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My plan this morning was to drive out to Maumee Bay State Park and take some pictures. Driving South on 280, I made a detour hoping to find my way back to a railyard I'd spotted. After toodling around for a bit with no results, I was ready to get back on the highway and proceed with plan A.
Fortunately, instinct led me to keep following a road to its dead-end conclusion, stopping at train tracks with a line of brilliant yellow daisies adjacent to them.
I shot the daisies and power towers for about an hour, just enjoying the brisk September morning, with trains coming through about every 15 minutes.
Eventually, a train slowed and finally stopped. So I made some shots of it, and finally stumbled across this composition -- immediately knowing this was the shot I came for.
Constructed collaged/ mono-printed/resist-dyed habotai silk and paper - 76cm x 96cm - for sale
An artwork that I've had on the boil for some time which reached it's conclusion recently with a 'rush' of memories and feelings that came completely out of the blue as I worked on it.
I was listening to Radio 4 at the time, glad of the background noise but otherwise disconnected from whatever was being discussed, except for the words ' Book of Echoes' which somehow hit me right between the eyes and seemed to fit perfectly as a title to the work that I'd created and the inadvertently tapped into stream of consciousness.
Commentary- So in conclusion what I heard in majority and with what I agree with is stop doing the same exact camouflage I have already drafted a new one :)
I am glad that was the problem and not others
THANK YOU to all who provided productive feedback, it is really appreciated
Rage_Rex I do try to make my camouflage patterns realistic
the one I used was about 80% realistic and the next one I use is 100% realistic
Sgt.BrickBrowns It is because I use flex tubing and flexing is what it does However I can try and explore other options
Malbork Castle, Zamek w Malborku
The Castle of the Teutonic Order in Malbork is a 13th-century Teutonic castle and fortress located near the town of Malbork, Poland. It is the largest castle in the world measured by land area and a UNESCO World Heritage Site. Wikipedia
It was originally constructed by the Teutonic Knights, a German Catholic religious order of crusaders, in a form of an Ordensburg fortress. The Order named it Marienburg in honour of Mary, mother of Jesus. In 1457, it since served as one of the several Polish royal residences and the seat of Polish offices and institutions to 1772. From then on the castle was under German rule for over 170 years until 1945.
The castle is a classic example of a medieval fortress and, on its completion in 1406, was the world's largest brick castle. UNESCO designated the "Castle of the Teutonic Order in Malbork" and the Malbork Castle Museum a World Heritage Site in December 1997. It is one of two World Heritage Sites in the region (north-central Poland), together with the "Medieval Town of Toruń", which was founded in 1231.
Malbork Castle is also one of Poland's official national Historic Monuments (Pomnik historii), as designated on 16 September 1994. Its listing is maintained by the National Heritage Board of Poland.
With the rise of Adolf Hitler to power in the early 1930s, the Nazis used the castle as a destination for annual pilgrimages of both the Hitler Youth and the League of German Girls. The Teutonic Castle at Marienburg served as a blueprint for the Order Castles of the Third Reich built under Hitler's reign. In 1945 during World War II combat in the area, more than half the castle was destroyed. At the conclusion of the war, the city of Malbork and the castle became again part of Poland. The castle has been mostly reconstructed, with restoration ongoing since 1962. A new restoration was completed in April 2016. Malbork Castle remains the largest brick complex in Europe.
DESIGNATION: Protector-016
NICKNAME: Xiph
RANK: ARC Lieutenant
LEGION: 253rd LEGION
*START LOG*
.
.
_ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _
.
General Kenobi; “I believe that with a small group of ARC troopers we will be able to successfully capture Ventress and bring her to justice. This is a stealth operation, so we will be going in on foot. The jungles of Teth remain largely unexplored, and even alone, Asajj Ventress is a significant threat, which is why this is not an order, but merely a request.”
.
I step forward and salute the general.
.
.
---
.
.
We went further inside the tunnels, reaching an end where we thought we would find Ventress. But out of the dark crawls not Ventress, but a massive, hulking battle droid that demolishes the stone archway overhead, and with its single glowing eye, locks onto you and your squad with a glare that sends chills down your spine.
