View allAll Photos Tagged Backwall
Picture taken 8/18/21
The store is nearly finished with the remodel, the backwall of grocery still needs work as the drywall is still visible, but other than that the remodel is finished. I will return in October for more pictures of the store when the remodel is fully finished.
Please contact me via FlickrMail
or on Gmail
if you'd like to use any of my photographs.
Gmail: gabegamesog@gmail.com
part of this beautiful wall
taken on my supersampler - 4 lenses, takes 4 shots over 2 seconds, onto the same negative - plastic fantastic!
The UNFINISHED Laundry Room in my Blythe House. Obviously, it needs a backwall. Which will have the same green wallpaper with flowers on it.
The washing machine used to belong to *me* as a kid, so it's from the eighties. It already served in my Barbie house then. Rather yellow instead of white, but I still think it's cute and realistic.
By the way, the Fabric detergents are vintage keychains!
So yea, I saw the bunch of them standing there and chatting away so I took out my rig and started shooting. (Obviously) Soon enough, one of them walks over to me to chit chat on how he was feeling about me having my finger on the shutter in a subway. I spotted him from a mile away. The second he "unleaned" off the backwall and started towards me, I knew what was coming. No, it wasn't the guy who's looking at me in this frame. So the conversation went something like this... Let's call him Mr. Pee (Pee for Paranoid, he was a nice guy tho. He just happened not to know the rules of the company he works for so I had to tell him).
Mr. Pee (after getting close enough so I can hear him): "You know MTA doesn't allow you to take pictures of the subway."
I (am looking extremely surprised at this point) said, "Really! Last night (a lie) I read on the MTA website that general public is allowed to photograph in the subway as long as they are not using larger accessories with the camera such as flash and reflectors and what not...(a truth)"
Mr. Pee (smiling now), "Oh I'm just saying because I don't want you to get in trouble, I "think" you are not supposed to photograph in the subway..."
Now I know he's not paying attention to what I'm saying so I repeat myself with the whole "last night on the MTA website I read" jargon...
Mr. Pee, "Really?"
'Yup, really really!"
"You sure about that..."
"Absolutely. I wish I had a copy of the MTA laws but I just gave my last one to a cop who stopped me two days ago for the same reason..." (said that with the "most serious" of faces)
Mr. Pee tried to walk off but then stopped and said, "What's the purpose of the photos?"
I said this real fast, "for excessive release of dopamine in my head..."
"What? Come again..."
"Just for my personal use..."
"You a photo student..." (the train's pulling in)
"Nah, I'm a Math major at City College"
"Oh, u r a mathematician..."
"Something like that..."
I get on the train... and Mr. Pee walks back to his colleagues...
Lighting: ABR800 on camera, SB-26 behind chair on floor pointed up towards the backwall, SB-800 @ 1/32 zoom=85 held up by John Harris camera left,
In the Cognac room, deep in the heart of Republican country.
www.flickr.com/photos/brianbraun/ ------> the sexy man's personal photostream
...................and yes, those are Burberry cufflinks. Dudes a baller what can I say.
Back-to-WorkShop: Works by »Minions« and »Snickers«, spotted in an abandoned School-Building at night.
Character by »Minions« again. – Early November 2013.
The building of Paulus-Canisius School in Recklinghausen, Germany went out of service in summer 2012. It will be demolished in the forthcoming future. WorkShops were held by »Mr. Orm« and »Dream«, to instruct the young, in what matches their interest.
Back-to-School Exhibition of contemporary Graffiti-Art, was initiated by REspect4you in collaboration with Altstadtschmiede. Organized by Mr. Orm and supported by the City of Recklinghausen, the project was uniquely presented to public on 26. and 27. October 2013. – Special thanks to Mr. Orm for support, hospitality, beer and patience.
