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The still functioning Signal Tower A of the old Boston and Maine Railroad built in the 1920's, still controls the Bascule Drawbridge carrying Amtrak and the MBTA's Commuter Rail trains over the Charles River from Cambridge into Boston's North End. Cambridge, Massachusetts, USA.
La Torre de Señal A del antiguo ferrocarril de Boston y Maine, de los 1920's aún controla el puente levadizo basculante que transporta los trenes de Amtrak y MBTA sobre el río Charles desde Cambridge hacia el Norte de Boston. Cambridge, Massachusetts, Estados Unidos.
This is the Smith Interpretive Center / Greenhouse. It originally was administrative offices and laboratory/greenhouse.
Now it serves its special function as an interpretive center and a greenhouse.
"Crude masonry and rustication characterize the initial architecture at the Boyce Thompson Arboretum. The Smith Building, the arboretum’s original visitor center and administration building, designed by Thompson and built by local contractor and mason Jack Davey in 1925–1926, is sited on the canyon floor. The rustic edifice, composed of locally quarried rhyolite, originally featured lichen-covered interior walls and flagstone floors. The 6,500-square-foot space contained offices, laboratories, a library, a herbarium, a seed room, a photography studio, supply rooms, and a fireproof vault; a soft-water cistern filled the basement. Flanking the structure are two attached greenhouses that display indigenous and exotic cacti and succulents. Measuring 50 feet long and 20 feet wide, the prefabricated iron-frame and glazed structures were supplied by the Lord and Burnham Company of New York."
sah-archipedia.org/buildings/AZ-01-021-0017
I haven't been here since I was a child. I consider it more of a walk rather than a hike. But it is incredibly interesting. Especially for photography. My Grandfather - Joseph Harris - was the Superintendent of Col. Thompson's Miami Inspiration Mines.
en.wikipedia.org/wiki/Boyce_Thompson_Arboretum
Boyce Thompson Arboretum is the oldest and largest botanical garden in the state of Arizona. It is one of the oldest botanical institutions west of the Mississippi River. Founded in 1924 as a desert plant research facility and “living museum”, the arboretum is located in the Sonoran Desert on 392 acres (159 ha) along Queen Creek and beneath the towering volcanic remnant, Picketpost Mountain. Boyce Thompson Arboretum is on U.S. Highway 60, an hour's drive east from Phoenix and 3 miles (4.8 km) west of Superior, Arizona.
The arboretum was founded by William Boyce Thompson (1869-1930), a mining engineer who made his fortune in the copper mining industry. He was the founder and first president of Inspiration Consolidated Copper Company at Globe-Miami, Arizona and Magma Copper Company in Superior, Arizona. In the early 1920s, Thompson, enamored with the landscape around Superior, built a winter home overlooking Queen Creek. Also in the 1920s, as his fortunes grew, he created and financed the Boyce Thompson Institute for Plant Research in Yonkers, New York (now at Cornell University), and the Boyce Thompson Arboretum on the property of the Picket Post House, west of Superior.
Boyce Thompson wrote: “I have in mind far more than mere botanical propagation. I hope to benefit the State and the Southwest by the addition of new products. A plant collection will be assembled which will be of interest not only to the nature lover and the plant student, but which will stress the practical side, as well to see if we cannot make these mesas, hillsides, and canyons far more productive and of more benefit to mankind. We will bring together and study the plants of the desert countries, find out their uses, and make them available to the people. It is a big job, but we will build here the most beautiful, and at the same time the most useful garden of its kind in the world.”[3]
DSC03410-HDR acd
Planet Earth Vintage Architecture, PEVA,
Explore - #18
The Riverside Drive Viaduct, built in 1900 by the US City of New York, was constructed to connect an important system of drives in Upper Manhattan by creating a high-level boulevard extension of Riverside Drive over the barrier of Manhattanville Valley to the former Boulevard Lafayette in Washington Heights.
F. Stuart Williamson was the chief engineer for the municipal project, which constituted a feat of engineering technology. Despite the viaduct's important utilitarian role as a highway, the structure was also a strong symbol of civic pride, inspired by America’s late 19th-century City Beautiful movement. The viaduct’s original roadway, wide pedestrian walks and overall design were sumptuously ornamented, creating a prime example of public works that married form and function. An issue of the Scientific American magazine in 1900 remarked that the Riverside Drive Viaduct's completion afforded New Yorkers “a continuous drive of ten miles along the picturesque banks of the Hudson and Harlem Rivers.”[1]
The elevated steel highway of the viaduct extends above Twelfth Avenue from 127th Street (now Tiemann Place) to 135th Street and is shouldered by masonry approaches. The viaduct proper was made of open hearth medium steel, comprising twenty-six spans, or bays, whose hypnotic repetition is much appreciated from underneath at street level. The south and north approaches are of rock-faced Mohawk Valley, N.Y., limestone with Maine granite trimmings, the face work being of coursed ashlar. The girders over Manhattan Explore - #40
Street (now 125th Street) were the largest ever built at the time. The broad plaza effect of the south approach was designed to impart deliberate grandeur to the natural terminus of much of Riverside Drive’s traffic as well as to give full advantage to the vista overlooking the Hudson River and New Jersey Palisades to the west.