Through the commotion comes the piercing sound of engines igniting, followed by the sight of a Ginivex-class starfighter rising up from behind the ruins and into the evening sky.
"Blast," Kenobi says, "she set us up."
.
"Orders, sir?"
.
The General watches as Ventress' ship breaches the atmosphere, and then sets his gaze back onto the droid, slowly moving closer while a giant saw blade on its wrist builds up speed.
.
"We fight."
.
_ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _
.
.
*END LOG*
_______________________________
To find the conclusion to his chaos, The Reverse Flash has but one final goal. To end his opposite. Toiling and tormenting Barry since he was a young boy, Murdering Allen's Mother had only been the beginning of his torture. Getting to watch as Barry saw his world crumble and friends fight and die around him was the ultimate victory for Eobard.
Luckily for Barry, with help, re-created the instance that gave him his powers, thus, regaining his connection with the Speed-Force. Now back at full potential, The Flash Races off to London to try and keep Diana and Aurthur from a world wide war of ages. Only then does he find out who was really behind all of this. ...But will he be able to change things back to what they were before Thawne?
---------------------------------------
Okay let's be honest, this is hands down, my finest work to date.
I am so incredibly proud to be able to share this with you all. Like I had mentioned in the previous upload, with the post production of the six images you see before me, took nearly three hours on this piece alone.
Now I know it's odd to have a builder/photographer really really really enjoy his own work, but hey, I'm gonna at least pat myself on the back for this one :)
[ null.daten ]
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# THE CONCLUDING CHAPTER OF A BORDERLINE ELEGAIC, TENEBROUS DRIVE-BY MULTIPLE EXPOSURE PHOTOGRAPHIC TRILOGY CYCLE ... PRINCIPALLY SHOT WITH BLUE AND GREEN FILTERS .....
In South India at last, I had time to sum up, to weigh my travels in my heart — and not in the balance of time and space. At the hour of my death what would the meaning of these travels be? They were important to me in so far as they had changed me, brought me nearer to my real centre. Slowly they had led me to what matters most. Only the inward journey is real. I found myself. Which is the same as to say that I found the way to become freed from my preposterous ego. Now I know that there is a way to the unchangeable Centre — that Core which is the same in all of us. And because of It, I can try with sincerity to love my neighbour as much as myself. Feeling no longer divided but concentrated, I can march with patience towards that oneness which we all feel, is the ultimate as well as the first word of life.
Deep gratefulness. I come back to you, perfect pond of my youth, deep blue line of the far horizon. You sent me away to the seas, and to beyond the seas in search of your promise. I have done it. I regret nothing. I feel all is granted. I have no more wish. I am free from myself, don’t belong to myself any more. What then is my harvest? Nothing. That necessary oneness is a total Mystery. But I learnt the way to it, [and] I kneel before it.
c) Sri Ramanasramam
from "The Long Road to Bhagavan
Tracing the Pilgrim Life of Ella Maillart" (Part VII: Conclusion)
on my 1st of November walk from Fü to N.
So, after leaping away from the Reddish Egret, instead of heading for open water, the mullet turned back and charged directly toward his adversary. At first it looked like a brilliant tactical move as the off-balance bird misfired and awkwardly twisted toward shore. But alas, the fish made one turn too many and the inevitable conclusion inevitably concluded. In the surf at Bolivar Flats, Galveston County.
texture thanks to bocaccino
Please see LARGE View On Black
Prints, notecards and canvases available at Jacki on Imagekind
Number: CT-7777
Rank: Sergeant
Nickname: Sev
2nd regiment of the 253rd Legion
///Log entry///
[Pvt. Hoss]: "I think we're lost in these catacombs, sir... "
[Sgt. Sev]: "Be quiet soldier... We don't know what can still be here."
[Pvt. Hoss]: "Sorry sir. I don't have a night viso..."
[Sgt. Sev]: "Don't you see that this staff has a source of light?!"
*Silence*
*plop-plop*
[Pvt. Hoss]: "Yes sir, I see..."
[Sgt. Sev]: "SO WHY ARE YOU TELLING ME THAT?!"
