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This is a 360-degree panorama of the bus terminal located at the Tsim Sha Tsui Ferry Pier in Hong Kong. Located at the south-most corner of Kowloon, it is the ideal location for bus companies to plan their last stop shuttling to other parts of Hong Kong.
The KMB (Kowloon Motor Bus) company started many of its first bus routes from this terminus, as noted by the bus numbers on the station, which ranges only in single digits — as opposed to the double- or triple-digit route numbers seen in most parts of Hong Kong.
Directly adjacent to the station (center in this photo) is the Star Ferry pier, which provides passenger ferry service to Hong Kong Island.
In this panorama, I have heightened the shadow area to expose the rust and dust of the awning covering the station. I am attracted to its geometric architectural forms and years of decay. You probably would not notice them when you walk by as they are well within the shadow areas, but as a lover for deadly objectives, it was a wonderful find for me.
Stitched together with 12 captures with the 6D + 17-40 mounted on the Manfrotto 303SPH pano head.
# References
+ en.wikipedia.org/wiki/Tsim_Sha_Tsui_Ferry_Pier
+ zh.wikipedia.org/wiki/尖沙咀天星碼頭
# SML Data
+ Date: 2013-08-08T15:39:50+0800
+ Dimensions: 18417 x 4648
+ Exposure: 1/50 sec at f/16
+ Focal Length: 17 mm
+ ISO: 100
+ Flash: Did not fire
+ Camera: Canon EOS 6D
+ Lens: Canon EF 17-40 f/4L USM
+ Accessories: Canon TC-80N3, Manfrotto 303SPH pano head, Manfrotto tripod
+ Panorama FOV: 365 degree horizontal, 96 degree vertical
+ Panoramic Projection: Spherical
+ GPS: 22°17'38" N 114°10'8" E
+ Location: 香港尖沙咀天星碼頭巴士總站 Bus Terminal, Star Ferry Pier, Tsim Sha Tsui, Hong Kong
+ Workflow: Autopano Giga 3, Lightroom 5
+ Serial: SML.20130808.6D.26177-SML.20130808.6D.26189-Pano.i12.360x96
+ Series: 人流 Human Logistics, 建築 Architecture, 全景攝影 Panoramic Photography
# Media Licensing
Creative Commons (CCBY) See-ming Lee 李思明 / SML Photography / SML Universe Limited
尖沙咀天星碼頭巴士總站 Bus Terminal, Star Ferry Pier, Tsim Sha Tsui / 香港人流建築360度全景 Hong Kong Human Logistics Architecture 360-degree Panorama / SML.20130808.6D.26177-SML.20130808.6D.26189-Pano.i12.360x96.BW
/ #人流 #HumanLogistics #全景 #Pano #Panorama #SMLPano #黑白 #BW #SMLBW #CreativeCommons #CCBY #SMLPhotography #SMLUniverse #SMLProjects
/ #中國 #中国 #China #香港 #HongKong #攝影 #摄影 #photography #城市 #Urban #people #bus #traffic
I had always assumed that the best lens to do macro with a creamy bokeh like this is to use a wide angle lens. I was wrong. The best lens to use appear to be a super telephoto.
# SML Data
+ Date: 2013-02-21 14:23:01 GMT+0800
+ Dimensions: 3074 x 4611
+ Exposure: 1/500 sec at f/5.6
+ Focal Length: 280 mm
+ ISO: 250
+ Flash: Did not fire
+ Camera: Canon EOS 7D
+ Lens: Canon EF 70-200mm f/4L USM + Canon EF 1.4x Extender III
+ GPS: 22°25'14" N 114°13'40" E
+ Location: 中國香港馬鞍山恆康街1號馬鞍山運動場 中国香港马鞍山恒康街1号马鞍山运动场 Ma On Shan Sports Ground, 1 Hang Hong Road, Ma On Shan, Hong Kong, China
+ Workflow: Lightroom 4
+ Serial: SML.20130221.7D.24028
+ Series: 形 Forms, 體育 Sports
“藍色體育場座椅 Blue Stadium Seats” / 香港體育建築之形 Hong Kong Sports Architecture Forms / SML.20130221.7D.24028
/ #形 #Form #SMLForms #體育 #CCBY #SMLPhotography #SMLUniverse #SMLProjects
/ #中國 #中国 #China #香港 #HongKong #馬鞍山 #MaOnShan #建築 #建筑 #Architecture #城市 #Urban #攝影 #摄影 #photography #藍 #藍 #blue
Zoomed in, you can make out the "Lincoln-Zephyr V12" badge on the front-passenger-side grille. I'm not sure what year it was, but pasting shamefully from Wikipedia, these cars were produced from 1936 through the start of World War 2 in 1942:
• • • • •
Lincoln-Zephyr was a brand name for the lower priced line of luxury cars in the Lincoln line. Lincoln-Zephyr and Mercury bridged the wide gap between Ford's DeLuxe line and the exclusive Lincoln K-series cars. This served a purpose similar to Cadillac's smaller LaSalle "companion car".
Overview
Introduced in November 1935 as a 1936 model, the Lincoln-Zephyr was extremely modern with a low raked windscreen, integrated fenders, and streamlined aerodynamic design. It is noted for being one of the first successful streamlined cars after the tall and gawky looking Chrysler Airflow market failure. The Airflow was actually more aerodynamic than the lower wider sleeker looking Lincoln-Zephyr. The Lincoln-Zephyr was extremely successful in reigniting sales at Lincoln dealerships in the late 1930s, spawning the Continental line that would replace the aging K-series by the end of the decade. By 1941, Lincoln-Zephyr, Continental, and the Zephyr-based Custom line were the only models offered at Lincoln dealerships.
Production of all American cars halted in 1942 as the country entered World War II, with Lincoln producing the last Lincoln-Zephyr on January 31. After the war, most makers restarted production of their pre-war lines, and Lincoln was no exception. The Zephyr name, however, was no longer used after 1942, with the cars simply called Lincolns.
The idea of a smaller and more-modern luxury car to fill the gap in Lincoln's traditional lineup was revisited in the 1950 Lincoln Lido, 1977 Lincoln Versailles, 1982 Lincoln Continental, and 2000 Lincoln LS. The Zephyr name itself was resurrected for the car's spiritual successor in 2006, though this modern Zephyr was quickly renamed MKZ for 2007.
Models
The Lincoln-Zephyr was first available as a two-door or four-door sedan. A three-window coupe was added in 1937, followed by a convertible coupe and sedan in 1938, and a club coupe starting in 1940.
Annual production for any year model was not large but accounted for a large portion of the Lincoln brand's sales. In its first year, 15,000 were sold, accounting for 80% of Lincoln's total sales.
Specifications
Designed by John Tjaarda (1897–1962), who was fascinated with airplanes, with a Cd of 0.45, the body was monocoque construction and very rigid, but surprisingly light for its size. The first model had a weight of 3,350 lb (1,520 kg).
The Zephyr was powered by a small 75° V12 engine developed from Ford's Flathead V8 and unrelated to the previous Lincoln V12 engines. The side-valve engine was quite compact, especially compared to the tall L-head Lincoln 12, allowing a low hood. But its V8 roots, with enormous hot spot due to exhaust passages through the cylinder block would prove troubling, with cylinder warping, water leakage, excessive oil burning, bearing and crankshaft problems becoming common. Lincoln worked hard to solve most of these problems during the first year of production, with less than absolute success, and eventually introduced iron heads in 42, which cured the recurring problem of burnt head gaskets.
The 1936 to 1939 models were 267 in³ (4.4 L) with hydraulic lifters added in 1938. 1940 and 1941 cars used an enlarged 292 in³ (4.8 L) engine, while 1942 and early 1946 models used a 306 in³ (5.0 L), but lower compression ratio because of the iron heads. Late 1946 to 1948 Lincolns based on the Zephyr used a 292 in³ (4.8 L).
The original engine had 110 hp (82 kW) and gave the car a top speed of 90 miles per hour (140 km/h) . Suspension was by Henry Ford's beloved transverse springs front and rear, with dead axle front and torque tube rear, already seen as outdated when the car was introduced. Brakes were cable-activated for 1936 to 1938; 1939 and onwards were hydraulic. The Zephyr was the first Ford product to have an all-steel roof, except the late 1931 Model AA truck.
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Fantastic understructures of staircases which leads to a restaurant somewhere on the podium level of 海港中心 Harbour Centre in Wan Chai.
# SML Data
+ Date: 2013-02-11 15:23:21 GMT+0800
+ Dimensions: 5092 x 3394
+ Exposure: 1/160 sec at f/5.6
+ Focal Length: 121 mm
+ ISO: 1000
+ Flash: Did not fire
+ Camera: Canon EOS 7D
+ Lens: Canon EF 70-200mm f/4L USM + Canon EF 1.4x Extender III
+ GPS: 22°16'50" N 114°10'29" E
+ Altitude: 169.8 m
+ Location: 中國香港灣仔海港中心平台 中国香港湾仔海港中心平台 Podium, Harbour Centre, Wan Chai, Hong Kong, China
+ Serial: SML.20130211.7D.22756
+ Workflow: Lightroom 4
+ Series: 人流 Human Logistics, 形 Forms
“」」」” / 城市人流建築之形 Urban Human Logistics Architecture Forms / SML.20130211.7D.22756
/ #人流 #HumanLogistics #形 #Forms #SMLForms #CCBY #SMLPhotography #SMLUniverse #SMLProjects
/ #中國 #中国 #China #香港 #HongKong #灣仔 #WanChai #建築 #建筑 #城市 #Urban #樓梯 #Stairs #攝影 #摄影 #photography
Quoting the caption:
Astronaut Equipment
These objects are examples of personal equipment and tools issued to astronauts of the Mercury, Gemini, and Apollo programs. Some of the objects were used in training for missions, others during the actual missions. They include items of protective clothing (gloves, helmets, and boots), a spacesuit worn on the Moon, and examples of the types of tools astronauts used on the lunar surface. The actual tools used on the Moon were left behind.
In spite of what the caption says, all of the objects here seem to be lunar equipment used by James Irwin on Apollo 15 in July, 1971.
Posted via email to ☛ HoloChromaCinePhotoRamaScope‽: cdevers.posterous.com/enterprise-0. See the full gallery on Posterous ...
• • • • •
See more photos of this, and the Wikipedia article.
Details, quoting from Smithsonian National Air and Space Museum | Space Shuttle Enterprise:
Manufacturer:
Rockwell International Corporation
Country of Origin:
United States of America
Dimensions:
Overall: 57 ft. tall x 122 ft. long x 78 ft. wing span, 150,000 lb.
(1737.36 x 3718.57 x 2377.44cm, 68039.6kg)
Materials:
Aluminum airframe and body with some fiberglass features; payload bay doors are graphite epoxy composite; thermal tiles are simulated (polyurethane foam) except for test samples of actual tiles and thermal blankets.
The first Space Shuttle orbiter, "Enterprise," is a full-scale test vehicle used for flights in the atmosphere and tests on the ground; it is not equipped for spaceflight. Although the airframe and flight control elements are like those of the Shuttles flown in space, this vehicle has no propulsion system and only simulated thermal tiles because these features were not needed for atmospheric and ground tests. "Enterprise" was rolled out at Rockwell International's assembly facility in Palmdale, California, in 1976. In 1977, it entered service for a nine-month-long approach-and-landing test flight program. Thereafter it was used for vibration tests and fit checks at NASA centers, and it also appeared in the 1983 Paris Air Show and the 1984 World's Fair in New Orleans. In 1985, NASA transferred "Enterprise" to the Smithsonian Institution's National Air and Space Museum.
Transferred from National Aeronautics and Space Administration
• • •
Quoting from Wikipedia | Space Shuttle Enterprise:
The Space Shuttle Enterprise (NASA Orbiter Vehicle Designation: OV-101) was the first Space Shuttle orbiter. It was built for NASA as part of the Space Shuttle program to perform test flights in the atmosphere. It was constructed without engines or a functional heat shield, and was therefore not capable of spaceflight.
Originally, Enterprise had been intended to be refitted for orbital flight, which would have made it the second space shuttle to fly after Columbia. However, during the construction of Columbia, details of the final design changed, particularly with regard to the weight of the fuselage and wings. Refitting Enterprise for spaceflight would have involved dismantling the orbiter and returning the sections to subcontractors across the country. As this was an expensive proposition, it was determined to be less costly to build Challenger around a body frame (STA-099) that had been created as a test article. Similarly, Enterprise was considered for refit to replace Challenger after the latter was destroyed, but Endeavour was built from structural spares instead.
Service
Construction began on the first orbiter on June 4, 1974. Designated OV-101, it was originally planned to be named Constitution and unveiled on Constitution Day, September 17, 1976. A write-in campaign by Trekkies to President Gerald Ford asked that the orbiter be named after the Starship Enterprise, featured on the television show Star Trek. Although Ford did not mention the campaign, the president—who during World War II had served on the aircraft carrier USS Monterey (CVL-26) that served with USS Enterprise (CV-6)—said that he was "partial to the name" and overrode NASA officials.
The design of OV-101 was not the same as that planned for OV-102, the first flight model; the tail was constructed differently, and it did not have the interfaces to mount OMS pods. A large number of subsystems—ranging from main engines to radar equipment—were not installed on this vehicle, but the capacity to add them in the future was retained. Instead of a thermal protection system, its surface was primarily fiberglass.
In mid-1976, the orbiter was used for ground vibration tests, allowing engineers to compare data from an actual flight vehicle with theoretical models.
On September 17, 1976, Enterprise was rolled out of Rockwell's plant at Palmdale, California. In recognition of its fictional namesake, Star Trek creator Gene Roddenberry and most of the principal cast of the original series of Star Trek were on hand at the dedication ceremony.
Approach and landing tests (ALT)
Main article: Approach and Landing Tests
On January 31, 1977, it was taken by road to Dryden Flight Research Center at Edwards Air Force Base, to begin operational testing.
While at NASA Dryden, Enterprise was used by NASA for a variety of ground and flight tests intended to validate aspects of the shuttle program. The initial nine-month testing period was referred to by the acronym ALT, for "Approach and Landing Test". These tests included a maiden "flight" on February 18, 1977 atop a Boeing 747 Shuttle Carrier Aircraft (SCA) to measure structural loads and ground handling and braking characteristics of the mated system. Ground tests of all orbiter subsystems were carried out to verify functionality prior to atmospheric flight.
The mated Enterprise/SCA combination was then subjected to five test flights with Enterprise unmanned and unactivated. The purpose of these test flights was to measure the flight characteristics of the mated combination. These tests were followed with three test flights with Enterprise manned to test the shuttle flight control systems.
Enterprise underwent five free flights where the craft separated from the SCA and was landed under astronaut control. These tests verified the flight characteristics of the orbiter design and were carried out under several aerodynamic and weight configurations. On the fifth and final glider flight, pilot-induced oscillation problems were revealed, which had to be addressed before the first orbital launch occurred.
On August 12, 1977, the space shuttle Enterprise flew on its own for the first time.
Preparation for STS-1
Following the ALT program, Enterprise was ferried among several NASA facilities to configure the craft for vibration testing. In June 1979, it was mated with an external tank and solid rocket boosters (known as a boilerplate configuration) and tested in a launch configuration at Kennedy Space Center Launch Pad 39A.
Retirement
With the completion of critical testing, Enterprise was partially disassembled to allow certain components to be reused in other shuttles, then underwent an international tour visiting France, Germany, Italy, the United Kingdom, Canada, and the U.S. states of California, Alabama, and Louisiana (during the 1984 Louisiana World Exposition). It was also used to fit-check the never-used shuttle launch pad at Vandenberg AFB, California. Finally, on November 18, 1985, Enterprise was ferried to Washington, D.C., where it became property of the Smithsonian Institution.
Post-Challenger
After the Challenger disaster, NASA considered using Enterprise as a replacement. However refitting the shuttle with all of the necessary equipment needed for it to be used in space was considered, but instead it was decided to use spares constructed at the same time as Discovery and Atlantis to build Endeavour.
Post-Columbia
In 2003, after the breakup of Columbia during re-entry, the Columbia Accident Investigation Board conducted tests at Southwest Research Institute, which used an air gun to shoot foam blocks of similar size, mass and speed to that which struck Columbia at a test structure which mechanically replicated the orbiter wing leading edge. They removed a fiberglass panel from Enterprise's wing to perform analysis of the material and attached it to the test structure, then shot a foam block at it. While the panel was not broken as a result of the test, the impact was enough to permanently deform a seal. As the reinforced carbon-carbon (RCC) panel on Columbia was 2.5 times weaker, this suggested that the RCC leading edge would have been shattered. Additional tests on the fiberglass were canceled in order not to risk damaging the test apparatus, and a panel from Discovery was tested to determine the effects of the foam on a similarly-aged RCC leading edge. On July 7, 2003, a foam impact test created a hole 41 cm by 42.5 cm (16.1 inches by 16.7 inches) in the protective RCC panel. The tests clearly demonstrated that a foam impact of the type Columbia sustained could seriously breach the protective RCC panels on the wing leading edge.
