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A Monument to Catalan Independence.
"The unfinished staircase symbolises the ongoing history of Catalonia which is being constructed day-by-day."
Kunst im Römerpark Ruffenhofen. Die ersten Metallblumen wurden aus gebogenen Nägeln aus der Schalung der Ausgrabung 2005 im Kastell Ruffenhofen hergestellt. Insgesamt gibt es 223 sehr unterschiedliche Blumen: große, kleinere, mit oder ohne Blätter, verwelkt und voll erblüht. Die Blumen sind somit ein Symbol für uns unterschiedliche Menschen.
Art in the Ruffenhofen Roman Park. The first metal flowers were made from bent nails from the formwork of the 2005 excavation at Fort Ruffenhofen. In total there are 223 very different flowers: large, smaller, with or without leaves, withered and fully bloomed. The flowers are thus a symbol for us different people.
a short word for a big thing ...
here you can see the three static points on which the upper floor of the building rests and the large span between them, the spatial impression is fantastic, especially since the large ceiling is visually so beautifully prismatic, the details at the support points would have required a more accurate and clean concrete formwork, but that's complaining at a high level ...
ici, on peut bien voir les trois points statiques sur lesquels repose l'étage supérieur du bâtiment et la grande portée entre eux, l'impression d'espace qui en résulte est fantastique, d'autant plus que le grand plafond est si bien structuré visuellement de manière prismatique, les détails aux points d'appui auraient toutefois nécessité un coffrage de béton plus précis et plus propre, mais c'est de la critique de haut niveau ...
hier kann man die drei statischen Punkte gut erkennen auf denen die obere Etage des Gebäudes aufliegt und die große Spannweite dazwischen, der Raumeindruck dadurch ist fantastisch, zumal die große Decke optisch so schön prismatisch gegliedert ist, die Details an den Auflagepunkten hätten jedoch eine genauere und saubere Betonschalung erfordert, aber das ist Meckern auf hohem Niveau ... ...
_V0A4037_40_pa2
Monument national à la Résistance, Plateau des Glières, Haute-Savoie, Auvergne-Rhône-Alpes, France.
El monumento nacional a la Resistencia de la meseta de Glières es una escultura monumental de Émile Gilioli ubicada en la meseta de Glières en la comuna de Petit-Bornand-les-Glières (Glières-Val-de-Borne) en Alta Saboya. Rinde homenaje a la acción de los maquis de Glières. Su inauguración el 2 de septiembre de 1973 fue motivo de un célebre discurso de André Malraux. Desde el 10 de marzo de 2003, el edificio cuenta con el sello “Patrimonio del Siglo XX” y desde el 27 de mayo de 2020 está clasificado como monumento histórico.
Situada directamente en la pradera alpina, a 1.440 m de altitud, como quería E. Gilioli, la masa blanca de 385 toneladas de hormigón parece a punto de volar.
El V tiene una longitud de 20,30 metros, una altura de 16,80 metros y una anchura de 4 metros. El espesor de las paredes es de 15 centímetros.
El disco tiene un diámetro de 7,50 metros y una anchura de 2,50 metros, y su peso equivale a 65 toneladas. Constituye uno de los logros de la creación y su construcción se inició el 16 de agosto de 1973. El artista quiso dar la impresión de que este disco estaba en suspensión y lo hizo colocar 2 cm por encima de la V.
El arquitecto-escultor desea combinar el material mineral del monumento con la naturaleza circundante y favorecer el juego de luces en la superficie. Por ello exige que los paneles de encofrado dejen una huella en el hormigón. Por lo tanto, cada tabla se lija con sílice a alta presión, lo que ahueca las venas blandas de la madera y deja al descubierto las vetas duras.
Cuando finalizan las obras, E. Gilioli firma su obra colocando dos finísimas gárgolas a cada lado del monumento.
The National Monument to the Resistance on the Glières Plateau is a monumental sculpture by Émile Gilioli located on the Glières plateau in the commune of Petit-Bornand-les-Glières (Glières-Val-de-Borne) in Haute-Savoie. It pays tribute to the action of the Glières maquis. Its inauguration on 2 September 1973 was the subject of a famous speech by André Malraux. Since 10 March 2003, the building has been labelled “20th Century Heritage” and since 27 May 2020 it has been classified as a historical monument.
Located directly on the Alpine meadow, at an altitude of 1,440 m, as E. Gilioli wanted, the white mass of 385 tonnes of concrete seems about to fly away.
The V is 20.30 metres long, 16.80 metres high and 4 metres wide. The walls are 15 centimetres thick.
The disc has a diameter of 7.50 metres and a width of 2.50 metres and weighs 65 tonnes. It is one of the achievements of the creation and its construction began on 16 August 1973. The artist wanted to give the impression that this disc was suspended and had it placed 2 cm above the V.
The architect-sculptor wants to combine the mineral material of the monument with the surrounding nature and to favour the play of light on the surface. For this reason he requires that the formwork panels leave an imprint in the concrete. Therefore, each plank is sanded with silica under high pressure, which hollows out the soft veins of the wood and exposes the hard grains.
When the works were finished, E. Gilioli signed his work by placing two very fine gargoyles on each side of the monument.
Edificio Girón is a seafront apartment building, located in the Vedado district where Calle F meets the Malecón. It was opened in 1967, the year that Che Guevara died, and a decade that saw Cuba settle from revolutionary fervour into a socialist republic. The Girón building was formed from two 17-storey blocks, fitted with elevators and with a series of tubular walkways that join the two hemispheres like neural fibres. It is also called the ‚Experimental Building‘, because the first time in Cuba a sliding formwork was used. Some call this kind of architecture 'brutalism' ;-) The years haven’t been kind to the Edificio Girón, nevertheless it's still fully inhabited. This photo was a quick shot out of a car, so I apologize for cutting the peak ;-) More images will follow.
