View allAll Photos Tagged EMPHASIS
Boultham Park in Boultham, Lincoln, Lincolnshire.
Formerly part of the estate of Boultham Hall, it was purchased by the City of Lincoln Council in 1931 and laid out as a public park. All the buildings have been demolished except the lodges and gate piers of 1872, by William Watkins. Area of the park is 20 hectares. A regular summer fair is held, which celebrated its 20th anniversary in 2011.
The park includes a 13th-century church dedicated to Saint Helen. This was restored by C. Hodgson Fowler in 1887. Part of a group parish with nearby Holy Cross parish, which was built when the needs of the parish outgrew St Helen's. St Helen's is now used only occasionally for services. Outside the church is a memorial to the Crimean war, erected in 1858.
A play area, designed with help from children from nearby St Francis school opened in 2011. A five-year refurbishment plan was drawn up by the City Council and the Lincolnshire learning disability charity, Linkage Community Trust, and £2.7 million of lottery funding obtained. The plan is to restore and convert the former stable block into an education centre, open a cafe/shop, and build a horticulture centre. Work started in autumn 2013, with initial emphasis on community involvement in improving the park.
Red-billed Oxpecker (Buphagus erythrorhynchus) on the backof an impala. These birds owe their existance to the food they gleen off the backs of animals with special emphasis on the impala. Their favorite food seems to be blood as they continually pick at a wound sometimes prolonging its healing. They also seem to like ear wax, ugh! Image taken in Chobe National Park of Botswana.
Citadel Park Passeig de Picasso Barcelone Catalonia Spain
Citadel Park is a park on the northeastern edge of Ciutat Vella, Barcelona, Catalonia. For decades following its creation in the mid-19th century, this park was the city's only green space. The 70 acres (280,000 m2) grounds include the city zoo (once home to the albino gorilla Snowflake, who died in 2004), the Parliament of Catalonia, a small lake, museums, and a large fountain designed by Josep Fontserè (with possible contributions by the young Antoni Gaudí).
Locations
Citadel
In 1714, during the War of the Spanish Succession, Barcelona was laid siege for 13 months by the army of Philip V of Spain. The city fell, and in order to maintain control over it, and to prevent the Catalans from rebelling as they had in the previous century, Philip V built the citadel of Barcelona, at that time the largest fortress in Europe.
A substantial part of the district it was constructed in (La Ribera) was destroyed to obtain the necessary space, leaving its inhabitants homeless. The fortress was characterized by having five corners, which gave the citadel defensive power, and by a rather wide surrounding margin, serving as location for the army's cannons. It included enough buildings to house 8,000 people.
Hundreds of Catalonians were forced to work on the construction for three years, while the rest of the city provided financial backing for this and for warfare-related expenses as well, with a new tax named el cadestre. Three decades later a quarter was rebuilt around the fortress named Barceloneta, which is located inside the neighborhood Ciutat Vella.
In 1841 the city's authorities decided to destroy the fortress, which was hated by Barcelona's citizens. Yet two years later, in 1843, under the regime of Maria Cristina, the citadel was restored. In 1848, after Maria Cristina's abdication and as the citadel lost its use, General Espartero razed most of the buildings within the fortress as well as its walls by bombarding it from the nearby mountain fortress Montjuic, which helped him gain political popularity. By 1869, as the political climate liberalised enough to permit it, General Prim decided to turn over what was left of the fortress to the city and some buildings were demolished under Catalan orders, for it was viewed as by the citizens as a much-hated symbol of central Spanish government.
The chapel (now the Military Parish Church of Barcelona), the Governor's palace (now Verdaguer Secondary School), and the arsenal (now home to the Catalan Parliament) remain, with the rest of the site being turned into the contemporary park by the architect Josep Fontsére in 1872. Nineteen years later, in 1888, Barcelona held the Exposición Universal de Barcelona extravaganza, inspired by Mayor Rius i Taulet, and the park was redesigned with the addition of sculptures and other complementary works of art. This marked the conclusion of the old provincial and unprogressive Barcelona and the establishment of a modern cosmopolitan city. From that point until 1892, half of the park's layout was enhanced again in order to obtain sufficient space for the zoo. The park's bandstand, Glorieta de la Transsexual Sònia, is dedicated to a transsexual, Sonia Rescalvo Zafra, who was murdered there on 6 October 1991 by right-wing extremists.
Cascada
The lake in the Parc de la Ciutadella
The Cascada (waterfall or cascade in Spanish) is located at the northern corner of the park opposite to the lake. It was first inaugurated in 1881 without sculptures or any meticulous details, and was thereby criticized by the press, after which this triumphal arch was thoroughly amended by the addition of a fountain and some minor attributes, which required six years of construction from 1882 to 1888, and was thenceforth put on display at the Universal Exhibition, and hitherto not been redesigned. It was erected by Josep Fontsére and to a small extent by Antoni Gaudí, who at that time was still an unknown student of architecture. Fontsére aimed to loosely make it bear resemblance to the Trevi Fountain of Rome. Two enormous pincers of gigantic crabs serve as stairs to access a small podium located in the centre of the monument. In front of it a sculpture (designed by Venanci Vallmitjana) of Venus standing on an open clam was placed. The whole cascade is divided in two levels. From the podium on a path leads to the Feminine Sculpture and to the northeastern corner of the park, and upon following the route down the stairs the fountain's pond is rounded and the southern tip of the artifact is reached.
Zoo
The zoo's main entrance
The zoo of Barcelona is located in the park of the ciutadella due to the availability of a few buildings which were left empty after the Universal Exposition of 1888. It was inaugurated in 1892, during the day of the Mercé, the patron saint of the city. The first animals were donated by Lluís Martí i Codolar to the municipality of Barcelona, which gratefully approved of their accommodation in the zoo.
Nowadays, with one of the most substantial collections of animals in Europe, the zoo affirms that their aim is to conserve, investigate, and educate.
From 1966 to 2003 the zoo was home to the famous albino gorilla Snowflake, who attracted many international tourists and locals.
Apart from the usual visits, different types of guided tours or other activities are offered, like for example 20 types of diversionary workshops, excursions and fieldtrips for schoolchildren, or personnel training and educational courses in zoology for adults. More than 50,000 children visit the zoo on an annual basis, which is the reason for the zoo's emphasis on education.
