View allAll Photos Tagged Expectation
In bed? Sort of a visual fortune cookie for you.
After much scrutiny, I decided to speak to the theme of "expectation" that I saw in Kerin's last three pictures.
Jamaica Avenue, Jamaica, Queens, New York City, New York, United States
The Kurtz Store, a striking commercial building in the heart of downtown Jamaica, is a rare manifestation of the Art Deco style in the Borough of Queens. Its ornamentation is typical of that period of architecture prevalent in the 1920s and early 1930s, which looked to the future and to the machine with expectation and optimism. Its compact form, accented by modern materials and skyscraper imagery, enhances this bustling area of the city.
The building was erected in 1931 as a retail store for the furniture chain of J. Kurtz & Sons. This company had been founded in 1870 by Jacob Kurtz and had three other stores by that time, including the original one on State Street in Brooklyn. The Jamaica store was used continuously by the Kurtz firm until 1978, at which time it was sold to other retailers. The selling floors have recently been divided to accommodate several tenants but the exterior remains intact.
When the Kurtz company decided to expand its retail operations to Jamaica, the area was an important commercial center for Queens and for much of Long Island. Its central location and well-developed transportation systems had made it the hub of a wide area.
Jamaica had always been a crossroads for Long Island, dating back to the time when Jamaica Avenue was an Indian trail. The first railroad line arrived here in 1834, built by the Brooklyn & Jamaica Railroad Company. In 1850 Jamaica Avenue, then called Fulton Street, became a plank road and connected the area to the Brooklyn ferries. Horsecar lines were begun in 1866 and electrified in 1886. The Long Island Railroad station was completed in 1913 with the Jamaica Elevated trains arriving five years later.
Jamaica started as a sleepy Dutch village of assorted, freestanding structures, loosely grouped along main streets, when the town was granted a patent from Peter Stuyvesant in 1656. The English took over in 1664, changing the town's name from the Dutch "Rusdorp" to a variation on the Canarsie Indian word for beaver, "jamecos."
One hundred years later, the community had become a trading post where farmers from outlying areas brought their produce. The nineteenth century saw the development of Jamaica as a resort, attracting wealthy urban residents who wanted to escape the numerous summer plagues of the city. The permanent population of Jamaica also increased steadily in the early nineteenth century and brought with it the normal proliferation of new buildings.
The earliest recorded map of the land where the Kurtz Store is located, dated 1836, shows that it was owned by Henry Wilkes. Another map, compiled ten years later shows the Wilkes land subdivided, but neither shows any structures on this lot. On the 1873 Beers Map, a Methodist Episcopal Church is located here, but the building was no longer extant by 1895.^ From at least that date until the Kurtz company erected its building, this lot held a two-story commercial structure which, in 1929, housed eleven different tenants.
By this time Jamaica contained a thriving business district and the furniture company sought to take advantage of this. The Kurtz family requested that the architects create a building which would be thoroughly modern and arrest the eye of those passing by on the elevated train, which then ran along Jamaica Avenue.
The firm of Allmendinger & Schlendorf, which had previously renovated other stores for the Kurtz chain, was chosen to design the new furniture store. Louis Allmendinger (1876-1937) received his technical training at the Mechanics Institute in New York. He worked for various architects until 1922 when he started his own firm, specializing in industrial and commercial buildings. His work included other types of buildings however, including the Russian Orthodox Cathedral of the Transfiguration of Our Lord in Brooklyn (1916-21, a designated New York City Landmark) and its Parish House (1916).
M. Allen Schlendorf (b. 1902) graduated from Cooper Union and attended Columbia University. In 1926, he joined with Allmendinger and formed a partnership which lasted until the older man's death in 1937. Located on offices in Brooklyn, the firm was responsible for numerous institutional, industrial, and commercial designs, including the German Masonic Temple in Manhattan, the Liebman Brewery and the North American Brewery in Brooklyn, as well as the Ehler Coffee Plant in Brooklyn After Allmendinger's death, Schlendorf continued the practice under his own name, designing such projects as the Evangelical Lutheran Church and Hospital in Brooklyn, the E.B. Stimpson Co., and the East Brooklyn Savings and Loan (now Pioneer Savings and Loan).
