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Around the Lenin statue there was a lot of stuff embedded into the sidewalk. I didn't get any decent pictures of the whole thing, but this detail of a very finely decorated hammer embedded in the concrete did turn out pretty well I thought.
Pikmin Flower / Bacopa Cabana / Schneeflocke (Sutera cordata) - Large On Black
in our garden - Frankfurt-Nordend
Explored: 20.07.2008
I knew I had to take a picture of this driftwood when I saw it, and I wasn't sure why I loved it so much until I realized later on that it reminds me of a photo I took in Yellowstone back in early Summer 2015 of some trees killed by geothermal water from a nearby geyser. (That photo is also posted on my Flickr account, by the way)
Installed in 1898, the A. E. Woolley Memorial stained glass window looks out onto the small south garden of St. Mark the Evangelist Church of England in Fitzroy.
The window is very tall, almost reaching the apex of the church. Possibly designed by British born, German trained, Melbourne stained glass artist William Montgomery, it is full of beautiful examples of brightly coloured and hand-painted stained glass panels. There are also several lozenges embedded throughout the window, representing flowers in bloom. In addition to very stylised Art Nouveau flowers, the window depicts a crown at the top, the nails and crown of thorns worn by Jesus in a quadrofoil of blue, a stylised cross and the letters IHS intertwined in a monogram half way down the lancet window. These letters are a contraction for "Iesus Hominum Salvator"; "Jesus, Savior of Men".
Built amid workers' cottages and terrace houses of shopkeepers, St. Mark the Evangelist Church of England sits atop an undulating rise in the inner Melbourne suburb of Fitzroy. Nestled behind a thick bank of agapanthus beyond its original cast-iron palisade fence, it would not look out of place in an English country village with its neat buttresses, bluestone masonry and simple, unadorned belfry.
St. Mark the Evangelist was the first church to be built outside of the original Melbourne grid as Fitzroy developed into the city's first suburb. A working-class suburb, the majority of its residents were Church of England and from 1849 a Mission Church and school served as a centre for religious, educational and recreational facilities. The school was one of a number of denominational schools established by the Church of England and was partly funded by the Denominational School Board.
St. Mark the Evangelist Church of England was designed by architect James Blackburn and built in Early English Gothic style. Richard Grice, Victorian pastoralist and philanthropist, generously contributed almost all the cost of its construction. Work commenced in 1853 to accommodate the growing Church of England congregation of Fitzroy. On July 1st, 1853, the first stone of St. Mark the Evangelist was laid by the first Bishop of Melbourne, The Right Rev. Charles Perry.
Unfortunately, Blackburn did not live to see its completion, dying the following year in 1854 of typhoid. This left St. Mark the Evangelist without an architect to oversee the project, and a series of other notable Melbourne architects helped finish the church including Lloyd Tayler, Leonard Terry and Charles Webb. Even then when St. Mark the Evangelist opened its doors on Sunday, January 21st, 1855, the church was never fully completed with an east tower and spire never realised. The exterior of the church is very plain, constructed of largely unadorned bluestone, with simple buttresses marking structural bays and tall lancet windows. The church's belfry is similarly unadorned, yet features beautiful masonry work. It has a square tower and broach spire.
Inside St. Mark the Evangelist Church of England it is peaceful and serves as a quiet sanctuary from the noisy world outside. I visited it on a hot day, and its enveloping coolness was a welcome relief. Walking across the old, highly polished hardwood floors you cannot help but note the gentle scent of the incense used during mass. The church has an ornately carved timber Gothic narthex screen which you walk through to enter the nave. Once there you can see the unusual two storey arcaded gallery designed by Leonard Terry that runs the entire length of the east side of building. Often spoken of as “The Architect’s Folly” Terry's gallery was a divisive point in the Fritzroy congregation. Some thought it added much beauty to the interior with its massive square pillars and seven arches supporting the principals of the roof. Yet it was generally agreed that the gallery was of little effective use, and came with a costly price tag of £3,000.00! To this day, it has never been fully utlised by the church. St. Mark the Evangelist has been fortunate to have a series of organs installed over its history; in 1854 a modest organ of unknown origin: in 1855 an 1853 Foster and Andrews, Hull, organ which was taken from the Athenaeum Theatre in Melbourne's Collins Street: in 1877 an organ built by Melbourne organ maker William Anderson: and finally in 1999 as part of major renovation works a 1938 Harrison and Harrison, Durham, organ taken from St. Luke's Church of England in Cowley, Oxfordshire. The church has gone through many renovations over the ensuing years, yet the original marble font and pews have survived these changes and remain in situ to this day. Blackwood reredos in the chancel, dating from 1939, feature a mosaic of the last supper by stained glass and church outfitters Brooks, Robinson and Company. A similar one can be found at St. Matthew's Church of England in High Street in Prahran. The fine lancet stained glass windows on the west side of St. Mark the Evangelist feature the work of the stained glass firms Brooks, Robinson and Company. and William Montgomery. Many of the windows were installed in the late Nineteenth Century.
The St. Mark the Evangelist Parish Hall and verger's cottage were added in 1889 to designs by architects Hyndman and Bates. The hall is arranged as a nave with clerestorey windows and side aisles with buttresses. In 1891 the same architects designed the Choir Vestry and Infants Sunday School on Hodgson Street, to replace the earlier school of 1849 which had been located in the forecourt of the church.
The present St. Mark the Evangelist's vicarage, a two-storey brick structure with cast-iron lacework verandahs, was erected in 1910.
I am very grateful to the staff of Anglicare who run the busy adjoining St. Mark's Community Centre for allowing me to have free range of the inside of St. Mark the Evangelist for a few hours to photograph it so extensively.
James Blackburn (1803 - 1854) was an English civil engineer, surveyor and architect. Born in Upton, West Ham, Essex, James was the third of four sons and one daughter born to his parents. His father was a scalemaker, a trade all his brothers took. At the age of 23, James was employed by the Commissioners of Sewers for Holborn and Finsbury and later became an inspector of sewers. However, his life took a dramatic turn in 1833, when suffering economic hardship, he forged a cheque. He was caught and his penalty was transportation to Van Diemen’s Land (modern day Tasmania). As a convicted prisoner, yet also listed as a civil engineer, James was assigned to the Roads Department under the management of Roderic O’Connor, a wealthy Irishman who was the Inspector of Roads and Bridges at the time. On 3 May 1841 James was pardoned, whereupon he entered private practice with James Thomson, another a former convict. In April 1849, James sailed from Tasmania aboard the "Shamrock" with his wife and ten children to start a new life in Melbourne. Once there he formed a company to sell filtered and purified water to the public, and carried out some minor architectural commissions including St. Mark the Evangelist in Fitzroy. On 24 October he was appointed city surveyor, and between 1850 and 1851 he produced his greatest non-architectural work, the basic design and fundamental conception of the Melbourne water supply from the Yan Yean reservoir via the Plenty River. He was injured in a fall from a horse in January 1852 and died on 3 March 1854 at Brunswick Street, Collingwood, of typhoid. He was buried as a member of St. Mark The Evangelist Church of England. James is best known in Tasmania for his ecclesiastical architectural work including; St Mark's Church of England, Pontville, Tasmania (1839-1841), Holy Trinity Church, Hobart, Tasmania (1841-1848): St. George's Church of England, Battery Point, Tasmania, (1841-1847).
Leonard Terry (1825 - 1884) was an architect born at Scarborough, Yorkshire, England. Son of Leonard Terry, a timber merchant, and his wife Margaret, he arrived in Melbourne in 1853 and after six months was employed by architect C. Laing. By the end of 1856 he had his own practice in Collins Street West (Terry and Oakden). After Mr. Laing's death next year Leonard succeeded him as the principal designer of banks in Victoria and of buildings for the Anglican Church, of which he was appointed diocesan architect in 1860. In addition to the many banks and churches that he designed, Leonard is also known for his design of The Melbourne Club on Collins Street (1858 - 1859) "Braemar" in East Melbourne (1865), "Greenwich House" Toorak (1869) and the Campbell residence on the corner of Collins and Spring Streets (1877). Leonard was first married, at 30, on 26 June 1855 to Theodosia Mary Welch (d.1861), by whom he had six children including Marmaduke, who trained as a surveyor and entered his father's firm in 1880. Terry's second marriage, at 41, on 29 December 1866 was to Esther Hardwick Aspinall, who bore him three children and survived him when on 23 June 1884, at the age of 59, he died of a thoracic tumor in his last home, Campbellfield Lodge, Alexandra Parade, in Collingwood.
Lloyd Tayler (1830 - 1900) was an architect born on 26 October 1830 in London, youngest son of tailor William Tayler, and his wife Priscilla. Educated at Mill Hill Grammar School, Hendon, and King's College, London, he is said to have been a student at the Sorbonne. In June 1851 he left England to join his brother on the land near Albury, New South Wales. He ended up on the Mount Alexander goldfields before setting up an architectural practice with Lewis Vieusseux, a civil engineer in 1854. By 1856 he had his own architectural practice where he designed premises for the Colonial Bank of Australasia. In the 1860s and 1870s he was lauded for his designs for the National Bank of Australasia, including those in the Melbourne suburbs of Richmond and North Fitzroy, and further afield in country Victoria at Warrnambool and Coleraine. His major design for the bank was the Melbourne head office in 1867. With Edmund Wright in 1874 William won the competition for the design of the South Australian Houses of Parliament, which began construction in 1881. The pair also designed the Bank of Australia in Adelaide in 1875. He also designed the Australian Club in Melbourne's William Street and the Melbourne Exchange in Collins Street in 1878. Lloyd's examples of domestic architecture include the mansion "Kamesburgh", Brighton, commissioned by W. K. Thomson in 1872. Other houses include: "Thyra", Brighton (1883): "Leighswood", Toorak, for C. E. Bright: "Roxcraddock", Caulfield: "Cherry Chase", Brighton: and "Blair Athol", Brighton. In addition to his work on St. Mark the Evangelist in Fitzroy, Lloyd also designed St. Mary's Church of England, Hotham (1860); St Philip's, Collingwood, and the Presbyterian Church, Punt Road, South Yarra (1865); and Trinity Church, Bacchus Marsh (1869). The high point of Lloyd's career was the design for the Melbourne head office of the Commercial Bank of Australia. His last important design was the Metropolitan Fire Brigade Headquarters Station, Eastern Hill in 1892. Lloyd was also a judge in 1900 of the competition plans for the new Flinders Street railway station. Lloyd was married to Sarah Toller, daughter of a Congregational minister. They established a comfortable residence, Pen-y-Bryn, in Brighton, and it was from here that he died of cancer of the liver on the 17th of August 1900 survived by his wife, four daughters and a son.
Charles Webb (1821 - 1898) was an architect. Born on 26 November 1821 at Sudbury, Suffolk, England, he was the youngest of nine children of builder William Webb and his wife Elizabeth. He attended Sudbury Academy and was later apprenticed to a London architect. His brother James had migrated to Van Diemen's Land in 1830, married in 1833, gone to Melbourne in 1839 where he set up as a builder in and in 1848 he bought Brighton Park, Brighton. Charles decided to join James and lived with James at Brighton. They went into partnership as architects and surveyors. The commission that established them was in 1850 for St Paul's Church, Swanston Street. It was here that Charles married Emma Bridges, daughter of the chief cashier at the Bank of England. Charles and James built many warehouses, shops and private homes and even a synagogue in the city. After his borther's return to England, Charles designed St. Andrew's Church, Brighton, and receiving an important commission for Melbourne Church of England Grammar School in 1855. In 1857 he added a tower and a slender spire to Scots Church, which James had built in 1841. He designed Wesley College in 1864, the Alfred Hospital and the Royal Arcade in 1869, the South Melbourne Town Hall and the Melbourne Orphan Asylum in 1878 and the Grand Hotel (now the Windsor) in 1884. In 1865 he had designed his own home, "Farleigh", in Park Street, Brighton, where he died on 23 January 1898 of heat exhaustion. Predeceased by Emma in 1893 and survived by five sons and three daughters, he was buried in Brighton cemetery.
William Montgomery (1850 - 1927) was an artist who specialised in stained glass painting and design. He was born in England in 1850, and studied at the School of Art in Newcastle-on-Tyne. In his final year William was awarded one of only three National Art Scholarships that year to study at South Kensington School of Art (now the Royal College of Art). He was employed by the leading London stained glass firm, Clayton and Bell, before joining Franz Mayer and Company in Munich, Germany. Over the next seven years he not only designed windows he also trained others in the English style of glass painting. William arrived in Melbourne, Australia, in 1886 during the Boom Period provided by the Gold Rush. Melbourne was at the time one of the wealthiest cities in the world, and was in the throes of a building boom. He quickly set up his studio at 164 Flinders Street in the heart of Melbourne, bringing with him the latest in European style and design and achieving instant success amongst wealthy patrons. He worked equally for Catholic and Protestant denominations, his windows being found in many churches as well as in mansions, houses and other commercial buildings around the city. This extended to the country beyond as his reputation grew. A painter as well as stained glass window designer William was a founding member of the Victorian Art Society in Albert Street, Eastern Hill. William became President of its Council in 1912, a position he held until 1916. He was a trustee of the National Gallery of Victoria. His commissions included; stained glass windows at Christ Church, Hawthorn: St. John's, Heidelberg, St. Ignatius', Richmond: Christ Church, St Kilda: Geelong Grammar School: the Bathurst Cathedral and private houses "Tay Creggan", Hawthorn (now Strathcona Baptist Girls Grammar), and "Earlsbrae Hall", Essendon (now Lowther Hall Anglican Grammar School). The success of William Montgomery made Melbourne the leading centre of stained glass in the Southern Hemisphere. William Montgomery died in 1927.
