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The Brickell World Plaza, also known as 600 Brickell, and formerly known as the Brickell Financial Center, is an office skyscraper in Miami, Florida, United States in the Downtown neighborhood and financial district of Brickell at 600 Brickell Avenue. The former Brickell Financial Centre Phase I, the Brickell World Plaza, is a 520-foot (160 m) skyscraper, one of the tallest buildings in Miami. 600 Brickell is located between the Fifth Street and Eighth Street Metromover stations.
The building contains 600,000 square feet (56,000 m2) of leasable floor space, an eleven-story parking garage with 927 spaces, and a 30,000-square-foot (2,800 m2) ground level public plaza, and was also supposed include an outdoor area with a stage.
The 40 story building was topped out in early 2009 but construction was suspended or greatly slowed, as the building was still not completed over two years later as of March, 2011. The building lost an anchor tenant, a law firm that had a $58 million, 10.5-year lease for 15 percent of the building (115,000 sq ft), in early 2009.
With the new name of Brickell World Plaza, the building has a scheduled opening date of August 2011. The building developers, the Foram Group, have claimed that this slowed construction was strategic for the purpose of detail and that after completion they will move their corporate offices into the building. However, the near halt in construction and the loss of a major tenant suggests that the delay was not strategic, but due to the 2008 economic crisis and the falling demand for office space due to the excessive construction in Miami at that time.
Early in 2011, 600 Brickell got a $130 million construction mortgage loan from Los Angeles-based Canyon Capital Reality Advisors that will fund the rest of the construction. This was one of the largest loans issued in the city of Miami since the real estate crisis.
When 600 Brickell came online in August–September 2011, it increased Miami's downtown office vacancy to nearly 25%, and Class A Brickell vacancy to over 30%.
That could change with the arrival of a new leasing team. Foram has hired Jones Lang LaSalle, led by veteran brokers Glenn Gregory and Noël Steinfeld, to handle leasing for the nearly 615,000-square-foot (57,100 m2) building. Gregory and Steinfeld said a full-court press to land tenants is finally under way. Shortly before Foram hired Jones Lang, the developer signed a pair of new-to-market tenants — New York-based lender Doral Money and Irvine, California-based mediation and arbitration services firm JAMS — to occupy a combined 30,090 square feet (2,795 m2) at the building. Gregory and Steinfeld said they are in discussions with prospective tenants for about 300,000 square feet (28,000 m2), although that includes some space being marketed to multiple companies.
Gunster (law firm) moved its Miami office to the building's 35th floor.
The building will be South Florida's first Cisco Connected Commercial Office Building in partnership with Cisco Systems Inc. Essentially it will have its own dedicated hub connecting it to the Internet with a secure and flawless connection. The project was designed by the global architecture firm RTKL and its developer was the Foram Group. The Foram Group's intended goal was to set a new gold-standard for technology and sustainability in international commercial property development by creating the most innovative and forward thinking office building in Miami.
"We designed the building from the inside out, not the outside in," said Loretta H. Cockrum, Foram's founder, chairman and CEO. "We wanted the most efficient office building ever designed, with no wasted space or wasted energy. This is a building of the future more than a building of the present. A lot of love has gone into that building, and a lot of pride."
The Brickell World Plaza is the state of Florida's first building to be pre-certified under the U.S. Green Building Council's Leadership in Energy and Environmental Design (LEED) program. In addition to this, it is one of very few buildings in the world of its size to receive the LEED Platinum rating, the highest available from the US Green Building Council. Another feature that contributed to this precertification is the water program: the building collects all rainfall and condensed water from the cooling towers in a 10,000 US gallons (38,000 L) tank to be reused for irrigation and makeup water for the fountains at Brickell World Plaza.
It will also be the first building in South Florida to be a part of Cisco Systems "Cisco Connected Commercial Office Building", which basically means it has a fast and secure, dedicated internet connection. The originally planned Brickell Financial Centre (two buildings) was to include office space, a hotel, luxury condominiums and a public plaza. The Brickell World Center will not feature the hotel or condominiums, but the ground level plaza will be a 30,000-square-foot (2,800 m2) public space as well as 18,000 square feet (1,700 m2) of ground level restaurants and cafes, as well as an outdoor stage where events may be held, probably taking up the rest of the property where the Brickell Financial Centre II would have gone.
The first eleven floors of the building above the plaza are a parking garage, while the remaining 28 floors are all office space. The outside of Brickell World Plaza is lit up at night similar to the Miami Tower. This began before Christmas in December 2011 with a ceremony with governor Rick Scott where a 40-foot wreath was hung on the building.
Credit for the data above is given to the following websites:
en.wikipedia.org/wiki/Brickell_World_Plaza
© All Rights Reserved - you may not use this image in any form without my prior permission.
Ms Cholpon Idrisova, Associate Producer of "Under Heaven" from Kyrgyzstan participated in 8th BIFFES 2016 at Bengaluru.
The film is directed by Dalmira Tilepbergen. The story is about two brothers, rebellious Kerim and conscientious Aman, live with their mother and work at the family stonemason business. Their father has been forced to work in Russia in order to pay off Kerim's debt incurred as a result of his eldest son's drug dealing activities. Both brother fall for a local village girl., Saltanat which ultimately leads to a bitter dispute and unforeseen tragic consequences.
Shot in Chartres - Eure et Loir - France -
Better in Large .
West façade: Portail Royal :
One of the few elements to survive from the mid-12th-century church, the Portail Royal was integrated into the new cathedral built after the 1194 fire. Opening onto the parvis (the large square in front of the cathedral where markets were held), the two lateral doors would have been the first entry point for most visitors to Chartres, as it remains today. The central door was only opened for the entry of processions on major festivals, of which the most important was the Adventus or installation of a new bishop.[29] The harmonious appearance of the façade results in part from the relative proportions of the central and lateral portals, whose widths are in the ratio 10:7 – one of the common medieval approximations of the square root of 2.
