View allAll Photos Tagged Craftsmanship
Good old-fashioned dovetail construction, the type of work I'd love to be able to do. Someone discarded this chest (sans top). How could they do such a thing?? It's very old, built out of a hardwood which I haven't identified yet, and appears to be entirely made by hand. In this view, a replacement top which I made is partially visible. Not like having it all original, but still ...
The bank was recently renovated and they have put this original bank teller divider on display. The craftsmanship was fantastic in those days.
The bank originally began in 1867 when Dr. Baker and John Boyer became partners in a successful mercantile business which supplied miners heading for the Idaho and Montana gold rushes. The miners trusted them so much, they'd bring their gold and ask for it to be stored in the store's large safe. No receipts were asked for and no losses were suffered.
In 1869 the mercantile was sold and Baker Boyer National Bank was founded. By 1889 Walla Walla had grown, Washington became the 42nd state in the union, and Baker Boyer received its national charter.
In 1890 a new bank building was erected on the same site as the original. In 1911 the bank needed more space so the present seven-story buildings was created in 1911. For a short time it was the tallest building west of the Mississippi.
During the Great Depression, Baker Boyer was determined to remain open and allowed customers to use the back door of the bank, until the license for reopening arrived.
My aunt Dorothy confirmed that my grandfathers' wheat ranch was not foreclosed on by Baker Boyer. The bank told my grandfather they knew he was good for the money he owed.
Boatman and Magnani Inc.
Architect: Cunningham | Quill Architects
General Contractor: Chesapeake Contracting Group, Inc.
This is the image of a Zippo Lighter that our client sent us - asking if we could build them a Slayer that looked the same? Of course we said YES!
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Courtesy of Paul and Paula Knapp
Miniature Engineering Museum
A couturier works as his customers wait, on a small shop at the Old Medina, in Casablanca, Morocco. via 500px ift.tt/2E1uGch
Cadre member demonstrates to Basic Camp, 2nd Regiment Cadets how to properly apply their camo paint to their faces. Cadets need to know how to apply their camo properly for when they go to the Field Training Exercise (FTX) lanes later in the Cadet Summer Training at Fort Knox, Ky., July 6. | Photo by Jordyn McCulley, CST Public Affairs Office.
龍紋是北宋汝官窯瓷器之皇室工藝典型紋飾
The dragon pattern is a typical pattern of royal craftsmanship in Ru Imperial kiln porcelain in the Northern Song Dynasty
北宋汝官窯瓷器之皇室工藝龍紋
The Royal Craftsmanship Dragon Patterns of Ru Imperial Kiln Porcelain in Northern Song Dynasty
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台北故宮博物院藏北宋玉雕龍紋盤及玉冊玉匱龍紋嵌片上之皇室工藝龍紋
The Royal Craftsmanship Dragon Patterns on the Northern Song Dynasty Jade Carved "Dragon Pattern Plate" and "Jade Plaque composing a jade case with Dragon Pattern Inlays", in the National Palace Museum, Taipei, Taiwan, Republic of China.
就每個瓷盤上的龍紋而言，與台北故宮博物院所藏下列 “ (1) 宋、遼玉龍紋盤 (公元 907 - 1279 年)” 及 “ (2) 北宋真宗祥符元年 (公元 1008 年) 禪地玉冊玉匱嵌片” 上的龍紋相比，每樣兩個成對之兩者皆近似，故推斷有此龍紋瓷盤應屬北宋汝官窯的作品。
As far as the dragon pattern on each porcelain plate is concerned, they are similar to the following " (1) the dragon pattern on the Jade plate with dragon pattern Song to Liao dynasty (907 - 1279 C.E.)", and " (2) the dragon pattern on the Jade plaque composing a jade case, made in the first year (1008 C.E.) of Xiangfu of Emperor Zhenzong reign, Northern Song dynasty", both above are in the collection of the National Palace Museum, Taipei, Taiwan, Republic of China. In comparison, both of each pair are similar, so it is inferred that these dragon-patterned porcelain plates should be the works of Ru Imperial kiln in the Northern Song Dynasty.