The board determined that the probable cause of the accident was that the foam impact caused a breach of a reinforced carbon-carbon panel along the leading edge of Columbia's left wing, allowing hot gases generated during re-entry to enter the wing and cause structural collapse. This caused Columbia to spin out of control, breaking up with the loss of the entire crew.
Museum exhibit
Enterprise was stored at the Smithsonian's hangar at Washington Dulles International Airport before it was restored and moved to the newly built Smithsonian's National Air and Space Museum's Steven F. Udvar-Hazy Center at Dulles International Airport, where it has been the centerpiece of the space collection. On April 12, 2011, NASA announced that Space Shuttle Discovery, the most traveled orbiter in the fleet, will be added to the collection once the Shuttle fleet is retired. When that happens, Enterprise will be moved to the Intrepid Sea-Air-Space Museum in New York City, to a newly constructed hangar adjacent to the museum. In preparation for the anticipated relocation, engineers evaluated the vehicle in early 2010 and determined that it was safe to fly on the Shuttle Carrier Aircraft once again.
Test Card 8.5x11 for a black & white photocopy machine / 1998 / SML Graphic Design
Assignment
Art 366a Visual Studies
Fall Semester 1998
T-TH 1:30-3:20, 215 Park Street
Paul Elliman, Instructor
paul.elliman [at] yale.edu
1. Testcard
(Week 1-2) Devise a testcard, 8.5x11, for a black & white photocopy machine
The card is basically a set of questions or exercises - point, type specimen, line, pattern, half-tone, grey-scale spectrum, moire - designed to test the machine's effectiveness or value.
The testcard should explore not only the effective (proper?) function of the photocopier, but also any other qualities (Test the limits of its language/your language)
Investigate both the history and teh working mechanics of thsi machine, then (week 3-4) extend the scope of the testcard to include this kind of informaion.
Process (42 pages)
+ 2: Research: The Atlantic Monthly: 2006-02: pp.64: Copies in Seconds by David Owen
+ 3: Research: The Atlantic Monthly: 2006-02: pp.65: Copies in Seconds by David Owen
+ 4: Research: The Atlantic Monthly: 2006-02: pp.66: Copies in Seconds by David Owen
+ 5: Research: The Atlantic Monthly: 2006-02: pp.67: Copies in Seconds by David Owen
+ 6: Research: The Atlantic Monthly: 2006-02: pp.68: Copies in Seconds by David Owen
+ 7: Research: The Atlantic Monthly: 2006-02: pp.69: Copies in Seconds by David Owen
+ 8: Research: The Atlantic Monthly: 2006-02: pp.70: Copies in Seconds by David Owen
+ 9: Research: The Atlantic Monthly: 2006-02: pp.71: Copies in Seconds by David Owen
+ 10: Research: The Atlantic Monthly: 2006-02: pp.72: Copies in Seconds by David Owen
+ 11: Research: The Atlantic Monthly: 2006-02: pp.73: Copies in Seconds by David Owen
+ 12: Research: Anatomy of a Xerox test card
+ 13: Research: Anatomy of a Xerox test card
+ 18: Xerox: Historial Highlights: 1
+ 19: Xerox: Historial Highlights: 2
+ 20: Xerox: Historial Highlights: 3
+ 21: Xerox: Historial Highlights: 4
+ 22: Xerox: Historial Highlights: 5
+ 23: Xerox: Historial Highlights: 6
+ 24: Xerox: Historial Highlights: 7
+ 25: Xerox: Historial Highlights: 8
+ 28: Research: Basic Copier Operation: 1
+ 29: Research: Basic Copier Operation: 2
+ 30: Design: The working of a xerox machine: 1
+ 31: Design: The working of a xerox machine: 2
+ 34: Research: Basic Copier Model: 1
+ 35: Research: Basic Copier Model: 2
+ 36: Design: Anatomy of a Basic Copier
+ 37: Design: The Basic Copy Process
+ 38: Design: Anatomy of a basic copier
+ 39: Design: Anatomy of a basic copier
+ 40: Design: The Basic Copy Process
+ 41: Design: The Basic Copy Process
+ 42: Design: The Basic Copy Process
SML Copyright Notice
Copyright 1998 See-ming Lee / SML Flickr / SML Universe. All rights reserved.
Quoting from the official pamphlet:
FAST LIGHT • May 7 + 8, 2011, 7 pm - 10 pm
Contemporary pioneers in art, science, and technology have come together at MIT to create one of the most exhilarating and inventive spectacles metro Boston has ever seen. On May 7 and 8, 2011, visitors can interact with 20+ art and architectural installations illuminating the campus and the Charles River along Memorial Drive at MIT.
Installations scattered around campus (we didn't quite see all of them), again pasting from the official flyer:
• aFloat
MIT Chapel • Saturday, May 7th ONLY
Inspired by water in the Saarinen Chapel's moat, a touch releases flickers of light before serenity returns as a calm ripple.
By Otto Ng, Ben Regnier, Dena Molnar, and Arseni Zaitsev.
• Inflatables
Lobby 7, Infinite Corridor
A dodecahedron sculpture made of silver nylon resonates with gusts of air, heat from light bulbs, and the motions of passersby.
By Kyle Barker, Juan Jofre, Nick Polansky, Jorge Amaya.
• (now(now(now)))
Building 7, 4th Floor
This installation nests layers of the past into an image of the present, recursively intertwining slices of time.
By Eric Rosenbaum and Charles DeTar.
• Dis(Course)4
Building 3 Stair, Infinite Corridor
A stairwell transformed by a shummering aluminum conduit inspired by the discourse between floors and academic disciplines.
By Craig Boney, Jams Coleman and Andrew Manto.
• Maxwell's Dream
Building 10 Community Lounge, Infinite Corridor
An interactive mural created by magnetic fields that drive patterns of light, Maxwell's Dream is a visually expressive cybernetic loop.
By Kaustuv De Biswas and Daniel Rosenberg.
• Mood Meter
Student Center & Building 8, Infinite Corridor
Is the smile a barometer of happiness? Mood Meter playfully assesses and displays the mood of the MIT community onsite and at moodmeter.media.mit.edu
By Javier Hernandez and Ehsan Hoque.
• SOFT Rockers
Killian Court
Repose and charge your electronic devices using green solar powered technology
By Shiela Kennedy, P. Seaton, S. Rockcastle, W. Inam, A. Aolij, J. Nam, K. Bogenshutz, J. Bayless, M. Trimble.
• LightBridge
The Mass. Ave Bridge
A dynamic interactive LED array responds to pedestrians on the bridge, illustrating MIT's ties to both sides of the river. Thanks to Philips ColorKinetics, CISCO, SparkFun Electronics.
By Sysanne Seitinger.
• Sky Event
Killian Court, Saturday, May 7th ONLY
Immense inflatable stars soar over MIT in celebration of the distinctive symbiosis among artists, scientists and engineers.
By Otto Piene.
• Liquid Archive
Charles River
A floating inflatable screen provides a backdrop for projections that highlight MIT's history in science, technology, and art.
By Nader Tehrani and Gediminas Urbonas.
• Light Drift
Charles River
Ninety brightly glowing orbs in the river change color as they react to the presence of people along the shore.
By Meejin Yoon.
• Unflat Pavilion
Building 14 Lawn
This freestanding pavilion illuminated with LEDs flexes two dimensions into three. Flat sheets are bent and unfurl into skylights, columns, and windows.
By Nick Gelpi
• Gradated Field
Walker Memorial Lawn
A field of enticing mounts create a landscape that encourages passersby to meander through, or lounge upon the smooth plaster shapes.
By Kyle Coburn, Karina Silvester and Yihyun Lim.
• Bibliodoptera
Building 14, Hayden Library Corridor
Newly emerged from the chrysalis of MIT's diverse library pages, a cloud of butterflies flutters above, reacting to the movement of passersby.
By Elena Jessop and Peter Torpey.
• Wind Screen
Green Building Facade, Bldg 54
A shimmering curtain of light created by micro-turbines displays a visual register of the replenishable source of wind energy.
By Meejin Yoon.
• String Tunnel
Building 18 Bridge
A diaphonous tunnel creates a sense of entry to and from the Infinite Corridor and frames the surrounding landscape.
By Yuna Kim, Kelly Shaw, and Travis Williams.
• voltaDom
Building 56-66 Connector
A vaulted passageway utilizes an innovative fabrication technique that creates complex double curved vaults through the simple rolling of a sheet of material.
By Skylar Tibbits.
• Night of Numbers
Building 66 Facade & E15 Walkway
A lighting installation enlivens MIT architectre with numbers that hold special or historical significance to the Institute. Can you decode them all?
By Praveen Subramani and Anna Kotova.
• Overliner
Building E-25 Stairwell
Taking cues from a stairwell's spiraling geometry, Overliner transforms a familiar and busy passageway into a moment of surprise and repose.
By Joel Lamere and Cynthia Gunadi.
• Chroma District
Corner of Ames and Main Streets.
Lanterns react to visitors by passing sound and color from one to another, increasing in intensity along the way and illuminating the path to MIT's campus.
By Eyal Shahar, Akito van Troyer, and Seung Jin Ham.
The owner of this car posted a comment describing it thus (with added links to photos of what's being described):
Hey Guys, thanks for noticing my car! 1958 MK1 3.4 Auto. I did add spoked wheels as the pressed steel rims were warped and not safe. I could not find originals and I like the spoked better. The cut away spats are in fact original to the 3.4 model, the earlier 2.4 had the full spats. I am sure the MK2 spats do not fit this car. I have the chrome for the front and rear windscreens but I think the prior owner put the wrong rubber seals so at present cannot be installed. The doors/windows are completely original and not the same as the MK2. Thank you again, she has had much suspension and breaking work and is cruising around with ease.
Pasting then from Wikipedia: Jaguar Mark 1:
• • • • •
• Production
1955–1959
37,397 produced[1]
• Predecessor
• Successor
4-speed manual
4-speed manual + overdrive
3-speed automatic
107.5 in (2731 mm)[2]
• Length
181 in (4597 mm)[2]
• Width
66.75 in (1695 mm)[2]
• Height
57.25 in (1454 mm)[2]
The Jaguar Mark 1 was a saloon car produced by Jaguar between 1955 and 1959. Referred to in contemporary company documentation as the Jaguar 2.4-litre and Jaguar 3.4-litre, the word "Saloon" was often added. The designation "Mark 1" was included retroactively upon its replacement by the Mark 2. The 2.4-litre was the company's first small saloon since the demise of its 1½ Litre cars in 1949, and was an immediate success, easily outselling the larger Jaguar saloons.
Contents
• 3 Racing
History
In 1951 Jaguar relocated to their Browns Lane plant which provided not merely sufficient production capacity for their existing range, but enabled them to move into the middle weight executive sedan sector,[3] then occupied in the UK by cars such as the stately Humbers, the bulbous Standard Vanguard and the heavy Rover P4. Jaguar's new 2.4 and 3.4 introduced a modern style and a new level of performance to this respectable company.
Although having a family resemblance to the larger Mark VII, the Mark I differed in many ways. Most importantly, it was the first Jaguar with unitary construction of body and chassis. The car's independent front suspension featured double wishbones, coil springs, and an anti-roll bar. The front suspension subframe was mounted on the body by rubber mounts. The live rear axle was positively located by quarter elliptic leaf springs, trailing arms and a Panhard rod in a manner reminiscent of the Jaguar D-type, being a significant improvement over the other saloons and XK sports cars. The rear wheel track was some 4.5 in (114 mm) narrower than the front track and looked peculiar from behind, a feature that was blamed (probably incorrectly) for excessive understeer[1] at low speed. It was reported to be better balanced at higher speeds.
The interior was of similar design to the contemporary Jaguar saloons and sports cars, with most of the dials and switches being located on the central dashboard between the driver and passenger. This arrangement reduced the differences between LHD and RHD versions.
Although its profile was very different from that of previous Jaguars, the side window surrounds and opening rear 'no draught ventilator' (quarterlight) windows are reminiscent of Jaguar Mark IV saloons.
At launch the car had 11.125 in (283 mm) drum brakes but from the end of 1957 got the innovative (at the time) option of disc brakes on all four wheels.
Initially, the Mark 1 was offered with a 2.4 litre short-stroke version of the XK120's twin-cam six-cylinder engine, rated at 112 bhp gross, but from 1957 the larger and heavier 3.4 litre 210 bhp unit already used in the Jaguar Mark VIII also became available, largely in response to pressure from US Jaguar dealers. Wire wheels became available. The 3.4 had a larger front grille, a stronger rear axle, and rear wheel covers (spats) were cut away to accommodate the wire wheels' spinners. In Autumn 1957 a three speed Borg-Warner automatic transmission became available with either engine. From 1957 the 2.4 also got the larger grille. The car was available in Standard or Special Equipment versions with the former lacking rev counter, heater (available as an option), windscreen washers, fog lights and cigarette lighter. Both versions did however have leather upholstery and polished walnut trim. 19,992 of the 2.4 and 17,405 of the 3.4 litre versions were made.[1]
Performance
A 2.4-litre saloon with overdrive was tested by the British magazine The Motor in 1956. It was found to have a top speed of 101.5 mph (163.3 km/h) and could accelerate from 0-60 mph (97 km/h) in 14.4 seconds. A fuel consumption of 18.25 miles per imperial gallon (15.48 L/100 km; 15.20 mpg-US) was recorded. The test car cost £1532 including taxes. [2]
They went on to test a 3.4-litre automatic saloon in 1957. This car had a top speed of 119.8 mph (192.8 km/h), acceleration from 0-60 mph (97 km/h) in 11.2 seconds and a fuel consumption of 21.1 miles per imperial gallon (13.4 L/100 km; 17.6 mpg-US) was recorded. The test car cost £1864 including taxes of £622. [4]
A manual overdrive version of the 3.4-litre was tested by The Autocar in June 1958. Its 0-60 mph (97 km/h) time was 9.1 seconds, and 0-100 mph (160 km/h) in 26 seconds, little more than 1 second behind the contemporary XK150 with the same engine. [5]
Racing
Mark I 3.4-litre saloons competed successfully in many rallies, touring car, and saloon car races, notable drivers including Stirling Moss, Mike Hawthorn, Tommy Sopwith, and Roy Salvadori.[6]
References
• ^ a b c Robson, Graham (2006). A-Z British Cars 1945-1980. Devon, UK: Herridge & Sons. ISBN 0-9541063-9-3.
• ^ a b c d e "The Jaguar 2.4 litre". The Motor. July 25, 1956.
• ^ "The Lyons share - interview with WL". Motor: pages 18–21. date 19 February 1972.
• ^ "The Jaguar 3.4-litre". The Motor. April 10, 1957.
• ^ Skilleter, Paul & Whyte, Andrew: Jaguar Saloon Cars. Haynes (1980), ISBN 0-85429-263-2, page 234
• ^ Skilleter, Paul & Whyte, Andrew: Jaguar Saloon Cars. Haynes (1980), ISBN 0-85429-263-2
Other sources
Schrader, Halwart: Typenkompass Jaguar – Personenwagen seit 1931, Motorbuch-Verlag, Stuttgart (2001), ISBN 3-613-02106-4
Stertkamp, Heiner: Jaguar – die komplette Chronik von 1922 bis heute, 2. Auflage, Heel-Verlag, (2006) ISBN 3-89880-337-6
Skilleter, Paul & Whyte, Andrew: Jaguar Saloon Cars. Haynes (1980), ISBN 0-85429-263-2
External links
• Volunteer maintained online registry where users can register and upload pictures.
The Hung Hom Station (紅磡站), formerly known as Kowloon Station (九龍車站), is an MTR station on the East Rail Line and West Rail Line in Hong Kong. It is located next to the Cross Harbour Tunnel in Yau Tsim Mong District, Kowloon. It is one of the three Hong Kong ports-of-entry on the MTR network which connect directly to mainland China.
This 360-degree panorama was shot handheld with the 6D + 17-40 f/4L. It is handheld, so parallax error is unavoidable. I do not generally do location scouting for my photography, but with a proof-of-concept capture in hand I will definitely go back with my tripod — when I get my pano head. Any day now—seems it is a must buy item in my arsenal now that I started doing so many panoramic shots.
22 captures stitched using Autopano Giga 3, processed in Lightroom 4.