For some details about Havana architecture read this, Edificio Girón is also described here.
www.thebohemianblog.com/2016/05/climbing-all-over-the-massive-modernist-architecture-of-cuba.html
"Einer der bekanntesten Akustiker der Welt, der Japaner Yasuhisa Toyota, entwickelte eine besondere Verschalung für Wände und die Decken, die in dieser Form einzigartig ist: die „Weiße Haut“. Sie besteht aus 10.000 Gipsfaserplatten, jede individuell gefräst und mit einer einzigartigen Oberfläche aus Vertiefungen, Riefen und pyramidalen Kegeln versehen, um den Schall an jeder Stelle des Saals bestmöglich zu brechen.
Je nach Position an Wand oder Decke im Großen Saal sind die Gipspaneele unterschiedlich beschaffen; die Dicke reicht von 35 bis 200 Millimeter, das Flächengewicht bis rund 150 Kilogramm pro Quadratmeter."
"One of the world's best-known acousticians, the Japanese Yasuhisa Toyota, has developed a special formwork for walls and ceilings that is unique in this form: the" White Skin. "It consists of 10,000 gypsum fiber boards, each individually milled and with a unique surface made of indentations, grooves and pyramidal cones to break the sound at each point of the hall as best as possible.
Depending on the position on the wall or ceiling in the Great Hall, the gypsum panels have different characteristics; the thickness ranges from 35 to 200 millimeters, the basis weight to around 150 kilograms per square meter. "
www.faz.net/aktuell/technik-motor/akustik-in-der-elbphilh...
"Gure aitaren etxea" (Eduardo Chillida, 1987), Parque de los pueblos de Europa, Guernica, Vizcaya, País Vasco, España.
Esta escultura emblemática se localiza en el Parque de los Pueblos al lado de la casa de Juntas y el Árbol de Guernica. Fue realizada por el escultor Eduardo Chillida en el año 1987.
La obra, de hormigón, que mide casi ocho metros de altura y 18 de perímetro, trata de simbolizar, en palabras del escultor, a un País Vasco orientado hacia el arte. La escultura tiene la forma de una proa abierta para testimoniar la voluntad de avanzar del pueblo vasco.
El escultor dijo que concibe su obra como una casa y un barco abiertos, en un espacio que se activa extraordinariamente al bordear la escultura. Los muros están abiertos por un enorme hueco que para Chillida representa la ventana que comunica con el árbol de Gernika. La estela funeraria de acero instalada en uno de los muros de la obra, "un símbolo de paz", trata, según el escultor, de establecer un contrapunto con el árbol de Gernika, un diálogo con el entorno, y constituye el eje y el punto de referencia de la obra.
Chillida, que tiene muy pocas obras en Euskadi, dijo que esta escultura, asentada en el universo simbólico del árbol de Gernika, es una de sus mayores alegrías. Los 46 metros cúbicos de madera seleccionada y tratada, los 7.000 tornillos y los 3.500 tirafondos empleados en el encofrado dan idea de la envergadura de esta obra escultórica.
La obra, denominada como “Gure Aitaren Etxea”, que significa “La casa de nuestro padre”fue encargada por el Gobierno Vasco para conmemorar el 50 aniversario del bombardeo de Guernica. Se trata de un monumento dedicado a la paz y diseñado para que, desde su ventana, se pudiera ver el Árbol de Guernica (aproximadamente a unos 200 metros del mismo).
This emblematic sculpture is located in the Parque de los Pueblos next to the Casa de Juntas and the Tree of Guernica. It was made by the sculptor Eduardo Chillida in 1987.
The work, made of concrete, which is almost eight meters high and 18 meters wide, tries to symbolize, in the words of the sculptor, a Basque Country oriented towards art. The sculpture is in the form of an open prow to testify to the will of the Basque people to move forward.
The sculptor said that he conceives his work as an open house and boat, in a space that is extraordinarily activated by bordering the sculpture. The walls are opened by an enormous hole that for Chillida represents the window that communicates with the Gernika tree. The steel funerary stela installed on one of the walls of the work, "a symbol of peace", attempts, according to the sculptor, to establish a counterpoint with the Gernika tree, a dialogue with the surroundings, and constitutes the axis and work reference point.
Chillida, who has very few works in the Basque Country, said that this sculpture, based on the symbolic universe of the Gernika tree, is one of his greatest joys. The 46 cubic meters of selected and treated wood, the 7,000 screws and the 3,500 lag screws used in the formwork give an idea of the scope of this sculptural work.
The work, called "Gure Aitaren Etxea", which means "Our father's house" was commissioned by the Basque Government to commemorate the 50th anniversary of the bombing of Guernica. It is a monument dedicated to peace and designed so that, from its window, the Tree of Guernica could be seen (approximately 200 meters from it).
Comments are always welcome and favs most appreciated.
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UP#3
Lang/Baumann
Installation
Structure interne en poutres treillis spatiales multidirectionnelles, habillées d’un coffrage bois peint en blanc.
Matériaux : acier, bois, peinture
Dimensions : 9.2 × 11.5 × 10 m
La Porte Océane, ensemble emblématique de la reconstruction du Havre, a été dessinée par Auguste Perret et achevée en 1956. Ses deux tours symétriques, de part et d’autre de l’avenue Foch, forment une ouverture sur la mer.