(1)
台北故宮博物院藏宋、遼玉龍紋盤 (公元 907 - 1279 年)
文物統一編號：故玉002251N000000000
就紋樣而言，如此雄強矯健的龍紋，與〈北宋真宗禪地玉冊〉所附玉匱上之嵌片的龍紋相比，兩者近似，故推斷此盤應屬11世紀上半，遼或北宋的作品。
digitalarchive.npm.gov.tw/Antique/Content?uid=85&Dept=U
Jade plate with dragon pattern, Song to Liao dynasty (907 - 1279 C.E.), in the collection of the National Palace Museum, Taipei, Taiwan, Republic of China.
Unified number of cultural relics: NPM Jade 002251N000000000
As far as the pattern is concerned, such a strong and vigorous dragon pattern is similar to the dragon pattern on the inlay on the jade chamber attached to the "Emperor Zhenzong Jade Plaque composing a jade case of the Northern Song Dynasty", so it is inferred that this plate should belong to the first half of the 11th century, the work of the Liao or Northern Song Dynasties.
(2)
北宋真宗祥符元年 (公元 1008 年) 禪地玉冊玉匱嵌片
文物統一編號：贈玉000004N000000006
digitalarchive.npm.gov.tw/Antique/Content?uid=47382&D...
Jade plaque composing a jade case, made in the first year (1008 C.E.) of Xiangfu of Emperor Zhenzong reign, Northern Song dynasty.
Unified number of cultural relics: NPM Donate Jade 000004N000000006
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2022 年 3 月份全球觀眾： 1,373 總觀看次數及1,588 總觀看時間 (分鐘)
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北宋晚期 青釉印花盤龍紋瓷盒 1989年清涼寺汝官窯遺址I區出土
原文網址：https://kkne.ws/6q1MnE
A celadon-glazed printed porcelain box with dragon pattern, late Northern Song Dynasty, unearthed in Area I of Ru Imperial Kiln Site of Qingliang Temple in 1989
Original URL: kkne.ws/6q1MnE
北宋汝窯天青釉刻劃印花五爪龍吐珠十二梅花紋折沿盤
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圓盤直徑：17.9 ～ 18.0 cm 厘米
圈足直徑：9.1 ～ 9.2 cm 厘米
本瓷盤為滿釉支燒，五支釘痕，香灰胎，天青釉，冰裂紋片，潤之如玉，在器物底部可見細如芝麻狀的支釘痕五個，痕跡很淺，大小如芝麻。
瓷盤龍紋上有數處「黑點之古瓷瑕疵」，龍紋線條「皆是手工製作、亦顯左右不對稱」，十二梅花紋「大小、間隙、寬度、深度皆不相同，明顯是由手工刻劃形成」，底部圈足兩側壁緣有「瑪瑙入釉及聚釉痕跡」，折沿口緣內側邊線上有一個明顯之「棕眼之古瓷瑕疵」，滿釉有古代柴燒氣泡及冰裂開片紋，底部圈足略為外撇。
而此傳世北宋汝窯瓷器的胎體有三個特點：
第一點是輕薄。
第二點胎色為香灰色，胎骨輕薄，胎質看色粗松實則細密。汝瓷胎色呈淺灰、灰白，因其色調與香燃燒之後形成的香灰相似，因而俗稱「香灰胎」。
第三點是汝瓷胎質細膩滋潤，堅緻緊密，被譽為「銅骨」。另外，接觸過傳世汝瓷的人常有「扣聲如磬」的形容，這在一定程度上也說明了汝瓷胎的輕薄與緻密。
另外，器底於光線下呈現略為凹凸不平，是由於泥坯中間的部位水份未乾，成型泥胎在掙脫粘連的泥范（模）時，由北宋窯工左右輕微轉動脫模操作所形成。
現代博物館裡的專業人士、收藏家、鑑賞家、學者、專家等等，因為他們都不是北宋皇帝宋徽宗本人，所以顯然他們已經把自己作為平民老百姓的品味，當作是應該屬於北宋皇帝宋徽宗的最愛。他們普遍認為，市面上流傳下來的 80 餘件傳世汝窯瓷器，應該就是北宋皇帝宋徽宗的御用汝官窯瓷器。 你認為有可能嗎？
Northern Song Dynasty Ru Kiln Sky-green glazed inscribed and printed Five-clawed Dragon Spit Bead and Twelve Plum Patterns Folding Edge Plate
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Plate diameter: 17.9 - 18.0 cm
Ring foot diameter: 9.1 - 9.2 cm
This porcelain plate was full-glazed and burned with supporting-nails, five supporting-nail marks, incense-ash-like-earth-yellow-greyish porcelain body, sky-green glaze, broken-ice-cracking-like cracking-patterns, jade-like smoothness, and five sesame-like supporting-nail marks can be seen on the bottom of the utensil, the marks are very shallow, their sizes are such as sesames.
