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blocks / Frankfurt 2013
Photography: Zino Peterek
Support:www.facebook.com/Zinografie
Web - www.Zinografie.de
The self-guided audio tour was awesome! It was amazing the number of stories--murder, failed escapes, successful escapes, riots--that have happened in this building!
The last piece can be difficult, depending on how well you measured and fitted the previous 5 sides. Once I knew it would fit right, I super glued the edges (hot glue-welding the final plate is not possible) and slathered some hot glue over the cardboard. I set the block so this last piece was on the table (covered with paraffin paper, of course) and set a few weights on it. By the way; I made sure that the final plate was the actual bottom of the block, as that's the side not seen as often. Though it did turn out very well, anyways. Not bad for my first 3D perler creation. Stay tuned for my Companion Cube and Minecraft lit Jack-o-Lantern pics.
A poststamp layout basically, made into (french) braids by setting it on point and color-selection. (Not really in the values...)
This is my second attempt at block printing. I designed this image using my iPad. I used ToonPaint to alter a photo that I took in my backyard. I then cleaned it up and altered the composition a bit with Sketch Club. I then streamed the image to my 3M projector flipping the image horizontally in the projector and projecting it onto the plate. I traced the image with a fine tip Sharpie pen. You can read more about my process and discoveries on my blog at: www.jimblodget.com/blog/magnolia-blossoms-block-print/ .
Soft rubber plate, Sax Arts & Crafts black block printing ink on inkjet paper. Image is 3.75x5.25 inches (9.5x13 cm).
Some trial blocks for the Christmas table runner swap - what do you think partner, do you like where I'm going with this? Each tree is different - some wonky, some not and I envisage them side by side on the runner - there are more & different blocks to come. I know they're all different sizes - don't worry, I have a plan for that! I'm feeling my way with this one partner so let me know!
After getting blocked by another train in Fostoria, I headed out to Godsend to get a wider shot of Q231. The consist was as follows.
SD40-2 8236
ES44AH 3114
GP40-3 6520
GP38-2s 4420
SD70MAC 4722
TORC SD40-2 999
GP38-2 2663
Another Farmer's Wife 1930s paper-pieced block (no. 34) and my favourite of the week (and the year so far!) Find out more about this block at the Patchsmith.
Every October, the neighborhood of Cottage Home in Indianapolis has a block party, during which they decorate Dorman Street (south of St. Clair) within an inch of its life.
Blocks for Hettie K in the Always Bee Learning group. These are "Hobo Quilt" blocks and this block is "Poor Man." They measure 6.5" square.
Blogged - www.marcigirldesigns.com/1/post/2014/04/bee-blocks-and-a-...
These blocks set in at seven and a half inches, so the setting triangles were going to be pretty large. I set in the pink squares to add a little interest to the triangles.
the glass blocks window outside from outdoors of more stunned and amazing of the area of nature area need is looking sharp of the area for the temperature weather of the sunlight of the natural is brighten sunlight at outdoors
A shout out to this creative block/world builder app!
Gorgeous graphic, fast rendering, many worlds with a totally different environment.
With your imagination, you can build a fun roller coaster track, ride and fly a dragon, ride or even kill a wild boar, build and burn down trees etc... If you think you have build a fancy world and would like to share with your friend, just upload the world you've built to the game server so that the rest of the world can rate and download it to look at what you have done, or continue to build on to make a bigger and better world.
Wild Olive provided the free EPP pattern for this cross. I've made a few more since this one and have discovered that I LOVE EPP.
From 2009 in Penticton when I was there for a soccer tournament...
Greer Block - 1922
LOCATION
Address # Street Community Postal Cadastral
410-414 Main Street Penticton V2A 5C5 P.I.D. 012-459-551
DESCRIPTION
The Greer Block is a two story cement block commercial building on the west side of Main Street. It has a
false front and Edwardian Classical Revival design elements.
Boundaries
Located on the northern half of the east side of the 400 block of Main Street
Heritage Value
The building is of value because of its location in the 400 block of Main, which not only reflects the
economic boom of the post-war, early 1920’s but also reflects the expansion of Penticton’s business district
as it grew south from its core around the waterfront and the two lower blocks of Main Street and Front Street
historic areas.