Museum of Natural Science
The facade of the zoology museum of Barcelona
Ceramics on the facade of the zoology museum of Barcelona
The Museum of Natural Science, sited in the park, comprises a museum of zoology and a museum of geology.
The museum of zoology was constructed for the Exposición Universal de Barcelona (1888) by the architect Lluís Doménech i Montaner to serve as an exhibition. Most of the building is constructed of red brick. The most popular displays are the skeleton of a whale and exhibits dedicated for smaller children. The institute's stated aims are to enhance knowledge and conservation of the natural diversity of Catalonia and its surroundings, to promote public education on the natural world, to transmit ethical values of respect for nature, and to stimulate informed debate on the issues and environmental problems that concern society. The museum has permanent exhibitions on the subject of mineralogy, petrology and paleontology; the volcanic region of Olot; minerals' secret colors; the animal kingdom; urban birds; and an apiary.
The museum of geology is a legacy of the scientist Francisco Martorell i Peña (1822–1878), who donated his whole collection of artifacts of cultural and archeological importance, his scientific library, and an amount of 125,000 pesetas to the city for the purpose of creating a new museum. The building, built during the same year and named the Corporación Municipal, was designed by Antoni Rivas i Trias.
To draw your eyes to the focal point of a picture by using depth of field, color or the arrangement of objects in a picture.
Or should that be "emphasis on boobs?"
They do make an emphatic statement in this dress, don't they?
This is a lovely shiny wet look aqua cap sleeve minidress with mesh insets that came from greatglam.com in my November minidress shopping binge. It reveals some of my assets quite nicely wouldn't you say? I've matched it up with my Platino Cleancut super shiny 15 denier panty hose and some recently acquired patent pumps with 5½" heels from electriqueboutique.com.
To see more pix of me in other tight, sexy and revealing outfits click this link:www.flickr.com/photos/kaceycdpix/sets/72157623668202157/
DSC_0317-53
Like other ancient Buddhist monasteries, Ajanta was a kind of college monastery, with a large emphasis on teaching, and divided into several different colleges for living and for some of the education, under a central direction. The layout of the site reflects this organizational structure, with most of the caves only connected via the exterior. The seventh-century traveling scholar Xuanzang informs us that Dinnaga, the celebrated Buddhist philosopher and controversialist, author of well-known books on logic, lived there in the 5th century. In its prime the settlement must have accommodated several hundred teachers and pupils. Many monks who had finished their first training may have used Ajanta as a base to return to during the monsoon season from an itinerant lifestyle.
The caves are generally agreed to have been made in two distinct periods, separated by several centuries
Ronse (French: Renaix) is a bilingual city in the Belgian province of East Flanders, bordering the French-speaking province of Hainaut. There has been a textile industry here since the 13th century. Especially from the 1870s, the textile industry flourished despite a temporary slowdown during the First World War. Between the two World Wars, Ronse developed into the second textile centre in Flanders, with an emphasis on cotton. The decline of this branch of industry began after the Second World War, but only really got into gear in the 1960s.
Today, Ronse is a commercial town with a provincial character, but thanks to its picturesque location in the hills that are called the Flemish Ardennes, day tourism is also growing.
(The term Ardennes is a poetic incursion by a writer, geographically the hills are called witness hills whose tops are made of iron sandstone).
6/52
“I have dreamt in my life, dreams that have stayed with me ever after, and changed my ideas; they have gone through and through me, like wine through water, and altered the color of my mind. And this is one: I'm going to tell it - but take care not to smile at any part of it.”
- Wuthering Heights
+++ DISCLAIMER +++Nothing you see here is real, even though the conversion or the presented background story might be based historical facts. BEWARE!
Some background:
Aeroflot is one of the oldest airlines in the world, tracing its history back to 1923. During the Soviet era, Aeroflot was the Soviet national airline and the largest airline in the world. Following the dissolution of the USSR, the carrier has been transformed from a state-run enterprise into a semi-privatized company which ranked 19th most profitable airline in the world in 2007. Aeroflot is still considered to be the de facto national airline of Russia, being 51%-owned by the Russian Government.
After WWII, Aeroflot's route network had extended to 295,400 kilometers (183,600 mi), and by 1950 it carried 1,603,700 passengers, 151,070 tonnes (333,050,000 lb) of freight and 30,580 tonnes (67,420,000 lb) of mail during the same year. The 20th Communist Party Congress, held in 1956, saw plans for Aeroflot services to be dramatically increased. The airline would see its overall activities increased from its then current levels by 3.8 times, and it was set the target of the carriage of 16,000,000 passengers by 1960. In order to meet these goals, Aeroflot introduced higher capacity turbojet and turbine-prop aircraft on key domestic routes, and on services to Aeroflot destinations abroad.
A major step for Aeroflot occurred on 15 September 1956 when the Tupolev Tu-104 jet airliner entered service on the Moscow-Omsk-Irkutsk route, marking the world's first sustained jet airline service. The airline began international flights with the type on 12 October 1956 with flights from Moscow to Prague. The aircraft placed Aeroflot in an envious position, as airlines in the West had operated throughout the 1950s with large piston-engine aircraft. By 1958 the route network covered 349,200 kilometers (217,000 mi), and the airline carried 8,231,500 passengers, and 445,600 tons of mail and freight, with fifteen percent of all-Union services being operated by jet aircraft.
Aeroflot introduced the Antonov An-10 and Ilyushin Il-18 in 1959, and together with its existing jet aircraft, the airline was able to extend services on modern aircraft to some twenty cities during 1960. The Tupolev Tu-114, then the world's largest airliner, entered service with the Soviet carrier on 24 April 1961 on the Moscow-Khabarovsk route; covering a distance of 6,980 kilometers (4,340 mi) in 8 hours 20 minutes. The expansion of the Aeroflot fleet saw services with modern aircraft being extended to more than forty cities in 1961, with fifty percent of all-Union services being operated by these aircraft. This fleet expansion also saw the number of passengers carried in 1961 skyrocketing to 21,800,000.
