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A collaborative project combining photographs and an original music score.
Photography Derek Eyre
Music Paul Barker
First conceptional approach with the topic structure close-ups.
Shot with Nikon D5100.
ISO 1000
105 mm
f/5.6
1/320 sec
Editing in PS Lightroom 5.
This amazing glass couture piece Structures of Self was recently modeled by one of the collaborating artists during the new Beakerhead festival of science, art and engineering. The idea to collaborate on an a photoshoot that paired the alien/bug like garment with the 40 foot RayGun Gothic Rocketship during the setting sun, made for some pretty creative images
Structures of Self:
lead artist: Farlee Mowat
artist: Lana Collier
Raygun Gothic Rocketship:
Sean Orlando
Nathaniel Taylor
David Shulman
The Torre dei Lamberti is a medieval tower in Verona , 84 meters high, which rises from Piazza Erbe , the ancient Roman Forum , in the historic center of the city .
With the exception of the Italian Telecom Tower in the district of San Michele Extra (149 meters) and the Borgo Roma Italy Telecom Tower (102 meters), as structures for telephony, the Torre dei Lamberti holds the record for tallest building in the city of Verona , followed by the white bell tower of the Cathedral , 74.9 meters high.
The origins
The tower was commissioned by the powerful family Lamberti (subsequently banished from Verona and extinct), which began to build it in the eleventh century . At that dates back to the lowest part in tan brick and tufa . In 1140 , in the middle age city, was elected to the civic tower was installed and the first bell , of which nothing is known. In 1272 the statutes stated that, in addition to the bell of ' Arengo (then known as Rengo, he called in the assembly meeting), there was also another, the Marangona (derived from "joiner", which in Veronese dialect means carpenter ), to signal the beginning and end of work activities
In the fourteenth century
In 1311 a bell was recast and a new addition, called the Consolata. In 1394 it fell to Gianfrancesco da Legnago redo the Rengo [2] , which was then also used to scan the executions of death sentences, alarms, signs of fire, the gathering of the militia and the arrival of a plague. Were present at the bell, with the function of janitors, prison guards (the tower usually housed some prison) and lookouts. They were wrong salaried, but staying free of charge in the tower and were exempt from taxes and military obligations
Venetian period
In May 1403 a bolt of lightning struck the top of the tower, and only in 1448 work began on the restoration and elevation. that lasted until 1464 . In 1406 the bell made ââa plea for the Venetian governor ( Verona recently came under the rule of the Venetian Republic ), maintained their privileges, from what he confirmed. Have come down to us the names of the players of the time: John Bonifacio from San Giovanni in Valle , Christopher Michael from St Nazaire , Benassù James from Santa Maria in Organo , John Nicholas Hood from San Fermo . In 1452 all'Archicampanista Gasparino from Vicenza was awarded the recasting of the bells Marangona and Rengo. In 1471 it was again rebuilt since the Marangona cracked. In the meantime ( 1464 ) ended the work of raising, bringing the tower to reach the 84 meters, completed in style Gothic , in its present form
In 1521 the Bonaventurini remade the Rengo, which was recast by them in 1557 , getting one that still rings on the tower, octagonal within the cell. In 1597 the dynasty Levo From recast the Marangona, as noted by the teacher Gardoni "Gothic in shape." We also know the identity of ringers into service in 1606 , Roger Minali and children, replaced in his role, from 1632 to 1797 by the family Tanara, in whose chronicles remember that their elderly was burned by a lightning while stretched out a window of tower; a young man fell from the same of their family without suffering any injury
In the eighteenth century
The Lamberti Tower photographed from the bell tower of the Cathedral of Verona .
In 1779 the famous founder Joseph Ruffini prepared a bell of hours is (in agreement with the eighth Rengo) and another called Rabbiosa to complete the deal that appeared as:
Rengo : note is flat , fused by Bonaventurini in 1557 ;
Marangona : known Kings , melted by the Da Levo in 1597 ;
Angry : note Fa sharp , cast by Ruffini in 1779 ;
Consolata or Bajona : note the , fused by an unknown in 1311 ;
Doorbell hours : note is flat , fused by Ruffini in 1779 .