The building is also notable for its association with Charles Greer, who was typical of the resilient,
resourceful and opportunistic pioneers who were prevalent in the area during its early period of settlement,
exemplified by the many ventures he undertook including farming a pre-emption near Fairview; commercial
building construction in many south Okanagan communities; the livery business; orcharding; building the first
cement block house in Penticton; road construction; proprietor of an early Ford dealership in Penticton; civic
politics; real estate; and finally the establishment of a business block which bears his name.
The continuity of commercial uses to the present day is a reflection of the continuing economic value of
Main Street to the City, and is illustrated by the varied uses this building has had: holding two stores on the
main floor and a hall upstairs, it was initially home to a children’s wear store, a tea house / sweet’s
confectionary, and a dance hall, and has subsequently been home to the Masons, a meat market, a grocery
store, professional offices for accountants and lawyers, and a dance studio. Currently, the upstairs has been
converted to apartments.
Aesthetically, the building is valued as an example of Edwardian Classical Revival architecture, which has
a symmetrical façade framed by two brick pilasters, with a large central window and two narrower ones on the
second floor, surmounted by a cornice and high pediment on the front façade of the building, reminiscent of
earlier false fronted buildings on the street and the era.
Character-Defining Elements
Key elements that define the heritage character of the Munson/Cleland property include:
- Brick pilasters
- Cornice line and pediment
- Original upstairs windows
- Decorative finials above the pediment
- Interlocking rusticated concrete block façade
- Name and date stone
COMMENTS and INFORMATION (not used by registrar)
The Greer Block was associated with Charles Greer who came to Penticton in 1905. He was a business
man involved in many ventures. He had a pre-emption near Fairview and was involved in construction
projects in the south Okanagan, including the Alexandra Hotel in Oliver.
In Penticton, he is the first to have built with concrete, building his house of concrete block construction in
30
1907. He was on City Council in its early years and again in the years leading up to his death in 1922. He
was involved in the livery business, road construction, and later became the Ford dealer.
The Greer Block was built during the early 1920's boom period. Main Street businesses were expanding
and several buildings were erected during this period. Unfortunately, Mr. Greer died suddenly of a stroke just
as the Greer Block was being finished. A Mr. Rossum took it over and opened up a confectionary, while a
clothing store opened up on the other half, and a hall on the second floor. Mr. Rossum went bankrupt in
about 6 months, but the building continued to function. The upstairs hall was rented to the Masons for a
period. Other uses have been a bakery, professional offices, a dance studio, a butcher, grocery store.
Mr. Greer died as the construction of the building was nearing its end, and his name stayed with the
building, being left on the name and date stone on the building's façade. Mrs. Greer stayed on in Penticton
after Mr. Greer's death.
Started my Tula Pink City Sampler Quilt. Im just hopping around the book to try to utilize what awesome scraps a dear flickr friend sent me!! You know who you are!!
Equipment Used: Hasselblad 501CM - 60 mm Distagon
Film & Developer: TMY 400 - D76
Paper & Developer: Ilford Warmtone - Dektol - Selenium
The CP Canada 150 train is stopped on CN's Wharf Spur in the Port of Montreal on a beautiful summer afternoon.
I finished the interior of the building before placing everything back to the layout, which I use as an extension of the medical center.
VHR citation
BLOCK ARCADE
Location
280 - 286 COLLINS STREET 96 - 102 ELIZABETH STREET MELBOURNE, Melbourne City
Google Maps and Google Streetview
Victorian Heritage Register (VHR) Number
H0032
Heritage Overlay Number
HO596
a Level of Significance
Registered
Extent of Registration 1. All the building known as the Block Arcade marked B1 on Diagram 32 held by the Executive Director.
2. All the land marked L1 on Diagram 32 held by the Executive Director, being the land described in Certificate of Titles Vol. 4645 Fol. 875, part of Vol. 9409 Fol. 669, Vol. 9924 Fol. 206, Vol. 9409 Fol. 669 and Vol. 4645 Fol. 874.