Acoustic ancient absorb absorption architect architects architectural art artwork artistic ambience accent accessory
Accessories acrylic
Bamboo board backdrop backwall background backlit bedhead bedroom build building built basket bark bar
Brochure
Carve carved cut cutout cut-out ceiling coco cocohusk coconut cocoshell capiz cnc comtemporary cork cast coat
Coating create creative creation counter casino cupboard closet console credenza category catalogue classical
Class classic circle cozy commercial common
Design detail decoration deco décor decorative divider diffuse diffused diffusion density dura durable display
Department departmental dining dine dim door dot dots dimension durapalm
Enclosure emboss embossed engrave engraving entertainment eco ecology environment environmental exhibits
Exhibition exhibiting element effect engineered elegant
Feature fixture foam form faux focus fusion fair frame fiber fiberboard fibre fibreboard future futuristic furniture
Furnish furnishing flat featurewall
Gouge gouged grille geometry geometric glass grass green gallery galleries graffiti gloss
handicraft handcraft handcrafted handmade hospitality hotel hotels headboard home house hinge hang hung HDF
high-density-fiberboard highdensityfiberboard honeycomb husk houz
interior interiordesign icon iconic inter internal industry industrial image imaging imagine imagination inspire inspired install installation installing indoor instill interlam
jigsaw
kireiboard
light lighting layer layered leather lami laminate laminates living laser lasercut library
mosaic modular material mediumdensityfiberboard mediumdensityfibreboard medium-density-fiberboard
medium-density-fibreboard MDF modern modern-tropical moulded mould mold molded manual marquet marquetry
marotte mother of pearl motherof pearl mother-of-pearl matt mural mesh mount mounted mounting
natural nature niche natural-plant-fiber
ornament ornamental ornate organic oldship office offices omarno
product products paint painted painting paintings PU PVC photo pearl plastic proof pangu panel panelite panelkam panelmax paper pulp precast palm polyresin polycarbonate pattern patterns plant partition project palette pieces
penshell
quilt quilted
resin rivershell resort reclaimed route routed routing repeat random retardant ripple resident residence residential
restaurant restaurants retail relief relieve room reference round
screen seashell shell semi sculpture sculptural surfaces source sources store stores stage slide sliding surface
sculptured system systems sustain sustainability show sound special shop shopfront shoplot suspend suspended
swivel substrate shape shapes shade shades sand sandstone sanded sanding spiral suspension strip stripe strips
substance
texture textured translucent tree transmaterial tile tropical trade TV textile trend treatment timber
veneer variety versatile varnish varnishing
wave wavy wood weave woven wall wallcover wallcovering wallcoverings white wardrobe wovin warm
wainscot wooden woodenwave
3d 3-d 3dimension 3-dimension 3form
Title: Section 1, stations 8 and 25, waterproofing the backwall, looking northwest
Creator: Boston Transit Commission
Date: 1912 August 2
Source: Transit Department photograph collection, 8300.002
File name: 8300002_0008
Rights: Public domain
Citation: Transit Department photographs, Collection 8300.002, City of Boston Archives, Boston
Acoustic ancient absorb absorption architect architects architectural art artwork artistic ambience accent accessory
Accessories acrylic
Bamboo board backdrop backwall background backlit bedhead bedroom build building built basket bark bar
Brochure
Carve carved cut cutout cut-out ceiling coco cocohusk coconut cocoshell capiz cnc comtemporary cork cast coat
Coating create creative creation counter casino cupboard closet console credenza category catalogue classical
Class classic circle cozy commercial common
Design detail decoration deco décor decorative divider diffuse diffused diffusion density dura durable display
Department departmental dining dine dim door dot dots dimension durapalm
Enclosure emboss embossed engrave engraving entertainment eco ecology environment environmental exhibits
Exhibition exhibiting element effect engineered elegant
Feature fixture foam form faux focus fusion fair frame fiber fiberboard fibre fibreboard future futuristic furniture
Furnish furnishing flat featurewall
Gouge gouged grille geometry geometric glass grass green gallery galleries graffiti gloss
handicraft handcraft handcrafted handmade hospitality hotel hotels headboard home house hinge hang hung HDF
high-density-fiberboard highdensityfiberboard honeycomb husk houz
interior interiordesign icon iconic inter internal industry industrial image imaging imagine imagination inspire inspired install installation installing indoor instill interlam
jigsaw
kireiboard
light lighting layer layered leather lami laminate laminates living laser lasercut library
mosaic modular material mediumdensityfiberboard mediumdensityfibreboard medium-density-fiberboard
medium-density-fibreboard MDF modern modern-tropical moulded mould mold molded manual marquet marquetry
marotte mother of pearl motherof pearl mother-of-pearl matt mural mesh mount mounted mounting
natural nature niche natural-plant-fiber
ornament ornamental ornate organic oldship office offices omarno
product products paint painted painting paintings PU PVC photo pearl plastic proof pangu panel panelite panelkam panelmax paper pulp precast palm polyresin polycarbonate pattern patterns plant partition project palette pieces
penshell
quilt quilted
resin rivershell resort reclaimed route routed routing repeat random retardant ripple resident residence residential
restaurant restaurants retail relief relieve room reference round
screen seashell shell semi sculpture sculptural surfaces source sources store stores stage slide sliding surface
sculptured system systems sustain sustainability show sound special shop shopfront shoplot suspend suspended
swivel substrate shape shapes shade shades sand sandstone sanded sanding spiral suspension strip stripe strips
substance
texture textured translucent tree transmaterial tile tropical trade TV textile trend treatment timber
veneer variety versatile varnish varnishing
wave wavy wood weave woven wall wallcover wallcovering wallcoverings white wardrobe wovin warm
wainscot wooden woodenwave
3d 3-d 3dimension 3-dimension 3form
Decor package consisted of exposed cinderblock backwalls painted white with used lettering from greenhouse Krogers.
I'm new to posting retail pics, so go easy on me. Also... There was a sign walking in about the media policy... so I tried to be careful and didn't get as many pics as I wanted.
Hopefully you guys will enjoy these though. This is a 1993 Target, with very little remodeling. Still has the original Color Worlds.. and Original Food Ave Signage. Kinda Cool :)
The Temple of Dendur, Roman period, ca. 15 B.C.
Egyptian; Dendur, Nubia
Sandstone; L. from gate to rear of temple 82 ft. (24 m 60 cm)
The Temple of Dendur, a Nubian Temple dedicated to the goddess Isis, the gods Harpocrates and Osiris, as well as two deified sons of a local Nubian chieftain, Pedesi ("he whom Isis has given") and Pihor ("he who belongs to Horus"), was comissioned by Emperor Augustus of Rome around 15 BC. In 577, the temple was converted into a Christian church. The conversion is documented by a Coptic inscription. In the 19th century, graffiti was left on the temple walls by visitors from Europe.