Jouant avec cette perspective, les artistes Sabina Lang et Daniel Baumann ont apposé une structure blanche rectangulaire dans l’axe des immeubles, sur la plage.
La sculpture émerge des galets comme un immense portique se découpant sur l‘horizon. Monumentale et élégante, cette surface épurée, l'œuvre d’un blanc éclatant sait trouver le point d’équilibre entre objet usuel et ovni, ajout fonctionnel et construction de l’absurde.
Internal structure made from multi-directional spatial lattice beams, covered with wooden formwork painted white.
Materials: steel, wood, paint
Dimensions: 9.2 x 11.5 x 10 m
The Porte Océane is located at the western end of the tramway of Le Havre facing the seashore. Arranged symmetrically on either side of Avenue Foch the building complex forms a gateway to the sea. It was designed by Auguste Perret and completed in 1956.
Following the central axis of these buildings, a white rectangular construction rises from the beach.
The 10m-high sculpture emerges like giant clamps etched against the sky and forming a second gate towards the ocean. Monumental yet graceful, gleaming white with no discernible surface structure, the sculpture strikes a delicate balance between familiar object and absurd construction.
"Un été au Havre 2017"
Torre dell'Orologio e cassero medievale di Montepescali (GR)
Documentato fino dal 1080, Montepescali rimase incluso fino al XIII secolo fra i domini Aldobrandeschi e, come in altre zone, il dominio venne demandato a famiglie minori (in questo caso i Pannocchieschi). Nel 1147 tre esponenti delle famiglie più importanti di Montepescali, dichiararono di volersi sottomettere alla chiesa cattedrale e al comune di Siena offrendo in dono "due case nel castello e tre nel borgo", comunque senza togliere la dovuta riverenza agli Aldobrandeschi.
Quando poi questa famiglia, nel 1221, strinse un patto di alleanza con il comune di Siena, i rappresentanti di Montepescali si affrettarono a giurare di garantirne l'osservanza.
Probabilmente, nel 1291, i senesi avevano nel paese un proprio fortilizio nel quale risiedeva un ufficiale; di questo periodo rimangono vestiglia importanti - nella parte alta del centro storico - nel complesso ora denominato Cassero e Torre dell'Orologio, che comprendeva anche il convento di Santa Cecilia, la chiesa e la torre campanaria, sicuramente databile al XII secolo.
Montepescali fu libero comune e nel 1147 chiese la protezione della Repubblica di Siena; alla fine del Duecento tutta questa struttura si trasformò da religiosa a pubblica e la chiesa ed il convento vennero adibiti, a causa delle nuove esigenze, a Palazzo del Tribunale.
Clock Tower and medieval formwork in Montepescali (Grosseto)
Documented since 1080, Montepescali remained included up to the thirteenth century among the Aldobrandeschi family domains and, as in other areas, the domain was delegated to minor families (in this case the Pannocchieschi). In 1147 three majorities of the most important families in Montepescali, declared that they wanted to submit to the cathedral church and to the municipality of Siena by offering as a gift "two houses in the castle and three in the village", however without taking away the due reverence to the Aldobrandeschi.
Then when this family, in 1221, made an alliance with the municipality of Siena, the representatives of Montepescali swore to guarantee its observance.
Probably, in 1291, the Sienese had their own fortress in the town in which an officer resided; important vestiglias remain from this period - in the upper part of the historic center - in the complex now called Cassero and Torre dell'Orologio, which also included the convent of Santa Cecilia, the church and the bell tower, certainly datable to the 12th century.
Montepescali was a free municipality and in 1147 asked for the protection of the Republic of Siena; at the end of the thirteenth century this whole structure was transformed from religious to public and the church and convent were used, due to the new requirements, in the Court Building.
© Riccardo Senis, All Rights Reserved
This image may not be copied, reproduced, republished, edited, downloaded, displayed, modified, transmitted, licensed, transferred, sold, distributed or uploaded in any way without my prior written permission.
Europe, The Netherlands, Zuid Holland, Rotterdam Zuid, Charloise Hoofd, former Dokhaven, Hoge Maas (cut from all sides)
The Hoge Maas tower is located on the south bank of the Maas at the Dokhavenpark. It’s build on the former Dokhaven which was filled in and redeveloped in 1983. Together with this tower, various other (amongst them low/moderate cost) housing projects were realized. They’re all grouped around the park, above an underground wastewater treatment plant.
The tower was designed in 1999 by Benthem Crouwel Architekten, has 24 floors and is 72 meters high. Due to the cross-shaped floor plan, all the five apartments of a floor have a view of the water and a balcony.
The reinforced core of the edifice was built using 'glijbekisting' (tunnel formwork). The facade consists of large glass panels and solid parts of dark gray 'panelcraft' panels. Natural stone is incorporated in the cement-bound slabs which shimmers in the sun.
About the Charlois’ Dokhaven. It was a small stub of the Nieuwe Maas, dug between 1881 and 1882. It was 320 m long and about 150 m wide and is between the Maashaven and The Sint Janshaven. It once accommodated three municipal floating dry-docks with respective lengths of 48, 90 and 110 m (suitable for the largest ships of the time). Its history: With the rapid increase of the number of steamships, Rotterdam’s 1 dry dock was not enough and ships had to go to Antwerp for maintenance - it had 5 dry docks. This was not an efficient solution and posed logistic problems. The private sector didn’t rise to this challenge so the municipality eventually stepped in and created the needed capacity.
This is 225 of Urban Frontiers, 979 of This is number 971 of Minimalism / explicit Graphism and 23 of the new Benthem Crouwel album.
