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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
NORTHRIDGE - 40 firefighters found the garage (attached) of a single-family home fully involved and extinguished the fire in 13 minutes. Initial reports of a person trapped in the fire room proved to be false after a thorough search. The fire was stopped quickly before extending into the home. No reported injuries.
© Photo by Jacob Salzman
LAFD Incident: 060419-1230
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Beautiful Structured Storms on May 25 2020 across Northeast Wisconsin. Marginal Shear and moderate instability led to some gorgeous storms. Oconto, Langlade and Marinette Counties.
Over a 106 years old, the Egmore Railway Station in Chennai, remains one of the cities centrally located, renowned landmarks. Its bright red and white colors, and vaulted metal ceiling on the interiors are what make it striking. With typical Victorian wrought iron beams,
A structure or structures of some sort have existed on this spot since the mid-13th century—probably two rows of stone trading stalls. Around 1300 a roof would have been placed over these stalls, creating the first Cloth Hall-style structure. In the 14th century King Casimir the Great allowed the structure to take the form of a huge hall, and more and more stalls sprang up around it. This survived until the mid-16th century when a fire destroyed it. A new structure was quickly built and underwent a Renaissance facelift. During 1875-79 many of the outbuildings were torn down and it was then that the neo-Gothic colonnades and outside arcades were added. The interior was converted into a series of wooden stalls while upstairs rooms were built to house the first Polish National Museum. The 20th century saw ongoing development of the building, with the most significant work being carried out in the late 1950s when much of the 19th century interior was replaced. Between 2006-10, the building was given a complete re-modeling and space within the building was re-worked to create new space above the traders’ stalls.
8-10-2015
Meadowbrook Rd
Meadow, Stricklands Crossroads, Blackman's Crossroads, Newton Grove, Bentonville
JCEMS
Structure Synth / Sunflow lighting experinment #1
I managed to find out (with the help of Groovelock) how to create light emitting objects. It will be fun :)
Playing around with Structure Synth and exports to POV-Ray. The output looked a lot like hair so it seemed fitting to throw a LEGO minifig under it. Wild huh?
Please don't use this image on websites, blogs or other media without my explicit permission. © All rights reserved
Parashurameshvara Temple (IAST: Paraśurāmeśvara) also spelt Parsurameswar, located in the East Indian city of Bhubaneswar, the capital of Orissa, is considered the best preserved specimen of an early Orissan Hindu temple dated to the Shailodbhava period between the 7th and 8th centuries CE. The temple is dedicated to the Hindu god Shiva and is one of the oldest existing temples in the state. It is believed to have been built around 650 CE in Nagara style and has all the main features of the pre-10th century Orissan-style temples. The temple is one among the Parashurameshvara group of temples.
Parashurameshvara Temple has a vimana, the sanctum, and a bada, the curvilinear spire over its roof, rising to a height of 12.27 m. It is the first temple to have an additional structure called jagamohana, compared to the earlier temples that had only the vimana. Though the temple is dedicated to Shiva, it contains sculpted images of Shakta deities, which are otherwise normally part of Shakta temples. The temple is the first in Bhubaneswar to contain depictions of Saptamatrikas, namely, Chamunda, Varahi, Indrani, Vaishnavi, Kaumari, Shivani and Brahmi. The temple is maintained and administered by the Archaeological Survey of India (ASI) as a ticketed monument. Parashurashtami is the major festival celebrated in the temple during June–July every year. The temple is one of the most prominent tourist attractions in the state of Odisha.
HISTORY
Parashurameshvara Temple is one of the Parashurameshvara group of temples, considered to be the oldest temples in Bhubaneswar. Some historians believe Parashurameshvara Temple to have been built in the early 8th century CE., subsequent to the construction of the Satruguneswar, Bharateswar and Lakshmaneswar temples in the late 7th century, although K.C.Panigrahi places the date as 650 CE. Fergusson believed that the temple might have been initiated at around 500 CE. A mid-7th century date is agreed by most scholars based on style and the presence of the eight planets which appear over the door to the inner sanctum as the later temples portray nine.
Parashurameshvara Temple was built by the Shailodbhavas, who had Shiva as their family deity. The Shailodbhavas also respected the Shakta deities and depicted Shakta images on the walls of the temple. The temple was repaired in 1903, with some changes in the roof of the inner sanctum, whilst retaining most of the original structure.[7][8] Being located in the eastern coast, Parashurameshvara, like other Orissan temples, was not much affected by Muslim invasions of the 12–13th centuries. In modern times, the temple is maintained and administered by the Archaeological Survey of India (ASI) as a ticketed monument.