The temple was dismantled and removed from its original site (modern name: Dendur, ancient name: Tutzis, about 80jm south of the town of Aswan) in 1963 in order to save it from being submerged by the construction of the Aswan High Dam. In recognition of the American assistance in saving various other monuments threatened by the dam's construction, the temple was given to the United States of America by Egypt in 1965. The stone blocks of the temple weighed more than 800 tons in total with the largest pieces weighing more than 6.5 tons. They were packed in 661 crates and transported to the United States by the freighter S.S. Concordia Star. In the United States, several institutions made bids for housing the temple, in a competition which was nicknamed the "Dendur Derby" by the press. Alternative plans proposed re-erecting the temple on the banks of the Potomac River in Washington, D.C. or on the Charles River in Boston. However, these suggestions were dismissed because it was feared that the temple's sandstone would have suffered from the outdoor conditions. On April 27, 1967, the temple was awarded to The Metropolitan Museum of Art, where it was installed in the Sackler Wing in 1978. Inside the Sackler Wing, designed by the architects Kevin Roche, John Dinkeloo, and associates, a reflecting pool in front of the temple and a sloping wall behind it, represent the Nile and the cliffs of the original location. The glass on the ceiling and north wall of the Sackler is stippled in order to diffuse the light and mimic the lighting in Nubia.
The temple is constructed from sandstone and measures 25 meters from the gate to the rear as well as 8 meters from the bottom to the highest point. It is decorated with reliefs, the coloring of which has perished: The temple base is decorated with carvings of papyrus and lotus plants growing out of the water of the Nile, which is symbolized by depictions of the god Hapy. Over the temple gate as well as over the entrance to the temple proper, depictions of the sun disk and the wings of the sky god Horus represent the sky. This motif is repeated by the vultures depicted on the ceiling of the entrance porch. On the outer walls, Emperor Augustus is depicted as a pharaoh making offerings to the deities Isis, Osiris, and their son Horus. The subject is repeated in the first room of the temple, where Augustus is shown praying and making offerings. The middle room, which was used for offerings, and the sanctuary of Isis at the rear of the temple are undecorated but for reliefs on the door frame and backwall of the sanctuary. The latter shows Pihor and Pedesi as young gods worshiping Isis and Osiris respectively.
(68.154)
**
The Metropolitan Museum of Art's permanent collection contains more than two million works of art from around the world. It opened its doors on February 20, 1872, housed in a building located at 681 Fifth Avenue in New York City. Under their guidance of John Taylor Johnston and George Palmer Putnam, the Met's holdings, initially consisting of a Roman stone sarcophagus and 174 mostly European paintings, quickly outgrew the available space. In 1873, occasioned by the Met's purchase of the Cesnola Collection of Cypriot antiquities, the museum decamped from Fifth Avenue and took up residence at the Douglas Mansion on West 14th Street. However, these new accommodations were temporary; after negotiations with the city of New York, the Met acquired land on the east side of Central Park, where it built its permanent home, a red-brick Gothic Revival stone "mausoleum" designed by American architects Calvert Vaux and Jacob Wrey Mold. As of 2006, the Met measures almost a quarter mile long and occupies more than two million square feet, more than 20 times the size of the original 1880 building.
In 2007, the Metropolitan Museum of Art was ranked #17 on the AIA 150 America's Favorite Architecture list.
The Metropolitan Museum of Art was designated a landmark by the New York City Landmarks Preservation Commission in 1967. The interior was designated in 1977.
National Historic Register #86003556
All Coasthopper solos have photos taken by a local artist transferred onto the backwalls which certainly brightens up the inside. This bus along with 318 are the only Coasthopper solos that have "wood effect" flooring.
Acoustic ancient absorb absorption architect architects architectural art artwork artistic ambience accent accessory
Accessories acrylic
Bamboo board backdrop backwall background backlit bedhead bedroom build building built basket bark bar
Brochure
Carve carved cut cutout cut-out ceiling coco cocohusk coconut cocoshell capiz cnc comtemporary cork cast coat
Coating create creative creation counter casino cupboard closet console credenza category catalogue classical
Class classic circle cozy commercial common
Design detail decoration deco décor decorative divider diffuse diffused diffusion density dura durable display
Department departmental dining dine dim door dot dots dimension durapalm
Enclosure emboss embossed engrave engraving entertainment eco ecology environment environmental exhibits
Exhibition exhibiting element effect engineered elegant
Feature fixture foam form faux focus fusion fair frame fiber fiberboard fibre fibreboard future futuristic furniture
Furnish furnishing flat featurewall
Gouge gouged grille geometry geometric glass grass green gallery galleries graffiti gloss
handicraft handcraft handcrafted handmade hospitality hotel hotels headboard home house hinge hang hung HDF
high-density-fiberboard highdensityfiberboard honeycomb husk houz
interior interiordesign icon iconic inter internal industry industrial image imaging imagine imagination inspire inspired install installation installing indoor instill interlam
jigsaw
kireiboard
light lighting layer layered leather lami laminate laminates living laser lasercut library
mosaic modular material mediumdensityfiberboard mediumdensityfibreboard medium-density-fiberboard
medium-density-fibreboard MDF modern modern-tropical moulded mould mold molded manual marquet marquetry
marotte mother of pearl motherof pearl mother-of-pearl matt mural mesh mount mounted mounting
natural nature niche natural-plant-fiber
ornament ornamental ornate organic oldship office offices omarno
product products paint painted painting paintings PU PVC photo pearl plastic proof pangu panel panelite panelkam panelmax paper pulp precast palm polyresin polycarbonate pattern patterns plant partition project palette pieces
penshell
quilt quilted
resin rivershell resort reclaimed route routed routing repeat random retardant ripple resident residence residential
restaurant restaurants retail relief relieve room reference round
screen seashell shell semi sculpture sculptural surfaces source sources store stores stage slide sliding surface
sculptured system systems sustain sustainability show sound special shop shopfront shoplot suspend suspended
swivel substrate shape shapes shade shades sand sandstone sanded sanding spiral suspension strip stripe strips
substance
texture textured translucent tree transmaterial tile tropical trade TV textile trend treatment timber
veneer variety versatile varnish varnishing
wave wavy wood weave woven wall wallcover wallcovering wallcoverings white wardrobe wovin warm
wainscot wooden woodenwave
3d 3-d 3dimension 3-dimension 3form
The Temple of Dendur, Roman period, ca. 15 B.C.