Further expansion came in 1962 when various medium and short-haul routes were started and respective aircraft types such as the Tupolev Tu-124, Ilyushin Il-60 and Antonov An-24 entered regular service with Aeroflot. The Tu-124 was a jet airliner, technically an 75% version of the Tu-104, while the An-24 was a lighter twin turboprop aircraft in the class of the Fokker F.27. The Il-60 was the latest addition to the domestic services, falling in between both other types.
Development of the Ilyushin Il-60 dated back to 12 October 1951, when the Soviet Council of Ministers published a specification for a medium-range aircraft carrying 50 to 70 passengers and 1,000 kg (2,200 lb) of cargo on routes up to 2,000 km (1,100 nmi; 1,200 mi) with a cruising speed of about 600 km/h (320 kn; 370 mph). The type was to replace the piston engine Ilyushin Il-14 on domestic routes. The number and type of engines were not specified, but jet or turboprop engines were expected and emphasis was put on ruggedness and ease of operations for operations on rural airstrips with a minimum of infrastructure.
Ilyushin’s OKB-240 responded at first with a scaled-down Il-18 turboprop airliner, somewhat inspired by an idea of Czech manufacturer Avia for a smaller, short-range airliner for the CSA’s Central European routes. This machine had only two engines and overall reduced dimensions, but used many components of the original airliner. But it soon became clear that the Tu-104 with its jet engines had already set higher standards, so that a completely new and more innovative design was started.
Internally known as “Aircraft 60”, the machine introduced some innovations while still being a conservative design. The aircraft was a two turboprop-engine low-wing monoplane with slightly swept (20° at quarter chord) wings, a circular pressurized fuselage and a conventional, yet markedly swept tail (both fin and stabilizer at 45°). The aircraft had two entry doors on the port-side before and after the wing, two overwing emergency exits on each side, and featured a retractable stairway under the rear fuselage so that passengers could directly enter the aircraft from the airfield. An APU was integrated in the rear fuselage, under the fin, for independent operation of the air condition system and starting the engines without external support.
The tricycle landing gear had four wheels fitted on the main leg bogies, which retracted inwards to lie under the fuselage instead of into the engine nacelles. The front wheel also had twin wheels, retracting forward in a well under the cockpit floor, and the aircraft’s low-pressure tires allowed operations even from grass airfields or snowy ground. Another novel feature at the time was the fitting of a weather radar in the nose, a civilian RPSN-2 "Emblema" system, doing away with the typical glazed navigator position of other former Soviet airliner designs. In order to support all-weather operations and ease the pilots’ work, “Aircraft 60” was also outfitted with an automatic approach system, supported by the radar which allowed blind navigation.
Despite vibration and noise problems, experienced with the earlier Il-18 airliner, Ilyushin insisted on turboprop propulsion because it was the more fuel-efficient option. He furthermore expected that no another jet-driven airliner would be politically “allowed” along the Tu-124 short haul airliner, at that time under parallel development.
“Aircraft 60” was powered by a pair of Kuznetsow NK-6K turboprops. This engine was one of several developments after World War II by a team of Russian scientists and deported German engineers under Ferdinand Brandner, which had worked for Junkers previously, evolving from late war German turboprop studies. This the post-war development was based on the wartime Jumo 022 turboprop design that developed 6000 eshp in a 3000 kg engine. The efforts continued with a 5000 ehp engine that weighed in at 1700 kg, completed by 1947, and with further weight savings and more modern materials, the NK-6, one of several development directions, became a large single-spool engine that was optimized for use on board of commercial aircraft like “Aircraft 60”.
For security reasons, the engines were mounted in front and above of the wings’ leading edge. In order to keep the wing structure as clean and simple and possible and not risk collateral damage to the landing gear in case of an engine fire, the landing gear was retracted into wells under the wing roots. This measure also kept the engine nacelle’s dimensions in very compact limits.
In order to minimize noise and vibrations, 2x4-bladed contraprops with an automatic feathering system were mounted, resulting in a characteristic humming noise when the engines were running. Due to the lower speed of these propellers, compared to a standard four- or five-blade propeller, the internal and external noise level could be significantly reduced (compared to the Il-18, which could drone at 110db in the cabin above the wings!), even though the lower frequency caused other problems, mainly vibrations at certain speeds that shook the whole airframe.
The standard seating of the initial version, the Il-60A, was 52 seats at a 90cm distance between the five-seat rows (two seats on port side and three on starboard). Alternatively, a maximum of 72 could be mounted in a cramped “tourist class” configuration with only 78cm distance between the seat rows, which became the late production standard configuration as Il-60B.
The first of two prototypes made its first flight from Zhukovsky airfield on 24 March 1960. The second prototype followed in June 1960. Two other airframes served as a static test cells. Testing was successful, and the aircraft entered production at Machinery Plant No. 30 located at Khodynka, near Moscow, replacing the Il-18 in production. Deliveries to Aeroflot began in August 1962, with the type operating its first scheduled passenger service, between Moscow and Tallinn in Estonia, on 2 October 1962.
The Il-60’s production remained only on a small scale, though: being a pure jet, the Tu-124 was preferred by the Aeroflot for short haul duties, as well as by the Powers That Be. Despite the type’s merits esp. in harsh climate conditions (most Il-60 were allocated to Aeroflot’s feederline services in the Soviet Union’s northern regions), the type was not popular among its crews. While the two turboprops gave sufficient power, had good handling across the whole speed envelope and the aircraft had no trouble remaining airborne with one engine shut down, the asymmetrical drag/thrust in this emergency condition was considerable and navigating the Il-60, and even more landing the aircraft, with only one engine was a challenging task.
Furthermore, the stalky landing gear, which prompted the crews' inofficial nickname "косино́жки" (kosinozhki = daddy longlegs), could start to vibrate under certain conditions and wobble, making a start or landing run a shaky if not dangerous affair, esp. on snow-packed and non-permanent runways. Furthermore, two Il-60 crashed on runways or airfields after hitting obstacles ubnder snow - the long front landing gear collapsed. Nobody on board was seriosuly hurt in both cases, but these accidents did not improve the type's reputation among both pilots and passengers alike.
Only a total of 44 machines were built: 18 Il-60As for selected connections abroad (e. g. to Scandinavia and Poland), plus 26 Il-60Bs with higher seat capacity for purely domestic service. Both machines were identical from the outside, though, and all production aircraft featured a characteristic spinal fin root extension that covered several radio and navigation antennae.