Sasso d'Ombrone detto anche Sasso di Maremma (Cinigiano, Grosseto)
Da Cinigiano, imboccando la strada provinciale n. 7 in direzione di Paganico, si arriva a Sasso d'Ombrone, piccolo paese in posizione panoramica posto a m. 254 s.l.m. sul fiume Ombrone.
Il castello fu dominato da una dinastia locale di conti che nel 1196, con un atto stipulato nel cassero, decisero la costruzione del ponte sul fiume Ombrone in prossimità del castello e che, nel 1215, si impegnarono al versamento di un tributo di 26 denari al comune di Siena per ogni "massaritia" compresa nei loro territori. Nel 1254 Pepone di Nero pose il castello sotto la giurisdizione di Siena.
Successivamente, l'Ospedale di Santa Maria della Scala e i Buonsignori acquistarono beni e diritti sul castello del Sasso e nel suo territorio.
All'inizio del Quattrocento fu sancita la diretta subordinazione della comunità di Sasso d'Ombrone alla repubblica senese. Delle originarie strutture fortificate resta soltanto una porta ad arco in mattoni verso sud ed un'importante costruzione a filarotto, molto rimaneggiata, sulla collina.
Sasso d'Ombrone also called Sasso di Maremma (Cinigiano, Grosseto)
From Cinigiano, taking the provincial road n. 7 towards Paganico, you arrive at Sasso d'Ombrone, a small village in a panoramic position located at 254 m above sea level and above the Ombrone river.
The castle was dominated by a local dynasty of counts who in 1196, with a deed drawn up in the formwork, decided to build the bridge over the Ombrone river near the castle and who, in 1215, committed to paying a tribute of 26 denari to the municipality of Siena for each "massaritia" (farm) included in their territories. In 1254 Pepone di Nero placed the castle under the jurisdiction of Siena.
Subsequently, the Hospital of Santa Maria della Scala and the Buonsignori family purchased assets and rights on the Sasso castle and its territory.
At the beginning of the 15th century, the direct subordination of the community of Sasso d'Ombrone to the Republic of Siena was established. Of the original fortified structures, only an arched brick gate to the south and an important, much-remodeled, "a filarotto" construction (thin stones stacked leaving the cut side exposed) on the hill.
© Riccardo Senis, All Rights Reserved
This image may not be copied, reproduced, republished, edited, downloaded, displayed, modified, transmitted, licensed, transferred, sold, distributed or uploaded in any way without my prior written permission.
The city of Aswan in Upper Egypt is the center of the ancient Nubian culture that has given the world the famous Nubian vault, built of adobes (sun-baked clay bricks) and without formwork or other mechanical supports. It is an interesting technique, where the bricks are laid in slightly inclined rows in the form of a centenary curve.
In the rural area adobe vaults are still the norm. In various places outside the center we also saw sumptuous houses with vaults and domes, one being a residence of a famous Egyptian musician.
To the "Albert Bridge" in Dresden I have a special connection. I work in the construction company, which was commissioned with the renovation of the bridge. My task was to construct the formwork for the new concrete deck slab - a particular challenge because of the complicated shape.
Zur Albertbrücke in Dresden habe ich seit einiger Zeit eine besondere Verbindung. Ich arbeite in der Baufirma, die mit der Sanierung der Brücke beauftragt war. Meine Aufgabe war es, die Schalung für die neue auskragede Fahrbahnplatte aus Beton zu konstruieren - eine besondere Herausforderung wegen der komplizierten Form der sogenannten "Konsolen".
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Η κουτσουπιά ή κερκίδα (Cercis siliquastrum, Leguminosae), γνωστή και ως δέντρο του Ιούδα ή μαμουκαλιά ή κότσικας, είναι φυλλοβόλο δέντρο της Μεσογείου και αυτοφυές της ελληνικής χλωρίδας.
Σύμφωνα με τη θρησκευτική παράδοση,η κουτσουπιά ήταν το δέντρο από το οποίο κρεμάστηκε ο Ιούδας μετά την προδοσία.
Αυτού του γεγονότος καθώς και της πλύσης των ποδών των μαθητών Του από τον Ιησού Χριστό γίνεται μνεία στην ακολουθία της Μεγάλης Τετάρτης.Εδώ βλέπουμε μιά μεγάλη συγκέντρωση από κουτσουπιές στο Γεφύρι της Μαλνίτσας
θέαμα το οποίο μας οδήγησε χαριτολογώντας με την σύζυγο να το ονομάσουμε "κουτσουπιάδα"
Cercis siliquastrum, Leguminosae, also known as a tree of Judah, or a mammoth or cobweb, is a deciduous tree of the Mediterranean and a native of the Greek flora.
According to the religious tradition, kutsupuya was the tree from which Judas was hanged after treason.
This fact as well as the washing of His disciples' feet by Jesus Christ is mentioned in the Great Wednesday.
Following the footpath from Kastaniani to Lagada, heading north, after about 500 meters, we meet the stone bridge of Malnitsa.'n'nIt is named after the homonymous stream of Malnitsa of the Sarantaporos river. It was built in 1934.'n'nPrefecture of Ioannina'n'nCommunity: Kastania'n'nRiver: SARANTAPOROS (KONITSAS)'n'nCoordinates: N 40 ° 1148.9 E 020 ° 5016.0 ''n'nAltitude: 841'n'nYear: 1934'n'nBuilders: Kostas Tzoumakas (1864-1957), Alekos Tzoumakas (1914-1974, Pelican), Kostas Gokios 'Giortolis (pelican), Christos Tziakos (1879-1958, Pelican), Yiannis Tziakos (1885-1959, Pelican ), Dimitris Doukas (1880-1957), Grigoris Doukas (1920 - ?, mastoropoulos), Kostas Fakouras (1873-1959), Apostolos Fakouras (1907 - ?, mastoropoulos), Yorgos Fakouras (1905-2000 , carrots.) All Castans.'n'nSponsor: With the personal work of the inhabitants and masters and with the partial contribution of the legacy of D. Papadima'n'nMaintenance: In 2006, the contractor Stefanos Lampropoulos (from Kastanianis) secured the bridge and tilted the accesses. Where they were docked, they supplied them with urbies (= traditional stairs) and protective benches.'n'nFormat: Monotox'n'nCondition: Very good'n'nElements: The same formwork was used immediately after another on another bridge in Castiani, the Galina bridge.