Egyptian; Dendur, Nubia
Sandstone; L. from gate to rear of temple 82 ft. (24 m 60 cm)
The Temple of Dendur, a Nubian Temple dedicated to the goddess Isis, the gods Harpocrates and Osiris, as well as two deified sons of a local Nubian chieftain, Pedesi ("he whom Isis has given") and Pihor ("he who belongs to Horus"), was comissioned by Emperor Augustus of Rome around 15 BC. In 577, the temple was converted into a Christian church. The conversion is documented by a Coptic inscription. In the 19th century, graffiti was left on the temple walls by visitors from Europe.
The temple was dismantled and removed from its original site (modern name: Dendur, ancient name: Tutzis, about 80jm south of the town of Aswan) in 1963 in order to save it from being submerged by the construction of the Aswan High Dam. In recognition of the American assistance in saving various other monuments threatened by the dam's construction, the temple was given to the United States of America by Egypt in 1965. The stone blocks of the temple weighed more than 800 tons in total with the largest pieces weighing more than 6.5 tons. They were packed in 661 crates and transported to the United States by the freighter S.S. Concordia Star. In the United States, several institutions made bids for housing the temple, in a competition which was nicknamed the "Dendur Derby" by the press. Alternative plans proposed re-erecting the temple on the banks of the Potomac River in Washington, D.C. or on the Charles River in Boston. However, these suggestions were dismissed because it was feared that the temple's sandstone would have suffered from the outdoor conditions. On April 27, 1967, the temple was awarded to The Metropolitan Museum of Art, where it was installed in the Sackler Wing in 1978. Inside the Sackler Wing, designed by the architects Kevin Roche, John Dinkeloo, and associates, a reflecting pool in front of the temple and a sloping wall behind it, represent the Nile and the cliffs of the original location. The glass on the ceiling and north wall of the Sackler is stippled in order to diffuse the light and mimic the lighting in Nubia.
The temple is constructed from sandstone and measures 25 meters from the gate to the rear as well as 8 meters from the bottom to the highest point. It is decorated with reliefs, the coloring of which has perished: The temple base is decorated with carvings of papyrus and lotus plants growing out of the water of the Nile, which is symbolized by depictions of the god Hapy. Over the temple gate as well as over the entrance to the temple proper, depictions of the sun disk and the wings of the sky god Horus represent the sky. This motif is repeated by the vultures depicted on the ceiling of the entrance porch. On the outer walls, Emperor Augustus is depicted as a pharaoh making offerings to the deities Isis, Osiris, and their son Horus. The subject is repeated in the first room of the temple, where Augustus is shown praying and making offerings. The middle room, which was used for offerings, and the sanctuary of Isis at the rear of the temple are undecorated but for reliefs on the door frame and backwall of the sanctuary. The latter shows Pihor and Pedesi as young gods worshiping Isis and Osiris respectively.
(68.154)
**
The Metropolitan Museum of Art's permanent collection contains more than two million works of art from around the world. It opened its doors on February 20, 1872, housed in a building located at 681 Fifth Avenue in New York City. Under their guidance of John Taylor Johnston and George Palmer Putnam, the Met's holdings, initially consisting of a Roman stone sarcophagus and 174 mostly European paintings, quickly outgrew the available space. In 1873, occasioned by the Met's purchase of the Cesnola Collection of Cypriot antiquities, the museum decamped from Fifth Avenue and took up residence at the Douglas Mansion on West 14th Street. However, these new accommodations were temporary; after negotiations with the city of New York, the Met acquired land on the east side of Central Park, where it built its permanent home, a red-brick Gothic Revival stone "mausoleum" designed by American architects Calvert Vaux and Jacob Wrey Mold. As of 2006, the Met measures almost a quarter mile long and occupies more than two million square feet, more than 20 times the size of the original 1880 building.
In 2007, the Metropolitan Museum of Art was ranked #17 on the AIA 150 America's Favorite Architecture list.