[Pvt. Hoss]: "Sir! This staff is doing something wrong with you! Don't make me use my Z-6 for you!"
*The light stops working*
*Darkness*
*Evil laugh*
[Pvt. Hoss]: "What the f... Sev! Where are you?! SEV!"
*Something takes his Z-6*
*Clatter*
*Whisper behind Hoss*
"Here..."
*Hoss starts screaming*
[Pvt. Hoss]: "NOOO!!! NOOO, PLEASE!!!"
"Yes! It is your destiny!"
*Hum in the air*
*Hoss is still screaming*
*Rip*
*Screaming intensifies*
*Blood splash*
*Silence*
[Sgt. Sev]: "Umm... What the... Hoss?"
*Shakes his head*
*Vision returns*
[Sgt. Sev]: "NOOO! WHAT HAVE I DONE?! WHY?! NO, THAT'S NOT TRUE!!!"
///End log///
And I thought I won't be able to build for this... Poor me. Not my best entry, I haven't had so many bricks left. Mainly inspired by Tommy. I think the pic (and the horror story ;)) is better than the build, though.
TFVAHAGD
~Jan
In this project, of “Post what”, I mainly concentrated on how we kept in contact before we hand social networking sites. I started off by researching into different forms of hand writing, as it shows personality of the author, as on any of the social networking sites, there really one form of font to use, but also writing to some, it shows that they had given thought to write to the sender. I started to experiments with drawings of a timeline, documenting the different forms of keeping in contact. I painted these in watercolour, but I thought that it doesn’t keep in touch of what I had in mind, as I want to make my work seem more personal of using photographs and different examples of handwriting .I started off, with looking at Facebook because it’s one of the main ways of keeping in contact today, I started off by making a facebook dairy but felt it had no relevance to do with my main idea, also I on the facebook idea, I made a felt like badge so we could like things in real life instead of only on facebook. What started my main idea off, was one of my quick sketches was the facebook post-box and stamp, it started to make me think how we keep more in contact on line than handwriting, so I wanted concentrate on this. I started to experiment making a books, as of taking inspiration from the st.Brides book fair and from the research of other artists such as “Ray Johnson” with his mail art. For my final pieces made three little book of how we kept in contact, each is to do with different scenarios of letter writers; I’ve tried to make them seem more personal as using collage media of letters I came across, but also I made them small, so it can be easily hand held but also I wanted to get the audience involved to look through, my idea for the books was to still have the timeline idea of setting out the different things that makes up the letter as well. I also feel that I could of worked more on my sketchbook to develop my ideas further.
《《《《《 ///BEGIN LOG\\\ 》》》》》
It's said no one can hear you scream in the jungle.
Let me add no one can see you die either.
Firefek.
I was planning to take it easy this time around.
You know, looking good and buff, telling all the rookies what to do, ya know the drill.
But, our friend war here decided to shake things up a bit. Too boring for him, eh?
So first our cruiser blew up.
I hate to say it but we were a bunch of bantha fodder. Plain and simple. How do you get outsmarted by a kriffing piece of metal?
Another remark to add to the book of life.
Then, as the Endurance careened on its final endeavor, we plunged through the smooth, even magical, misty exterior of the planet's atmosphere.
I'm almost sure the cramped conditions and stuffy air vanished as we plummeted through an ocean of green, green, and more green; I'd never seen a planet so full of life.
It's the mission a clone always wished for.
But.
I felt something.
Even after I dismissed the feeling as simply a matter of stress, it never went away.
I faithfully carried out my orders, yet everything seemed.... ambiguous... and dark.
Command and unlinked us and informed we had to enter the catacombs, the bowels of the temple.
This is easily the first time I questioned an order; the uneasiness this planet gave me... it was worse than the chills Kamino's torrential rains gave me after a training day.
It did not help me clear my mind.
The planet's looming presence revolved around me, filling the gaps of the crumbling pieces of the ancient site, as my squad and I made our way under the monolith structure.
They had warned us about a.... thing.
An artifact.
An artifact of evil.
Of the Sith.