The design for the Kurtz Store is clearly different from the other work of these designers. Mr. Schlendorf recalls that his clients requested a building that would be very "modern and colorful" and would reflect the contemporary furniture which was to be displayed there.
The Art Deco or Moderne style of this building epitomized the word "modern" for many people of the period. The straight lines, the jagged or geometrically shaped outline and decoration seemed to symbolize the immediacy of the city, with its bustling population and the prosperity which could be found there.
The term Art Deco derives from the Paris exhibition of 1925, the "Exposition des Arts Decoratifs et Industriels Modernes" but the inspiration for the style in skyscraper design came from at least two main sources: the second prize-winning design by Eliel Saarinen for the Tribune Tower competition in 1922, and the publication of Hugh Ferris's book The Metropolis of Tomorrow in 1929.
After these two events the image of the modern skyscraper became that of a "tapered, soaring ziggurat." While the compact, six-story Kurtz building in Queens can hardly be called a skyscraper, its decorative motifs in the form of tapered pylons in contrasting colors and materials, which rise on the two main facades, as well as the skyscraper-like designs originally painted on the windows pay homage to this idea.
The influence of Frank Lloyd Wright on Art Deco design was also a strong one, beginning with his use of abstract, geometric designs in the stained-glass windows of his early Prairie School houses to the patterned concrete blocks of his California houses of the 1920s.
Mr. Schlendorf recalls always having admired Wright's work and being influenced by it in the design of this building. This influence can be seen in the horizontally grouped windows and the use of ornament in clearly defined areas. In the Kurtz store this ornament takes the form of flat fields of curvilinear design and groups of horizontal bands protruding from a vertical shaft, both characteristic Art Deco motifs.
The Kurtz store contains five stories plus a mezzanine, all of which were intended to display furniture. It is constructed on a steel frame, visible both inside the windows which wrap around the corner of Jamaica Avenue and New York Boulevard and inside the large display windows which fill the two lowest floors.
Crowning the mezzanine windows are stepped horizontal bands of cast aluminum. The strong horizontal lines are pierced by verticals and by blocks containing lightning-like motifs, another important design element of this period. This lower section is set off by a broad band of black glazed tile, making it quite distinct from the light brick which faces the upper stories.
Above this base, the Jamaica Avenue facade is three bays wide while that on New York Boulevard is six bays wide. Each is symmetrically disposed, the composition alternating plain, metal - framed windows with a stepped pylon motif which rises continuously through all four stories. The Jamaica Avenue facade contains one of these pylons in the center, while the longer facade on New York Boulevard has two. They are formed by black and white glazed tiles which contrast in color and material with the rest of the facade, in a manner characteristic of Art Deco.
A narrow window is located at the center of the pylon at each floor, and this feature adds to the vertical emphasis of this motif. This verticality is arrested just above each window by a slightly protruding element covered in black tile which has short horizontal bands on each side. At the center of the New York Boulevard facade another tower-like form is outlined in black brick. Small, horizontal bands are grouped along its height, echoing the spandrel motif of the wider black and white pylons. This central tower is crowned by another group of bands, this one turned in a vertical direction and reaching up to the top of the building.
Several windows on both facades contain the remains of a design that was originally painted in silver on many of them. It takes the form of a schematic skyscraper, divided vertically, with matching halves on facing window panes. This is another manifestation of the importance of the skyscraper to the designers of this building. At the roof line of the building is a plain, flat parapet which hides the flat roof. Just below the parapet at the top of each, window bay are rectangular panels of flat, stylized designs. The gold and blue terra cotta of this ornament provides the only bit of bright color on the facades.
The Kurtz store is a distinctive commercial structure in the modern idiom, one that created a striking image for the Kurtz Company. Although it is a relatively small building, the designers chose to decorate it with the skyscraper motifs of the period, motifs which cried "modern": tall, tapering ziggurats or pylons; groupings of horizontal bands; distinct panels of flat, stylized design; contrasting colors and materials including glazed tile, terra cotta, brick and cast aluminum.