The Metropolitan Museum of Art was designated a landmark by the New York City Landmarks Preservation Commission in 1967. The interior was designated in 1977.
National Historic Register #86003556
The Temple of Dendur, Roman period, ca. 15 B.C.
Egyptian; Dendur, Nubia
Sandstone; L. from gate to rear of temple 82 ft. (24 m 60 cm)
The Temple of Dendur, a Nubian Temple dedicated to the goddess Isis, the gods Harpocrates and Osiris, as well as two deified sons of a local Nubian chieftain, Pedesi ("he whom Isis has given") and Pihor ("he who belongs to Horus"), was comissioned by Emperor Augustus of Rome around 15 BC. In 577, the temple was converted into a Christian church. The conversion is documented by a Coptic inscription. In the 19th century, graffiti was left on the temple walls by visitors from Europe.
The temple was dismantled and removed from its original site (modern name: Dendur, ancient name: Tutzis, about 80jm south of the town of Aswan) in 1963 in order to save it from being submerged by the construction of the Aswan High Dam. In recognition of the American assistance in saving various other monuments threatened by the dam's construction, the temple was given to the United States of America by Egypt in 1965. The stone blocks of the temple weighed more than 800 tons in total with the largest pieces weighing more than 6.5 tons. They were packed in 661 crates and transported to the United States by the freighter S.S. Concordia Star. In the United States, several institutions made bids for housing the temple, in a competition which was nicknamed the "Dendur Derby" by the press. Alternative plans proposed re-erecting the temple on the banks of the Potomac River in Washington, D.C. or on the Charles River in Boston. However, these suggestions were dismissed because it was feared that the temple's sandstone would have suffered from the outdoor conditions. On April 27, 1967, the temple was awarded to The Metropolitan Museum of Art, where it was installed in the Sackler Wing in 1978. Inside the Sackler Wing, designed by the architects Kevin Roche, John Dinkeloo, and associates, a reflecting pool in front of the temple and a sloping wall behind it, represent the Nile and the cliffs of the original location. The glass on the ceiling and north wall of the Sackler is stippled in order to diffuse the light and mimic the lighting in Nubia.
The temple is constructed from sandstone and measures 25 meters from the gate to the rear as well as 8 meters from the bottom to the highest point. It is decorated with reliefs, the coloring of which has perished: The temple base is decorated with carvings of papyrus and lotus plants growing out of the water of the Nile, which is symbolized by depictions of the god Hapy. Over the temple gate as well as over the entrance to the temple proper, depictions of the sun disk and the wings of the sky god Horus represent the sky. This motif is repeated by the vultures depicted on the ceiling of the entrance porch. On the outer walls, Emperor Augustus is depicted as a pharaoh making offerings to the deities Isis, Osiris, and their son Horus. The subject is repeated in the first room of the temple, where Augustus is shown praying and making offerings. The middle room, which was used for offerings, and the sanctuary of Isis at the rear of the temple are undecorated but for reliefs on the door frame and backwall of the sanctuary. The latter shows Pihor and Pedesi as young gods worshiping Isis and Osiris respectively.
(68.154)
**
The Metropolitan Museum of Art's permanent collection contains more than two million works of art from around the world. It opened its doors on February 20, 1872, housed in a building located at 681 Fifth Avenue in New York City. Under their guidance of John Taylor Johnston and George Palmer Putnam, the Met's holdings, initially consisting of a Roman stone sarcophagus and 174 mostly European paintings, quickly outgrew the available space. In 1873, occasioned by the Met's purchase of the Cesnola Collection of Cypriot antiquities, the museum decamped from Fifth Avenue and took up residence at the Douglas Mansion on West 14th Street. However, these new accommodations were temporary; after negotiations with the city of New York, the Met acquired land on the east side of Central Park, where it built its permanent home, a red-brick Gothic Revival stone "mausoleum" designed by American architects Calvert Vaux and Jacob Wrey Mold. As of 2006, the Met measures almost a quarter mile long and occupies more than two million square feet, more than 20 times the size of the original 1880 building.
In 2007, the Metropolitan Museum of Art was ranked #17 on the AIA 150 America's Favorite Architecture list.
The Metropolitan Museum of Art was designated a landmark by the New York City Landmarks Preservation Commission in 1967. The interior was designated in 1977.
National Historic Register #86003556
The Temple of Dendur, Roman period, ca. 15 B.C.
Egyptian; Dendur, Nubia
Sandstone; L. from gate to rear of temple 82 ft. (24 m 60 cm)
The Temple of Dendur, a Nubian Temple dedicated to the goddess Isis, the gods Harpocrates and Osiris, as well as two deified sons of a local Nubian chieftain, Pedesi ("he whom Isis has given") and Pihor ("he who belongs to Horus"), was comissioned by Emperor Augustus of Rome around 15 BC. In 577, the temple was converted into a Christian church. The conversion is documented by a Coptic inscription. In the 19th century, graffiti was left on the temple walls by visitors from Europe.