That word burned my memory with piercing familiarity.
I remember, some time ago, the dreaded screams and yells of terror, from fallen comrades, sounding the alarm of..... such a treacherous being.
It was the Sith.
"Sir, we've reached a fork in the tunnel system."
"The coordinates failed to upload on my receiver; did Command specify the pillar's location?"
Sabre's comment woke me from my thoughts.
"Er-umm-uh yes...uh yes Lieutenant. It's the right entrance. Stay close behind."
Wait.
Was it right?
Or was it left?
Was right right or wrong?
Was left wrong?
Was right the right wrong or left....
"STOP!!"
"Sir what is it?"
"Take your blasters, and set then from stun to the highest level of fire."
"Sir, Command told us to set it on stu-
"I DON'T CARE WHAT KRIFFING COMMAND SAID!!
I breathed heavily.
"That's an order, soldier."
"...."
"Yes Sir."
Something is wrong.
This isn't right.
I gotta stop this...
No.
Everything is fine.
Command is full of egotistical higher ups.
They just want you to die on this planet.
They're using you.
You're nothing but a clone.
A mindless, idiotical, thoughtless, expendable,
Being.
You don't have to place the charges.
The temple is not threat.
Nothing is here.
Nothing but death.
No.
No.
No.
What is this?
Who are you?
Are you for us or against us?
GET OUT OF MY HEAD
OUT
GET OF GET
OUT MY
GET HEAD MY
MY HEAD
OUT.
OF.
MY.
HEAD.
There is nothing here.
You don't have to place the charges.
There's no need.
Just stop.
Discard the charges.
Kill your men.
Kill yourself.
Just
l e t
g o
I- j-just c-can't. ...
Just let go....
B-but, I-I just couldn't...
LET GO....
NO.
NO.
NO.
Stupid imbecile.
Weakling.
You could have lived.... longer.
But now.... now you will pay.
It was gone.
I could think.
I could feel.
I could reason.
"Tango, Ratchet, Fuse, guard the entrance.
Sabre, come with me."
I went to place the detonators to finally get out of this place.
Firefek.
Water had splattered all over the charges.
Ya would think they'd make these things waterproof.
"Sabre, ya have any spare charges?"
"Always do Sir."
"Here ya g-"
"Wait!"
*cc-rree-aAAAKkkk...*
I feel it.
It's coming.
I felt the walls, the floor, the ceiling tremble.
The ground was cracking.
"Sabre, I want you to get out of here right now!"
"But Sir you-"
"SABRE!
It's coming.
Lead the squad.
You know what to do."
"I can't do it Sir!"
It's getting closer.
I feel it under my boots, around me, above me.
"You must.
This is my resting place."
I've run the good race.
Fought the good fight.
I've-
*CRASH*
It's broke through the wall with violent force, demolishing it.
So much was it's power it knocked us down.
Its red eye stared at me with the glare of death, straight into my soul.
"GO!!
BEFORE IT'S TOO LA-"
I was flying through the air.
"SIR!!"
I slammed against the cold stone wall.
No one said dying would be easy.
"G-g-ggo," was all I managed to whisper... as again I was hurled and knocked flat.
This is it.
Goodbye.
I saw the blood red light intensify.
Then, somehow, I saw it fade away and a pure light appear.
"Take care of them, as you did for me."
Then black.
《《《《《///ENDLOG\\\》》》》》
Final log uploaded by CL-4712, "Havoc."
Status: Unknown: MIA, assumed to be KIA.
At the conclusion of a service day, hauling the WW&F Museum's annual "Steam & Sleighs" trains, Locomotive #9 appears to be checking to see how her new digs are coming along. Although still under construction, move-in day is coming in 2023!
The structure she's sitting next to is the museum's new, 3-stall roundhouse, which is patterned after a structure which existed on the original railroad, in the yard in Wiscasset, ME. If all goes according to plan, the new roundhouse should be completed sometime in 2023 and will eventually house a planned collection of 3 steam locomotives, including the Number 9, her little sister and the museum's first locomotive, the 10, and the much larger, new-build Locomotive #11, which is already under construction in the shops, a few yards away. The right-most (#3) stall has a run-through track and can be entered from the front or the back of the building. That #3 stall also has a deep servicing pit beneath it. The center stall is actually the longest and while I have not measured it, appears to be long enough to store two small locomotives end to end, if that ever became necessary.