Ilyushin had plans for a stretched version (with two plugs inserted into the fuselage in front of and behind the wings) with a 2.2m longer fuselage and a maximum capacity of 85 passengers, and also worked on a jet-powered update with engine nacelles on pylons under and in front of the wings. But none of these improvements was turned into hardware, since not only the Tu-124 had become the preferred short/medium haul airliner for Aeroflot, the following Tu-134 had also become the political favorite, and OKB-240 focused on its long-range airliner Il-62.
Il-60 production already ended after only two years in 1964, and Aeroflot decommissioned its last twelve Il-60s on 21 January 1980, after more and more structural problems (wing spar cracks, caused by the NK-6’s vibrations) had become apparent and several aircraft had to be grounded.
General characteristics:
Crew: 3 (captain, first officer and a flight engineer),
plus another seat for an optional navigator or a radio officer,
plus a three- or four-person cabin crew
Capacity: 52 – 72
Payload: 8.4 t (9.3 short tons)
Length: 32,54 m (106 ft 7 in)
Wingspan: 34.3 m (112 ft 6 in)
Height: 11,74 m (38 ft 5 1/2 in)
Wing area: 146.7 m² (1,579 sq ft)
Empty weight: 22.2 t (24.5 sT)
Max. takeoff weight: 46 t (50.7 sT)
Powerplant:
2× Kusnetzow NK-6K turboprop engines, rated at 3,318 kW (4,612 ehp) each
Performance
Maximum speed: 805 km/h (500 mph/435 knots)
Cruise speed: 665 km/h (424 mph/370 knots)
Range (Typical payload, 2 hr reserve): 2,400 km (1,300 nmi/1,490 mi)
Rate of climb: 2,750 ft/min (14.0 m/s)
Service ceiling: 11,000 m (36,000 ft)
The kit and its assembly:
“In Soviet Union, Aeroflot flies you!” And in order to prove this theory, this whiffy airliner is contribution #3 to the “Soviet Group Build” at whatifmodelers.com in early 2017.
It’s been a very long time that I had built a small-scale airliner, but then I found a (crappy!) 1:144 Mistercraft Caravelle III in my stash (actually, a re-boxed kit from a company called “Ruch” from the Sixties!), that I had originally bought just for the wings as a pure donor kit. This appears to be a blunt copy of the also rather vintage Airfix kit, but the latter has much more crisp details. O.K., the Mistercraft kit was cheap – but you have to pay otherwise…
Anyway, anything Soviet without an elegant Aeroflot airliner would not be complete, so I tackled this idea on short notice. The project had also been fueled by another project idea: a modern short-haul airliner like the Tu-204, but outfitted with turboprops instead of turbofan engines. For this idea (and other uses), I also had a conversion set from a Russian company called “Kompakt Mir” stashed away, with four resin 1:144 NK-14 engines. It’s actually as an aftermarket upgrade set for the Trumpeter Tu-95 model kit, but came in handy – and it is excellent stuff, by the way, with crisp detail, almost no flash or sinkholes.
With these ingredients, work went on quickly and straightforward, and wings and fuselage were started separately. The wings (a combined piece with a mutual underside) received fairings for engine nacelles, made basically from drop tank halves glued to the upper wing surface. Then the resin engines were mounted to the fairings’ front ends the gaps and the nacelles’ underside sculpted with 2C putty, plus some later fine-tuning with NC putty. The Caravelle’s inward-retracting landing gear was retained, keeping the engine fairings rather short and compact.
On the fuselage, the Caravelle's original engines and their attachment points disappeared. The triangular windows were drilled open into circular shape, later, as a final finishing step, filled with Humbrol ClearFix for shiny window panes - this improves the overall look a lot.
Lead was added in the nose, the retractable stairway under the rear fuselage kept (a very Soviet design detail!) and the Caravelle’s characteristic round fin tip was cut away, to be replaced with a square scratch transplant. The stabilizers were moved down and their round tips clipped, too.
On the nose, a scratched thimble radome was added and blended into the fuselage, for an Il-18-ish look. While these were rather simple, cosmetic measures on the fuselage, the look of the whole aircraft was changed into a much more modern design!? This was even more emphasized when the wings and stabilizers were added – the Il-60 looks very contemporary, nothing of the Caravelle’s Fifties flavor remains.
The landing gear is new, bashed from the bogies of the recently slashed Dragon 1:144 B-1B bomber I abused for my Fastback build, and leftover struts from an Acedemy 1:144 Tu-22M. The latter also donated a pair of main wheels for the front leg, which is, again, from the B-1B.
The new arrangement is considerably taller than the Caravelle’s, but with the large propellers this is a convenient and plausible arrangement, despite a rather stalky appearance due to the relatively short wheelbase. The eight main wheels were taken from the RUCH kit, even though the attachment point would not fit the B-1 struts at all...
Painting and markings:
One can argue about Soviet aircraft design or reliability – but I must admit that I liked the Aeroflot aircraft liveries since I can remember them as a child, sometimes even witnessing Tupolev or Yak jets at the local airport. The white-and-blue outfit with almost baroque trim and details was and is IMHO a very elegant design, worthy of a state airline (which had a menacing, if not mysterious Big Brother image during the Cold War times in which I grew up).
Another interesting fact is that, despite the basic colors were set, each Aeroflot type bore a typical and different paint scheme, plus some exotic designs like the polar service machines with lots of red added.
Consequently, I had a lot of freedom, and work was made even more easy through the Mistercraft Caravelle kit: it actually contains markings for a Caravelle in Aeroflot markings! “Nonsense!”, you might say – but this aircraft actually existed: it was a movie prop (actually Air France’s F-BJTR) for filming “Enigma” at Le Bourget Airport in 1981 (check this for reference: www.airliners.net/photo/Aeroflot-%28Air-France%29/Sud-SE-...). As a side note, there was another Caravelle in fictional Interflug or ČSA colors, too, as well as a camouflaged SMB2 Super Mystère and a NMF Mystère IV with red stars on white discs, both playing the role of Soviet MiG-19s!
Anyway, the OOB decal sheet offered enough material for my plans, even though the blue trim was created from generic decal sheet. But door decals and most Aeroflot markings came from the movie aircraft.
