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On30 Annual editor Chris Lane enjoys old structures as much as he enjoys old railroad cars, and his On30 layout will feature many fine examples such as this one. This styrene model is based on a house located in Silver Plume, Colorado. At one time it served at the volunteer firehouse and the door stored the horse-drawn fire engine. While Chris has freelanced the colors a bit, he reports the house is nevertheless a pretty faithful replica of the prototype using Grandt Line parts.
Chris joins Trevor on Episode 13.
I have milkweed in the back yard to attract monarch butterflies. While it does not always work, it looks interesting from many angles. Black spots on the yellow flowers are ant butts. Could not get one to pose properly.
Used shallow DOF to focus on the yellow flowers.
Asclepias
The Tillamook structure in north Milwaukie will carry the light rail tracks from the west side of existing heavy rail tracks to the east side. One half of the structure can be seen under construction on the right side of the photo. The Springwater Corridor Trail bridge can be seen in the upper half of the photo where it crosses the railroad tracks. The SE Tacoma St/Johnson Creek MAX Station is at the top left.
Licensed for all uses by TriMet.
This structure is about two feet tall and was built in front of the bunker mounds. It wasn't clear who built it or what its purpose is.
J’aime beaucoup ce genre de photo qui déroute les sens. Une photo qui nous fait demander ; mais qu’est-ce donc au juste ? Début de réponse :
je suis à la hauteur de la verrière de la Plaza St-Hubert - donc, à l’étage. Déjà, c’est pas un angle qui nous est familier puisque généralement, nous marchons sous la verrière. La verrière est givrée. Et il fait soleil. L’ombre de l’arbre se découpe sur la surface glacée et givrée. Dans le bas de la photo, nous apercevons la rue St-Hubert (et une automobile). La structure de métal qui supporte la verrière est bien visible. Et ô surprise, il y a un sac de plastique accrochée à cette structure.
iPhone 4 + DramaticB&W App
During our visit to Oudeschild in the north of Holland with cycling with us I walked around the harbour and found this piece of structure rusting away.
struts were made by wrapping newspaper around dowels. for some struts, the dowel was left inside the rolled up newspaper.
texture FREE for non commercial use in your personal artwork...
if you use this texture, please credit me with a link back to this texture...!!!
I would love to see your work, please leave a link or a sample of your work here as a comment, thx...!!!
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Ellora (\e-ˈlȯr-ə\, Marathi: वेरूळ Vērūḷa), is an archaeological site, 29 km North-West of the city of Aurangabad in the Indian state of Maharashtra built by the Rashtrakuta dynasty. It is also known as Elapura (in the Rashtrakuta literature-Kannada). Well known for its monumental caves, Ellora is a World Heritage Site. Ellora represents the epitome of Indian rock-cut architecture. The 34 "caves" are actually structures excavated out of the vertical face of the Charanandri hills. Buddhist, Hindu and Jain rock-cut temples and viharas and mathas were built between the 5th century and 10th century. The 12 Buddhist (caves 1–12), 17 Hindu (caves 13–29) and 5 Jain (caves 30–34) caves, built in proximity, demonstrate the religious harmony prevalent during this period of Indian history. It is a protected monument under the Archaeological Survey of India.
ETYMOLOGY
Ellora, also called Verula or Elura, is the cave form of the Ancient name Elapura.
HISTORY
Ellora is known for Hindu, Buddhist and Jain cave temples built during (6th and 9th centuries) the rule of the Kalachuri, Chalukya and Rashtrakuta dynasties. The Jagannatha Sabha a group of five Jain cave temples of 9th century built by Rashtrakuta.
THE BUDDHIST CAVES
These caves were built during the 5th-7th century. It was initially thought that the Buddhist caves were one of the earliest structures, created between the fifth and eighth centuries, with caves 1-5 in the first phase (400-600) and 6-12 in the later phase (mid 7th-mid 8th), but now it is clear to the modern scholars that some of the Hindu caves (27,29,21,28,19,26,20,17 and 14) precede these caves.[citation needed] The earliest Buddhist cave is Cave 6, followed by 5,2,3,5 (right wing), 4,7,8,10 and 9. Caves 11 and 12 were the last. All the Buddhist caves were constructed between 630-700.