This new structure has a concrete floor and will include smoke jacks as well as fire-suppression precautions, allowing locomotives to be steamed up and stored hot indoors....something the engine crews will LOVE in the winter. It will also free up space in the museum's shop building to accommodate more of the many projects underway here. And lastly, this roundhouse will make an awesome venue for night photos!
The conclusion of the Perilous Tales story arc for SW Factions. Full story here: www.eurobricks.com/forum/index.php?/forums/topic/186723-j...
My little homage to the Adventurers theme, with a Star Wars twist.
In honour of Lilith's return home, I have finally finished 'The Cabinet of Curiousities'- a diorama I have been working on for over a year.
Here is the perfect little nook for Lilith to read and write in.
I don't know how long until I post pics but hopefully soon enough. I can't find the right lighting just yet, and my cat has already tried to reclaim it as his own, so there is hair to be removed.
One of the things that’s interesting about living in a big city is the number of times in which we draw instant conclusions about strange sights on the street. To some extent, everything looks strange on Halloween, of course, but when you’re surrounded by 8 million strangers, you see strange, unexpected sights every day. You don’t have the time, the energy, or the interest to check out the details; so you make some “snap” judgments that get filed away temporarily in some recess of your mind, and you just keep walking.
As a street photographer, I am constantly told that I should stop and interact with the people I photograph; get to know them, learn enough about them so that the photographs tell a meaningful personal story without the need for any words. But the photo you’re looking at here has at least seven individuals, most of whom I’ll never see again. True, 6 of the 7 are walking away from me; and I could have stopped the figure in the red mask to find out who he is, where he comes from, and a thousand other details about his life. Maybe he (or she) was hoping I would do so; maybe that’s what he (or she) really wants. But for better or worse, I simply snapped a photo (actually, five photos in quick succession) and kept on walking.
But if I did not stop to chat with this individual, obviously you didn’t either. To you, this is just a momentary scene, captured as digital bits that float through the Internet. Chances are you’ll never see an image quite like this again, and you’ll never meet the man/woman or the dog. And most of the people looking at this image have never been to New York City, never set foot in Greenwich Village, and have no idea whether this is a common, daily scene — or just an anomaly that occurs once a year.
Be honest with yourself: if you’re human, you’ve drawn some conclusions about what you’re looking at. You have probably assumed, for example, that it is a man you’re looking at, not a woman. Why? Who knows … maybe it’s the body language, maybe it’s the choice of pants rather than a dress, maybe it’s some combination of a hundred other subtle clues.
I also conclude that I’m looking at a relatively young person; not a child, of course, but also not an elderly person in his 80s, and probably not even a middle-aged person. Why? Again, who knows? It might be as simple as the bias that older people simply would not “do” such a thing … and, of course, it might actually turn out that this snap judgment is utterly, totally wrong. Maybe it’s an old woman who is pushing the stroller down the street …
As for the scene itself — a costumed dog in a baby stroller — there are a thousand other snap judgments that we might make. I wouldn’t be surprised, for example, if a common response from people all across the United States would be something like, “Only a gay person in a sinful, wicked part of a big city would parade around looking like that.”
I mention that particular example of a snap judgment (which, of course, is likely to be utterly wrong) to make a point: when most of us see something that’s completely different from the “normal” scene we encounter every day, it’s hard to resist the (largely unconscious) temptation to make judgments, often negative and critical in nature. If you’re a virile heterosexual in a small midwestern town, perhaps you expect to see people walking down the street with their German shepherd, and maybe you expect to see a Halloween costume that involves a farmer carrying a shotgun. Or maybe you have some other, completely different mental image of what would be “normal” in whatever corner of the universe you live in. But when you see this scene, your first reaction is, “Wow, that’s different, and it’s weird.” And your section reaction might well be, “Not only is it weird, it’s wrong!”