The dragon pattern on the porcelain plate has several "black spots of ancient porcelain flaws", the dragon pattern lines "are all handmade and also show asymmetry between the left and right", and the twelve plum patterns "are different in size, gap, width, and depth, which were obviously formed by hand-carving", there are "marks of agate mixed in the glaze and polyglaze" on both side walls of the bottom ring foot, and an obvious "brown-eye-small-hole" which is an ancient porcelain flaw, on the inner edge line of the folding mouth edge. It was fully glazed with ancient wood-fired air bubbles and broken-ice-cracking-like cracking-patterns. The bottom ring foot is slightly slanted outward.
The porcelain body of this handed down Ru kiln porcelain in the Northern Song Dynasty has three characteristics:
The first is “light and thinness”.
The second is that the porcelain fetal color is incense-ash-like-earth-yellow-greyish, the porcelain fetal bone is light and thin, and the fetal quality seems to be rough but fine. The color of Ru porcelain body is light-gray and gray-white, because its color is similar to the incense ash formed after burning incense, so it is commonly known as "incense gray porcelain body".
The third is that the texture of Ru porcelain is delicate and smooth, firm and compact, and is known as "bronze bone". In addition, people who have come into contact with the handed down Ru porcelain often describe it as "sound like a chime (a musical stone)", which to a certain extent also shows the lightness and compactness of the Ru porcelain body.
In addition, the bottom of the utensil is slightly uneven under the light. Because when the water in the middle of the porcelain mud body was not dry yet and meanwhile the molded mud body was slightly turned left and right to be broken away from the sticking mud mold. So long as the porcelain kiln workers in the Northern Song Dynasty took the above procedure, then the uneven bottom would have been formed.
Professionals in the modern museums, collectors, connoisseurs, scholars, experts, and so on, because they are all not the Emperor Song Huizong of the Northern Song Dynasty himself, so obviously they have regarded their own taste of being the common people, as the same favorite that should belonged to the Emperor Song Huizong in the Northern Song Dynasty. They generally believed that more than 80 pieces of Ru kiln porcelain handed down on the market should be the personal royal Ru Imperial kiln porcelain wares of the Northern Song Emperor Song Huizong. Do you think it is possible?
來源：
屬擊敗蒙古元朝歐亞大帝國的明朝皇帝朱元璋所分封為軍事大元帥的「陳秀甫」(陳秀甫亦為明代開國功臣光祿大夫《光祿大夫為皇帝開國及軍事作戰的出糧出資金錢財主》) 家族傳世的祖傳傳世品。
Provenance:
The handed down collection from the family ancestor of Chen Xiufu, a military marshal who was assigned by the Ming Emperor Zhu Yuanzhang (Zhu Yuanzhang defeated the Eurasian Empire of the Mongolian Yuan Dynasty), (Chen Xiufu was also the founding hero of the Ming Dynasty, whose official name was Guangludafu, "Guangludafu was the rich and wealthy capitalist of food and money supplied for the emperor's nation-founding and military operations.").
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These three shapes representing three personages of a Nativity scene, are prepared to enter at Sant Pere de Torelló church.
Work made by Pere Pujolassos . He's an expert on the subjet that is instructing me in this old technique.
Sant Pere de Torelló- Osona. Catalunya, Spain
Filatrice
1850; this cast, after 1850
Henry Kirke Brown (American, 1814-1886)
Bronze; 20 x 12 x 8 in. (50.8 x 30.5 x 20.3 cm)
In 1850, Brown modeled the Filatrice, a subject looking back to his Italian sojourn of 1842-46, but executed on a scale and in a medium meant for American patrons. The Filatrice (Spinner) stands with a distaff and spindle, winding yarn onto a bobbin dangling from her left hand. Brown no doubt observed this activity in everyday Italian life, but he also was drawn to the subject's classical overtones. In Italy, Brown drew from the antique, and one of his drawings depicts a figure clad similarly to the Filatrice in an identical pose, though in reverse.