These are the bells that rang during the historical event of the Veronese Easters
Also in 1779 there was a proposal to place a large clock on the tower, but the watchmaker who had to do the work died before they start. It was, in 1798 , Count John Sagramoso in place, at his own expense, the clock, replacing that of the nearby Torre del Gardello , who had stopped working for some time
From the nineteenth century to the present day
In 1833 the Knight John Cavadini, director of a foundry bells rival that of his brother Francis, recast Marangona Rabbiosa Bajona and getting the current complex consists of:
Rengo : note is flat 2, diameter 184 cm, weight 4215 kg. Fused by Bonaventurini in 1557 . is one of the best bells Renaissance and from the point of view of acoustic and decorative, as well as a rarity for age and size.
Marangona : known Kings 3, diameter 130 cm, weight 1300 kg. Excellent and rich fusion of John Cavadini of 1833 . It is one of the best achievements of the period and, without doubt, the best of this smelter.
Bajona : note Fa 3, diameter 108 cm, weight 750 kg. Merged with the Marangona.
Bell : note is flat 3, diameter 82 cm, weight 330 kg. Fused by Ruffini in 1779 . It was used as a clock signal.
The whole forms a fundamental harmonic arrangement of four bronzes to jump ( Sib 2 - King 3 - Makes 3 - Sib 3), as was the custom in the Baroque era.
At the beginning of the twentieth century the task was entrusted to the bell of St. Anastasia . It was the Rengo, November 4 1918 , 10:30, playing a party to announce the armistice with Austria , the end of the First World War . After the Second World War , the management of the bells of the tower passed to companies bell of Santa Maria in Organo (which in 1994 was absorbed by St. Anastasia )
The tower is now open to the public and you can get in the belfries thanks to the stairs or the elevator, enjoying the panoramic view of the city.
At 10:15am on 02/01/14, units of the San Jose Fire Department responded a full first alarm for a structure fire at 537 Brooks Ave. Arriving units confirmed a small fire in a detached garage in the back of a single-story residence. IC was taken over by Battalion 1 from the first due unit, Truck 30. Along with Battalion 1 and Truck 30, other units that responded to the scene were Battalion 10, Engine 3, Engine 4, Engine 6, Squad 30, Med 30, and Truck 1. By the time I arrived on scene, however, the fire was already out and Engines 3 and 4 had already cleared.
The apparatus in this photo is Engine 6, a 2003 KME-built pumper on a Spartan Gladiator chassis.
©AVucha 2014
On May 11th at 11:41am, the McHenry Township Fire Protection District responded to 1304 N. Park St. for a reported structure fire. Caller advised they smell smoke and possibly see flames on the roof.
At 11:55am, MTFPD activated MABAS Box #5-1241 to the second level for the structure fire.
Units Due:
Engines: McHenry, Richmond, Wauconda, Fox River Grove, Nunda Rural
Tenders: Fox Lake
Squads: Wonder Lake
EMS: McHenry, Lakewood
Chiefs: Spring Grove, Richmond, Wonder Lake, Crystal Lake
Special Equipment: Rehab North, Salvation Army Canteen
Change of Quarters (St.#): Cary Engine and Chief (1), Woodstock EMS (1), Lake Villa Engine (2), Spring Grove EMS (2)
At 12:34pm, the MTFPD upgraded MABAS Box #5-1241 to the third level for the structure fire.
Units Due:
Engines: Grayslake, Algonquin, Antioch
Trucks: Round Lake
Squads: Marengo
EMS: Huntley
Chiefs: Fox Lake, Wauconda
Special Equipment: Air 5, UCP 13
At 1:17pm, the MTFPD struck out MABAS Box #5-1241 by the authority of command.
News obtained from the Northwest Herald: McHENRY – A structure fire at the Polish Legion of American Veterans on 1304 Park St. in McHenry took roughly two and a half hours to extinguish Sunday afternoon, but no one was injured during the annual Mother's Day brunch.
McHenry Township Fire Battalion Chief Joe Krueger said firefighters received a call at 11:41 a.m. for the fire, which was called in while members of the post were cooking for a Mother's Day brunch. Krueger said a Level 3 MABAS box alert was called, bringing assistance from multiple departments in Lake and McHenry counties.
With heavy smoke coming through the roof, McHenry Township Fire Chief Tony Huemann said the first wave of firefighters made an aggressive move and ran hoses inside the building before Krueger deemed the situation too dangerous and pulled out the firefighters. Responders then fought the blaze defensively from the outside of the building, Huemann said.