That doesn’t happen to us, at least not as often, in a big city like New York. That’s because we see weird things all day long. Not just on Halloween, but every day of the week. Gradually, you begin to accept the reality that you, too, are weird — at least from the perspective of the other weird people you see on the street. Everyone is weird, in their own little way. If nothing else, it teaches us to be more tolerant, more inclusive, more accepting.
But I still don’t get the gold necklace this person is wearing. That is definitely weird. Very weird.
Note: I chose this as my "photo of the day" for Nov 18, 2015.
************************
A year ago, I uploaded a bunch of photos to Flickr and admitted that while I had lived in New York City for 45 years — I had never previously attended, observed, photographed, or participated in the annual Halloween Parade that takes place in Greenwich Village. I won’t repeat the rest of the meandering blather that I wrote … if you would like to see it, and/or the photos that accompanied the notes, you can find them here on Flickr:
www.flickr.com/photos/yourdon/albums/72157646748393453
In any case, though, I decided to return to the parade again this year … and, like last year, I got off the subway at the Canal Street (express) station, and walked north to where the cops and the parade-floats, the bands and the professional photographers were gathering in anticipation of another year of festivity.
But I quickly discovered that, while last year’s parade started at 7 PM, when it was already cold and dark, this year’s parade was not scheduled to get started until 9 PM. I realize that 9 PM is quite an early hour for ghouls and vampires, not to mention teenagers, young adults, party-goers, and even the majority of the bridge-and-tunnel crowd who were presumably just getting in their trains and buses to make the trek from the wilderness regions of Long Island and New Jersey. But for those of us slightly (ahem) older than the age of 35, 9 PM is about the time when we turn on last night’s video-recording of Jimmy Fallon or Trevor Noah, and watch in a glassy-eyed stupor for a few minutes before we begin snoring …
So … I decided not to hang around the official starting position at Spring Street for two or three hours, and instead began wandering further north into the more crowded sections of the West Village — near West 4th Street. And I’m glad I did: while there were no bands or “fancy” displays, there was a lot more energy, and a lot of interesting costumes and people (or ghouls and vampires, depending on your preferences).
The only outcasts, far more confused and lost than the out-of-town tourists, were the cops. There were hundreds of them, maybe thousands; and this was two weeks before the recent terrorist attacks, with nobody expecting any trouble more serious than an occasional happy drunkard falling over in the street. Most of the cops that I saw were somehow affiliated with a “Community Affairs” department (or division, or whatever); but what made it funny is that none of them seemed to have a clue where they were. At one point, I stood near a friendly, attentive police officer at the corner of Sixth Avenue and 8th Street — when a tourist (sounding like he was from Germany) wandered up and asked the cop for directions to 9th Street. The cop shrugged politely and said that he really didn’t know — despite the fact that the street sign for 9th Street was clearly visible, less than a block away. I got the impression that the cops had been brought in from such far-away areas as Staten Island, Queens, and the Bronx; and while they could have navigated the neatly-rectangularized streets of mid-town Manhattan, they were utterly lost in Greenwich Village.
Oh, well, it didn’t matter. I watched one woman emerge from the subway, reassuring her clearly-terrified friend, “Don’t worry, I’ll get you back to New Jersey safely. I promise!” But she took one look at the wildly-costumed crowd around her, near the Waverly Theater, let out a loud “Woo hoo!” squeal, and left her friend behind….
In the midst of all this, I did manage to get some photos … and I’ve uploaded a small subset of them here to Flickr. Enjoy …
A conclusione della bella giornata fotografica a navettoni sulla Padova-Belluno, qualche piacevole scatto serale a Cittadella in compagnia dell'amico Elia G..
Un minuetto elettrico si occupa di un ordinario regionale da Vicenza a Treviso, lo vediamo ritratto nel mentre effettua servizio viaggiatori.
Cittadella (PD)
27/10/2015
Foto di Andrea De Berti
El Centro Cultural Internacional Oscar Niemeyer o Centro Niemeyer, es el resultado de la combinación de un complejo cultural proyectado por Oscar Niemeyer y un proyecto cultural que intregra distintas manifestaciones artísticas y culturales como exposiciones, música, teatro, danza, cine o gastronomía entre otras. Está ubicado en la margen derecha de la ría de Avilés, en Asturias, España. Fue inaugurado el 26 de marzo de 2011.