Painting was also a pretty straightforward affair: the fuselage was painted white with acrylic paint from the rattle can, the lower fuselage by brush with Polished Aluminum Metallizer from Humbrol (which creates a very bright and clean finish) on top of a Revell Acrylics Aluminum primer coat.
For some contrast to the white and blue I painted the fixed wing parts with light grey, the rudders in Aluminum and Steel, and orange wing and stabilizer tips were added as small, additional contrasts, later even highlighted with dayglow orange.
In order to add some weirdness to the look, the propeller blades were painted bright blue with yellow tips. Unusual, but a common Soviet/Russian/Chinese practice.
A rather simple conversion, but highly effective. The Caravelle’s traces are almost not to be identified anymore, even though fuselage and wings consist of OOB material with only superficial modifications or re-locations. The engines on the wings change the look, too, and despite being massive NK-12’s they are a good match for the compact airliner – I am very happy with the outcome, even though the overall lines look much more modern than late Fifties design – even though no more modern parts were actually integrated? Weird, but entertaining. J
I could tell that Aggie Ring was impressed. After several moments of silence he spoke out and said, “If my Eyes of Texas aren’t deceiving me, that’s the biggest damn lightbulb I’ve ever seen! I guess it’s true… Everything IS bigger in Jersey!”
The Aggie Ring woke me up early this morning. In fact it was even before 11:30 a.m. so I knew he wanted to do something. I asked the Aggie Ring, “What do you want to do Aggie Ring?” The Aggie Ring replied, “I want to go see the lightbulb!” I wasn’t sure what he was talking about so I said, “What lightbulb?” The Aggie Ring said with emphasis, “Let there be LIGHT!” Then it hit me. Aggie Ring wanted to drive him up the Parkway to the site of Thomas A. Edison’s Menlo Park laboratory so he could see the Art Deco Edison Memorial Tower and “Big Ass Lightbulb!”
Other than the time he told me that he thought Elvis took our change in a tollbooth on the New Jersey State Turnpike, Aggie Ring has great ideas. It’s only about a 20 to 25 minute drive up the Parkway from our house so Aggie Ring and I set off to see the Edison Memorial Tower. The last time we’d been there it had been in horrible shape and they were beginning work on restoring it. That was a bit over a year ago so I assumed that Aggie Ring figured out that they would be finished with the conservation work on the historical site.
When we drove down the little side street where the tower is located the Aggie Ring was overwhelmed with awe at the restored site. Aggie Ring was truly “speechless!” It’s just as beautiful as the day it was built. They did an incredible job on the restoration. After a few moments sitting in the car just looking out the window Aggie Ring broke his silence and asked me, “Did you bring a cigar? Edison loved his cigars and I think he’d have wanted you to smoke a cigar while you’re looking the place over.” Unfortunately I had left my cigars at home so the Edison “smoke out” will have to happen on a future date.
The laboratory building is no longer at this site but it’s still impressive to think of not only the electric lightbulb, but all of the other great inventions that Mr. Edison invented here. Aggie Ring said, “Imagine. He did all this stuff without the help of an Aggie Ring!”
The Aggie Ring and I walked around the tower and took some photos of the “Big Ass Lightbulb” and the historical plaques at its base. The Aggie Ring and I are planning on going back some evening when the lightbulb is illuminated. Aggie Ring said, “It would be cool if you could get a photo during a thunderstorm when there’s lightning behind the tower.” I told Aggie Ring, “You’re crazy! I’m not standing out in a field during a lightning storm with an Aggie Ring on my finger! Maybe if we can get a VMI grad to come with us. Their rings are so damn big a lightning bolt would hit one of them before us!”
Aggie Ring said, “It’s a good thing Edison invented the lightbulb or there’d be a lot of Waggies drinking their tequila shots by candlelight!” I told the Aggie Ring, “True… Those Waggies love their tequila the invention of the lightbulb makes it a lot easier for them to pour the tequila and do body shots!”
Aggie Ring asked me to provide some info on the Edison “Big Ass Lightbulb” Memorial Tower for your educational enlightenment (“Get it?” Aggie Ring said):
Thomas Alva Edison Memorial Tower and Menlo Park Museum, New Jersey
"Let there be light." Thomas Alva Edison's Menlo Park Laboratory and Memorial Tower. Those of us on the Jersey Shore call it the "Big Ass Lightbulb!”
The Edison Tower, located on the site of the original laboratory at Menlo Park, New Jersey, to which Thomas Alva Edison moved in 1876, was erected in 1937 as a monument to the great inventor. The Tower is the gift of William Slocum Barstow to the Thomas Alva Edison Foundation Incorporated in behalf of the Edison Pioneers. It was dedicated on February 11, 1838, the ninety-first anniversary of the inventor's birth.
Rising 131 ft. 4 in. above the ground, the tower looms as the highest discernible object for many miles. Surmounting the 117 ft. 8 in. concrete-slab structure is a 13 ft. 8 in. replica of the original incandescent lamp which, when illuminated, can be seen for a distance of several miles. It once served as an airplane beacon. The Tower is designed for pressure of wind at a velocity of 120 miles per hour. In its construction, which consumed slightly less than eight months, approximately 1200 barrels of Edison Portland cement and 50 tons of reinforced steel were used.
The large bulb on top of the Tower was cast by the Corning Glass Works. The replica bulb contains 153 separate pieces of amber tinted Pyrex glass, 2 in. thick, set upon a steel frame. The bulb is 5 ft. in diameter at the neck and 9 ft. 2 in. in diameter at the greatest width and weighs, without the steel frame on which it is placed, in excess of three tons. Before the restoration, inside this Pyrex glass bulb were four 1000 watt bulbs, four 200 watt bulbs, and four 100 watt bulbs. A duplicate of each was arranged as automatically to cut in should its companion bulb fail.
The Edison Tower has been completely restored and when complete, the bulb is now illuminated with modern Light Emitting Diode (LED) technology. Mr. Edison would be pleased with this, I’m sure.
While we don’t have any records of exactly what was said when Mr. Edison perfected his invention, I suspect one of his workers shouted out something like this: “Holy Mother of Baby Jesus on a Donkey!” “Mr. Edison, You’ve done it!!! You’ve perfected the Electric Light!!! You truly are King of Kings!!!!”