No civilians or firefighters were injured and the fire was contained to the single building. Some emergency crews began to leave the scene at 3 p.m. The building has "substantial" damage, Krueger said, with most of the back and back roof completely destroyed.
Dan Lisi, first vice commander of Polish Legion of American Veterans Post 188, said he and other members were cooking a Mother's Day brunch at the same time a roofing company was doing work on the building when a breaker popped around 11:30 a.m.
Other breakers started popping and the fire started, Lisi said. He said 70 people were inside the hall, and everybody exited safely and without injury.
Krueger said the cause of the fire is still under investigation. Representatives from the roofing company on scene declined to comment.
Lisi said the post has 144 members and has been in the building since 1980.
Dancing Rabbit is located in a county that has no building codes, which gives members a great deal of leeway in deciding what to build. They do have an environmental covenant that disallows lumber, except for reclaimed lumber and locally harvested wood. Many structures utilize clay taken right out of the ground, often combined with hay bale construction.
This picture shows an individual's "summer cottage" made of reclaimed lumber.
After some fiddling i now manage to store data structurally in Liferay's structures, and lift it to the website using Velocity templates.
VAN NUYS - At 2:44PM on October 12, 2022 the Los Angeles City Fire Department responded to a structure fire at 7056 Van Nuys Boulevard. The first fire company arrived to find a one story, vacant commercial building (7,600 square feet built in 1957) well involved in fire.
After initially deploying an offensive fire attack, the incident commander quickly transitioned to a defensive operation due to the extent of fire involvement. As crews established hand lines, a collapse zone of 30’ was implemented at the front of the building due to concern about the stability of the façade. Approximately 20 minutes into the incident, an ‘Emergency Traffic’ radio alert was issued informing all on the fire ground of the full collapse of the façade. All firefighters were safely outside the collapse zone and continued their operation without delay.
The building to the north abutted the fire building while there was a small separation with the building to the south. Despite the close proximity of the two exposures and the heavy fire present, firefighters battled and succeeded in defending the structures from fire damage – saving over thirty businesses.
It was a long, extended operation due to the amount of fire and challenges in safely access all areas of the building. The RS3, Robotic Fire Fighting Vehicle was deployed to apply high volumes of water (master streams) more deeply into the building than was safely possible by firefighters. The combination of hand lines, ladder-pipes, RS3 and the team of over 85 firefighters, working under the command of Assistant Chief Corey Rose, fully extinguished the fire in over four hours.
One firefighter was transported to the hospital in fair condition with heat exhaustion. There were no other injuries reported.
Per protocol, LAFD Arson and Counter-Terrorism Section (ACTS) responded and is actively investigating the cause of the fire.
© Photo by Leo Kaufman
LAFD Incident 101222-1068
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Fracture-filling gypsum ("selenite") from the Eocene of Canada. (13.8 centimeters across at its widest) (Centre for Planetary Science and Exploration collection, London, Ontario, Canada)
The Eocene-aged (39 Ma) Haughton Impact Structure is located on Devon Island in northern Canada. The target rocks were Middle and Lower Paleozoic sedimentary rocks, floored by Precambrian metamorphic rocks. Clasts of these surface and subsurface target rocks occur in abundance at the Haughton Structure, eroding from impact breccias. Shattercones also occur, sometimes in sufficient abundance to trip over them.
The rock seen here is a very post-impact, low-temperature vein filling of macrocrystalline gypsum ("selenite").
8-10-2015
Meadowbrook Rd
Meadow, Stricklands Crossroads, Blackman's Crossroads, Newton Grove, Bentonville
JCEMS
Crews gossip by the shed on Peter Cunningham's 7mm (1:43 - British O) layout, which represents a Great Eastern Railway line in the 1910s-1920s time frame. The models are a mix of kit and scratchbuilt.
Peter believes the rewards of such projects, properly explained, will encourage more adults in their 30s and 40s to take up the hobby - and that this is a better strategy than trying to turn children into model railway enthusiasts.
Peter is our guest on Episode 11 of The Model Railway Show.
Evidence of dune-like structures in the surface dust of Comet 67P/Churyumov–Gerasimenko. Features like this may be the result of localised gas-driven transport of surface dust. The image was taken by the OSIRIS narrow-angle camera on 23 August 2014.
A labelled version of this image is available.
Credits: ESA/Rosetta/MPS for OSIRIS Team MPS/UPD/LAM/IAA/SSO/INTA/UPM/DASP/IDA (CC BY-SA 4.0)
www.esa.int/spaceinimages/Images/2015/01/Dune-like_struct...