As well as their basic functions of controlling access to the interior, portals were the main locations for sculpted images on the gothic cathedral and it was on the west façade at Chartres that this practice began to develop into a visual summa or encyclopedia of theological knowledge. The three portals each focus on a different aspect of Christ's role; his earthly incarnation on the right, his second coming on the left and his eternal aspect in the centre.[30]
Above the right portal, the lintel is carved in two registers with (lower) the Annunciation, Visitation, Nativity, Annunciation to the Shepherds and (upper) the Presentation in the Temple. Above this the tympanum shows the Virgin and Child enthroned in the Sedes sapientiae pose. Surrounding the tympanum, as a reminder of the glory days of the School of Chartres, the archivolts are carved with some very distinctive personifications of the Seven Liberal Arts as well as the classical authors and philosophers most associated with them.
The left portal is more enigmatic and art historians still argue over the correct identification. The tympanum shows Christ standing on a cloud, apparently supported by two angels. Some see this as a depiction of the Ascension of Christ (in which case the figures on the lower lintel would represent the disciples witnessing the event) while others see it as representing the Parousia, or Second Coming of Christ (in which case the lintel figures could be either the prophets who foresaw that event or else the 'Men of Galilee' mentioned in Acts 1:9-11). The presence of angels in the upper lintel, descending from a cloud and apparently shouting to those below, would seem to support the latter interpretation. The archivolts contain the signs of the zodiac and the labours of the months – standard references to the cyclical nature of time which appear in many gothic portals.
The central portal is a more conventional representation of the End of Time as described in the Book of Revelation. In the centre of the tympanum is Christ within a mandorla, surrounded by the four symbols of the evangelists (the Tetramorph). The lintel shows the Twelve Apostles while the archivolts show the 24 Elders of the Apocalypse.
Although the upper parts of the three portals are treated separately, two sculptural elements run horizontally across the façade, uniting its different parts. Most obvious are the jamb statues afixed to the columns flanking the doorways – tall, slender standing figures of kings and queens from whom the Portail Royal derived its name. Although in the 18th and 19th century these figures were mistakenly identified as the Merovingian monarchs of France (thus attracting the opprobrium of Revolutionary iconoclasts) they almost certainly represent the kings and queens of the Old Testament – another standard iconographical feature of gothic portals.
Less obvious than the jamb statues but far more intricately carved is the frieze that stretches all across the façade in the sculpted capitals on top of the jamb columns. Carved into these capitals is a very lengthy narrative depicting the life of the Virgin and the life and Passion of Christ.[31]
en.wikipedia.org/w/index.php?search=Chartres+Cathedral&am...
Details in the three first comments Boxes
Better in Large !!!
I was looking up the roadside oddities along I-15 between Bartow and Vegas. One thing that stood out was this Liberty Sculpture Park that memorialized the victims of the Tiananmen Square protests and massacre back in 1989. BTW the "Tank Man" photo was shot with a Nikon film camera not one of the Leica R series as it was depicted on the Leica promotional video quite a few years ago. Thus for this photo, I was using a Nikon digital camera body to re-enact that incident as a photographer. The original "Tank Man" photo was taken by Jeff Widener from Associate Press.
By Brian Bandell – Senior Reporter, South Florida Business Journal
Mar 10, 2019, 9:35am EDT Updated Mar 11, 2019, 3:49pm EDT
The first building in the 27-acre Miami Worldcenter project has opened as the Caoba apartments is welcoming its new residents.
The $4 billion project is transforming the north side of downtown Miami, bringing economic activity and pedestrian traffic to the area. Falcone Group and CIM Group, along with master developer Miami Worldcenter Associates, have completed the 444-unit Caoba, which means mahogany in Spanish, as the tree in what will soon become a dense forest of development.
See the gallery and video for a tour of the 44-story Caoba at 698 N.E. 1st Ave.
Units in Caoba range from 500 to 1,300 start feet. Rent starts from $1,775 for a studio, $3,000 for a two-bedroom unit, or $4,100 for a three-bedroom unit. The apartments come with stainless steel appliances, both showers and bathtubs, and lots of cabinet storage space in the kitchens. Most of the units have open floor plans.
Its 10th floor amenity deck includes a clubroom with a kitchen and ovens, a bar, a game room with billiards and foosball, a large pool deck with cabanas, grilling stations, and a 5,000-square-foot fitness room with a full set of weights and cardio machines. There’s a dog run on the fifth floor.
The building is west of American Airlines Arena and east of the Brightline passenger rail station, which takes riders to Fort Lauderdale and West Palm Beach. The developer closed off Northwest 7th Street to traffic and made it a pedestrian pathway, lined by fountains and trees, so people can walk from the train to the arena. There is 20,000 square feet of retail on the ground level, both facing the street and the pedestrian path.
“It’s a nice seating environment and kids will love it,” said Nitin Motwani, managing principal of Miami Worldcenter Associates.
The architect was Cohen Freedman Encinosa & Associates, while the general contractors was Coastal Tishman Construction. Caoba is managed by Bozzuto.
A second phase of Caoba is planned at the opposite end of its parking garage, but that has yet to break ground.
“It’s all about creating a great environment where people are comfortable coming down and having fun,” Motwani said.
Meanwhile, the 60-story Paramount Miami Worldcenter with 569 condos and a parking structure with 140,000 square feet of retail are currently under construction. Motwani said the condo should be completed in the second quarter. Miami Worldcenter Associates recently hired Miami-based Comras Co. to broker the retail leasing, joining national retail experts the Forbes Co. and Taubman Centers.
Credit for the data above is given to the following websites:
www.bizjournals.com/southflorida/news/2019/03/10/caoba-ap...
www.caobamwc.com/?utm_source=GoogleLocalListing&utm_m...
profilemiamire.com/miamirealestate/2019/1/16/miami-worldc...