ARCHITECTURE
The Orissan temples have two parts: the sanctum, called vimana, and a place from where pilgrims view the sanctum, called the jagamohana (hall of worshippers). Parashurameshvara Temple is the first to have this additional structure. The initial deul temples were without the jagamohana as seen in some of the older temples in Bhubaneswar, while the later temples had two additional structures namely nata-mandapa (festival hall) and bhoga-mandapa (hall of offerings). The vimana is square in plan and the walls have sections called rathas or pagas. The vimana has a curvilinear tower (called bada) in the form of a pyramid composed of horizontal planes. The sanctum of the temple measures 3 × 3 m from the inside, 6.0 × 6.4 m from the outside and has a height of 12.3 m. Amalaka, a stone disk with ridges on the rim, is placed over the bada of the temple.
The jagamohana is rectangular in shape and has a two-element sloping roof with clerestory windows between them. The jagamohana measures 7.6 × 5.6 m from the inside and 8.9 × 8.7 m from the outside. The latticed windows are classified as pata jali where perforations are square or rectangular in shape. In addition, there are trellised windows with slabs of stone sculptures depicting dancers and musicians. Light enters the interior through doors and the latticed windows. The junction of the vimana and the jagmohana is not cleanly built, leading some scholars to postulate that the porch was added at a much later date; however, the primitive connection is attributed to the building technique. The temple was constructed by burying completed portions in inclined layers of earth up which heavy pieces of stone were dragged. The temple is one of the earliest examples of the Nagara style of architecture that emphasises vertical structure, as seen in subsequent temples like Mukteshvara, Lingaraj and Rajarani in Bhubaneswar and the Sun Temple at Konark.
The temple contains the earliest representation of a six-armed Mahishamardini (Durga) image. From chest upward the image is sculpted with headdress, karna kundala (ornament), mala (garland) and kankana (anklet). Durga is seen holding a sword in the upper left hand while in the upper right hand, she is seen pressing the face of the demon buffalo. In her left middle hand, she is seen piercing the neck of the demon with a trishula (trident), while in her lower left hand she holds a pointed weapon. In her right middle hand she holds Khetaka while in her lower right hand she holds a bow. A similar image of Durga is found in the Vaital temple, which is a famous Shakta center. Though the temple is a Shaiva shrine, it contains the images of numerous Shakta deities as Parsvadevatas sculpted on its walls. The temple is the first among Bhubaneswar temples to contain Saptamatrika images, a group of seven goddesses. These images are located in between representations of Ganesha and Virabhadra. Except for Ganesha, all other images are depicted with their respective vahanas (vehicles). An eight-armed dancing Ardhanarishvara, an image of Siva-Parvati and the images of Ganga and Yamuna are also found on the wall of the temple. There are also images of Vishnu, Indra, Surya and Yama in the rectangular niches around the base of the porch. A sculpture of Kartikeya riding on his peacock vehicle is present on the southern wall. Other noteworthy carvings are those of Shiva subduing the demon-king Ravana, who is seen trying to uproot Mount Kailasa, the abode of Shiva. Shiva is sculpted as Nataraja in various tandavas (dance poses) in the temple. As with other Orissa temples, the interiors are not sculpted but left plain. Other carvings on the temple depict a variety of fruits, flowers, birds and animals in scenes and parts of designs. A floral motif trailing from the tail of a bird is common between this temple and the ones in Vaital Deula, while a motif of vase and flowers is common between it and the ones in Mukteshvara Temple.
There are grotesque figures of vetalas (ghosts) on the pilasters of jaga mohan and on the faces of vimana of the temple. The figures of nagas (snake-man) and their female counterparts nagins and other females show many graceful but chaste poses. Pilgrimage is the theme of many of the scenes on the vimana. The other notable descriptive representation on the vimana is the hunting scene above the central niche on the south side, where stags are depicted running away from a hunter. On the outermost frame around the latticed window of the jaganamohana, delightful scenes of monkeys playing all manners of pranks are depicted. The vimana of the temple is a triratha with a distant semblance of a Pancharatha as evident from the projecting niches flanking the central projection. The bada of the vimana abruptly starts from the talapatna or pavement which consists of three elements instead of the usual five and encloses a parallelepiped instead of the usual cubic sanctum.
RELIGIOUS SIGNIFICANCE
Parashurameshvara represents Shiva as the lord of Parashurama, one of the avatars of Vishnu. According to Hindu legend, the temple derives its name from the penance of Parashurama and the resultant grace of Shiva. Parashuramashtami is the major festival celebrated in the temple on the 8th day of Ashadha (June–July) when the festival image of Lingaraj is taken to Parashurameshvara Temple and feasted.