Despite the presence of strong horizontal lines, the vertical emphasis of the decoration dominates the facade, creating a building which is impressive and forceful beyond its size and still enhances the Jamaica streetscape.
- From the 1981 NYCLPC Landmark Designation Report
Patient Expectation is changing fast and thick. How can the industry rise to the challenge
Email: info@pathsos.net
Jamaica Avenue, Jamaica, Queens, New York City, New York, United States
The Kurtz Store, a striking commercial building in the heart of downtown Jamaica, is a rare manifestation of the Art Deco style in the Borough of Queens. Its ornamentation is typical of that period of architecture prevalent in the 1920s and early 1930s, which looked to the future and to the machine with expectation and optimism. Its compact form, accented by modern materials and skyscraper imagery, enhances this bustling area of the city.
The building was erected in 1931 as a retail store for the furniture chain of J. Kurtz & Sons. This company had been founded in 1870 by Jacob Kurtz and had three other stores by that time, including the original one on State Street in Brooklyn. The Jamaica store was used continuously by the Kurtz firm until 1978, at which time it was sold to other retailers. The selling floors have recently been divided to accommodate several tenants but the exterior remains intact.
When the Kurtz company decided to expand its retail operations to Jamaica, the area was an important commercial center for Queens and for much of Long Island. Its central location and well-developed transportation systems had made it the hub of a wide area.
Jamaica had always been a crossroads for Long Island, dating back to the time when Jamaica Avenue was an Indian trail. The first railroad line arrived here in 1834, built by the Brooklyn & Jamaica Railroad Company. In 1850 Jamaica Avenue, then called Fulton Street, became a plank road and connected the area to the Brooklyn ferries. Horsecar lines were begun in 1866 and electrified in 1886. The Long Island Railroad station was completed in 1913 with the Jamaica Elevated trains arriving five years later.
Jamaica started as a sleepy Dutch village of assorted, freestanding structures, loosely grouped along main streets, when the town was granted a patent from Peter Stuyvesant in 1656. The English took over in 1664, changing the town's name from the Dutch "Rusdorp" to a variation on the Canarsie Indian word for beaver, "jamecos."
One hundred years later, the community had become a trading post where farmers from outlying areas brought their produce. The nineteenth century saw the development of Jamaica as a resort, attracting wealthy urban residents who wanted to escape the numerous summer plagues of the city. The permanent population of Jamaica also increased steadily in the early nineteenth century and brought with it the normal proliferation of new buildings.
The earliest recorded map of the land where the Kurtz Store is located, dated 1836, shows that it was owned by Henry Wilkes. Another map, compiled ten years later shows the Wilkes land subdivided, but neither shows any structures on this lot. On the 1873 Beers Map, a Methodist Episcopal Church is located here, but the building was no longer extant by 1895.^ From at least that date until the Kurtz company erected its building, this lot held a two-story commercial structure which, in 1929, housed eleven different tenants.
By this time Jamaica contained a thriving business district and the furniture company sought to take advantage of this. The Kurtz family requested that the architects create a building which would be thoroughly modern and arrest the eye of those passing by on the elevated train, which then ran along Jamaica Avenue.
The firm of Allmendinger & Schlendorf, which had previously renovated other stores for the Kurtz chain, was chosen to design the new furniture store. Louis Allmendinger (1876-1937) received his technical training at the Mechanics Institute in New York. He worked for various architects until 1922 when he started his own firm, specializing in industrial and commercial buildings. His work included other types of buildings however, including the Russian Orthodox Cathedral of the Transfiguration of Our Lord in Brooklyn (1916-21, a designated New York City Landmark) and its Parish House (1916).