The architect of the building at 1130 Washington Avenue in Miami Beach was Martin Luther Hampton (specifically Martin L. Hampton Associates).
Key details about the building:
Building Name: Originally Miami Beach's second City Hall, it is now commonly referred to as Old City Hall.
Year Built: Construction was completed in 1927.
Architectural Style: It was designed in the Mediterranean Revival style (also described as Spanish Colonial Revival).
The building is nine stories tall. The "lower two levels" were restored to accommodate the County Municipal Courts and a restaurant establishment as part of its adaptive reuse project
.
Current Use: The building has been repurposed for various uses, including the Miami Beach District Court, municipal offices, and the Miami Beach Cinematheque film center.
Credit for the data above is given to the following websites:
www.google.com/search?q=who+was+the+architect+of+1130+was...
www.miamibeachfl.gov/wp-content/uploads/2021/05/HPS-1-Old...
miamiflorida.ca/miamibeach/old-city-hall.html
assets.ctfassets.net/7obzj0odnsj4/1Eryb1MQqTEf5YZcERAcXg/...
apps.miamidadepa.gov/PropertySearch/#/?address=1565%20col...
www.google.com/search?q=does+the+historic+miami+beach+cit...
© All Rights Reserved - you may not use this image in any form without my prior permission.
The associated video with this picture series is Our Trip to Crete on YouTube.
This part of our adventures on our Grand Tour of Europe is in episode three of the Take Flight with Scott video series on YouTube. Please join us there for even more content from this trip. Part one is our time on Crete, Greece with our teen nieces Madeline and Emily.
www.buymeacoffee.com/scottalanmiller
^^^^ You Can Support My Work ^^^^
“The Associate”
Cinematic Photography
A collaboration between Blake and I portraying two men, one Italian and another caucasian political official with different ties to the city having a secret meeting overlooking an industrial part of town, also often referred to as “Steeltown”.
model: Blake @focalblake
All rights reserved
© 2024 Roger Ouellette
Hair Ice, associated with the fungus Exidiopsis effusa on the New Forest, New Forest National Park, Hampshire England
Lyric Opera of Chicago
October 11, 14, 17, 20, 23 and 26, 2025
🎭 Cherubini’s Medea – Synopsis
Composer: Luigi Cherubini
Libretto: François-Benoît Hoffman, based on Euripides’ Medea, Pierre Corneille’s Médée, and other classical sources.
Premiere: 1797, Théâtre Feydeau, Paris (Médée in French); commonly performed in the 20th century in Italian translation (especially the Lachner version)
Setting:
Ancient Corinth, in the aftermath of Medea and Jason’s adventures in Colchis and the quest for the Golden Fleece.
Act I – The Wedding Day
The opera opens on the day of Jason’s wedding—not to Medea, his former wife, but to Glauce (also called Creusa), daughter of King Creon of Corinth. Jason has abandoned Medea and their two children in pursuit of social status and security.
Glauce is nervous—haunted by Medea’s reputation as a powerful and vengeful sorceress from a foreign land. Creon is firm: Medea must leave Corinth at once to prevent disruption to the royal wedding. Jason, torn but resolute, justifies his betrayal as necessary for the children’s future.
Medea arrives uninvited, distraught and humiliated. She pleads with Jason, only to be met with coldness. When Creon orders her exile, she manipulates him into granting her a one-day reprieve. The act ends with Medea vowing revenge.
Act II – The Veil of Vengeance
Medea wrestles with despair and rage, invoking the gods and her own powers. She hatches a deadly plan: she will send her children to Glauce bearing gifts—a robe and a diadem laced with poison.
Jason, still deluded by self-justification, allows the children to deliver the gifts, thinking it will bring peace between the two women. Medea hides her fury behind a mask of reconciliation.
Act III – Fire and Blood
Word soon comes that Glauce is dead—her body consumed by fire when she dons the cursed robe. Creon, trying to save her, dies as well.
Medea's triumph turns to horror as she prepares for her final act. She resolves to kill her own children to fully punish Jason—denying him both legacy and love. As Corinth burns and the people cry out in terror, Medea murders the boys and appears before Jason one last time, bloodied but defiant.
She vanishes into the night, leaving Jason to face the ruins of his ambition.
Themes and Musical Style
Cherubini’s Medea is a powerful blend of classical tragedy and early Romantic opera. Though written in the 1790s, it anticipates the dramatic intensity of later composers like Beethoven and Berlioz. The title role is one of the most demanding in the repertoire—vocally fierce, emotionally volcanic, and psychologically layered. Medea is no mere villain; she is a wronged woman driven to the outer edge of human experience, her grandeur and monstrosity bound together.
The opera explores:
Betrayal and abandonment.
The foreign woman as both outsider and threat.
The limits of power, reason, and vengeance.
The devastating consequences of pride and revenge.
====================
🎭 Opera in Revolutionary Paris: From Collapse to Reinvention
🔥 The Crisis (1789–1794)
At the outset of the French Revolution in 1789, opera was seen by many revolutionaries as a corrupt and elitist art form associated with the ancien régime. The Académie Royale de Musique (Paris Opéra), long funded by the monarchy, symbolized aristocratic excess and state patronage. The fall of the monarchy in 1792 and the execution of Louis XVI in 1793 sent shockwaves through all institutions—including the arts.
During the Reign of Terror (1793–1794):
Many aristocratic patrons were executed or fled.
Censorship was intense and ideological.
Performances were suspended or redirected to serve revolutionary propaganda.
Operas of the ancien régime were banned or rewritten to reflect republican ideals.
Some theaters were shut down; others became stages for revolutionary pageantry and pièces à sauvetage (melodramas featuring heroic rescues and virtue).
