm guitar), James Honeyman-Scott (lead guitar, backing vocals, keyboards), Pete Farndon (bass guitar, backing vocals), and Martin Chambers (drums, backing vocals, percussion). The band has experienced drug-related deaths of the members, and numerous subsequent personnel changes have taken place over the years, with Hynde as the sole continual member.[1]
Hynde, originally from Akron, Ohio, attended Kent State University at the time of the Kent State shootings in 1970. She moved to London in 1973, working at the weekly music paper, NME,[1] and at Malcolm McLaren and Vivienne Westwood's SEX store. She was involved with early versions of The Clash and The Damned, and in short-lived bands such as Masters of the Backside and The Moors Murderers.[2] Pretenders formed during 1978 after Dave Hill at Anchor Records heard some demos. He arranged a rehearsal studio in Denmark Street & the 3 piece consisting of Hynde, Mal Hart, on bass, who had played with Hynde & Steve Strange in The Moors Murderers & Phil Taylor[3] from Motorhead filling in on drums played a selection of Hyndes` original songs. Dave Hill was impressed & arranged a day at Studio 51 to record another demo which although rough felt he had seen & heard enough "star potential" to suggest she form a more permanent regular band to record for his new label, Real Records.[1] Hynde formed a band composed of Pete Farndon (who was later associated romantically with Hynde) on bass, James Honeyman-Scott on guitar, and Gerry Mcilduff on drums. This band, without a name at this stage, recorded five tracks at Regents Park Studio in July 1978, including "Stop Your Sobbing". Gerry Mcilduff was replaced on drums by Martin Chambers, and Hynde named the band "Pretenders" after The Platters song "The Great Pretender"."I know that the Pretenders have looked like a tribute band for the last 20 years. ... And we're paying tribute to James Honeyman Scott and Pete Farndon, without whom we wouldn't be here. And on the other hand, without us, they might have been here, but that's the way it works in rock 'n' roll."
After their Hall of Fame induction, the Pretenders continued touring as a four-part team (Hynde, Seymour, Hobson and Chambers). During 2005, bassist Hobson left and was replaced by Nick Wilkinson, marking the band's first line-up change in thirteen years. That same year, Rhino Records released the four disc and DVD box set Pirate Radio 1979-2005 which spanned the group's entire career. Two disc remastered versions of the first two albums also came out that year with bonus tracks. During 2007, Rhino remastered both Learning To Crawl and Get Close once again with bonus tracks. Not long after, guitarist Seymour left and was replaced by James Walbourne.
The Pretenders' album Break up the Concrete was released through Shangri-La Music on 7 October 2008. It was the band's first Top 40 album in the US in twenty two years. Tracks include "Boots of Chinese Plastic", "Don't Cut Your Hair", "Love's a Mystery", "The Last Ride" and "Almost Perfect". With Hynde was the guitarist James Walbourne, pedal steel player Eric Heywood, bassist Nick Wilkinson and drummer Jim Keltner (on the album only). Chambers returned to the drums on tour with the band. Several one-off shows were performed during the closing months of 2008, including a couple of Christmas charity shows. The 'Break Up The Concrete Tour' began in mid-January and covered most of the United States, with shows until the end of March. It then continued in Europe, with gigs in Sweden, Norway, Finland, Denmark, Germany, Netherlands, France, Spain, Belgium, and the UK during the months of June and July, before returning for a new tour in Canada and the US during August and September 2009. A show from the tour, filmed at Shepherd's Bush Empire in London on 15 July 2009, was released on CD with bonus DVD / Blu-ray on 9 February 2010, titled Pretenders: Live in London. Another tour was announced in May, a double headlining tour in New Zealand and Australia with Blondie for a few winery shows.
Earth Designs Garden Design and Build were asked to created a landscape and propose garden design in Mill Lane, London*. Here are the details of the project
Brief: The brief from this client was to create a low maintenance, accessible and above all stylish garden, suitable for dining and entertaining. The client was looking for a real 'wow' factor and wanted the exterior of their property to mirror the high finish and individuality of their interior space. The existing space suffered from many drawbacks - it had an uninspiring, drab layout and was excessively overlooked from flats above and to the right and left. Its North facing aspect means that it does not benefit from a great deal of sunlight.
Solution: This design created create a stylish and contemporary space with a plethora of visual stimuli that offers extensive opportunity for enjoyment throughout the year.
The existing fencing along the rear and right hand boundaries was clad with opaque purple Perspex sheeting to create a uniform, modern backdrop to the space. Two distinct seating areas, each designed with a different use in mind, were created to allow the client maximum scope for entertaining and relaxation.