The tower is located on a mysterious plot of land and exactly at midnight on the night of a full moon, it would be a perfect site for the ritual sacrifice of virgins. Too bad we don’t have any of those in New Jersey! :-)
*********************
Aggie Ring says, “The Road Goes On Forever, and the Party Never Ends!”
R230
Bonhams : the Zoute Sale
Estimated : € 260.000 - 320.000
Sold for € 270.250
Zoute Grand Prix 2018
Knokke - Zoute
België - Belgium
October 2018
'For anyone wishing to give their Mercedes that extra personal touch, Mercedes-AMG GmbH has just the answers. The Daimler-Chrysler subsidiary offers the combined experience of Mercedes-Benz and AMG in the field of high-quality enhancements for Mercedes-Benz passenger cars and puts the emphasis firmly on individuality when creating the customer's dream Mercedes.' - Mercedes-AMG GmbH.
AMG, which is now the official performance division of Mercedes-Benz, has a long history of producing high-performance derivatives of Mercedes' standard production vehicles, and these improved versions enjoy an enthusiastic following world-wide, with prominent figures of the motor sports, entertainment, sport and business communities being counted among aficionados.
Offered here is a beautiful SL65 AMG Black Series, the third of this evocatively titled and exclusive limited-edition family that had begun with SLK55 of 2006. Intended as even more highly developed versions of Mercedes-Benz's AMG performance models, the Black Series consists of two-seater fixed-head coupé designs only. In the case of the SL65, this meant abandoning the 'ordinary' version's folding metal hardtop in favour of a fixed carbon fibre roof, which also made room for the Black Series' retractable rear spoiler. This insane SL was pushing the boundaries of the AMG badge to the max. This version was developed in the newly created AMG Performance Studio which was a division of AMG, showcasing the cars their newly devised department could create, with an 'Anything is Possible' attitude. The 'SL65 Black Series' was the pinnacle of this ethos.
The SL65 AMG Black Series was unveiled at Monterey in 2008. The base-car SL65 AMG's 6.0-litre V12 engine was retained for the Black Series but received larger turbochargers, a bigger inter-cooler, a new exhaust system, and a suitably remapped ECU, resulting in an increase in maximum power to 670bhp (approximately a 10% improvement over the stock SL65 AMG) while torque went up to a mighty 737lb/ft, delivered between 2,200 and 4,200 revs. AMG's engineers not only increased engine output but also trimmed 250kg (550lb) off the car's all-up weight courtesy of additional carbon fibre panels, further improving the power-to-weight ratio. The result was a 0-100km/h time of 3.8 seconds, while top speed was electronically limited to 320km/h.
The extraordinary engine specifications made the SL 65 AMG Black Series the most powerful AMG model at the time! This stupendous performance reached the road via AMG's Speedshift Plus multi-mode five-speed automatic gearbox. As one would expect, given the Black Series raison d'être, the chassis too underwent considerable modification, featuring quicker steering, wider front and rear track, and redesigned suspension in the interests of enhanced roadholding and controllability. Mercedes-Benz recognised that many Black Series customers would wish to enjoy their cars on the racetrack (where else could one safely enjoy its performance to the full?) and thoughtfully made the multi-link rear suspension adjustable. The SL65 AMG Black Series rolled on AMG light-alloy wheels - 19.5" at the front, 20" at the rear - while stopping power was provided by 6-pot callipers at the front, 4-pot at the rear. Only 350 of these amazing cars were made, and all found customers despite a stratospheric asking price of €330,000 without options.
Still the most powerful standard road-going Mercedes-Benz AMG to date, this pristine example has covered a mere 6,300 kilometres from new and is finished in arguably the best colour combination of silver with black interior (as one can imagine, most are black!). One of only approximately 175 examples destined for Europe (most went to the USA or Asia), it is one of only 5 delivered new to France.
Delivered in September 2009, the car has been well maintained and is presented in excellent 'as new' condition, as one would expect from its low odometer reading. The accompanying maintenance history printout records services at Mercedes-Benz Paris in 2010, 2012, 2014, 2016 and in August 2018, the latter at 6,318 kilometres. This car also comes equipped with every conceivable option, the very embodiment of the phrase 'fully loaded' (detailed specification available). Offered with all books and tools, it represents a possibly once-in-a-lifetime opportunity to acquire one of these fabulous limited-edition supercars, the like of which Mercedes most probably will never produce again – an incredible aggressive looking beast!
Aggie Ring loves a good "selfie!"
I could tell that Aggie Ring was impressed. After several moments of silence he spoke out and said, “If my Eyes of Texas aren’t deceiving me, that’s the biggest damn lightbulb I’ve ever seen! I guess it’s true… Everything IS bigger in Jersey!”
The Aggie Ring woke me up early this morning. In fact it was even before 11:30 a.m. so I knew he wanted to do something. I asked the Aggie Ring, “What do you want to do Aggie Ring?” The Aggie Ring replied, “I want to go see the lightbulb!” I wasn’t sure what he was talking about so I said, “What lightbulb?” The Aggie Ring said with emphasis, “Let there be LIGHT!” Then it hit me. Aggie Ring wanted to drive him up the Parkway to the site of Thomas A. Edison’s Menlo Park laboratory so he could see the Art Deco Edison Memorial Tower and “Big Ass Lightbulb!”
Other than the time he told me that he thought Elvis took our change in a tollbooth on the New Jersey State Turnpike, Aggie Ring has great ideas. It’s only about a 20 to 25 minute drive up the Parkway from our house so Aggie Ring and I set off to see the Edison Memorial Tower. The last time we’d been there it had been in horrible shape and they were beginning work on restoring it. That was a bit over a year ago so I assumed that Aggie Ring figured out that they would be finished with the conservation work on the historical site.
When we drove down the little side street where the tower is located the Aggie Ring was overwhelmed with awe at the restored site. Aggie Ring was truly “speechless!” It’s just as beautiful as the day it was built. They did an incredible job on the restoration. After a few moments sitting in the car just looking out the window Aggie Ring broke his silence and asked me, “Did you bring a cigar? Edison loved his cigars and I think he’d have wanted you to smoke a cigar while you’re looking the place over.” Unfortunately I had left my cigars at home so the Edison “smoke out” will have to happen on a future date.