M. Allen Schlendorf (b. 1902) graduated from Cooper Union and attended Columbia University. In 1926, he joined with Allmendinger and formed a partnership which lasted until the older man's death in 1937. Located on offices in Brooklyn, the firm was responsible for numerous institutional, industrial, and commercial designs, including the German Masonic Temple in Manhattan, the Liebman Brewery and the North American Brewery in Brooklyn, as well as the Ehler Coffee Plant in Brooklyn After Allmendinger's death, Schlendorf continued the practice under his own name, designing such projects as the Evangelical Lutheran Church and Hospital in Brooklyn, the E.B. Stimpson Co., and the East Brooklyn Savings and Loan (now Pioneer Savings and Loan).
The design for the Kurtz Store is clearly different from the other work of these designers. Mr. Schlendorf recalls that his clients requested a building that would be very "modern and colorful" and would reflect the contemporary furniture which was to be displayed there.
The Art Deco or Moderne style of this building epitomized the word "modern" for many people of the period. The straight lines, the jagged or geometrically shaped outline and decoration seemed to symbolize the immediacy of the city, with its bustling population and the prosperity which could be found there.
The term Art Deco derives from the Paris exhibition of 1925, the "Exposition des Arts Decoratifs et Industriels Modernes" but the inspiration for the style in skyscraper design came from at least two main sources: the second prize-winning design by Eliel Saarinen for the Tribune Tower competition in 1922, and the publication of Hugh Ferris's book The Metropolis of Tomorrow in 1929.
After these two events the image of the modern skyscraper became that of a "tapered, soaring ziggurat." While the compact, six-story Kurtz building in Queens can hardly be called a skyscraper, its decorative motifs in the form of tapered pylons in contrasting colors and materials, which rise on the two main facades, as well as the skyscraper-like designs originally painted on the windows pay homage to this idea.
The influence of Frank Lloyd Wright on Art Deco design was also a strong one, beginning with his use of abstract, geometric designs in the stained-glass windows of his early Prairie School houses to the patterned concrete blocks of his California houses of the 1920s.
Mr. Schlendorf recalls always having admired Wright's work and being influenced by it in the design of this building. This influence can be seen in the horizontally grouped windows and the use of ornament in clearly defined areas. In the Kurtz store this ornament takes the form of flat fields of curvilinear design and groups of horizontal bands protruding from a vertical shaft, both characteristic Art Deco motifs.
The Kurtz store contains five stories plus a mezzanine, all of which were intended to display furniture. It is constructed on a steel frame, visible both inside the windows which wrap around the corner of Jamaica Avenue and New York Boulevard and inside the large display windows which fill the two lowest floors.
Crowning the mezzanine windows are stepped horizontal bands of cast aluminum. The strong horizontal lines are pierced by verticals and by blocks containing lightning-like motifs, another important design element of this period. This lower section is set off by a broad band of black glazed tile, making it quite distinct from the light brick which faces the upper stories.
Above this base, the Jamaica Avenue facade is three bays wide while that on New York Boulevard is six bays wide. Each is symmetrically disposed, the composition alternating plain, metal - framed windows with a stepped pylon motif which rises continuously through all four stories. The Jamaica Avenue facade contains one of these pylons in the center, while the longer facade on New York Boulevard has two. They are formed by black and white glazed tiles which contrast in color and material with the rest of the facade, in a manner characteristic of Art Deco.
A narrow window is located at the center of the pylon at each floor, and this feature adds to the vertical emphasis of this motif. This verticality is arrested just above each window by a slightly protruding element covered in black tile which has short horizontal bands on each side. At the center of the New York Boulevard facade another tower-like form is outlined in black brick. Small, horizontal bands are grouped along its height, echoing the spandrel motif of the wider black and white pylons. This central tower is crowned by another group of bands, this one turned in a vertical direction and reaching up to the top of the building.
Several windows on both facades contain the remains of a design that was originally painted in silver on many of them. It takes the form of a schematic skyscraper, divided vertically, with matching halves on facing window panes. This is another manifestation of the importance of the skyscraper to the designers of this building. At the roof line of the building is a plain, flat parapet which hides the flat roof. Just below the parapet at the top of each, window bay are rectangular panels of flat, stylized designs. The gold and blue terra cotta of this ornament provides the only bit of bright color on the facades.
