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Step through the enchanting entrance of San Francisco’s Japanese Tea Garden and transport yourself into a serene world of traditional Japanese architecture and horticulture. Nestled within Golden Gate Park, this historical gem is the oldest public Japanese garden in the United States, established in 1894. The entrance gate, known as a “mon,” is a masterpiece of craftsmanship, featuring intricate woodwork and thatched roofing, embodying the aesthetics of traditional Japanese design.
The Japanese Tea Garden entrance is adorned with detailed carvings and lattice work, reflecting the meticulous attention to detail that is characteristic of Japanese culture. The gate's design is both functional and symbolic, serving as a transition from the bustling city to the tranquil garden within. The architecture incorporates elements of Shinto and Buddhist influences, seamlessly blending spirituality with nature. As you pass through the gate, you are greeted by carefully pruned bonsai trees, lush greenery, and the soothing sound of water features, all designed to promote peace and contemplation.
Visitors can enjoy a leisurely stroll through the five-acre garden, which includes koi ponds, pagodas, and the famous Drum Bridge. The garden is also home to the historic Japanese Tea House, where guests can experience the traditional Japanese tea ceremony. The serene environment of the garden offers a perfect escape from the urban hustle, allowing visitors to immerse themselves in the beauty of Japanese culture and nature.
The Japanese Tea Garden entrance is a gateway to tranquility and history, inviting you to explore and appreciate the art of Japanese gardening and architecture. Whether you are a history buff, an architecture enthusiast, or simply looking for a peaceful retreat, the Japanese Tea Garden provides a unique and enriching experience in the heart of San Francisco.
In the cafe’s gentle din, a barista crafts with care,
Pouring life into each cup, a liquid sonnet rare.
Focused and serene amid the day’s ebb and flow,
Brewing solace in the steam, a tranquil art on show.
Made from high purity aluminium, this handmade tableware is designed and produced in Melbourne Australia by the artist, silversmith, Don Sheil. The alloy, aluminium, was chosen as it can be etched, beaten, polished and anodised to produce unique pieces. Aluminium and iron are the most abundant metals in Earth's crust.
This small bowl and saucer is only 3.5cm high. Could be used as a finger salt bowl. The beaten polished sides are reflecting colours from the surroundings and natural light.
For Macro Mondays theme "Member's Choice - Metal"
thanks everyone for your much appreciated support, your comments and Fave's to get this on EXPLORE April 7th, 2013 #160
99/365
Looking through the Ramp Covered Bridge, you can see most of the craftsmanship that has kept it standing since 1870. Right after I arrived to take some pictures of this historic structure, I heard the distinct sound of an Amish buggy approaching down the road. Once they got closer, I stepped out of the way for them to pass. With a friendly wave of the driver, they rolled past me. As the buggy passed me, there in the back window were two kids looking back at me with what appeared to be youthful curiosity as I stood there with two cameras hanging around my neck. I was so tempted to swing my camera up and capture the scene of the kids staring back at me as the buggy entered the bridge. I think it would have been quite a nice photo. But I decided it best to show respect and just take the moment in for me. I'm ultimately glad that's what I chose to do.
The front cover of a special issue of "Contact" from 1949 and showing the final testing of a lens for accuracy at the Leicester works of Taylor Hobson, a company noted then for the high quality of their photographic and optical equipment and who are still in business today. Taken from a photograph in the test sadly no designer is given for this front cover.
In post-war Britain there was an outpouring of journalism on the 'new' world that could be built in amongst the almost crushing austerity that the country faced. One of the various publications that fed into this mood was "Contact" that was issued in almost magazine form and with each issue focussing on a specific topic. This, from May 1949, was issued to coincide with the British Industries Fair of that year and was on craftsmanship. The names associated with this semi-book are quite the role call of the time; even the forwords are by Herbert Morrison, Harold Wilson, Oliver Lyttelton and Harold Macmillan, names that spanned both Government and Opposition politics.
This is worth viewing in Lite Box or full screen, eleventh century craftsmanship at its finest, magnificent.