# References
+ en.wikipedia.org/wiki/Hung_Hom_Station
# SML Data
+ Date: 2013-05-27T19:01:24+0800
+ Dimensions: 18669 x 4155
+ Exposure: 1/40 sec at f/8.0
+ Focal Length: 17 mm
+ ISO: 2500
+ Flash: Did not fire
+ Camera: Canon EOS 6D
+ Lens: Canon EF 17-40 f/4L USM
+ Panorama FOV: 360 degree horizontal, 97 degree vertical
+ Panoramic Projection: Spherical
+ GPS: 22°18'8" N 114°10'54" E
+ Location: 香港紅磡火車站 Hung Hom MTR Station, Hong Kong
+ Workflow: Autopano Giga 3.0, Lightroom 4
+ Serial: SML.20130527.6D.15067-SML.20130527.6D.15088-Pano.i22.360x97
+ Series: 人流 Human Logistics, 建築 Architecture, 全景攝影 Panoramic Photography
# Media Licensing
Creative Commons (CCBY) See-ming Lee 李思明 / SML Photography / SML Universe Limited
紅磡火車站 Hung Hom MTR Station / 香港人流建築全景 Hong Kong Human Logistics Architecture Panorama / SML.20130527.6D.15067-SML.20130527.6D.15088-Pano.i22.360x97
/ #人流 #HumanLogistics #建築 #建筑 #Architecture #全景 #Pano #Panorama #SMLPano #CreativeCommons #CCBY #SMLPhotography #SMLUniverse #SMLProjects
/ #中國 #中国 #China #香港 #HongKong #攝影 #摄影 #photography #城市 #Urban #people #metro #MTR #station
There’s a lot of running in soccer. I don’t really play sports—not that I don’t want to but maybe no one would play with me because I am not very “athletic” so to speak.
What I liked was the pair of running between two teams in the foreground together with the pair of two teams in the background.
# SML Data
+ Date: 2013-04-28T19:44:15+0800
+ Dimensions: 5414 x 3046
+ Exposure: 1/250 sec at f/5.0
+ Focal Length: 210 mm
+ ISO: 6400
+ Flash: Did not fire
+ Camera: Canon EOS 6D
+ Lens: Canon EF 100-400mm f/4.5-5.6L IS USM
+ GPS: 22°25'15" N 114°13'41" E
+ Location: 中國香港馬鞍山恆康街1號馬鞍山運動場 中国香港马鞍山恒康街1号马鞍山运动场 Ma On Shan Sports Ground, 1 Hang Hong Road, Ma On Shan, Hong Kong, China
+ Workflow: Lightroom 4
+ Serial: SML.20130428.6D.03394.C169
+ Series: 體育 Sports, 男 Men, Photojournalism
“一起跑 Running together” / Sunday League: Hong Kong Falcon vs Paulista / 香港足球 Hong Kong Football (Soccer) / SML.20130428.6D.03394.C169
/ #Photojournalism #體育 #体育 #Sports #男 #Men #SMLMen #CreativeCommons #CCBY #SMLPhotography #SMLUniverse #SMLProjects
/ #中國 #中国 #China #香港 #HongKong #攝影 #摄影 #photography #足球 #Football #HongKongFalcon #跑 #Run #people
The Arboretum has an interactive map on their web site. This map is found at the Arborway Gate.
Pasting from Wikipedia: Arnold Arboretum:
• • • • •
The Arnold Arboretum of Harvard University is an arboretum located in the Jamaica Plain and Roslindale sections of Boston, Massachusetts. It was designed by Frederick Law Olmsted and is the second largest "link" in the Emerald Necklace.
History
The Arboretum was founded in 1872 when the President and Fellows of Harvard College became trustees of a portion of the estate of James Arnold (1781–1868).
In 1842, Benjamin Bussey (1757–1842), a prosperous Boston merchant and scientific farmer, donated his country estate Woodland Hill and a part of his fortune to Harvard University "for instruction in agriculture, horticulture, and related subjects". Bussey had inherited land from fellow patriot Eleazer Weld in 1800 and further enlarged his large estate between 1806 and 1837 by acquiring and consolidating various farms that had been established as early as the seventeenth century. Harvard used this land for the creation of the Bussey Institute, which was dedicated to agricultural experimentation. The first Bussey Institute building was completed in 1871 and served as headquarters for an undergraduate school of agriculture.
Sixteen years after Bussey's death, James Arnold, a New Bedford, Massachusetts whaling merchant, specified that a portion of his estate was to be used for "...the promotion of Agricultural, or Horticultural improvements". In 1872, when the trustees of the will of James Arnold transferred his estate to Harvard University, Arnold’s gift was combined with 120 acres (0.49 km2) of the former Bussey estate to create the Arnold Arboretum. In the deed of trust between the Arnold trustees and the College, income from Arnold’s legacy was to be used for establishing, developing and maintaining an arboretum to be known as the Arnold Arboretum which "shall contain, as far as practicable, all the trees [and] shrubs ... either indigenous or exotic, which can be raised in the open air of West Roxbury". The historical mission of the Arnold Arboretum is to increase knowledge of woody plants through research and to disseminate this knowledge through education.
Charles Sprague Sargent was appointed director and Arnold Professor of Botany shortly after the establishment of the institution in 1872.[2] Together with landscape architect Frederick Law Olmsted he developed the road and pathway system and delineated the collection areas by family and genus, following the then current and widely accepted classification system of Bentham and Hooker. The Hunnewell building was designed by architect Alexander Wadsworth Longfellow, Jr. in 1892 and constructed with funds donated by H. H. Hunnewell in 1903. From 1946 to 1950 the landscape architect Beatrix Farrand was the landscape design consultant for the Arboretum. Her early training in the 1890s included time with Charles Sprague Sargent and chief propagator and superintendent Jackson Thornton Johnson.[3] Today the Arboretum occupies 265 acres (107 hectares) of land divided between four parcels, viz. the main Arboretum and the Peters Hill, Weld-Walter and South Street tracts. The collections, however, are located primarily in the main Arboretum and on the Peters Hill tract. The Arboretum remains one of the finest examples of a landscape designed by Frederick Law Olmsted and it is a Frederick Law Olmsted National Historic Site) and a National Historic Landmark.
Robert E. Cook is the seventh and current Director of the Arnold Arboretum. He is also the Director of the Harvard University Herbaria located in Cambridge, Massachusetts.
Status
The Arboretum is privately endowed as a department of Harvard University. The land, however, was deeded to the City of Boston in 1882 and incorporated into the so-called "Emerald Necklace". Under the agreement with the City, Harvard University was given a thousand-year lease on the property, and the University, as trustee, is directly responsible for the development, maintenance, and operation of the Arboretum; the City retains responsibility for water fountains, benches, roads, boundaries, and policing. The annual operating budget of $7,350,644 (fiscal year 2003) is largely derived from endowment, which is also managed by the University, and all Arboretum staff are University employees. Other income is obtained through granting agencies and contributors.
Location
The main Arborway gate is located on Route 203 a few hundred yards south of its junction with the Jamaicaway. Public transportation to the Arboretum is available on the MBTA Orange Line to its terminus at Forest Hills Station and by bus (#39) to the Monument in Jamaica Plain. The Arboretum is within easy walking distance from either of these points.
Hours
The grounds are open free of charge to the public from sunrise to sunset 365 days of the year. The Visitor's Center in the Hunnewell Building, 125 Arborway, is open Monday through Friday 9 a.m.–4 p.m.; Saturdays 10 a.m.–4 p.m.; Sundays 12 p.m.–4 PM. The Visitor’s Center is closed on holidays. The Library, located in the Hunnewell Building, is open Monday through Saturday, 10 a.m.–4 p.m.. The Library is closed on Sundays and holidays. Stacks are closed and the collection does not circulate.
Area
Two hundred and sixty-five acres (107 hectares) in the Jamaica Plain and Roslindale sections of Boston, Massachusetts, located at 42°19′N 71°5′W / 42.317°N 71.083°W / 42.317; -71.083, with altitudes ranging from 46 feet (15 m) in the meadow across the drive from the Hunnewell Building to 240 feet (79 m) at the top of Peters Hill.
Climate
Average yearly rainfall is 43.63 inches (1,102 mm); average snowfall, 40.2 inches (102 centimeters). Monthly mean temperature is 51.5 °F (10.8 °C); July's mean temperature is 73.5 °F (23 °C); January's is 29.6 °F (-1.3 °C). The Arboretum is located in USDA hardiness zone 6 (0 to −10 °F, −18 to −23 °C).
Collections (as of September 14, 2007)
At present, the living collections include 15,441 individual plants (including nursery holdings) belonging to 10,216 accessions representing 4,099 taxa; with particular emphasis on the ligneous species of North America and eastern Asia. Historic collections include the plant introductions from eastern Asia made by Charles Sprague Sargent, Ernest Henry Wilson, William Purdom, Joseph Hers, and Joseph Rock. Recent introductions from Asia have resulted from the 1977 Arnold Arboretum Expedition to Japan and Korea, the 1980 Sino-American Botanical Expedition to western Hubei Province, and more recent expeditions to China and Taiwan.
Comprehensive collections are maintained and augmented for most genera, and genera that have received particular emphasis include: Acer, Fagus, Carya, Forsythia, Taxodium, Pinus, Metasequoia, Lonicera, Magnolia, Malus, Quercus, Rhododendron, Syringa, Paulownia, Albizia, Ilex, Gleditsia and Tsuga. Other comprehensive collections include the Bradley Collection of Rosaceous Plants, the collection of conifers and dwarf conifers, and the Larz Anderson Bonsai Collection. Approximately 500 accessions are processed annually.
Collections policy
The mission of the Arnold Arboretum is to increase our knowledge of the evolution and biology of woody plants. Historically, this research has investigated the global distribution and evolutionary history of trees, shrubs and vines, with particular emphasis on the disjunct species of East Asia and North America. Today this work continues through molecular studies of the evolution and biogeography of the floras of temperate Asia, North America and Europe.
Research activities include molecular studies of gene evolution, investigations of plant-water relations, and the monitoring of plant phenology, vegetation succession, nutrient cycling and other factors that inform studies of environmental change. Applied work in horticulture uses the collections for studies in plant propagation, plant introduction, and environmental management. This diversity of scientific investigation is founded in a continuing commitment to acquire, grow, and document the recognized species and infraspecific taxa of ligneous plants of the Northern Hemisphere that are able to withstand the climate of the Arboretum’s 265-acre (1.07 km2) Jamaica Plain/Roslindale site.
As a primary resource for research in plant biology, the Arboretum’s living collections are actively developed, curated, and managed to support scientific investigation and study. To this end, acquisition policies place priority on obtaining plants that are genetically representative of documented wild populations. For each taxon, the Arnold Arboretum aspires to grow multiple accessions of known wild provenance in order to represent significant variation that may occur across the geographic range of the species. Accessions of garden or cultivated provenance are also acquired as governed by the collections policies herein.
For all specimens, full documentation of both provenance and history within the collection is a critical priority. Curatorial procedures provide for complete and accurate records for each accession, and document original provenance, locations in the collections, and changes in botanical identity. Herbarium specimens, DNA materials, and digital images are gathered for the collection and maintained in Arboretum data systems and the herbarium at the Roslindale site.
Research
Research on plant pathology and integrated pest management for maintenance of the living collections is constantly ongoing. Herbarium-based research focuses on the systematics and biodiversity of both temperate and tropical Asian forests, as well as the ecology and potential for sustainable use of their resources. The Arboretum's education programs offer school groups and the general public a wide range of lectures, courses, and walks focusing on the ecology and cultivation of plants. Its quarterly magazine, Arnoldia, provides in-depth information on horticulture, botany, and garden history. Current Research Initiatives
Plant Records
Plant records are maintained on a computerized database, BG-BASE 6.8 (BG-Base Inc.), which was initiated in 1985 at the request of the Arnold Arboretum and the Threatened Plants Unit (TPU) of the World Conservation Monitoring Centre (WCMC). A computerized mapping program (based on AutoCAD (Autodesk)) is linked to BG-BASE, and each accession is recorded on a series of maps at a scale of 1-inch (25 mm) to 20 feet (1:240) or 1-inch (25 mm) to 10 feet (1:120). A computer-driven embosser generates records labels. All accessioned plants in the collections are labeled with accession number, botanical name, and cultivar name (when appropriate), source information, common name, and map location. Trunk and/or display labels are also hung on many accessions and include botanical and common names and nativity. Stake labels are used to identify plants located in the Leventritt Garden and Chinese Path.
Grounds Maintenance
The grounds staff consists of the superintendent and assistant superintendent, three arborists, and ten horticultural technologists. A service garage is adjacent to the Hunnewell Building, where offices and locker rooms are located. During the summer months ten horticultural interns supplement the grounds staff. A wide array of vehicles and modern equipment, including an aerial lift truck and a John Deere backhoe and front loader, are used in grounds maintenance. Permanent grounds staff, excluding the superintendents, are members of AFL/CIO Local 615, Service Employees International Union (SEIU).
Nursery and Greenhouse Facilities
The Dana Greenhouses, located at 1050 Centre Street (with a mailing address of 125 Arborway), were completed in 1962. They comprise four service greenhouses totaling 3,744 square feet (348 m²), the headhouse with offices, cold rooms, storage areas, and a classroom. Staffing at the greenhouse includes the manager of greenhouses and nurseries, the plant propagator, two assistants, and, during the summer months, two horticultural interns. Adjacent to the greenhouse is a shade house of 3,150 square feet (293 m²), a 12,600 cubic foot (357 m³) cold storage facility, and three irrigated, inground nurseries totaling approximately one and one-half acres (6,000 m²). Also located in the greenhouse complex is the bonsai pavilion, where the Larz Anderson Bonsai Collection is displayed from the middle of April to the end of October. During the winter months the bonsai are held in the cold storage unit at temperatures slightly above freezing.
Isabella Welles Hunnewell Internship Program
The living collections department of the Arnold Arboretum offers a paid summer internship program [2] that combines hands-on training in horticulture with educational courses. Intern trainees will be accepted for 12- to 24-week appointments. Ten interns will work with the grounds maintenance department and two in the Dana Greenhouses.
As part of the training program, interns participate in mandatory instructional sessions and field trips in order to develop a broader sense of the Arboretum’s horticultural practices as well as those of other institutions. Sessions and field trips are led by Arnold staff members and embrace an open question and answer format encouraging all to participate. Interns often bring experience and knowledge that everyone, including staff, benefits from. It is a competitive-free learning environment.
Horticultural Apprenticeship
The Arboretum created the horticultural apprenticeship program in 1997 to provide hands-on experience in all aspects of the development, curation, and maintenance of the Arboretum's living collections to individuals interested in pursuing a career in an arboretum or botanical garden.
The Living Collections department of the Arnold Arboretum offers a summer internship program[4] that combines practical hands-on training in horticulture with educational courses. Fourteen Interns/Horticultural Trainees are accepted for twelve to twenty-four week appointments. Interns receive the majority of their training in one of three departments: Grounds Maintenance, Nursery and Greenhouse, or Plant Records.
Lilac Sunday
The second Sunday in May every year is "Lilac Sunday". This is the only day of the year that picnicing is allowed. In 2008, on the 100th anniversary of Lilac Sunday, the Arboretum website touted:
Of the thousands of flowering plants in the Arboretum, only one, the lilac, is singled out each year for a daylong celebration. On Lilac Sunday, garden enthusiasts from all over New England gather at the Arboretum to picnic, watch Morris dancing, and tour the lilac collection. On the day of the event, which takes place rain or shine, the Arboretum is open as usual from dawn to dusk.[5]
Associated Collections
The Arboretum's herbarium in Jamaica Plain holds specimens of cultivated plants that relate to the living collections (ca. 160,000). The Jamaica Plain herbarium, horticultural library, archives, and photographs are maintained in the Hunnewell building at 125 Arborway; however, the main portions of the herbarium and library collections are housed in Cambridge on the campus of Harvard University, at 22 Divinity Avenue.
Publications
The inventory of living collections is updated periodically and made available to sister botanical gardens and arboreta on request; it is also available on the Arboretum’s website (searchable inventory). Arnoldia, the quarterly magazine of the Arnold Arboretum, frequently publishes articles relating to the living collections. A Reunion of Trees[6] by Stephen A. Spongberg (curator emeritus) recounts the history of the introduction of many of the exotic species included in the Arobretum’s collections. New England Natives[7] written by horticultural research archivist Sheila Connor describes many of the trees and shrubs of the New England flora and the ways New Englanders have used them since prehistoric times. Science in the Pleasure Ground[8] by Ida Hay (former curatorial associate) constitutes an institutional biography of the Arboretum.
Institutional Collaborations
The Arboretum maintains an institutional membership in the American Public Garden Association (APGA) and the International Association of Botanical Gardens and Arboreta. Additionally, members of the staff are associated with many national and international botanical and horticultural organizations. The Arboretum is also a cooperating institution with the Center for Plant Conservation (CPC), and as an active member of the North American Plant Collections Consortium (NAPCC), it is committed to broadening and maintaining its holdings of: Acer, Carya, Fagus, Stewartia, Syringa, and Tsuga for the purposes of plant conservation, evaluation, and research. The Arboretum is also a member of the North American China Plant Exploration Consortium (NACPEC).
See also
Larz Anderson Bonsai Collection, donated by businessman and ambassador Larz Anderson
The Case Estates of the Arnold Arboretum
List of botanical gardens in the United States
North American Plant Collections Consortium
External links
Arnold Arboretum Official Website
Arnold Arboretum Visitor Information
American Public Gardens Association (APGA)
Virtual Information Access (VIA) Catalog of visual resources at Harvard University.
