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The near final build of my first WSG2. Shortly after its completion it left headed for a new home.
Arctic Knob, we hardly even knew ya.
The rebuilding of, 699.01, Sir Drefaldwyn. Photograph taken on 28th August 2014 in the workshops of the Welshpool & Llanfair Light Railway
Mercer Corridor Project’s Substantial Completion
In August 2015, the West Phase of the Mercer Corridor Project reached substantial completion – meaning all major closures and improvements to the corridor are complete! All that remains is a localized closure on Roy St. and some low-key maintenance items with associated lane closures around the area, including landscaping, striping, and a few repairs.
Built on the former site of a shopping centre next door to its former store (which traded as Lloyds until September 1993), there has been some sort of delay a few years ago as it sparked some backlash.
Traffic on North East Rd, especially during peak hours would be slowed to a 'snail's pace' due to frequent truck movement and a number of small businesses would be heavily impacted.
However, despite the debates, the project went ahead.
Gov. Neil Abercrombie and the Hawaii Department of Transportation (HDOT) celebrated the substantial completion of the H-1 Freeway Rehabilitation Project at a dedication ceremony at Bernice Pauahi Bishop Museum, overlooking the freeway. The project reconstructed and resurfaced one of the most heavily traveled corridors in the state and added an extra travel lane in both directions in less than 11 months. New LED street lighting, added drainage, and glare screens were also installed to improve highway safety.
Crews are paving ramps and mainline for the future I-85/I-485 interchange, while dirt is being turned for the I-485 completion project.
Project: Din-ink
Desgin by: ZO_loft
Client: Macef Design Award
Design (period): 2008
Completion (year): 2008
Awards: 1° prize Macef International Design Award
Photo: Paolo Emilio Bellisario
Vietnam.
Sa Pa countryside.
Ta Van village.
Our hostess completed a workshop for the prevention of child sexual abuse in tourist destinations.
Sagrada Família Barcelona, Spain - situation 2017
Construction of the Temple Expiatori de la Sagrada Família began in 1882. The temple is still under construction, with completion expected in 2026. It is perhaps the best known structure of Catalan Modernism, drawing over three million visitors annually. Architect Antoni Gaudi worked on the project until his death in 1926, in full anticipation he would not live to see it finished.
Gaudi was appointed architect in 1883 at 31 years of age, following disagreements between the temple’s promoters and the original architect, Francisco de Paula del Villar y Lozano. He maintained del Villar’s Latin cross plan, typical of Gothic cathedrals, but departed from the Gothic in several significant ways. Most notably, Gaudi developed a system of angled columns and hyperbolical vaults to eliminate the need for flying buttresses. Rather than relying on exterior elements, horizontal loads are transferred through columns on the interior. La Sagrada Familia utilizes three-dimensional forms comprised of ruled surfaces, including hyperboloids, parabolas, helicoids, and conoids. These complex shapes allow for a thinner, finer structure, and are intended to enhance the temple’s acoustics and quality of light. Gaudi used plaster models to develop the design, including a 1:10 scale model of the main nave measuring five meters in height and width by two meters in depth. He also devised a system of strings and weights suspended from a plan of the temple on the ceiling. From this inverted model he derived the necessary angles of the columns, vaults, and arches. This is evident in the slanted columns of the Passion facade, which recall tensile structures but act in compression.
Gaudi embedded religious symbolism in each aspect of La Sagrada Familia, creating a visual representation of Christian beliefs. He designed three iconic facades for the basilica, the Glory, Nativity, and Passion facades, facing south, east, and west, respectively. The sculpting of the Nativity facade recalls smooth, intricate corbelling and was overseen by Gaudi. The Passion Facade is characterized by the work of Josep Maria Subirachs, whose angular sculptures extend the modernist character of the temple. The sculptor Etsuro Sotoo is responsible for the window ornaments and finials, which symbolize the Eucharist. The central nave soars to a height of 45 meters, and is designed to resemble a forest of multi-hued piers in Montjuïc and granite. The piers change in cross section from base to terminus, increasing in number of vertices from polygonal to circular. The slender, bifurcating columns draw the eye upward, where light filters through circular apertures in the vaults. These are finished in Venetian glass tiles of green and gold, articulating the lines of the hyperboloids.