These structures consist mostly of viharas or monasteries: large, multi-storeyed buildings carved into the mountain face, including living quarters, sleeping quarters, kitchens, and other rooms. Some of these monastery caves have shrines including carvings of Gautama Buddha, bodhisattvas and saints. In many of these caves, sculptors have endeavoured to give the stone the look of wood.
Most famous of the Buddhist caves is cave 10, (refer map) a chaitya hall (chandrashala) or 'Vishvakarma cave', popularly known as the 'Carpenter's Cave'. Beyond its multi-storeyed entry is a cathedral-like stupa hall also known as chaitya, whose ceiling has been carved to give the impression of wooden beams. At the heart of this cave is a 15-foot statue of Buddha seated in a preaching pose. Amongst other Buddhist caves, all of the first nine (caves 1–9) are monasteries. The last two caves, Do Tal (cave 11) and Tin Tal (cave 12) have three stories.
CAVE 10
Cave 10 is a vihara with eight cells, four in the back wall and four in the right wall. It had a portico in the front with a cell. Possibly served as a granary for other viharas.
THE VISHWAKARMA
The Vishwakarma (Cave 10) is the only chaitya griha amongst the Buddhist group of caves. It is locally known as Vishwakarma or Sutar ka jhopda "carpenter's hut". It follows the pattern of construction of Caves 19 and 26 of Ajanta. On stylistic grounds, the date of construction of this cave is assigned to 700 A.D. The chaitya once had a high screen wall, which is ruined at present. At the front is a rock-cut court, which is entered through a flight of steps. On either side are pillared porticos with chambers in their back walls. These were probably intended to have subsidiary shrines but not completed. The pillared verandah of the chaitya has a small shrine at either end and a single cell in the far end of the back wall. The corridor columns have massive squarish shafts and ghata-pallava (vase and foliage) capitals. The main hall is apsidal on plan and is divided into a central nave and side aisles by 28 octagonal columns with plain bracket capitals. In the apsidal end of the chaitya hall is a stupa on the face of which a colossal 3.30 m high seated Buddha in vyakhyana mudra (teaching posture) is carved. A large Bodhi tree is carved at the back. The hall has a vaulted roof in which ribs have been carved in the rock imitating the wooden ones.
THE HINDU CAVES
The Hindu caves were constructed between the middle of sixth century to the end of the eighth century. The early caves (caves 17–29) were constructed during the Kalachuri period. The work first commenced in Caves 28, 27 and 19. These were followed by two most impressive caves constructed in the early phase - Caves 29 and 21. Along with these two, work was underway at Caves 20 and 26, and slightly later at Caves 17, 19 and 28. The caves 14, 15 and 16 were constructed during the Rashtrakuta period. The work began in Caves 14 and 15 and culminated in Cave 16. All these structures represent a different style of creative vision and execution skills. Some were of such complexity that they required several generations of planning and co-ordination to complete.
THE KAILASANATHA TEMPLE
Cave 16, also known as the Kailasa temple, is the unrivaled centerpiece of Ellora. This is designed to recall Mount Kailash, the abode of Lord Shiva – looks like a freestanding, multi-storeyed temple complex, but it was carved out of one single rock, and covers an area double the size of Parthenon in Athens. Initially the temple was covered with white plaster thus even more increasing the similarity to snow-covered Mount Kailash.
All the carvings are done in more than one level. A two-storeyed gateway resembling a South Indian Gopura opens to reveal a U-shaped courtyard. The courtyard is edged by columned galleries three storeys high. The galleries are punctuated by huge sculpted panels, and alcoves containing enormous sculptures of a variety of deities. Originally flying bridges of stone connected these galleries to central temple structures, but these have fallen.