Regardless of the Filatrice's links to the past, in 1850 it represented the future of American sculpture. Brown recognized the potential appeal of the small bronze for an American audience and saw it as a way to engage public interest in the arts. He was the first artist to attain consistent success in sand-casting bronzes in the United States, first in his own Brooklyn studio and later with the Ames Manufacturing Company in Chicopee, Massachusetts. Brown's attention to careful craftsmanship is particularly evident in this example of the Filatrice. He has varied the texture of the skin and classical dress, and meticulously wound the wire "yarn" around the bobbin. The located bronzes differ in texture and patination as well as in the position of the distaff and spindle, confirming Brown's penchant for naturalism and individualizing details.
Purchase, Gifts in memory of James R. Graham, and Morris K. Jesup Fund, 1993 (1993.13)
**
The Metropolitan Museum of Art's permanent collection contains more than two million works of art from around the world. It opened its doors on February 20, 1872, housed in a building located at 681 Fifth Avenue in New York City. Under their guidance of John Taylor Johnston and George Palmer Putnam, the Met's holdings, initially consisting of a Roman stone sarcophagus and 174 mostly European paintings, quickly outgrew the available space. In 1873, occasioned by the Met's purchase of the Cesnola Collection of Cypriot antiquities, the museum decamped from Fifth Avenue and took up residence at the Douglas Mansion on West 14th Street. However, these new accommodations were temporary; after negotiations with the city of New York, the Met acquired land on the east side of Central Park, where it built its permanent home, a red-brick Gothic Revival stone "mausoleum" designed by American architects Calvert Vaux and Jacob Wrey Mold. As of 2006, the Met measures almost a quarter mile long and occupies more than two million square feet, more than 20 times the size of the original 1880 building.
In 2007, the Metropolitan Museum of Art was ranked #17 on the AIA 150 America's Favorite Architecture list.
The Metropolitan Museum of Art was designated a landmark by the New York City Landmarks Preservation Commission in 1967. The interior was designated in 1977.
National Historic Register #86003556
This is the result of a composition representing a modern Nativity scene, during these days of Christmas time in Sant Pere de Torelló church in Catalonia. Joint production between Pere Pujolassos and myself. Good work, interesting reflection.
Photo: Raquel Vaqué.
Resultat de la composició presentada a l'esglèsia de Sant Pere de Torelló a Osona, durant aquestes festes de Nadal. Un treball en equip entre Pere Pujolassos i Eudald Alabau.
Henry Kulka
Henry (Jindřich, Heinrich) Kulka (29 March 1900 – 9 May 1971) was a Czech-New Zealand architect. He was a key figure in the development of Raumplan architecture in central Europe between 1919 and 1938. Kulka brought this approach to spatial planning and the Loosian traditions of natural material craftsmanship to modern building in New Zealand (1940–1971) where he was a pioneer of modern architecture.
Life
Henry Kulka was born on 29 March 1900 into a Jewish family in the town of Litovel near Olomouc in the Czech Republic (then Austria-Hungary). His father Moritz owned and ran the village drapery shop. He was the youngest of three children, having two older sisters. Young Henry was sent to Vienna to complete his secondary education after which he studied architecture at the Technical University of Vienna. As he found his studies uninspiring he did not complete his degree but preferred to continue his architectural development as a pupil of the pioneer modern architect and ideologue Adolf Loos. He became Loos's assistant in 1919 and by the end of 1927 ran a joint architectural practice with Loos as full collaborating partner. In 1927 he married Hilda Beran and they had two children, Richard and Elizabeth (Maru). The young couple was active in the rich intellectual life of Vienna of that time. After Loos died in 1933, Kulka continued his work in Vienna. When the Nazis occupied Austria in 1938 Kulka and his family fled to Czechoslovakia where his wife's family lived. When the Nazis invaded Czechoslovakia he managed to travel to England, being forced to leave his family behind. Thanks to warm letters of recommendation from Jan Masaryk, Arnold Schoenberg and Karin Michaëlis he obtained visas for his family and himself to emigrate to New Zealand. After travelling by separate routes he was united with his family in New Zealand. He settled in Auckland where he found employment with the Fletcher Construction Company. He was chief architect at Fletcher's, designing numerous commercial buildings as well as private residences, until his retirement in 1960. From 1960 to his death in 1971 he designed and realised private houses prolifically. He died in Auckland in 1971 aged 71.