The temple was dismantled and removed from its original site (modern name: Dendur, ancient name: Tutzis, about 80jm south of the town of Aswan) in 1963 in order to save it from being submerged by the construction of the Aswan High Dam. In recognition of the American assistance in saving various other monuments threatened by the dam's construction, the temple was given to the United States of America by Egypt in 1965. The stone blocks of the temple weighed more than 800 tons in total with the largest pieces weighing more than 6.5 tons. They were packed in 661 crates and transported to the United States by the freighter S.S. Concordia Star. In the United States, several institutions made bids for housing the temple, in a competition which was nicknamed the "Dendur Derby" by the press. Alternative plans proposed re-erecting the temple on the banks of the Potomac River in Washington, D.C. or on the Charles River in Boston. However, these suggestions were dismissed because it was feared that the temple's sandstone would have suffered from the outdoor conditions. On April 27, 1967, the temple was awarded to The Metropolitan Museum of Art, where it was installed in the Sackler Wing in 1978. Inside the Sackler Wing, designed by the architects Kevin Roche, John Dinkeloo, and associates, a reflecting pool in front of the temple and a sloping wall behind it, represent the Nile and the cliffs of the original location. The glass on the ceiling and north wall of the Sackler is stippled in order to diffuse the light and mimic the lighting in Nubia.
The temple is constructed from sandstone and measures 25 meters from the gate to the rear as well as 8 meters from the bottom to the highest point. It is decorated with reliefs, the coloring of which has perished: The temple base is decorated with carvings of papyrus and lotus plants growing out of the water of the Nile, which is symbolized by depictions of the god Hapy. Over the temple gate as well as over the entrance to the temple proper, depictions of the sun disk and the wings of the sky god Horus represent the sky. This motif is repeated by the vultures depicted on the ceiling of the entrance porch. On the outer walls, Emperor Augustus is depicted as a pharaoh making offerings to the deities Isis, Osiris, and their son Horus. The subject is repeated in the first room of the temple, where Augustus is shown praying and making offerings. The middle room, which was used for offerings, and the sanctuary of Isis at the rear of the temple are undecorated but for reliefs on the door frame and backwall of the sanctuary. The latter shows Pihor and Pedesi as young gods worshiping Isis and Osiris respectively.
(68.154)
**
The Metropolitan Museum of Art's permanent collection contains more than two million works of art from around the world. It opened its doors on February 20, 1872, housed in a building located at 681 Fifth Avenue in New York City. Under their guidance of John Taylor Johnston and George Palmer Putnam, the Met's holdings, initially consisting of a Roman stone sarcophagus and 174 mostly European paintings, quickly outgrew the available space. In 1873, occasioned by the Met's purchase of the Cesnola Collection of Cypriot antiquities, the museum decamped from Fifth Avenue and took up residence at the Douglas Mansion on West 14th Street. However, these new accommodations were temporary; after negotiations with the city of New York, the Met acquired land on the east side of Central Park, where it built its permanent home, a red-brick Gothic Revival stone "mausoleum" designed by American architects Calvert Vaux and Jacob Wrey Mold. As of 2006, the Met measures almost a quarter mile long and occupies more than two million square feet, more than 20 times the size of the original 1880 building.
In 2007, the Metropolitan Museum of Art was ranked #17 on the AIA 150 America's Favorite Architecture list.
The Metropolitan Museum of Art was designated a landmark by the New York City Landmarks Preservation Commission in 1967. The interior was designated in 1977.
National Historic Register #86003556
The Temple of Dendur, Roman period, ca. 15 B.C.
Egyptian; Dendur, Nubia
Sandstone; L. from gate to rear of temple 82 ft. (24 m 60 cm)
The Temple of Dendur, a Nubian Temple dedicated to the goddess Isis, the gods Harpocrates and Osiris, as well as two deified sons of a local Nubian chieftain, Pedesi ("he whom Isis has given") and Pihor ("he who belongs to Horus"), was comissioned by Emperor Augustus of Rome around 15 BC. In 577, the temple was converted into a Christian church. The conversion is documented by a Coptic inscription. In the 19th century, graffiti was left on the temple walls by visitors from Europe.
The temple was dismantled and removed from its original site (modern name: Dendur, ancient name: Tutzis, about 80jm south of the town of Aswan) in 1963 in order to save it from being submerged by the construction of the Aswan High Dam. In recognition of the American assistance in saving various other monuments threatened by the dam's construction, the temple was given to the United States of America by Egypt in 1965. The stone blocks of the temple weighed more than 800 tons in total with the largest pieces weighing more than 6.5 tons. They were packed in 661 crates and transported to the United States by the freighter S.S. Concordia Star. In the United States, several institutions made bids for housing the temple, in a competition which was nicknamed the "Dendur Derby" by the press. Alternative plans proposed re-erecting the temple on the banks of the Potomac River in Washington, D.C. or on the Charles River in Boston. However, these suggestions were dismissed because it was feared that the temple's sandstone would have suffered from the outdoor conditions. On April 27, 1967, the temple was awarded to The Metropolitan Museum of Art, where it was installed in the Sackler Wing in 1978. Inside the Sackler Wing, designed by the architects Kevin Roche, John Dinkeloo, and associates, a reflecting pool in front of the temple and a sloping wall behind it, represent the Nile and the cliffs of the original location. The glass on the ceiling and north wall of the Sackler is stippled in order to diffuse the light and mimic the lighting in Nubia.