Within the courtyard are three structures. As is traditional in Shiva temples, the first is a large image of the sacred bull Nandi in front of the central temple. The central temple - Nandi Mantapa or Mandapa - houses the Lingam. The Nandi Mandapa stands on 16 pillars and is 29.3 m high. The base of the Nandi Mandapa has been carved to suggest that life-sized elephants are holding the structure aloft. A living rock bridge connects the Nandi Mandapa to the Shiva temple behind it. The temple itself is a tall pyramidal structure reminiscent of a South Indian Dravidian temple. The shrine – complete with pillars, windows, inner and outer rooms, gathering halls, and an enormous lingam at its heart – carved from living stone, is carved with niches, pilasters, windows as well as images of deities, mithunas (erotic male and female figures) and other figures. Most of the deities at the left of the entrance are Shaivaite (followers of Shiva) while on the right hand side the deities are Vaishnavaites (followers of Vishnu). There are two Dhvajastambhas (pillars with the flagstaff) in the courtyard. The grand sculpture of Ravana attempting to lift Mount Kailasa, the abode of Lord Shiva, with his full might is a landmark in Indian art. The construction of this cave was a feat of human genius – it entailed the removal of 200,000 tonnes of rock, and took 100 years to complete.
The temple is a splendid achievement of Rashtrakuta Karnata architecture. This project was started by Krishna I (757–773) of the Rashtrakuta dynasty that ruled from Manyakheta in present day Karnataka state. His rule had also spread to southern India, hence this temple was excavated in the prevailing style. Its builders modelled it on the lines of the Virupaksha Temple in Pattadakal. Being a south Indian style temple, it does not have a shikhara common to north Indian temples. – The Guide to the Architecture of the Indian Subcontinent, 1996, Takeo Kamiya, Japan Architects Academy and archaeological Survey of India.
THE DASHAVATARA
The Dashavatara (Cave 15) was begun as a Buddhist monastery. It has an open court with a free-standing monolithic mandapa at the middle and a two-storeyed excavated temple at the rear. The layout of the temple is closely related to caves 11 and 12. Large sculptural panels between the wall columns on the upper floor illustrate a wide range of themes, which include the ten avatars of Vishnu. An inscription of grant of Dantidurga is found on the back wall of the front mandapa. According to Coomaraswamy, the finest relief of this cave is the one depicting the death of Hiranyakashipu, where Vishnu in man-lion (Narasimha) form, emerges from a pillar to lay a fatal hand upon the shoulder of Hiranyakashipu.
OTHER HINDU CAVES
CAVE 21
Other notable Hindu caves are the Rameshvara (Cave 21), which has figurines of river goddesses Ganga and Yamuna at the entrance and the Dhumar Lena (Cave 29) whose design is similar to the cave temple on Elephanta Island near Mumbai. Two other caves, the Ravan ki Khai (Cave 14) and the Nilkantha (Cave 22) also have several sculptures. The rest of the Hindu caves, which include the Kumbharvada (Cave 25) and the Gopilena (Cave 27) have no significant sculptures.
The five Jain caves at Ellora belong to the ninth and tenth centuries. They all belong to the Digambara sect. Jain caves reveal specific dimensions of Jain philosophy and tradition. They reflect a strict sense of asceticism – they are not relatively large as compared to others, but they present exceptionally detailed art works. The most remarkable Jain shrines are the Chhota Kailash (cave 30), the Indra Sabha (cave 32) and the Jagannath Sabha (cave 33). Cave 31 is an unfinished four-pillared hall and a shrine. Cave 34 is a small cave, which can be approached through an opening on the left side of Cave 33. Amongst other devotional carvings, a place called samvatsarana can be found in Elora caves. Samvatsarana is of special interest to Jains, as it is a hall where the tirthankara preaches after attaining omniscience.
THE INDRA SABHA
The Indra Sabha (Cave 32) is a two storeyed cave with one more monolithic shrine in its court. It has a very fine carving of the lotus flower on the ceiling. It got the appellation "Indra Sabha" probably it is significantly ornate and also because of the sculpture of the yaksha (dedicated attendant deity) Matanga on an elephant, which was wrongly identified as that of Indra. On the upper level of the double-storied shrine excavated at the rear of the court, an U image of Ambika, the yakshini of Neminath, is found seated on her lion under a mango tree, laden with fruits.
OTHER JAIN CAVES
All other Jain caves are also characterized by intricate detailing. Many of the structures had rich paintings in the ceilings - fragments of which are still visible.