Urbex Benelux -
The material used in the construction of a building has a lot to do with how long it’s going to last. Some materials (such as, stone), as you can imagine, make sturdier structures, but have other disadvantages.
For example, wood is a very common material used in construction; but a house made primarily of wood will likely fall apart in nearly 50 years (or much faster, depending on the ambient temperature and climate). Similarly, a concrete structure would last anywhere between 50-100 years while a stone building may last more than a century.
The Brihadeshwara Temple at Thanjavur in the Indian state of Tamil Nadu, is a Hindu temple dedicated to Shiva. It is an important example of Tamil architecture achieved during the Chola dynasty. The temple is part of the UNESCO World Heritage Site known as the "Great Living Chola Temples".
This is one of the largest temples in India and one of India's most prized architectural sites. Built by emperor Raja Raja Chola I and completed in 1010 AD. Brihadeshwara Temple, also popularly known as the 'Big Temple', turned 1000 years old in 2010.
Thanjavur Periya Kovil stands amidst fortified walls that were probably added in the 16th century. The vimana (or temple tower) is 66 m high and is among the tallest of its kind in the world. The Kumbam (Kalasha or Chikharam, the apex or the bulbous structure on the top) of the temple is carved out of a single rock and it weighs around 80 tons. There is a big statue of Nandi (sacred bull), carved out of a single rock, at the entrance measuring about 16 feet long and 13 feet high. The entire temple structure is made out of granite, the nearest sources of which are close to Tiruchirappalli, about 60 km to the west of Thanjavur.
HISTORY
The temple had its foundations laid out by the Tamil emperor Arulmozhivarman, popularly called Rajaraja Chola I, in 1002 CE, as the first of the great Tamil Chola building projects.
The Brihadeshwarar Temple was built to grace the throne of the Chola empire in compliance to a command given to him in his dream. The scale and grandeur is in the Chola tradition. An axial and symmetrical geometry rules the temple layout. Temples from this period and the following two centuries are an expression of the Tamils (Chola) wealth, power and artistic expertise. The emergence of such features as the multifaceted columns with projecting square capitals signal the arrival of the new Chola style.
The Brihadeshwarar Temple was built to be the royal temple to display the emperor's vision of his power and his relationship to the universal order. The temple was the site of the major royal ceremonies such as anointing the emperor and linking him with its deity, Shiva, and the daily rituals of the deities were mirrored by those of the king. It is an architectural example showcasing the pure form of the Dravida type of temple architecture and representative of the Chola Empire ideology and the Tamil civilisation in Southern India. The temple "testify to the brilliant achievements of the Chola in architecture, sculpture, painting and bronze casting."
CONSTRUCTION
The wish to build a mammoth temple like this is said to have occurred to Raja Raja while he stayed at Sri Lanka as an emperor.
The esteemed architect and engineer of the temple was Kunjara Mallan Raja Raja Perunthachan as stated in inscriptions found at the temple. The temple was built per ancient texts called Vaastu Shastras and Agamas. He is the ancient ancestor of the doyan of Vaastu Vedic architecture, the late Dr. V. Ganapti Sthapati of Chennai and Mahabalipurim (architect of the 133' granite Thiruvalluvar statue at the tip of south India). Members of his family still live and practice the ancient art and science. The American University of Mayonic Science and Technology was initiated by Dr. V. Ganapati Sthapati to perpetuate the same form of architectural principles used by Kunjara Mallan Raja Raja Perunthachan to build the Brihadeeswarar temple. The temple was built using a measure of 1 3/8-inch called an angula (24 units equalling 33 inches called a hasta, muzam, or kishku). This is the same measure found in ancient Lothal and other sites in the Indus Valley dating back 4000 - 6000 years. This same measure is used to build structures compliant with the Vaastu Shastras and Agamas today. While some builders use a different measure this is considered a standard due to its antiquity.