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Ακολουθώντας το μονοπάτι από Καστάνιανη προς Λαγκάδα με κατεύθυνση βόρεια,μετά απο 500 περίπου μέτρα,συναντάμε το πέτρινο μονότοξο γεφύρι της Μαλνίτσας .
Έχει πάρει το όνομά του από το ομώνυμο ρέμα της Μαλνίτσας του ποταμού Σαραντάπορου. Χτίσθηκε το 1934.
Νομός: ΙΩΑΝΝΙΝΩΝ
Κοινότητα: Καστανιά
Ποταμός: ΣΑΡΑΝΤΑΠΟΡΟΣ (ΚΟΝΙΤΣΑΣ)
Συντεταγμένες: N 40° 11΄48,9΄΄ E 020° 50΄16,0΄'
Υψόμετρο: 841
Χρονολογία: 1934
Κτίστες: Κώστας Τζουμάκας(1864-1957,πρωτομάστορας και πελεκάνος), Αλέκος Τζουμάκας(1914-1974,πελεκάνος),Κώστας Γκόσιος "Γιωρτόλης(πελεκάνος),Χρήστος Τζιάκος(1879-1958,πελεκάνος), Γιάννης Τζιάκος(1885-1959,πελεκάνος), Δημήτρης Δούκας(1880-1957,μάστορας), Γρηγόρης Δούκας(1920-;,μαστορόπουλο, μουλαροπαίδι), Κώστας Φακούρας(1873-1959,μάστορας), Απόστολος Φακούρας(1907-;,μαστορόπουλο), Γιώργος Φακούρας(1905-2000,μαραγκός). Όλοι Καστανίτες.
Χορηγός: Με προσωπική εργασία των κατοίκων και μαστόρων και με τη συμβολή εν μέρει του κληροδοτήματος Δ. Παπαδήμα
Συντήρηση: Το 2006 ο εργολάβος Στέφανος Λαμπρόπουλος (εκ Καστάνιανης) στερέωσε το γεφύρι και πλακόστρωσε τις προσβάσεις. Όπου αυτές ήταν γερτές τις εφοδίασε με ούβιες (=παραδοσιακού τύπου σκαλοπάτια) και με προστατευτικά πεζούλια.
Μορφή: Μόνότοξο
Κατάσταση: Πολύ καλή
Στοιχεία: Ο ίδιος ξυλότυπος, χρησημοποιήθηκε αμέσως μετά ατόφιος σε άλλο γεφύρι μέσα στην Καστιάνανη, το γεφύρι της Γκαλίνας.
Following the footpath from Kastaniani to Lagada, heading north, after about 500 meters, we meet the stone bridge of Malnitsa.
It is named after the homonymous stream of Malnitsa of the Sarantaporos river. It was built in 1934.
Prefecture of Ioannina
Community: Kastania
River: SARANTAPOROS (KONITSAS)
Coordinates: N 40 ° 1148.9 E 020 ° 5016.0 '
Altitude: 841
Year: 1934
Builders: Kostas Tzoumakas (1864-1957), Alekos Tzoumakas (1914-1974, Pelican), Kostas Gokios "Giortolis (pelican), Christos Tziakos (1879-1958, Pelican), Yiannis Tziakos (1885-1959, Pelican ), Dimitris Doukas (1880-1957), Grigoris Doukas (1920 - ?, mastoropoulos), Kostas Fakouras (1873-1959), Apostolos Fakouras (1907 - ?, mastoropoulos), Yorgos Fakouras (1905-2000 , carrots.) All Castans.
Sponsor: With the personal work of the inhabitants and masters and with the partial contribution of the legacy of D. Papadima
Maintenance: In 2006, the contractor Stefanos Lampropoulos (from Kastanianis) secured the bridge and tilted the accesses. Where they were docked, they supplied them with urbies (= traditional stairs) and protective benches.
Format: Monotox
Condition: Very good
Elements: The same formwork was used immediately after another on another bridge in Castiani, the Galina bridge.
The Glenfinnan Viaduct, a railway viaduct on the West Highland Line, Glenfinnan, Highland council area, Scotland
Some background information
The Glenfinnan Viaduct is a railway viaduct on the West Highland Line at Glenfinnan, in the Lochaber district of north-western Scotland, built from 1897 to 1901. Located at the northern bank of Loch Shiel about 20 kilometres (12 miles) west of the town of Fort William in the Highland council area of Scotland, the viaduct overlooks the Glenfinnan Monument and the waters of Loch Shiel. The viaduct is built from mass concrete, and has 21 semicircular spans of 15 metres (50 feet). With a length 380 metres (416 yards) it is the longest concrete railway bridge in Scotland and crosses the River Finnan at a height of 30 metres (100 feet). The West Highland Line it carries is single track, and the viaduct is 5.5 metres (18 feet) wide between the parapets. It is built on a curve of 241 metres (792 feet).