GEOLOGY OF ELLORA
Ellora occupies a relatively flat region of the Western Ghats. Ancient volcanic activity in this area created many layered basalt formations, known as Deccan Traps. During the Cretaceous, one such volcanic hill formed on the southwest-facing side of Ellora. Its vertical face made access to many layers of rock formations easier, enabling architects to pick basalt with finer grains for more detailed sculpting.
INSCRIPTIONS AT ELLORA
Several inscriptions at Ellora range from 6th century to 15th century. The best known of them is an inscription of Rashtrakuta Dantidurga (c. 753-57 A.D.) on the back wall of the front mandapa of Cave 15, which gives an account of his conquests. Inscriptions on the Kailash temple itself range from 9th to 15th century. Jain cave Jagannatha Sabha has 3 inscriptions that give the names of monks and donors. A Parshvanth temple on the hill has a 11th-century inscription that gives the name of the donor from Vardhanapura.
The Great Kailasa (Cave 16) is attributed to Krishna I (c. 757-83 A.D.), the successor and uncle of Dantidurga. A copper plate grant by Karka II (c. 812-13 A.D.) narrates that a great edifice was built on a hill by Krishnaraja at Elapura (Ellora).
The Ellora caves, unlike Ajanta, were never lost. There have been several written records that indicate that these caves were visited regularly. The earliest is that of the Arab geographer Al-Mas‘udi of the 10th century A.D. In 1352 A.D. Sultan Hasan Gangu Bahmani, who camped at the site and visited the caves. The others are by Firishta, Thevenot (1633–67), Niccolao Manucci (1653-1708), Charles Warre Malet (1794), and Seely (1824)
WIKIPEDIA
George Hubbard Clapp Hall is a six-story Gothic Revival structure designed by Trautwein & Howard in 1956. The primary facility of the University of Pittsburgh Department of Biological Sciences, it contains laboratories, classrooms, a greenhouse, and an amphitheater-style lecture hall with 404 seats.
Clapp Hall's exterior and interior spaces have been described as a mix of Collegiate Gothic and Art Deco. The building features a diagonally-positioned entrance that creates a direct axis with the Cathedral of Learning which is framed in Clapp Hall's stone portal entryway. The building is clad in textured Indiana limestone to match the stone used on the Cathedral of Learning.
The University of Pittsburgh, a state-related research university, commonly referred to as Pitt, was originally founded as Pittsburgh Academy in 1787 on what was then the American frontier. Pitt evolved into the Western University of Pennsylvania with an alteration to its charter in 1819, and upon relocating to its current campus in the Oakland neighborhood of Pittsburgh in 1908, the school received its current moniker, the University of Pittsburgh. For most of its history Pitt was a private institution, until it became part of the Commonwealth System of Higher Education in 1966.
The Schenley Farms Historic District, part of the Schenley Farms-Oakland Civic District, is noted for its late 19th And 20th Century Revivals architecture, and home to a large portion of the campus of the University of Pittsburgh.
Schenley Farms Historic District #830002213 (1983)
Without it we are fucked.Getty don't even fucking bother with an invite for this photo,Infact for that matter any other photo on my stream, I'd rather fucking give it away for free.Money grabbing 800 pound gorilla,penny pinching mother fucker.With your contributor services ticket bullshit that takes six months to get an answer from a so called leader in its field,on a simple question regarding image misuse, just fucking grinds people down and your google images deals that fucking line the pockets of multi billion pound corporations and fuck the little guy for $6 or $12 dollar deals,not to mention the penny stock shite that you have been spewing over the last few months with deals that are lower than a snakes balls :)) portal this ,portal that,0.09c to you young man and be happy with it, fuck that,fucking ram it, Keep the fuck away from my shit,Flickr and yahoo,Dump the dodo, and start licensing the flickr collection for yourself,You would clean up and also probably be able to offer decent returns on a licence for a photo,On that note, The new Flickr outlay looks good don't it!!!