Once completed, La Sagrada Familia will feature eighteen towers. Four bell towers representing the Apostles crown each facade, reaching approximately 100 meters in height. At the north end, a tower representing the Virgin Mary will stand over the apse. The central tower will reach 72 meters in height and symbolize Christ, surrounded by four towers representing the Evangelists. Even as construction continues, older portions are undergoing cleaning and restoration. The temple has relied entirely on private donations since its inception, and has seen many delays due to lack of funding. A particularly significant setback occurred during the Spanish Civil War, when Gaudi’s workshop was destroyed, including much of the documentation he left behind. Subsequent generations of craftsman and architects have relied on the remaining drawings and plaster models to advance the project, adhering to Gaudi’s vision as closely as possible. As a result, the design of the temple is a collaboration spanning centuries. Gaudi himself viewed the project as the collective work of generations. "I will grow old but others will come after me. What must always be conserved is the spirit of the work, but its life has to depend on the generations it is handed down to and with whom it lives and is incarnated."
In recent decades, La Sagrada Familia has adopted contemporary digital design and construction technologies. Architects and craftsmen use Rhinoceros, Cadds5, Catia, and CAM to understand the complex geometries and visualize the building as a whole. Plaster models are still used as a design tool, now generated by a 3-D printer to accelerate the process.
Architect: Antoni Gaudi
Present Chief Architect: Jordi Fauli
Former Chief Architects: Jordi Bonet, Francesc de Paula Quintana i Vidal, Isidre Puig i Boada, Lluís Bonet i Garí, , Francesc de Paula del Villar y Lozano
Deputy Chief Architects: Carles Buxadé, Joan Margarit, Josep Gómez Serrano
Technical Consultants: Universitat Politècnica de Catalunya, Royal Melbourne Institute of Technology
Project Department: Jordi Coll, Andrés de Mesa
Sculptors: Etsuro Sotoo, Josep Maria Subirachs
Stained Glass: Joan Vila-Grau
Area: 4.500 m2
The little red guy finally gets his second eye filled in! He was my PhD daruma, got him at Uwajimaya, Seattle Chinatown in late 2002. The little black guy is my NRF rating one.
I took this photo while researching a Financial Times article to be found at www.ft.com/cms/s/0/ca421e8e-883e-11dd-b114-0000779fd18c.html
On 24 April 2012, at a completion ceremony presided over by His Royal Highness Hussein bin Abdullah, Jordan’s Crown Prince and attended by Norway’s Crown Prince Haakon Magnus, His Royal Highness Prince Mired Raad Al Hussein announced that Jordan had completed mine clearance operations.
It was further noted that Jordan was the first country in the Middle East to clear its territory of all known landmines in accordance with Article 5 of the Convention.
For more information: www.apminebanconvention.org/states-parties-to-the-convent...
All photos property of the Jordanian Mine Action Centre.
Completion of the top half of Kristoff, rest is on a separate sheet of the design
Rest of progress here www.flickr.com/photos/90129870@N03/albums/72157649862719040
Superintendent of Schools for the Archdiocese of Philadelphia Mary Rochford joins Superintendent Dr. Arlene Ackerman and Mayor Michael Nutter in their support for a program to assist students in filling out the FAFSA form.
The completion of the flyover bridge eliminates a left turn onto North Innerbound I-485 from the northern terminus of US 521. The flyover will eventually be two lanes when all construction is completed.
Sen. Addie Eckardt speaks at an event to mark completion of the initial construction phase for the Harris Creek oyster restoration project, aboard the REBECCA T. RUARK, Tilghman Island, Maryland, Sept. 15, 2015. Col. Ed Chamberlayne, Baltimore District commander, stands at right. The interagency team consists of the U.S. Army Corps of Engineers, Baltimore District; Maryland Department of Natural Resources; National Oceanic and Atmospheric Administration; and the Oyster Recovery Partnership. (U.S. Army Photo by Sarah Gross)
The exterior of the mill draws closer to completion, just a few windows and doors left to go in, the hard landscaping is progressing, and it's not beyond belief that this could be finished in the next month or so, the interior .....