The laboratory building is no longer at this site but it’s still impressive to think of not only the electric lightbulb, but all of the other great inventions that Mr. Edison invented here. Aggie Ring said, “Imagine. He did all this stuff without the help of an Aggie Ring!”
The Aggie Ring and I walked around the tower and took some photos of the “Big Ass Lightbulb” and the historical plaques at its base. The Aggie Ring and I are planning on going back some evening when the lightbulb is illuminated. Aggie Ring said, “It would be cool if you could get a photo during a thunderstorm when there’s lightning behind the tower.” I told Aggie Ring, “You’re crazy! I’m not standing out in a field during a lightning storm with an Aggie Ring on my finger! Maybe if we can get a VMI grad to come with us. Their rings are so damn big a lightning bolt would hit one of them before us!”
Aggie Ring said, “It’s a good thing Edison invented the lightbulb or there’d be a lot of Waggies drinking their tequila shots by candlelight!” I told the Aggie Ring, “True… Those Waggies love their tequila the invention of the lightbulb makes it a lot easier for them to pour the tequila and do body shots!”
Aggie Ring asked me to provide some info on the Edison “Big Ass Lightbulb” Memorial Tower for your educational enlightenment (“Get it?” Aggie Ring said):
Thomas Alva Edison Memorial Tower and Menlo Park Museum, New Jersey
"Let there be light." Thomas Alva Edison's Menlo Park Laboratory and Memorial Tower. Those of us on the Jersey Shore call it the "Big Ass Lightbulb!”
The Edison Tower, located on the site of the original laboratory at Menlo Park, New Jersey, to which Thomas Alva Edison moved in 1876, was erected in 1937 as a monument to the great inventor. The Tower is the gift of William Slocum Barstow to the Thomas Alva Edison Foundation Incorporated in behalf of the Edison Pioneers. It was dedicated on February 11, 1838, the ninety-first anniversary of the inventor's birth.
Rising 131 ft. 4 in. above the ground, the tower looms as the highest discernible object for many miles. Surmounting the 117 ft. 8 in. concrete-slab structure is a 13 ft. 8 in. replica of the original incandescent lamp which, when illuminated, can be seen for a distance of several miles. It once served as an airplane beacon. The Tower is designed for pressure of wind at a velocity of 120 miles per hour. In its construction, which consumed slightly less than eight months, approximately 1200 barrels of Edison Portland cement and 50 tons of reinforced steel were used.
The large bulb on top of the Tower was cast by the Corning Glass Works. The replica bulb contains 153 separate pieces of amber tinted Pyrex glass, 2 in. thick, set upon a steel frame. The bulb is 5 ft. in diameter at the neck and 9 ft. 2 in. in diameter at the greatest width and weighs, without the steel frame on which it is placed, in excess of three tons. Before the restoration, inside this Pyrex glass bulb were four 1000 watt bulbs, four 200 watt bulbs, and four 100 watt bulbs. A duplicate of each was arranged as automatically to cut in should its companion bulb fail.
The Edison Tower has been completely restored and when complete, the bulb is now illuminated with modern Light Emitting Diode (LED) technology. Mr. Edison would be pleased with this, I’m sure.
While we don’t have any records of exactly what was said when Mr. Edison perfected his invention, I suspect one of his workers shouted out something like this: “Holy Mother of Baby Jesus on a Donkey!” “Mr. Edison, You’ve done it!!! You’ve perfected the Electric Light!!! You truly are King of Kings!!!!”
The tower is located on a mysterious plot of land and exactly at midnight on the night of a full moon, it would be a perfect site for the ritual sacrifice of virgins. Too bad we don’t have any of those in New Jersey! :-)
*********************
Aggie Ring says, “The Road Goes On Forever, and the Party Never Ends!”
The Chevrolet Camaro and its twin, the Pontiac Firebird, were GMs hasty response to the early success of the Ford Mustang. The two rival products were conceptually the same: take a relatively simple and cheap 'Compact' US model, fit a light, 2-door body type with an emphasis on 'sporty', fit mildly upgraded powertrains from the 'Intermediate' series above, and market them to the well-to-do middleclass 20-somethings.
Ford had hit the nail straight on the head, and it was a recipe that GM was keen to repeat with Camaro.
Things didn't stay sweet and simple for long though. Parallel to the 'Pony Cars' (as the Mustang and Camaro were known), were the 'Muscle Cars', compact, intermediate and full-size. Thus the 200 bhp or so that should have been a fairly sensible ceiling for a pony car, fitted with a moderate V8, soon provided access to 300 bhp, and then 400 bhp. Alas, over time, the spread of middle-age ballooned also the weight, but while these cars were young, in their first iteration, the theme sounded the sweetest, and these are now some of the most collectable of period US automobiles.
Some are sweeter, truer and more collectable than others. The Camaro model shown here more than most. As part of the heavy campaigning for the hearts and minds of America's young, and young at heart, was the beat of performance. A tie-in with the Indianapolis 500, saw 1969 as the year of the Chevrolet Camaro Pace Car. Chevrolet had similarly provided the Pace Car for 1967, upon the release of the Camaro in its first year of production.
White paint. Orange stripes (and interior), and most importantly 375 bhp of 396 ci big block.
You can't eat just one though, and Chevrolet produced a small batch of replicas. The cars looked much the same as the real Pace Car, but were now fitted with the 300 bhp, 350 ci engine. The cars were based on a Camaro SS, though the Z11 (Pace Car package) also had featured Z28 hardware and the RS hidden-light grille.
For an automotive genre that was born, and in many ways defined the the 1960's, the 1969 Pace Car is a testament to how 'right' the formula could be.
The 1970's would be like the sad decline of middle age, more weight, less power, bigger around the middle, and a fading good looks that could not be hidden with too-much make up.
The pony cars would live on, but would have to wait for a second 'golden-age' in the early 2000's, to get their mojo back, to roar the last roar of rear-wheel-drive American V8 power, and to drive their baby-boomer original customer into his or her retirement.
This Lego 1960 Chevrolet Camaro Indianapolis 'Pace Car' has been modelled for Flickr LUGNuts 69th build challenge - 'Summer of '69' - celebrating automotive products from the 1960's.