The Kurtz store is a distinctive commercial structure in the modern idiom, one that created a striking image for the Kurtz Company. Although it is a relatively small building, the designers chose to decorate it with the skyscraper motifs of the period, motifs which cried "modern": tall, tapering ziggurats or pylons; groupings of horizontal bands; distinct panels of flat, stylized design; contrasting colors and materials including glazed tile, terra cotta, brick and cast aluminum.
Despite the presence of strong horizontal lines, the vertical emphasis of the decoration dominates the facade, creating a building which is impressive and forceful beyond its size and still enhances the Jamaica streetscape.
- From the 1981 NYCLPC Landmark Designation Report
On mange propre, on s'entraîne sale! 😜 #postworkout#dinner#eatforabs#eatclean #healthy #gymaddict #bodybuilding #allnatural #expectation #fitness #fitnessaddict #lifestyle
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Wednesday 17th June. There was widespread expectation First Minister Nicola Sturgeon would announce a move to phase two of lockdown on Thursday 18th June and give indicative dates for further easing of lockdown.
In phase two the virus is controlled but remains; R is consistently below 1 and WHO conditions are met. Physical distancing would still be required.
Phase two includes: People meeting in larger groups; workers being allowed to return to construction sites; opening playgrounds; small shops selling non-essential goods reopening (but not shopping malls); outdoor beer gardens but not indoor areas of pubs.
"Ms Sturgeon has previously stressed that not all of the changes will happen overnight, and it might not be until "the coming weeks" that some are in place."
www.bbc.co.uk/news/uk-scotland-53083995
This image was taken during the Covid-19 pandemic and phase one of moving out of lockdown in Scotland.
Jamaica Avenue, Jamaica, Queens, New York City, New York, United States
The Kurtz Store, a striking commercial building in the heart of downtown Jamaica, is a rare manifestation of the Art Deco style in the Borough of Queens. Its ornamentation is typical of that period of architecture prevalent in the 1920s and early 1930s, which looked to the future and to the machine with expectation and optimism. Its compact form, accented by modern materials and skyscraper imagery, enhances this bustling area of the city.
The building was erected in 1931 as a retail store for the furniture chain of J. Kurtz & Sons. This company had been founded in 1870 by Jacob Kurtz and had three other stores by that time, including the original one on State Street in Brooklyn. The Jamaica store was used continuously by the Kurtz firm until 1978, at which time it was sold to other retailers. The selling floors have recently been divided to accommodate several tenants but the exterior remains intact.
When the Kurtz company decided to expand its retail operations to Jamaica, the area was an important commercial center for Queens and for much of Long Island. Its central location and well-developed transportation systems had made it the hub of a wide area.
Jamaica had always been a crossroads for Long Island, dating back to the time when Jamaica Avenue was an Indian trail. The first railroad line arrived here in 1834, built by the Brooklyn & Jamaica Railroad Company. In 1850 Jamaica Avenue, then called Fulton Street, became a plank road and connected the area to the Brooklyn ferries. Horsecar lines were begun in 1866 and electrified in 1886. The Long Island Railroad station was completed in 1913 with the Jamaica Elevated trains arriving five years later.
Jamaica started as a sleepy Dutch village of assorted, freestanding structures, loosely grouped along main streets, when the town was granted a patent from Peter Stuyvesant in 1656. The English took over in 1664, changing the town's name from the Dutch "Rusdorp" to a variation on the Canarsie Indian word for beaver, "jamecos."
One hundred years later, the community had become a trading post where farmers from outlying areas brought their produce. The nineteenth century saw the development of Jamaica as a resort, attracting wealthy urban residents who wanted to escape the numerous summer plagues of the city. The permanent population of Jamaica also increased steadily in the early nineteenth century and brought with it the normal proliferation of new buildings.