"Una plaza abierta a todo el mundo, un lugar para la educación, la cultura y la paz".
El centro, diseñado por Oscar Niemeyer, se dibuja en el entorno de la ría de Avilés, dentro del paisaje urbano de la llamada Villa del Adelantado, siendo visible, debido a su predominante color blanco y a su tamaño, desde distintos puntos y desde el aire.
El centenario arquitecto brasileño Oscar Niemeyer (creador de la ciudad de Brasilia, mito de la arquitectura universal y hasta su muerte en 2012, único arquitecto vivo cuya obra es considerada Patrimonio de la Humanidad por la Unesco) recibió el Premio Príncipe de Asturias de las Artes en 1989, siendo éste el origen de la relación del arquitecto con el Principado de Asturias.
Años más tarde, con motivo del XXV Aniversario de los Premios Príncipe de Asturias, Niemeyer donó un gran proyecto al Principado. Su idea se ha convertido en un proyecto que pretende ser uno de los referentes internacionales en la producción de contenidos culturales, un espacio asociado a la excelencia dedicado a la educación, la cultura y la paz: "Una plaza abierta a todo el mundo, un lugar para la educación, la cultura y la paz" Esta es la única obra de Oscar Niemeyer en España y, según sus propias palabras, la más importante de todas las que ha realizado en Europa. Por esta razón el Centro recibe el nombre de su creador.
Estructura
El complejo cultural consta de cinco piezas independientes y a la vez complementarias:
La plaza: abierta al público, en la que se programan actividades culturales y lúdicas. Refleja el concepto de Oscar Niemeyer de un lugar abierto a todo el mundo.
El auditorio: tiene un aforo para alrededor de 1000 espectadores, con la peculiaridad de un escenario que se abre hacia el auditorio, pero que también se puede abrir hacia la Plaza, para las actuaciones al aire libre; y El Club para pequeñas actuaciones. También dispone de 3.000 m2 para exposiciones fotográficas y pictóricas (en el foyer).
La cúpula: un espacio expositivo diáfano de aproximádamente 4.000 m2 para exposiciones de todo tipo, este edificio tiene funciones de museo.
La torre: mirador sobre la ría y la ciudad, de 18 metros de altura, donde actualmente se ubica el restaurante y la coktelería, ambas instalaciones se encuentran en un entorno agradable para relajarse contemplando las vistas sobre la ría, la ciudad y el propio centro cultural.
El edificio polivalente: que alberga el Film Centre, el gastrobar, varias salas para reuniones, conferencias, prensa, exposiciones..., la ludoteca y tienda.
Estilo y colores
Las obras de Oscar Niemeyer se caracterizan por sus líneas curvas y por sus colores, rojo, amarillo y azul. ¿De donde salen estos colores? En 1909 Piet Mondrian empieza con la experimentación de los colores en su obra Red tree. En los años siguientes, y con sus respectivas evoluciones, Theo van Doesburg llega a la conclusión de que los colores usados han de ser separados por líneas negras; los elegidos son los primarios -azul, rojo, amarillo- (Neoplasticismo).
Siguiendo esta evolución y uso de estos colores, en la etapa de los años 30 y la Bauhaus, Oscar Niemeyer empieza a proyectar su obra y no por seguimiento pero si por inspiración, empieza a usar estos mismos colores en su arquitectura. A lo largo de toda su obra han estado presentes esos colores, incluso en el Centro Niemeyer. El logotipo de este centro tiene su origen en la puerta del escenario exterior del auditorio (rectángulo rojo). Un logotipo siempre es llamativo si se le añaden líneas rectas. Se sobrepusieron las letras Centro Niemeyer, sobre la imagen rectangular de la puerta, en blanco siguiendo el color principal de la obra entera del arquitecto.
es.wikipedia.org/wiki/Centro_Cultural_Internacional_Oscar...