The temple is constructed from sandstone and measures 25 meters from the gate to the rear as well as 8 meters from the bottom to the highest point. It is decorated with reliefs, the coloring of which has perished: The temple base is decorated with carvings of papyrus and lotus plants growing out of the water of the Nile, which is symbolized by depictions of the god Hapy. Over the temple gate as well as over the entrance to the temple proper, depictions of the sun disk and the wings of the sky god Horus represent the sky. This motif is repeated by the vultures depicted on the ceiling of the entrance porch. On the outer walls, Emperor Augustus is depicted as a pharaoh making offerings to the deities Isis, Osiris, and their son Horus. The subject is repeated in the first room of the temple, where Augustus is shown praying and making offerings. The middle room, which was used for offerings, and the sanctuary of Isis at the rear of the temple are undecorated but for reliefs on the door frame and backwall of the sanctuary. The latter shows Pihor and Pedesi as young gods worshiping Isis and Osiris respectively.
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The Metropolitan Museum of Art's permanent collection contains more than two million works of art from around the world. It opened its doors on February 20, 1872, housed in a building located at 681 Fifth Avenue in New York City. Under their guidance of John Taylor Johnston and George Palmer Putnam, the Met's holdings, initially consisting of a Roman stone sarcophagus and 174 mostly European paintings, quickly outgrew the available space. In 1873, occasioned by the Met's purchase of the Cesnola Collection of Cypriot antiquities, the museum decamped from Fifth Avenue and took up residence at the Douglas Mansion on West 14th Street. However, these new accommodations were temporary; after negotiations with the city of New York, the Met acquired land on the east side of Central Park, where it built its permanent home, a red-brick Gothic Revival stone "mausoleum" designed by American architects Calvert Vaux and Jacob Wrey Mold. As of 2006, the Met measures almost a quarter mile long and occupies more than two million square feet, more than 20 times the size of the original 1880 building.
In 2007, the Metropolitan Museum of Art was ranked #17 on the AIA 150 America's Favorite Architecture list.
The Metropolitan Museum of Art was designated a landmark by the New York City Landmarks Preservation Commission in 1967. The interior was designated in 1977.
National Historic Register #86003556
The remains of the Hadrianic Nymphaeum are located on top of the terrace limiting the north side of the Lower Agora. The excavations undertaken in 2003 and 2004 brought to light an extremely well-preserved monumental fountain, still provided with the greatest part of its original decoration. The nymphaeum was erected in a higher position above the level of the public square and the south-north colonnaded street running through the lower city. This emplacement offered a possibility to maximize the power of the façade as visual and decorative backdrop for the perspective created by the street and its lateral porticoes.
ased on the style of the architectural and sculptural decoration as well as on the dedicatory inscription for the emperor Hadrian, the construction of the Hadrianic Nymphaeum should likely be assigned to the period between the years 128/129 and 134 AD. The fountain consisted of a two-storied pi-shaped façade framing a rectangular water basin. The overall length of the façade was of 16.92 m, for a maximal width of 5.77 m at the frontal extremity of the lateral wings. The drawing basin measured 12 x 2.75 m for a depth of ca. 0.90 m. The upper part of the elevation was erected on top of a lower podium accessible from the street via a short staircase of eight steps. Just above the basin, the lower podium was interrupted at regular intervals by slightly projecting pillars, onto which were carved figures of the Muses, reclining fluvial gods and Nereids standing on seaborne creatures. The upper elevation consisted of a two-storied tabernacle architectural display supported by a backwall animated with niches alternatively rectangular and curved. Only the curved niches were framed by projecting tabernacles, leaving a sufficient height in the middle for the colossal statue of Apollo Kitharoidos. The projecting sections of the upper level were topped with triangular half-gables. Those crowning the central section of the façade were decorated with reliefs depicting Tritons blowing horns and a Medusa head intertwined in vegetal motifs.
The discovery of many statues and statues fragments allowed a reliable reconstruction of the nymphaeum's original statuary decoration. A colossal statue of Apollo was the main focal point of the statuary program, in the central niche of the ground floor. It was framed to the east by depictions of a Satyr and of Poseidon. Two fragmentary male torsi were probably their counterparts to the west of the colossal statue. Three inscribed statue bases and fragments of bronze statues suggest that a gilded bronze statue of Hadrian must have been standing in the middle of the upper floor, framed by two plain bronze depictions of the founder of the building, the high priest of the Imperial cult and agonothetes for life of the Klareia Ti. Claudius Peison. In the two lateral niches of the upper floor were possibly displayed a private female statue in the type of the Große Herkulanerin to the east, and a lost private statue as counterpart to the west. A half-nude Aphrodite - which was added later and must have replaced an older statue - originated from the eastern lateral wing. She must have had as counterpart in the western wing another Aphrodite, to which a separated fragmentary head could have belonged. The statuary display in the lateral wings of the lower storey is more difficult to reconstruct: a depiction of Herakles and an unidentified fragment of a male statue the east possibly originate from the west and east lower lateral wings, respectively.
Source: www.sagalassos.be/en/monuments_sites/monumental_centre_so...
Clamshell lighting setup - one studio strobe (Jinbei DM2-200) in a rectangular softbox (90x60cm) from above, reflector below.
One strobe in shoot-through-umbrella at the white backwall. Some PS and Lightroom tweaking, that's it :)
The Temple of Dendur, Roman period, ca. 15 B.C.
