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CAL FIRE/Placer County Fire Department assisted Placer Hills Fire Protection District with a structure fire on Ponderosa Lane Auburn February 2023.
Bagan; (formerly Pagan) is an ancient city located in the Mandalay Region of Burma (Myanmar). From the 9th to 13th centuries, the city was the capital of the Kingdom of Pagan, the first kingdom to unify the regions that would later constitute modern Myanmar. During the kingdom's height between the 11th and 13th centuries, over 10.000 Buddhist temples, pagodas and monasteries were constructed in the Bagan plains alone, of which the remains of over 2200 temples and pagodas still survive to the present day.
The Bagan Archaeological Zone is a main draw for the country's nascent tourism industry. It is seen by many as equal in attraction to Angkor Wat in Cambodia.
ETYMOLOGY
Bagan is the present-day standard Burmese pronunciation of the Burmese word Pugan, derived from Old Burmese Pyugam (meaning 'Pyu Village'). Its classical Pali name is Arimaddana-pura, lit. "the City that Tramples on Enemies". Its other names in Pali are in reference to its extreme dry zone climate: Tattadesa, "parched land", and Tampadipa, "bronzed country". The Burmese chronicles also report other classical names of Thiri Pyissaya and Tampawaddy.
HISTORY
7th to 13th CENTURIES
According to the Burmese chronicles, Bagan was founded in the second century CE, and fortified in 849 CE by King Pyinbya, 34th successor of the founder of early Bagan. Mainstream scholarship however holds that Bagan was founded in the mid-to-late 9th century by the Mranma (Burmans), who had recently entered the Irrawaddy valley from the Nanzhao Kingdom. It was among several competing Pyu city-states until the late 10th century when the Burman settlement grew in authority and grandeur.From 1044 to 1287, Bagan was the capital as well as the political, economic and cultural nerve center of the Pagan Empire. Over the course of 250 years, Bagan's rulers and their wealthy subjects constructed over 10000 religious monuments (approximately 1000 stupas, 10000 small temples and 3000 monasteries) in an area of 104 square kilometres in the Bagan plains. The prosperous city grew in size and grandeur, and became a cosmopolitan center for religious and secular studies, specializing in Pali scholarship in grammar and philosophical-psychological (abhidhamma) studies as well as works in a variety of languages on prosody, phonology, grammar, astrology, alchemy, medicine, and legal studies. The city attracted monks and students from as far as India, Ceylon as well as the Khmer Empire. The culture of Bagan was dominated by religion. The religion of Bagan was fluid, syncretic and by later standards, unorthodox. It was largely a continuation of religious trends in the Pyu era where Theravada Buddhism co-existed with Mahayana Buddhism, Tantric Buddhism, various Hindu (Saivite, and Vaishana) schools as well as native animist (nat) traditions. While the royal patronage of Theravada Buddhism since the mid-11th century had enabled the Buddhist school to gradually gain primacy, other traditions continued to thrive throughout the Pagan period to degrees later unseen.
The Pagan Empire collapsed in 1287 due to repeated Mongol invasions (1277–1301). Recent research shows that Mongol armies may not have reached Bagan itself, and that even if they did, the damage they inflicted was probably minimal. However, the damage had already been done. The city, once home to some 50.000 to 200.000 people, had been reduced to a small town, never to regain its preeminence. The city formally ceased to be the capital of Burma in December 1297 when the Myinsaing Kingdom became the new power in Upper Burma.
14th to 19th CENTURIES
Bagan survived into the 15th century as a human settlement, and as a pilgrimage destination throughout the imperial period. A smaller number of "new and impressive" religious monuments still went up to the mid-15th century but afterward, new temple constructions slowed to a trickle with fewer than 200 temples built between the 15th and 20th centuries. The old capital remained a pilgrimage destination but pilgrimage was focused only on "a score or so" most prominent temples out of the thousands such as the Ananda, the Shwezigon, the Sulamani, the Htilominlo, the Dhammayazika, and a few other temples along an ancient road. The rest - thousands of less famous, out-of-the-way temples - fell into disrepair, and most did not survive the test of time.
For the few dozen temples that were regularly patronized, the continued patronage meant regular upkeep as well as architectural additions donated by the devotees. Many temples were repainted with new frescoes on top of their original Pagan era ones, or fitted with new Buddha statutes. Then came a series of state-sponsored "systematic" renovations in the Konbaung period (1752–1885), which by and large were not true to the original designs - some finished with "a rude plastered surface, scratched without taste, art or result". The interiors of some temples were also whitewashed, such as the Thatbyinnyu and the Ananda. Many painted inscriptions and even murals were added in this period.