This temple is the first building fully built by granite and finished within 5yrs [1004AD – 1009AD]. The solid base of the temple raises about 5 metres, above which stone deities and representatives of Shiva dance. The huge kalasam or Vimanam (top portion of the shrine) is believed to weigh 81.28 tonnes of single stone block and was raised to its present height by dragging on an inclined plane of 6.44 km. The big Nandi (bull), weighing about 20 tonnes is made of a single stone and is about 2 m in height, 6 m in length and 2.5 m in width. The presiding deity of lingam is 3.7m tall. The prakaram (outer precincts of the temple) measures 240m by 125m. The outer wall of the upper storey is carved with 81 dance karanas – postures of Bharathanatyam, the classical dance of Tamil Nadu. The shrine of Goddess was added by Pandyas during the 13th century, Subramanya Shrine by Vijayanagara rulers and the Vinayaka shrine was renovated by Maratha rulers.
TEMPLE COMPLEX
The temple complex sits on the banks of a river that was channelled to make a moat around the complex's outer walls, the walls being built like a fortress. The complex is made up of many structures that are aligned axially. The complex can be entered either on one axis through a five-story gopuram or with a second access directly to the huge main quadrangle through a smaller free-standing gopuram. The massive size of the main Vimanam (Shikhara) is ca. 60 meters high, with 16 elaborately articulated stories, and dominates the main quadrangle. Pilaster, piers, and attached columns are placed rhythmically covering every surface of the Vimanam.
The gopuram of the main entrance is 30 m high, smaller than the vimana. It is unusual in the dravidian architecture where the gopurams are generally the main towers and taller than the vimana.
MAIN TEMPLE
A first rectangular surrounding wall, 270 m by 140 m, marks the outer boundary. The main temple is in the center of the spacious quadrangle composed of a sanctuary, a Nandi, a pillared hall and an assembly hall (mandapas), and many sub-shrines. The most important part of the temple is the inner mandapa which is surrounded by massive walls that are divided into levels by sharply cut sculptures and pilasters providing deep bays and recesses. Each side of the sanctuary has a bay emphasising the principle cult icons. The karuvarai, a Tamil word meaning the interior of the sanctum sanctorum, is the inner most sanctum and focus of the temple where an image of the primary deity, Shiva, resides. Inside is a huge stone linga. The word Karuvarai means "womb chamber" from Tamil word karu for foetus. Only priests are allowed to enter this inner-most chamber.
In the Dravida style, the Karuvarai takes the form of a miniature vimana with other features exclusive to southern Indian temple architecture such as the inner wall together with the outer wall creating a pradakshina around the garbhagriha for circumambulation (pradakshina). The entrance is highly decorated. The inside chamber housing the image of the god is the sanctum sanctorum, the garbhagriha. The garbhagriha is square and sits on a plinth, its location calculated to be a point of total equilibrium and harmony as it is representative of a microcosm of the universe. In the center is placed the image of the deity. The royal bathing-hall where Rajaraja the great gave gifts is to the east of the hall of Irumudi-Soran.
The circumambulation winds around the massive lingam in the garbhagriha and is repeated in an upper story, presenting the idea that Chola Empire freely offered access to the gods.
The inner mandapa leads out to a rectangular mandapa and then to a twenty-columned porch with three staircases leading down. Sharing the same stone plinth is a small open mandapa dedicated to Nandi, Shiva's sacred bull mount.
TEMPLE DEITIES
The "moolavar" or prime deity of the Brihadeeswarar Temple is Shiva. All deities, particularly those placed in the niches of the outer wall (Koshta Moorthigal) like Dakshinamurthy, Surya, Chandra are of huge size. The Brihadiswarar temple is one of the rare temples which has idols for "Ashta-dikpaalakas" (Guardians of the directions) – Indra, Agni, Yama, Nirṛti, Varuṇa, Vāyu, Kubera, Īśāna – each of whom was originally represented by a life-sized statue, approximately 6 feet tall, enshrined in a separate temple located in the respective direction. (Only Agni, Varuṇa, Vāyu and Īśāna are preserved in situ.)
ADJOINING STRUCTURES
Surrounding the main temple are two walled enclosures. The outer wall is high, defining the temple complex area. Here is the massive gopuram or gateway mentioned above. Within this a portico, a barrel vaulted gorpuram with over 400 pillars, is enclosed by a high wall interspersed with huge gopurams axially lined up to the main temple.
FEATURES
Another widely held belief is that the shadow of the gopuram (pyramidal tower usually over the gateway of a temple) never falls on the ground. The temple is said to be made up of about 130,000 tons of granite. The Kumbam itself, a 60 ton granite stone carved in one piece, on top of the main gopuram is believed to have been taken to the top by creating an inclined slope to the height of 66m to the top of the gopuram. The prevailing belief is that a mud-slope, which starts at about three miles from the temple site, from Thirukoilore (birthplace of Raja raja's mother) near Sri Virateshvara swamy temple. Elephants might have been used to drag the stone up the slope. This was claimed to be the only part of the gopuram, which does not cast a shadow that fall on the ground, at least not within the temple premises.