Parashurameshvara Temple, along with Rajarani Temple and Vaital Deula, substantiates the existence of the Devadasi tradition during the 7th and 8th centuries CE. Devadasis were girls dedicated to worship and service of a deity or a temple for the rest of their lives and usually enjoyed a high societal status. They were usually transferred to the king's palace and subsequently performed for the general masses.
WIKIPEDIA
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Settled in the late 18th Century by the Clay family, White Hall was built as a simple Georgian-style two-story brick farmhouse in 1798 by General Green Clay, with a kitchen wing being added in the early 19th Century to the side of the house. The house’s character changed radically with a major addition being undertaken to the side and rear of the original structure between 1861 and 1865, under the direction of architect Thomas Lewinski, which massively expanded the size of the house into a grand three-story mansion, and remodeled it in the then-popular Italianate style, with some Romanesque and Gothic details. The property around the house also includes multiple outbuildings, the oldest of which is the stone Georgian-style summer kitchen, built in 1790, with most of the other outbuildings being built between 1798 and 1865 of logs, rough-cut heavy timber, and locally quarried stone.
The main wing of the mansion features a red running bond brick exterior, hipped low-slope roof with multiple gables, Gothic brackets at the wide overhanging eaves, corbeling below the roofline, a central tower with a front gable roof, troifoil window, and paired arched one-over-one double-hung windows, a third floor balcony with brackets and a cast iron railing, a cast iron railing at the second floor, and a first floor entrance porch with decorative Gothic trim, brackets, paired square columns, stone floor and double entry door, and painted walls, a rusticated stone base, pilasters between the window bays and at the corners, arched windows at the third floor gables and second floor window openings, stone lintels and sills, and casement windows on the third floor of the rear facade. The house also has a rear ell, built in 1798 of flemish bond brick, which was the original Georgian-style farmhouse. The rear ell features a five-bay facade with two bays integrated into the main wing, a side gable roof with a steeper pitch than the main wing of the house, six-over-nine, four-over-four, two-over-two, and nine-over-six, decorative brackets at the eaves and decorative chimney stacks, added when the house was renovated and expanded in the 1860s, a stone block base, stone lintels and sills, and stone belt coursing between the first and second floors. The original front entrance porch/portico was replaced during a later renovation with an enclosed sun porch with massive four-over-four and two-over-two double-hung windows, a cornice with modillions and dentils, a low-slope hipped roof, and corner fluted corinthian pilasters. The rear-most ell of the house, which is two stories tall but has a much lower roofline, was built as a kitchen and service wing onto the house in the early 19th Century, and features a more rustic flemish bond brick exterior, a rear porch with an arched opening at the end wall, four-over-four and nine-over-six windows, belt coursing between the first and second floors, a stone block base, a decorative chimney added during the 1860s renovations, and stone lintels and sills on the principal facade. The house has an asymmetrical exterior, but appears picturesque, and has various layers of history very easily visible.
The house was home to General Green Clay (1757-1828) from the 1790s until his passing. Clay, a native of Virginia and early resident of Kentucky, surveyed much of the eastern and central parts of the state, and owned massive tracts of land in what is now the Kentucky Bluegrass, and was one of the wealthiest men in Kentucky during his lifetime. Green Clay owned slaves and ran a plantation out of White Hall. Upon Green Clay’s death, the estate was divided among his heirs, with his son, Cassius Marcellus Clay (1810-1903), inheriting the lands that included White Hall. Cassius Marcellus Clay, an abolitionist, freed all the slaves he inherited upon his father’s death, and helped found the town of Berea, Kentucky, donating ten acres of his lands in Madison County to abolitionist John G. Fee, whom founded Berea College in 1855. Clay was a supporter of the Republican Party in the 1850s and 1860s, being appointed as an ambassador to Russia by President Abraham Lincoln, during which time Clay’s wife, Mary Jane Warfield Clay, oversaw the renovations and expansion of the house. Clay ended up staying in Washington, DC during the outbreak of the Civil War, rallying 300 volunteers to guard the White House and US Naval Yard from potential confederate attack, as no federal troops were stationed in the city when the war broke out. Following the deployment of federal troops to guard the city, Clay departed for Russia, where he served as ambassador, securing Russia’s alliance with the union government of the United States, and was instrumental in having Russia issue an edict to the United Kingdom and France declaring Russia’s support for the union and opposition to any potential aid that the other countries would give to the Confederacy. Cassius Marcellus Clay returned to the United States in 1862, where he heavily influenced President Lincoln’s decision to issue the Emancipation Proclamation. Clay then returned to Russia in 1863, where he remained until 1869, assisting in William H. Seward’s endeavor to purchase Alaska.