Garden and Forest A Journal of Horticulture, Landscape Art, and Forestry (1888–1897)
I missed passing the 10 million views mark yesterday as I was about half way through the 2nd Advanced Photographer / Nikon 24hr Photo challenge. I've had a bit of a lie in this morning Some photos of that to come soon but for now I just wanted to thank everyone that continues to visit my photostream and provide inspiration in the form of comments and favourites.
When I posted my 9 million post (only five weeks ago......) I did say this one would be the last. I'll save the next one for 15 million.
My Website : Twtter : Facebook
This Saab may just be the greatest creation of all time.
The first time I saw it, I managed to get a couple of photos, which have gone on to be among the most popular ones on my Flickr account -- and rightfully so.
Today, I saw it again in Harvard Square, and managed to stop for a better look. To see more detail -- and really, how can you not want to see the detail on this thing -- the Flickr "Toy Car" set has sharper photos from the better camera.
Fittingly, the driver was wearing a Dr Seuss "Cat in the Hat" hat.
I mean, of course she was, right? Right.
* * * * *
UPDATE 30 Mar 2010: The hunt is on! Teresa Hanafin at Boston.com's RAW Blog today ran Who drives this funny car?, in which a Globe reader from Andover is asking for info about the owner of the car, noting that it has been several times in Boston's northwest suburbs (Burlington, Arlington, Andover, Cambridge, etc). According to some commenters, the owner may live (or work?) in Belmont, as it seems like it's seen there pretty often.
I don't want to infringe on the driver's privacy too much, unless she wants to "out" herself as the owner of this fine machine, so I'll simply add the handful of clues that I have:
• Both times I've seen the car, a woman was driving it.
• When I saw it in Harvard Square in January, she was wearing a Dr Seuss hat.
• When I saw it near the Museum of Science in July 2008, there was a couple of kids in the back seat, one with curly (red?) hair.
• She's way ahead of you on the "EYESORE" jokes :-)
* * * * *
UPDATE 31 Mar 2010: The Boston.com blog post ferreted out the info within hours:
Jenny wrote to let us know that a correspondent for one of the Globe's regional editions wrote about the car, identifying the owner, about a year and a half ago.
I'm interrupting my Thailand uploads to say after ten years on #flickr I've now reached 30,000,000 views.......
Thanks then both to the people that have helped me reach this but also to #flickr itself. It's fair to say I've put a bit of effort in over the years but I've been rewarded with plenty of exposure for my #photography (no pun intended.......) and have got to know so many wonderful photographers all over the world, not least in our little corner of flickr, the #Oxford Flickr group.
Over the past couple of years my daily views count has more than halved but whilst there's still so many talented people posting photos to flickr I'm sure it'll continue to be a big part of my photographic life.
My Website : Twitter : Facebook : Instagram : Photocrowd
© D.Godliman
I went to PolyU to see a drama performance last week, and just like my sources at the university has mentioned, the bamboo scaffolding on the Innovation Tower is completely gone, and now you can see the organic forms of this magnificent architecture soaring to the sky.
As I last wrote [1], Zaha Hadid is one of my all-time favorite architects, and this will be her first permanent fixture in Hong Kong. Truly it is incredible.
I was just passing by, and it was super late at night, but here you see why usable high ISO matters. This was shot with the 6D + 17-40. It was shot handheld with 3 exposures. Without a tripod it is not really technically ideal to try at HDR but thanks to the modern marvels of technology, the features are aligned nicely.
Trust that I will go back during the daytime when I have a chance.
# Notes
1. “Bamboo Scaffolding Unveiling: Innovation Tower by Zaha Hadid” / 香港理工大學建築之形 Hong Kong Polytechnic University Architecture Forms / Crazyisgood / SML.20130425.6D.03058: www.flickr.com/photos/seeminglee/8683120814/
# SML Data
+ Date: 2013-07-30T21:44:40+0800
+ Dimensions: 3376 x 5107
+ Exposure: 1/13 sec - 1/30 sec at f/4.0
+ Focal Length: 17 mm
+ ISO: 500 - 12800
+ Flash: Did not fire
+ Camera: Canon EOS 6D
+ Lens: Canon EF 17-40 f/4L USM
+ GPS: 22°18'20" N 114°10'49" E
+ Location: 香港理工大學 Hong Kong Polytechnic University, Hung Hom, Hong Kong
+ Workflow: Lightroom 5, Photomatix Pro 4.2.5
+ Serial: SML.20130730.6D.24784_5_6.HDR.BW
+ Series: 建築 Architecture, 形 Forms
# Media Licensing
Creative Commons (CCBY) See-ming Lee 李思明 / SML Photography / SML Universe Limited
Zaha Hadid: Innovation Tower / 香港理工大學建築之形 Hong Kong Polytechnic University Architecture Forms / Crazyisgood / SML.20130730.6D.24784_5_6.HDR.BW
/ #建築 #建筑 Architecture #形 #Forms #SMLForms #BW #SMLBW #HDR #SMLHDR #CreativeCommons #CCBY #SMLPhotography #SMLUniverse #SMLProjects #Crazyisgood
/ #中國 #中国 #China #香港 #HongKong #理工大學 #PolyU #攝影 #摄影 #photography #ZahaHadid
How do you capture the wind which is invisible? By long exposure, naturally.
This is an aerial view of the Ma On Shan Promenade. You should recognise it by now by the oh-so-lovely blue jogging trail. Everything is at a stand still, but by using the ND filter and expose for eight full seconds under bright day light, all of a sudden you noticed the invisible wind because the trees wiggle to a blur, and in turn reveal the very defined architectural patterns on the floor.
A baby stroller walked by on the pavement within this capture, but you do not see it, because it has only registered very few pixels.
ND is useful in more ways then I imagined. Sweet.
# SML Data
+ Date: 2013-05-19T15:07:25+0800
+ Dimensions: 3488 x 3488
+ Exposure: 8.0 sec at f/25
+ Focal Length: 140 mm
+ ISO: 100
+ Flash: Did not fire
+ Camera: Canon EOS 6D
+ Lens: Canon EF 70-200 f/4L USM
+ Accessories: Canon TC-80N3 Timer Remote Release, Manfrotto tripod, H&Y ND2-ND400
+ GPS: 22°25'11" N 114°13'24" E
+ Location: SML Universe HKG
+ Subject: 香港馬鞍山海濱長廊 Ma On Shan Promenade, Hong Kong
+ Serial: SML.20130519.6D.06945.SQ
+ Workflow: Lightroom 4
+ Series: 寧 Serenity, 自然 Nature, 形 Forms, Long Exposure 長時間曝光
# Media Licensing
Creative Commons (CCBY) See-ming Lee 李思明 / SML Photography / SML Universe Limited
“静物微風中 Still life amidst the breeze” / 香港馬鞍山海濱長廊之寧 Hong Kong Ma On Shan Promenade Serenity (8-sec ND LE) / ML.20130519.6D.06945.SQ
/ #寧 #Serenity #SMLSerenity #自然 #Nature #形 #Forms #SMLForms #CreativeCommons #CCBY #SMLPhotography #SMLUniverse #SMLProjects
/ #中國 #中国 #China #香港 #HongKong #攝影 #摄影 #photography #山水 #Landscape #LongExposure #LE #ND #風 #Wind
Thank you for Your Visit, Have a Nice Day is a performance piece by Agata Olek (Facebook / Flickr / Portfolio) created for Art in Odd Places:SIGN, an annual festival exploring the odd, ordinary and ingenious in the spectacle of daily life.
Curated by Erin Donnelly and Radhika Subramaniam
Director of AIOP: Ed Woodham
Artist Statement
"Inspired by a uniformed attendant holding the sign Hold the Handrail in a Taipei metro station, I've created this moving installation/performance piece. In wearable sculptures of multicolored crocheted camouflage, my performers appear in various sites on 14th Street, displaying photographs of signs I've collected from different countries that are in emphatic, ironic or amused dialogue with their location."
See also video by Technology Artist filmed on the same day at www.youtube.com/watch?v=KfjXrKQVwPU
More information about the festival
Press
+ Timeout New York: Fall Preview 2009
+ Timeout New York: Own this City
Related SML Univese
+ SML Fine Art (Flickr Group) (FriendFeed / Twitter)
The Larz Anderson Bonsai Collection (Wikipedia).
Something about the mist & the hexagonal room made this remind me of the Bespin cloud city stuff from Star Wars: The Empire Strikes Back.
Except with more topiary.
• • • • •
The Arboretum has an interactive map on their web site. This map is found at the Arborway Gate.
Pasting from Wikipedia: Arnold Arboretum:
• • • • •
The Arnold Arboretum of Harvard University is an arboretum located in the Jamaica Plain and Roslindale sections of Boston, Massachusetts. It was designed by Frederick Law Olmsted and is the second largest "link" in the Emerald Necklace.
History
The Arboretum was founded in 1872 when the President and Fellows of Harvard College became trustees of a portion of the estate of James Arnold (1781–1868).
In 1842, Benjamin Bussey (1757–1842), a prosperous Boston merchant and scientific farmer, donated his country estate Woodland Hill and a part of his fortune to Harvard University "for instruction in agriculture, horticulture, and related subjects". Bussey had inherited land from fellow patriot Eleazer Weld in 1800 and further enlarged his large estate between 1806 and 1837 by acquiring and consolidating various farms that had been established as early as the seventeenth century. Harvard used this land for the creation of the Bussey Institute, which was dedicated to agricultural experimentation. The first Bussey Institute building was completed in 1871 and served as headquarters for an undergraduate school of agriculture.
Sixteen years after Bussey's death, James Arnold, a New Bedford, Massachusetts whaling merchant, specified that a portion of his estate was to be used for "...the promotion of Agricultural, or Horticultural improvements". In 1872, when the trustees of the will of James Arnold transferred his estate to Harvard University, Arnold’s gift was combined with 120 acres (0.49 km2) of the former Bussey estate to create the Arnold Arboretum. In the deed of trust between the Arnold trustees and the College, income from Arnold’s legacy was to be used for establishing, developing and maintaining an arboretum to be known as the Arnold Arboretum which "shall contain, as far as practicable, all the trees [and] shrubs ... either indigenous or exotic, which can be raised in the open air of West Roxbury". The historical mission of the Arnold Arboretum is to increase knowledge of woody plants through research and to disseminate this knowledge through education.
Charles Sprague Sargent was appointed director and Arnold Professor of Botany shortly after the establishment of the institution in 1872.[2] Together with landscape architect Frederick Law Olmsted he developed the road and pathway system and delineated the collection areas by family and genus, following the then current and widely accepted classification system of Bentham and Hooker. The Hunnewell building was designed by architect Alexander Wadsworth Longfellow, Jr. in 1892 and constructed with funds donated by H. H. Hunnewell in 1903. From 1946 to 1950 the landscape architect Beatrix Farrand was the landscape design consultant for the Arboretum. Her early training in the 1890s included time with Charles Sprague Sargent and chief propagator and superintendent Jackson Thornton Johnson.[3] Today the Arboretum occupies 265 acres (107 hectares) of land divided between four parcels, viz. the main Arboretum and the Peters Hill, Weld-Walter and South Street tracts. The collections, however, are located primarily in the main Arboretum and on the Peters Hill tract. The Arboretum remains one of the finest examples of a landscape designed by Frederick Law Olmsted and it is a Frederick Law Olmsted National Historic Site) and a National Historic Landmark.
Robert E. Cook is the seventh and current Director of the Arnold Arboretum. He is also the Director of the Harvard University Herbaria located in Cambridge, Massachusetts.
Status
The Arboretum is privately endowed as a department of Harvard University. The land, however, was deeded to the City of Boston in 1882 and incorporated into the so-called "Emerald Necklace". Under the agreement with the City, Harvard University was given a thousand-year lease on the property, and the University, as trustee, is directly responsible for the development, maintenance, and operation of the Arboretum; the City retains responsibility for water fountains, benches, roads, boundaries, and policing. The annual operating budget of $7,350,644 (fiscal year 2003) is largely derived from endowment, which is also managed by the University, and all Arboretum staff are University employees. Other income is obtained through granting agencies and contributors.
Location
The main Arborway gate is located on Route 203 a few hundred yards south of its junction with the Jamaicaway. Public transportation to the Arboretum is available on the MBTA Orange Line to its terminus at Forest Hills Station and by bus (#39) to the Monument in Jamaica Plain. The Arboretum is within easy walking distance from either of these points.
Hours
The grounds are open free of charge to the public from sunrise to sunset 365 days of the year. The Visitor's Center in the Hunnewell Building, 125 Arborway, is open Monday through Friday 9 a.m.–4 p.m.; Saturdays 10 a.m.–4 p.m.; Sundays 12 p.m.–4 PM. The Visitor’s Center is closed on holidays. The Library, located in the Hunnewell Building, is open Monday through Saturday, 10 a.m.–4 p.m.. The Library is closed on Sundays and holidays. Stacks are closed and the collection does not circulate.
Area
Two hundred and sixty-five acres (107 hectares) in the Jamaica Plain and Roslindale sections of Boston, Massachusetts, located at 42°19′N 71°5′W / 42.317°N 71.083°W / 42.317; -71.083, with altitudes ranging from 46 feet (15 m) in the meadow across the drive from the Hunnewell Building to 240 feet (79 m) at the top of Peters Hill.
Climate
Average yearly rainfall is 43.63 inches (1,102 mm); average snowfall, 40.2 inches (102 centimeters). Monthly mean temperature is 51.5 °F (10.8 °C); July's mean temperature is 73.5 °F (23 °C); January's is 29.6 °F (-1.3 °C). The Arboretum is located in USDA hardiness zone 6 (0 to −10 °F, −18 to −23 °C).
Collections (as of September 14, 2007)
At present, the living collections include 15,441 individual plants (including nursery holdings) belonging to 10,216 accessions representing 4,099 taxa; with particular emphasis on the ligneous species of North America and eastern Asia. Historic collections include the plant introductions from eastern Asia made by Charles Sprague Sargent, Ernest Henry Wilson, William Purdom, Joseph Hers, and Joseph Rock. Recent introductions from Asia have resulted from the 1977 Arnold Arboretum Expedition to Japan and Korea, the 1980 Sino-American Botanical Expedition to western Hubei Province, and more recent expeditions to China and Taiwan.
Comprehensive collections are maintained and augmented for most genera, and genera that have received particular emphasis include: Acer, Fagus, Carya, Forsythia, Taxodium, Pinus, Metasequoia, Lonicera, Magnolia, Malus, Quercus, Rhododendron, Syringa, Paulownia, Albizia, Ilex, Gleditsia and Tsuga. Other comprehensive collections include the Bradley Collection of Rosaceous Plants, the collection of conifers and dwarf conifers, and the Larz Anderson Bonsai Collection. Approximately 500 accessions are processed annually.
Collections policy
The mission of the Arnold Arboretum is to increase our knowledge of the evolution and biology of woody plants. Historically, this research has investigated the global distribution and evolutionary history of trees, shrubs and vines, with particular emphasis on the disjunct species of East Asia and North America. Today this work continues through molecular studies of the evolution and biogeography of the floras of temperate Asia, North America and Europe.
Research activities include molecular studies of gene evolution, investigations of plant-water relations, and the monitoring of plant phenology, vegetation succession, nutrient cycling and other factors that inform studies of environmental change. Applied work in horticulture uses the collections for studies in plant propagation, plant introduction, and environmental management. This diversity of scientific investigation is founded in a continuing commitment to acquire, grow, and document the recognized species and infraspecific taxa of ligneous plants of the Northern Hemisphere that are able to withstand the climate of the Arboretum’s 265-acre (1.07 km2) Jamaica Plain/Roslindale site.
As a primary resource for research in plant biology, the Arboretum’s living collections are actively developed, curated, and managed to support scientific investigation and study. To this end, acquisition policies place priority on obtaining plants that are genetically representative of documented wild populations. For each taxon, the Arnold Arboretum aspires to grow multiple accessions of known wild provenance in order to represent significant variation that may occur across the geographic range of the species. Accessions of garden or cultivated provenance are also acquired as governed by the collections policies herein.
For all specimens, full documentation of both provenance and history within the collection is a critical priority. Curatorial procedures provide for complete and accurate records for each accession, and document original provenance, locations in the collections, and changes in botanical identity. Herbarium specimens, DNA materials, and digital images are gathered for the collection and maintained in Arboretum data systems and the herbarium at the Roslindale site.