Career
Early work
Villa Khuner, eastern façade, Kreutzberg, Semmering, Austria in 1930
In 1919 after a brief period at the Technical University in Vienna, Henry Kulka began his studies at the Building School of the pioneer modern architect Adolf Loos.
Loos emphasized that all architecture should be related to human activity and evolve from it: form follows function. Loos was opposed to unnecessary ornamentation in architecture. He advocated the use of natural unadulterated materials and a respect for skilled craftsmanship. His designs included specifications of internal lining of quality materials such as stone marble and wood. The unique feature of Loos's design was three dimensional planning later named Raumplan by Kulka and described in Kulka's words; "The rooms of his houses are situated on various levels, inter-related in harmonious proportions, space flowing into space, but forming a compact unit. The levels are not bound to a special floor (ground floor, first floor, etc.) and are not the result of simply dividing a high room into mezzanine parts. The floors are inter-related rooms with open vistas, the levels connected by steps".
Kulka had an affinity for Loos's thinking and an aptitude for three dimensional planning, he became Loos's assistant (1919)[7] and later became his partner (1927), further developing the Raumplan concept.
In 1922 Kulka assisted Loos on the realisation of the first cubic Raumplan house, the Villa Rufer in Hietzing Vienna.
Between 1921 and 1922 Kulka designed, autonomously, a cubic Raumplan in smaller cubic dimensions than the Villa Rufer. Kulka's autonomously designed prototype became subsequently known as the Cubic, Dice or Würfelhaus, and was realised in Vienna by Kulka a decade later at 55 Künniglbergasse, Hietzing.
During the period 1923–1927 Kulka worked between Stuttgart, Vienna and Paris. Loos was based in Paris during this period. Kulka collaborated with Ernst Otto Oswald on the winning entry of the competition to design the Stuttgart Tagblatt Tower, which was built in 1927. In 1927 Kulka spent the year heading Loos's office in Paris, leading the design of the Villa Moller Raumplan (after Loos and Kulka's colleague Zlatko Neuman had returned to Zagreb), the Paris Knize fashion boutique and other unrealised projects such as the famous Raumplan Villa for Josephine Baker. In 1928 Kulka and Loos returned to Vienna and ran an atelier as full collaborating partners. Henry Kulka's wife, Hilda Kulka née Beran, was their practice manager during this period. In the last years of his life Loos was less active due to the deterioration of his health.
During those years the works often attributed to Loos such as the Khuner house of 1929 in Semmering, Austria were principally designed by Kulka. In the same period Kulka was also involved in planning Villa Müller in Prague, and the Wien Werkbund Houses.
In 1930 Kulka authored the seminal monograph on Loos's work; 'Adolf Loos: The work of the Architect' published by Anton Schroll Verlag.
Late work in Europe
Villa Semler, galleried Raumplan apartment, realised in 1933-4 for Oskar Semler, Plzeň, Czechoslovakia. View from lower hall into main lower lounge and fireplace in fire niche with lowered ceiling.
After Loos's death in 1933, Kulka continued and expanded their former architectural practice, maintaining their Vienna office and opening a second satellite office in Hradec Králové in Czechoslovakia to service commissions across Bohemia and Moravia.
Between 1932 and 1939 Kulka evolved new cubic Raumplan Villa and Apartment typologies. In addition to functionality, Kulka's approach was humanistic. He considered the feelings of people inhabiting the space of his buildings, striving to give them a sense of harmony and well being. Among these works are the 1932 Weissmann House in Hietzing Vienna, the 1933 Oskar Semler Raumplan Apartment in Plzeň, the 1934 Kantor Cubic Raumplan Villa in Jablonec nad Nisou, the 1934 small mountain Raumplan for Dr. Samuel Teichner in Špičák in Železná Ruda and the Villa Holzner Raumplan in Hronov.
Villa Kantor Raumplan in Jablonec nad Nisou, 1934. View of south facing garden façade.