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En la fotografia: Àngels i la zona cremada del terme de Malet a Simat de la Valldigna on tot és gris i sec.
EMBED. El moment final del foc, quan sols queda el carbó.
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Àngels y la zona quemada de Simat de la Valldigna donde todo es gris y seco.
EMBED. El momento final del fuego, cuando solo queda el carbón.
[Alby]
Mark Buesing, science teacher at Libertyville High School in Libertyville, Ill., takes a photograph out the window of NASA's P-3B during a mission to study glaciers in southeast Greenland on Apr. 8, 2013. Credit: NASA / Michael Studinger
NASA's Operation IceBridge is an airborne science mission to study Earth's polar ice. For more information about IceBridge, visit: www.nasa.gov/icebridge
Madrid skyline at night, seen from the west side. The blackness below all the lights is a steep slope down and then a golf course.
It was below freezing, so to get warm I decided to run around up and down the slope with a LED lamp in my hand and try to draw something. Then I thought it would be cool to sign the picture.
Just so you get a glimpse of how far I was, I made the signature about 1 meter (3 feet) wide.
173 Airborne Brigade US Army - Provincia di Kunar Marzo 2008 - 173 Airborne Brigade US Army - Provincia di Kunar Marzo 2008 - Kunar Province March 2008
Katy Perry's LED dress @ Barbican's "Digital Revolution" exhibition.
French techno-fashion house Cutecircuit has designed togs for Katy Perry and Bono, among other famous bods, but by far its most blogged-about creation is the fully functioning Twitter Dress. This heady collision of hashtags and haute couture displays 140-character messages tagged with #tweetthedress on a shimmering LED display embedded in the fabric, albeit via a brief vetting process to make sure that nobody says mean things. Things like ‘Your bum looks so big in that dress it’s on the global trending list’, for example.
(www.timeout.com/london/art/five-things-not-to-miss-at-dig...)
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"Digital Revolution explores and celebrates the transformation of the arts through digital technology since the 1970s. The exhibition brings together for the first time a range of artists, filmmakers, architects, designers, musicians and game developers, who are using digital media to push the boundaries of their fields. The show also looks to the future and considers the impact of creative coding, DIY and maker-culture, digital communities and the creative possibilities offered by augmented reality, artificial intelligence, wearable technologies and 3D printing.
The exhibition includes new commissions from design studios Umbrellium (Usman Haque and Nitipak 'Dot' Samsen), Universal Everything and Minimaforms (Theodore and Stephen Spyropoulos); global music artist and entrepreneur will.i.am, Yuri Suzuki, Pasha Shapiro and Ernst Weber; and a range of artists and performers including Rafael Lozano-Hemmer, Chris Milk, Aaron Koblin, Björk, Amon Tobin, CuteCircuit and work by Oscar®-winning visual effects (VFX) Supervisor Paul Franklin and his team at Double Negative for Christopher Nolan’s groundbreaking film Inception (2010). The Barbican have collaborated with Google on a new project called DevArt and presents four new gallery commissions by Karsten Schmidt, Zach Lieberman, Varvara Guljajeva and Mar Canet, as well as competition winners Cyril Diagne and Beatrice Lartigue.
Digital Revolution presents a number of impressive new installations, featuring interactive art works and exhibition-based displays. Umbrellium, best known for their large-scale and mass-participatory outdoor events, have produced their first work within a theatre setting. This immersive piece fills the space with a series of magical interactive laser sculptures, set within an otherworldly audio environment. Universal Everything, one of the UK's leading media art studios, have developed a piece for the Barbican's Silk Street entrance allowing visitors to submit a hand-drawn animated artwork that features within the gallery. The exhibition also includes the filmmaker and artist Chris Milk with his major shadow play work The Treachery of Sanctuary, presented in the UK for the first time.
Our Digital Futures section explores artists’ use of recently possible and emerging technologies with London based Studio XO for TechHaus, the technical division of Lady Gaga's Haus of Gaga, wearable technology by Pauline van Dongen and a robotic installation by Minimaforms (Theodore Spyropoulos and Stephen Spyropoulos) .
Digital Revolution was a festival-style exhibition and the most comprehensive presentation of digital creativity ever in the UK. Taking place across the Barbican with ticketed and non-ticketed elements and incorporating an offsite commission. It was accompanied by a talks and events programme and a dedicated publication."
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