Research
Research on plant pathology and integrated pest management for maintenance of the living collections is constantly ongoing. Herbarium-based research focuses on the systematics and biodiversity of both temperate and tropical Asian forests, as well as the ecology and potential for sustainable use of their resources. The Arboretum's education programs offer school groups and the general public a wide range of lectures, courses, and walks focusing on the ecology and cultivation of plants. Its quarterly magazine, Arnoldia, provides in-depth information on horticulture, botany, and garden history. Current Research Initiatives
Plant Records
Plant records are maintained on a computerized database, BG-BASE 6.8 (BG-Base Inc.), which was initiated in 1985 at the request of the Arnold Arboretum and the Threatened Plants Unit (TPU) of the World Conservation Monitoring Centre (WCMC). A computerized mapping program (based on AutoCAD (Autodesk)) is linked to BG-BASE, and each accession is recorded on a series of maps at a scale of 1-inch (25 mm) to 20 feet (1:240) or 1-inch (25 mm) to 10 feet (1:120). A computer-driven embosser generates records labels. All accessioned plants in the collections are labeled with accession number, botanical name, and cultivar name (when appropriate), source information, common name, and map location. Trunk and/or display labels are also hung on many accessions and include botanical and common names and nativity. Stake labels are used to identify plants located in the Leventritt Garden and Chinese Path.
Grounds Maintenance
The grounds staff consists of the superintendent and assistant superintendent, three arborists, and ten horticultural technologists. A service garage is adjacent to the Hunnewell Building, where offices and locker rooms are located. During the summer months ten horticultural interns supplement the grounds staff. A wide array of vehicles and modern equipment, including an aerial lift truck and a John Deere backhoe and front loader, are used in grounds maintenance. Permanent grounds staff, excluding the superintendents, are members of AFL/CIO Local 615, Service Employees International Union (SEIU).
Nursery and Greenhouse Facilities
The Dana Greenhouses, located at 1050 Centre Street (with a mailing address of 125 Arborway), were completed in 1962. They comprise four service greenhouses totaling 3,744 square feet (348 m²), the headhouse with offices, cold rooms, storage areas, and a classroom. Staffing at the greenhouse includes the manager of greenhouses and nurseries, the plant propagator, two assistants, and, during the summer months, two horticultural interns. Adjacent to the greenhouse is a shade house of 3,150 square feet (293 m²), a 12,600 cubic foot (357 m³) cold storage facility, and three irrigated, inground nurseries totaling approximately one and one-half acres (6,000 m²). Also located in the greenhouse complex is the bonsai pavilion, where the Larz Anderson Bonsai Collection is displayed from the middle of April to the end of October. During the winter months the bonsai are held in the cold storage unit at temperatures slightly above freezing.
Isabella Welles Hunnewell Internship Program
The living collections department of the Arnold Arboretum offers a paid summer internship program [2] that combines hands-on training in horticulture with educational courses. Intern trainees will be accepted for 12- to 24-week appointments. Ten interns will work with the grounds maintenance department and two in the Dana Greenhouses.
As part of the training program, interns participate in mandatory instructional sessions and field trips in order to develop a broader sense of the Arboretum’s horticultural practices as well as those of other institutions. Sessions and field trips are led by Arnold staff members and embrace an open question and answer format encouraging all to participate. Interns often bring experience and knowledge that everyone, including staff, benefits from. It is a competitive-free learning environment.
Horticultural Apprenticeship
The Arboretum created the horticultural apprenticeship program in 1997 to provide hands-on experience in all aspects of the development, curation, and maintenance of the Arboretum's living collections to individuals interested in pursuing a career in an arboretum or botanical garden.
The Living Collections department of the Arnold Arboretum offers a summer internship program[4] that combines practical hands-on training in horticulture with educational courses. Fourteen Interns/Horticultural Trainees are accepted for twelve to twenty-four week appointments. Interns receive the majority of their training in one of three departments: Grounds Maintenance, Nursery and Greenhouse, or Plant Records.
Lilac Sunday
The second Sunday in May every year is "Lilac Sunday". This is the only day of the year that picnicing is allowed. In 2008, on the 100th anniversary of Lilac Sunday, the Arboretum website touted:
Of the thousands of flowering plants in the Arboretum, only one, the lilac, is singled out each year for a daylong celebration. On Lilac Sunday, garden enthusiasts from all over New England gather at the Arboretum to picnic, watch Morris dancing, and tour the lilac collection. On the day of the event, which takes place rain or shine, the Arboretum is open as usual from dawn to dusk.[5]
Associated Collections
The Arboretum's herbarium in Jamaica Plain holds specimens of cultivated plants that relate to the living collections (ca. 160,000). The Jamaica Plain herbarium, horticultural library, archives, and photographs are maintained in the Hunnewell building at 125 Arborway; however, the main portions of the herbarium and library collections are housed in Cambridge on the campus of Harvard University, at 22 Divinity Avenue.
Publications
The inventory of living collections is updated periodically and made available to sister botanical gardens and arboreta on request; it is also available on the Arboretum’s website (searchable inventory). Arnoldia, the quarterly magazine of the Arnold Arboretum, frequently publishes articles relating to the living collections. A Reunion of Trees[6] by Stephen A. Spongberg (curator emeritus) recounts the history of the introduction of many of the exotic species included in the Arobretum’s collections. New England Natives[7] written by horticultural research archivist Sheila Connor describes many of the trees and shrubs of the New England flora and the ways New Englanders have used them since prehistoric times. Science in the Pleasure Ground[8] by Ida Hay (former curatorial associate) constitutes an institutional biography of the Arboretum.
Institutional Collaborations
The Arboretum maintains an institutional membership in the American Public Garden Association (APGA) and the International Association of Botanical Gardens and Arboreta. Additionally, members of the staff are associated with many national and international botanical and horticultural organizations. The Arboretum is also a cooperating institution with the Center for Plant Conservation (CPC), and as an active member of the North American Plant Collections Consortium (NAPCC), it is committed to broadening and maintaining its holdings of: Acer, Carya, Fagus, Stewartia, Syringa, and Tsuga for the purposes of plant conservation, evaluation, and research. The Arboretum is also a member of the North American China Plant Exploration Consortium (NACPEC).
See also
Larz Anderson Bonsai Collection, donated by businessman and ambassador Larz Anderson
The Case Estates of the Arnold Arboretum
List of botanical gardens in the United States
North American Plant Collections Consortium
External links
Arnold Arboretum Official Website
Arnold Arboretum Visitor Information
American Public Gardens Association (APGA)
Virtual Information Access (VIA) Catalog of visual resources at Harvard University.
Garden and Forest A Journal of Horticulture, Landscape Art, and Forestry (1888–1897)
The semi-reflective marble facade of this financial architecture in Hong Kong reminds me of the forms and color palette often used by George Braque, a French painter and sculptor who, along with Pablo Picasso, developed the art style known as Cubism.
# SML Data
+ Date: 2013-02-11 12:36:32 GMT+0800
+ Dimensions: 3172 x 4758
+ Exposure: 1/200 sec at f/5.6
+ Focal Length: 113 mm
+ ISO: 200
+ Flash: Did not fire
+ Camera: Canon EOS 7D
+ Lens: Canon EF 70-200mm f/4L USM + Canon EF 1.4x Extender III
+ GPS: 22°16'45" N 114°10'25" E
+ Location: 中國香港灣仔告士打道108號大新金融中心 中国香港湾仔告士打道108号大新金融中心 Dah Sing Financial Centre, 108 Gloucester Road, Wanchai, Hong Kong, China
+ Serial: SML.20130211.7D.22563.P1.L1
+ Workflow: Photoshop CS6, Lightroom 4
+ Series: 形 Forms, 抽象 Abstracts
“À la Braque” / 香港金融建築之形 Hong Kong Financial Architecture Forms / SML.20130211.7D.22563.P1.L1
/ #形 #Forms #SMLForms #抽象 #Abstract #SMLAbstracts #CCBY #SMLPhotography #SMLUniverse #SMLProjects
/ #中國 #中国 #China #香港 #HongKong #灣仔 #Wanchai #建築 #建筑 #Architecture #金融 #Finance #城市 #Urban #攝影 #摄影 #photography #Braque
My first Flickr photo!
The Lewis Chessmen (British Museum, Wikipedia, Flickr).
Or, perhaps, not chess pieces after all.
Pasting from the British Museum page:
[[[
Probably made in Norway, about AD 1150-1200
Found on the Isle of Lewis, Outer Hebrides, Scotland
The chess pieces consist of elaborately worked walrus ivory and whales' teeth in the forms of seated kings and queens, mitred bishops, knights on their mounts, standing warders and pawns in the shape of obelisks.
They were found in the vicinity of Uig on the Isle of Lewis in mysterious circumstances. Various stories have evolved to explain why they were concealed there, and how they were discovered. All that is certain is that they were found some time before 11 April 1831, when they were exhibited at the Society of Antiquaries at Scotland. The precise findspot seems to have been a sand dune where they may have been placed in a small, drystone chamber.
Who owned the chess pieces? Why were they hidden? While there are no firm answers to these questions, it is possible that they belonged to a merchant travelling from Norway to Ireland. This seems likely since there are constituent pieces - though with some elements missing - for four distinct sets. Their general condition is excellent and they do not seem to have been used much, if at all.
By the end of the eleventh century, chess was a very popular game among the aristocracy throughout Europe. The Lewis chess pieces form the largest single surviving group of objects from the period that were made purely for recreational purposes.
A board large enough to hold all the pieces arranged for a game played to modern rules would have measured 82 cm across. Records state that when found, some of the Lewis chessmen were stained red. Consequently the chessboard may have been red and white, as opposed to the modern convention of black and white.
Of the 93 pieces known to us today, 11 pieces are in Edinburgh at the National Museum of Scotland, and 82 are in the British Museum.
]]]
Pasting from the Wikipedia page:
[[[
The Lewis Chessmen (or Uig Chessmen, named after their find-site) are a group of 78 chess pieces from the 12th century most of which are carved in walrus ivory, discovered in 1831 on the Isle of Lewis in the Outer Hebrides, Scotland. They may constitute some of the few complete medieval chess sets that have survived until today, although it is not clear if any full set as originally made can be made up from the varied pieces. They are currently owned and exhibited by the British Museum in London, which has 67 of them and the Royal Museum in Edinburgh, which has the rest. There has been recent controversy about the most appropriate place for the main display of the pieces.
History and description
The chessmen were probably made in Norway, perhaps by craftsmen in Trondheim (where similar pieces have been found), sometime during the 12th century, although scholars have suggested other sources in the Scandinavian world. During that period the Outer Hebrides, along with other major groups of Scottish islands, were ruled by Norway. Some historians believe that the Lewis chessmen were hidden (or lost) after some mishap occurred during their transportation from Norway to wealthy Norse settlements on the east coast of Ireland. The large number of pieces and their lack of signs of wear may suggest they were the stock of a trader or dealer in such pieces. Along with the chess pieces, there were found 14 plain round tablemen for the game of tables and one belt buckle, all made of ivory, making a total of 93 artifacts.
Almost all of the pieces in the collection are carved from walrus ivory, with a few made instead from whale teeth. The 78 pieces consist of 8 kings, 8 queens, 16 bishops, 15 knights, 12 rooks, and 19 pawns. Although there are 19 pawns (a complete set requires 16), they have the greatest range of sizes of all the pieces, which has suggested that the 78 pieces might belong to at least 5 different sets. All the pieces are sculptures of human figures, except the pawns which are smaller, geometric shapes. The knights are shown holding spears and shields, mounted on rather diminutive horses. The rooks depict standing soldiers or warders holding a shield and sword, four of which are shown as wild-eyed berserkers biting their shields with battle fury. Some pieces bore traces of red stain when found, indicating that red and white were used to distinguish the two sides, rather than the black and white used in modern chess.
To the modern eye, the figural pieces, with their bulging eyes and glum expressions, have a distinct comical character. This is especially true of the single rook with a worried, sideways glance (front left of first image below) and the beserkers biting their shields which have been called "irresistibly comic to a modern audience." It is believed, however, that the comic or sad expressions were not intended or perceived as such by the makers to whom these images instead displayed strength, ferocity or, in the case of the queens who hold their heads with a hand, "contemplation, repose and possibly wisdom."
Modern discovery
The chessmen were discovered in early 1831 in a sand bank at the head of the Bay of Uig on the west coast of the Isle of Lewis, in the Outer Hebrides of Scotland. There are various local stories concerning their arrival on Lewis and modern discovery.
Malcolm "Sprot" Macleod from the nearby township of Pennydonald discovered the trove in a small stone kist in a dune, exhibited them briefly in his byre and sold them on to Captain Roderick Ryrie. One reported detail, that it was a cow that actually unearthed the stash, is generally discounted in Uig as fabrication. Malcolm Macleod's family were evicted from Pennydonald several years later when the area was cleared to make the farm at Ardroil.
Exhibition and ownership
They were exhibited by Ryrie at a meeting of the Society of Antiquaries of Scotland, on April 11, 1831. The chessmen were soon after split up, with 10 being purchased by Kirkpatrick Sharpe and the others (67 chessmen and 14 tablemen) were purchased on behalf of the British Museum in London.
Kirkpatrick Sharpe later found another bishop to take his collection up to eleven, all of which were later sold to Lord Londesborough. In 1888 they were again sold, but this time the purchaser was the Society of Antiquaries of Scotland, who donated the pieces to the Royal Museum in Edinburgh. The eleven are now on display in the Museum of Scotland.
The pieces given to the British Museum are still located there, and most can be found in Room 42 with the registration numbers M&ME 1831, 11–1.78–159. Others have been lent to Scottish museums and temporary exhibitions. A range of resin or plastic replicas are popular items in the Museum shops.
The chessmen were number 5 in the list of British archaeological finds selected by experts at the British Museum for the 2003 BBC Television documentary Our Top Ten Treasures presented by Adam Hart-Davis.
Controversy
In 2007-2008 a dispute arose regarding the most appropriate place to display the pieces. The issue first arose late in 2007 with calls from Scottish National Party politicians in the Western Isles (notably Cllr Annie Macdonald, MSP Alasdair Allan and MP Angus MacNeil) for the return of the pieces to the place they were found. Linda Fabiani the Scottish Minister for Europe, External Affairs and Culture stated that "it is unacceptable that only 11 Lewis Chessmen rest at the National Museum of Scotland while the other 82 remain in the British Museum in London". Richard Oram, Professor of Medieval and Environmental History at the University of Stirling, agreed arguing that there was no reason for there to be more than "a sample" of the collection in London. Both points of view have been dismissed by Margaret Hodge the UK Minister of State in the Department for Culture, Media and Sport, writing "It's a lot of nonsense, isn't it?" The local historical society in Uig, Comann Eachdraidh Uig, which operates a registered museum near the find site featuring detailed information about the chessmen and Norse occupation in Lewis, has indicated publicly that it has no intention of pursuing any claim to the ownership of the pieces and does not support demands for them to be sent to Edinburgh, but would welcome short-term loans.
]]]
EL Wire Dress by Diana Eng
Aqua silk chiffon organically draped dress edge with electroluminescent wire controlled by an accelerometer. Circuit boards are housed in 3-D printed neck piece.
SML Pro Blog: Diana Eng's Fairytale Fashion Collection Debut at Eyebeam NYC
+++
Fairytale Fashion Show
2010-02-24
7pm - 9pm
Eyebeam
Diana Eng presented the Fairytale Fashion Collection in a technology fashion show on Wed., February 24, 7PM, at Eyebeam. Models hit the runway while an orchestra of circuit bending DJ’s create music from hacked video game consoles.
The Fairytale Fashion Collection uses technology to create magical clothing in real life. Electronics, mechanical engineering, and mathematics are used to create clothing with blooming flowers, changing colors and transforming shapes. Research and development for the Fairytale Fashion collection are shared online at FairytaleFashion.org as an educational tool that teaches about science, math, and technology through fashion. Fairytale Fashion was created with the support of Eyebeam Art and Technology Center, the leading not-for-profit art and technology center in the United States.
Diana Eng is a fashion designer who specializes in technology, math, and science. Her designs range from inflatable clothing to fashions inspired by mechanical engineering. She is a designer from Bravo’s Emmy nominated TV show, Project Runway season 2 and author of Fashion Geek: Clothes, Accessories, Tech. Diana is cofounder of NYC Resistor hacker group. Diana is currently a resident artist at Eyebeam.
Nanette Lepore came to IconNicholson because she needed to reach out to a younger audience. Her new line was coming out and was going to be premiered at the Bloomingdale’s flagship store in New York.
The solution was Social Retailing, which was first unveiled at National Retail Federation’s (NRF) BIG show in 2007.
An interactive mirror provides on the spot feedback and ambient aura animation while beaming the customers’ in-store experience across the Web via live video feed. Friends on the Web can send messages and clothing suggestion to the customers. Customers can also try on outfits virtually using the mirror that shows how fab they might look – or not.
Awards & Recognitions
+ Time Magazine’s Invention of the Year
+ Patent-Pending
+ BBC, CBC, CNet, CNN, International Herald Tribune, New York Times, Red Herring, Reuters, USA Today, Washington Post and Yahoo! press coverage
SML Roles
+ Concept
+ Interaction Design
+ Aura Design
I can't decide if I love this house or if I hate it. Pasting from the real estate listing:
[start-quote]
Techbuilt model home by architect Carl Koch defines mid-century modernism. One of 12 homes featured on the Lexington Historical Society modernism tour. Versatile design w/ option for expansion/change. Upstairs family room was 2 additional bedrooms and can easily be restored back. Set high on a knoll, 3/4 acre wooded/private lot in area of more expensive homes. Deep 1 car garage w/ loft has heater. Neighborhood pool, Estabrook school, Lexpress @ driveway.