Castletown Mill, Castletown, Caithness, Scotland.
Built in 1912, this Beaux Arts-style 14-story skyscraper was designed by Esenwein and Johnson and Edward B. Green. Inspired by the landmark centerpiece of the 1901 Pan-American Exposition and the Pharos Lighthouse that was a wonder of the ancient world in Alexandria, Egypt, the tower became the tallest building in Buffalo upon its completion, surpassing the earlier St. John’s Episcopal Cathedral, which had been Buffalo’s tallest building since 1851, and remained the tallest building until the Liberty Building was built in 1925. The building originally was home to the Buffalo General Electric Company after which it was named, and was expanded with seven-story additions to the east and northeast of the original building in 1924-1927, designed by Edward B. Green and Sons, and a three-story addition to the roof of the building’s original east wing. The building was renovated in the 1930s, adding several Art Deco elements to the building’s interior. The building utilized electric lighting to help it stand out on the city’s skyline, and housed a series of local electrical utility companies, with Buffalo General Electric being absorbed into Niagara Hudson, and eventually becoming Niagara Mohawk Power Corporation, remaining in the building until they sold it in 2003. The building’s lobby and office spaces were altered between the 1970s and 1990s in a series of renovations attempting to modernize the space, covering up and removing several decorative elements, while the exterior terra cotta was treated with care and repaired or replaced in a long-term maintenance program.
The building features two seven-story wings forming a “podium” to the east of the tower, which feature large banks o windows, pilasters, white terra cotta cladding, simple cornices, and storefronts along Genesee Street and part of Huron Street, with a light well capped by a skylight sitting in the middle of this section of the building. The most iconic part of the structure, however, is the octagonal white terra cotta-clad tower that rises from the corner of Washington Street and Huron Street, which features a tripartite composition to the main section, and a spire on top. The base features large arched bays with storefronts surrounded by decorative trim and featuring metal mullions and spandrels, with the most decorative trim being at the bay on the Genesee Street side of the tower, which projects from the building and features a rooftop terra above flanked by decorative margents, with all of the openings at the base featuring decorative keystones with wreaths. Additionally, decorative multi-globe metal lampposts flank the main entrance. Above this, the building features four window bays per side flanked by common pilasters an featuring terra cotta spandrels with triglyphs and roman lattice motif, with larger pilasters at the corners, terminating at massive oversized headers at the top of the thirteenth floor windows, with large decorative keystones featuring wreaths. Above this are five smaller recessed windows on each side of the fourteenth floor, flanked by large margents, with the capitals of the pilasters featuring decorative trim including smaller margents, and half-sphere caps atop the pilasters, with the parapets on each side featuring rounded middle sections and terra cotta caps. Above the fourteenth floor is the building’s two-story spire, which features doric columns at the corners with margents and egg and dart motif at the capitals on the first level, ionic columns with margents at the corners of the second level, large roman lattice screens on each side of the levels, decorative terra cotta cladding, keystones with argents, cornices with dentils, parapets with square sections above the columns and arched sections over the windows with margents, and low-slope roofs around the base of each level of the spire, with each level getting smaller and having a setback as the building gets taller. At the top, the building is crowned with a domed terra cotta open lantern with corinthian columns and pilasters, a cornice with dentils, ribbed dome with festoons, and a copper finial with a cylindrical lower section and a spherical upper section.