MURALS
The temple has Chola frescoes on the walls around the sanctum sanctorum potryaing Shiva in action, destroying demonic forts, dancing and sending a white elephant to transport a devotee to heaven. These frescoes were discovered in the 1940s and portray the mythological episodes of the journey of Saint Sundarar and the Chera King to heaven, the battle scene of Tripurantaka (Lord Siva) with Asuras (demons). The Chola artists have proved their mettle by portraying even the Asura women with a sense of beauty. Some of the paintings in the sanctum sanctorum and the walls in the passage had been damaged because of the soot that had deposited on them. Owing to the continuous exposure to smoke and soot from the lamps and burning of camphor in the sanctum sanctorum over a period of centuries certain parts of the Chola paintings on the circumambulatory passage walls had been badly damaged. The Tanjore Nayak kings replaced them with a few paintings of their own, about 400 years ago. The Archaeological Survey of India, for the first time in the world, used its unique de-stucco process to restore 16 Nayak paintings, which were superimposed on 1000-year-old Chola frescoes. These 400-year-old paintings have been mounted on fibre glass boards, displayed at a separate pavilion.
TEMPLE PERSONNEL
The temple was consecrated in 1010 CE by Raja Raja Chola I & in 2010 a celebration commemorated the temple's thousandth anniversary. The temple maintained a staff of 1000 people in various capacities with 400 being temple dancers Besides the Brahmin priests, these included record-keepers, musicians, scholars, and craftsman of every type as well as housekeeping staff. In those days the temple was a hub of business activities for the flower, milk, oil, and ghee merchants, all of whom made a regular supply of their respective goods for the temple for its poojas and during festival seasons. Moreover as evidenced by the inscriptions that found in the compound wall of this temple, the temple had always been serving as a platform for the dancers who excelled in the traditional dance form of Bharatnatyam. vallamuthu minnadi generation worshipped this temple.
MILLENNIUM CELEBRATIONS
Built in the year 1010 CE by Raja Raja Chola in Thanjavur, Brihadeeswarar Temple popularly known as the 'Big Temple' turned 1000 years old in September 2010. To celebrate the 1000th year of the grand structure, the state government and the town held many cultural events. It was to recall the 275th day of his 25th regal year (1010 CE) when Raja Raja Chola (985–1014 CE) handed over a gold-plated kalasam (copper pot or finial) for the final consecration to crown the vimana, the 59.82-metre tall tower above the sanctum.
BHARATHANATYAM YAJNA
To mark the occasion, the state government organised a Bharathanatyam Yajna, classical dance show under noted dancer Padma Subramaniam. It was jointly organised by the Association of Bharatanatyam Artistes of India (ABHAI) and the Brhan Natyanjali Trust, Thanjavur. To mark the 1000th year anniversary of the building, 1000 dancers from New Delhi, Mumbai, Pune, Tamil Nadu, Andhra Pradesh, Karnataka, Kerala, Singapore, Malaysia and the US danced in concert to the recorded 11 verses of divine music Thiruvichaippa (ninth of Thirumurai) composed by Karuvur Thevar (the guru of Raja Raja Chola) named Tiruvisaippa. The small town turned into a cultural hub for two days beginning 26 September 2010 as street performers and dancers performed throughout the town.
WIKIPEDIA
Fire crews often wrap buildings with fire resistive material to help protect them from approaching wildfire.
Photo by Brandon Oberhardt
Credit US Forest Service Gila National Forest
Commissioned Work
Myspace music layout for Digital Structures
www.myspace.com/digtalstructures
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Camera: Panasonic LUMIX GX1
Lens: Panasonic LUMIX G VARIO 7-14mm/F4.0 ASPH.
Location: Elements, Hong Kong
SHERMAN OAKS - On March 15, 2019, LAFD responded to a structure fire at 13711 W Ventura Blvd. Arriving companies found a single story commercial with fire in the interior mezzanine and attic. The fire was possibly caused by extension from an outdoor rubbish fire. Companies quickly knocked down the blaze.
Photo by Brandon Buckley
LAFD Incident: 031619-0514
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