[end-quote]
I like the design, but it looks like it would be hard to make any changes without ruining the character of it. I like the setting (no lawn to mow!) but I don't like that it's about 100 meters from a major Interstate highway. I like that it's cheaper than other houses in the neighborhood, but that isn't saying much (and, bleh, suburbs).
Pasting from the Wikipedia entry on Carl Koch:
[start-quote]
Carl Koch ( May 11, 1912- 03 July 3, 1998) was a noted American architect. He was most associated with the design of prefabricated homes and development of the Techcrete building system.
Education
He was born Albert Carl Koch in Milwaukee, Wisconsin. He was educated at Harvard College and received his Master of Architecture degree from the Harvard University Graduate School of Design. He completed his studies in 1937. The time he spent at Harvard overlapped with arrival of Walter Gropius, founder of the Bauhaus in Germany.[1]
Career
After completing his education, he moved to Sweden where he worked for Sven Markelius for six months.[2] There he blended what he had learned in his formal education with clean Scandinavian design. These influences were evident in his work, especially the Techbuilt homes.
Work
Koch believed that the American lifestyle would be best served by a housing system which could be easily assembled, disassembled and reconfigured. This passion led him to pioneer prefabrication technologies. His Techbuilt series of homes was designed to be built with prefabricated panels for the walls, floor and roof. [3]
Buildings
His prime legacy is the Techbuilt system of home construction. In the Techbuilt house, the master bedroom is upstairs while the other bedrooms, kitchen and living space are all on the first floor. [4]
Projects
• Snake Hill, Massachusetts group of eight houses (1942) [5]
• Acorn House (1948)
• Staff housing for the US Embassy, Belgrade (1956)
• The Techcrete Academy Homes (1962)
• Eliot House, Mount Holyoke College (1962)
Legacy
Carl Koch is known for his successful early designs for prefabricated housing. He created the Techbuilt System of home construction. Progressive Architecture magazine gave him the unofficial title "The Grandfather of Prefab" in 1994. [6] In total, over 3,000 Techbuilt homes were sold. [7] He outlined his thoughts and experiences on prefabrication in a book which he wrote with Andy Lewis entitled At Home With Tomorrow (NYC: Rinehart Rinehart and Company, Inc., 1958.)[8]
Awards
• First Award American Institute of Architects (1954)
References
1. ^ "Carl Koch". National Trust for Historic Preservation. http://www.preservationnation.org/travel-and-sites/sites/northeast-region/new-canaan-ct/architects/carl-koch.html. Retrieved 15 November 2009.
2. ^ McCallum, Ian (1959), Architecture U. S. A., New York: Reinhold Pub. Corp., pp. 170–174, http://hdl.handle.net/2027/mdp.39015009424741
3. ^ Ford, Katherine (1955), Designs for living; 175 examples of quality home interiors., New York: Reinhold Pub. Corp., pp. 22–23, http://hdl.handle.net/2027/mdp.39015006327749
4. ^ Ford, Katherine (1955), Designs for living; 175 examples of quality home interiors., New York: Reinhold Pub. Corp., pp. 22–23, http://hdl.handle.net/2027/mdp.39015006327749
5. ^ Gutheim, Frederick (1957), One hundred years of architecture in America, 1857-1957, celebrating the centennial of the American Institute of Architects., New York: Reinhold Pub. Corp., http://hdl.handle.net/2027/mdp.39015006723400
6. ^ Long, Tom (1998). "Carl Koch, 86; noted architect". The Boston Globe. http://www.encyclopedia.com/doc/1P2-8498009.html. Retrieved 15 November 2009.
7. ^ "Carl Koch". National Trust for Historic Preservation. http://www.preservationnation.org/travel-and-sites/sites/northeast-region/new-canaan-ct/architects/carl-koch.html. Retrieved 15 November 2009.
8. ^ Modernism 101: Architecture [1]
Retrieved from "http://en.wikipedia.org/wiki/Carl_Koch_(architect)"
Categories: American architects | Harvard University alumni | Modernist architects | 1998 deaths | 1912 births
[end-quote]
The 南天門 (南天门 “Southern Gate to Heavey” Nán tiānmén) is located at the end of 十八盤 (十八盘 Shíbā pán). It was formerly known as 三天門 (三天门 “Three day gate” Sān tiānmén) and 天門關 (天门关 “Gate to Heaven” tiānmén guān).
Located 1460 meters above sea level, the mountain is the most dangerous cliff between 飛龍巖 (飞龙岩 “Flying dragon bounder” Fēi lóngyán) and 翔鳳嶺 (翔凤岭 ”Ridge of phoenix in flight” Xiáng fèng lǐng). It was named so because it looks as if the gate of heaven was opened at the location.
It was built by a monk from 布山 (“Cloth mountain” Bù shān) in 元中統五年 Yuan Dynasty (1264). The gate was built as 閣樓式建築 (“loft style architecture”) with stones formed as an arch.
The imposing form was accented by dots on the red wall and the yellow-glazed roof top. The couplet at the side of the door reads: 門闢九霄仰步三天勝跡；階崇萬級俯臨千嶂奇觀 (门辟九霄仰步三天胜迹，阶崇万级俯临千嶂奇观 Mén pì jiǔxiāo yǎng bù sān tiān shèngjì, jiē chóng wàn jí fǔ lín qiān zhàng qíguān)
(1. Baidu: 山東泰山: 著名景點: 南天門 / SML Translate)
在山東泰安市泰山上十八盤之盡處，舊稱三天門、天門關，海拔1460米，山於此為最危聳，飛龍巖與翔鳳嶺之間的低坳處，雙峰夾峙，彷彿天門自開。元中統五年（1264年）布山道士張志純創建。門為閣樓式建築，石砌拱形門洞，額題“南天門”。紅牆點綴，黃色琉璃瓦蓋頂，氣勢雄偉。門側有楹聯曰“門闢九霄仰步三天勝跡；階崇萬級俯臨千嶂奇觀”。(1. Baidu: 山東泰山: 著名景點: 南天門 / Google Translate)
在山东泰安市泰山上十八盘之尽处，旧称三天门、天门关，海拔1460米，山于此为最危耸，飞龙岩与翔凤岭之间的低坳处，双峰夹峙，仿佛天门自开。元中统五年（1264年）布山道士张志纯创建。门为阁楼式建筑，石砌拱形门洞，额题“南天门”。红墙点缀，黄色琉璃瓦盖顶，气势雄伟。门侧有楹联曰“门辟九霄仰步三天胜迹；阶崇万级俯临千嶂奇观”。(1. Baidu: 山東泰山: 著名景點: 南天門)
# SML Notes
1. Baidu: 山东泰山: 著名景点: 南天门: baike.baidu.com/view/494072.htm
# SML Data
+ Serial: SML.20121011.7D.09494.PS
+ Date: 2012-10-11 08:46:23 GMT+0800
+ Dimensions: 4992 x 3328
+ Exposure: 1/2000 sec at f/3.5
+ Focal Length: 46 mm
+ ISO: 100
+ Flash: Did not fire
+ Setup: Handheld
+ Camera: Canon EOS 7D
+ Lens: Canon EF 24-70mm f/2.8L USM
+ GPS: 36°14'22" N 117°4'58" E (approximate. GPS unit not available)
# Related SML Universe
+ SML Flickr Set: 中國旅遊 中国旅游 China Tourism: sml8.it/smlflickr-chinatourism
南天門摩天閣 / 山東省泰山 山东省泰山 Mount Tai, Shandong Province / 中國旅遊 中国旅游 China Tourism / SML.20121011.7D.09494.PS
Quoting Smithsonian National Air and Space Museum | Monocoupe 110 Special:
Air show pilot and aerobatic champion W. W. "Woody" Edmondson thrilled audiences with his Monocoupe 110 Special throughout the 1940s. Edmondson, who named the airplane Little Butch for its bulldog-like appearance, placed second to "Bevo" Howard and his Bücker Jungmeister in the 1946 and '47 American Aerobatic Championships, but he won the first International Aerobatic Championship in 1948.
The Monocoupe 110 Special was a clipped-wing version of the 110, part of a line that began with Don Luscombe's Mono 22 and continued with the 70, 90, and 110 models. The sport coupes of the 1930s, these fast and maneuverable aircraft were ideal for racers Phoebe Omlie and Johnny Livingston. Ken Hyde of Warrenton, Virginia, restored Little Butch prior to its donation to the Smithsonian.
Gift of John J. McCulloch
Manufacturer:
Date:
1941
Country of Origin:
United States of America
Dimensions:
Wingspan: 6.9 m (23 ft.)
Length: 6.2 m (20 ft. 4 in.)
Height: 2.1 m (6 ft. 11 in.)
Weight, empty: 449 kg (991 lbs.)
Weight, gross: 730 kg (1,611 lbs.)
Top speed: 313 km/h (195 mph)
Engine: Warner 185, 200 hp
Materials:
Fuselage: steel tube with fabric cover Physical Description:High-wing, 2-seat, 1940's monoplane. Warner Super Scarab 185, 200hp engine. Red with white trim. Clipped wings.
• • • • •
Quoting Smithsonian National Air and Space Museum | De Havilland-Canada DHC-1A Chipmunk, Pennzoil Special:
De Havilland originally designed the Chipmunk after World War II as a primary trainer to replace the venerable Tiger Moth. Among the tens of thousands of pilots who trained in or flew the Chipmunk for pleasure was veteran aerobatic and movie pilot Art Scholl. He flew his Pennzoil Special at air shows throughout the 1970s and early '80s, thrilling audiences with his skill and showmanship and proving that the design was a top-notch aerobatic aircraft.
Art Scholl purchased the DHC-1A in 1968. He modified it to a single-seat airplane with a shorter wingspan and larger vertical fin and rudder, and made other changes to improve its performance. Scholl was a three-time member of the U.S. Aerobatic Team, an air racer, and a movie and television stunt pilot. At air shows, he often flew with his dog Aileron on his shoulder or taxied with him standing on the wing.
Gift of the Estate of Arthur E. Scholl
Manufacturer:
Pilot:
Date:
1946
Country of Origin:
United States of America
Dimensions:
Wingspan: 9.4 m (31 ft)
Length: 7.9 m (26 ft)
Height: 2.1 m (7 ft 1 in)
Weight, empty: 717 kg (1,583 lb)
Weight, gross: 906 kg (2,000 lb)
Top speed: 265 km/h (165 mph)
Engine: Lycoming GO-435, 260 hp
Materials:
Overall: Aluminum Monocoque Physical Description:Single-engine monoplane. Lycoming GO-435, 260 hp engine.
• • • • •
The Smithsonian's National Air and Space Museum welcomed today (Aug. 6) the sole surviving Boeing S-307 Stratoliner to its new home when the silver pioneering airliner arrived at Washington Dulles International Airport in Virginia for display at the museum's new Steven F. Udvar-Hazy Center. The museum's companion facility, adjacent to the airport, opens to the public Dec. 15.
The luxuriously appointed Stratoliner, built in the late 1930s, was the world's first passenger airplane to be pressurized, allowing it to avoid rough weather by flying at unprecedented altitudes (20,000 feet) for transports of the era.
The airplane has been in the museum's collection since 1972 but because of its size and weight could not be displayed at the museum's flagship building on the National Mall. A team of volunteers and Boeing staff performed extensive restoration work on the airplane in Seattle.
"Visitors to the Udvar-Hazy Center will take one look at this airplane and be transported back to a glamorous age when the world became smaller for the traveler who required speed and luxury," said Gen. J.R. "Jack" Dailey, director of the National Air and Space Museum. "We are indebted to the Boeing restoration team for turning back the clock on this beautiful aircraft."
The Stratoliner arrived in Northern Virginia following an appearance at the Experimental Aircraft Association's annual Fly-In at Oshkosh, Wisc. The airplane flew from Allegheny County Airport near Pittsburgh, where it landed August 5th because of bad weather.
With a wingspan of 107 feet and a cabin nearly 12 feet wide, the Clipper Flying Cloud will be exhibited at ground level in the Udvar-Hazy (pronounced OOD-var HAH-zee) Center aviation hangar.
[...]
The Clipper Flying Cloud was delivered to Pan American Airways with two others in 1940. The aircraft carried 33 passengers and a crew of five. The Pan American Airways airplane was reconfigured to seat 45 passengers. Stratoliners included space for berths for overnight travel; paneling in the cabin and lavatory; wall fabric featuring the Pan Am logo, world map and exotic animals; and eight divans.
The Clipper Flying Cloud began service flying Caribbean routes for two years. During World War II, it flew in South America under the direction of the U.S. Army Air Forces. In 1946, it made daily runs between New York and Bermuda. Throughout the next two decades it passed through the hands of several owners, and once served as a presidential plane for the notorious Haitian leader "Papa Doc" Duvalier. After its Haitian sojourn, the Clipper Flying Cloud landed in Arizona.
In 1969, a visiting National Air and Space Museum curator spotted the airplane in Arizona and immediately recognized its historic significance, even while its then-owner planned to convert it into a fire bomber. The Smithsonian subsequently acquired the aircraft and later made arrangements with the Boeing Company for the restoration, dubbed "Operation Flying Cloud," at the Seattle plant where the Stratoliner was originally built.
Boeing technicians and former Pan American employees voluntarily spent six years completely restoring the Stratoliner before it made an emergency landing in Elliott Bay in 2002. Since then, the restoration team has performed additional work so that visitors to the Udvar-Hazy Center will have the opportunity to view the aircraft as it looked the day it rolled off the assembly line more than 60 years ago.
Screenshot: now.sprint.com/widget/
Sprint launched an interactive advertising campaign to promote their mobile broadband network called Now.
The site is realized as a cluster of widget panels, each of which displays one aspects of what's happening in the world. Rolling each widget gives a bit of data about the world.
Particularly interesting to me is the very witty copy which comes with the voice over. The sound design is also very well done, which mimics the ambience aboard a spaceship. Nice animation. Overall it's a well executed site. Kudos to the team who created this!
Credits
+ Aaron Dietz, art director
+ Mandy Dietz, writer
+ Christian Haas, creative director
+ Rich Silverstein, executive creative director
+ Tena Goy/Margaret McLaughlin, producers
+ Derek Richmond, executive producer
+ Mike Kellogg, FaceFaceFace, project design and development
+ Goodby, Silverstein & Partners (San Francisco, CA), ad agency
via Didier Lahely on Friendfeed - SML Thank You!
Quoting Smithsonian National Air and Space Museum | Boeing 367-80 Jet Transport:
On July 15, 1954, a graceful, swept-winged aircraft, bedecked in brown and yellow paint and powered by four revolutionary new engines first took to the sky above Seattle. Built by the Boeing Aircraft Company, the 367-80, better known as the Dash 80, would come to revolutionize commercial air transportation when its developed version entered service as the famous Boeing 707, America's first jet airliner.
In the early 1950s, Boeing had begun to study the possibility of creating a jet-powered military transport and tanker to complement the new generation of Boeing jet bombers entering service with the U.S. Air Force. When the Air Force showed no interest, Boeing invested $16 million of its own capital to build a prototype jet transport in a daring gamble that the airlines and the Air Force would buy it once the aircraft had flown and proven itself. As Boeing had done with the B-17, it risked the company on one roll of the dice and won.
Boeing engineers had initially based the jet transport on studies of improved designs of the Model 367, better known to the public as the C-97 piston-engined transport and aerial tanker. By the time Boeing progressed to the 80th iteration, the design bore no resemblance to the C-97 but, for security reasons, Boeing decided to let the jet project be known as the 367-80.
Work proceeded quickly after the formal start of the project on May 20, 1952. The 367-80 mated a large cabin based on the dimensions of the C-97 with the 35-degree swept-wing design based on the wings of the B-47 and B-52 but considerably stiffer and incorporating a pronounced dihedral. The wings were mounted low on the fuselage and incorporated high-speed and low-speed ailerons as well as a sophisticated flap and spoiler system. Four Pratt & Whitney JT3 turbojet engines, each producing 10,000 pounds of thrust, were mounted on struts beneath the wings.
Upon the Dash 80's first flight on July 15, 1954, (the 34th anniversary of the founding of the Boeing Company) Boeing clearly had a winner. Flying 100 miles per hour faster than the de Havilland Comet and significantly larger, the new Boeing had a maximum range of more than 3,500 miles. As hoped, the Air Force bought 29 examples of the design as a tanker/transport after they convinced Boeing to widen the design by 12 inches. Satisfied, the Air Force designated it the KC-135A. A total of 732 KC-135s were built.