The Oscar Niemeyer International Cultural Centre or Centro Niemeyer (Spanish: Centro Cultural Internacional Oscar Niemeyer), (popularly known as el Niemeyer), is the result of the combination of a cultural complex designed by the Brazilian architect Oscar Niemeyer and an international cultural project. The center is located on the estuary of Avilés, Asturias (Spain). It was inaugurated on the 26 of May 2011.
The architect described the Niemeyer Centre as "An open square to the humankind, a place for education, culture and peace".
It is possible to see the buildings from different places, even from the air. Its size and white, red and yellow colours highlight its location in the landscape of the town.
Oscar Niemeyer: The origins and the design
The Brazilian architect Oscar Niemeyer (designer of Brasilia and one of the most important architects in the world) was awarded with the Prince of Asturias Award for Art in 1989. That was the origin of the relationship between Oscar Niemeyer and the Principality of Asturias. Years later, as a present fort the 25 Anniversary of the Prince of Asturias Awards, Niemeyer donated a big project to the Principality. His design has become a project meant to be an international reference in the cultural field. It is dedicated to education, culture and peace. This centre is the first Oscar Niemeyer's work in Spain, and he has said he believes it is the most important in Europe.[3] That is the reason why its name is “Centro Niemeyer”.
Structure
The Niemeyer Centre is formed by five main elements that complement each other:
The open square: a large open outdoor space for cultural activities. It reflects the Oscar Niemeyer’s idea of a place open to humankind.
The auditorium: around 1000 seats for concerts, theatre, conferences... Its peculiarity is not having distinction between social classes. It includes the Club (a small space for small concerts) and an exhibition room in the foyer.
The dome: its the exhibitions building.
The tower: sight-seeing tower, restaurant and cocktail lounge
The multi-purpose building: Film Centre, meeting-rooms, cafe, shop, information point...
en.wikipedia.org/wiki/Oscar_Niemeyer_International_Cultur...
El Centro Cultural Internacional Oscar Niemeyer ye la resultancia de la combinación d'un complexu cultural proxectáu por arquiteutu brasileru Oscar Niemeyer y un proyectu cultural internacional qu'integra distintes manifestaciones artístiques y culturales como esposiciones, música, teatru, danza, cine o gastronomía ente otres. Ta allugáu na marxe derecha de la ría d'Avilés, n'Asturies. Inauguráu'l 26 de marzu de 2011.
Una plaza abierta a toos y toes, un llugar per l'educación, la cultura y la paz.
Anguaño'l centru dibuxase nel paisaxe urbanu de la Villa del Adelantado, xunto a la ría d'Avilés, siendo visible, pol so color blanco y el so grandor, dende sitios estremaos y dende l'aire.
ast.wikipedia.org/wiki/Centro_Cultural_Internacional_Osca...
Spring Hike Conclusion:
Thankfully I didn't have to venture too far to find my final composition of the day and this what my entire day had ended up being geared towards. There's an element of pre-visualisation that happens with my work and after a while of looking at meteorological models, cloud layer predictions, angle of sun you become attuned to what kind of photographs you're going to capture on any given trip. This informs where and what I'm going to shoot, allowing me to focus on the finer details of what I want or hope to attain from a session.
It was no surprise to me in this case that golden hour was going to be particularly luminous, but that's not to say any of the magic was taken away. I'm consistently blown away by what I see, even if I have a fair idea that I'm going to see it. It's the unexpected extras or variations that nature throws at you that make it exciting.
It took one focus stacked series of this scene with golden light and one once the light had turned deep orange/magenta and called it a day. Walking through Stanage Plantation and down North Lees, finding plenty of interest to photograph in the future and then ultimately on the trail to Hathersage, fifteen miles later from the start of my hike and ready for a sit down.
To continue with YESTERDAY'S CAPTION I give you these things. I have two groups, one large that was here when I moved in and a smaller one that was planted using bulbs that I took out when I got convinced they needed thinned. The original group bloomed at the right time (mid to late July) but only had 11 bloom stalks. The smaller group is just blooming this week and has 19 bloom stalks so far.
My stuff is weird....
Shot this evening.