Statement of Significance
What is significant?
The Block Arcade was developed by financier Benjamin Fink. The Collins Street section of the building was completed in February 1892 and is similar in style to the Milano Galleria Vittorio Arcade in Italy. The new shopping arcade was designed by David.C.Askew of the architectural firm Twentyman and Askew. The cost of erection was £46 233. The bluestone footings for the building came from the original structure on the site, the Briscoe & Company Bulk Store. The site of 96-102 Elizabeth Street was purchased by the City Property Company Ltd in January 1892. Architect David Askew was called upon to continue his style for the arcade and this area was completed in October the following year. The Block Arcade comprises of arcade shops with mezzanine levels above for social rooms and offices, shops to Collins Street, Block Place and Elizabeth Street and four levels of office space above. The arcade forms an L-shape with a polygonal planned space with a glazed roof at the corner of the L. The kink in the plan was due to the shape of the original block subdivision and the location of Block Place, the lane behind. Linking the two spaces is an elaborately patterned mosaic floor of tiles, which were imported from Europe. When the arcade was constructed the Building and Engineering Journal noted that the flooring contained the largest area of mosaics yet laid down in Australia. In 1907, scenic artist Philip Goatcher for the Singer Sewing Machine Company decorated the ceiling of their premises on the east corner of the Collins Street entry to the arcade. The other shop to Collins Street, which housed the first Kodak shop in Melbourne contains an elaborate pressed metal ceiling. The facades to Collins and Elizabeth Street are designed in the Victorian Mannerist style with elaborate stucco decoration. Particular facade elements include; triangular and segmental pediments; rustication and an exaggerated cornice with brackets. Features of the upstairs office spaces include timber joinery around lift entries, tessellated tiles to the lobby spaces, elaborate leadlight windows and decorative plasterwork to arches in the corridors. There is also one surviving communal timber telephone box situated in a corridor.
How is it significant?
The Block Arcade is of architectural, aesthetic, social and historical importance to the State of Victoria.
Why is it significant?
The Block Arcade is of architectural and aesthetic importance as an excellent intact example of a shopping arcade. The design draws on early and influential European models and as such is important in its ability to demonstrate the essential and typical qualities of those designs and the continuity of the tradition of covered shopping streets. The Elizabeth and Collins Street facades are fine examples of the Mannerist style demonstrating many of the characteristic elements, such as a combination of triangular and segmental pediments and rustication. The Block Arcade is of architectural and aesthetic significance as it features lavish interior decoration, including an extraordinary mosaic tile floor. Based on the Milan Galleria Vittoria, it has a glass roof over the arcade with a glass dome at is corner. Its internal spaces, with their high quality finishes, have been maintained and the arcade remains a grand and prestigious retailing precinct. Attention to detail has also been carried through to the office spaces on the levels above the arcade.
The Block Arcade is of social and historical importance as the grandest and most fashionable amongst what became an extensive network of retail arcades that provided an alternative pedestrian route to Melbourne's major streets. Many of the arcades constructed in Melbourne before the turn of the century have not survived or have been altered considerably. The Block Arcade is important as an essential element in the social institution of doing The Block. This was a friendly expression referring to the stylish shopping trend of the late 19th century which involved starting in Collins Street at Swanston, then moving west to Elizabeth, north to Little Collins Street and back to Swanston. The Block was the place to be seen and those who frequented the popular thoroughfare, its shops and tea houses were often recorded by caricaturists in the city's social pages.
Year Construction Started 1891
Architectural Style Victorian Period (1851-1901) Mannerist
Heritage Act Categories Heritage place
Municipality MELBOURNE CITY; MELBOURNE CITY
VHR H0032 Statement of signficance
What is significant?