The north transept rose (10.5 m diameter, made c.1235), like much of the sculpture in the north porch beneath it, is dedicated to the Virgin. The central oculus shows the Virgin and Child and is surrounded by 12 small petal-shaped windows, 4 with doves (the 'Four Gifts of the Spirit'), the rest with adoring angels carrying candlesticks. Beyond this is a ring of 12 diamond-shaped openings containing the Old Testament Kings of Judah, another ring of smaller lozenges containing the arms of France and Castille, and finally a ring of semicircles containing Old Testament Prophets holding scrolls. The presence of the arms of the French king (yellow fleurs-de-lis on a blue background) and of his mother, Blanche of Castile (yellow castles on a red background) are taken as a sign of royal patronage for this window. Beneath the rose itself are five tall lancet windows (7.5 m high) showing, in the centre, the Virgin as an infant held by her mother, St Anne – the same subject as the trumeau in the portal beneath it. Flanking this lancet are four more containing Old Testament figures. Each of these standing figures is shown symbolically triumphing over an enemy depicted in the base of the lancet beneath them – David over Saul, Aaron over Pharaoh, St Anne over Synagoga, etc.
Chartres Cathedral (full name Cathédrale Notre-Dame de Chartres) is located in the medieval town of Chartres, about 50 miles from Paris.
From the excellent Sacred Destinations.
Not only is Chartres Cathedral one of the greatest achievements in the history of architecture, it is almost perfectly preserved in its original design and details. Chartres' extensive cycle of portal sculpture remains fully intact and its glowing stained-glass windows are all originals. Chartres is thus the only cathedral that conveys an almost perfect image of how it looked when it was built.
In addition to its architectural splendor, Chartres Cathedral has been a major pilgrimage destination since the early Middle Ages. Its venerable history, exquisitely preserved architecture, and centuries of fervent devotion make for an atmosphere of awe and holiness that impresses even the most nonreligious of visitors.
Chartres Cathedral was never destroyed nor looted during the French Revolution and the numerous restorations never have altered its glorious beauty. It always stayed the same: a great triumph of Gothic art. The cathedral was added to UNESCO's list of World Heritage Sites in 1979.
Not only did OSR give 6508 a fresh coat of paint, they also redid CN's remanufactured builder plate...now that's some class!
The weather turned a little bit so we took the train from Market Razen to Lincoln. Lincoln Cathedral is a must see, the architecture is beautiful, fantastic craftsmanship and the stained glass windows are incredible. The walk up Steep Hill to the Cathedral is a bit of a bummer though :o))
Dieser Erker in Wöllersdorf begeisterte mich wegen seiner verspielten Handwerkskunst.
This bay at Woellersdorf excited me due to its playful craftsmanship.
VarcoMac Electrical Construction Co.
Engineer: Burns & McDonnell
General Contractor: HITT Contracting Inc.
When you see an old building like this, one where the craftsmanship in so plainly evident, take a step back and imagine this scene:
An old pick- up truck rolls down the street. As it approaches the building it begins to slow to a crawl. The truck is being driven by a working man. You know this by the strong, meaty and leathery hands at the wheel. Next to him is a boy, his son. As they slowly pass the building, the truck is moving at a walking pace now, you see the father point. He is telling his son, with deep pride, about how he built this place. He describes the work scene and tells the boy about the detail in the brick work, what it all means. He tells the boy if he studies hard one day he can afford to live in such a grand place.
Many years later a car rolls down the street. The driver is a successful professional of some type. You know this because of the make and condition of the car. He is probably a manager or maybe even a doctor. Doctors drive Lincolns, right? Besides his collared shirt, sharp haircut and manicured hands give him away. Next to him is a young boy. The man driving the car slows to crawl as they pass the building. He points to the building as he tells his son how his Grandfather built this place. Perhaps he weaves into the story tales, tall and otherwise, of the tremendous strength of Gramps. As the boy listens, he is beginning to understand he comes from good stock. Strong men who built strong buildings. He is already feeling a sense of pride that his Grandfather left his mark on this city.
These days no one is left to care for this legacy. Within a few years the harsh Michigan climate will reclaim this land and erase the memories. Is it any wonder we no longer seem to make things? This all seems so...so... disrespectful.