A fine example of Kulka's Raumplan work at this time is the Villa Kantor, 1934. This cubic Raumplan was tailored to the requirements of a medical doctor who needed a functional consulting room nestled within the corpus of a comfortable family home. The exterior envelope of the building is cubic and rendered in fine stucco punctured by symmetrical fenestration in the front façade and a functional asymmetrical positioning of fenestration at the sides of the house. The symmetry of the façade is maintained through the use of a classical wall projection which accommodates internal circulation. The interior of the Raumplan villa is clad with light colored woods and marble. The house has larger windows than Kulka's villas with Loos. Kulka lets in more light and incorporates a lighter chromatic selection of cladding materials. It is in the more relaxed and subtle management of spatial transition that the Villa Kantor evolves raumplanning, and points toward changes Kulka would bring to his later work in New Zealand.
Villa Holzner Raumplan in Hronov, Czech Republic, 1934. South facing façade.
Work in New Zealand
Harvey House "Four Winds". Wooden private residence for industrialist Alex Harvey, Auckland, New Zealand, 1944.
Kulka understood that he could not transplant his European mode of operation to New Zealand. He adapted remarkably well to the very different conditions of building, which included climate, construction methods, materials and availability of space. The compact style of building which characterized his more vertically oriented European work became less necessary. He retained many elements which characterized his European houses such as built in seating surrounding a fireplace, built in furniture in the periphery of rooms, raised dining areas opening on living space and flat roofs. He had an extraordinary sense of quality and recognized the beauty of New Zealand wood, lining his houses with fine wooden paneling. Kulka said that he "wanted the interiors of his houses to look like the inside of a violin." At first his style was considered to be eccentric and provocative by the public but in later years it became emulated by young modern architects.
From 1940 until 1960 Kulka was the chief architect of the Fletcher Construction Company for whom he designed a large number of commercial and public buildings as well as private houses. His designs were diverse: family homes, bungalows, beach houses, bush baches, galleried houses, apartments, libraries, churches and monuments. These were largely realized in New Zealand, although he did build a limited amount of structures through Fletcher Building in Samoa, Tonga and Fiji. Kulka followed changes to building technology closely and employed these new techniques in his commercial designs. Kulka is estimated to have designed and realized over 100 commercial structures throughout the period of New Zealand's post war industrialization. Characteristic features of Kulka's commercial structures include simple, solid facades and the avoidance of structural or decorative exhibitionism. His simple exterior envelopes accorded with a post war mood, which favoured civic modesty and utility. The reception and board rooms of these commercial structures were lined with indigenous wood and stone. Kulka introduced many innovations into his industrial designs including natural lighting and the introduction to New Zealand of the saw tooth factory ceiling. In the E. A Robinson building (1959) Kulka designed a double fenestration system so that offices within the deeper sections of that structure could benefit from internal glass facades which enabled natural light to permeate into these working spaces. In the entrance to Fletcher Building (1941–1942) Kulka designed a dramatic curved staircase lined with light marble and amber native wood.
Fisher and Paykel (F&P) head offices and factory, Mt Wellington, Auckland, New Zealand, 1955
Innes Schweppes - Coca Cola Building, Hamilton, New Zealand, 1955
Halberstam House, Wellington, New Zealand, 1948. View of front of house.
Halberstam House, Wellington, New Zealand, 1948. Southeast facing interior lounge view.
Privately, Kulka realized over 40 fine wooden houses throughout New Zealand. His wooden houses were innovative in their spatial and material resolution. The Halberstam House in Wellington (1948) is an excellent example of Kulka's ability to design compact minimal dwellings. The single level bungalow sits on top of a small hill in Wellington. It had a very modest construction budget and post war building restrictions were imposed on the commissioners. Notwithstanding these constraints, Kulka built a striking cubic bungalow clad with dark stained weather boards on the exterior with the uplifting surprise of a luminous and calming interior consisting of fine honey coloured native wood panels and clean fibrous plaster. In this modest sized family home a small piano nook is built subtly into the lounge. This nook is separated from the main body of the lounge by the minimal gesture of a bookcase which projects a little into the lounge. A small lowered ceiling above the nook adds to the sense of separateness, snugness of this sub-space. Built in seating on either side of a fireplace are positioned toward the view of northerly hills, and the light. Cosiness, economy and functionality are brought together to achieve a sense of gentle refinement. Notwithstanding the Halberstam villa's more modest scale compared to other Kulka Houses in New Zealand, it remains exemplary of the spirit of his work spatially and materially. Kulka's prolific building continues to influence Modern Architecture in New Zealand.
en.wikipedia.org/wiki/Henry_Kulka
Plot 41: Henry Kulka (71) 7/5/1971 – Architect
HENRY KULKA
1900 – 1971
This is the result of a composition representing a modern Nativity scene, during these days of Christmas time in Sant Pere de Torelló church in Catalonia. Joint production between Pere Pujolassos and myself. Good work, interesting reflection.