The earliest recorded map of the land where the Kurtz Store is located, dated 1836, shows that it was owned by Henry Wilkes. Another map, compiled ten years later shows the Wilkes land subdivided, but neither shows any structures on this lot. On the 1873 Beers Map, a Methodist Episcopal Church is located here, but the building was no longer extant by 1895.^ From at least that date until the Kurtz company erected its building, this lot held a two-story commercial structure which, in 1929, housed eleven different tenants.
By this time Jamaica contained a thriving business district and the furniture company sought to take advantage of this. The Kurtz family requested that the architects create a building which would be thoroughly modern and arrest the eye of those passing by on the elevated train, which then ran along Jamaica Avenue.
The firm of Allmendinger & Schlendorf, which had previously renovated other stores for the Kurtz chain, was chosen to design the new furniture store. Louis Allmendinger (1876-1937) received his technical training at the Mechanics Institute in New York. He worked for various architects until 1922 when he started his own firm, specializing in industrial and commercial buildings. His work included other types of buildings however, including the Russian Orthodox Cathedral of the Transfiguration of Our Lord in Brooklyn (1916-21, a designated New York City Landmark) and its Parish House (1916).
M. Allen Schlendorf (b. 1902) graduated from Cooper Union and attended Columbia University. In 1926, he joined with Allmendinger and formed a partnership which lasted until the older man's death in 1937. Located on offices in Brooklyn, the firm was responsible for numerous institutional, industrial, and commercial designs, including the German Masonic Temple in Manhattan, the Liebman Brewery and the North American Brewery in Brooklyn, as well as the Ehler Coffee Plant in Brooklyn After Allmendinger's death, Schlendorf continued the practice under his own name, designing such projects as the Evangelical Lutheran Church and Hospital in Brooklyn, the E.B. Stimpson Co., and the East Brooklyn Savings and Loan (now Pioneer Savings and Loan).
The design for the Kurtz Store is clearly different from the other work of these designers. Mr. Schlendorf recalls that his clients requested a building that would be very "modern and colorful" and would reflect the contemporary furniture which was to be displayed there.
The Art Deco or Moderne style of this building epitomized the word "modern" for many people of the period. The straight lines, the jagged or geometrically shaped outline and decoration seemed to symbolize the immediacy of the city, with its bustling population and the prosperity which could be found there.
The term Art Deco derives from the Paris exhibition of 1925, the "Exposition des Arts Decoratifs et Industriels Modernes" but the inspiration for the style in skyscraper design came from at least two main sources: the second prize-winning design by Eliel Saarinen for the Tribune Tower competition in 1922, and the publication of Hugh Ferris's book The Metropolis of Tomorrow in 1929.
After these two events the image of the modern skyscraper became that of a "tapered, soaring ziggurat." While the compact, six-story Kurtz building in Queens can hardly be called a skyscraper, its decorative motifs in the form of tapered pylons in contrasting colors and materials, which rise on the two main facades, as well as the skyscraper-like designs originally painted on the windows pay homage to this idea.
The influence of Frank Lloyd Wright on Art Deco design was also a strong one, beginning with his use of abstract, geometric designs in the stained-glass windows of his early Prairie School houses to the patterned concrete blocks of his California houses of the 1920s.
Mr. Schlendorf recalls always having admired Wright's work and being influenced by it in the design of this building. This influence can be seen in the horizontally grouped windows and the use of ornament in clearly defined areas. In the Kurtz store this ornament takes the form of flat fields of curvilinear design and groups of horizontal bands protruding from a vertical shaft, both characteristic Art Deco motifs.
The Kurtz store contains five stories plus a mezzanine, all of which were intended to display furniture. It is constructed on a steel frame, visible both inside the windows which wrap around the corner of Jamaica Avenue and New York Boulevard and inside the large display windows which fill the two lowest floors.
Crowning the mezzanine windows are stepped horizontal bands of cast aluminum. The strong horizontal lines are pierced by verticals and by blocks containing lightning-like motifs, another important design element of this period. This lower section is set off by a broad band of black glazed tile, making it quite distinct from the light brick which faces the upper stories.
