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Back to shooting models after such a long time!!!
I definitely enjoyed this shoot with the stunning AUTOart Veyron Sang Noir.
Shot executed in the decisive moment.
Not staged.
She was just enjoying wet refreshing sprinkle in very hot day.
She hasn't noticed me, at all... But, her dad did.
Spotted in Pless (Pszczyna). Upper Silesia. Poland.
Le springbok est une antilope sauteuse d'Afrique australe car apte à exécuter de grands bonds. En présence de prédateurs, l'espèce est en effet connue pour effectuer des sauts verticaux .(2m de haut).L'animal peut atteindre 88 km/h à la course...et est capable d'une vitesse ( d'endurance) de 40 à 50 km/h sur une distance de plusieurs kilomètres. Son corps est adapté pour résister à la chaleur et à la sécheresse
🇬🇧The springbok is a jumping antelope found in southern Africa. In the presence of predators, the species is known to make vertical jumps (2 m high) and can reach a running speed of 88 km/h... and is capable of an endurance speed of 40 to 50 km/h over a distance of several kilometres. Its body is adapted to withstand heat and dryness.
La gacela es un antílope saltarín procedente del sur de África porque es capaz de dar grandes saltos. En presencia de depredadores, se sabe que la especie realiza saltos verticales (de 2 m de altura). El animal puede alcanzar 88 km/h corriendo... y es capaz de alcanzar una velocidad (resistencia) de 40 a 50 km/h en una distancia. de varios kilómetros. Su cuerpo está adaptado para resistir el calor y la sequía.
🇩🇪Der Springbock ist eine springende Antilope aus dem südlichen Afrika, weil er große Sprünge ausführen kann. Es ist tatsächlich bekannt, dass die Art in Anwesenheit von Raubtieren vertikale Sprünge (2 m hoch) ausführt. Das Tier kann beim Laufen eine Geschwindigkeit (Ausdauer) von 40 bis 50 km/h erreichen von mehreren Kilometern. Sein Körper ist an Hitze und Trockenheit angepasst
This meticulously executed preparatory drawing documents the initial conception of a dramatic and monumental composition, now at the Louvre, that would become a seminal work in the artist’s oeuvre. Although Girodet would go on to produce numerous figurative studies, the Gallery’s recently rediscovered sheet is one of three compositional sketches for this painting and, as far as we know, the only preparatory work for A Deluge Scene outside of France.
Thanks to the good graces of the Iowa Northern and its great employees, we held a night photo session at Manly on May 30. Approximately 25 photographers were able to catch views like this of Rock Island E6 630 and E8 652. Huge thanks go to Chris Guss, who planned and executed all the lighting for the evening, and Rob Schreiner who provided equipment to turn on the nose lights and number boards.
Michelangelo returned to Florence in 1499–1501. Things were changing in the republic after the fall of anti-Renaissance Priest and leader of Florence, Girolamo Savonarola (executed in 1498) and the rise of the gonfaloniere Pier Soderini. He was asked by the consuls of the Guild of Wool to complete an unfinished project begun 40 years earlier by Agostino di Duccio: a colossal statue portraying David as a symbol of Florentine freedom, to be placed in the Piazza della Signoria, in front of the Palazzo Vecchio. Michelangelo responded by completing his most famous work, the Statue of David in 1504. This masterwork, created out of a marble block from the quarries at Carrara that had already been worked on by an earlier hand, definitively established his prominence as a sculptor of extraordinary technical skill and strength of symbolic imagination.
David is a masterpiece of Renaissance sculpture sculpted by Michelangelo from 1501 to 1504. The 5.17 meter (17 ft)[1] marble statue portrays the Biblical King David in the nude. Unlike previous depictions of David which portray the hero after his victory over Goliath, Michelangelo chose to represent David before the fight contemplating the battle yet to come. [2] It came to symbolize the defense of civil liberties embodied in the Florentine Republic, an independent city state threatened on all sides by more powerful rival states and by the hegemony of the Medici themselves. This interpretation was also encouraged by the original setting of the sculpture outside the Palazzo della Signoria, the seat of civic government in Florence. The completed sculpture was unveiled on 8 September 1504.
Michelangelo's David differs from previous representations of the subject in that David is not depicted with the slain Goliath (as he is in Donatello's and Verrocchio's versions, produced earlier), a common interpretation is that David is depicted before his battle with Goliath. Instead of being shown victorious over a foe much larger than he, David looks tense and ready for combat. His veins bulge out of his lowered right hand and the twist of his body effectively conveys to the viewer the feeling that he is in motion. The statue is meant to show David after he has made the decision to fight Goliath but before the battle has actually taken place. It is a representation of the moment between conscious choice and conscious action.[citation needed] However, other experts (including Giuseppe Andreani, the current director of Accademia Gallery) consider the depiction to represent the moment immediately after battle, as David serenely contemplates his victory.
A copy of the statue standing in the original location of David, in front of the Palazzo Vecchio in Florence.On January 25, 1504, when the sculpture was nearing completion, a committee of Florentine artists including Leonardo da Vinci and Sandro Botticelli met to decide on an appropriate site for the David. The majority, led by Giuliano da Sangallo and supported by Leonardo and Piero di Cosimo, among others, believed that due to the imperfections in the marble the sculpture should be placed under the roof of the Loggia dei Lanzi on Piazza della Signoria. Only a rather minor view, supported by Botticelli, believed that the sculpture should be situated on or near the cathedral. Eventually the David was placed in front of the entrance to the Palazzo Vecchio, also on Piazza della Signoria, replacing Donatello's bronze sculpture of Judith and Holofernes, which embodied a comparable theme of heroic resistance. It took four days to move the statue from Michelangelo's workshop onto the Piazza della Signoria.
Michelangelo's David is based on the artistic discipline of disegno, which is built on knowledge of the male human form. Under this discipline, sculpture is considered to be the finest form of art because it mimics divine creation. Because Michelangelo adhered to the concepts of disegno, he worked under the premise that the image of David was already in the block of stone he was working on — in much the same way as the human soul is found within the physical body. It is also an example of the contrapposto style of posing the human form.
In the High Renaissance, contrapposto poses were thought of as a distinctive feature of antique sculpture. As exemplified In Michelangelo’s David, sculptured from 1501-1504, the figure stands with one leg holding its full weight and the other leg relaxed. This classic pose causes the figure’s hips and shoulders to rest at opposite angles, giving a slight s-curve to the entire torso. In addition, the statue faces to the left while the left arm leans on his left shoulder with his sling flung down behind his back. Michelangelo’s David has become one of the most recognized pieces of Renaissance Sculpture ever, becoming a symbol of both strength and youthful human beauty.
The proportions are not quite true to the human form; the head and upper body are somewhat larger than the proportions of the lower body. The hands are also larger than would be in regular proportions. While some have suggested that this is of the mannerist style, another explanation is that the statue was originally intended to be placed on a church façade or high pedestal, and that the proportions would appear correct when the statue was viewed from some distance below.
Commentators have noted David's apparently uncircumcised form, which is at odds with Judaic practice, but is considered consistent with the conventions of Renaissance art.[4]
To protect it from damage, the sculpture was moved in 1873 to the Accademia Gallery in Florence, where it attracts many visitors. A replica was placed in the Piazza della Signoria in 1910.
The cast of David at the South Kensington Museum (now the Victoria and Albert Museum), had a detachable plaster fig leaf, added for visits by Queen Victoria and other important ladies, when it was hung on the figure using two strategically placed hooks; it is now displayed nearby. [5]
In 1991, a deranged man attacked the statue with a hammer he had concealed beneath his jacket[6], in the process damaging the toes of the left foot before being restrained. The samples obtained from that incident allowed scientists to determine that the marble used was obtained from the Fantiscritti quarries in Miseglia, the central of three small valleys in Carrara. The marble in question contains many microscopic holes that cause it to deteriorate faster than other marbles. Because of the marble's degradation, a controversy occurred in 2003, when the statue underwent its first major cleaning since 1843. Some experts opposed the use of water to clean the statue, fearing further deterioration. Under the direction of Dr. Franca Falleti, senior restorers Monica Eichmann and Cinzia Pamigoni began the job of restoring the statue. The restoration work was completed in 2004.[7]
In 2008, plans were proposed to insulate the statue from the vibration of tourists' footsteps at Florence's Galleria dell'Accademia, to prevent damage to the marble.
from Wikipedia
Williamsburg, Brooklyn
A collaborative project of the Federal Public Works Administration and the newly established New York City Housing Authority, the Williamsburg Houses are notable as one of the earliest housing developments in the United States to reflect the ideas of the modern movement in architecture. In the 1920s Williamsburg was one of the most densely populated sections of Brooklyn and nearly six hundred, mostly frame, structures were demolished to create the 23.3 acre site. Proposed in 1934, this residential complex was skillfully designed by the Williamsburg Associated Architects during 1935 and most units were occupied by 1938.
The partnership included Richmond H. Shreve, of Shreve, Lamb & Harmon, the architects of the Empire State Building, and William Lescaze, the Swiss-born architect who helped introduce the “International” style on the eastern seaboard. Lescaze was responsible for the design, which includes twenty 4-story structures on four “super” blocks turned at 15 degree angles to the street grid. Oriented to the sun and prevailing winds, this unusual layout produced a series of large and small courts, many of which flow into a large public space at the center of each block. A light-colored palette distinguishes the facades, executed in tan brick and exposed concrete.
Among the most prominent features are the entrances, marked by blue tile and projecting stainless steel canopies, and the handsome streamlined storefronts. The complex was widely discussed by contemporary critics and more than 25,000 New Yorkers applied for 1,622 apartments. During the mid-1990s, the buildings underwent an extensive restoration which included the replacement of all exterior materials. Sponsored by the Housing Authority, in consultation with the Landmarks Preservation Commission, these alterations were remarkably sensitive and in the 4th edition of the AIA Guide to New York City the “revivified” complex was called “the best public housing project ever built in New York.”
DESCRIPTION AND ANALYSIS
Housing the Masses
From the rowhouse to the apartment building, New York City has been a laboratory for innovative housing. Beginning after the Civil War, apartments, variously known as French Flats and tenements, were built to house the city’s surging population. Immigrants, for the most part, crowded into unregulated tenements, structures that maximized profits for developers while providing few amenities that we take for granted today, such as light, air, and private bathrooms.
Despite government efforts to legislate minimum standards in 1867 and 1879, initially private individuals took the most significant steps to make decent housing affordable to all. Several pioneering examples were located close to the Brooklyn waterfront, including the Home and Tower Buildings (William Field and Son, 1876-78), the Astral Apartments (Lamb & Rich, 1885-87) and Riverside (William Field and Son, 1890). The later complex surrounded a large tree-shaded courtyard incorporating a music pavilion and areas for drying laundry. Despite these, and a few innovative Manhattan developments, the majority of New Yorkers continued to live in substandard conditions.
The passage of the New Tenement Law in 1901 improved the situation, requiring that multiple dwellings be built on significantly larger lots, with fire escapes and separate “privies” for each family. After World War I, the garden apartment came into vogue. While most were built for the middle class, especially in Jackson Heights, a significant group were sponsored by unions and cooperative organizations that wished to provide members with inexpensive apartments. Significant examples include the Amalgamated Houses (Springsteen & Goldhammer, 1930) on Manhattan’s Lower East Side and the “Coops” built in the Bronx by the United Workers Cooperative Association (Springsteen & Goldhammer, 1925-27; Herman Jessor, 1927-29).
The first significant act of government intervention occurred in 1926 with the passage of the New York State Housing Law. Promoted by Governor Alfred E. Smith to encourage construction through the formation of local authorities that would sell bonds or seek federal funds, it had little impact until 1934 when the New York City Housing Authority (NYCHA) was established. The authority’s first project, aptly called the First Houses (Frederick L. Ackerman, 1934-36), was located in Manhattan’s East Village. Begun as a rehabilitation program involving the demolition of every third structure, due to structural problems the eight brick buildings were entirely rebuilt.
Throughout the early Depression, government-subsidized housing remained a controversial issue. Consequently, it was first promoted as worker relief, organized to create jobs but not compete with the commercial market. The first federal agency to involve itself with housing was the Reconstruction Finance Corporation (RFC) which was created in 1932 to provide low-interest loans to limited-dividend housing corporations. Of the two loans it made, one was toward the construction of Knickerbocker Village (John S. Van Wart & Frederick L. Ackerman, 1933). Built for the Fred F. French Company, this Chinatown-area development consists of two 12-story buildings, both enclosing an interior courtyard.
In mid-1933, as part of Franklin Delano Roosevelt’s New Deal, the Housing Division of the Public Works Administration (PWA) was established. What made this agency different from its predecessor, the RFC, was that it would be directly involved in the planning and construction of low-income housing. The program was a great success and over the next three and half years it collaborated on the design and construction of 51 projects in 36 cities, including the Harlem River Houses and the Williamsburg Houses.
The passage of the Wagner-Steagall Bill (aka U.S. Housing Bill) by the United States Congress in September 1937, strengthened the federal government’s commitment to housing, but shifted greater control to local authorities. The first New York City housing project to be financed under this program was the Red Hook Houses (Electus Litchfied, chief designer, 1938-39) in Brooklyn. Future construction, which would amount to more than half a million low-rental units nationwide by 1957, would be funded primarily through low-interest loans.
Site
The Williamsburg Houses are located in northwestern Brooklyn, approximately one mile east of the Williamsburg Bridge and two blocks south of Grand Street, a lively commercial thoroughfare. Founded as part of the town of Bushwick in the mid17th century, Williamsburg was incorporated as a village in 1827. The community prospered and by 1852 it was the 20th largest city in the nation. Three years later, Williamsburg became part of Brooklyn and was commonly referred to as the Eastern District. Although ferry service was important to the area’s development, it was the planning and construction of a second East River crossing, the Williamsburg Bridge, that caused the most dramatic growth.
Proposed in 1883, the bridge was completed with much fanfare in 1903, serving pedestrians, bicycles and horse-drawn vehicles. In subsequent decades, Williamsburg rivaled the Lower East Side in population and density. The Brooklyn Eagle claimed in 1920 that the bridge was part of the busiest traffic center in the nation and that a single block north of it was the most crowded in the world. Conditions in the neighborhood continued to deteriorate throughout the decade, so much so that the population began to decline.
In October 1933, the Federal Works Administration (PWA) established a slum clearance committee to study conditions throughout New York City. Richmond H. Shreve, who would later serve as chief architect of the Williamsburg Houses, was named director. Based on the committee’s recommendations, $25 million was set aside for a housing program in New York City. Under the direction of the NYCHA, a more comprehensive study was undertaken in 1934, focusing on fourteen neighborhoods, including Williamsburg. The PWA reported:
When the study was completed the blighted slum area of the Williamsburg section stood out as the best example where the most good could be done in wholesale clearance work.
Of 93 blocks studied, a grid of 12 was identified for redevelopment in Williamsburg. These blocks were chosen because property values were relatively low and the owners were willing to sell. Most of buildings were mixed-use, incorporating retail spaces at ground level and apartments above. Each lot was carefully documented: 90% of the structures were at least forty years old, 70% were built of wood, 78% had no central heating, and 67% had no private toilets. Such statistics were used to paint an extremely bleak picture of life there:
But the Williamsburg section of Brooklyn, according to official surveys, is unique in that its slums bear the stamp of dull listlessness and despair . . . Laissez faire, exploitation, and land speculation have robbed the community of its natural potentialities for development and orderly urban life.
Public amenities were also in short supply; there were few schools and there were almost no parks.
Architects
Five architects were appointed to the NYCHA’s architectural board in May 1934: Richmond H. Shreve (1877-1946) of Shreve, Lamb & Harmon, Matthew W. Del Gaudio (1889-1960), William Lescaze (1899-1969), Arthur C. Holden (18901993), and James F. Bly. As members of the board, their initial role was advisory. They would act as the authority’s chief architect, overseeing the design and construction of municipal housing citywide.
In June 1934 an open competition was held to choose the architects who would work on the Williamsburg Houses and other NYCHA projects. The program guidelines did not specify the location, but the grid chosen closely resembled the long blocks where the Williamsburg Houses would be built. Of 278 architects who participated, 5 of the 22 selected were assigned to the Brooklyn project: Samuel Gardstein, of Holmgren, Volz & Gardstein, G. Harmon Gurney (b. 1896), of Gurney & Clavan, John W. Ingle Jr., Paul Trapani (1887-1974), and Harry Leslie Walker (1877-1954).
In June 1935, a contract was signed with the Williamsburg Associated Architects. The partnership consisted of ten men: the five architects selected by jury, as well as the five members of the architectural board. Among them, Shreve had the most experience with large projects, having worked on a succession of major Manhattan skyscrapers, most notably, the Empire State Building (Shreve, Lamb & Harmon, 1931).
A graduate of the College of Architecture at Cornell University (1902), he began his career as a member of the school’s faculty and later joined the firm of Carrére & Hastings in New York City where he distinguished himself as having a “genius for the solution of operational and administrative problems.” Whereas prior to the Depression he mainly worked on office buildings, in his later years Shreve was associated with residential developments, most notably the Vladeck Houses (1940) on the Lower East Side, and Parkchester (1938-42), a development with more than twelve thousand apartments in the Bronx. During the late 1930s, he also served as a member of the board of design for the New York World’s Fair.
Design
Of the three initial projects built by the NYCHA and the PWA, the Williamsburg Houses were the most innovative. Shreve appointed Lescaze as the chief designer, responsible for the plan and elevations. In the 1930s, he was at the height of his career, profiled in publications read by professionals and the layman. Born near Geneva, Switzerland, in 1896, he studied in Zurich with the architect Karl Moser in 1915-19 and for a brief period worked in Paris with Henri Sauvage, an important designer of apartment buildings. Lescaze moved to the United States in 1920 and after working in Cleveland and New York City, formed a partnership with George Howe, a Philadelphia architect, in 1929.
Their association lasted four years and produced one architectural masterpiece, the Philadelphia Savings Fund Society building, completed in 1932. During the mid-1930s, he was extremely active, working on unrealized plans for the Museum of Modern Art, the Brooklyn Museum, and the Brooklyn Children’s Museum, as well as building three of the earliest modern-style townhouses in Manhattan, his own house and studio, completed in 1934, as well as the Raymond C. and Mildred Kramer (1934-5) and Edward and Dorothy Norman (1940) houses. He also designed, with Albert Frey, the Chrystie-Forsyth Houses. Planned in 1931, this unrealized proposal was included in the Museum of Modern Art’s so-called “International Style” exhibition of 1932.
One of the most unique aspects of the Williamsburg Houses is the plan. To create the 23.3 acre complex, twelve blocks were acquired by the city, and the two east-west streets (Stagg and Ten Eyck) were closed to traffic to create four “super” blocks. All but one extend three full blocks from north to south, except part of the block between Manhattan and Graham Avenues that was set aside for a new junior high school and play area.
The development of New York City was closely tied to its gridiron. Introduced in 1811, it resulted in a city of predictable intersecting streets and avenues. In 1835, a similar plan was approved for Brooklyn and by the early 1850s the streets that cross through the site of the Williamsburg Houses had opened.
Most were named for area residents, such as Daniel Maujer, a lawyer and alderman, John and James Lorimer Graham, land jobbers, and James Scholes, a local land owner. The impact of this approach is visible throughout New York City, establishing blocks and lots of equal size and dimensions. Residential developers benefitted immensely, commissioning rowhouse and tenement designs that could be repeated without regard to location.
By the end of the 19th century, there was relatively little open space in Manhattan and Brooklyn. As part of the City Beautiful movement, various attempts were made to loosen the grid’s hold, first through the passage of the Small Parks Act in 1887, which focused on tenement neighborhoods, and later, by situating major civic structures in plazas. Similar ideas shaped the development of garden apartments which came into vogue after 1910. One of the primary characteristics of this type of multiple dwelling was reduced site coverage.
In most cases, such as in the Jackson Heights Historic District, the buildings were set around the perimeter of each block, enclosing large private gardens, but in other situations, such as at the Harlem River Houses, a “crankshaft” arrangement was adopted, creating a mixture of interior and exterior courts.
Lescaze borrowed freely from both the garden apartment tradition and architects associated with European modernism. In his earliest design, each block incorporated six U-shaped structures arranged around a narrow central court. A later design was considerably more irregular. Turned at an angle to the street, there were fewer but larger buildings.
Many aspects of this proposal were integrated into the final design. The Williamsburg Houses are configured in three ways, with footprints suggesting a capital “H,” small “h,” and “T.” All have small spurs and extensions, resembling crossbars. By adding this feature the number of courtyards was significantly increased. Within each block are six buildings (except north of the school); at the north and south are the “H” and “h” configurations, and in the middle, the “T”s.
The decision to turn the buildings at a 15 degree angle to the street grid proved controversial. PWA accounts described it in functional terms, explaining that the orientation would provide tenants with more sun and take advantage of the prevailing northwest breezes. During the previous decade, many architects and planners experimented with similar ideas. One of the earliest built examples “to deviate from the geometry of the New York gridiron” was the Mesa Verde apartments (1926) in Jackson Heights. Designed by Henry Atterbury Smith and based on an earlier proposal from 1917, the development featured two rows of six “closed L buildings” set at 45 degree angle to the surrounding streets.
Lescaze, however, was more likely to have been influenced by European sources. During the 1920s, he frequently returned to Europe, a period when leading architects were involved in the design of social housing. Many favored the “tower in the park” approach in which free-standing high-rise structures stood in continuous open space. Writing in English in 1935, Walter Gropius concluded that apartment blocks should “command a clear view of the sky, over broad expanses of grass and trees which separate the blocks and serve as playgrounds.”
Another source of inspiration might have been Ernst May who oversaw the design and construction of many low-rise housing estates in Frankfurt. In his Bruchfeldstrasse development of 1926-27, designed with C. K. Rudloff, one section was arranged in an overlapping zig-zag configuration. As in Williamsburg, each unit had corner windows, providing tenants with uninterrupted views of a central garden.
Many writers were skeptical about the benefits of Lescaze’s plan. Hamlin argued that the layout would convert the courts “into perfect channels for Project for a group of factories. our most vicious northwest winds.” He was told that
the arrangement had, in fact, been chosen for aesthetic reasons, to “break up the street facades” and “allow the feeling of space to weave in and out on the street fronts. This goal was definitely achieved, producing an environment that was new and distinctive. The flowing spaces that Lescaze planned are less monumental and more intimate than those experienced in most housing projects, juxtaposing wedge-shaped lawns with semi-enclosed courtyards and large open plazas. As originally built, no fences interrupted the spaces and the areas adjoining the curving concrete walks were paved with cobblestone.
The Elevations
Equally modern were the elevations. Lescaze was attracted to the expressive and aesthetic qualities of modern materials. Particularly unusual was the decision to use a light-colored palette. Built from reinforced concrete, the walls were originally enclosed with a sand-cast brick that was variously described by observers as bright tan, yellowish, pinkish, and grayish warm pink. One of the most notable features was the exposed concrete floor plates which express the structure and division between the floors while giving the complex a strong horizontal appearance. Talbot Hamlin observed:
The effectiveness of the buildings is undoubted. The striping of brick and concrete and the contrast of the light walls which front the stair towers make a vivid picture . . .
Prior to the mid-1930s, red brick was the most frequently used material in housing developments, used throughout Jackson Heights and in the First Houses and Harlem River Houses. The proposal to break with this tradition generated considerable debate. While the general scheme was approved in June 1935, it was not until October that specific materials were selected. Presumably, the PWA wished to standardize the building process and reduce costs. Frederick Ackerman, technical director of the NYCHA, defended Lescaze’s proposal. He wrote the authority’s chairman, Langdon W. Post:
. . . the “effect” of the Project will depend very largely upon the texture and quality of the exterior wall. Unless the exterior wall possesses a greater intrinsic interest than one made of common brick then the resultant effect is certain to be a bleak, barren and unusually forbidding mass of building:
One might readily mistake the At Williamsburg, the buildings stand as freestanding objects, finished on all sides and approachable from multiple directions. No facade dominates and the apartment entrances face both the streets and courtyards. For those unfamiliar with the layout, the angled plan may have been somewhat disorienting. To make it easier to navigate, signs were installed throughout the complex and Lescaze skillfully designed the entrances, making dramatic use of color and form. Like Le Corbusier, he was an “accomplished” painter and frequently used color, especially blue, to enliven wall surfaces. Another possible model was May’s housing development at Praunheim (1926-29) where contrasting colors were used to give the projecting stair towers a distinctive appearance.
Within the courtyards are as many as five entrances. Each is sheltered by a small cantilevered aluminum marquee and is flanked by square blue terra-cotta tiles. The entrances that are located at the far end of the larger courtyards are set at a angle. In these instances, the tiles spread onto the adjoining walls and extend above the parapet to the stair bulkhead. Other tile treatments project slightly forward, or are recessed above the doors to the roof. An entrance is also located in the covered breezeway. Reached by a short flight of stairs connecting both the street and courtyard, the more public street facade had an asymmetrical character, incorporating projecting blue tiles to one side and a wide aluminum marquee.
Construction
To prepare the site for construction, 568 buildings were demolished on 349 lots and approximately 5,400 people were relocated. A 1935 report described the population as divided equally between American born, Italian born, and other nationalities. Most were semi-skilled workers, employed in manufacturing, or as clerks, truck drivers, and construction workers.
Demolition commenced in June 1935 as PWA supervisor Elizabeth Ross dug a crowbar into the facade of 197 Manhattan Avenue, near Ten Eyck Street. In the months that followed:
Steam shovels and picks played a tune to rival that of the pipes of the Pied Piper of Hamlin. From every dank basement and crumbling wall rats fled in droves. Backyards disgorged an assortment of rusted cans, trash, filth and litter that would have discouraged the most voracious goat.
Ground was broken on January 3, 1936. Following a brief ceremony in the rain, public officials addressed an audience of five hundred at Public School 196. During April 1936, the first foundations were poured at the southwest corner of Manhattan Avenue and Stagg Street. Mayor Fiorello H. LaGuardia was in attendance, followed by “a few hundred interested onlookers and an army of schoolboys.”
As the foundations neared completion, the PWA solicited bids for construction. Starrett Brothers & Eken was awarded the $7. 5 million contract for the first 18 buildings in October 1936. A subsequent contract, for construction of buildings No. 5 and 18, was signed in late April 1937.
Founded by Paul Starrett (1866-1957) and William Aiken Starrett (1877-1932) and Andrew J. Eken (1882-1965) in 1922, the firm was responsible for such high-profile buildings as the New York Life Insurance Company Building (1925), Bank of Manhattan Building (1929-30), McGraw-Hill Building (1930-31), and Empire State Building (1930-31, all are designated New York City Landmarks). The Starrett Brothers worked closely with Shreve on the Empire State Building and it is likely that this relationship helped secure the contract for the Williamsburg Houses. William Starrett acknowledged the importance and complexity of this issue when he said:
It is the hope of people who are discussing this (slum) problem that those same brains that put together the great skyscrapers . . . will turn toward this.
Starrett Brothers & Eken later built Parkchester (Richmond H. Shreve, chairman of the board of design, 1938-42), Stuyvesant Town (Irwin Clavan and Gilmore Clarke, 1943-49) and Peter Cooper Village (Irwin Clavan and Gilmore D. Clarke, 1947) for the Metropolitan Life Insurance Company.
The cornerstone was laid in October 1936. It contained an aerial view of the site, a copy of the federal act creating the PWA, as well as an autographed copy of Jacob Riis’s timeless account of slum conditions, How the Other Half Lives, donated by his widow. Construction progressed rapidly, and aside from minor walk-outs by metalworkers and painters, the first six buildings were ready for occupancy with a year, in September
Publicity
The Williamsburg Houses was the largest and costliest project built by the PWA. With 1,622 apartments, it was more than twice the size of the Harlem River Houses. The approximate cost was $12.8 million. It was described by the PWA as part of “demonstration program” and numerous public events were held. In a letter to Post, Shreve stated:
As this project is the beginning of what, in a way, is a housing community experiment and as the public attitude toward housing will be largely controlled by the success or failure of such an experiment, it is of importance that every effort be made to make the first experiment successful.
In this context, how the project was perceived was of the utmost importance. Once the design had been approved, a scale model was built by the PWA and exhibited at banks in Brooklyn Heights and Williamsburg during late 1935 and 1936. This presentation was accompanied by a series of posters documenting the site, including photographs of earlier buildings and their demolition, as well as projected floor plans. The New York Times reported the model:
. . . throws into graphic relief the application of the new principle of multiple housing, providing more air, sunlight and recreational facilities and involving a departure from the solid-block construction.
The idea of using public funds to create low-income housing was relatively new and much of the language used in speeches and press releases heralded it as a major advance. At the site, signs were posted, calling Williamsburg the “Largest Low Rental Development in the USA.” At the ground-breaking, public officials evoked the memory of Alfred T. White, whose Brooklyn developments were among the first attempts to improve low-income housing in the nation.
Mayor LaGuardia thanked the President, Franklin Delano Roosevelt, for his support, as did Harold L. Ickes, Secretary of the Interior, who described slums as a “vicious project of that old order whose passing, we hope, is at hand.” While some critics equated the federal housing program with socialism, most speakers saw it as a defense of democracy.
In November 1935, Post had contacted the PWA, requesting that the complex be called the “Ten Eyck” Houses. No explanation was given, but it is likely that the request was made to distinguish the new development from the larger surrounding neighborhood.
Ten Eyck Street was one of two east-west streets closed to create the site and it was probably named for the Dutch family whose Brooklyn lineage extended back to at least the 18th century. In the immediate area also lived William Ten Eyck, who during the mid-19th century served as the deacon of the Reformed Church of South Bushwick (1853, a designated New York City Landmark). Post’s request was quickly approved. The new name, however, was not widely used and a 1938 PWA publication refers to the development as the Williamsburg Houses.
On October 28, 1936, the construction site was briefly visited by President Franklin Delano Roosevelt and Eleanor Roosevelt. According to the New York Times, ten thousand school children and five thousand adults “cheered the President’s passage through the streets bordering the housing project.”
Three “model” apartments were opened for public view in July through August 1937. Furnished with loans from various Brooklyn department stores, they were presented at 180 Maujer Street. Post was an early visitor and he described the apartments as a “demonstration of what can be done, this is the most valuable contribution to social progress that the New Deal has made.” An average of 1,200 persons a day visited. In September 1937, a second group of apartments opened at 176 Maujer Street, including one decorated entirely with “reconditioned furniture.” In a related development, during April and May 1938, the WPA created an exhibit in a storefront office at 212 Graham Avenue. Organized by William Friedman of the art teaching division, the display was changed periodically to demonstrate different apartment layouts and decoration. Nine experts spent five months preparing the exhibit, hoping that it would influence local residents and provide a model for future public housing developments. A music branch, at 176 Maujer Street, also provided lessons in theory, voice, and various instruments.
Tenants
According to the Brooklyn Eagle, the Williamsburg Houses were “one of the most perfect home sites in the word . . . an eagerly sought spot to live.” Income and need formed the basis of selection and no tenant could earn more than five times the annual rent. Preference was also given to former residents of the site.
The first tenants began to occupy their apartments on September 30, 1937. The New York Times devoted at least two articles to “Moving Day,” as did the Brooklyn Eagle. As part of the operation, each tenant’s belongings were moved to a fumigation plant for sterilization near the intersection of Bushwick Avenue at Scholes Street.
This procedure was described as a “wise precaution against the spread of disease.” Bessie and Louis Grabkowitz were recognized by the NYCHA as the first official tenants. A week’s rent, of less than seven dollars, was paid and they were given keys to their new apartment. Two to five rooms in size, units featured steam heat, hot and cold water, as well as electric stoves and refrigerators. Residents praised their new homes, commenting on the appliances and abundant sunlight.
By the end of 1937, most apartments were occupied. A community newspaper, the Projector, began publishing on a semi-monthly basis in December 1937. In April 1938, the complex was completed. In addition to the twenty residential buildings, there were retail spaces, facing the north-south streets. The PWA reported:
To insure efficient, sanitary commercial services, 49 stores and shops within the project, distributing drugs, groceries, appliances, and general merchandise, have been leased to private individuals.
The storefronts were executed in a sleek Moderne style. To the north and south, they curved away from the street, recalling the streamlined designs of Erich Mendelsohn, as well as J. J. P. Oud’s Kiefhoek development of 1925. The prominent metal parapets were blue, matching the color of the apartment entrances. Despite their polished design, a significant number failed to attract and retain tenants. Consequently, in 1945 ten unleased spaces, near the corners of Maujer and Leonard Streets, and Scholes Street and Bushwick Avenue, were converted to apartments.
Tenants enjoyed a variety of useful services. At the center of the complex, on Graham Avenue stood the stripped classical-style William J. Gaynor Junior High School (1936-37), and opposite it, Building No. 11 housed a nursery school. Incorporated into the building’s south court and featuring a large play terrace, Hamlin described its glass-fronted design as “pleasant” and “delightful.” In addition, a new Moderne-style health center was built directly across from the complex, on Maujer Street.
Throughout the development were “social and craft rooms.” These basement spaces were originally used for classes, clubs, and meetings and many were decorated with large colorful murals. In contrast to the majority of WPA murals that were executed in style of social realism, the Williamsburg murals were non-objective. Lescaze favored “abstract and stimulating patterns” and Burgoyne Diller who headed the Federal Art Project, wrote that:
The decision to place abstract murals in these rooms [of the Williamsburg Housing Project] was made because the areas were intended to provide a place of relaxation and entertainment . . . The more arbitrary the color, possible when not determined by the description of objects, enables the artist to place an emphasis on its psychological potential to stimulate relaxation.
Of twelve murals commissioned, at least five were installed. In the early 1990s, the deteriorated canvases were restored and moved to the Brooklyn Museum of Art. They include works by the American painters Ilya Bolotowsky, Paul Kelpe, and Balcomb Greene.
Critical Reception
The opening of the Williamsburg Houses was treated as major news and writers used the event to analyze the project and express their own views about the role of public housing and the importance of modern architecture. Some of the earliest comments came from the architect Walter Gropius, former director of the Bauhaus in Germany. On a visit to New York City in April 1937 he was interviewed by H.I. Brock in the New York Times. They traveled together throughout the city, visiting both new skyscrapers and the nearly-complete Brooklyn development. Gropius was impressed and praised the unusual plan, saying that Lescaze:
. . . seems to have solved the problem of space and light very successfully and economically, and it has the great advantage of being spread over enough land to make it worthwhile as a sample of planned development.
Lewis Mumford was the first critic to publish a substantial review in February 1938. As a persistent advocate for public housing, he used the opportunity to evaluate the “outlines of the new order of building.” He praised the PWA for eschewing “overpriced building lots” and instead assembling large sites in quieter areas where streets could be closed to traffic to create gardens and playgrounds. Considerable attention was paid to the slanted orientation. Although he described it as “a bit queer,” he liked the way it separated the residences from the street and that it gave the appearance that the architects were concerned about providing tenants with ample sunlight.
Talbot Hamlin published the most-detailed analysis. In this review, he addressed both PWA projects, calling them “a new vision of democracy ... they are better than the most expensive apartments on Park Avenue.” Despite such praise, he expressed mixed feelings. While he found the buildings “fresh and inventive and alive,” he was disturbed by the “shockingly low” standards of construction. He also admired the “imaginative and carefully studied detailing,” but criticized the landscaping as little more than adequate. The WPA Guide to New York City, published in 1939, shared similar views, quoting Hamlin’s review, and praising the design of the individual buildings.
In the years since completion, the Williamsburg Houses have been a frequent subject for architectural historians. Many, starting with the Museum of Modern Art in 1939, have placed the development within the context of European modernism. In an exhibition celebrating the museum’s 10th anniversary and the opening of its new building, it was the only architectural work represented that was located in New York City. In a brief essay on housing, the curators highlighted the “triple-size superblocks,” that form an “oasis of open space,” but criticized the adjoining school building as a lost opportunity to create a “truly important work.” Photographs of the complex were also included in Forms and Functions of Twentieth-Century Architecture (1952), in sections devoted to city planning and concrete construction.
G. Holmes Perkins wrote in the city planning section that despite faults, the complex “may be held up as patterns for tomorrow.” Richard Pommer, in one of the most insightful discussions of Depression-era housing in the United States, criticized the angled plan, calling Lescaze a “versatile pasticheur” who used visual effects without logic or relation to function. Robert A. M. Stern shared this view, writing in 1980 that it “seems overrated.” Richard Plunz, in A History of Housing in New York City, credited the project as the start of a “brief but intense struggle” to determine the aesthetic direction government-built housing would take. All four editions of the AIA Guide to New York City have praised the Williamsburg Houses. The 1968 edition called it a “very successful solution to the problem of low-rent subsidized housing,” and in 2000 “the best public housing project ever built in New York.”
Subsequent History
Conveyed by the federal government to the NYCHA in 1957, the Williamsburg Houses continue to serve their original purpose, housing more than three thousand New Yorkers. Major alterations were first proposed in 1980 and significant work took place during 1985-91. At this time, the original casement windows were replaced with bronze-colored aluminum sash and the blue terra cotta that surrounded the entrances, with tan “Morocco” glazed brick.
In a remarkable turnaround, during the mid1990s, the facades were restored. What began as continued maintenance, soon evolved into a major architectural project, requiring an outside contractor and consultation with the Landmarks Preservation Commission. Under the supervision of Neil Cohen of the NYCHA, the elevations were completely reskinned, the parapets replaced, as well as the chimneys, railings, and terra-cotta banding. In addition, new canopies, doors, lighting fixtures, and signage were fabricated.
The approximately $70 million project was executed with great sensitivity; there was an article in the real estate section of the New York Times and the NYCHA was the recipient of the Lucy G. Moses Preservation Award from the New York Landmarks Conservancy (1999), which praised the participants for restoring the complex to “better-than-new condition.” Restoration of the storefronts, except along Bushwick Avenue, was completed in 2002.
The high standards set by the design of the Williamsburg Houses have rarely been matched. Innovative in terms of scale, plan, and aesthetics, it remains one of the most pleasant and architecturally-distinguished housing developments in New York City.
Description
There are twenty walk-up buildings in the 23.3acre Williamsburg complex and a total of 1,620 apartments. These buildings are numbered from 1 to 20 and each entrance has its own street address, for instance, “112 Maujer Street.” Stainless steel signs, with pin-mounted numbers and letters, identify each entrance.
The site extends four blocks east to west, from Bushwick Avenue to Leonard Street, and three blocks north to south, from Maujer to Scholes Streets. The principal north-south artery is Graham Avenue. Between Maujer and Scholes Streets, Ten Eyck Street and Stagg Street are closed to vehicles. These winding east-west paths are called Ten Eyck Walk and Stagg Walk. They are identified by large pin-mounted stainless steel letters attached to the building facades and are visible along the north-south streets. Throughout the complex are wall-mounted cantilevered lighting fixtures. These glass and aluminum fixtures are reproductions of the originals.
Three of the four blocks have a tree-shaded open space at center. At present, non-historic benches, play equipment, and basketball courts are located here. Most lawns are enclosed by low iron fences. Though not original, these fences pre-date the 1990s. Pole-mounted lighting fixtures are occasionally used to illuminate these areas.
All buildings materials are non-historic. Each structure is four stories tall and clad in ochre-colored brick. Exterior concrete spandrel beams are exposed at each floor. To disguise patches to the concrete, the beams are coated with a grey-colored water repellency finish. The entrances are flanked by blue structural glazed facing tiles that are approximately 12 by 12 inches. Blue mortar was used to minimize the joint lines. A canopy projects in front of each entrance (except on one side of the breezeways). Made of stainless steel, they incorporate recessed down lights. Some canopies are supported by a single pipe column. The entrance doors and sidelights are made of stainless steel.
Each door has a grid of four small square windows. Breezeways serve a dual purpose: reached by two sets of stairs, they provide an additional north-south passage, as well as entry to apartments. Most of the stairs are flanked by stainless steel railings. The bronze anodized aluminum windows, installed in the 1980s, are all one-over-one. Arranged as single windows or in pairs, they have concrete sills and meet the concrete spandrels above. The smaller windows light the bathrooms. Single windows and pairs are located where the facades meet, often creating triple-width openings at the cantilevered corners.
There are three general building configurations. All are original to the complex. They include eight buildings with “H” shaped floor plans, six with floor plans that suggest a small letter “h,” and six buildings with “T” shaped floor plans. While the “H” and “h” types alternate along Maujer and Scholes Streets (except next to the school where both are “H” shaped), the “T” shaped buildings are located only between Ten Eyck Walk and Stagg Walk.
The “H” buildings (Nos. 1, 6, 7, 8, 9, 14, 15, and 20) are nearly symmetrical, with almost identical north and south courtyards. At the center of each court is either a projecting center section or breezeway. The apartments are reached by four distinct entrances, each with a different tile treatment. They include: corner, wide, recessed between the door and the roof, and incorporated within a breezeway. Each entrance leads to interior stairs. The windows that light the stairs are arranged in horizontal grids of six and eight panes. Except for the recessed variant, the tiles project slightly and rise above the parapet to the stair bulkhead. The opposite side of the breezeway has no tilework. Reached by stairs, each breezeway incorporates two concrete columns and a metal door. The “h” buildings (Nos. 2, 5, 19, 13, 16 and 19) are similar to the “H” buildings, except one court is partially enclosed.
The “T” buildings (Nos. 3, 4, 11, 12, 17, 18) have shallow courts. The top of the ‘T” has three entrances, each framed with blue tiles. A pair of entrances are also found facing each other in one of the side courts, and occasionally on the opposite side, as well. Building No. 11, located on the east side of Graham Avenue, is unique due to the presence of a nursery school at the wider south end. To accommodate this function, the entrances were moved and the court at the south end was enclosed. The south wall of school is clad with glass blocks, many of which are original. A concrete shed, at the center of the wall, is not historic and there are plans for removal. From the south facade extends a raised play area that is enclosed by a fence. Along the east side of the building, facing Graham Avenue, a non-historic ramp with metal railings has been constructed.
Commercial storefronts parallel the streets and adjoin the apartment buildings in various locations. The materials are non-historic, but the new elevations closely resemble the originals. The largest storefronts are located on either side of Graham Avenue, between Maujer Street and Ten Eyck Walk (Nos. 8 and 9). Smaller retail spaces are located along Graham Avenue (near Scholes Street, No. 13); on Leonard Street (near Maujer Street, No. 1); and on Bushwick Avenue (between Maujer and Stagg Walk, No. 16). They have a stream-lined character and curve away from the street at both ends. One story tall, they have granite bases and are clad with stainless steel and metal that has a baked-on blue porcelain finish. Above the storefronts runs the blue metal parapet, crowned by a stainless steel roof rail. Lighting was added above the storefronts, and security gates, when the stores are open, roll up and are neatly hidden within the facades. Large glass blocks or plate glass are used throughout. Along Bushwick Avenue, the modifications are less sympathetic and a vertical grid of older decorative concrete block occasionally interrupts the facade.
- From the 2003 NYCLPC Landmark Designation Report
to execute his pounce....the little robin didn't stand a chance~~further proof that sometimes, just sometimes if you wait long enough~~~ you get to see something special~
L'architecte liégeois Paul Demany (1859-1912) fut chargé de la décoration des becs de piles, des pylônes et de leurs socles, des balcons et des murs en retour.
Il dirigea également la réalisation des ouvrages en bronze coulé, éléments utilitaires (garde-corps, candélabres) et statues constituant le décor allégorique du pont, exécutées par le sculpteur wallon Victor Rousseau (1865-1954).
À chacune des deux entrées du pont, deux pylônes de granit sont surmontés d'une « renommée », évoquant un ange.
De chaque côté du fleuve, deux figures allégoriques en bronze adossées à ces pylônes. Elles symbolisent le « Vieux fleuve » et le « Nouveau fleuve ».
The Liège architect Paul Demany (1859-1912) was responsible for decorating the piers, the pylons and their bases, the balconies and the return walls.
He also directed the creation of the cast bronze works, utility elements (railing, candelabra) and statues constituting the allegorical decoration of the bridge, executed by the Walloon sculptor Victor Rousseau (1865-1954).
At each of the two entrances to the bridge, two granite pylons are topped with a “fame”, evoking an angel.
On each side of the river, two allegorical bronze figures leaning against these pylons. They symbolize the “Old River” and the “New River”.
Excerpt from heritageburlington.ca:
An oustanding example of a Flemish-bond brick structure in Regency Style. The lowpitched end-gabled roof has wide eaves, decorative wood brackets, and returns. The centre front gable has an arched window and the gable ends have a quarter-pie window on either side of the chimney. The first-level windows are large. The front windows may have opened as French windows on to a verandah. They have multi-paned glass and low wood panels. The centre door is single, with sidelights and transom and similar wood panels. The door frame may be a restoration, but is well designed and executed. The front gable has some decorative bargeboard trim, added later. There is a rear open porch with a shed roof.
Built in 1850 for Donald McGregor.
The Midland Camera club planned and executed a wonderful trip to the Jordan Valley and Leelanau peninsula in pursuit of Fall colors, landscapes, farms, sand dunes, Lake Michigan. lighthouses, and a vast assortment of interesting subjects to photograph. All the members came home with a nice collection of photographs and much joy in the adventure spent together. Visit our viewing site to see the work of the members.
www.flickr.com/groups/3021281@N20/
This fabulous photograph is available at my online store in a wide variety of products. This link will take you there
pixels.com/products/a-trail-through-the-woods-tom-clark-a...
216d 10 - _DSC0018 - lr-ps-wm
After fighting to an indecisive stalemate in Alaska, Russia moves its offensive towards a major naval base in San Diego. Combat quickly travels to the city streets as the Russian military executes its strategy of total warfare. As civilian casualties rise, many begin moving inward towards the Midwest to escape the conflict. The UN expels Russia and condemns its brutal acts of war against the US. UN forces from several countries come to assist the thinly spread US troops. The few available US troops are sent in to San Diego to reinforce the naval base and put an end to the Russian advance in the city.
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A follow-up to this: www.flickr.com/photos/62404662@N04/14832708023/
Chania Venetian Harbour
The Venetian harbour of Chania was built by the Venetians between 1320 and 1356. The harbour was used for commerce and also to control the Sea of Crete against pirates.
The Venetian harbour had room for 40 galleys, but it constantly silted up and was never very deep, so it kept having to be dredged, a difficult job with the equipment of the time.
On its north side the harbour is protected by a breakwater. Near the middle of this is a small bulwark like a gun emplacement and the tiny chapel of St Nicholas. This was where the Venetians and Turks executed condemned prisoners.
The Firkas Fortress at the harbour entrance and the St Nicholas bastion in the middle of the breakwater defended the harbour from raiders.
Today, the Venetian harbour offers moorage for fishing boats and other small craft, while the commercial and passenger port of Chania is seven kilometres to the east, in Souda Bay.
The lighthouse is a distinctive feature of the harbour. It was built at the harbour entrance by the Venetians and restored in its present form by the Egyptians (1830-1840). The lighthouse of the Venetian harbour of Chania always fascinates visitors and is one of the most-photographed monuments in Crete.
www.explorecrete.com/chania/EN-chania-05-venetian-harbour...
#QUEEN MARIE ANTOINETTE
was executed by guillotine on 16 October 1793.
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Macro Mondays / July 31 / #Queen / HMM to everyone!
7DWF / Mondays #FreeTheme
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Marie Antoinette, born Maria Antonia Josepha Johanna (2 November 1755 – 16 October 1793) was the last Queen of France before the French Revolution. She was born an Archduchess of Austria, and was the fifteenth and second youngest child of Empress Maria Theresa and Francis I, Holy Roman Emperor. In April 1770, upon her marriage to Louis-Auguste, heir apparent to the French throne, she became Dauphine of France. On 10 May 1774, when her husband ascended the throne as Louis XVI, she assumed the title Queen of France and Navarre. During the Revolution, she became known as Madame Déficit because the country's financial crisis was blamed on her lavish spending and her opposition to the social and financial reforms. Marie Antoinette was convicted by the Revolutionary Tribunal of high treason and executed by guillotine on the Place de la Révolution on 16 October 1793.
Excerpt from:
en.wikipedia.org/wiki/Marie_Antoinette
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Marie Antoinette (2. November 1755 - 16. Oktober 1793) war die letzte Königin von Frankreich vor der Französischen Revolution. Sie war als Maria Antonia Josepha Johanna geborene Erzherzogin von Österreich sowie Prinzessin von Ungarn, Böhmen und der Toskana und entstammte dem Haus Habsburg-Lothringen. 1769 wurde sie durch ihre Heirat mit dem französischen Thronfolger zunächst Dauphins. Fünf Jahre später wurde sie - durch dessen Thronbesteigung als König Ludwig XVI. - Königin von Frankreich und Navarra. Während der Französischen Revolution galt sie der aufständischen und notleidenden Bevölkerung aufgrund ihres verschwenderischen Lebensstils als eine der am meisten verachteten Personen der höfischen Gesellschaft. Marie Antoinette wurde vom Revolutionären Tribunal des Hochverrats verurteilt und am 16. Oktober 1793 durch die Guillotine am Place de la Révolution hingerichtet.
Auszug aus:
de.wikipedia.org/wiki/Marie_Antoinette
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Nikon Micro-Nikkor-P / 1:3.5 / 55 mm
I think the hot weather has totally drained my brain of good ideas or the desire to try and execute the ideas I have. I get home from work and I just have to sit and do nothing to avoid from melting into a puddle! Today I flicked on the news and saw that Prince William and Kate are visiting Calgary which isn't too far from me and I thought I would do a photo inspired by that :)
VVAB611 flight executes a flyby that was specifically made for this photo opportunity. The lead helicopter is an SH-60F and the wingman is an HH-60H.
Website: One Mile High Photography
Facebook: www.facebook.com/OneMileHighPhotography
The current City Hall for the city of St. Louis, having housed city government since 1898, is a landmark by appearance, reputation and city designation (since 1971). Efforts to build what would become the current City Hall (seen above) got underway in May 1888 when the City Hall Commission was formed. On April 4, 1889, an ordinance was passed to authorize the Commission to advertise for bids for the building. The original cost was not to exceed one million dollars. The commission chose the design of George Richard Mann, of the firm Eckel & Mann of St. Joseph, from the 37 national entries. His design was titled "St. Louis 1892", obviously expecting it to be completed by 1892. A French-style plan, inspired by the Hotel de Ville or City Hall of Paris, with ornamental dormer windows and former towers, it also recalled architectural elements of the Chateau de Chambord on the Loire River in France.
The construction of City Hall started July 19, 1890, with Mayor Edward Noonan's daughter Zoe, breaking ground. The cornerstone was laid on June 6, 1891. No bond issue was passed to finance construction of the new City Hall, explaining the 14 years required to finish the building. Funds came from general revenue and the sale of city property. Every year or two, the Council, would authorize an average of $110, 000 to continue construction. An ordinance was passed on Sept, 10, 1893 to limit the total cost at two million dollars. Though the building was not completed, it was finally occupied on April 11, 1898 when Mayor Henry Ziegenhein headed a ceremonial parade of city officials from the old building to their offices in the new City Hall. In 1904, the final portions of the building were completed, the Rotunda, the Tucker Boulevard vestibule and the grand staircase, using the design by the St. Louis architectural firm of Weber & Groves. The building was officially completed on Nov. 5, 1904 when Mayor Rolla Wells held an open house for the residents of St. Louis. The final cost of the building was $1,787,159.16. However, the exterior of City Hall was never quite finished. All sides of the building have ornamental dormers called belvederes, each having bare spaces of limestone. These were meant to have carved decorations, yet remained untouched probably due to lack of funds. Despite its incomplete state, City Hall was praised for its "splendid architectural composition," and called "an impressive period piece of craftsmanship". Unfortunately, a poorly executed acid cleaning and years of exposure to coal smoke has left the original pink and orange exterior tarnished.
www.stlouis-mo.gov/government/about/history-of-city-hall.cfm
Three bracketed photos were taken with a handheld Nikon D7200 and combined with Photomatix Pro to create this HDR image. Additional adjustments were made in Photoshop CS6.
"For I know the plans I have for you", declares the LORD, "plans to prosper you and not to harm you, plans to give you hope and a future." ~Jeremiah 29:11
The best way to view my photostream is through Flickriver with the following link: www.flickriver.com/photos/photojourney57/
The Giustiniani Hestia is a finely-executed marble sculpture, a perhaps Hadrianic Roman copy of a Greek bronze of about 470 BC, now in the Torlonia Collection, Rome, but named for its early owner, marchese Vincenzo Giustiniani. It is the only known Early Classical bronze that was reproduced at full size in marble for a Roman collection: Roman taste ran more towards the Hellenistic baroque.
Winckelmann cited the Hestia Giustiniani as an example of the austere early stage of Classical Greek sculpture. For female figures, early fifth-century sculptors mostly gave up the crinkly sleeved chiton, which had been popular in the later sixth century BCE, and returned to the sleeveless peplos with heavy, dominantly vertical folds not unlike the fluting of a column. With the body so shrouded the relaxation of pose has been limited to turning the head. Several Attic or Argive sculptors have been speculatively suggested as the author of the lost original.
The sculpture was known in the Giustiniani collection in Palazzo Giustiniani, Rome, from the early 1630s, the date of a drawing made for the antiquarian Cassiano dal Pozzo and was illustrated in the engraved catalogue of the Galleria Giustiniani, produced under the direction of Joachim von Sandrart in two deluxe volumes, 1635–36 and 1638 In its first appearance in a Giustiniani inventory, 1638, it was a "vergine vestale vestita, di marmo greco tutta antica alta palmi 9", "a clothed Vestal Virgin, of Greek marble wholly antique, height 9 palmi." The sculpture appeared in François Perrier, Segmenta nobilium signorum (Paris and Rome, 1638), plate lxxii. The Hestia was purchased from the Giustiniani heirs in the nineteenth century and re-erected in Palazzo Lungara, where it was described by Ennio Quirino Visconti. It was removed to the Torlonia Villa Albani after World War II and was reinstalled in the 1990s in the courtyard of the Palazzo Torlonia in via della Conciliazione.
Contemporary scholars are less certain about the sculpture's identification as Hestia, in part because of literary references to her imageless sanctuaries, though a similar figure is painted on a cup at Berlin attributed to the Sosias Painter (Lachenal): Demeter and Hera are alternative candidates. Often such attribution issues are skirted in modern scholarship by designating such sculptures simply as peplophoroi.
Perfectly executed rock carvings, dating back to 800 AD, and you can also see a serpent head, representing the underworld in Mayan religion. 800 AD, and you can also see a serpent head, representing the underworld in Mayan religion.
Cold, desolate and cold. These are the words that went through my head as the orders came, and me and my men executed them. This war, fighting alongside these warriors, I knew the possibility that something like this would occur, taking out the very knights that entrusted us with their safety and in return, gave us our safety and at times, our lives. I’m not one to cower from orders, I rather see it as evaluating quite important strategic decisions. Death to these warriors must be the answer or? They are traitors are they not? But who knows, perhaps, this was all by design. Perhaps, I’m just thinking foolishly. It’s now been several rotations since our dissent onto this pitiful planet. Our orders were to locate any more of the missing treacherous knights. Suspects have been spotted roaming the alleyways. One in particular, has been cited multiple times. I think the best thing to do is to clear my head, get the job done. Wouldn’t want to lose it now would I.
- Commander Deviss
I bring you my Jedi Hunt on Eriadu MOC, a scene straight out of the awesome Star Wars Purge comic series. This takes place some time after Order 66 and follows Commander Deviss and his group of clone troopers hunting down a Jedi Master in an alleyway of this industrial city on the planet.
When I set out to create this build, I wanted the focus to be set on the figures and have the detail around really make them stand out. For me, having a balance in colors really is the start of that. As I talk about in the video available on the Beyond The Brick YouTube channel, the details and colors are meant to complement the other surrounding parts. I really think the red beams on top stand out and work nicely with the red from Deviss, really making him pop with his troopers. The classic black border that you’ve seen from some of my other builds really help tie things together as well. Overall, I think the build was a successful recreation of an iconic scene.
If you like this build, consider tapping the fave button ever so slightly and if you’re feeling like doing a bit extra, follow me here. Thanks!
~Noah
See more of this build by watching this YouTube video.
Black Knights on Patrol
The men and women of Task Force 3-66 are actively patrolling western Paktika province, taking the fight to the insurgents. Since assuming responsibility for the area, the Black Knights have been methodically clearing district after district to allow the provincial government to provide security and development. Western Paktika is essentially a rest stop for insurgents linked to Sirajuddin Haqqani traveling from Pakistan and continuing west. The heat, elevated terrain, and harsh landscape of Paktika province are unforgiving allies of these enemies of Afghanistan. With limited road networks the primary mode of travel here is walking. The relentless training planned and executed by the leaders of Task Force 3-66 back in Germany is now paying off.
Horn & Hardart Automat Cafeteria Building. Morningside, Manhattan, New York City, New York, United States
The 3-story, limestone-clad Horn & Hardart Automat-Cafeteria Building at 2710-2714 Broadway (at West 104th Street), a distinctive small-scale commercial structure executed in the Art Deco style, is one of the best surviving examples of the popular chain restaurants that proliferated in the city during the first three decades of the 20th century. In 1927, the Horn & Hardart Co. became the leaseholder of this site. This building was constructed in 1930 to the design of F[rederick]. P[utnam]. Platt & Brother [Charles Carsten Platt], who executed numerous New York commissions for Horn & Hardart from about 1916 to 1932. By 1927, F.P. Platt & Bro. had developed a modern and functional design prototype for purpose-built Horn & Hardart automat-cafeteria buildings, with large windows, that assisted the restaurant chain in achieving a consistent commercial image. The Horn & Hardart Co., established in 1911, was the New York subsidiary of the Horn & Hardart Baking Co. of Philadelphia, which had been incorporated in 1898 by Joseph V. Horn and Frank A. Hardart, lunchroom proprietors since 1888. In 1902, Horn & Hardart opened its first waiterless Philadelphia restaurant, or "automat," in which customers could retrieve food directly from windows after depositing nickels in European-made equipment. The first New York automat opened in 1912, with American machinery, at 1557 Broadway in Times Square. Known for uniformly good food at low cost, automats became wildly popular and one of the city's cherished democratic institutions, appealing to a wide clientele.
This automat-cafeteria building is made notable by its glazed polychrome Art Deco style terra-cotta ornament on the third story. Executed in hues of green, blue, tan, and gold luster by the Atlantic Terra Cotta Co., the terra cotta is located on sills, panels above the windows, stylized pilaster capitals, and the building's terminating band. The highly sophisticated panels feature stylized floral motifs and zigzag patterns; the modeler of these panels has not been identified, but the work is strikingly similar to that of preeminent architectural sculptor Rene P. Chambellan. Horn & Hardart remained a tenant on the ground story and mezzanine here until 1953, and the mezzanine level was remodeled as a full story in 1955. There have been a wide variety of commercial and organizational tenants over the years. While the current ground-floor storefront covers historic elements, visible above this are the upper portion of the original central segmental arched opening (with a fluted molded granite surround with a keystone) and the top of the bronze entrance portal and decorative bronze spandrel.
Four lots at the southeast corner of Broadway and West 104th Street were assembled in 1885, 1901, and 1904 by George W. Walker. The combined property, built up with four structures, was leased to D[avid]. A. Schulte, Inc. (Schulte Real Estate Co./ Schulte Cigar Co.) in 1920. In December 1926, this property was sub-leased to the Broadway & 104th Street Realty Co., under Samuel Gershowitz, who, according to the #ew For^ T'wes, "apparently made a business of opening eating places and selling them," and had gangster-related connections.18 The Horn & Hardart Co. became the lessee a year later for $50,000. The #ew For^ T'wes in December 1927 announced that the firm would "upon the expiration of existing leases, erect a new building to house in part a branch automat cafeteria."19 George W. Walker's will, probated in March 1930, left this property jointly to his sons, George L. Walker (who served as a chief engineer of buildings and sanitary inspection for New York City) and Samuel B. Walker, and his daughter, Katherine V. Walker Born.
F.P. Platt & Bro. filed plans in April 1930 for a 2-story plus mezzanine automat-cafeteria and office building, measuring approximately 71 by 69 feet and expected to cost $105,000. Construction began at the end of May and was completed in just five months, in October 1930. T.J. Murphy Co. was the contractor. The Art Deco style design, executed chiefly in limestone, featured on the main Broadway facade: a polished granite veneer base, with decorative metal grilles; a central 1-1/2-story segmental arched opening (with a fluted molded granite surround with a keystone) having an entrance portal (with ornamental bronze enframement) flanked by show windows on the ground story, a decorative bronze spandrel, and multi-pane windows with vertical mullions on the mezzanine level; a storefront at the north end of the ground story, and a storefront window and upstairs entrance at the south end, all flanked by fluted moldings; on the mezzanine level, a rectangular steel casement window (flanked by fluted moldings) above each storefront; and five multi-pane windows with terra-cotta sills on the second story, flanked by pilasters with stylized terra-cotta capitals, and capped by terra-cotta panels; and a terra-cotta band terminating the facade. The West 104th Street facade was similar, except that the ground story had central and western storefront windows and an eastern end entrance; and the mezzanine level had three central sets of paired rectangular windows.
The building is made notable by the glazed polychrome Art Deco style terra-cotta ornament on the third story. The terra-cotta panels, with their highly sophisticated stylized floral motifs and zigzag patterns, are identical to those employed on F.P. Platt & Bro.'s earlier Horn & Hardart Automat-Cafeteria Building at No. 1165 Sixth Avenue/ 105 West 45th Street (1929), which have been documented as manufactured by the Atlantic Terra Cotta Co.20 The modeler of these panels has not been identified, but the work is strikingly similar to that of preeminent architectural sculptor Rene P. Chambellan.21 American terra cotta expert Susan Tunick has written that the building is "ornamented with green, blue, and tan glazed terra cotta and is highlighted with gold lustered glaze,"22 and that "gold metallic luster is an overglaze which is applied to the already glaze-fired pieces, which are then refired at a very low tempature."23 She has identified only two other known surviving buildings in New York which employed gold lustered glaze: No. 261 Fifth Avenue (1928-29, Buchman & Kahn)24 and the Foltis-Fischer Building (1929-30, Erhard Djorup), 411-413 Park Avenue South.
The Atlantic Terra Cotta Co., one of the earliest New York manufacturers of architectural terra cotta, was organized in 1897 in Tottenville, Staten Island, by DeForest Grant, who became president, and several former employees of the Perth Amboy [N.J.] Terra Cotta Co. (founded 1879). The Atlantic Terra Cotta Co. was reorganized in 1907, when it was consolidated with Perth Amboy and the Excelsior Terra Cotta Co. (established 1894) in Rocky Hill, N.J. The Standard Terra Cotta Works (1890) in Perth Amboy, and Atlanta [Ga] Terra Cotta Co. (1895) were acquired by the new corporation shortly thereafter. The Atlantic Terra Cotta Co., which became the world's largest manufacturer of architectural terra cotta, supplied a wide variety of products, from white glazed terra cotta to polychrome decorative work. Among the notable New York projects for which the Atlantic Terra Cotta Co. supplied the terra cotta were: Broadway-Chambers Building (1899-1900, Cass Gilbert); Flatiron Building (1901-03, D.H. Burnham & Co.); West Street Building (1905-07, Gilbert); Masonic Temple (1908-09, Lord & Hewlett, with Pell & Corbett), Brooklyn; Woolworth Building (1910-13, Gilbert); Rodin Studios (191617, Gilbert); 130 West 30th Street Building (1927-28, Gilbert); Chanin Building (1927-29, Irwin S. Chanin, with Sloan & Robertson); and Fuller Building (1928-29, Walker & Gillette).25
The Horn & Hardart Automat-Cafeteria Building at Broadway and West 104th Street, conveniently located near a Broadway line subway station, served the dense residential population of the northern portion of the Upper West Side, with its wide range of income levels. (The southern section of the Upper West Side was served by the facility at No. 170 West 72nd Street). No. 2710-2714 Broadway was, according to the company's 1932 Annual Report, the third northernmost Horn & Hardart restaurant in Manhattan, the other locations being No. 611 West 181st Street and No. 121 East 170th Street. Located within a short distance of the 104th Street automat were large apartment buildings, such as the Master Building, 310 Riverside Drive, and Manhasset Apartments, 2806-2828 Broadway; residential hotels having apartments without kitchens, such as the Regent Hotel, Broadway and 104th Street, and the Hotel Marsailles, 2689-2693 Broadway; and numerous rowhouses. Also nearby were the U.S. Post Office, 217 West 104th Street; the New York Free Circulating Library, 206 West 100th Street; and several movie theaters, including the Midtown, 2624 Broadway, the Essex, 2706 Broadway, and the Olympia, 2772 Broadway. The Horn & Hardart Co. remained a tenant on the ground story and mezzanine of No. 2710-2714 Broadway until
1953. The northern corner storefront of the structure was occupied by a cigar store operated by the recently-merged huge chain, [David A] Schulte Retail Stores Corp./ United Cigar Stores Co., until at least 1951. The second (top) story was first rented for use as a "midget golf" course (1930-32); then to the B. & C. Billiard Academy (Claus H. Boschen, president) (1932- c. 1935), and Dixie Recreation, billiards and ping-pong (c. 194042). In 1942, an interior stairway to the mezzanine was removed and the southern window on Broadway was altered The Prudential Life Insurance Co. leased the entire second (top) story as a branch office from 1945 to 1957.
Later History
In October 1946, the New York Times mentioned that "the Malester Restaurant chain has obtained a twenty-one-year lease at an aggregate rental of more than $500,000 on the entire building now occupied by Horn & Hardart at the southeast corner of Broadway and 104th Street." Albert Graham, a real estate operator, purchased the leasehold, then listed at an aggregate rental of $350,000, from Isaac Malester in June 1951.In November
1954, the Times carried an advertisement for No. 2710-2714 Broadway, for the lease of "70 Ft. Front on Bway./Entire Ground Floor/Store Mezzanine & Basement. Approx. 13,000 Sq. Ft.
The Horn & Hardart Co.'s lease was officially cancelled in December 1954. The property remained under the ownership of the Walker family until 1955, when it was transferred to the Broadway-104th Corp., an entity of real estate operator Stanley Stohl. Architects Wechsler & Schimenti performed an estimated $10,000 alteration on the building in 1955, which included removing the Horn & Hardart counters and the stairs to the mezzanine, closing the mezzanine opening, and installing a full floor on that level, now the second story. The second and third stories were converted for office use.
In 1956, the New York Public Library temporarily had its Bloomingdale Branch children's room in this building. Over the last five decades, the structure has housed a wide variety of commercial and community uses. The ground story has contained Elmar Food Corp./ Food-O-Rama/ Sloan's/ Gristede's supermarket (c. 1962-95), Aranf Coffee Shop (c. 1965), Mamma Mia pizzeria (c. 1972-83), and Rite Aid drugstore (1995 to present). In 1966, the property was purchased by Barbellen Properties Corp., controlled by Al and Norma Teitler, who operated the Food-O-Rama supermarket here.
The upstairs stories have accommodated the Mr. Universe Health Studio (1957-68); Central Furniture (c. 1962-66); Ames Business School (1968- c. 1975), the successor to the Therese Aub Secretarial School, for stenography, accounting, secretarial and executive training, switchboard, and typewriting; Mid-West Side Community Corp.- Springboard (c. 1979); Latin Exchange (c. 1983- ); Outer Space Gallery (c. 1985); American Folk Theater offices (c. 1985); accounting and law offices (c. 1991- ); and El Taller Latino Americano (Latin American Workshop) (c. 1996-present), a nonprofit arts and education center founded in 1979 to bridge cultural connections between Latin and North Americans, through its Spanish classes, translation and cultural consulting programs, visual arts, music, and dance presentations and workshops, recording studio, and Casa Puebla gallery. Neighborhood resident/community activist Michael Gotkin persuaded Rite Aid c. 1995 to cover, rather than destroy, original ground-story ornamental elements with the installation of its new storefront.
Description
The 3-story Art Deco style building is clad chiefly in limestone. Broadway Facade: The Ground Story originally featured a polished granite veneer base, with decorative metal grilles; a central 1-1/2-story segmental arched opening having an entrance portal (with ornamental bronze enframement) flanked by show windows, and a decorative bronze spandrel; and a storefront at the north end, and a storefront window and upstairs entrance at the south end, all flanked by fluted moldings. The current non-historic ground-floor storefront covers historic elements, except for the south end entrance (partly painted, with a non-historic door and signage).
Second Story: The upper portion of the central segmental arched opening (with a fluted molded granite surround with a keystone) is intact, with the top of the bronze entrance portal and decorative bronze spandrel, surmounted by metal multi-pane windows with vertical mullions. A rectangular steel casement window (flanked by fluted moldings) is placed at each end. A sign has been placed above the central opening, and banner poles are placed to the south of that opening.
Third Story: Five multi-pane windows with terra-cotta sills are flanked by pilasters with stylized terracotta capitals and capped by terra-cotta panels with stylized floral motifs and zigzag patterns. A terra-cotta band terminates the facade. The glazed terra cotta, by the Atlantic Terra Cotta Co., is executed in hues of green, blue, tan, and gold luster. Banner poles are placed at the south end.
The West 104th Street Facade is similar, except that the ground story originally had central and western storefront windows flanked by fluted moldings (now altered by the continuation of the Broadway facade storefront and by the filling in of the central window, next to which is an entrance), an entrance between the windows, and an eastern end entrance (most of the ground story has been painted); and the mezzanine level has three central sets of paired rectangular windows (without moldings). A sign has been placed above the ground story. Roof: Located on the roof is the metal armature for a rooftop sign.
- From the 2007 NYCLPC Landmark Designation Report
Portrait of Maria Salviati is an oil on panel painting attributed to Pontormo, executed c. 1543–1544, in the Uffizi, Florence.
It was acquired by the Uffizi early in the 20th century as a work by Domenico Beccafumi. Soon afterwards Lányi identified it as a portrait of Cosimo I's mother Maria Salviati by Pontormo mentioned in Lives of the Artists by Giorgio Vasari. Gamba found a preparatory drawing in the Uffizi's Gabinetto dei Disegni e delle Stampe (n. 6503F), but argued that the painting was produced by another painter from drawings by Pontormo, whereas he argues that Portrait of Maria Salviati with a Boy (Walters Art Gallery) is in fact the original autograph work.
Noting that the woman in the drawing seems older, in 1956 Luciano Berti argues that the painting on panel may be an idealised produced after its subject's death. Berti later argued against it being an autograph work and instead attributed it to a 16th-century Sienese artist.
© All rights reserved. Use without permission is illegal!
Parque Escultórico Torre de Hércules - MONUMENTO A LOS FUSILADOS EN LA GUERRA CIVIL (Isaac Díaz Pardo). Singular Stonehenge en tributo a las víctimas de la Guerra Civil. En este mismo lugar fueron fusilados políticos, artistas e intelectuales.
Tower of Hercules Sculpture Park - MONUMENT TO THOSE EXECUTED IN THE CIVIL WAR (Isaac Díaz Pardo) A kind of Stonehenge in homage to the victims of the Spanish Civil War. Politicians, artists and scholars were shot here.
This is a shot I had dreamed, scouted, and wanted to execute for almost a year and a half now. Redfish Lake is a pretty incredible place to shoot the Milky Way, it's supremely dark and for whatever reason the core just looks massive in the sky. Along the south/southwest portion of the lake are the beautiful Sawtooth Mountains, this is an area I've been exploring my entire life and it never ceases to amaze me. This exact shot has eluded me for about 18 months now, thanks to a combination of poor weather, poor timing, and bad wildfires/smoke in the area. While up at my family cabin this last week to shoot the eclipse I FINALLY got a clearish night to make this shot happen. Multiple bear sightings in the area made me a bit skittish to attempt it, but I strapped on the bear spray and headed out on the trail anyways. The Milky Way aligns perfectly over the Grand Mogul peaks with the Rho Ophiuchi Complex dropping in between the Grand Mogul and Heyburn Mountain. Quite frankly this is one of the most perfect late-season alignments you can have, the difficulty of getting any detail out of the Rho Ophiuchi area is tremendous late in the year due to it dropping low in the horizon.
Altogether 12 shots went into this one, 4 for the foreground and 8 for the sky, all taken with my Nikon D800E and Sigma Art 50mm lens on a Sky Watcher Star Adventurer Tracking mount. Foreground exposures are 3 minutes at f1.4 and ISO 800, sky exposures at 5 minutes at f2.8 and ISO 800.
Victory Over the North, executed by Astyanax-Scaevola Bosio, adorns the interior northwest pillar of Arc de Triomphe de l'Étoile. Seated at the centre, ictory holds a tablet on which she has inscribed: "Austerlitz/Iéna/Friedland and Ulm/Wagram and Eylau." Positioned at her right and left, four genies shoulder long garlands whose ends pill over with fruit.
The Arc de Triomphe stands in the centre of the Place Charles de Gaulle, also known as the Place de l'Étoile (Star Square). Designed by Jean Chalgrin between 1806 and 1836, the 51 meter high, 45-meter wide monument is the second largest triumphal arch in existence. It honors those who fought for France, particularly during the Napoleonic Wars.
Normandy is a region of northern France. Its varied coastline includes white-chalk cliffs and WWII beachheads, including Omaha Beach, site of the famous D-Day landing. Just off the coast, the rocky island of Mont-Saint-Michel is topped by a soaring Gothic abbey. The city of Rouen, dominated by Cathédrale Notre-Dame de Rouen, is where military leader and Catholic saint Joan of Arc was executed in 1431. (Wikipedia)
Normandy’s other world-famous date is June 1944, when the Allies launched their attack on the Landing Beaches. The events are commemorated today and the area around that particular piece of coast is full of museums and memorials, telling the story. (www.tripsavvy.com/normandy-region-of-france-3863169)
En 1560, Bonifác Wohlmut coiffe la tour sud d'un bulbe renaissance à tourelles d'angles. Plus d'un siècle plus tard, en 1675, Domenico Orsi projette une nef baroque qui ne sera pas exécutée. Encore un siècle plus tard, en 1770, Nicolò Pacassi reconstruit la tour sud incendiée par la foudre et la surmonte d'un toit baroque en forme de bulbe.
La tour est ornée d'une très belle grille datant de la Renaissance.
The Campanile was designed and built in 1928 and, unusually for the Portmeirion buildings, the executed tower exactly conformed to its detailed plans; these were shown in the 1931 Royal Academy Summer Exhibition. Some sort of bell tower had formed a focus for the projected village already in the earliest plans and models. As CWE noted: `The need for the Campanile was obvious enough - it was imperative that I should open my performance with a dramatic gesture of some sort.' The tower was provided with a chiming clock from a demolished London brewery. A plaque within the tower carries the following dedication: `This tower, built in 1928 by Clough Williams-Ellis, architect and publican, embodies stones from the 12th century castle of Gruffudd ap Cynan, King of North Wales, that stood on an eminence 150 yards to the west. It was finally razed c1869 by Sir William Fothergill Cook, inventor of the Electric Telegraph ``lest the ruins should become known and attract visitors to the place.'' This C19 affront to the C12 is thus piously redressed in the C20.'
The registered area represents the well-preserved garden designed in and around the village of Portmeirion by Clough Williams-Ellis (1883-1978) where conditions permit the growing of many half-hardy and tender plants, which enhance the exotic character of the site. Attached is the older Gwyllt garden containing an outstanding rhododendron collection of the early twentieth century. The registered area has important group value with the numerous listed buildings and structures at Portmeirion. Portmeirion is situated on the north side of the Traeth Bach estuary, near Porthmadog; the Gwyllt gardens to the west of it occupy the southern part of the peninsula between this and the Traeth Mawr. The site is almost hidden from the landward side and is sheltered from this direction by the shape of the land, as is the village area from the west and south-west by the Gwyllt. The only exposed direction is the south-east and in this direction lie spectacular views, over the sands of the estuary towards Harlech. Portmeirion is a deliberately created village set in a garden. The village, built in and around a small valley opening on to the shore, consists of a hotel and cottages, with shops and public buildings, arranged around a central open square which is laid out as a public garden. The buildings are a collection of architectural fantasies created by Clough Williams-Ellis. It is stylistically diverse, incorporating architectural elements from a wide range of periods and from several countries. The garden area occupies most of the flat ground available and due to the steeply-sloping nature of the rest of the site most of the buildings are displayed to advantage on the hillside. For this reason the village is best viewed from the sea, from which the site was first seen by Williams-Ellis. When Clough Williams-Ellis bought the site in 1925, he also acquired the mansion of Aber-Ia (LB: 4853) and its informal pleasure grounds on the Gwyllt peninsula to the west. The Gwyllt garden was probably laid out when the house was first built in the middle of the nineteenth century. The first additions were trees, especially pines and other conifers, some of which survive, and rhododendrons such as R. nobleanum and 'Cornish Red'. The second phase of planting was in the early twentieth century. This was the heyday of the collection, when the owner, Caton Haigh, deliberately collected half-hardy and exotic varieties, some recently introduced from China. Planting survives from both periods and the age range of the trees suggests that some were also planted by Clough Williams-Ellis. After Clough acquired the site there were two main periods of building; from 1925 until the Second World War, and from 1954 until about 1970. The first period saw conversion of the mid-nineteenth century house, Aber-Ia, to a hotel and the 'Cloughing-up' of the former gardener's cottage, now the Mermaid (LB: 4860); the former stable building (LB: 4886) was also converted. The first new cottages were the Angel (LB: 4856) and Neptune (LB: 4858), on the west side of the valley, opposite the Mermaid. Most of the buildings in the Citadel, the higher part of the village on the north-eastern edge of the valley, were also completed, including the Campanile (LB: 4868). During the later period more buildings were added to the Citadel and around the central public garden, part of which was now known as the Piazza (LB: 4885). These include the Pantheon (LB: 4879), with its dome complementing the Campanile, the Unicorn (LB: 4882) and Bridge House (LB: 4875), on an arch over one of the streets.
Dalmatian pelicans execute an exceptionally graceful, soft landing on water, despite their massive size (up to 30+ lbs, 11-foot wingspan). Often seen in Greece's Lake Kerkini, they land by stretching their large wings, holding them wide, and using their feet to "ski" or glide across the surface.
"Commander Cody, the time has come. Execute Order 66."
"Yes, my lord."
―Supreme Chancellor Palpatine to Cody
I transferred Cody's designs onto my new EP2/EP3 template, incorporating as much detail as possible with his armor. He features Arealight's trooper helmet and great new DC-15 rifle, along with a CAC visor and jetpack, painted with bronze and grey detailing. I've added my resin casted visor light and a thin wire for his antenna. Since his most iconic scene is the execution of Order 66, I decided to slap together a hologram on Photoshop since I didn't have the piece myself.
Like the previous photo, I've featured another custom sculpted base here for the figure, which are really fun to make. More designs and customs are on the way, so as always, expect more, and I'd love to hear your thoughts!
EDIT: Just noticed I forgot to put the orange stripe on his leg...
-Andrew
Think, plan, execute, sleep.
Two lenses, two camera positions and two WBs for these 158 stacked exposures.
Solitaire on my mobile kept me going for the later 157 whilst holed up in my duck down gore-tex bivvy bag !
Follow my work on Facebook www.facebook.com/pages/LED-Eddie-Light-Artist/30563460289...
The Midland Camera club planned and executed a wonderful trip to the Jordan Valley and Leelanau peninsula in pursuit of Fall colors, landscapes, farms, sand dunes, Lake Michigan. lighthouses, and a vast assortment of interesting subjects to photograph. All the members came home with a nice collection of photographs and much joy in the adventure spent together. Visit our viewing site to see the work of the members.
www.flickr.com/groups/3021281@N20/
216d 10 - TAC_4916 - lr-ps
Inspired by 'The banks of Loch Lomond'
The meaning behind this famous Scottish song is about two captured soldiers, one to be executed and the other set free. In Celtic tradition a Scot who dies in a foreign country takes 'the low road' to return to Scotland.
Shok1 executes his unique cellular style. Scaling down I chose to use simpler forms to create this single letter J.
On the west coast of Lake Garda, Salò has an interesting history.
It would like to be better known as the home of Gaspare da Salò, an early violin craftsman and innovator. However, after being deposed of being Prime Minister of Italy, in 1943, Benito Mussolini setup the Salò Republic from here. He ruled northern Italy from here until 1945 when he was executed by an Italian Partisan firing squad.
Today it is a lovely town known more for being at the beginning of the Riviera Bresciana.
Operation Knightfall a.k.a. Order 66 was the Jedi massacre executed by the Clone troopers and Sith and resulted in the near extinction of the Jedi. It played a pivotal role in the ability to form the Galactic Empire.
Clones POV:
When me and my brothers got the orders there were a lot of mixed feelings, some didn't seem to care at all and others where very hesitant and suspicious about what was about to go down. General Skywalker, our general over the course of the entire war was to lead us into the Jedi Temple to execute all of the Jedi to pay for there betrayal and assassination attempt on the Chancellor.
At the time we arrived they didn't expect a thing. The Jedi is a powerful opponent so we had to act very swift and silent so they couldn't fight back. If they would than there will be a lot of casulties. First we had to eliminate the gatekeeper so he couldn't alert the other Jedi. We arrived and General Skywalker swiftly struck him down without any mercy. When we entered the temple we directly secured all the exit points and hangars so nobody could go out or get in. Clone troopers went into every room to eliminate them before they sensed something was off. Ofcourse some of the Jedi saw us or sensed our presence and tried to fight there way out. A lot of casualties fell on both sides, but for them it was already to late... The fall of the Jedi order was a fact and opperation Knightfall was yet another victory for the Galactic Republic.
Jedi POV:
I sense... Something strange... Suddenly I hear shots comming from inside the temple! Who could be infiltrating our most sacred temple? Should I go take a look or just wait untill one of the Masters comes to explain what's happening? Maybe meditation can learn me something more. I can feel the infiltrators... They feel familiar. They feel... The Clone troopers! They are acompanied by a very dark presence! Is it the Sith? Are they taking revenge? How could our own troopers turn against us?
They are getting closer... I have to leave this place. When I entered the hallway I runned away from the darkness that roamed inside the temple and stumbled upon some aweful sights... Dead clone bodies, cut into pieces by lightsabers alongside some fellow Jedi who were shot at point blank range derived from the size of the gunshot wounds.
How could anyone do this... I just hope I get out alive.
--------------------------------
So this is my entry for the Dark Times RPG.
Enjoy!
The first castle at Dryslwyn was constructed by the sons of the Lord Rhys in the early part of the 13th century and was further fortified by Rhys ap Maredudd later in the century. By 1287 Dryslwyn was possibly the largest stone castle built by a Welsh prince. In June 1287 Rhys attacked and captured the castles of Dynefor, Carreg Cennen and Llandovery causing the King to raise an army under Edmund Earl of Cornwall and invade Deheubarth. Dryslwyn was besieged and fell after three weeks in August and September. Rhys escaped but was captured and executed in 1292. During the siege part of a wall collapsed and a number of the attackers were buried alive.
The castle now in the hands of the English was repaired but after its surrender to Owain Glyndwr in 1403 and subsequent recapture it was effectively destroyed.
I finally decided to execute this shot. This was inspired by DCI's comment on my invisible camera sequel shot. It was a while ago but I finally got it done. Lol. The vision I saw when he said the comment was a little better than this. Not too happy with the execution but i tried. Its good enough. =P
Wanna know about my day? It'd be too much to say. haha. To make it short, the weather killed it. But work was good! Because of this sh*tty weather we're having I had a lot of deliveries. Cheers.