Cassius Marcellus Clay was the father of two prominent women’s rights activists, Mary Barr Clay (1839-1924) and Laura Clay (1849-1941), both of whom pushed for women’s rights to vote and act as free agents in society. Both women were prominent supporters of women’s suffrage in the state of Kentucky and the south as a whole.
Cassius Marcellus Clay, Jr. was the birth name of world heavyweight championship boxer Muhammad Ali, whose father had been named in tribute to Clay. However, Muhammad Ali later rejected his birth name name as being a “slaveholder’s name” of someone who “held onto white supremacy” that he felt he did not identify with, heavily influenced by his involvement with the Nation of Islam, a controversial Black Nationalist organization.
The house became part of the Kentucky State Park System in 1968, and was restored with assistance from the Kentucky Mansions Preservation Foundation and Beula C. Nunn, wife of then-governor Louie B. Nunn. The house opened to the public in 1971 as a house museum. Unfortunately, despite the house’s historic significance, due to declining attendance and a decline in heritage tourism in general, the house was handed over to Eastern Kentucky University in 2019 as a cost-saving measure. However, the house remains open for tours and events.
Title : Bagh-e Fin
Other title : Bagh-i Fin; Fin Garden
Date : 1571-1629 (construction) 1797-1834 (reconstruction)
Current location : Kashan, Esfahan, Iran
Description of work : The Bagh-e Fin was developed during the reign of the Safavid ruler Shah Abbas I (1571-1629) on the route to his new capital at Isfahan. Contained within massive enclosure walls and laid out on a series of low terraces, the garden follows a quadripartite chahar bagh scheme divided by the crossing of two watercourses which also line the perimeter of the garden. The crossing is marked by a two-story pavilion, while garden spaces and pathways fill the space. An additional watercourse, running adjacent to the central one, emanates from a small, but elaborately painted, pool house. The paintings date to the reign of the Qajar ruler Fath Ali Shah (1797-1834), who also replaced most of the earlier buildings. The water is delivered by a qanat (underground irrigation canal) and is forced through numerous fountains by gravity. Various hammams (bathhouses), residences, and a museum line the sides. It was declared a national monument in 1935 and has since undergone extensive repairs. (Sources: Hobhouse, Penelope. Gardens of Persia. Kales Press, 2004; Faghih, Nasrine and Amin Sadeghy. "Persian Gardens and Landscapes" Architectural Design 82.3, 2012, pp. 38-51.)
Description of view : View of benches covered with pillows and carpets in the tea room, located among the complex to the west of the Qajar pool house. The area was once restricted to only women.
Work type : Architecture and Landscape
Style of work : Safavid; Qajar
Culture : Iranian (Islamic)
Materials/Techniques : Stone
Brick
Trees
Source : Movahedi-Lankarani, Stephanie Jakle (copyright Stephanie Jakle Movahedi-Lankarani)
Date photographed : June 2009
Resource type : Image
File format : JPEG
Image size : 3000H X 4000W pixels
Permitted uses : This image is posted publicly for non-profit educational uses, excluding printed publication. Other uses are not permitted. alias.libraries.psu.edu/vius/copyright/publicrightsarch.htm
Collection : Worldwide Building and Landscape Pictures
Filename : WB2016-0044 Fin.jpg
Record ID : WB2016-0044
Sub collection : gardens
historic sites
garden structures
Copyright holder : Copyright Stephanie Jakle Movahedi-Lankarani
All the tunnels and bridges along the Princes Pier Railway have these excellent rusty plaques on the walls as you enter. 63 belongs to the Trafalgar Street Tunnel (also known as the Ann Street Tunnel). For the most part, the Trafalgar Street Tunnel is brick lined but at the portal, you can see that they've used stone. Many tunnels have this approach to construction and I know there's a good reason for it, I just can't think what that may be just now.
Commissioned Work
Myspace music layout for Digital Structures
www.myspace.com/digtalstructures
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The Structure Gauging train zaps its way through Portobello on 16.04.10 top and tailed by 31105 and 31285, running from Machynlleth to Derby.
I found this at the edge of a recreation ground whilst looking for something else. At first I thought it was a railway tunnel air vent but there aren't any tunnels in the area. Also, whilst it seems circular, the other side is actually flat. So no idea, really.
With some leaves, it’s the fine structure I like. With this one however, the subtle colour gradient is just as nice.
Also have a look at my website at www.focx.de :)