20th CENTURY TO PRESENT
Bagan, located in an active earthquake zone, had suffered from many earthquakes over the ages, with over 400 recorded earthquakes between 1904 and 1975. The last major earthquake came on 8 July 1975, reaching 8 MM in Bagan and Myinkaba, and 7 MM in Nyaung-U. The quake damaged many temples, in many cases, such as the Bupaya, severely and irreparably. Today, 2229 temples and pagodas remain.
Many of these damaged pagodas underwent restorations in the 1990s by the military government, which sought to make Bagan an international tourist destination. However, the restoration efforts instead drew widespread condemnation from art historians and preservationists worldwide. Critics are aghast that the restorations paid little attention to original architectural styles, and used modern materials, and that the government has also established a golf course, a paved highway, and built a 61-meter watchtower. Although the government believed that the ancient capital's hundreds of (unrestored) temples and large corpus of stone inscriptions were more than sufficient to win the designation of UNESCO World Heritage Site, the city has not been so designated, allegedly mainly on account of the restorations.
Bagan today is a main tourist destination in the country's nascent tourism industry, which has long been the target of various boycott campaigns. The majority of over 300.000 international tourists to the country in 2011 are believed to have also visited Bagan. Several Burmese publications note that the city's small tourism infrastructure will have to expand rapidly even to meet a modest pickup in tourism in the following years.
There is a well-known saying of Myanmar people : "If you are a real Myanmar, you must have been to Bagan." Bagan is spirit of history of Myanmar.
GEOGRAPHY
The Bagan Archaeological Zone, defined as the 13 x 8 km area centered around Old Bagan, consisting of Nyaung U in the north and New Bagan in the south, lies in the vast expanse of plains in Upper Burma on the bend of the Irrawaddy river. It is located 290 kilometres southwest of Mandalay and 700 kilometres north of Yangon. Its coordinates are 21°10' North and 94°52' East.
ARCHITECTURE
Bagan stands out for not only the sheer number of religious edifices of Myanmar but also the magnificent architecture of the buildings, and their contribution to Burmese temple design. The artistry of the architecture of pagodas in Bagan prove the achievement of Myanmar craftsmen in handicrafts. The Bagan temple falls into one of two broad categories: the stupa-style solid temple and the gu-style hollow temple.
STUPAS
A stupa, also called a pagoda, is a massive structure, typically with a relic chamber inside. The Bagan stupas or pagodas evolved from earlier Pyu designs, which in turn were based on the stupa designs of the Andhra region, particularly Amaravati and Nagarjunakonda in present-day southeastern India, and to a smaller extent to Ceylon. The Bagan-era stupas in turn were the prototypes for later Burmese stupas in terms of symbolism, form and design, building techniques and even materials.
Originally, an Indian/Ceylonese stupa had a hemispheric body (Pali: anda, "the egg") on which a rectangular box surrounded by a stone balustrade (harmika) was set. Extending up from the top of the stupa was a shaft supporting several ceremonial umbrellas. The stupa is a representation of the Buddhist cosmos: its shape symbolizes Mount Meru while the umbrella mounted on the brickwork represents the world's axis. The brickwork pediment was often covered in stucco and decorated in relief. Pairs or series of ogres as guardian figures ('bilu') were a favourite theme in the Bagan period.
The original Indic design was gradually modified first by the Pyu, and then by Burmans at Bagan where the stupa gradually developed a longer, cylindrical form. The earliest Bagan stupas such as the Bupaya (c. 9th century) were the direct descendants of the Pyu style at Sri Ksetra. By the 11th century, the stupa had developed into a more bell-shaped form in which the parasols morphed into a series of increasingly smaller rings placed on one top of the other, rising to a point. On top the rings, the new design replaced the harmika with a lotus bud. The lotus bud design then evolved into the "banana bud", which forms the extended apex of most Burmese pagodas. Three or four rectangular terraces served as the base for a pagoda, often with a gallery of terra-cotta tiles depicting Buddhist jataka stories. The Shwezigon Pagoda and the Shwesandaw Pagoda are the earliest examples of this type. Examples of the trend toward a more bell-shaped design gradually gained primacy as seen in the Dhammayazika Pagoda (late 12th century) and the Mingalazedi Pagoda (late 13th century).