The concrete used in the Glenfinnan Viaduct is mass concrete, which unlike reinforced concrete does not contain any metal reinforcement. It is formed by pouring concrete, typically using fine aggregate, into formwork, resulting in a material very strong in compression but weak in tension. The West Highland Line, which uses the viaduct, connects Fort William and Mallaig. It was a crucial artery for the local fishing industry and the Highland economy in general, which suffered enormously after the Highland Clearances of the 1800s.
The line is used by passenger trains operated by ScotRail between Glasgow Queen Street and Mallaig, with Class 153 and Class 156 diesel multiple units. In the summer, West Coast Railways operates The Jacobite steam train along the line. It is a popular tourist event in the area, and the viaduct is one of the major attractions of the line. The Royal Scotsman also operates on the line. Unfortunately, there was no train crossing the viaduct, when we were there. As we didn’t look at the timetables of the trains, such a crossing would have been sheer coincidence.
The West Highland Railway was built to Fort William by the civil engineering company Lucas and Aird, but there were delays with the West Highland Railway Mallaig Extension bill for the Mallaig Extension Railway in the House of Commons as the Tory and Liberal parties fought over the issue of subsidies for public transport. The act finally passed in 1896, by which time Lucas and Aird had moved south. Hence, new contractors were needed and Robert McAlpine & Sons were taken on with Simpson & Wilson as engineers. Robert McAlpine & Sons was headed by Robert McAlpine, nicknamed "Concrete Bob" for his innovative use of mass concrete. Construction of the extension from Fort William to Mallaig began in January 1897, and the line opened in 1901. The Glenfinnan Viaduct, however, was complete enough by October 1898 to be used to transport materials across the valley.
A long-established legend attached to the Glenfinnan Viaduct was that a horse had fallen into one of the piers during construction in 1898 or 1899. In 1987, Professor Roland Paxton failed to find evidence of a horse at Glenfinnan using a borescope inserted into boreholes in the only two piers large enough to accommodate a horse. In 1997, on the basis of local hearsay, he investigated the Loch nan Uamh Viaduct by the same method but found the piers to be full of rubble. Using scanning technology in 2001, the remains of the horse and cart were found at Loch nan Uamh, within the large central pylon.
The Glenfinnan Viaduct features on some Scottish banknotes. The 2007 series of notes issued by the Bank of Scotland depicts different bridges in Scotland as examples of Scottish engineering, and the £10 note features the Glenfinnan Viaduct. The Glenfinnan Viaduct has also attracted increased fame beyond Scotland as a filming location for the Harry Potter film series, featuring in four of the films. Thus, the viaduct is sometimes referred to as "The Harry Potter Bridge". The association has led to hundreds of thousands more tourists each year, a significant strain on the hamlet of Glenfinnan and its vicinity. After its appearance in Harry Potter, British Transport Police had to warn fans not to walk on the viaduct after a handful of near misses with trains had occurred.
Loch Shiel in the proximity of the Glenfinnan Viaduct is a freshwater lake in a picturesque setting. With a length of 28 kilometres (17.5 miles) it is the 4th longest lake in Scotland, and the longest to have retained a natural outflow without any regulation of its water level. Loch Shiel’s nature changes considerably along its length, being deep and enclosed by mountains in the north east and shallow surrounded by bog and rough pasture in the south west, from which end the four kilometres long River Shiel drains to the sea in Loch Moidart near Castle Tioram. Loch Shiel is situated less than 10 metres above sea level, and was formed at the end of the last ice age when glacial deposits blocked what was formerly a sea loch. The lake is also known for the Glenfinnan Monument at its northern bank, dedicated to the Scottish Highlanders who fought in the Jacobite Army during the Jacobite rising of 1745.
The company that works with the formwork and concrete called a food truck to make wood-fired oven pizza for everyone!
This at the construction site of the new swimming arena in Täby, north of Stockholm, Sweden.
Tadao Ando and Frank Gehry in one picture ...
The beautiful midday light, which many avoid but is unavoidable when traveling, cast the right shadow on the Gehry building to correspond with the Ando wall...
Ando placed the wall between the fruit trees at an acute angle to create an entrance to his building, because according to Japanese myths, evil spirits cannot find such an entrance! ;-) ...
Typical are the tatami dimensions of his concrete formwork and the six formwork lock holes, a Japanese lucky number ...
Gehry, on the other hand, takes a deconstructivist approach "to confuse evil spirits" ...
;-) ...
Deutsch
Das schöne Mittagslicht, das viele meiden, aber auf Reisen unvermeidlich ist, ergab den richtigen Schatten auf dem Gehry-Gebäude, um mit der Ando-Mauer zu korrespondieren ...
Ando zirkelte die Mauer zwischen die Obstbäume um einen spitzen Winkel für seinen Gebäudeeingang zu erreichen, denn so einen Eingang finden, laut japanischen Mythen, die bösen Geister nicht ! ;-) ... typisch die Tatami-Dimensionen seiner Betonschalung und die 6 Schalungsschlösserlöcher, eine japanische Glückszahl ...
Gehry hingegen geht dekonstruktivistische Wege, "um die bösen Geister zu verwirren" ...
;-) ...
_MG_5674_pt2
For my video; youtu.be/yy-gQjdSYn8,
Fraser River,
Sapperton Landing Park,
New Westminster, British Columbia, Canada
There is now real visual progress on the construction project to build a new replacement structure for the Pattullo Bridge.
As of this week, formwork and concrete pours for the main bridge tower in the middle of the Fraser River have reached 10 of the 33 “segment jumps,” with each segment being an increment of five metres.