Egyptian; Dendur, Nubia
Sandstone; L. from gate to rear of temple 82 ft. (24 m 60 cm)
The Temple of Dendur, a Nubian Temple dedicated to the goddess Isis, the gods Harpocrates and Osiris, as well as two deified sons of a local Nubian chieftain, Pedesi ("he whom Isis has given") and Pihor ("he who belongs to Horus"), was comissioned by Emperor Augustus of Rome around 15 BC. In 577, the temple was converted into a Christian church. The conversion is documented by a Coptic inscription. In the 19th century, graffiti was left on the temple walls by visitors from Europe.
The temple was dismantled and removed from its original site (modern name: Dendur, ancient name: Tutzis, about 80jm south of the town of Aswan) in 1963 in order to save it from being submerged by the construction of the Aswan High Dam. In recognition of the American assistance in saving various other monuments threatened by the dam's construction, the temple was given to the United States of America by Egypt in 1965. The stone blocks of the temple weighed more than 800 tons in total with the largest pieces weighing more than 6.5 tons. They were packed in 661 crates and transported to the United States by the freighter S.S. Concordia Star. In the United States, several institutions made bids for housing the temple, in a competition which was nicknamed the "Dendur Derby" by the press. Alternative plans proposed re-erecting the temple on the banks of the Potomac River in Washington, D.C. or on the Charles River in Boston. However, these suggestions were dismissed because it was feared that the temple's sandstone would have suffered from the outdoor conditions. On April 27, 1967, the temple was awarded to The Metropolitan Museum of Art, where it was installed in the Sackler Wing in 1978. Inside the Sackler Wing, designed by the architects Kevin Roche, John Dinkeloo, and associates, a reflecting pool in front of the temple and a sloping wall behind it, represent the Nile and the cliffs of the original location. The glass on the ceiling and north wall of the Sackler is stippled in order to diffuse the light and mimic the lighting in Nubia.
The temple is constructed from sandstone and measures 25 meters from the gate to the rear as well as 8 meters from the bottom to the highest point. It is decorated with reliefs, the coloring of which has perished: The temple base is decorated with carvings of papyrus and lotus plants growing out of the water of the Nile, which is symbolized by depictions of the god Hapy. Over the temple gate as well as over the entrance to the temple proper, depictions of the sun disk and the wings of the sky god Horus represent the sky. This motif is repeated by the vultures depicted on the ceiling of the entrance porch. On the outer walls, Emperor Augustus is depicted as a pharaoh making offerings to the deities Isis, Osiris, and their son Horus. The subject is repeated in the first room of the temple, where Augustus is shown praying and making offerings. The middle room, which was used for offerings, and the sanctuary of Isis at the rear of the temple are undecorated but for reliefs on the door frame and backwall of the sanctuary. The latter shows Pihor and Pedesi as young gods worshiping Isis and Osiris respectively.
(68.154)
**
The Metropolitan Museum of Art's permanent collection contains more than two million works of art from around the world. It opened its doors on February 20, 1872, housed in a building located at 681 Fifth Avenue in New York City. Under their guidance of John Taylor Johnston and George Palmer Putnam, the Met's holdings, initially consisting of a Roman stone sarcophagus and 174 mostly European paintings, quickly outgrew the available space. In 1873, occasioned by the Met's purchase of the Cesnola Collection of Cypriot antiquities, the museum decamped from Fifth Avenue and took up residence at the Douglas Mansion on West 14th Street. However, these new accommodations were temporary; after negotiations with the city of New York, the Met acquired land on the east side of Central Park, where it built its permanent home, a red-brick Gothic Revival stone "mausoleum" designed by American architects Calvert Vaux and Jacob Wrey Mold. As of 2006, the Met measures almost a quarter mile long and occupies more than two million square feet, more than 20 times the size of the original 1880 building.
In 2007, the Metropolitan Museum of Art was ranked #17 on the AIA 150 America's Favorite Architecture list.
The Metropolitan Museum of Art was designated a landmark by the New York City Landmarks Preservation Commission in 1967. The interior was designated in 1977.
National Historic Register #86003556
ebay yn465 flasgun @1/4 power on shoot through umbrella cameras righ and ebay yn460 @ 1/2 power flash gun on honeycomb grid snoot effect at model's right side pointed to her backwall. powered by fotga pt-04m wireless transmiiter and receivers.
HallWorks: ChromeStyle and Character by »Bulle«, spotted in the Hall of Fame at night. – Mid February 2014.
Trade Show Display Case Study
Results Grow as Exhibit Tells Story
A new logo, changes to two major product lines and a story-telling exhibit produced a happy ending for John Deere-Green Tech.
"Our latest trade show was a huge success, and Skyline was a major factor," says Scott Caringella, District Operations Manager. "We had phenomenal results. Our new exhibit is so much more inviting."
After using the same booth for 10 years, the company wanted a new look at trade shows. Skyline Exhibits designed a 10' curved backwall and matching table to anchor a 20'-by-20' space to display a collection of water-conserving, irrigation control products. A large mural incorporates the new logo, a blow-up of lush, green grass and an inset of an electronic circuit board.
"That image told the story of how we bridge technology and the green industry," Caringella says. "I thought it was pretty hot how they did that."
The new exhibit packs into compact cases that fit in employee vehicles and is easy for two people to install and disassemble.
To learn more: