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Fanad Peninsula, County Donegal, Ireland
Fanad Head Lighthouse was conceived as essential to seafarers following a tragedy which happened over 200 years ago. In December 1811 the frigate “Saldanha” sought shelter from a storm. Sailing towards Fanad as she frantically fought the raging wind and waves. Sadly, reaching the shore safely never happened and the ship was wrecked off the northern coast with all 250+ men on board. May they rest in peace
Believe it or not the ship's captain "William Pakenham" & his pet parrot made it safely to shore! But reportedly he died soon afterwards by the shock of Poitin(Alcohol) poisoning which given to him by helpful locals. The poor parrot also met a sad end the week afterwards when a local gamekeeper seen it in his garden. Unfortunately he didn't know what it was so he panicked & shot it dead! Some folk only think they have bad luck....
Soon after this tragedy the Fanad Head Lighthouse was built to help guide ships and sailors safely on their journeys. Still in operation to this day, standing on a rocky outcrop on north Donegal's Wild Atlantic Way blinking its guiding light out to sea to aid ships past its inviting yet deceiving rocky waters.
Hope you enjoy! Please Favourite & Follow to view my newest upcoming works, Thank you
www.youtube.com/watch?v=C5pX7oZ747w
But in every place I need to be
Freer than a sunbeam
Shining through my soul
Free from feelin' heat or knowing bitter cold
Free from conceiving the beginning
For that's the infinite startI'm gone - gone but still living
Life goes on without a beating heart
This was part of an ill-conceived triptych pano. I think it stands pretty well on its own. I quite like the hazy, impressionistic feel to it. Maybe not everybody's cup, but I'll allow it.
Shot on X-ray film and required a graduated ND filter to save the sky from blowing out. If you shoot x-ray film, I cannot recommend this filter enough. Get one that matches your lens as best you can (ie, no step-up rings).
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'Fracturing'
Camera: Chamonix 45F-2
Lens: Steinheil München Anastigmat Actinar 4.5; 135mm
Film: Agfa CP-BU M X-Ray Film; 50iso
Exposure: f/25; 1sec
Process: HC-110; 1+100; 5mins
Washington
March 2025
Gaudí conceived a temple of great verticality, so that it would be visible from any point of Barcelona and stand out above the mass of buildings. For this he endowed the Temple of the Holy Family with 18 towers, 12 of the apostles, 4 of the evangelists, and the towers of the domes dedicated to Jesus and the Virgin Mary. They have different heights, ascending: the outer towers of Natividade are 98 m and the central ones are 107 m; the outdoor ones at Paixão are 107 m and the central ones 112 m; those of Glória rise to 118 m; the Tower of the Virgin, 120 m; those of the evangelists, 125 m, and that of Jesus, 170 m.
Currently, the Sagrada Familia has 8 towers built, 4 on each façade. The facades do not communicate, which is why they have independent access.
Hyperreal late gothic stellar ribbed vault . The original is in the parish church Hirschegg . Styria . Austria . Europe
Colonnade Arch glows from within (Gary Clendening conceived and executed the lighting) under the colder glow of the Milky Way.
The lights of Moab create the glow on the horizon. Colonnade Arch is near Keg Knoll and on the western rim of the Green River Canyon. The Andromeda Galaxy is very close to third, smallest window.
Colonnade Arch, also known as Five Hole Arch, is described by geologists as a buttressed alcove, and has three windows looking to the south and two windows looking up--it is a fascinating structure with just one approach. It sits on the edge of a precipitous drop into Two Mile Canyon to the south and a view of the Green River to the southeast.
Gary Clendening and I checked the route during the day, recording GPS waypoints, and then walked returned on a moonless night at 2 AM, walking across slickrock for more than a mile. Quite an adventure.
“The road is a word, conceived elsewhere and laid across the country in the wound prepared for it: a word made concrete and thrust among us.”
― Wendell Berry
Whitby is a seaside town, port and civil parish in the Borough of Scarborough and English county of North Yorkshire. It is located within the historic boundaries of the North Riding of Yorkshire. Situated on the east coast of Yorkshire at the mouth of the River Esk, Whitby has an established maritime, mineral and tourist heritage. Its East Cliff is home to the ruins of Whitby Abbey,
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Fanad Head Peninsula, County Donegal, Ireland
Fanad Head Lighthouse was conceived as essential to seafarers following a shipwreck which happened over 200 years ago. In December 1811 the frigate ‘Saldanha’ sought shelter from a storm. Sailing towards Fanad as she frantically fought the raging wind and waves. Sadly, reaching the shore safely never happened and the ship was wrecked off the northern coast with all 250+ men on board.
Shortly afterwards Fanad Head Lighthouse was built to help guide ships and sailors safely on their journeys. Still in operation to this day, standing on a rocky outcrop on north Donegal's Wild Atlantic Way blinking its guiding light out to sea to aid ships past its inviting yet deceiving rocky waters.
Fanad Lighthouse is a personal favourite of mine. Overlooking Inishowen peninsula in the distance & surrounded with ancient jagged rocks, its location is stunning. These rocks have aided the most unique rock pools to form amongst them. When the sun shines, they reflect a shimmering spectrum of colours. During this visit I was like a giant frog leaping from pool to pool with excitement trying to find the greatest angle to photograph 🐸 I only wish I could play leapfrog here every day 😂
Hope you enjoy! Please Favourite & Follow to view my newest upcoming works, Thank you
Speculating on the Blue
Flaka Haliti
2015
Sand, Metal, Light
56th Venice Biennale, Kosovo Pavilion
«Speculating on the Blue is a site specific installation conceived by Flaka Haliti for the Kosovo Pavilion at the Biennale Arte. With this work she addresses the topos of borders that are not only part of her personal history but also our everyday global reality. The artist specifically examines the features of the borderland, often deserted and seemingly decaying within a short period of time. Barriers are manmade manifestations of political decisions made about territories, which are often drawn with little regard for natural and ethnical boundaries. Haliti aims at de-militarizing and de-familiarizing the aesthetic regime that is embodied by physical borders through the creation of a counter image. In doing so she transforms the former into a sign of optimism. Her approach is one of recontextualizing global politics through disconnection from its regime of appearance. The metaphor of the horizon, simultaneously emblem of possibility and enigma of our limitations is woven into the fabric of our past and present.
By drawing on the universal meaning of this metaphor, the artist removes the image economy of the horizon from any specific spatial-temporal context and speculates on its validity as an eternal truth.»
Conceived in 1986, Sólfar was finished in 1990 to commemorate the 200th anniversary of the city of Reykjavik. The sculpture was designed and its construction was supervised by the artist Jón Gunnar Árnason. While the sculpture resembles a Viking ship, it is not, but rather a dream ship, a way to travel to new horizons, and an ode to the Sun. From some perspectives it resembles a scorpion. Sadly Árnason had leukemia and died a year before the sculpture was completed.
Conceived by mr de Muralt as a cheap way to strengthen the dikes these walls were built on top of the dikes, these were build between 1906 and 1935. The great flood of 1953 proved them to be useless and most of them were torn down, the remaining Muraltmuurtjes are a national monument now.
2005/2006 Lotus Elise seen and photographed at the Murray Brothers Garage.
The Lotus Elise is a two-seat, rear-wheel drive, mid-engined roadster conceived in early 1994 and released in September 1996 by the British manufacturer Lotus Cars. The Elise has a fibreglass body shell atop its bonded extruded aluminium chassis that provides a rigid platform for the suspension, while keeping weight and production costs to a minimum. It is capable of speeds up to 240 km/h (150 mph). The Elise was named after Elisa Artioli, the granddaughter of Romano Artioli who was chairman of Lotus and Bugatti at the time of the car's launch.
Production of the Elise, Exige and Evora ended in 2021, to be replaced by a new family of models.
The above car, a Series 2 Elise model comes in a European 111R version or a version sold in North America, referred to as the Federal Elise. It is powered by the all-aluminum alloy 189 hp (192 PS; 141 kW) 1.8 L (1,796 cc) DOHC Toyota 2ZZ-GE with a Yamaha designed twin-cam head offering variable valve timing on both intake and exhaust valvetrain and a Toyota C64 6-speed manual transmission. Although the engine was borrowed from Toyota, its tune for the Elise was done in-house by Lotus. Many tests show performance of 0–60 mph (0–97 km/h) in approximately 4.9 seconds, or 4.7 seconds with the Sport Package.
The 2005 Lotus Elise was the first to be sold commercially in the United States, in the summer of 2004. Approval for the Elise, however, required intervention by the National Highway Traffic Safety Administration (NHTSA) which provided a three-year exemption for the car, as it had failed to meet US bumper and headlight regulations. The first-year model suffered from a few flaws, most notably a design flaw in the headlamps that magnified the sun's light, allowing the inside of the lamp housings to be melted by the sun.
This model was followed up by the 2006 Model Year Elise 111R and Sports Racer models. Lotus made a limited production (50 in the US) called the Lotus Sport Elise. 2006 models differ from the 2005 models in a few aspects. 2006 models sport LED tail lights, drive by wire (an updated ECU), improved fuel consumption, and more comfortable ProBax seats.
Conceived and built between 1451 and 1452 on the orders of Ottoman Sultan Mehmed II, The Fortress of Rumeli Hisarı, located on the European shore of the Bosphorus and in the northernmost district of Istanbul, is a striking monument.
Conceived for an exhibition in New York in 1992, these artworks allude to the practice of two different postwar American artists: Dan Flavin and Andy Warhol. During the early 1990s, General Idea often made these kinds of art-historical references – homage and parody in equal measure.
Magic Carpet evokes Dan Flavin’s artworks, which are made entirely of fluorescent light fixtures. Magic Bullet references Andy Warhol’ Silver Clouds (1966) and consists of hundreds of helium-filled Mylar balloons in the shape of shiny silver pills. Over time the balloons deflate and fall to the ground, transforming a singular, sire-responsive work high against the gallery’s ceiling into hundreds of individual multiples.
Visitors are invited to take balloons that have fallen to the ground.
A landmark of Italian influence in the heart of São Paulo, the Edifício Itália (Circolo Italiano) is a symbol of tradition and vertical growth. Its design, conceived by German architect Franz Heep in the modernist style, surprised with the imposingness and elegance of its lines. Construction began in 1956 and was solemnly inaugurated in 1965, becoming at the time one of the country's largest skyscrapers. On the terrace, the sculpture "Cavalo Rampante" (Rampant Horse), by Pericle Fazzini, a gift from the Italian government, crowns the building at the confluence of Ipiranga and São Luís avenues. This concrete giant is a living testament to the genius of the Italian-Brazilian community, an architectural icon that delights the eye and tells a story of overcoming and integration.
Um marco da influência italiana no coração de São Paulo, o Edifício Itália (Circolo Italiano) é um símbolo de tradição e verticalização. Seu projeto, concebido pelo arquiteto alemão Franz Heep no estilo modernista, surpreendeu pela imponência e elegância de suas linhas . A construção teve início em 1956 e foi solenemente inaugurada em 1965, tornando-se na época um dos maiores arranha-céus do país . No terraço, a escultura "Cavalo Rampante", de Pericle Fazzini, presente do governo italiano, coroa o edifício na confluência das avenidas Ipiranga e São Luís . Este gigante de concreto é um testemunho vivo da genialidade da comunidade ítalo-brasileira, um ícone arquitetônico que encanta o olhar e narra uma história de superação e integração.
Un punto di riferimento dell'influenza italiana nel cuore di San Paolo, l'Edifício Itália (Circolo Italiano) è un simbolo di tradizione e verticalizzazione. Il suo progetto, concepito dall'architetto tedesco Franz Heep in stile modernista, ha sorpreso per l'imponenza e l'eleganza delle sue linee. La costruzione ebbe inizio nel 1956 e fu solennemente inaugurata nel 1965, diventando all'epoca uno dei grattacieli più grandi del paese. Sulla terrazza, la scultura "Cavallo Rampante" di Pericle Fazzini, dono del governo italiano, corona l'edificio alla confluenza tra viale Ipiranga e viale São Luís. Questo gigante di cemento è una testimonianza vivente dell'ingegno della comunità italo-brasiliana, un'icona architettonica che incanta lo sguardo e racconta una storia di superamento e integrazione.
Un hito de la influencia italiana en el corazón de São Paulo, el Edificio Itália (Circolo Italiano) es un símbolo de tradición y verticalidad. Su diseño, concebido por el arquitecto alemán Franz Heep en estilo modernista, sorprendió por la imponencia y elegancia de sus líneas. La construcción comenzó en 1956 y fue solemnemente inaugurada en 1965, convirtiéndose en ese momento en uno de los rascacielos más grandes del país. En la terraza, la escultura "Caballo Rampante", de Pericle Fazzini, regalo del gobierno italiano, corona el edificio en la confluencia de las avenidas Ipiranga y São Luís. Este gigante de concreto es un testimonio vivo del ingenio de la comunidad ítalo-brasileña, un ícono arquitectónico que encanta la mirada y narra una historia de superación e integración.
Une emblème de l'influence italienne au cœur de São Paulo, l'Edifício Itália (Circolo Italiano) est un symbole de tradition et de verticalité. Son projet, conçu par l'architecte allemand Franz Heep dans le style moderniste, a surpris par l'impressionnante élégance de ses lignes. Sa construction a commencé en 1956 et a été solennellement inaugurée en 1965, devenant à l'époque l'un des plus grands gratte-ciels du pays. Sur la terrasse, la sculpture "Cavalo Rampante" (Cheval Rampant), de Pericle Fazzini, offerte par le gouvernement italien, couronne l'édifice à la confluence des avenues Ipiranga et São Luís. Ce géant de béton est un témoignage vivant du génie de la communauté italo-brésilienne, une icône architecturale qui enchante le regard et raconte une histoire de dépassement et d'intégration.
Ein Wahrzeichen des italienischen Einflusses im Herzen von São Paulo, das Edifício Itália (Circolo Italiano), ist ein Symbol für Tradition und Vertikalisierung. Sein Design, entworfen vom deutschen Architekten Franz Heep im modernistischen Stil, überraschte durch die Imposanz und Eleganz seiner Linien. Der Bau begann 1956 und wurde 1965 feierlich eingeweiht. Damit wurde es zu einem der größten Wolkenkratzer des Landes zu dieser Zeit. Auf der Terrasse krönt die Skulptur "Cavalo Rampante" (Rampferdes) von Pericle Fazzini, ein Geschenk der italienischen Regierung, das Gebäude am Zusammenfluss der Avenidas Ipiranga und São Luís. Dieser Betonriese ist ein lebendiges Zeugnis des Genies der italienisch-brasilianischen Gemeinschaft, eine Architekturikone, die das Auge erfreut und eine Geschichte der Überwindung und Integration erzählt.
Een landmark van Italiaanse invloed in het hart van São Paulo, het Edifício Itália (Circolo Italiano) is een symbool van traditie en verticalisering. Het ontwerp, bedacht door de Duitse architect Franz Heep in modernistische stijl, verbaasde door de imposante elegantie van zijn lijnen. De bouw begon in 1956 en werd plechtig geopend in 1965, waarmee het destijds een van de grootste wolkenkrabbers van het land werd. Op het terras kroont het beeld "Cavalo Rampante" (Steigerend Paard), van Pericle Fazzini, een geschenk van de Italiaanse regering, het gebouw op de samenvloeiing van de Ipiranga en São Luís lanen. Deze betonnen reus is een levend getuigenis van het genie van de Italiaans-Braziliaanse gemeenschap, een architectonisch icoon dat het oog verrukt en een verhaal vertelt van overwinning en integratie.
مبنى إيطاليا (سيركولو إيتاليانو) معلم لتأثير الجالية الإيطالية في قلب ساو باولو، وهو رمز للتقاليد والبناء العمودي. تصميمه الذي وضعه المهندس الألماني فرانز هيب على الطراز الحديث، أثار الدهشة بعظمة وأناقة خطوطه. بدأ البناء في عام ١٩٥٦ وتم التدشين الرسمي في عام ١٩٦٥، ليصبح في ذلك الوقت أحد أطول ناطحات السحاب في البلاد. في الشرفة، توج المنحوت "الحصان الجامح" للفنان بيرسيلي فازيني، وهي هدية من الحكومة الإيطالية، المبنى عند ملتقى جادتي إبيرانجا وساو لويز. هذا العملاق الخرساني هو شهادة حية على براعة المجتمع الإيطالي البرازيلي، أيقونة معمارية تسر الناظر وتحكي قصة تجاوز واندماج.
サンパウロの中心に佇むイタリアの影響力のランドマーク、エディフィシオ・イタリア（チルコロ・イタリアーノ）は、伝統と高層化の象徴です。ドイツ人建築家フランツ・ヒープによってモダニズム様式で構想されたそのデザインは、その威容と線の優雅さで人々を驚かせました。建設は1956年に始まり、1965年に厳かに落成式が行われ、当時国内で最も高い超高層ビルの一つとなりました。テラスには、イタリア政府からの贈り物であるペリクレ・ファッツィーニ作の彫刻 「暴れる馬（カヴァロ・ランパンテ）」 が、イピランガ大通りとサンルイス大通りの合流点に建つビルを冠しています。このコンクリートの巨人は、イタリア系ブラジル人コミュニティの才知の生ける証であり、目を楽しませ、克服と統合の物語を語る建築的なアイコンです。
意大利大厦是圣保罗市中心意大利影响力的标志，是传统与向高空发展的象征。其设计由德国建筑师 Franz Heep 以现代主义风格构思，其线条的宏伟与优雅令人惊叹。建筑工程始于1956年，并于1965年隆重落成，成为当时该国最高的摩天大楼之一。在露台上，意大利政府赠送的Pericle Fazzini 雕塑 "跃马" 为这座位于伊皮兰加大道和圣路易斯大道交汇处的大厦加冕。这座混凝土巨人是意大利-巴西社区才华的鲜活见证，是一个建筑标志，愉悦视觉，并讲述着一个关于克服困难与融合的故事。
This picture was conceived and created while under the influence of an album called Three by Bunprovisi.
A big thank you to my friends, Thomas Tronich, Simon Gajewski and Richard Winstanley who are Bunprovisi.
Listen to the album-
bundance.bandcamp.com/album/three
Sources: goo.gl/3nKHqX
La Terra e io siamo stati ugualmente concepiti.
Capo Joseph (1840-1904)
The Earth and I were equally conceived.
Chief Joseph (1840-1904)
www.edizionilpuntodincontro.it/libri/figli-del-grande-spi...
Bing Image Creator
Architects: OMA
1997-2013
"De Rotterdam is conceived as a vertical city: three interconnected mixed-use towers accommodating offices, apartments, a hotel, conference facilities, shops, restaurants, and cafes. The project began in 1997. Construction started at the end of 2009, with completion in 2013. The towers are part of the ongoing redevelopment of the old harbour district of Wilhelminapier, next to the Erasmus Bridge, and aim to reinstate the vibrant urban activity - trade, transport, leisure - once familiar to the neighbourhood. De Rotterdam is named after one of the ships on the Holland America Line, which departed from the Wilhelminapier in decades past, carrying thousands of Europeans emigrating to the US.
The three towers reach 150m high, with a gross floor area of approximately 162,000m2, making De Rotterdam the largest building in the Netherlands. OMA's architectural concept produces more than sheer size: urban density and diversity - both in the program and the form - are the guiding principles of the project. De Rotterdam's stacked towers are arranged in a subtly irregular cluster that refuses to resolve into a singular form and produces intriguing new views from different perspectives. Similarly, the definition of the building changes according to its multiple uses internally.
The various programs of this urban complex are organized into distinct blocks, providing both clarity and synergy: residents and office workers alike can use the fitness facilities, restaurants, and conference rooms of the hotel. And these private users of the building have contact with the general public on the ground floor, with its waterfront cafes. The lobbies for the offices, hotel, and apartments are located in the plinth - a long elevated hall that serves as a general traffic hub for De Rotterdam's wide variety of users.
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Conceived as a model of noble residences on the island of Delos in the second century BC. C. Kérylos the villa, is designed to re-create the atmosphere of a luxurious villa in Greece.
The Sheikh Zayed Grand Mosque is a masterpiece of modern Islamic architecture and design. Conceived by Sheikh Zayed, and marking his final resting-place, the mosque is one of the few in the region open to non-Muslims. More than 90,000 tonnes of pure white marble from the Republic of Macedonia were used in its construction. In the interior, three steel, gold, brass and crystal chandeliers fill the main prayer hall with shafts of primary-coloured light. The chandeliers, the largest of which weighs approximately 11 tonnes, sparkle with Swarovski crystals and shine with 40kg of 24-karat galvanised gold. One of the prayer hall's most impressive features is the world's largest loomed carpet fashioned from Iranian cotton and New Zealand wool and flown in from Mashad, Iran, on two aeroplanes – Sheikh Zayed Grand Mosque, Abu Dhabi, United Arabic Emirates
“Everything is both simpler than we can imagine, and more complicated that we can conceive.”
– Goethe
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Earlier I sat outside with my son enjoying a beautiful Autumn evening.
It was surprisingly nice out today, like.. tank top & jeans weather. [so so strange]
I made it a point to bring my camera along with me while I walked around the yard following my son in his power wheels. He looovess that thing!
I ended up taking a few photos that I was really pleased with, as well as making a few new textures for you all to download & use. I have already made one texture available for download. You will see the other textures pop up over the next few days as I make them public.
I hope that everyone had a great Thanks Giving & that you all are having a nice relaxing weekend!
Take care!
Ushnisha Sitatapatra, the Mother Protector, as conceived in Vajrayana Buddhist philosophy bears thousands faces and million eyes to take care of all perils...
The philosophic concept has an inspiring effect on my appreciation of deriving will power from within while keeping diverse faces of our expressions alert and million eyes of our moments in life awake to protect self from the evils around...there is none to protect us except us in strengthening ourselves by abiding roles and responsibilities of both citizenship and individual.
Mere wishes will not work until we sincerely act as our governments are advising us to do and as our moral senses direct.
Let us keep ourselves determined, duty-bound, caring and sensible to fight COVID19 !!
The deity image was taken in Stakna Monastery, Ladakh Himalayas, India
Just as our eyes need light in order to see, our minds need ideas in order to conceive. (~Napoleon Hill)
Shoutout to @imvused who always has really amazing ideas. I love your posts, Munchie! ♥
Isaiah 33:11-12 “You conceive dry grass, you bring forth stubble; your breath is a fire; it will consume you. And the peoples will be burning to lime—they are burned like thorns that have been cut down in the fire.”
Inuksuk (or Inukshuk), conceived by the peoples of the Arctic regions, serve as reference points - much like a cairn, to guide people along their way in the remote wilderness. Fabricated out of locally available stone, they often take the shape of a human with outstretched arms, which can be interpreted as a way of pointing to a specific direction.
Licensing available at Getty Images
The Collingwood Centre, Nelson
Conceived as two wings linked by a full height glass atrium, the Collingwood Centre is situated on the inner city fringe, straddling 105-111 Collingwood Street. This commercial development took five years in its planning, design, documentation and construction.
The brief from the clients was simple, “we don’t want a box”. What they did want was a modern, sustainable, commercial shell to allow medical and professional tenants to co-locate.
The building is orientated on the site to address the Collingwood and St Johns Street corner, to provide a visual link across the road to Buxton car park and provide an active frontage along Collingwood Street. The vehicle access is via an entry off Collingwood Street to discreet parking along the side of the site and at the rear, exiting onto St Johns Lane.
Timber battens adorn the exterior and wrap into the full height entry void serving as a wayfinding mechanism. They also act as sun and privacy screens and provide a softer skin over the precast concrete panels. Low maintenance materials have been selectively wrapped around main structural elements, some of which have been expressed on the interior and exterior of the building.
A DNA styled façade above a trickling water feature draws users to the main entry atrium where they can orientate themselves within the building. The full height structural concrete wall creates a central spine to the building and acts to passively regulate the atrium temperature in conjunction with auto opening skylights above.
From: www.resene.co.nz/total-colour-awards/14c-The-Collingwood-...
i am a child of the word.
conceived by the union of paper and pen,
formed and created by the words that take shape,
in poetry and literature's cultured and timely escape.
i am a child of the music,
created by the rhythm that gives life to blues,
forming my soul from nothingness,
shaping it to all soulful righteousness.
i am a child of the art,
Matured and nurtured by the strokes,
of the artist's brush on canvas with paint,
giving my life colour and culture not faint.
i am a child of the creative mind,
conceived in between insanity and earthly genius,
between all the arts in time and passionate love making,
i am the village poet born and bred, brewed and nurtured:
yours for the taking.
Barak Al'Mondia
The Stratford-upon-Avon Canal, west of Lapworth in Warwickshire.
The Stratford-upon-Avon Canal was conceived as part of a network of canals which would allow coal from the Dudley Canal and the Stourbridge Canal to reach Oxford and London, without having to use the Birmingham canals. An Act was passed on 28 March 1793 for the construction of a canal from a junction with the Worcester and Birmingham Canal in Kings Norton to Stratford-upon-Avon.
The route would take it close to Warwick and Birmingham Canal at Lapworth, but the act did not include any provision for a direct connection with it, or with the River Avon at Stratford. Negotiations started with the Warwick and Birmingham, and to second act was obtained on 19 May 1795.
Josiah Clowes was employed as the engineer, and construction began in November 1793, starting at the Kings Norton end. He was also working on the Dudley Canal's extension, and another four canal schemes at the same time, and was the first great tunnel engineer. The main line reached Hockley Heath in May 1796; one mile (1.6 km) short of the first lock at Lapworth.
The Dudley Canal extension through the Lappal tunnel was opened in early 1798, and with progress being made on the Warwick and Birmingham Canal, the Company obtained a third act of Parliament on 21 June 1799, which allowed it to raise more money. Work restarted in 1799 under a new engineer called Samuel Porter. He continued as far as Kingswood Junction, which was formally opened on 24 May 1802.
Construction only recommenced in 1812, under the leadership of William James of Stratford. James, who had owned shares in the Company since 1793, had a wide interest in turnpike roads and railways and coal mining. He rose to become chairman of the Canal Company, and personally bought the Upper Avon Navigation in 1813. He wanted to create a through route between the River Severn and the Midlands, and so the Canal Company obtained a further act of Parliament on 12 May 1815, which authorised a connection between the canal and the Avon at Stratford. The canal reached Stratford in June 1816 and a connection with the River Avon was made.
The southern section of the canal never realised James' ambitions, as the Upper Avon was too tortuous and prone to floods to be a reliable through route. He spent some £6,000 on improvements to the Upper Avon locks in 1822, but over-reached himself, and was declared bankrupt shortly afterwards.
Traffic steadily built up, although tolls were low, to offset the costs imposed on goods passing through Kingswood Junction to the Warwick and Birmingham Canal. In 1845, the company agreed to sell the canal to the Oxford, Worcester, and Wolverhampton Railway, who were also keen to purchase the Stratford and Moreton Tramway. Another change of ownership occurred in 1863, when the railway company was absorbed by the Great Western Railway. Traffic gradually decreased, but the fall in receipts was faster than the fall in tonnage, as the railway took the long-distance loads.
Information Source:
The project was conceived in 1990 and construction started in 2012, which was finally completed in August, 2016 and the cost of construction was 14 million US$. The three-storey building with 100 rooms will serve the Haj Pilgrims. The Bhavan has a state-of-the art auditorium, library, cafeteria among other amenities. The building was inaugurated on 27/08/16 to coincide with Air India's first Haj flight from KIA, Bengaluru.
* This picture was taken in a gloomy weather
The Villa d’Este’ Tivoli
The Villa was built between 1560 – 1572 and was conceived by Cardinal Ippolito d’Este. Although the Cardinal died in 1572 the work was almost complete by that date. It was put into realisation by Pirro Ligorio (Painter/Architect) and Alberto Galvani (Court Architect). The rooms of the palace were decorated by Federico Zuccare; Girolamo Muziano; Cesare Nebbia; Livio Agresti and Antonio Tempesta.
From approx. 1605 another Cardinal, Cardinal Alessandro d’Este inaugurated another round of modifications. This time it was the vegetation and waterworks that were concentrated on. New garden layout and building of fountains.
More work was carried out in between 1660 – 1670. Gianlorenzo Bernini completed a number of restorations to the fountains in the garden and was also responsible for the “Fontana del Bicchierone”
After this wonderful period of splendour the Villa fell into a state of slow decay, with many of the statues being disposed of. It wasn’t until 1851 that a great effort was made to bring it back to life. Between 1867 – 1882 it again was brought to cultural life, the highlight was when Franz Listz gave one of his final concerts there (1879) and also composed a special piano piece “Giochi d’acqua a Villa d’Este” (The fountains of Villa d’Este) refer to youtube if you would like to hear the music, it lasts for about two and a half minutes.
It became a property of the Italian State at the beginning of WWI and during the 1920’s it was again restored and opened to the public. More restoration was needed after WWII due to bombing. From then on it has been almost non-stop restoration mainly due to environmental deterioration.
A winter scene on the Hennepin Canal near Geneseo,IL. Conceived in 1834 and finally completed in 1907,the canal never was able to realize its full potential because of advances in other modes of freight transfer.It closed in 1951 after a $12 million proposal to widen and deepen it was rejected.It became an Illinois State Park in 1970.Big plans for the canal and its recreational uses have been on the books for years,the hope is that 2016 will see some progress...
The history of the canal,which is on the National Register of Historic Places...
en.wikipedia.org/wiki/Hennepin_Canal_Parkway_State_Park
I want to thank all my flickr friends for their unwavering support and inspiration in 2015.You all have made my experience on flickr one of the highlights of my day! I wish you all a great and inspired 2016!
Many curious local friends inquire about my lack of exhibitionism.
Of not wanting to promote the industry of beauty so called tourism.
I just merely 'forget' to tag my images properly.
Resort-names, Country, climate, environment, etc...
Well.
I see no point. To me, beauty is everywhere.
Bangkok to Bombay to Brussels.
Beautiful.
A person who waits to unwrap his/her camera until a pre-conceived target is reached, is merely following a hollow dream.
"If I was in your location..."
"If I had your kind of camera..."
Many such comments are targeted at my photos.
Instead, I'd rather look around me.
The immediate me.
Faces, shapes, skies, land, landmarks... God.
Why does memory cards have to be limited to GBs. Why can't we have
Terabytes of storage?
There is just so much to shoot!
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Above.
When I was working at Sun Island ( www.villahotels.com/sun/index.htm )
this used to be a favourite spot.
Off limits for the tourists, (because of unloading and other back-house activities) this jetty is bypassed by many, as uninteresting and ugly.
I find many photo opportunities, of both action and scenery, here.
Beauty, they say, is in the eye of the beholder.
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Happy shooting to all my friends.
Calatrava's first major design decision for the WTC Transportation Hub was to conceive the building at grade, the 'Oculus', as a free standing structure and situate it along the southern edge of Daniel Libeskind's 'Wedge of Light' plaza. This treatment of the site creates a kind of pause amid the dense commercial towers and links the procession of green spaces extending from City Hall Park to the churchyard of St. Paul's, through the WTC Transportation Hub plaza to the gardens of the Memorial and Battery Park along the Hudson. The 'Oculus' is comprised of steel ribs and glass arrayed in a large elliptical shape. The ribs extend to create two canopies over the north and south portions of the plaza.
The rafters spring from two 350 ft arches flanking the project's central axis. Between the arches, a 330 ft operable skylight frames a slice of the New York sky, and opens on temperate days as well as annually on September 11. Although suggestive of motifs from many traditions (the Byzantine mandorla, the wings of cherubim above the Ark of the Covenant, or the sheltering wings on Egyptian canopic urns), the form may be summed up, according to Santiago Calatrava, by the image of a bird released from a child's hands. This Oculus allows natural daylight to flood into the WTC Transportation Hub; filtering down through all levels eventually to the PATH train platform, approximately 60 ft below the street. At night, the illuminated building will serve as a lantern in its neighborhood. Santiago Calatrava speaks of light as a structural element in the WTC Transportation Hub, saying that the building is supported by 'columns of light.'
Access into the building is provided from Church and Greenwich Streets through the east and west arch abutments of the Oculus. Entry stair landings cantilever over the large below grade piazza called the Transit Hall. Escalators, elevators and stairs provide access to the upper and lower retail concourse levels. The lower concourse is approximately 34 ft below street level, and 160 ft below the apex of the operable skylight. The column-free elliptical space is approximately 350 ft long, by 115 ft across at its widest point.
La Terra e io siamo stati ugualmente concepiti.
Capo Joseph (1840-1904)
The Earth and I were equally conceived.
Chief Joseph (1840-1904)
www.edizionilpuntodincontro.it/libri/amicizia-con-la-terr...
Bing Image Creator
Becoming Marni is a site-specific installation conceived as the concluding act of the whole Marni Prisma program. It consists of one hundred wooden sculptures created by Brazilian self-taught artist Véio, distributed around the cloister and inside the rooms of the Abbey, drawing an ideal landscape of organic forms. The sculptures are installed in different groups, indoors and outdoors, their presence marked by a tactile path, the color of Venice’s water, drawn on the floor: an irregular surface with translucent spots, creating continuity between the outside and the inside. A small cabinet in the cloister housed Véio’s workshop, enabling him to create artworks on site. Furthermore, as the San Gregorio Abbey is usually closed to the public, this exhibition presented an opportunity to enjoy a unique space.
Consuelo and Carolina Castiglioni discovered Véio at a collective exhibition in Paris. Through Galeria Estação, which exclusively represents him, they entered in contact with him and Carolina tracked him down to Nossa Senhora da Gloria, the small village in the north East of Brazil where he lives and works. Here Véio creates his enigmatic sculptures by giving new life to pieces of wood, clogs and branches he finds along the river. He immediately identifies a being in each piece – an animal, a resting human, a fantastic bird. By a process of artistic transformation – clipping, shaving, adding a final layer of color – he makes the same beings visible to the public, removing them from the raw material and thereby restoring to the wood a meaning that exceeds pure physicality.
This is the complete album of the photos of my visit. --- --- --- www.flickr.com/photos/136891509@N07/albums/72157661202999340
It's no secret that Destiny, while a very fun game, is radically different to how it was conceived. I find perusing Destiny's concept art to be an entertaining pursuit though, since there's some cool stuff that almost made it into the game. Take this ship, for example. In the concept art, it's the above colour scheme, belonging to a faction (Forces Of The City) that was cut from the game. In-game, the white portions are light grey, it's unarmed, and all it does it fly around the main social space.
Now that doesn't stop it looking really freaking cool, so I built it anyway. It's a very interesting design, I love all the wings and fins. Plenty of fun angles too. The wings rotate for landing, and the built-in landing gear forms two of three points. The third is the landing leg at the back. Alas, it can't support it's own weight, but you can barely see the transparent bricks I propped it upon anyway...
Finding decent reference pics of this was surprisingly hard. I went and sat in the Tower for a while and took screenshots as they flew past me, but the rear of this beast is a well-kept secret. There is actually one of these parked in the Lighthouse, the PvP tryhard-only social space, but I haven't been there in years, so I had to watch some kid's youtube video boasting that he was there, muting it, and then pausing it when his character was anywhere near the rear of the ship. So yeah, it's reasonably accurate. That being said, I got a good few reference pics from artstation: cdn1.artstation.com/p/assets/images/images/001/208/901/la...
Enjoy, let me know what you think, you know the drill. There may be a video to come, but I need to shave first. And collect my thoughts so I don't just ramble on...
(Check the very end of the photoset if you want to see the sorcery that I used to make the front/cockpit work, and a few other cutaway bits.)
Overview
Conceived mainly for big open spaces, CONTROL NO CONTROL is a large-scale interactive installation in a minimalistic geometric structure, true to Studio Iregular’s signature style. Created in 2011 in Montreal for Igloofest, it has since been presented over 35 times worldwide.
CONTROL NO CONTROL is a big LED cube that reacts to everything that touches it and every movement performed on its surface. Streamlined patterns and generative sound emerge as interaction occurs. Allowing 48 people to participate at the same time, the experience is extremely intuitive, leading to quick audience engagement and prolonged interactions.
About Iregular
Founded in Montreal in 2010, new media art studio Iregular creates audiovisual installations, large-scale sculptures, architectural projections and scenographies, focusing on interactive and immersive experiences. At the crossroads between art and technology, these artworks experiment with geometry, light, sound, typography, mathematics, algorithms, communication protocols and AI. Iregular also develops its proprietary technologies.
The studio works with the infinite and random combinations produced by interactive systems that the audience ultimately influences and transforms. Interaction is at the core of it all. Only the relationship between the people and the piece finalizes the artwork and gives it meaning.
Iregular’s work has shown in more than 30 countries, notably including a solo exhibition in the Van Abbemuseum in the Netherlands, five solo exhibitions in Montreal, as well as other important presentations at Mutek (Montreal and Mexico), BIAN (Montreal), Mapping Festival (Switzerland), Chroniques Biennale (France), LEV Festival (Spain), Draaimolen (The Netherlands), Elektra (Montreal), Glow (The Netherlands), Lumiere (United Kingdom), Dubai Design Week (UAE), B39 (South Korea), Arttech (Colombia), Festival du Nouveau Cinéma (Montreal), and Aurora Festival (USA). Their creations are also in the collections of the WNDR museum in Chicago (USA), the Museo de Antioquia in Medellín (Colombia) and the Collection du Mouvement Desjardins in Montreal. Source: harbourfrontcentre.com/event/control-no-control/
Check out our Website
“Darkness comes. In the middle of it, the future looks blank. The temptation to quit is huge. Don't. You are in good company... You will argue with yourself that there is no way forward. But with God, nothing is impossible. He has more ropes and ladders and tunnels out of pits than you can conceive. Wait. Pray without ceasing. Hope.”
- John Piper
Soundtrack : www.youtube.com/watch?v=CoNtYC_XDC8
ALL THAT YOU HAVE IS YOUR SOUL – TRACY CHAPMAN
I take myself away now for a little while because I am feeling sad again and my heart is elsewhere.
Take care of yourselves and each other. I will return when I am smiling more and the shadows have lifted. Thank you all for your wonderful support and kindness. I love you all <3
THE ARTIST (AGAIN)
I am emptied; devoid of all emotions
motionless; sunk into the softest mattress
cushioned from the world
reclusive and alone
no distractions; I listen to the outward sounds
to quieten my mind and inner voices
I listen to the ticking of the mantel clock
and to the spaces inbetween where heaven is
I listen to the sound of the ocean lapping on the shore
it comforts me and lulls me into a dream-like state
my eyelids feel heavy, but I can't close them both
one of them is bruised and swollen;
the colour and texture of ripened grapes
sweet juice oozing and beading on the surface of the skin
a soft sheen glistening; a loud bang makes me jump
before I settle with a sigh back into the verge of unconsciousness
he's gone; the door slamming was a relief
I listen to the sound of the birds; twilight is approaching
they seem to get excited around this time
like they are saying goodnight to each other
the dawn chorus is the one everyone talks about
but more beautiful than that is the chorus of the golden hour
those precious moments before the sun slides down the globe
and into another land where it begins to rise up to greet the day
I wondered was there a quantum slipstream
of space-time continuum
when the sun was alone in the darkness
was there a pathway between where night meets day
I wondered what that place would be like
what extraordinary powers existed
that could block out the sun
albeit for some brief moments in time
or what if time did not exist in this imaginary place
perhaps this is the place where all things mislaid go
all those odd socks; keys and other little mundane things
which bring a little comfort to our everyday lives
I blocked out even these small thoughts
thinking only made me more aware
of the pounding in my skull
my brain felt that it was too big to be contained within
pulsating at the temple on the right side of my head
I could feel the blood pumping to protect me
it felt warm and comforted; a natural defence mechanism
how marvellous the body is at repairing itself
and thank goodness for that; mine was overtaxed
every few weeks or so had narrowed now to every few days
the shouting; the moods; the artistic temperament of the Artist
I didn't yet call myself this; I didn't feel like being labelled
and I didn't recognise anything in me
that would make anyone think I was one
He, on the other hand, The Artist; He was the real deal
tortured and tormented some days
and charming, charismatic on others
I never knew what his moods would be; he was unpredictable
at first this had been exciting; I loved his passion for life
for his art; all this spilled over onto me
and at first it had been exciting; oh yes, I said that already
I am repeating myself; my thoughts need checking
and bringing into line;
I tried to block out all thoughts once more
the headache continued to thump rhythmically
at least my pulse was now steady
and consistent as it pounded away
I listened to the night settling around outside
and watched as the darkness crept into the room
slowly enveloping me in it's claustrophobic cloak
I wasn't afraid; how could I be afraid of the dark
when it was the day that brought most terrors
the birdsong was tailing off now as they roosted
In the darkness I could hear the tide turn
I know; you may think it's too subtle to be heard
but let me assure you it is possible
and I heard it now; the turning of the tide
for the Adriatic and for me
the end of the road; how clichéd I had become
my mind once so desirous of knowledge
that no amount of reading could quench my thirst
now I had become empty-headed
the only thoughts when he was here
were his thoughts; his words;
entering my brain with a loud tangible thud
not much difference between them
and the blows he had landed before he left
I wanted to yawn but I felt my jaw was broken
I could feel the blood that once was warm within me
congealing now; cold upon my cheek
my nose was numb; broken again
tears rolled down my cheeks, but I couldn't feel them
until they fell from my chin
the window was open
and a gentle breeze flowed in from the sea
I followed him here to Venice; to The Lido
I thought it would be exciting and it was
but now the excitement was no longer pleasurable
I heard the door opening downstairs in the hall
I groaned; the sound of an animal but it was me
I heard his footfalls on the stairs
he called my name, but it wasn't him
and at last I was saved ...
- AP – Copyright remains with and is the intellectual property of the author
Copyright © protected image please do not reproduce without permission'
My artwork is a compilation of 4 of my photographs
I conceive each painting as a musical score where notes become color fields and lines that intertwine into a living mosaic. The superposition of memory and future functions like a chord whose full resonance emerges only in the viewer’s gaze. Through geometry, color, and silence, I invite you to pause and measure your own timescapes anew
Symphonies of Superpositions are my attempt to harmonize biography and cosmos. The colorful shapes at the edges of each canvas represent threads of memory, desire, and dream that weave through the narrative of my life. The unblemished white center marks those moments when everything was open—times in which past and future exist in unresolved tension.
KreativRaum Galerie
Der Raum dazwischen
6.bis 19.September 2025
Vernissage ist am Di. 9.September, ab 18.30
Di, Mi, Fr: 15:00 – 19:00 Uhr, Sa: 12:00 – 17:00 Uhr
Biberstraße 4, 1010 Wien
The Shoes on the Danube Bank is a memorial in Budapest, Hungary. Conceived by film director Can Togay, he created it on the east bank of the Danube River with sculptor Gyula Pauer to honour the Jews who were killed by fascist Arrow Cross militiamen in Budapest during World War II. They were ordered to take off their shoes, and were shot at the edge of the water so that their bodies fell into the river and were carried away. It represents their shoes left behind on the bank.
If you would like to use any of my photos please contact me and ask permission first.