HOLLOW TEMPLES
In contrast to the stupas, the hollow gu-style temple is a structure used for meditation, devotional worship of the Buddha and other Buddhist rituals. The gu temples come in two basic styles: "one-face" design and "four-face" design - essentially one main entrance and four main entrances. Other styles such as five-face and hybrids also exist. The one-face style grew out of 2nd century Beikthano, and the four-face out of 7th century Sri Ksetra. The temples, whose main features were the pointed arches and the vaulted chamber, became larger and grander in the Bagan period.
INNOVATIONS
Although the Burmese temple designs evolved from Indic, Pyu (and possibly Mon) styles, the techniques of vaulting seem to have developed in Bagan itself. The earliest vaulted temples in Bagan date to the 11th century, while the vaulting did not become widespread in India until the late 12th century. The masonry of the buildings shows "an astonishing degree of perfection", where many of the immense structures survived the 1975 earthquake more or less intact. (Unfortunately, the vaulting techniques of the Bagan era were lost in the later periods. Only much smaller gu style temples were built after Bagan. In the 18th century, for example, King Bodawpaya attempted to build the Mingun Pagoda, in the form of spacious vaulted chambered temple but failed as craftsmen and masons of the later era had lost the knowledge of vaulting and keystone arching to reproduce the spacious interior space of the Bagan hollow temples.)
Another architectural innovation originated in Bagan is the Buddhist temple with a pentagonal floor plan. This design grew out of hybrid (between one-face and four-face designs) designs. The idea was to include the veneration of the Maitreya Buddha, the future and fifth Buddha of this era, in addition to the four who had already appeared. The Dhammayazika and the Ngamyethna Pagoda are examples of the pentagonal design.
ECONOMY
Bagan's economy is based mainly on tourism. Because of boycotts against the previous military government, the Bagan region's tourism infrastructure is still quite modest by international standards. The city has a few international standard hotels and many family-run guesthouses. Bagan is also the center of Burmese lacquerware industry, which to a large degree depends on tourist demand. Much of the lacquerware is destined for souvenir shops in Yangon, and to the world markets. Moreover, the lacquerware-making process itself has become a tourist draw.
WIKIPEDIA
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
CHATSWORTH - At 9:53PM on December 16, 2020 the Los Angeles City Fire Department responded to 20150 W Sunburst St for a reported structure fire.
The first arriving fire companies found a one story, commercial building with fire through the roof and requested additional resources. The 28,556 square foot building, built in 1981, was well involved in fire and a decision was quickly made to transition to a defensive mode.
Truck companies put ladder pipes into operation and firefighters used large diameter hand lines to hit the target from all sides. Crews successfully defended the adjacent structures from sustaining damage.
Ultimately, over 120 firefighters working under the leadership of Assistant Chief Corey Rose achieved a knockdown in one hour and thirty-four minutes. One firefighter was transported to the hospital with serious but non-life threatening burn injuries.
The concrete, tilt-up building sustained heavy damage, to include roof collapse, which left it dangerously vulnerable to further collapse of the walls. Consequently, the Department of Building and Safety red-tagged the structure for safety purposes. Overhaul operations and cause investigation were held off until morning while fire companies remained on scene in a fire watch. The RS3 Robotic Firefighting Vehicle was also on scene to assist with interior operations if needed through the night.
© Photo by Ismael Miranda
LAFD Incident: 121620-1711
Connect with us: LAFD.ORG | News | Facebook | Instagram | Reddit | Twitter: @LAFD @LAFDtalk
Our annual Just Love Festival was a little different in size and structure but still a welcome reminder of the power of Divine Love.
This year, the festival was more like a three-day retreat with a small group of invited guests. The website posted 'Love Never Dies', and it was true. From 4-6 September, 2020, it may have been small but it was filled with love and devotion and the joy of being with each other.
With beautiful Fall weather, the morning yoga sessions began the day, and a sumptuous breakfast was given to all. Like every year, there was something for everyone: Guruji's leading the beautiful abhishekams in the morning and candlelit aratis at night; great music throughout the day from guest singers and many ashram Resident singers and musicians too; some incredibly delicious vegan meals; aura-reading; hand reading; A&O water; personal coaching; and fun for the kids too.
But more than just another annual celebration, it was a confirmation that, with the grace of Paramahamsa Sri Swami Vishwananda, nothing can stop the power of Love!
justlovefestival.org
Ambient Occlusion test using the new internal Structure Synth raytracer. (Rendering time: 46s)
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set raytracer::reflection 0.0
set raytracer::phong [0.4,0.8,1]
set background #fff
set maxdepth 400
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3 * { rz 120 } R2
rule R1 {
{ x 1.3 rx 1.57 rz 6 ry 3 s 0.99 hue 1 sat 0.99 } R1
{ s 4 a 1 color white } sphere
{ s 2.2 x 2 hue 120 a 0.3 color white } sphere
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rule R2 {
{ x -1.3 rz 6 ry 3 s 0.99 hue 1 sat 0.99 } R2
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Two Light Tower construction underway in downtown Kansas City, Missouri. June 2017.
On my site: goo.gl/D3shFD
The Verona Arena (Arena di Verona) is a Roman amphitheatre in Verona, Italy, which is internationally famous for the large-scale opera performances given there. It is one of the best preserved ancient structures of its kind.
The building itself was built in AD 30 on a site which was then beyond the city walls. The ludii (shows and games) staged there were so famous that spectators came from many other places, often far away, to witness them. The amphitheatre could host more than 30,000 spectators in ancient times.
The round façade of the building was originally composed of white and pink limestone from Valpolicella; but after a major earthquake in 1117, which almost completely destroyed the structure's outer ring, except for the so-called "ala", the stone was quarried for re-use in other buildings.
The first interventions to recover the arena's function as a theatre began during the Renaissance. Some operatic performances were later mounted in the building during the 1850s, owing to its outstanding acoustics.
In 1913, operatic performances in the arena commenced in earnest due to the zeal and initiative of the great Italian opera tenor Giovanni Zenatello and the impresario Ottone Rovato. The first 20th-century operatic production at the arena, a staging of Giuseppe Verdi's Aida, took place on 10 August of that year, to mark the birth af Verdi a 100 years before in 1813. Musical luminaries such as Puccini and Mascagni were in attendance. Since then, summer seasons of opera have been mounted continually at the arena, except in 1915-18 and 1940-45, when Europe was convulsed in war.
Nowadays, four productions are mounted each year between June and August. During the winter months, the local opera and ballet companies perform at the L'Accademia Filarmonica.
Modern-day travellers are advised that admission tickets to sit on the arena's stone steps are much cheaper to buy than tickets giving access to the padded chairs available on lower levels. Candles are distributed to the audience and lit after sunset around the arena.
Every year over 500,000 people see spectacular productions of the popular operas in this arena. Once capable of housing 20,000 patrons per performance (now limited to 15,000 because of safety reasons), the arena has featured many of world's most notable opera singers. In the post-World War Two era, they have included included Giuseppe Di Stefano, Maria Callas, Tito Gobbi and Renata Tebaldi among other celebrated names. A number of famous conductors have appeared there, too. The official arena shop has historical recordings made by some of them available for sale.
In recent times, the Verona Arena has also housed concerts of popular music bands such as The Who, Ennio Morricone, Kiss, Simply Red, Simple Minds, Pearl Jam, Muse, Elton John, Tina Turner and Björk.
Aida, an Ethiopian princess, is captured and brought into slavery in Egypt. A military commander, Radamès, struggles to choose between his love for her and his loyalty to the Pharaoh. To complicate the story further, Radamès is loved by the Pharaoh's daughter Amneris, although he does not return her feelings.
The opera is in four acts by Giuseppe Verdi to an Italian libretto by Antonio Ghislanzoni, based on a scenario written by French Egyptologist Auguste Mariette. Aida was first performed at the Khedivial Opera House in Cairo on 24 December 1871, conducted by Giovanni Bottesini.
Ismail Pasha, Khedive of Egypt, commissioned Verdi to write the opera for performance in January 1871, paying him 150,000 francs, but the premiere was delayed because of the Franco-Prussian War. Contrary to popular belief, the opera was not written to celebrate the opening of the Suez Canal in 1869, nor that of the Khedivial Opera House (which opened with Verdi's Rigoletto) in the same year. Verdi had been asked to compose an ode for the opening of the Canal, but declined on the grounds that he did not write "occasional pieces".
So, well, I eventually managed to get into the main Angkor wat shrine. Never mind how. And now the gentleman who kindly agreed to show me around had me pose for several selfies- so nice of him to take pictures of a truly relieved version of me! So this selfie is at the base of the main sanctum sanctum of the mighty Angkor Wat. Note the apsaras (celestial maidens) sculpted into the wall and the artistic lattice work of the windows. There are scores of Apsara sculptures and bas reliefs not only in the Angkor Wat but also in all the Angkor temples spread all around Siem Reap. The Angkor Wat temple is a powerful symbol of Cambodia, and is a source of great national pride that has factored into Cambodia's diplomatic relations with France, the United States and its neighbour Thailand. A depiction of Angkor Wat has been a part of Cambodian national flags since the introduction of the first version circa 1863. Detailed notes about the Angkor Wat appear throughout this album. (see previous and subsequent pictures). (Siem Reap, Cambodia, Oct. 2008)
Things are getting a little more interesting. Brought in the bezier interpolation code to get smoother trails.
Moat Garden lily pond. Moat Garden with flowers at Windsor Castle. The Moat Garden was originally dug as a defensive structure almost 1,000 years ago by William the Conqueror.
He needed to build the central keep of his fortress on a mound for strategic defence. Due to the porous nature of the soil and rock it is a dry moat.
As England became more stable and settled the need for defence lessened and gardens became more fashionable. James I of Scotland, who was imprisoned in Windsor Castle when young, alluded in his poetry to watching Lady Joan Beaufort, daughter of Earl of Somerset, walking in the Moat Garden. Before his return to Scotland after his release he fell in love with her and married her. His presence at Windsor is recorded in the 'Herbere', the small summer house high up on the lip of the Round Tower.
Today the Garden has many old stone figureheads, gargoyles and ecclesiastical symbols. Some of the oldest stones, of Saxon origin, were transported down the River Thames from Reading Abbey when it was pulled down after the dissolution of the original monasteries by King Henry VIII in the 16th Century. Gargoyles which originally ringed King Edward III Tower can be seen in the southern rockery.
The Moat Garden is the private garden of the Constable and Governor of Windsor Castle, who lives in Norman Tower. This Tower was built in 1360, added to in 1588 and 1748, and was finally refaced and Gothicised by Wyatville during the refurbishment of the Castle by King George IV.
Redesigned in the 20th Century by General Sir Dighton Probyn, Keeper of the Privy Purse to King Edward VII, who lived in Norman Tower for more than 20 years. He arranged for the mound to be re-terraced, laid out the paths and lawns and developed features such as waterfalls, St. George's Grotto, Fountain Terrace, Figtree Bower and Poets Corner. the reddish-brown boulders imported from Sandringham were also of his doing.
More recently a lily pond was created to cover the base
of the crane that had been used for works on the Round Tower. In 1994, one of Probyn's original shelters leaning against the Round Tower was reinstated. All subsequent Governors of Windsor Castle have contributed to the evolution and change of the Moat Garden that we see today.
Copyright © by Scott A. McNealy Photographer. www.noboundaryphotography.co.uk
Shade Structure for High Street Village.
All signs and awnings shown in these images were designed, fabricated, and installed by Accent Sign and Awning, Houston Texas. Copyright 2012.
www.accentsignco.com 713-780-1151
The Liberation Monument ("Russian monument")
(Further pictures you can see by clicking on the link at the end of page!)
Officially, one can find various names: (Russian) Liberation Monument, Russian War Memorial and Monument of the Red Army. The Viennese call the towering monument at the southern end of the Black Mountain course (Schwarzenbergplatz) usually disparaging "Russian monument (Russendenkmal)".
The monument commemorating the 18,000 in the liberation of Vienna fallen soldiers of the Red Army was designed by Major Intazarin, the sculptures were created by Lieutenant Jakoviev. The overall direction of the yet in April 1945 ordered and as first monument building after the war completed structure had major Ing. Mikhail Scheinfeld. In the construction were temporarily 400 workers involved, 18 tons of bronze and 300 cubic meters of marble were used. The monument was on 19 August 1945 with the assistance of Karl Renner, Leopold Figl and Theodor Körner unveiled on then so designated Stalin Square.
On a in total 20 m high, marble-clad base, the lower part in the form of a five-pointed red star, decorated with flags and guard badges, stands the 12 m tall figure of a Red Army soldier. The soldier is wearing a gold helmet and the famous Russian submachine gun with rotary magazine. With his left hand he has the flag with the right hand he holds a round shield with the Soviet coat of arms. In the background arises a broad, eight meter high balustrade, at its end respectively one group of two fighting men is situated, a prime example of the style of socialist realism, which gradually has become an art-historical rarity.
One of the inscriptions in Russian only in the early 80s have been translated into German and is:
"Eternal glory to the heroes of the Red Army, killed in action against the German-fascist invaders for the freedom and independence of the peoples of Europe (Mikhalkov)".
Until 1956, there were also graves of Soviet soldiers in the area, and a Soviet tank stood before the monument.
The monument is in the custody of the City of Vienna. As is generally known, Austria is according to the detailed provisions of Article 19 of the State Treaty of 15 May 1955 committed war graves and war memorials of the Allied Powers on Austrian soil "to respect, to protect and to preserve".
Between 1945 and 1956 stood in front of the fountain on the former "Stalin Square" a Russian tank, which is now in the Museum of Military History.
=> Marschik/Spital, Vienna The Russians monument, architecture, history, conflicts, Vienna, 2005
=> Hannes Leidinger/Verena Moritz, Russian Vienna, Böhlau, Vienna, 2004, 182 f
Sometimes leads the memory to the bad experiences which have been made by Austrian people with the occupation forces - particularly the Soviet - in the ten years of Allied occupation to open resentment against monuments such as the "Russian monument". Nevertheless - the greater the distance from the war and post-war period is, the more one had to give account about the fact how much innocent blood just the peoples of the former Soviet Union have sacrificed in the fight against Hitler's rule, and how little the Austrian people to its own liberation has contributed. Such thoughts have got to come to one's mind when one takes some time to decipher the Cyrillic letters of gold on a "Russian monument" - whether on that at Vienna Schwarzenberg Square or somewhere out in the vast realms of Lower Austria, where up to the Waldviertel (part of Lower Austria) little Soviet military cemeteries exist.
A survey by the Gallup Institute, published in the "standard" on 11th February 1992 shows that 71% of Viennes people do know the monument. A clear majority (59 %) is for the preservation of the monument. Only 9% of the 1,000 respondents agreed with the opinion that the monument should be eliminated as a remnant of Stalinism. So, have the Austrians made peace with the contemporary history?
Hochstrahlbrunnen
Before the liberation monument arises the to the occasion of the completion of the First Vienna Mountain Spring Pipeline on 24th October 1873 in the presence of the emperor put into operation Hochstrahlbrunnen (high jet fountain), which should have been standing according to the original plans in front of the Votive Church, then opposite the New Town Hall. The builder of the aqueduct and the fountain, Anton Gabrielli, was a friend of astronomy. Accordingly, symbolizes the respective number of the jets of water the days of the year, the months, the days of the month, the days of the week and the hours of the day.
Black & Veatch is extending its Breakthrough Overhead Line Design ® (BOLD) consultancy services to India, Indonesia, Philippines, Thailand, and Vietnam. BOLD® structures and specifications have the potential to provide higher power delivery capacity, allowing more power to be transmitted and delivered while mitigating community impacts through lowered structure heights and reduced footprint over traditional approaches.
6th and Main Depot, last night before closing of the fomer Pacific Electric and Metropolitan Coach Lines headquarters and station in downtown Los Angeles.
A fairly large structure is going up to the immediate east of the Vista Apartments. It’s the first large project since the apartments were completed. I’ll keep y’all informed on the progress and the “just what it is.”
1909 postmarked postcard view of North Main Street in Claypool, Indiana. This view was looking northeast from the intersection at Calhoun Street.
A structure that looks like a bandstand stood above the sidewalk at the left edge of this view. An automobile was parked farther up the street near a utility pole that had been painted to resemble a barber’s pole.
Across the street, a sign on the two-story frame building was only partially visible. It advertised HARNESS AND S____ REPAIR. The partial name at the bottom of the sign was D. H. P_____. The small brick building had a BANK sign above the awning. The awning advertised The BANK OF CLAYPOOL. The bank was authorized by the state in 1905 with H. Kinsey as president.¹
The large brick building was the home of three stores. The awning at the north end of the building advertised the S. HENLEY GENERAL MERCHANDISE store. The center awning advertised the FRANTZ BROS. HARDWARE AND IMPLEMENTS store. The sign above their awning advertised OLIVER CHILLED AND STEEL PLOWS that were manufactured in South Bend. The awning at the south end of the building advertised SCOLES DRUG STORE. E. Allen Scoles was listed as a Claypool druggist in early 20th century directories.² The drugstore’s awning advertised PAINTS, OILS AND WALLPAPER. The large post in front of the drugstore announced, THIS IS SCOLES DRUG STORE. Advertisements for SYRUP OF FIGS AND ELIXIR OF SENNA had been pasted on the smaller post nearby. This product was a laxative produced by the California Fig Syrup Company.
1. Auditor of the State of Indiana, Annual Report (Indianapolis, IN: William B. Burford, 1910). Available online at books.google.com/books?id=l_dJAAAAMAAJ&printsec=front....
2. Indiana Board of Pharmacy. Ninth Annual Report (Indianapolis, IN: William B. Burford, 1908). Available online at books.google.com/books?id=afjqAAAAMAAJ&printsec=front....
Ezra J. Kennedy, ed. The Era Druggists Directory Sixteenth Edition (New York, NY: D. O. Haynes & Co., 1912). Available online at books.google.com/books?id=_PbNAAAAMAAJ&printsec=front....
From a private collection.
The full postcard image can be seen here.
www.flickr.com/photos/hoosier_recollections/6734213529/in...
Copyright 2008-2014 by Hoosier Recollections. All rights reserved. This image is part of a creative package that includes the associated text, geodata and/or other information. Neither this package in its entirety nor any of the individual components may be downloaded, transmitted or reproduced without the prior written permission of Hoosier Recollections.
Alegria Cebu Philippines.Is a 4th municipal income class municipality in the province of Cebu, Philippines. Alegria Cebu is a small town but rich with bio diversity. Magnificent waterfalls and ready-to-explore caves, rich marine life and outstanding Coral Reefs. It stands out as a haven for adventure, Scuba Diving and Snorkelling the undiscovered wonders of South West Cebu Island, hidden from the abusive hands of tourists.
There are nine Barangay in Alegria.
Compostela
Guadalupe
Legaspi
Lepanto
Madridejos
Montpeller
Poblacion
Santa Filomena
Valencia
ST. FRANCIS OF ASSISI or Alegria Church.
Alegria is a small town situated at the southern most of Cebu province, a remnants of Spanish era, where old structures are mostly still preserved. St. Francis of Assisi church were known to its long stretch of structure inward, with a single belfry in front that its picturesqueness is an art of old and well planned structure. An architecture that preserved with a lively detailed of its Gothic design aged in time. The church was duly recognized as one of the old churches in Cebu, built on 1857, once a garrison during Japanese invasion.
Alegria Is mainly known for Canyoneering, Waterfalls and Springs. Not a lot of people when visiting Alegria realise it has one of the best Marine habitats in the whole of Cebu.
Sinulog Festival.
Third Sunday of January every Year. The Sinulog-Santo Niño Festival is an annual cultural and religious festival held on the third Sunday of January throughout Cebu but mainly in Cebu City and is the centre of the Santo Niño Catholic celebrations in the Philippines.
The festival is considered to be one of the most popular festivals in the Philippines, with every celebration of the festival routinely attracting around 1 to 2 million people from all over the Philippines every year. Aside from the religious aspect of the festival, Sinulog is also famous for its street parties, usually happening the night before and the night of the main festival.
This festival is characterised by a different dance The Sinulog dance, is now the traditional and ritual dance in honour of Santo Niño. The dance is accompanied by the sound of drums: all the time moving two steps forward followed by one step backwards. Though the dance is already very old, the festival is rather young! 1980 was the first year that the festival as organised.
The Origin
The Sinulog was already danced by the locals in honour of their wooden statues in the period before Cebuanos were baptised. Later on, after the image of the famous Santo Niño was brought to Cebu and the Catholic faith was established in the region, the dance was made a part of the yearly fiesta in honour of the Santo Niño. While dancing, people are shouting petitions and thanksgiving to the Santo Niño, Shouting is necessary because the pilgrims have to be sure they will be heard by the Santo Niño Alegria holds a much smaller version of the festival and elsewhere in various other parts of Cebu to celebrate and honour the Santo Niño.
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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.
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This was a fun garden structure to create. It also has an amazing view overlooking a private golf course in Toronto. The fabric ceiling is retractable and provides some protection from the rain and sun. Endless detail to this structure. This Garden structure was built in the Toronto area.
Your Deck Company is a deck builder in the Toronto area. We also service Markham, Richmond Hill, Thornhill, Vaughan, Woodbridge, Pickering, Ajax and surrounding areas. Your Deck Company specializes in the installation of low maintenance decking products and custom outdoor garden structures.
Feel free to visit our website at www.yourdeck.ca for more examples of our work. We would be happy to assist you with your upcoming decking or outdoor project.
Thank You.
Serpentine Gallery Pavillion 2017, text from website copyright of serpentinegalleries.org
Summary
Diébédo Francis Kéré, the award-winning architect from Gando, Burkina Faso, was commissioned to design the Serpentine Pavilion 2017, responding to the brief with a bold, innovative structure that brings his characteristic sense of light and life to the lawns of Kensington Gardens.
Kéré, who leads the Berlin-based practice Kéré Architecture, is the seventeenth architect to accept the Serpentine Galleries’ invitation to design a temporary Pavilion in its grounds. Since its launch in 2000, this annual commission of an international architect to build his or her first structure in London at the time of invitation has become one of the most anticipated events in the global cultural calendar and a leading visitor attraction during London’s summer season. Serpentine Artistic Director Hans Ulrich Obrist and CEO Yana Peel made their selection of the architect, with advisors David Adjaye and Richard Rogers.
Inspired by the tree that serves as a central meeting point for life in his home town of Gando, Francis Kéré has designed a responsive Pavilion that seeks to connect its visitors to nature – and each other. An expansive roof, supported by a central steel framework, mimics a tree’s canopy, allowing air to circulate freely while offering shelter against London rain and summer heat.
Kéré has positively embraced British climate in his design, creating a structure that engages with the ever-changing London weather in creative ways. The Pavilion has four separate entry points with an open air courtyard in the centre, where visitors can sit and relax during sunny days. In the case of rain, an oculus funnels any water that collects on the roof into a spectacular waterfall effect, before it is evacuated through a drainage system in the floor for later use in irrigating the park. Both the roof and wall system are made from wood. By day, they act as solar shading, creating pools of dappled shadows. By night, the walls become a source of illumination as small perforations twinkle with the movement and activity from inside.
As an architect, Kéré is committed to socially engaged and ecological design in his practice, as evidenced by his award-winning primary school in Burkina Faso, pioneering solo museum shows in Munich and Philadelphia.
Serpentine Pavilion Architect's Statement:
The proposed design for the 2017 Serpentine Pavilion is conceived as a micro cosmos – a community structure within Kensington Gardens that fuses cultural references of my home country Burkina Faso with experimental construction techniques. My experience of growing up in a remote desert village has instilled a strong awareness of the social, sustainable, and cultural implications of design. I believe that architecture has the power to, surprise, unite, and inspire all while mediating important aspects such as community, ecology and economy.
In Burkina Faso, the tree is a place where people gather together, where everyday activities play out under the shade of its branches. My design for the Serpentine Pavilion has a great over-hanging roof canopy made of steel and a transparent skin covering the structure, which allows sunlight to enter the space while also protecting it from the rain. Wooden shading elements line the underside of the roof to create a dynamic shadow effect on the interior spaces. This combination of features promotes a sense of freedom and community; like the shade of the tree branches, the Pavilion becomes a place where people can gather and share their daily experiences.
Fundamental to my architecture is a sense of openness. In the Pavilion this is achieved by the wall system, which is comprised of prefabricated wooden blocks assembled into triangular modules with slight gaps, or apertures, between them. This gives a lightness and transparency to the building enclosure. The composition of the curved walls is split into four elements, creating four different access points to the Pavilion. Detached from the roof canopy, these elements allow air to circulate freely throughout.
At the centre of the Pavilion is a large opening in the canopy, creating an immediate connection to nature. In times of rain, the roof becomes a funnel channelling water into the heart of the structure. This rain collection acts symbolically, highlighting water as a fundamental resource for human survival and prosperity.
In the evening, the canopy becomes a source of illumination. Wall perforations will give glimpses of movement and activity inside the pavilion to those outside. In my home village of Gando (Burkina Faso), it is always easy to locate a celebration at night by climbing to higher ground and searching for the source of light in the surrounding darkness. This small light becomes larger as more and more people arrive to join the event. In this way the Pavilion will become a beacon of light, a symbol of storytelling and togetherness.
At the centre of the Pavilion is a large opening in the canopy, creating an immediate connection to nature. In times of rain, the roof becomes a funnel channelling water into the heart of the structure. This rain collection acts symbolically, highlighting water as a fundamental resource for human survival and prosperity.
In the evening, the canopy becomes a source of illumination. Wall perforations will give glimpses of movement and activity inside the pavilion to those outside. In my home village of Gando (Burkina Faso), it is always easy to locate a celebration at night by climbing to higher ground and searching for the source of light in the surrounding darkness. This small light becomes larger as more and more people arrive to join the event. In this way the Pavilion will become a beacon of light, a symbol of storytelling and togetherness.
Ming Hu's ARCH 465 class created origami structures and tested which could carry the heaviest loads.
Random structure created with Structure Synth. Rendered with POV-Ray. Note: spheres in Structure Synth were converted to POV blobs.