Quickly Boeing turned its attention to selling the airline industry on this new jet transport. Clearly the industry was impressed with the capabilities of the prototype 707 but never more so than at the Gold Cup hydroplane races held on Lake Washington in Seattle, in August 1955. During the festivities surrounding this event, Boeing had gathered many airline representatives to enjoy the competition and witness a fly past of the new Dash 80. To the audience's intense delight and Boeing's profound shock, test pilot Alvin "Tex" Johnston barrel-rolled the Dash 80 over the lake in full view of thousands of astonished spectators. Johnston vividly displayed the superior strength and performance of this new jet, readily convincing the airline industry to buy this new airliner.
In searching for a market, Boeing found a ready customer in Pan American Airway's president Juan Trippe. Trippe had been spending much of his time searching for a suitable jet airliner to enable his pioneering company to maintain its leadership in international air travel. Working with Boeing, Trippe overcame Boeing's resistance to widening the Dash-80 design, now known as the 707, to seat six passengers in each seat row rather than five. Trippe did so by placing an order with Boeing for 20 707s but also ordering 25 of Douglas's competing DC-8, which had yet to fly but could accommodate six-abreast seating. At Pan Am's insistence, the 707 was made four inches wider than the Dash 80 so that it could carry 160 passengers six-abreast. The wider fuselage developed for the 707 became the standard design for all of Boeing's subsequent narrow-body airliners.
Although the British de Havilland D.H. 106 Comet and the Soviet Tupolev Tu-104 entered service earlier, the Boeing 707 and Douglas DC-8 were bigger, faster, had greater range, and were more profitable to fly. In October 1958 Pan American ushered the jet age into the United States when it opened international service with the Boeing 707 in October 1958. National Airlines inaugurated domestic jet service two months later using a 707-120 borrowed from Pan Am. American Airlines flew the first domestic 707 jet service with its own aircraft in January 1959. American set a new speed mark when it opened the first regularly-scheduled transcontinental jet service in 1959. Subsequent nonstop flights between New York and San Francisco took only 5 hours - 3 hours less than by the piston-engine DC-7. The one-way fare, including a $10 surcharge for jet service, was $115.50, or $231 round trip. The flight was almost 40 percent faster and almost 25 percent cheaper than flying by piston-engine airliners. The consequent surge of traffic demand was substantial.
The 707 was originally designed for transcontinental or one-stop transatlantic range. But modified with extra fuel tanks and more efficient turbofan engines, the 707-300 Intercontinental series aircraft could fly nonstop across the Atlantic with full payload under any conditions. Boeing built 855 707s, of which 725 were bought by airlines worldwide.
Having launched the Boeing Company into the commercial jet age, the Dash 80 soldiered on as a highly successful experimental aircraft. Until its retirement in 1972, the Dash 80 tested numerous advanced systems, many of which were incorporated into later generations of jet transports. At one point, the Dash 80 carried three different engine types in its four nacelles. Serving as a test bed for the new 727, the Dash 80 was briefly equipped with a fifth engine mounted on the rear fuselage. Engineers also modified the wing in planform and contour to study the effects of different airfoil shapes. Numerous flap configurations were also fitted including a highly sophisticated system of "blown" flaps which redirected engine exhaust over the flaps to increase lift at low speeds. Fin height and horizontal stabilizer width was later increased and at one point, a special multiple wheel low pressure landing gear was fitted to test the feasibility of operating future heavy military transports from unprepared landing fields.
After a long and distinguished career, the Boeing 367-80 was finally retired and donated to the Smithsonian in 1972. At present, the aircraft is installated at the National Air and Space Museum's new facility at Washington Dulles International Airport.
Gift of the Boeing Company
Manufacturer:
Date:
1954
Country of Origin:
United States of America
Dimensions:
Height 19' 2": Length 73' 10": Wing Span 129' 8": Weight 33,279 lbs.
Physical Description:
Prototype Boeing 707; yellow and brown.
• • • • •
Quoting Smithsonian National Air and Space Museum | Concorde, Fox Alpha, Air France:
The first supersonic airliner to enter service, the Concorde flew thousands of passengers across the Atlantic at twice the speed of sound for over 25 years. Designed and built by Aérospatiale of France and the British Aviation Corporation, the graceful Concorde was a stunning technological achievement that could not overcome serious economic problems.
In 1976 Air France and British Airways jointly inaugurated Concorde service to destinations around the globe. Carrying up to 100 passengers in great comfort, the Concorde catered to first class passengers for whom speed was critical. It could cross the Atlantic in fewer than four hours - half the time of a conventional jet airliner. However its high operating costs resulted in very high fares that limited the number of passengers who could afford to fly it. These problems and a shrinking market eventually forced the reduction of service until all Concordes were retired in 2003.
In 1989, Air France signed a letter of agreement to donate a Concorde to the National Air and Space Museum upon the aircraft's retirement. On June 12, 2003, Air France honored that agreement, donating Concorde F-BVFA to the Museum upon the completion of its last flight. This aircraft was the first Air France Concorde to open service to Rio de Janeiro, Washington, D.C., and New York and had flown 17,824 hours.
Gift of Air France.
Manufacturer:
Societe Nationale Industrielle Aerospatiale
Dimensions:
Wingspan: 25.56 m (83 ft 10 in)
Length: 61.66 m (202 ft 3 in)
Height: 11.3 m (37 ft 1 in)
Weight, empty: 79,265 kg (174,750 lb)
Weight, gross: 181,435 kg (400,000 lb)
Top speed: 2,179 km/h (1350 mph)
Engine: Four Rolls-Royce/SNECMA Olympus 593 Mk 602, 17,259 kg (38,050 lb) thrust each
Manufacturer: Société Nationale Industrielle Aérospatiale, Paris, France, and British Aircraft Corporation, London, United Kingdom
Physical Description:
Aircaft Serial Number: 205. Including four (4) engines, bearing respectively the serial number: CBE066, CBE062, CBE086 and CBE085.
Also included, aircraft plaque: "AIR FRANCE Lorsque viendra le jour d'exposer Concorde dans un musee, la Smithsonian Institution a dores et deja choisi, pour le Musee de l'Air et de l'Espace de Washington, un appariel portant le couleurs d'Air France."
泰山天街 (“Heavenly Street / Street in the Sky” Tàishān tiān jiē) is a street up on 泰山 (Mount Tai Tàishān) which begins at 南天門 (南天门 “Southern Gate to Heaven” Nán tiānmén) going eastwards and ends at the 碧霞祠 Azure Clouds Temple.
The total length is approximately 一華里 (一华里 1 Chinese mile). The northern section of the street is called 北天街 (“Northern Heavenly Street” Běi tiān jiē) [pictured]. Filled with a diversity of businesses and lodging options, it looks like as city as well as a buzzing street up in the sky, making it an fascinating place to visit. (1 / SML Translate)
泰山天街是指南天門向東到碧霞祠一段街道，全長約一華里南天門向北的一段路，約有100米，稱為北天街，岱頂天街，商舖林立，亦市亦街，形成了特有的風俗．(1 / Google Translate)
泰山天街是指南天门向东到碧霞祠一段街道，全长约一华里南天门向北的一段路，约有100米，称为北天街，岱顶天街，商铺林立，亦市亦街，形成了特有的风俗．(1)
# SML Flickr
+ www.flickr.com/photos/seeminglee/8366350241/sizes/o/ (7978 x 2295)
# SML Notes
1. 百度百科 Baidu Baike: 泰山天街 Street in the sky at Mount Tai: baike.baidu.com/view/1124113.htm
# SML Data
+ Serial: SML.20121011.7D.09491-09493.pano
+ Dimensions: 7978 x 2295
+ ISO: 100
+ Flash: Did not fire
+ Setup: Handheld
+ Camera: Canon EOS 7D
+ Lens: Canon EF 24-70mm f/2.8L USM
+ GPS: 36°14'22" N 117°4'58" E (approximate. GPS unit not available)
1. SML.20121011.7D.09491
+ Date: 2012-10-11 08:45:07 GMT+0800
+ Exposure: 1/250 sec at f/3.5
+ Focal Length: 43 mm
2. SML.20121011.7D.09492
+ Date: 2012-10-11 08:45:18 GMT+0800
+ Exposure: 1/500 sec at f/3.5
+ Focal Length: 34mm
3. SML.20121011.7D.09493
+ Date: 2012-10-11 08:45:25 GMT+0800
+ Exposure: 1/640 sec at f/3.5
+ Focal Length: 70mm
泰山天街 Heavenly Street at Mount Tai / 山東省 山东省 Shandong Province / 中國旅遊 中国旅游 China Tourism / SML.20121011.7D. 09491-09493.pano
# Related SML Universe
+ SML Flickr: 南天門摩天閣 / 山東省泰山 山东省泰山 Mount Tai, Shandong Province / 中國旅遊 中国旅游 China Tourism / SML.20121011.7D.09494: www.flickr.com/photos/seeminglee/8365054922
+ SML Flickr: 碧霞祠 Azure Clouds Temple / 山東省泰山 Mount Tai, Shandong Province 山东省泰山 / 中國旅遊 中国旅游 China Tourism / SML.20121011.7D.09574: www.flickr.com/photos/seeminglee/8349283109
+ SML Flickr Set: 中國旅遊 中国旅游 China Tourism: sml8.it/smlflickr-chinatourism
# SML Media License
+ CC-BY 2012 See-ming Lee 李思明, SML Universe Limited
13th annual D.U.M.B.O. Art Under the Bridge Festival® (Sept 25 to Sept 27, 2009)
www.dumboartfestival.org/press_release.html
The three-day multi-site neighborhood-wide event is a one-of-a-kind art happening: where serendipity meets the haphazard and where the unpredictable, spontaneous and downright weird thrive. The now teenage D.U.M.B.O. Art Under the Bridge Festival® presents touchable, accessible, and interactive art, on a scale that makes it the nation's largest urban forum for experimental art.
Art Under the Bridge is an opportunity for young artists to use any medium imaginable to create temporary projects on-the-spot everywhere and anywhere, completely transforming the Dumbo section of Brooklyn, New York, into a vibrant platform for self-expression. In addition to the 80+ projects throughout the historical post-industrial waterfront span, visitors can tour local artists' studios or check out the indoor video_dumbo, a non-stop program of cutting-edge video art from New York City and around the world.
The Dumbo Arts Center (DAC) has been the exclusive producer of the D.U.M.B.O Art Under the Bridge Festival® since 1997. DAC is a big impact, small non-profit, that in addition to its year-round gallery exhibitions, is committed to preserving Dumbo as a site in New York City where emerging visual artists can experiment in the public domain, while having unprecedented freedom and access to normally off-limit locations.
Related SML
+ SML Flickr Collections: Events
+ SML Flickr Sets: Dumbo Arts Center: Art Under the Bridge Festival 2009
Posted via email to ☛ HoloChromaCinePhotoRamaScope‽: cdevers.posterous.com/concorde. See the full gallery on Posterous ...
• • • • •
Quoting Smithsonian National Air and Space Museum | Concorde, Fox Alpha, Air France:
The first supersonic airliner to enter service, the Concorde flew thousands of passengers across the Atlantic at twice the speed of sound for over 25 years. Designed and built by Aérospatiale of France and the British Aviation Corporation, the graceful Concorde was a stunning technological achievement that could not overcome serious economic problems.
In 1976 Air France and British Airways jointly inaugurated Concorde service to destinations around the globe. Carrying up to 100 passengers in great comfort, the Concorde catered to first class passengers for whom speed was critical. It could cross the Atlantic in fewer than four hours - half the time of a conventional jet airliner. However its high operating costs resulted in very high fares that limited the number of passengers who could afford to fly it. These problems and a shrinking market eventually forced the reduction of service until all Concordes were retired in 2003.
In 1989, Air France signed a letter of agreement to donate a Concorde to the National Air and Space Museum upon the aircraft's retirement. On June 12, 2003, Air France honored that agreement, donating Concorde F-BVFA to the Museum upon the completion of its last flight. This aircraft was the first Air France Concorde to open service to Rio de Janeiro, Washington, D.C., and New York and had flown 17,824 hours.
Gift of Air France.
Manufacturer:
Societe Nationale Industrielle Aerospatiale
Dimensions:
Wingspan: 25.56 m (83 ft 10 in)
Length: 61.66 m (202 ft 3 in)
Height: 11.3 m (37 ft 1 in)
Weight, empty: 79,265 kg (174,750 lb)
Weight, gross: 181,435 kg (400,000 lb)
Top speed: 2,179 km/h (1350 mph)
Engine: Four Rolls-Royce/SNECMA Olympus 593 Mk 602, 17,259 kg (38,050 lb) thrust each
Manufacturer: Société Nationale Industrielle Aérospatiale, Paris, France, and British Aircraft Corporation, London, United Kingdom
Physical Description:
Aircaft Serial Number: 205. Including four (4) engines, bearing respectively the serial number: CBE066, CBE062, CBE086 and CBE085.
Also included, aircraft plaque: "AIR FRANCE Lorsque viendra le jour d'exposer Concorde dans un musee, la Smithsonian Institution a dores et deja choisi, pour le Musee de l'Air et de l'Espace de Washington, un appariel portant le couleurs d'Air France."
• • • • •
Quoting Smithsonian National Air and Space Museum | Federal Express's Dassault Falcon 20:
The Dassault Cargo Falcon 20 is a French jet aircraft that, on April 17, 1973, became the first to carry a Federal Express air package. This was a new milestone in the history of air transport in the United States and created a new category of airline, the exclusive air express carrier. Within a decade, no less than thirty-three were flying on the spokes of the Federal Express network. The service was so successful that, by the early 1980s, its front-line aircraft were expanded to the McDonnell Douglas DC-10Cs, whose cargo holds were big enough to carry several Falcons each.
The first Dassault Falcon made its maiden flight on May 4, 1973. It is a well-proportioned, all metal low-wing monoplane, with full cantilever wing and tail surfaces, pressurized fuselage, and retractable tricycle dual-wheel landing gear. It is powered by two aft-mounted General Electric CF-700-2D turbofan engines. For cargo use, the Series 20 was modified by several basic changes, the success of which is a tribute to the inherent soundness of the design. The Cargo Falcon 20 also features an oversized cargo door, measuring 55 inches x 74.5 inches, and a strengthened floor to accept loads of concentrated weight.
Gift of the Federal Express Corp.
Manufacturer:
Date:
1973-1982
Country of Origin:
United States of America
Dimensions:
Height: 17 ft 7 in
Length: 56 ft 4 in
Wingspan: 53 ft 6 in
Weight: 15,940 lbs
Materials:
Overall: Aluminum
Physical Description:
Twin engine jet transport, purple and white, orange trim, all metal.
Posted via email to ☛ HoloChromaCinePhotoRamaScope‽: cdevers.posterous.com/concorde. See the full gallery on Posterous ...
• • • • •
Quoting Smithsonian National Air and Space Museum | Concorde, Fox Alpha, Air France:
The first supersonic airliner to enter service, the Concorde flew thousands of passengers across the Atlantic at twice the speed of sound for over 25 years. Designed and built by Aérospatiale of France and the British Aviation Corporation, the graceful Concorde was a stunning technological achievement that could not overcome serious economic problems.
In 1976 Air France and British Airways jointly inaugurated Concorde service to destinations around the globe. Carrying up to 100 passengers in great comfort, the Concorde catered to first class passengers for whom speed was critical. It could cross the Atlantic in fewer than four hours - half the time of a conventional jet airliner. However its high operating costs resulted in very high fares that limited the number of passengers who could afford to fly it. These problems and a shrinking market eventually forced the reduction of service until all Concordes were retired in 2003.
In 1989, Air France signed a letter of agreement to donate a Concorde to the National Air and Space Museum upon the aircraft's retirement. On June 12, 2003, Air France honored that agreement, donating Concorde F-BVFA to the Museum upon the completion of its last flight. This aircraft was the first Air France Concorde to open service to Rio de Janeiro, Washington, D.C., and New York and had flown 17,824 hours.
Gift of Air France.
Manufacturer:
Societe Nationale Industrielle Aerospatiale
Dimensions:
Wingspan: 25.56 m (83 ft 10 in)
Length: 61.66 m (202 ft 3 in)
Height: 11.3 m (37 ft 1 in)
Weight, empty: 79,265 kg (174,750 lb)
Weight, gross: 181,435 kg (400,000 lb)
Top speed: 2,179 km/h (1350 mph)
Engine: Four Rolls-Royce/SNECMA Olympus 593 Mk 602, 17,259 kg (38,050 lb) thrust each
Manufacturer: Société Nationale Industrielle Aérospatiale, Paris, France, and British Aircraft Corporation, London, United Kingdom
Physical Description:
Aircaft Serial Number: 205. Including four (4) engines, bearing respectively the serial number: CBE066, CBE062, CBE086 and CBE085.
Also included, aircraft plaque: "AIR FRANCE Lorsque viendra le jour d'exposer Concorde dans un musee, la Smithsonian Institution a dores et deja choisi, pour le Musee de l'Air et de l'Espace de Washington, un appariel portant le couleurs d'Air France."