I noticed an interesting use of underlining at the gas pump today. I learned, when studying typography, that underlining is mostly a relic of the typewriter, which was incapable of emphasizing text with italic or bold typefaces, and that other means of emphasis are more aesthetically pleasing.
One problem with underlining words as a way of underscoring their importance is that the underlines interfere with the descenders-- those "tails" of letters that descend below the baseline as in the lowercase letters g, j, p, q, and y. I once read that a proper underline breaks at the descenders to allow them to descend without interference.
I am happy to report that the typesetter of this sign knew well enough to underscore only the "round" of the word "ground" and let the descender of the lowercase g hang down without the interference of the underline.
You just never know where you'll see an example of proficient typography! Er… typography! Yeah, that's better!
washington square park in new york city. i took this photo with emphasis on the monument and the flowers and i preferred this one, for some reason.
canon ae-1.
Emphasis is shown dramatically as the significance of the cross shape is dominant in this architecture.
A very pleasant trail up and the emphasis on the word UP very steep for the first 1.5kms then it levels out a bit.many fallen logs and rocks made for good rest points on the climb up the trail.
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Psalm 6:5 says, "Return, O Lord. Deliver my soul."
The Hebrew word for return is an important word, meaning, among other things, to turn back, restore, bring, recover.
Another important word is the Hebrew word 'neph-esh' (emphasis on the second syllable) meaning soul. The first time this word was used was when the Lord God formed man from the dust of the ground and breathed into his nostrils the breath of life, and man became a 'nephesh'--a living soul. Genesis 2:7
These two words appear in a more familiar Psalm, where the Good Shepherd, (are you ready for this?) will restore your soul. Yes, these two words (different word order) appear there as well.
ICAD 47 of 61
July 17 2016
The National Gallery of Australia, designed by Colin Madigan, is a notable example of Brutalist architecture, characterized by its use of raw concrete and bold geometric forms. The building features sharp angles, flat surfaces, and imposing massing, emphasizing a sense of permanence and functionality. Its horizontal lines and large volumes create an austere yet striking visual impact, with a design that prioritizes form over decoration.
The gallery’s layout is focused on function, with open, spacious galleries and minimal ornamentation. The design is meant to serve the practical needs of displaying art, with a utilitarian approach that reflects the Brutalist ethos. The building's raw materials and geometric precision combine to create a functional and straightforward structure, aligning with the Brutalist emphasis on utility and simplicity.
A church on a grand scale, in the Gothic Revival style, and very impressive.
We were in town for a few hours, mainly because I wanted to ride behind a class 68, which we did on the way back. But they don't make me a geek, right?
Anyway, I will leave others to describe this, one of England's largest parish churches.
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As one of England's largest parish churches, All Saints rivals many cathedrals in size. With its stunning gothic-style architecture, the eminent art historian Sir Nikolaus Pevsner described it as "a church as out of the ordinary for scale as for style".
The Domesday Book of 1086 reports that there was a priest present in "Lamintone", (an old name for Leamington) although there is no specific mention of a church. The earliest record of one was from the 12th century when Leamington was still a tiny hamlet in the parish of Leek Wootton. A west tower was added in the 14th century whilst a south porch was added in the 18th century. The first spring (of many that made Leamington famous) was located just outside the main entrance of the church of land owned by the Earl of Aylesford.
It was in 1842 that the church began to take its current form and shape, overseen by the Rev John Craig. By this time the church was no longer in open fields just to the north of a hamlet, but was in the centre of a bustling spa town (two of Leamington's town founders, Benjamin Satchwell and William Abbotts are buried in the churchyard). The last major works to take place to the church were from 1898–1902, when two western bays to the nave and a south western bell tower were added by the eminent Victorian architect Sir Arthur Blomfield. The seating capacity was increased to around 2000. In 1986, the Urquhart Room was added, which now houses the parish office and cafe. From September 2007 to February 2008 the church precincts were redeveloped and a new sculpture, entitled 'Spring', was installed on the site of the original Leamington spa spring.
The church remains in active use, first and foremost as a place of worship for a thriving community of families, young professionals and students. The congregation is frequently supplemented by visitors from the UK and abroad.
Despite the fragmentation of its parish during the 19th century, All Saints is still known and used as Leamington's Parish Church, especially for very large occasions. There is a particular emphasis in the worship on high quality choral and organ music, with a repertoire spanning the 8th to the 21st centuries.
The church also hosts and promotes organ recitals and concerts, with the capacity to accommodate a full choir and symphony orchestra along with an audience of up to 500. Every year, music, along with other art forms, is celebrated intensively over a weekend at the All Saints' Arts Festival.
www.allsaintschurchleamington.org.uk/history--heritage.html
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The Domesday Book of 1086 reports that there was a priest present in "Lamintone", (an old name for Leamington) although there is no specific mention of a church. The earliest record of one was from the 12th century when Leamington was still a tiny hamlet in the parish of Leek Wootton.[2] A west tower was added in the 14th century whilst a south porch was put added in the 18th.[3] The first spring (of many that made Leamington famous) was located just outside the main entrance of the church of land owned by the Earl of Aylesford.
It was however in 1843 that the church began to take its current form and shape.[4] By this time the church was no longer in open fields just to the north of a hamlet, but was in the centre of a bustling spa town. (Two of Leamington's town founders, Benjamin Satchwell and William Abbotts are buried in the churchyard.) The main reconstruction took place between 1843 and 1869 to designs by the architect J.G. Jackson of Leamington.
In 1867 the south transept was added by the architect TC Barry.
The last major works to take place to the church were from 1898–1902 by the architect Sir Arthur Blomfield, when two western bays to the nave and a south western bell tower were added.[5] The seating capacity was increased to around 2000. From September 2007 to February 2008 the church precincts were redeveloped and a new sculpture, entitled 'Spring', was installed on the site of the original Leamington spa spring.
The church remains in active use as a place of worship, with Sunday and other major services accompanied by the surpliced choir. Despite the fragmentation of its parish during the 19th century, All Saints is still known and used as Leamington's Parish Church. The church also hosts and promotes organ recitals and concerts, as well as the annual All Saints' Arts Festival.