The Block Arcade was developed by financier Benjamin Fink. The Collins Street section of the building was completed in February 1892 and is similar in style to the Milano Galleria Vittorio Arcade in Italy. The new shopping arcade was designed by David.C.Askew of the architectural firm Twentyman and Askew. The cost of erection was £46 233. The bluestone footings for the building came from the original structure on the site, the Briscoe & Company Bulk Store. The site of 96-102 Elizabeth Street was purchased by the City Property Company Ltd in January 1892. Architect David Askew was called upon to continue his style for the arcade and this area was completed in October the following year. The Block Arcade comprises of arcade shops with mezzanine levels above for social rooms and offices, shops to Collins Street, Block Place and Elizabeth Street and four levels of office space above. The arcade forms an L-shape with a polygonal planned space with a glazed roof at the corner of the L. The kink in the plan was due to the shape of the original block subdivision and the location of Block Place, the lane behind. Linking the two spaces is an elaborately patterned mosaic floor of tiles, which were imported from Europe. When the arcade was constructed the Building and Engineering Journal noted that the flooring contained the largest area of mosaics yet laid down in Australia. In 1907, scenic artist Philip Goatcher for the Singer Sewing Machine Company decorated the ceiling of their premises on the east corner of the Collins Street entry to the arcade. The other shop to Collins Street, which housed the first Kodak shop in Melbourne contains an elaborate pressed metal ceiling. The facades to Collins and Elizabeth Street are designed in the Victorian Mannerist style with elaborate stucco decoration. Particular facade elements include; triangular and segmental pediments; rustication and an exaggerated cornice with brackets. Features of the upstairs office spaces include timber joinery around lift entries, tessellated tiles to the lobby spaces, elaborate leadlight windows and decorative plasterwork to arches in the corridors. There is also one surviving communal timber telephone box situated in a corridor.
How is it significant?
The Block Arcade is of architectural, aesthetic, social and historical importance to the State of Victoria.
Why is it significant?
The Block Arcade is of architectural and aesthetic importance as an excellent intact example of a shopping arcade. The design draws on early and influential European models and as such is important in its ability to demonstrate the essential and typical qualities of those designs and the continuity of the tradition of covered shopping streets. The Elizabeth and Collins Street facades are fine examples of the Mannerist style demonstrating many of the characteristic elements, such as a combination of triangular and segmental pediments and rustication. The Block Arcade is of architectural and aesthetic significance as it features lavish interior decoration, including an extraordinary mosaic tile floor. Based on the Milan Galleria Vittoria, it has a glass roof over the arcade with a glass dome at is corner. Its internal spaces, with their high quality finishes, have been maintained and the arcade remains a grand and prestigious retailing precinct. Attention to detail has also been carried through to the office spaces on the levels above the arcade.
The Block Arcade is of social and historical importance as the grandest and most fashionable amongst what became an extensive network of retail arcades that provided an alternative pedestrian route to Melbourne's major streets. Many of the arcades constructed in Melbourne before the turn of the century have not survived or have been altered considerably. The Block Arcade is important as an essential element in the social institution of doing The Block. This was a friendly expression referring to the stylish shopping trend of the late 19th century which involved starting in Collins Street at Swanston, then moving west to Elizabeth, north to Little Collins Street and back to Swanston. The Block was the place to be seen and those who frequented the popular thoroughfare, its shops and tea houses were often recorded by caricaturists in the city's social pages.
Source Victorian heritage database: vhd.heritage.vic.gov.au/places/result_detail/730?print=true & vhd.heritage.vic.gov.au/vhd/heritagevic_new#detail_places...
Is it any wonder that a geometer loves quilt blocks? These blocks were all pieced by hand and measure 12 inches square plus a seam allowance.
Farmer's Wife 1930s paper-pieced block no. 25. Not a nice block to paper-piece - it took forever and the middle was particularly nasty.
You can find all my Farmer's Wife 1930s quilt blocks over at the Patchsmith's blog.
Block 25 at BIa sector of Birkenau camp (also known as the block of death) was called “waiting room for the gas” (Warteblock für die Vergasung). After chasing all the prisonersback to the camp a special group of the strongest women was formed and forced to collect all remaining corpses of women who had died under the blows of the SS and female guards during the roll call. The corpses were placed in the courtyard of block 25.
Hand printing fabric is a time consuming process. This man in Jaipur, India prints one color at a time and then adds other color with different blocks.
AIMG_5041