Yet even amid the chaos, theater and opera never fully ceased. The revolutionary government understood their power for mass persuasion, and theaters were repurposed as tools for civic education.
Rebuilding and Redirection (1795–1797)
After Robespierre’s fall in 1794, the political climate began to thaw. The Directory (1795–1799) brought a more pragmatic and less ideologically rigid approach. Cultural life, especially in Paris, began to rebound, driven by:
A new bourgeois audience, eager for diversion and moral elevation.
A reorientation of content: works with themes of virtue, justice, and self-sacrifice were encouraged.
Relaxation of censorship allowed composers and librettists more freedom.
Theaters were reopened or rebranded; the Paris Opéra resumed activity under different auspices.
Foreign composers and émigré artists (like Cherubini, an Italian working in Paris) were welcomed, especially if they embraced revolutionary values—or at least avoided monarchist associations.
🎼 Cherubini’s Médée in Context
Luigi Cherubini had remained in Paris through the Revolution, adapting astutely to the shifting tides. He aligned himself with revolutionary ideals without becoming doctrinaire. His music struck a new, leaner tone—stripped of rococo ornament, full of dramatic clarity, moral gravity, and classical rigor—all qualities that appealed to post-revolutionary audiences.
Médée (1797) fit the moment perfectly:
Based on a classical subject, it resonated with revolutionary neoclassicism.
Medea, as a powerful outsider, embodied anxieties about vengeance, justice, and moral collapse.
The opera combined psychological realism with tragic grandeur, aligning with the Directory’s taste for high-minded drama over frivolous entertainment.
The setting and costumes could invoke antiquity without recalling Versailles.
Bigger Picture: Why Opera Survived
Opera endured because it could adapt:
Thematically, by shifting from gods and kings to heroes and martyrs.
Aesthetically, by adopting simpler, starker forms in tune with revolutionary neoclassicism.
Institutionally, by transforming royal theaters into national ones.
Politically, by serving as both mirror and mouthpiece of civic ideology.
And crucially: the public still wanted it. Even in the darkest days, Parisians flocked to theaters. In a society newly preoccupied with the people’s voice and emotions, opera—paradoxically—became more essential than ever.
This text is a collaboration with ChatGPT.
The associated video with this picture series is Our Trip to Crete on YouTube.
This part of our adventures on our Grand Tour of Europe is in episode four of the Take Flight with Scott video series on YouTube. Please join us there for even more content from this trip. Part four is our time on Crete, Greece with our teen nieces Madeline and Emily, including a trip to the ruins in Ancient Aptera, and a visit to the freshwater flowing through Glyka Nera Beach.
www.buymeacoffee.com/scottalanmiller
^^^^ You Can Support My Work ^^^^
The associated video with this picture series is Our Trip to Crete on YouTube.
This part of our adventures on our Grand Tour of Europe is in episode four of the Take Flight with Scott video series on YouTube. Please join us there for even more content from this trip. Part four is our time on Crete, Greece with our teen nieces Madeline and Emily, including a trip to the ruins in Ancient Aptera, and a visit to the freshwater flowing through Glyka Nera Beach.
www.buymeacoffee.com/scottalanmiller
^^^^ You Can Support My Work ^^^^
Moat Park Associate Burgher Presbyterian Church was built in 1865 on a design by Peddie and Kinnear and subsequently opened as a museum by HRH The Princess Royal on 29 June 1988 after extensive work that included the insertion of an upper floor. Following the museum’s closure in January 2014, for iits transfer to a new location, planning permission was sought, which has since been granted, for the conversion of the former church to form three
properties in addition to the creation of an additional single storey house
In 1959, Ribble Motor Services of Preston caused a stir when they introduced a prototype Weymann (CH34/16Ft) bodied Leyland PDR1/1 Atlantean double-deck coach, registered MCK 812 fleet number 1251.. This would form the ''Gay Hostess'' class of Leyland Atlanteans double-deck coaches, with 50 Chapman reclining seats, and a toilet at the rear of the lower-deck. They were powered by the Leyland 0.680 engine to give a top speed of 65mph. The word gay meant happy in the fifties, all the Gay Hostess Atlanteans would carry a Hostess or Steward who would serve light refreshments and cigarettes. MCK 812 would be the first PSV to use the new M1 motorway when it opened at 9:30am on Monday 2nd November 1959. Production Gay Hostess Atlanteans would enter service in 1960 and 1961, 15 entered service with Ribble, and 22 with its Blackpool subsididiary W.C. Standerwick, eventually all 38 Atlanteans were in the Standerwick fleet.
The prototype ECW Bristol VRL No.50 entered service in December 1968, with the production examples entering service between 1970-1972. The Gay Hostess Atlanteans were withdrawn having covered high mileages. City Sightseeing of London who became Ensign Bus purchased ex Ribble Gay Hostess NRN 607 fleet number 1258 new in June 1960, and painted into this striking Union Jack livery for use on sightseeing services around London. In 1972 production of the second spin off film of the popular ITV sitcom On the Buses commenced this was Mutiny On the Buses. The three spin off films were produced by Hammer/EMI using the same cast as the television series, but the name of the bus company was changed to Town & District, the television series used the name Luxton & District Traction Company which London Weekend Television who produced On the Buses for ITV had registered the name, so nobody could use it, LWT did not get any money from the films, so would not allow the film makers to use the Luxton & District Traction Company name. In the Mutiny On the Buses film, Town & District decide to run a service to Winsor Safari Park, using a double-deck coach, NRN 607 was hired from City Sightseeing for use in the film. This view shows NRN 607 in central London in the summer of 1972, I won the slide on eBay with full copyright, photographer Cliff Essex.
Ribble Vehicle Preservation Trust (RVPT) own former Standerwick Gay Hostess No.26.
Trivia about On the Buses: It was created and written by Ronald Chesney and Ronald Wolfe and produced by London Weekend Television (LWT) between 1969 and 1973, 74 episodes in total. LWT was formed in August 1968 and was the weekend franchise holder for the London area, ATV had the weekend franchise in London, but was awarded the 7 day franchise for the Midlands. Associated Rediffusion and ABC both holders of franchise in the London area were forced to join together to form Thames Television who took on the Monday to Friday franchised in London, this happened at the same time as LWT were formed. Thames would take over the former ABC studio complex at Teddington, while LWT took over the former Rediffusion studio complex at Wembley.
The Eastern National depot at Wood Green was used as the bus depot for the television series. Eastern National also proved the buses used, Bristol FLF Lodekka double-deck buses. Reg Varney who played bus driver Stan Butler passed his PSV test with Eastern National so he could really drive the buses. Bob Grant who played Jack Harper the conductor had worked as a bus driver before going into acting. Stephen Lewis who played inspector Cyril Blake (Blakey) came up with the catch phases ''I ate you Butler'' and ''Get that bus out'' himself. Before the first episode was made, Reg, Bob and Stephen spent two weeks at the Wood Green depot watching the people that they would be portraying, Reg once said even down to how a bus driver climbed in and out of the cab of the bus.
Gay Hostess technical details
Chassis: Leyland PDR1/1 Atlantean
Engine: 11.1-litre Leyland 0.680 diesel engine producing 150bhp
Gearbox: 'Self Changing Gears' 4-speed semi-automatic
Suspension: front air, and rear leaf springs
Bodywork: Weymann CH34/16Ft
The associated video with this picture series is Our Trip to Crete on YouTube.
This part of our adventures on our Grand Tour of Europe is in episode four of the Take Flight with Scott video series on YouTube. Please join us there for even more content from this trip. Part four is our time on Crete, Greece with our teen nieces Madeline and Emily, including a trip to the ruins in Ancient Aptera, and a visit to the freshwater flowing through Glyka Nera Beach.
Also, you can follow my personal ZiffedTraveler Instagram or the TakeFlight with Scott Instagram pages for more content and news. We are on Facebook, too.
Vessel Specifications
Administrative port: N/A
Home port: Teignmouth
Port letters and number: EX:(SE1; FY506)
Vessel name: SUMMER WINE
Registry of Shipping and Seamen number:
Licence number: EU#GBR000A17401 2002-04-18 - Reason: CHANGE IN ACTIVITY
Fish producer organisation:
Overall length: 7.13 m (meters)
Registered tonnage: 3.43 mt
Engine Power (kw): 26
Vessel Capacity Units:
Year Built: 1979
Hull Material: WOOD
Country of Build: GBR
Licence Category: EX: CATEGORY A (10 METRE AND UNDER)
escorter AOYAMA (エスコルテ青山).
Architect : Kengo Kuma & Associates (設計：隈研吾建築都市設計事務所).
Contractor : Daiichi-Hutecc Corporation (施工：第一ヒューテック、三興電設).
Completed : 2004 (竣工：2004).
Structured : Steel Frames (構造：S造).
Costs : $ million (総工費：約億円).
Use : Store (用途：店舗、広場).
Height : ft (高さ：m).
Floor : (階数：).
Floor area : sq.ft. (延床面積：㎡).
Building area : 11,999 sq.ft. (建築面積：1114.77㎡).
Site area : 38,900 sq.ft. (敷地面積：3614.86㎡).
Location : 2-7-15 Kita-Aoyama, Minato Ward, Tokyo, Japan (所在地：日本国東京都港区北青山2-7-15).
Referenced :
Jordan Pond
Acadia National Park
Hasselblad 500C + Zeiss 80mm f/2.8 lens
Ilford PanF+ 50 black and white film
My project associated with my residency at Acadia National Park has nothing to do with landscape photography, but it would be impossible to spend time there without making a few. Jordan Pond has to be one of the most visited “undeveloped” ponds in Maine - probably in the United States. It’s super easy to get to; consequently, it’s been photographed from every angle using all of today's popular techniques you see here on Flickr. Still, after taking time looking at these other images made at the pond, I decided that I might be able to provide my own viewpoint. My attempt here is to bring honesty through normal perspective, black and white film, and my all mechanical camera from 1970. I didn’t want to idealize the waterbody, but instead share what it truly feels like on that shoreline. Anyway, this is how I see it, and I don’t think I’m too far off. Welcome to Maine and Acadia National Park!
Shoreham town centre was very busy this evening for "Light Up Shoreham" and the associated market and fun fair.
A 2011 calendar featuring natural beauty. A sampling of the photography of Sheree Zielke, author of Martha's Vine.
(A special tribute to Susan Kiki FL). Thanks to her eagle eye, she caught a really stupid mistake I made on my earlier version of a calendar. A 2011 calendar with 2010 dates. Sheesh.
Thanks, Susan. Luckily, a nice guy over at QOOP gave me a break on my correct calendar editions.)
This calendar is for sale at QOOP, but all my friends and those associated with Martha's Vine will be receiving one, so no need to make a purchase. Thanks, anyway.
The associated video with this picture series is Our Trip to Crete on YouTube.
This part of our adventures on our Grand Tour of Europe is in episode four of the Take Flight with Scott video series on YouTube. Please join us there for even more content from this trip. Part four is our time on Crete, Greece with our teen nieces Madeline and Emily, including a trip to the ruins in Ancient Aptera, and a visit to the freshwater flowing through Glyka Nera Beach.
Also, you can follow my personal ZiffedTraveler Instagram or the TakeFlight with Scott Instagram pages for more content and news. We are on Facebook, too.
The associated video with this picture series is Our Trip to Crete on YouTube.
This part of our adventures on our Grand Tour of Europe is in episode four of the Take Flight with Scott video series on YouTube. Please join us there for even more content from this trip. Part four is our time on Crete, Greece with our teen nieces Madeline and Emily, including a trip to the ruins in Ancient Aptera, and a visit to the freshwater flowing through Glyka Nera Beach.
Also, you can follow my personal ZiffedTraveler Instagram or the TakeFlight with Scott Instagram pages for more content and news. We are on Facebook, too.
The associated video with this picture series is Our Trip to Crete on YouTube.
This part of our adventures on our Grand Tour of Europe is in episode three of the Take Flight with Scott video series on YouTube. Please join us there for even more content from this trip. Part one is our time on Crete, Greece with our teen nieces Madeline and Emily.
Also, you can follow my personal ZiffedTraveler Instagram or the TakeFlight with Scott Instagram pages for more content and news. We are on Facebook, too.
Associated Picture Archive Post on WLTMTB - wltmauc.blogspot.co.uk/2014/03/picture-archive-post-21.html
The associated video with this picture series is Our Trip to Crete on YouTube.
This part of our adventures on our Grand Tour of Europe is in episode four of the Take Flight with Scott video series on YouTube. Please join us there for even more content from this trip. Part four is our time on Crete, Greece with our teen nieces Madeline and Emily, including a trip to the ruins in Ancient Aptera, and a visit to the freshwater flowing through Glyka Nera Beach.
www.buymeacoffee.com/scottalanmiller
^^^^ You Can Support My Work ^^^^
The active nucleus and some glowing outflows associated with it in the galaxy Markarian 78. I worked together with Dr. Mitchell Revalski on this one. Together I feel like we were able to pick the right datasets to really eke out as much detail as possible for the ionized (glowing) outflows, which are shown in blue. There were some old FOC data in the archive that I myself was too skeptical to try using, but after some encouragement from Mitch it turned out it was actually the best. Other noticeable features include dark dust, shown here in dark brown and orange colors.
Anyway, this may seem like a meager offering compared to other imagery from Hubble, but it's safe to say it's currently the best image (as of this writing) of Mrk 78's nucleus.
An arXiv link to the paper on this object is here!
Data from the following proposals were used to create this image. Two proposals from the late 90's and one from 2019. Glad the archive is so well maintained that it is possible to easily combine chronologically disparate datasets.
archive.stsci.edu/proposal_search.php?mission=hst&id=...
archive.stsci.edu/proposal_search.php?mission=hst&id=...
archive.stsci.edu/proposal_search.php?mission=hst&id=...
This ended up being a two color orange/cyan image, and the cyan channel is a bit unusual, comprised of data combined from the STIS/CCD 50CCD filter and FOC/96 F502M filter. Neither dataset provided full coverage, so each image makes up for what is missing in the other, and what features showed up in both were similar enough to create a smooth and coherent image despite being from totally different instruments and not quite similar filters.
Orange: ACS/WFC F814W
Cyan: STIS/CCD 50CCD + FOC/96 F502M
North is up.
16-17th Cents
"Situated in Les Halles, an area of Paris once home to the country's largest food market, the origins of Saint Eustache date back to the 13th century. A modest chapel was built in 1213, dedicated to Saint Agnes, a Roman martyr. The small chapel was funded by Jean Alais, a merchant at Les Halles who was granted the rights to collect a tax on the sale of fish baskets as repayment of a loan he gave to King Philippe-Auguste.[4] The church became the parish church of the Les Halles area in 1223 and was renamed Saint-Eustache in 1303.
The name of the church refers to Saint Eustace, a Roman general of the second century AD. He was a passionate hunter; his conversion followed a vision he had of a crucifix in the horns of a deer he was hunting, He was martyred, along with his family, for converting to Christianity. He is now the patron saint of hunters.[5] The church was renamed for Saint Eustache after receiving relics related to the Roman martyr as donations from the Abbey of Saint Denis.
As the area prospered, the church became too small for its congregation; the church wardens decided to build a larger building. Construction of the current church began in 1532, during the reign of François I and continued until 1632, and in 1637, it was consecrated by Jean-François de Gondi, Archbishop of Paris.
Although the architects are unknown, similarities to designs used in the extension of the church of Saint-Maclou in Pontoise (begun in 1525) point to Jean Delamarre and/or Pierre Lemercier, who collaborated in that work.[7] The Italian-born architect Domenico da Cortona has also been suggested.
The project [3] Some of the architects associated with the church's construction include Pierre Lemercier, his son Nicolas Lemercier,[10] and Nicolas' son-in-law Charles David." Wikipedia
The church also contains one of the finest organs in Paris.
The associated video with this picture series is Our Trip to Crete on YouTube.
This part of our adventures on our Grand Tour of Europe is in episode three of the Take Flight with Scott video series on YouTube. Please join us there for even more content from this trip. Part one is our time on Crete, Greece with our teen nieces Madeline and Emily.
www.buymeacoffee.com/scottalanmiller
^^^^ You Can Support My Work ^^^^
The wolf has been associated with Northern Hemisphere people for centuries, and remains, even today, a creature of folklore and superstition. The coloration of wolves varies greatly from snow white to coal black and all the intermediate degrees of cream, grey, and brown. Wolves have a well-developed social hierarchy. The pack leader is usually the largest and strongest dog and is followed in rank by younger or senile males, then the leader's mate, the other females, and finally the pups in order of strength. All members of the pack accept responsibility for the young, and care for other adults' pups, if both parents are hunting. There have been very few cases of authenticated wolf attacks on humans in North America. (ref:wikipedia.com)
Brotherhood, Arctic wolves, Québec, Canada
:: PORTFOLIO
Most :: INTERESTING IMAGES ::... according to Flickr.
Some :: RANDOM IMAGES ::
© All rights reserved. Use without permission is illegal.
The associated video with this picture series is Our Trip to Crete on YouTube.