Eduardo Chillida 1988
Representa la casa del Pueblo Vasco de ahí su nombre. Con 8 mts de altura, esta escultura fue completada en el mismo parque donde se instalo un encofrado de madera que posteriormente se relleno con hormigón tratado con virutas de hiero, los muros están abiertos con un enorme hueco que para Chillida representa la ventana que comunica con el árbol de Gernika. En el centro de la casa el corazón una estela de acero simboliza la Paz y la Vida como propuesta de tolerancia y libertad.
Eduardo Chillida 1988
It represents the house of the Basque People, hence its name. With a height of 8 meters, this sculpture was completed in the same park where a wooden formwork was installed that was later filled with concrete treated with iron chips. The walls are open with an enormous hole that for Chillida represents the window that communicates with the tree of Gernika. In the center of the house, the heart, a steel stele, symbolizes Peace and Life as a proposal of tolerance and freedom.
Le Maastoren a été conçu par Dam & Partners Architects . Le cabinet d'architectes Odile Decq Benoit Cornette a également participé à sa conception, tandis que le cabinet OTH a réalisé l'aménagement intérieur. Le gratte-ciel se compose de deux parties principales : l'une de 165 mètres de haut et l'autre, légèrement en rotation par rapport à la première, d'une hauteur d'environ 105 mètres. Le Maastoren possède en outre une extension vitrée basse. Un noyau central constitué de deux parois internes, d'autres parois perpendiculaires à ce noyau et d'une enveloppe extérieure composée d' éléments préfabriqués assurent la solidité du bâtiment. Ces éléments porteurs sont en béton. Le noyau abrite, entre autres, les sanitaires et certains ascenseurs, et ses dimensions varient selon la hauteur de la surface. Le noyau a été construit à l'aide d'un système de coffrage grimpant automatique .
La base du Maastoren repose sur une couche de sable, elle-même située au-dessus de couches d'argile. Deux côtés de la base du bâtiment sont situés dans la rivière Nieuwe Maas. Les fondations du Maastoren sont constituées de près de 500 pieux , sur lesquels repose une dalle de fondation de deux mètres d'épaisseur. Au-dessus se trouve le niveau inférieur du parking souterrain.
The Maastoren was designed by Dam & Partners Architects. The architectural firm Odile Decq Benoit Cornette also contributed to its design, while the firm OTH handled the interior design. The skyscraper consists of two main sections: one 165 meters high and the other, slightly rotated relative to the first, approximately 105 meters high. The Maastoren also features a low-profile glazed extension. A central core, composed of two internal walls, additional walls perpendicular to this core, and an outer envelope made of prefabricated elements, ensures the building's structural integrity. These load-bearing elements are made of concrete. The core houses, among other things, the restrooms and some elevators, and its dimensions vary depending on the surface height. The core was constructed using an automated climbing formwork system.
The base of the Maastoren rests on a layer of sand, itself situated above layers of clay. Two sides of the building's base are situated in the Nieuwe Maas river. The Maastoren's foundations consist of nearly 500 piles, supporting a two-meter-thick foundation slab. Above this is the lower level of the underground parking garage.
Witoldówka was built in 1888. It housed Dr. Bolesław Skórzewski's Dietetic Institute. It was destroyed by fire several times. Currently, it is a guesthouse, a brick building covered with wooden formwork, in keeping with its original appearance.
Дом-Слон .
In 1999, a plant was built in Astrakhan for the production of polystyrene foam blocks, which are used in the technology of “fixed formwork”. Very strong and heat-resistant buildings of any shape can be made of these blocks and reinforced concrete. To demonstrate how to use fixed formwork, Alex Sorokin and his colleagues designed the house, taking the Thai elephant figurine as a model. They built a building with an area of almost 500 square meters in just a year. The huge animal is actually a four-story house. The entrance to the dwelling is made inside the trunk, and a spiral staircase connects the floors. This house is elephant in the Guinness Book of Records. There are only two such houses in the world: here, in Russia, and Thailand.
Iglesia de San Andrés, Segovia.
La iglesia de San Andrés, sita intramuros de la ciudad, a medio camino entre el Alcázar y la Catedral y junto a la puerta de su nombre que cerraba el Barrio de los Canónigos o Claustra. En origen constaba de una sola nave cubierta con techumbre de madera y cabecera de presbiterio cerrado con cañón y ábside semicircular con bóveda de horno, todo levantado en sillería. La nave se construyó con mampostería encofrada de cal y canto, rematándose sus muros por aleros hoy muy restaurados. Al exterior, el ábside se ha articulado en tres paños por medio de dos columnas adosadas apoyadas sobre ménsulas de granito. En cada uno de estos paños se abren ventanas de medio punto con columnas.
A lo largo del siglo XII se añadió un nuevo ábside al sur, que al interior se cubre con bóveda de cuarto de esfera y de medio cañón. Bajo este ábside existe una cueva excavada de gran antigüedad que en origen fue una fuente. Junto a este ábside, unido a su muro occidental se dispone la torre.
The church of San Andres, located within the city walls, halfway between the Alcázar and the Cathedral and next to the door of his name that closed the Neighborhood of the Canons or Claustra. In origin it consisted of a single ship covered with wooden roof and head of closed presbytery with cannon and apse semicircular with vault of furnace, all raised in ashlar masonry. The ship was built with masonry formwork of lime and song, finishing off its walls by eaves today very restored. To the outside, the apse has been articulated in three cloths by means of two attached columns supported on granite corbels. In each of these cloths are opened half-point windows with columns.