Photo: Raquel Vaqué.
Resultat de la composició presentada a l'esglèsia de Sant Pere de Torelló a Osona, durant aquestes festes de Nadal. Un treball en equip entre Pere Pujolassos i Eudald Alabau.
hammered metal, copper, brass,nickel, and wire, wooden beads. 2" x 3", completed many years ago in a weekly workshop with Joan DeCrisantis. I just found it and put on the pin back.
www.flickr.com/photos/15794235@N06/albums/72157602933346098
After clickling on the link above, click on any photo for a larger photo and description. Click photo again for largest size photo. Click back to original album and enjoy over 700 engines in our collection.
Couresy of Paul and Paula Knapp
Miniature Engineering Museum
B took this pic of my Halloween top when we were doing a photoshoot on Halloween. I made this top but B designed it. It's all hot glue, and it's FABULOUS. Don't you wish you had it? ;)
This is the result of a composition representing a modern Nativity scene, during these days of Christmas time in Sant Pere de Torelló church in Catalonia. Joint production between Pere Pujolassos and myself. Good work, interesting reflection.
Photo: Raquel Vaqué.
Resultat de la composició presentada a l'esglèsia de Sant Pere de Torelló a Osona, durant aquestes festes de Nadal. Un treball en equip entre Pere Pujolassos i Eudald Alabau.
www.herreshoff.org/hmm/index.html
The Buzzards Bay-14 was designed by L.Francis Herreshoff in 1945 as a follow-on to the Herreshoff 12 1/2 designed by his father, N.G. Herreshoff.
These are beautiful, classic wooden boats. We usually build them with a fir or purpleheart stem and keel, mahogany transom (seen in this picture) and western red cedar planking. The boats are usually a two year project for us.
In this photograph, the hull has been completed, caulked and paid (caulking covered with a waterproof material). The hull is being sanded to a smooth curve. The gray paint over the white primer helps the students, like the generations of boatbuilders before them, to see the bumps and hollows in the hull so it can be smoothed out.
The Northwest School of Wooden Boatbuilding is located in Port Hadlock WA and is a private, accredited non-profit vocational school.
Our mission is to teach and preserve the fine art of wooden boatbuilding and traditional maritime crafts.
You can find us on the web at www.nwboatschool.org .
You can reach us via e-mail at info@nwboatschool.org or by calling us at 360-385-4948.
The Triangle Diner is an American diner in Winchester, Virginia. It was built in 1948 by the Jerry O'Mahony Diner Company of Elizabeth, New Jersey.
It is one of the best preserved classic diners in America, with close to 100% of the original features still intact. Key features include elaborate stainless steel ornamentation on the exterior, rounded interior ceiling with hidden lighting cove on all sides, a counter with stools and booths for patron seating, and terrazzo concrete floor. O'Mahony was a significant and prolific diner manufacturing company and set high standards for diner construction quality and craftsmanship.
O'Mahony's work served as an inspiration for other diner manufacturers throughout the 1940s and 1950s. The Triangle Diner is an example of "Moderne architectural features" that are representative of the stainless steel prefabricated diners of the post–World War II era. The entire diner building – approximately 43 by 16 feet – was built at the O'Mahony Diner Company factory in New Jersey and once fully complete was then transported by train nearly 300 miles to Winchester, Virginia. It has been at the same intersection in Winchester since it first arrived, more than 60 years ago. Diners of this design somewhat resemble and are often confused with railroad cars removed from their wheels.
The Triangle Diner was listed on the National Register of Historic Places by the U.S. Department of the Interior on March 31, 2010, and was added to the Virginia Landmarks Register on December 17, 2009. The building is currently closed pending the completion of a comprehensive restoration that stalled out in 2014. The Triangle Diner is the older of only two stainless steel O’Mahony diners in Virginia. Of the more than 2,000 O'Mahony diners once built, only a few dozen still remain nationwide.
Country music legend Patsy Cline worked at the diner for three years after dropping out of high school to help support her mother and siblings.
NRHP 10000148