This part of our adventures on our Grand Tour of Europe is in episode four of the Take Flight with Scott video series on YouTube. Please join us there for even more content from this trip. Part four is our time on Crete, Greece with our teen nieces Madeline and Emily, including a trip to the ruins in Ancient Aptera, and a visit to the freshwater flowing through Glyka Nera Beach.
www.buymeacoffee.com/scottalanmiller
^^^^ You Can Support My Work ^^^^
Looking back, the last week of June 2018 produced some marvellous sunsets at Porthmeor Beach, St. Ives, Cornwall, resulting in a vast number of beautiful sunset shots. This is just one of that number. There are 28 images in this set and they can be viewed in the associated album.
The associated video with this picture series is Our Trip to Crete on YouTube.
This part of our adventures on our Grand Tour of Europe is in episode three of the Take Flight with Scott video series on YouTube. Please join us there for even more content from this trip. Part one is our time on Crete, Greece with our teen nieces Madeline and Emily.
Also, you can follow my personal ZiffedTraveler Instagram or the TakeFlight with Scott Instagram pages for more content and news. We are on Facebook, too.
The associated video with this picture series is Our Trip to Crete on YouTube.
This part of our adventures on our Grand Tour of Europe is in episode three of the Take Flight with Scott video series on YouTube. Please join us there for even more content from this trip. Part one is our time on Crete, Greece with our teen nieces Madeline and Emily.
www.buymeacoffee.com/scottalanmiller
^^^^ You Can Support My Work ^^^^
Avebury is a Neolithic henge monument containing three stone circles, around the village of Avebury in Wiltshire, in southwest England. One of the best known prehistoric sites in Britain, it contains the largest megalithic stone circle in the world. It is both a tourist attraction and a place of religious importance to contemporary pagans.
Constructed over several hundred years in the third millennium BC, during the Neolithic, or New Stone Age, the monument comprises a large henge (a bank and a ditch) with a large outer stone circle and two separate smaller stone circles situated inside the centre of the monument. Its original purpose is unknown, although archaeologists believe that it was most likely used for some form of ritual or ceremony. The Avebury monument is a part of a larger prehistoric landscape containing several older monuments nearby, including West Kennet Long Barrow, Windmill Hill and Silbury Hill.
By the Iron Age, the site had been effectively abandoned, with some evidence of human activity on the site during the Roman period. During the Early Middle Ages, a village first began to be built around the monument, eventually extending into it. In the Late Medieval and Early Modern periods, local people destroyed many of the standing stones around the henge, both for religious and practical reasons. The antiquarians John Aubrey and William Stukeley took an interest in Avebury during the 17th century, and recorded much of the site before its destruction. Archaeological investigation followed in the 20th century, led primarily by Alexander Keiller, who oversaw a project which reconstructed much of the monument.
Avebury is owned and managed by the National Trust. It has been designated a Scheduled Ancient Monument, as well as a World Heritage Site, in the latter capacity being seen as a part of the wider prehistoric landscape of Wiltshire known as Stonehenge, Avebury and Associated Sites.
- Wikipedia
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REFORD GARDENS | LES JARDINS DE METIS
Spectacular view associated with wind gust.
Beautiful flowers at Reford Gardens.
Visit : www.refordgardens.com/
VERTICAL LINE GARDEN 2019
Julia Jamrozik, Coryn Kempster
Buffalo, United States.
Visit: www.ck-jj.com
From the plaque:
Drawing on the formal language of historical garden design, and the contemporary means of mass-produced safety and construction material, the project is a strong graphic intervention that aims to produce an abstract field.
Defining a geometric zone out of tightly spaced parallel lines of stretched commercial barrier tape , the installation introduces ordered man-made elements into the cultivated natural environment of the Reford Gardens. Through this juxtaposition, a dialogue between the two spheres is created based on the shared theme of protection and necessary safe-guarding while questioning the definition of what is truly natural.
As one approaches and then walks around and through the installation the changing viewpoint will allow the shifting of the tape lines in space and thus varied views of the overall composition. Further the movement of the lines with the changing of the climate, the wind and the sun will ensure a dynamic optical and auditory engagement for the audience. As visitors enter and inhabit the space by occupying the provided loungers, the fluctuating appearance of the installation is further enhanced.
In the 2015 version of the garden, we have decided to alter the colours of the field and provide and to provide canpy elements which will not only provide shade but also give a different experiential perspective of the banner tape.
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Texte de la plaque:
S'appuyant sur le langage formel de la conception du jardin historique, sur des moyens modernes de sécurité et sur des matériaux de construction produits en massa, le projet se veut une intervention graphique cherchant à créer un champs abstrait.
Des lignes parallèles de rubans de sécurité étroitement espacés définissent une zone géométrique. Cette installation d’éléments ordonnés prend place dans un milieu d’aspect naturel. Par cette juxtaposition, un dialogue entre les deux se crée basé sur le thème commun de la protection et de la sauvegarde , tout en s’interrogeant sur la définition de ce qui est vraiment naturel.
En s’approchant, en marchant autour et au travers le jardin, le point de vue change, ce qui permet le déplacement des lignes dans l’espace pour offrir de nouvelles perspectives sur la composition globale. Outre le mouvement des lignes, les changements de climat, le vent et le soleil procurent aux visiteurs des expériences visuelles et auditives dynamiques. Lorsque les visiteurs entrent et habitent l’espace en s’assoyant sur les chaises, l’aspect fluctuant de l’installation est renforcé.
Dans la version 2015 du jardin, les couleurs des rubans sont différentes et trois canopées ont été ajoutés. Ce qui va non seulement fournir de l’ombre mais aussi offrir une perspective expérientielle différente sur les rubans de sécurité.
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Visit : www.refordgardens.com/
From Wikipedia:
Elsie Stephen Meighen - born January 22, 1872, Perth, Ontario - and Robert Wilson Reford - born in 1867, Montreal - got married on June 12, 1894.