The viaduct underwent a two-year long reconstruction in 1961 and another in 1987. (source: Wikipedia)
A dial on Rotel RX-303, a vintage receiver/amplifier.
Shot for Macro Mondays circles theme.
I realize i shot a different detail of this device for the last theme but I cant help myself. I love old tech and this one in particular. We have shared tunes together for 40 years.
hey, ernie, what's up?
I was just thinking: isn't it odd how when you study something the thing changes?
yeah, the observer effect. like Trump winning.
no man, that's worse. it's quantum weirdness.
yeah, much worse.
you said it.
Before a concrete foundation can be poured, the forms must be set up to contain the liquid concrete, right? Stacked and ready.
The Mill began life as a cotton mill driven by water power through a 22ft diameter water wheel.
With the advent of bigger and better mills & machinery, cotton production became uncompetitive and so the mill was converted in 1810 to flax which was used for sails and sacking. Industrial expansion on the west coast and the ending of the Napoleonic wars brought the flax industry to its knees so the mill was converted once again in the 1820s to wool production.
Wool ceased to be a profitable commodity by the 1840s and production ceased.
The Mill, as a precursor to all of the late C20th industrial conversions, became a domestic property and some of the early Victorian wallpaper can still be seen.
By 1860 the Mill was once again converted – this time for use as a sawmill. The sawmill functioned until 1988 when it closed as a business. (gaylemill.org)
Taken from Gayle bridge, High Abbotside beyond
Gayle, Wensleydale, The Yorkshire Dales, North Yorkshire, UK
©SWJuk (2022)
All rights reserved
Burg Pfalzgrafenstein, an island toll castle in the middle of the Rhine River, with Burg Gutenfels and the town of Kaub behind.
"The keep of this island castle, a pentagonal tower with its point upstream, was erected 1326 to 1327 by King Ludwig the Bavarian. Around the tower, a defensive hexagonal wall was built between 1338 to 1340. In 1477 Pfalzgrafenstein was passed as deposit to the Count of Katzenelnbogen. Later additions were made in 1607 and 1755, consisting of corner turrets, the gun bastion pointing upstream, and the characteristic baroque tower cap.
The castle functioned as a toll-collecting station that was not to be ignored. It worked in concert with Gutenfels Castle and the fortified town of Kaub on the right side of the river. Due to a dangerous cataract on the river's left, about a kilometer upstream, every vessel would have to use the fairway nearer to the right bank, thus floating downstream between the mighty fortress on the vessel's left and the town and castle on its right. A chain across the river drawn between those two fortifications forced ships to submit, and uncooperative traders could be kept in the dungeon until a ransom was delivered. The dungeon was a wooden float in the well.
Unlike the vast majority of Rhine castles, "the Pfalz" was never conquered or destroyed, withstanding not only wars, but also the natural onslaughts of ice and floods by the river. Its Spartan quarters held about twenty men.
Massive measures of water engineering in the nineteenth century, above all straightening the river for better use as an international waterway and at this particular stretch, clearing it from the old cataract, relocated the regularly used fairway from the river's right arm to its left. Thus the tactical advantage may not be apparent to one unaware of the change in the watercourse. The island of the castle was used for the Rhine crossing by 60,000 Prussian troops under Blücher in the winter of 1814 in his pursuit of Napoleon. The castle was acquired by Prussia in 1866, and toll collections ceased in 1867. It continued to be used as a signal station for the river boat traffic for about another century. In 1946, the castle became property of the State of Rheinland–Pfalz." [Wikipedia]
My father did not major in nonsense on our farm. As I grew up, he only bought two cars during my 18 years at home. As a young teenager, I wanted him to buy a flashy car so I could use it for girl transportation but ever the level-headed one, my dad bought an used sedate 1950 Buick. Whenever I expressed disappointment when I needed it, he would point me in the direction of an old pickup that he used every day and suggested that as an alternative. I learned in my only Art & Architecture course in college that he was into function not form.
More Acer leaves from the same tree - they're hard to ignore when they're so stunning. (I may have mended my Canon Powershot, by the way - much holding down of Menu and Function buttons finally persuaded it to unfreeze the lens - but can I rely on it?)