Detail of a thinner section of a leaf, showing the complexity of the leaf structure and the photosynthetic lamellae. Note the paler coloured marginal cells that make up the upper margin of each lamella, these are slightly broader than the lamellae and create spaces that will be filled with humid air between the lamellae, ideal conditions for photosynthesis. They also repell water, making it difficult for rain to fill the spaces between the laminas and slowing down photosynthesis. The odd shape and differentially thickened walls of these marginal cells may also fucntion as miniature lenses, scattering and distributing light more evenly over the phtosynthetic cells.
Shukhov Hyperboloid Structure.
Hyperboloid structures are architectural structures designed using a hyperboloid in one sheet. Often these are tall structures such as towers where the hyperboloid geometry's structural strength is used to support an object high off the ground, but hyperboloid geometry is also often used for decorative effect as well as structural economy. The first hyperboloid structures were built by Russian engineer Vladimir Shukhov.
Hyperbolic structures have a negative Gaussian curvature, meaning they curve inward rather than curving outward or being straight. As doubly ruled surfaces, they can be made with a lattice of straight beams, hence are easier to build than curved surfaces that do not have a ruling and must instead be built with curved beams.
Hyperboloid structures are superior in stability towards outside forces compared with "straight" buildings, but have shapes often creating large amounts of unusable volume (low space efficiency) and therefore are more commonly used in purpose-driven structures, such as water towers (to support a large mass), cooling towers, and aesthetic features.
A good example of a Hyperboloid Structure is the control tower at Newcastle Airport.
The Structure was modelled in Autodesk Inventor and rendered in Autodesk 3DS.
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The Cartersville Bank, located in Cartersville, Cumberland County, Virginia, was built around 1900. It’s a very small, 1-story brick structure with slate roof. It has a front gable with returns, and the bargeboard is full, consisting of vertical wood slats that give a scalloped appearance above the windows and door. The front windows are 4/4 sash, and the entrance is a double-leaf wooden door, each with a single long vertical pane. The bank served a very small community and is noticeable for its absence of columns, symbolic of a financial institution’s stability. As part of the Cartersville Historic District, it was listed on the National Register of Historic Places, June 10, 1993 #93000505. Cartersville is on a bluff above the James River.
See: www.dhr.virginia.gov/registers/Counties/Cumberland/024-01...
This work is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported License.
Looking back to shore from near the end of the outer breakwater of The Cobb, Lyme Regis, Dorset, England.
This view looks WSW towards Monmouth Beach and the nearer end of the great landslipped area of the Lyme Regis Undercliff. Note the seaward camber of the paving and the absence of railings.
NOTE ON THE COBB
The origin of the Cobb is 13th Century and attributed to King Edward I (or more accurately, I guess, to his engineers, masons and labourers). However there is also evidence for earlier structures here going back another 500 years. A heavy storm ruined The Cobb in 1824 and most of the existing structure dates from its rebuilding in 1825-26. Apart from the recent extension of loose blocks imported from Norway (not seen here), it is mostly built of local Lias limestones (Lower Jurassic) and Portland Roach (Upper Jurassic). The Roach, which dominates the foreground here, is a shelly limestone quarried from further along the Dorset coast to the East. The Roach weathers roughly because of all the fossil shells in it, and this is what gives the paving its interesting texture and 'non-slip' surface. Further details and close-ups of the stone here and here.
The Cobb serves as a breakwater to protect the shore and to create two small harbours in its northeastward lee (off to R). View shows the main outer breakwater, excluding the recent extension. This is a gracefully serpentine structure 265 m long. The Cobb features in novels by famous authors who have lived in Lyme, notably Jane Austen's Persuasion and John Fowles's French Lieutenant's Woman. The Cobb was probably Lyme Regis's best known landmark even before its Oscar(etc.)-winning moments in the film of John Fowles's novel. The Cobb is used as the accurate location for some of the action. The view here is in calm weather, but in big storms, waves crash right over the outermost part of The Cobb (where the silhouetted figures can just be seen here), as in the film.
Sources:
- Davis, G. & Menzies, B., 2010. Great divide. Geoscientist 20(10), 17-21.
- Moseley, S., 2010. Beauty and brawn. (in Dorset Life): www.dorsetlife.co.uk/2010/10/beauty-and-brawn/
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