The building’s interior was partially restored after it was purchased by developers in 2004, and features Art Deco elements in the lobby, including aluminum trim and doors, plaster medallions on the ceilings, geometric motifs, stone cladding on the walls, decorative plaster trim at the transition between the ceilings and walls, an aluminum letterbox, chrome grilles, terrazzo floors, and a restored second-story balcony ringed by an Art Deco railing, creating an octagonal two-story space in the middle of the lobby with chrome wall sconces and light fixtures, art deco ceiling ornament, and a staircase with an art deco railing being present in this space as well. The lobby was partially modernized as part of the renovation, but any remaining historic material was maintained and reproduced to create a more cohesive visual character in the space. Additionally, the building features an intact original staircase with a Beaux Arts-style railing, Beaux Arts-style board rooms with intact original wooden paneling and trim on the walls, plaster ceilings with decorative plasterwork trim, plaster grilles, wall sconces, and a Classical Revival-style board room in one of the wings added in the 1920s, which features corinthian pilasters, wooden paneling, a decorative fireplace surround, and an arcade made up of wooden arches supported by wooden doric columns. The remnants of a photo room can be found on the fourteenth floor, which was originally the men’s lounge and steam room, with the space now being occupied by mechanical equipment. The remnants of a small lecture hall remain in the form of a concrete stage and concrete risers within the fifteenth floor, one of the spaces within the lantern, though structural elements added in 1995 during building renovations now cut through the space. This room now functions as utility space for the building. The interior was further modified in the conversion of the building to apartments in the 2000s.
The building was listed on the National Register of Historic Places in 2008, and is presently owned by the Iskalo Development Company, and today is home to a variety of commercial office tenants. The building today is regularly lit up with various colored lights to commemorate special events, and is where the Buffalo Ball Drop is held on New Years Eve each year. The building remains the 7th tallest building in Buffalo, today succeeded by several towers built in the 1920s and 1930s, as well as those built later in the 1960s and 1970s. The building anchors the east side of Roosevelt Square.
As the light at Goodman turned green, I was somehow lucky enough to get a clear shot of the front of the Chick-fil-A. The poles all appear bent in this photo: it must be due to taking the shot through a closed window.
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Chick-fil-A, 1998-built, Goodman Rd. at Southcrest Pkwy., Southaven MS
French-born, self-taught artist Anthea Missy began her painting career in 2014 following the completion of a master’s degree in business administration. Combining her two passions – travelling and creating – Anthea’s art reflects her personal style and motto: “Come as you are”. Every artwork tells a story and every person she meets and place she travels has an impact on her pieces. She sets out to portray an atmosphere and feeling rather than express specific messages. Anthea’s work is fluid and smooth embracing elongated lines and patterns, bringing a sense of whimsy to an otherwise urban landscape. Inspired by the Japanese rules of art ie keep things simple – Anthea’s works are minimalist. A basic background of black or white comes to life with bold colours such as red, magnetic blue or turquoise. In their more complex appearance, her organic compositions convey a strong, ethereal and mystical atmosphere with a dreamy figurative edge. Emphasis is placed on the Kawaii touch (the quality of cuteness in the context of Japanese culture) in Anthea’s works in Asia. The apparent happiness and positivity of her innocent characters are a blend of motion and femininity. Influenced by community engagement and numerous personal artistic endeavours, Anthea shares her art where she feels it can make a positive difference. Described as: “a very feminine woman who paints wearing heels and shorts, scraping dirty walls and splashing paint on herself”, Anthea conveys a strong message about empowerment. “Life is now. We should all grasp the moment and share it with people. I want to share the energy of life in my work and inspire – to explore the path of self-expression that stirs true happiness. “When people are enthusiastic, I feel a connection. I want my art to be a catalyst - a reminder of our ability to love and create.” - Anthea Missy - See more at: addictedgallery.com/Artists/Detail/anthea-missy-biography...
You can read about it here: www.mosaicwench.com/Guitar town.html And see more of the creations here: www.flickr.com/photos/waukeshaguitartown/
Year 7 Completion Ceremony | 2013-14
22 members of the seventh year cohort of the Aboriginal Youth Internship Program (AYIP) celebrated the completion of their 12-month program at a ceremony in Victoria, B.C.
The Honourable John Rustad, Minister of Aboriginal Relations and Reconciliation, presented each of the interns with a completion certificate. Speakers included Chief Ron Sam, Songhees Nation, Chief Andy Thomas, Esquimalt Nation, Kate Elliot, Métis Nation B.C., Howard Grant, First Nations Summit, Hjalmer Wenstob, BC Assembly of First Nations, Priscilla Sabbas Watts, and intern Joshua Gottfriedson.