- Porsche 911 GT3 RS -
Don't tell my boss but skipped work the other day to snag this silver RS! @zainsyedphoto
Trumpet vine, Trumpet creeper (Campsis) with morning dew /
Trompetenblume, Klettertrompete mit Morgentau
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Wegen Zeitmangel kann ich leider nicht angemessen auf die sonst sehr geschätzten Kommentare reagieren. Aus diesem Grund ist die Kommentarfunktion momentan deaktiviert.
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I've been wanting to do a rover forever with 8 of the gargantuan tractor tires released way back in 2016, and I started out with those and the windscreen configuration shown. From there, this thing just got MASSIVE and it accidentally turned into a SHIP, clocking in at 117 studs. I dont know if I can call it a SHIP since it doesnt fly, but maybe it'll coin a new term, How about R.O.V.E.R. : Ridiculously Oversized Vehicular Element Repository... Best I can do off the top of my head.
Anyway, tons of play features and functions like a working cargo crane, 5 airlock doors, retractable solar array and research drone, fully finished interior, and I figured I'd add lights as well since i was already going all out.
Oh yeah, it's motorized with 2 XL and 2 L motors for drive and a Steering motor as well.
More pics to come, hopefully this weekend!
Featured on The Lego Car Blog!
thelegocarblog.com/2024/03/03/roving-big/
Featured on The Brothers Brick!
www.brothers-brick.com/2024/03/06/rovers-like-this-only-c...
Featured on Bricknerd!
bricknerd.com/home/a-rover-to-remember-3-26-24
Featured on Oficina dos Baixinhos!
It's all happening outside City Hall on a Friday evening . I did enquire , it was something to do with disadvantaged children I was told .
King George Square
Brisbane
This gentleman trying to blend in with the surroundings. On the ferry to Fogo Island, Newfoundland Canada.
España - Ciudad Real - Viso del Marqués - Palacio del Marqués de Santa Cruz
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ENGLISH:
It was built at the end of the 16th century by Álvaro de Bazán, first Marquis of Santa Cruz. It is currently the headquarters of the General Archive of the Navy.
It is one of the two palaces built by this sailor, knight of the Order of Santiago, captain of the Ocean Sea and admiral of the Spanish Navy. It is located next to the church of Nuestra Señora de la Asunción, and since 1948 it has been rented by its owners, the Marquises of Santa Cruz, to the Spanish Navy, who first used it as a Museum of the Spanish Navy and later expanded its functions by also establishing the General Archive of the Navy.
The building was frequented by the first marquis thanks to its location, halfway between Madrid, where the Court was, and Seville, whose port he often went to as the Spanish Navy was anchored there, of which he was admiral during the reign of Philip II.
The palace was nearly destroyed by the Austrian troops of Edward Hamilton during the War of the Spanish Succession at the beginning of the 18th century, but was saved by the actions of the Marquis's chaplain, the poet Carlos de Praves, thanks to whom we can admire it today. It suffered some damage due to the Lisbon earthquake in 1755, which collapsed the ceiling of the hall of honour, where the great fresco depicting the Battle of Lepanto had been painted, and toppled the four corner towers, which the chronicles of Philip II described as magnificent.
In it we can find maritime objects from the period. A figurehead belonging to a ship commanded by the Marquis is noteworthy. During the War of Independence, the French razed it, and by the time the Civil War came it had served as a granary, school, stable, prison and hospital, until in 1948 and at the request of Julio Guillén Tato, director of the Naval Museum, Mrs. Casilda de Silva Fdez. de Henestrosa, descendant of Álvaro de Bazán, rented it to the Navy for 90 years as a museum-archive, which is its current function. Also, in the adjoining parish church there is a 4m long stuffed crocodile attached to one of the vaults, which was offered by the Marquis as a votive offering upon his return from one of his voyages.
Between March and April 1823, King Ferdinand VII spent the night there, after leaving Madrid for Seville, before the entry of the French contingent called the Hundred Thousand Sons of Saint Louis, about whose stay Ferdinand VII did not write a word in his travel diary. The palace was declared a National Monument in 1931 and was restored from 1948 by the Navy under the direction of Admiral Guillén.
The palace was built between 1564 and 1586 with subsequent modifications. It is a square-shaped building in the Renaissance style, built around a Renaissance atrium with a recumbent tomb. The walls and ceilings are covered with frescoes with two themes: mythological scenes on the one hand and naval battles and Italian cities related to the military career of the Marquis and his family on the other. The frescoes are by Italian Mannerist painters, the Péroli family. Upon seeing them, Philip II commissioned them to do work for El Escorial and the Alcázar of Toledo.
For its construction, the Marquis hired a team of architects, painters and decorators who worked on the building from 1564 to 1586. For some, the design of the building was due to the Italian Giovanni Battista Castello, known as the Bergamasco, who later worked in El Escorial; for others, it was designed, at least in its original plan, by Enrique Egas el Mozo.