Above this base, the Jamaica Avenue facade is three bays wide while that on New York Boulevard is six bays wide. Each is symmetrically disposed, the composition alternating plain, metal - framed windows with a stepped pylon motif which rises continuously through all four stories. The Jamaica Avenue facade contains one of these pylons in the center, while the longer facade on New York Boulevard has two. They are formed by black and white glazed tiles which contrast in color and material with the rest of the facade, in a manner characteristic of Art Deco.
A narrow window is located at the center of the pylon at each floor, and this feature adds to the vertical emphasis of this motif. This verticality is arrested just above each window by a slightly protruding element covered in black tile which has short horizontal bands on each side. At the center of the New York Boulevard facade another tower-like form is outlined in black brick. Small, horizontal bands are grouped along its height, echoing the spandrel motif of the wider black and white pylons. This central tower is crowned by another group of bands, this one turned in a vertical direction and reaching up to the top of the building.
Several windows on both facades contain the remains of a design that was originally painted in silver on many of them. It takes the form of a schematic skyscraper, divided vertically, with matching halves on facing window panes. This is another manifestation of the importance of the skyscraper to the designers of this building. At the roof line of the building is a plain, flat parapet which hides the flat roof. Just below the parapet at the top of each, window bay are rectangular panels of flat, stylized designs. The gold and blue terra cotta of this ornament provides the only bit of bright color on the facades.
The Kurtz store is a distinctive commercial structure in the modern idiom, one that created a striking image for the Kurtz Company. Although it is a relatively small building, the designers chose to decorate it with the skyscraper motifs of the period, motifs which cried "modern": tall, tapering ziggurats or pylons; groupings of horizontal bands; distinct panels of flat, stylized design; contrasting colors and materials including glazed tile, terra cotta, brick and cast aluminum.
Despite the presence of strong horizontal lines, the vertical emphasis of the decoration dominates the facade, creating a building which is impressive and forceful beyond its size and still enhances the Jamaica streetscape.
- From the 1981 NYCLPC Landmark Designation Report
Welcome to 2012 and to /ˈtwɛlv/!
Expectations can sometimes subvert reality…
2012 has arrived and with it /ˈtwɛlv/, my new yearlong photographic-project. Twelve monthly mini-projects combined into a single Project; /ˈtwɛlv/.
Arising two hours before sunrise on January 1st 2012, in order to capture the sunrise of a new day, in a new month, in a new year. The plan was an image of the sun emerging from the snow covered prairies, the light bursting forth, reflecting off the crispness of the white iced earth… The reality was an overcast heaven.
Bitterly cold with a stinging wind and hopes dashed against the uncooperative weather. Daunted but not overcome, intimidated but not ruined. Trudging bravely into the undiscovered for the glory of photography.
OK, melodrama aside, it was cold but it is Winnipeg and it’s not as cold as it usually is at this time of year. The sky is overcast but clouds add to the colours of a sunrise and besides I need to get a shot for day one of my the new Project. Thermals donned, boots laced and winter jacket (rated for -35° celsius) zipped the pre-dawn was rewarded with a small department of deer crossing the frozen river chosen as the location for the shoot.
The final chosen image is of the rail tracks beckoning on towards the rising sun breaking through the clouds.
Sometimes we need to g0 beyond expectation to capture the result.
France just beat Portugal 1-0 in the semi-finals ! After watching the game at the Parc des Princes, another crazy night on the Champs-Elysées :-)
Parc des Princes, during the game.
Part of World Cup 2006
Dmitrov | Дмитров, 02-06-2010.
А. Рукавишников (скульптор) и Р. Нарский (архитектор) | Фонтан "Ожидание". Бронза, 2003.
A. Rukavishnikov (sculptor) and R. Narskiy (architector) | Fountain "Expectation". Bronze, 2003.
Dmitrov on Wikipedia (English)
Aleksander Rukavishnikov (English and Russian)
Expectation doesn’t match reality when a girl tries to do a backflipIn album Funny GIFs
- www.sinneuronas.com/cheerleader-backflips-expectation-rea...
http://www.sinneuronas.com/cheerleader-backflips-expectation-reality/
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