Elsie Reford was a pioneer of Canadian horticulture, creating one of the largest private gardens in Canada on her estate, Estevan Lodge in eastern Québec. Located in Grand-Métis on the south shore of the St. Lawrence River, her gardens have been open to the public since 1962 and operate under the name Les Jardins de Métis and Reford Gardens.
Born January 22, 1872 at Perth, Ontario, Elsie Reford was the eldest of three children born to Robert Meighen and Elsie Stephen. Coming from modest backgrounds themselves, Elsie’s parents ensured that their children received a good education. After being educated in Montreal, she was sent to finishing school in Dresden and Paris, returning to Montreal fluent in both German and French, and ready to take her place in society.
She married Robert Wilson Reford on June 12, 1894. She gave birth to two sons, Bruce in 1895 and Eric in 1900. Robert and Elsie Reford were, by many accounts, an ideal couple. In 1902, they built a house on Drummond Street in Montreal. They both loved the outdoors and they spend several weeks a year in a log cabin they built at Lac Caribou, south of Rimouski. In the autumn they hunted for caribou, deer, and ducks. They returned in winter to ski and snowshoe. Elsie Reford also liked to ride. She had learned as a girl and spent many hours riding on the slopes of Mount Royal. And of course, there was salmon-fishing – a sport at which she excelled.
In her day, she was known for her civic, social, and political activism. She was engaged in philanthropic activities, particularly for the Montreal Maternity Hospital and she was also the moving force behind the creation of the Women’s Canadian Club of Montreal, the first women club in Canada. She believed it important that the women become involved in debates over the great issues of the day, « something beyond the local gossip of the hour ». Her acquaintance with Lord Grey, the Governor-General of Canada from 1904 to 1911, led to her involvement in organizing, in 1908, Québec City’s tercentennial celebrations. The event was one of many to which she devoted herself in building bridges with French-Canadian community.
During the First World War, she joined her two sons in England and did volunteer work at the War Office, translating documents from German into English. After the war, she was active in the Victorian Order of Nurses, the Montreal Council of Social Agencies, and the National Association of Conservative Women.
In 1925 at the age of 53 years, Elsie Reford was operated for appendicitis and during her convalescence, her doctor counselled against fishing, fearing that she did not have the strength to return to the river.”Why not take up gardening?” he said, thinking this a more suitable pastime for a convalescent woman of a certain age. That is why she began laying out the gardens and supervising their construction. The gardens would take ten years to build, and would extend over more than twenty acres.
Elsie Reford had to overcome many difficulties in bringing her garden to life. First among them were the allergies that sometimes left her bedridden for days on end. The second obstacle was the property itself. Estevan was first and foremost a fishing lodge. The site was chosen because of its proximity to a salmon river and its dramatic views – not for the quality of the soil.
To counter-act nature’s deficiencies, she created soil for each of the plants she had selected, bringing peat and sand from nearby farms. This exchange was fortuitous to the local farmers, suffering through the Great Depression. Then, as now, the gardens provided much-needed work to an area with high unemployment. Elsie Reford’s genius as a gardener was born of the knowledge she developed of the needs of plants. Over the course of her long life, she became an expert plantsman. By the end of her life, Elsie Reford was able to counsel other gardeners, writing in the journals of the Royal Horticultural Society and the North American Lily Society. Elsie Reford was not a landscape architect and had no training of any kind as a garden designer. While she collected and appreciated art, she claimed no talents as an artist.
Elsie Stephen Reford died at her Drummond Street home on November 8, 1967 in her ninety-sixth year.
In 1995, the Reford Gardens ("Jardins de Métis") in Grand-Métis were designated a National Historic Site of Canada, as being an excellent Canadian example of the English-inspired garden.(Wikipedia)
Visit : en.wikipedia.org/wiki/Elsie_Reford
Visit : www.refordgardens.com/
LES JARDINS DE MÉTIS
Créés par Elsie Reford de 1926 à 1958, ces jardins témoignent de façon remarquable de l’art paysager à l’anglaise. Disposés dans un cadre naturel, un ensemble de jardins exhibent fleurs vivaces, arbres et arbustes. Le jardin des pommetiers, les rocailles et l’Allée royale évoquent l’œuvre de cette dame passionnée d’horticulture. Agrémenté d’un ruisseau et de sentiers sinueux, ce site jouit d’un microclimat favorable à la croissance d’espèces uniques au Canada. Les pavots bleus et les lis, privilégiés par Mme Reford, y fleurissent toujours et contribuent , avec d’autres plantes exotiques et indigènes, à l’harmonie de ces lieux.
Created by Elsie Reford between 1926 and 1958, these gardens are an inspired example of the English art of the garden. Woven into a natural setting, a series of gardens display perennials, trees and shrubs. A crab-apple orchard, a rock garden, and the Long Walk are also the legacy of this dedicated horticulturist. A microclimate favours the growth of species found nowhere else in Canada, while the stream and winding paths add to the charm. Elsie Reford’s beloved blue poppies and lilies still bloom and contribute, with other exotic and indigenous plants, to the harmony of the site.
Commission des lieux et monuments historiques du Canada
Historic Sites and Monuments Board of Canada.
Gouvernement du Canada – Government of Canada
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Associated with a late Iron Age round house and possible courtyard settlement, only about 2 metres of the main passage and 1.5 metres of the creep passage remain of the above ground fogou at Lower Boscaswell. The entrance to the chamber is oriented to the North-West, the midsummer solstice sunset, the same as nearby Pendeen fogou.
Although similar to souterrains found in Northern Europe and Scotland, fogous are only found in Cornwall and are associated with Celtic Iron Age courtyard house settlements. These stone structures usually consist of a curved underground passageway sealed both ends with a narrow side passage called a creep which slopes upwards to ground level and was the original entrance. Until recently the mainstream accepted theory of their use was for a refuge or food storage, but it is now thought they were for ceremony or ritual.