The architecture is perceived as typically Spanish, without Italian arches, with smooth walls and square towers at the corners, influenced by the austerity of El Escorial and the Alcázar of Toledo, within the harmonious relationships characteristic of the Renaissance. The central space is occupied by a porticoed courtyard that, together with the staircase, forms a typically mannerist ensemble understood as an elegant and courtly style that goes beyond the merely architectural framework.
***
ESPAÑOL:
Fue construido a finales del siglo XVI por Álvaro de Bazán, primer marqués de Santa Cruz. Actualmente es la sede del Archivo General de la Marina.
Se trata de uno de los dos palacios construidos este marino, caballero de la Orden de Santiago, capitán del Mar Océano y almirante de la Marina española. Está situado al lado de la iglesia de Nuestra Señora de la Asunción, y desde el año 1948 es alquilado por parte de sus propietarios, los marqueses de Santa Cruz, a la Armada Española, quien primero lo destinó a Museo de la Marina Española y más tarde amplió sus funciones estableciendo también el Archivo General de la Marina.
El edificio era frecuentado por el primer marqués gracias a su ubicación, a medio camino entre Madrid, donde estaba la Corte, y Sevilla, a cuyo puerto acudía a menudo al mantener allí anclada la Armada Española, de la cual fue almirante durante el reinado de Felipe II.
El palacio estuvo a punto de ser destruido por las tropas austracistas de Edward Hamilton durante la Guerra de Sucesión Española a principios del siglo XVIII, salvándose por la actuación del capellán del marqués, el poeta Carlos de Praves, gracias a lo cual hoy podemos admirarlo. Sufrió algunos daños a causa del terremoto de Lisboa en 1755: el cual hundió el techo del salón de honor, donde se había pintado el gran fresco que representaba la batalla de Lepanto, y desmochó las cuatro torres de las esquinas, que las crónicas de Felipe II describían como magníficas.
En él podemos encontrar objetos marineros de la época. Llama la atención un mascarón de proa perteneciente a una nave que dirigió el marqués. Durante la Guerra de la Independencia, los franceses lo arrasaron, y para cuando llegó la Guerra Civil había servido de granero, colegio, establo, cárcel y hospital, hasta que en 1948 y a instancias de Julio Guillén Tato, director del Museo Naval, doña Casilda de Silva Fdez. de Henestrosa, descendiente de Álvaro de Bazán se lo rentó a la Armada por 90 años como museo-archivo, que es en la actualidad su función. Asimismo, en la iglesia parroquial aledaña hay un cocodrilo disecado de 4m de largo adosado a una de las bóvedas, que fue ofrecido por el marqués como exvoto al regreso de uno de sus viajes.
Entre marzo y abril de 1823, el rey Fernando VII pernoctó allí, tras abandonar Madrid rumbo a Sevilla, ante la entrada del contingente francés llamado los Cien Mil Hijos de San Luis, de cuya estancia Fernando VII no escribió ni una palabra en su diario del viaje. El palacio fue declarado Monumento Nacional en 1931 siendo restaurado a partir de 1948 por la Armada bajo la dirección del Almirante Guillén.
El palacio fue construido entre 1564 y 1586 con modificaciones posteriores, y se trata de un edificio de planta cuadrada y estilo renacentista articulado en torno a un atrio renacentista con una tumba yacente. Los muros y techos se hallan cubiertos de frescos de doble temática: por un lado, escenas mitológicas y, por otro, batallas navales y ciudades italianas relacionadas con la trayectoria militar del marqués y de sus familiares. Los frescos se deben a unos pintores manieristas italianos, los Péroli. Al verlos, Felipe II les encargaría trabajos para El Escorial y el Alcázar de Toledo.
Para su construcción, el marqués contrató a un equipo de arquitectos, pintores y decoradores que trabajaron en la obra desde 1564 hasta 1586. Para algunos, el diseño del edificio se debió al italiano Giovanni Battista Castello, conocido como el Bergamasco, que más tarde trabajó en El Escorial; para otros lo trazó, al menos en su plan original, Enrique Egas el Mozo.
La arquitectura se percibe como típica española, sin las arquerías italianas, con paramentos lisos y torres cuadradas en las esquinas, influidos por la austeridad de El Escorial y el Alcázar de Toledo, dentro de las relaciones armónicas características del Renacimiento. El espacio central está ocupado por un patio porticado que junto con la escalera forma un conjunto típicamente manierista entendido como estilo elegante y cortesano que desborda el marco meramente arquitectónico.
A video showing the function that I put into his staff.
Part of my entry to the Makuta Contest so far. It's turned out pretty well, but I would greatly appreciate any suggestions on how to make the textures a little more consistent. Also, do the legs and arms look better without all the gold armor? Thank You for your comments.