If you want to look at more of my photography you can check my website and social media links below:
www.facebook.com/geraintrowlandphotography
www.instagram.com/geraint_rowland_photography/
Getty
The 'Surrealist Piano' was first conceived by Salvador Dali in 1954 and was cast in 1984 by Pereos of Switzerland. The lost-wax bronze 60cm high edition was limited to 350 pieces. The traditional piano legs are replaced by those of a dancing girl, the front legs provocatively splayed emerging from skirted frills that run beneath the keyboard. The leg at the back of the sculpture is also framed by a frilled skirt and all three are booted, Dali's design was informed by the can-can culture of 1920's Paris of his youth. On top of the piano is a golden ballet dancer reaching out and mirroring the shape of the piano’s lid. The high-culture of the ballet dancer’s pose contrasts with the more vulgar forms of the skirted piano legs. This singleton full-size casting is privately owned and has appeared in exhibitions around the world. It is seen here in the grounds of the Castle as the major piece of the Shrewsbury Arts Trail 2023 (on view until the end of August). Taken with a 1981 Polaroid SX-70 Land Camera Supercolor Autofocus on Polaroid (TIP) film.
Originally known as the TFX (Tactical Fighter "X"), the F-111 was conceived to meet a U.S. Air Force requirement for a new tactical fighter-bomber. In 1960 the Department of Defense combined the USAF's requirement with a Navy need for a new air superiority fighter. The USAF's F-111A first flew in December 1964, and the first production models were delivered to the USAF in 1967. Meanwhile, the Navy's F-111B program was canceled. In all, 566 F-111s of all series were built; 159 of them were F-111As. Although the F-111 was unofficially referred to as the Aardvark, it did not receive the name officially until it was retired in 1996.
An interested feature of the aircraft was its variable-geometry wings which was a first for any aircraft. While in the air, the wings could be swept forward for takeoffs, landings or slow speed flight, and swept rearward for high-speed flight. The F-111 could also fly at very low level and hit targets in bad weather. And, it also was the first operational aircraft to feature automatic terrain-following radar.
In the spring of 1968 the USAF operationally tested the F-111A in Southeast Asia with mixed success. In 1972, after correcting early problems, the USAF returned the F-111A to Southeast Asia for Operation Linebacker II, where it conducted very effective night strikes against North Vietnamese targets.
TECHNICAL NOTES:
Armament: One 20mm M61A1 cannon and up to 24 conventional or nuclear weapons
Engines: Two Pratt & Whitney TF30-P-3 of 18,500 lbs thrust each
Maximum speed: 1,452 mph
Cruising speed: 685 mph
Range: 3,632 miles
Ceiling: 57,000 ft.
Span: 32 ft. swept; 63 ft. extended
Length: 73 ft. 6 in.
Height: 17 ft.
Weight: 92,657 lbs. maximum
The 'Aardvark' was officially retired in 1996 and many were put on display across the country. This one (designated as FB-111A 6509) is displayed at Whiteman Air Force Base in Missouri and flew with the 509th Bombardment Wing from Pease Air Force Base in New Hampshire. It was named the Spirit of the Seacoast to honor the civilian community.
Three bracketed photos were taken with a handheld Nikon D5200 and combined with Photomatix Pro to create this HDR image. Additional adjustments were made in Photoshop CS6 with the final conversion to B&W done with Nik Silver Efex Pro II in PS6.
"For I know the plans I have for you", declares the LORD, "plans to prosper you and not to harm you, plans to give you hope and a future." ~Jeremiah 29:11
The best way to view my photostream is through Flickriver with the following link: www.flickriver.com/photos/photojourney57/
"Another long-awaited collaboration, the park's memorial bench ..... was conceived as a memorial to the teenagers Sylvia Menendez and Carlos Hernandez who were killed in the park on June 24, 1996.
The bench was built from cedar and melted guns by Peaceful Streets' John Ricker who turns the metal from melted guns into artwork.
It rests on a dove-shaped, painted tile walk-way designed and produced by Susan Cervantes and her staff at Precita Eyes Mural Arts. Composed of 900 tiles relating to the couple's lives, the tiles were hand painted by people of every age from every part of the community. Neighbors see their commitment to park improvement as a help in preserving the community's quality of life ..... "
precita park, bernal heights, san francisco
i walked to and through this park every day during my most recent 3 month stay in SF, greeting young & old folk and everyone's dogs alike. not knowing anything about this memorial, i learned from the people i spoke to, prior to doing the above net search.
btw, the killings were *not* gang-related but more chilling in that the shooter was an older man who had been molesting the girl for years. (although the park did have a prior history of drug and gang violence.)
out of this tragedy, a community declared that enough was enough and the park has gradually turned into a beautiful and safe haven for the neighborhoods of bernal heights and the mission.
"Where the roads intersect,
Where the sea can not be conceived,
Where the fugitive always returns,
Let's say I'm talking about Madrid."
Joaquín Sabina.
The "Puerta de Alcalá" is one of the architectural symbols of the capital of Spain. Its origin dates back to the late eighteenth century and was one of the royal gates that indicated the access to the city, in this case to travelers coming from the Northeast. It is curious how originally it was conceived to mark the outer limit of Madrid, while today it is already part of the center of a city that has grown by leaps and bounds.
I usually avoid days without clouds to take pictures, but when we have few days to photograph a big city like Madrid we shouldn´t lose opportunities. Therefore, I had to look for a photograph in which the sky was not an important part of the composition, and luckily big cities offers the possibility of adding the lights of the cars to beautify our images. In these cases first we should get a clean image without cars, then it is convenient to get a lot of pictures with car trails to be able to mix those that we like more and that transmit what we want to share.
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"Allá donde se cruzan los caminos,
donde el mar no se puede concebir,
donde regresa siempre el fugitivo,
pongamos que hablo de Madrid."
Joaquín Sabina.
La Puerta de Alcalá es uno de los símbolos arquitectónicos de la capital de España. Su origen se remonta a finales del Siglo XVIII y era una de las puertas reales que indicaban el acceso a la ciudad, en este caso a los viajeros provenientes del Noreste. Es curioso como en su origen fue concebida para marcar el límite exterior de Madrid, mientras hoy en día forma ya parte del centro de una ciudad que ha crecido a pasos agigantados.
Suelo evitar los días sin nubes para fotografiar, pero cuando se dispone de pocos días para fotografiar una gran ciudad como Madrid no hay que perder oportunidades. Por tanto, tenía que buscar una fotografía en la que el cielo no fuera parte importante de la composición, y por suerte la gran ciudad ofrece la posibilidad de añadir las luces de los coches para embellecer nuestras imágenes. En estos casos una vez que se obtiene una imagen limpia sin coches, es conveniente conseguir el mayor número de fotografías con luces de coches, para luego mezclar aquellas que nos gusten más y que transmitan lo que queremos compartir.