The first, in the top right corner of the space, forms the main focal point to the garden and comprises a slightly sunken conversation pit enclosed within a four-poster bed style structure. Constructed from sturdy railway sleepers, this area offers ample space for lounging and serves as a visually imposing talking-point. One side of the structure includes numerous open shelves, allowing the client to display a variety of sculpture and ephemera, while a second side houses a bespoke stainless steel water feature. The water feature itself is comprised of a large stainless steel tank fed from above by two stainless steel water blades. For comfort, large custom-made weatherproof cushions cover the conversation pit floor. These cushions can be removed and stored during inclement weather.
The second seating area, centre left of the space, comprises an L-shaped railway-sleeper fixed bench backed by a railway-sleeper raised bed. Serving as an informal alfresco dining area, this section of the space benefits from a low coffee-style table with a second table at kitchen-counter height, beside which the client has placed a BBQ for alfresco food preparation.
Flooring throughout is in attractive cream travertine, laid in a formal grid pattern and inlaid in the centre with a single rectangular strip of plum slate tiles, providing an elegant contrast to the dark stained railway sleeper structure and seating.
The left hand boundary was clad with stainless steel sheeting to create a stunning backdrop to the dining area. This panelling continues along the boundary beyond the seating area to mask a bespoke storage area in an alcove to the left of the space. The stainless steel theme is echoed with the addition of six stainless steel planters placed at intervals around the edge of the paving.
Planting in the space follows a strong architectural theme, consisting of sculpted box balls and tall, elegant allium in the raised bed, framed by the primeval fronds of dicksonia antartica (tree fern) clustered in the flush bed beyond. The box ball theme is echoed in the stainless steel planters spaced around the paving and a variety of climbers have been placed so that they will gradually adorn the Perspex fencing over time.
A comprehensive lighting scheme was installed with mood and accent in mind. Down-lighters installed within the alcoves of the railway sleeper shelving unit create a centre piece of the sleeper structure, while stainless steel bollard lights frame either end of the bench in the dining area. The paving is edged with in-ground up-lighters placed in front of each stainless steel planter to give balance to the space, while a submersible light installed within the water feature tank casts a gently undulating light across the back of the space. Low voltage spots cast a gentle glow across the back of the space and weatherproof wall-mounted infra-red heaters, one in the conversation pit and one on the boundary wall beside the bench seating, allow continued enjoyment of the garden on chilly nights.
Testimonial: "Many thanks, we are so thrilled with the entire garden. It is imaginative and bold but also practical and truly reflects our personalities! You have transformed an ordinary space into something quite magical."
If you dig this and would like to find out more about this or any of other of our designs, please stop by our web-site and have a look at our work.
Earth Designs is a bespoke London Garden Design and build company specialising in classic, funky and urban contemporary garden design.
Our Landscape and Garden build teams cover London, Essex and parts of South East England, while garden designs are available nationwide.
Please visit www.earthdesigns.co.uk to see our full portfolio. If you would like a garden designer in London or have an idea of what you want and are looking for a landscaper London to come and visit your garden, please get in touch.
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Earth Designs is located in East London, but has built gardens in Essex , gardens in Hertfordshire Hertfordshire and all over the South East. Earth Designs was formed by Katrina Wells in Spring 2003 and has since gone from strength to strength to develop a considerable portfolio of garden projects. Katrina, who is our Senior Garden Designer, has travelled all over the UK designing gardens. However we can design worldwide either through our postal garden design service or by consultation with our senior garden designer. Recent worldwide projects have included garden designs in Romania. Katrina’s husband. Matt, heads up the build side of the company, creating a unique service for all our clients.
If you a not a UK resident, but would like an Earth Designs garden, Earth Designs has a worldwide design service through our Garden Design Postal Design Vouchers. If you are looking for an unique birthday present or original anniversary present and would like to buy one of our Garden Design Gift Vouchers for yourself or as a present please our sister site www.gardenpresents.co.uk. We do also design outside of the UK, please contact us for details.
Après avoir constaté les différences fortement observables entre des Petit-ducs maculés de forme grises (Parc Angrignon) et d'autres de formes rousses (Jacques Gagnon à St-Antoine de Richelieu) et découvert dans la littérature ornithologique que trois formes existes, la troisième étant brune chocolat, il apparaît plus que probable que celui-ci, du Boisé Papineau, soit de forme brune chocolat. Il est intéressant de noter que, tout comme pour les chiens labrador, on peut retrouver dans une portée les trois couleurs si les parents sont de couleurs différentes.