Throughout century XII a new apse was added to the south, that to the interior is covered with vault of quarter of sphere and half cannon. Under this apse there is an excavated cave of great antiquity that was originally a fountain. Next to this apse, united to its western wall the tower is arranged.
Le Mura Medicee di Grosseto - The Medicean City Walls of Grosseto
Grosseto ha origini alto medievali riconducibili ai resti di una fattoria fortificata ritrovati all'interno della cinta muraria nella Piazza del Sale. A causa del clima malsano e delle scorribande dei pirati provenienti dalla Tunisia che risalivano il Mare Tirreno per fare razzia nei villaggi della costa, Grosseto venne dotata di mura già dal 1200. Dopo una lunga serie di distruzioni e ricostruzioni Cosimo I De'Medici, commissionò a Baldassarre Lanci nella seconda metà del XVI secolo i lavori di ristrutturazione e riqualificazione delle mura cittadine di Grosseto.
Occorsero oltre 19 anni per ultimare i lavori di realizzazione della nuova cerchia muraria in stile rinascimentale, vi furono impiegati molti detenuti, che vennero prelevati dalle prigioni in seguito ad apposito decreto. Contemporaneamente vennero realizzate anche altre grandi opere, necessarie all'approvvigionamento idrico della città: nel centro cittadino furono costruite una serie di cisterne sotterranee per la raccolta dell'acqua piovana, risorsa da sempre assai scarsa nella zona, e per la sua distribuzione alle varie abitazioni.
La cinta muraria di Grosseto, che si articola nel complesso per 3 km, è costituita da una serie di bastioni, da un cassero e da due porte di accesso; si presentano, nell'insieme, come uno dei rari esempi di architettura militare tardorinascimentale ancora in ottimo stato di conservazione.
Grosseto has early medieval origins attributable to the remains of a fortified farm found within the walls in the Piazza del Sale. Due to the unhealthy climate and the raids of pirates from Tunisia who went up the Tyrrhenian Sea to raid the villages of the coast, Grosseto was equipped with walls as early as 1200. After a long series of destruction and reconstruction, Cosimo I De'Medici commissioned to Baldassarre Lanci in the second half of the 16th century the renovation and redevelopment works of the city walls of Grosseto.
It took over 19 years to complete the construction of the new Renaissance-style wall circle, many prisoners were employed, who were taken from prisons following a special decree. At the same time, other major works were also carried out, necessary for the city's water supply: a series of underground cisterns were built in the city center for the collection of rainwater, a resource that has always been very scarce in the area, and for its distribution to various homes .
The walls of Grosseto, which extends for 3 km in the complex, are made up of a series of ramparts, a formwork and two access gates; together, they appear as one of the rare examples of late Renaissance military architecture still in an excellent state of conservation.
© Riccardo Senis, All Rights Reserved
This image may not be copied, reproduced, republished, edited, downloaded, displayed, modified, transmitted, licensed, transferred, sold, distributed or uploaded in any way without my prior written permission.
Chengxingli, 253 Huanghe Rd., Shanghai
The fence around this block (flic.kr/p/2nuEDwJ) has finally been removed. However, the inner part of the block still has the formwork fence that was erected during the lockdown, like a great wall. The notice posted on the boards says, "According to the situation of epidemic prevention and control, we have suspended the removal of the wooden boards separating the north and south of the block, and have opened the doors on the boards for the convenience of the residents, so please do not remove the boards yourself!"
"Einer der bekanntesten Akustiker der Welt, der Japaner Yasuhisa Toyota, entwickelte eine besondere Verschalung für Wände und die Decken, die in dieser Form einzigartig ist: die „Weiße Haut“. Sie besteht aus 10.000 Gipsfaserplatten, jede individuell gefräst und mit einer einzigartigen Oberfläche aus Vertiefungen, Riefen und pyramidalen Kegeln versehen, um den Schall an jeder Stelle des Saals bestmöglich zu brechen.
Je nach Position an Wand oder Decke im Großen Saal sind die Gipspaneele unterschiedlich beschaffen; die Dicke reicht von 35 bis 200 Millimeter, das Flächengewicht bis rund 150 Kilogramm pro Quadratmeter."
"One of the world's best-known acousticians, the Japanese Yasuhisa Toyota, has developed a special formwork for walls and ceilings that is unique in this form: the" White Skin. "It consists of 10,000 gypsum fiber boards, each individually milled and with a unique surface made of indentations, grooves and pyramidal cones to break the sound at each point of the hall as best as possible.
Depending on the position on the wall or ceiling in the Great Hall, the gypsum panels have different characteristics; the thickness ranges from 35 to 200 millimeters, the basis weight to around 150 kilograms per square meter. "
www.faz.net/aktuell/technik-motor/akustik-in-der-elbphilh...
Eduardo Chillida 1988
Representa la casa del Pueblo Vasco de ahi su nombre.Con 8 mts de altura,esta escultura fué
completada en el mismo parque donde se instalo un encofrado de madera que posteriormente se relleno con hormigon tratado con virytas de hiero,los muros estan abiertos con un enorme hueco que para Chillida representa la ventana que comunica con el arbol de Gernika.En el centro de la casa el corazón una estela de acero simboliza la Paz y la Vida como propuesta de tolerancia y libertad.
Eduardo Chillida 1988
It represents the house of the Basque People, hence its name. With a height of 8 meters, this sculpture was completed in the same park where a wooden formwork was installed that was later filled with concrete treated with iron chips. The walls are open with an enormous hole that for Chillida represents the window that communicates with the tree of Gernika. In the center of the house, the heart, a steel stele, symbolizes Peace and Life as a proposal of tolerance and freedom.