Photos and video of Man or Astro-man? playing at the Middle East Club in Cambridge MA on 14 Nov 2010.
More info:
• Wikipedia: Man or Astro-man?
• • • •
A note on this helmet:
The band is from Alabama, and they've been playing shows in astronaut & pilot gear for years now. Being from Alabama, I'd always assumed that this gear may have been cast offs from the Huntsville Space & Rocket Center, or maybe Maxwell Air Force Base in Montgomery.
As it turns out though, this helmet looks more like Chinese or Russian design than anything American. In fact, the closest match I can find turns out to be the GSh-6, Soviet Flight Helmet, which also has the green coiled hose on the right chin, and the silver lever on the left chin. I'm not sure which variant of the helmet it is, but it seems to be in the same family, anyway:
The GSh-6A is used primarily in the MiG-25 and MiG-31 high altitude/high speed interceptors, however, the GSh-6 is the helmet of choice when test pilots ran any of the new or newly modified Soviet/Russian high-performance aircraft - MiG-21, MiG-23, MiG-27, MiG-29, Su-17/20/22, Su-27, and Su-35 through their paces.
So then the question is where the heck they got a Russian fighter pilot's helmet? Who knows :-)
* Charles River, December 7, 2009: Still, reflecting waters
* Charles River, December 14, 2009: Cloudy blue skies, gently rippled water, hints of ice on distant shore
* Charles River, December 15, 2009: Early morning sun with "Maxfield Parrish" light with mottled cloud reflections
* Charles River, December 17, 2009: Cloudless blue sky, rippled waters
* Charles River, December 18, 2009: Cloudless blue sky, river becoming covered in swirling ice
* Charles River, December 20, 2009: First big snow storm of the season, snow & ice on the river, snowy branches on the trees
* Charles River, December 21, 2009: Night shot of road traffic & patches of ice on the frozen river
* Charles River, December 23, 2009: Patches of snow on the frozen river under a cloud-free sky
* Charles River, December 28, 2009: All of the snow and all but a ribbon of the ice gone, still waters return
* Charles River, December 29, 2009: River beginning to re-freeze
* Charles River, December 30, 2009: Frozen & re-frozen chunks of river ice under a clear blue sky
* Charles River, December 31, 2009: (AM) River re-freezing again, cloudy skies
* Charles River, December 31, 2009: (PM) Freshly fallen afternoon snow on the mostly frozen river
* Charles River, January 4, 2010: Long shadows reach through the trees across the snow & ice covered river
* Charles River, January 5, 2010: Grey cloudy skies, white snowy ground, and some black water reaching across the largely frozen river
* Charles River, January 6, 2010: Early morning shadows reach through the trees across the frozen river under a cloudless blue sky
* Charles River, January 8, 2010: Another fresh coat of snow on the frozen river, with a melted channel reaching down the middle under an even grey sky
* Charles River, January 11, 2010: Clear blue skies over thin snow & ice covering the river
* Charles River, January 12, 2010: Cloudy skies over thickening ice & snow on the river
* Charles River, January 13, 2010: Blue skies over white snow over black ice
* Charles River, January 14, 2010: Week of clear skies & snowy ice continues
* Charles River, January 16, 2010: Melting ice under cloudless blue sky
* Charles River, January 18, 2010: Evening view of thawing waters
* Charles River, January 22, 2010: Most of the ice gone now
* Charles River, January 25, 2010: Clear waters & skies, some snowy ice along the river banks
* Charles River, January 26, 2010: Warmer, drier day, some clouds, no snow or ice
* Charles River, January 28, 2010: Ducks swimming in the water
* Charles River, January 29, 2010: Ice covers the river again
* Charles River, February 1, 2010: Thin ice on the river
* Charles River, February 2, 2010: Third day of thin ice & clear skies
* Charles River, February 3, 2010: Thicker ice again, and snow-covered under cloudy grey skies
* Charles River, February 5, 2010: Clear skies again, and ice thinning once more
* Charles River, February 8, 2010: Thin ice, clear blue sky
* Charles River, February 9, 2010: Another day of thin ice & no clouds
* Charles River, February 10, 2010: Grey skies and vanishing ice
* Charles River, February 11, 2010: Wispy clouds over mostly melted waters
* Charles River, February 16, 2010: Light snowfall over ice-free water
* Charles River, February 17, 2010: Fresh snow & ice, geese & ducks swimming on the water
* Charles River, February 18, 2010: Thawing snow & ice
* Charles River, February 19, 2010: Geese spreading their wings while swimming on the thawed river by the snowy banks
* Charles River, February 23, 2010: Generic grey day, you pick a better caption
* Charles River, February 24, 2010: Light rain, very grey
* Charles River, February 25, 2010: "Icebergs" floating down the river under light rain
* Charles River, February 26, 2010: After a strong storm the night before, unusually choppy waters from strong winds
* Charles River, March 1, 2010: Grey skies & waters
* Charles River, March 2, 2010: Canadian geese swimming on the water under cloudy blue skies
* Charles River, March 3, 2010: The first day of the sculling boats rowing down the river under grey skies
* Charles River, March 3, 2010: The first day of the sculling boats rowing down the river under grey skies
* Charles River, March 5, 2010: Sunlight reflected in the still grey water
* Charles River, March 9, 2010: Sunshine on barren trees, and some of the green fencing
* Charles River, March 10, 2010: Sunshine on the still barren tree branches
* Charles River, March 11, 2010: Pale grey skies & waters
* Charles River, March 12, 2010: Grey skies & waters
* Charles River, March 15, 2010: Swollen banks after 3 solid days of heavy rain
Pasting from the website of the Collings Foundation:
The Collings Foundation Hosts:
Battle for the Airfield
WWII Reenactment and Living History Weekend
October 10th and 11th
Picture this:
….An undercover French Resistance Fighter met with the Allied Forces and showed the exact coordinates of the German encampment. The night before an elite German force over took a small grass airstrip just a few hundred feet away. The Allied Forces had to gain control of this airfield so they could fly in much-needed supplies. - It was going to be a tough fight.
How will the battle end? Will the Allied troops be able to gain control of the airfield and further their advancement? You will have to be here to find out. The Collings Foundation will host a Living History event you will never forget. You will be able to see original equipment from WWII in action. Everything from the cooking utensils to M1 rifles is original. The only event of this type - in the world. – Don’t miss it!
October 10th and 11th
Open Daily: 8:30 AM to 4:30 PM
Entry Fee: $15 Adults / $10 Children
This is a public event and reservations are not required.
Two reenactments per day: 11:00 AM and 3:30 PM.
Display will include:
* Aircraft: TBM Avenger, Wright "Vin Fiz" replica, 1909 Bleriot, Fokker DR-I replica, PT-17 Stearman, Cessna UC-78 Bobcat, North American AT-6 Texan, Fiesler Fi-156 Storch, and many more!
* Automobiles: Entire Collings Foundation collection - see list for details.
* Collings Foundation Gift Shop
* Vetran's Roundtable Discussion: Hear amazing stories from WWII Veterans about thier experiences during the war. 1:00 PM on hangar floor - both 10/10 and 10/11.
* PT-17 Stearman Rides - Limited Availability
* $230 for 1/2 Hour
* Call 978-562-9182 for reservations.
* See PT-17 Info here
* T-6 Texan Rides - Limited Availability
* $450 for 45 minutes
* Call 978-562-9182 for reservations.
* The WWII Battle reenactment will take place twice each day on the grass landing strip in front of the hangar. It will take place at 11 AM and 3:30 PM.
* There will be suprises each battle!
* The Collings Foundation grounds are very nice and make a great setting for such an event. Getting here is tricky! Click on the link above for directions.
* The Fiesler FI-156 Storch has an incredible history during WWII. This aircraft is well known for its versatility and easy flying characteristics. The plane that saved Mussolini! (temporarily). We will be flying as part of the battle reenactment.
* Our M-16 Half-Track has been beautifully restored. The quad mount 50cal machine guns fully rotate. The M-16 will be participating in the WWII battle reenactments.
* The German 88mm flak cannon was feared by all airmen. One of the first weapons to have "pre-programmed" ammunition. This cannon will also be a part of the battle reenactments.
* For a "birds eye" view of the event- we will be offering PT-17 Stearman and T-6 Texan flights. Flying in these aircraft is a lot of fun! Call to reserve your flight: 800-568-8924
* Post-war German ingenuity.. A Messerschmitt minicar! On display courtesy of the Gould Foundation collection.
* It will be the Allied vs. the Axis in a very memorable battle re-enactment! This living history perfomance will captivate and educate. It will take place each day at 11 AM and 3:30 PM.
After some recent success photographing panorama with the 100-400, I tried to photograph the cloudscape with the super telephoto to see if I can get similar results. What I aim for, as always, is the resolution which a regular lens would not provide
Unlike landscape which I can easily determine whether or not I have made a shot, I find the abstract forms in the sky a bit harder to track. So I will likely get a pano head soon. For now I have somewhat decided that I would just go with the Manfrotto 303SPH instead of the robotic heads.
Photographed with the 6D + 100-400. 20 image stitch inside Autopano Giga 3, processed in Photoshop CS6.
# SML Transalate: 千層雲匯
+ 千: a thousand.
+ 層: layers.
+ 雲: clouds.
+ 匯: converges.
+ 千層雲匯: a thousand layers of clouds converge.
# SML Data
+ Date: 2013-06-13T18:52:13+0800
+ Dimensions: 21440 x 4048
+ Exposure: 1/160 sec at f/8.0
+ Focal Length: 190 mm
+ ISO: 125
+ Flash: Did not fire
+ Camera: Canon EOS 6D
+ Lens: Canon EF 100-400 f/4.5-5.6L IS USM
+ Panorama FOV: 43 degree horizontal, 16 degree vertical
+ Panoramic Projection: Planar
+ GPS: 22°25'9" N 114°13'25" E
+ Location: SML Universe HKG (Vista Paradiso, Ma On Shan, Hong Kong, China)
+ Workflow: Autopano Giga 3.0, Photoshop CS6, Lightroom 4
+ Serial: SML.20130617.6D.16226-SML.20130617.6D.16245-Pano.i20.43x16.BW
+ Series: 寧 Serenity, 自然 Nature, 全景攝影 Panoramic Photography
# Media Licensing
Creative Commons (CCBY) See-ming Lee 李思明 / SML Photography / SML Universe Limited
千層雲匯 / 香港日落全景之寧 Hong Kong Sunset Panoramic Serenity / SML.20130617.6D.16226-SML.20130617.6D.16245-Pano.i20.43x16.BW
/ #寧 #Serenity #SMLSerenity #全景 #Panorama #Pano #SMLPano #自然 #Nature #黑白 #BW #SMLBW #CreativeCommons #CCBY #SMLPhotography #SMLUniverse #SMLProjects
/ #中國 #中国 #China #香港 #HongKong #攝影 #摄影 #photography #雲 #Cloud #天 #空 #Sky
No books? No problem. The only book I really need is my notebook. Of course it must be a Moleskine!
Related SML
+ SML Flickr Tags: SML Notebook
Updates
+ Used by The Guardian: www.theguardian.com/guardian-masterclasses/reinventing-th...
The Hong Kong Cultural Centre (Chinese: 香港文化中心) is a multipurpose performance facility in the Tsim Sha Tsui area of Hong Kong. en.wikipedia.org/wiki/Hong_Kong_Cultural_Centre
中國香港尖沙咀梳士巴利道10號
中国香港尖沙咀梳士巴利道10号
10 Salisbury Road, Tsim Sha Tsui, Hong Kong SAR, China
# SML Workflow
Captured with the iPhone app 360pano, processed in Lightroom 4. Unprocessed original: 360.io/gzrvMq
# SML Data
+ Date: 2013-01-19
+ Dimensions: 4096 x 1875
+ Camera: iPhone 5
+ GPS: 22°17'38" N 114°10'16" E
# Related SML Universe
+ SML 360pano: sml8.it/sml360pano
# Media Licensing
Creative Commons (CCBY) See-ming Lee 李思明 / SML Photography / SML Universe Limited
”香港文化中心晚上全景 Hong Kong Cultural Center Panorama at Night ” / SML.20130119.IPH5.360pano.gzrvMq
My favorite souvenir from a trip somewhere is something simple, like a coin, or a pebble. Something ordinary that people come across every day but don't necessarily give a lot of thought to.
Several of these were given to me by my grandfather, who was a merchant marine going to northern Europe before & during World War Two. The French & Soviet coins from the 1930s were from him, as were the French & German ones from the 1950s, as well as the Irish one from 1978.
The Czech ones were from our trip to Prague, while the Swiss, Canadian, Bermudan [?], and British ones were from trips to those countries. The Euro coin was probably from our honeymoon in Paris.
May got the Mexican and Dubai coins on work trips that I wasn't able to go on.
I have no idea where the Cuban coins came from. I seem to remember Kaite brought back the coins from Costa Rica.
The MBTA & video arcade ones probably shouldn't count :-). We recently had a roll of tokens for the New Hampshire turnpike that would have been good here too, but they abandoned their token system and I think we must have thrown the tokens away. Oh well.
Asia is under-represented here, must rectify that.
Test Card 8.5x11 for a black & white photocopy machine / 1998 / SML Graphic Design
Assignment
Art 366a Visual Studies
Fall Semester 1998
T-TH 1:30-3:20, 215 Park Street
Paul Elliman, Instructor
paul.elliman [at] yale.edu
1. Testcard
(Week 1-2) Devise a testcard, 8.5x11, for a black & white photocopy machine
The card is basically a set of questions or exercises - point, type specimen, line, pattern, half-tone, grey-scale spectrum, moire - designed to test the machine's effectiveness or value.
The testcard should explore not only the effective (proper?) function of the photocopier, but also any other qualities (Test the limits of its language/your language)
Investigate both the history and teh working mechanics of thsi machine, then (week 3-4) extend the scope of the testcard to include this kind of informaion.
Process (42 pages)
+ 2: Research: The Atlantic Monthly: 2006-02: pp.64: Copies in Seconds by David Owen
+ 3: Research: The Atlantic Monthly: 2006-02: pp.65: Copies in Seconds by David Owen
+ 4: Research: The Atlantic Monthly: 2006-02: pp.66: Copies in Seconds by David Owen
+ 5: Research: The Atlantic Monthly: 2006-02: pp.67: Copies in Seconds by David Owen
+ 6: Research: The Atlantic Monthly: 2006-02: pp.68: Copies in Seconds by David Owen
+ 7: Research: The Atlantic Monthly: 2006-02: pp.69: Copies in Seconds by David Owen
+ 8: Research: The Atlantic Monthly: 2006-02: pp.70: Copies in Seconds by David Owen
+ 9: Research: The Atlantic Monthly: 2006-02: pp.71: Copies in Seconds by David Owen
+ 10: Research: The Atlantic Monthly: 2006-02: pp.72: Copies in Seconds by David Owen
+ 11: Research: The Atlantic Monthly: 2006-02: pp.73: Copies in Seconds by David Owen
+ 12: Research: Anatomy of a Xerox test card
+ 13: Research: Anatomy of a Xerox test card
+ 18: Xerox: Historial Highlights: 1
+ 19: Xerox: Historial Highlights: 2
+ 20: Xerox: Historial Highlights: 3
+ 21: Xerox: Historial Highlights: 4
+ 22: Xerox: Historial Highlights: 5
+ 23: Xerox: Historial Highlights: 6
+ 24: Xerox: Historial Highlights: 7
+ 25: Xerox: Historial Highlights: 8
+ 28: Research: Basic Copier Operation: 1
+ 29: Research: Basic Copier Operation: 2
+ 30: Design: The working of a xerox machine: 1
+ 31: Design: The working of a xerox machine: 2
+ 34: Research: Basic Copier Model: 1
+ 35: Research: Basic Copier Model: 2
+ 36: Design: Anatomy of a Basic Copier
+ 37: Design: The Basic Copy Process
+ 38: Design: Anatomy of a basic copier
+ 39: Design: Anatomy of a basic copier
+ 40: Design: The Basic Copy Process
+ 41: Design: The Basic Copy Process
+ 42: Design: The Basic Copy Process
SML Copyright Notice
Copyright 1998 See-ming Lee / SML Flickr / SML Universe. All rights reserved.
This is a panorama of the Victoria Harbour stitched together using 13 full-resolution handheld 6D RAW captures.
I used to avoid taking photographs at “touristy” spots, but I really hope to document the change of the architectural landscape over time, and so I will be doing more of these in the future.
On the left hand side of the photo, there is a crane doing some heavy lifting on the sea. Most of the newer skyline of Hong Kong were built upon landfills, so my guess is that they are probably in the process of reclaiming more lands.
This was photographed at the Tsim Sha Tsui Promenade looking across the harbour so what you see in the middle is Wan Chai with the unmistakeable HKCEC. The tallest building in the center is Central Plaza. The gigantic object rising on the right is IFC (International Financial Centre).
Densely packed skyscrapers against rolling hills is one of the key distinctive features of Hong Kong which is unusual when compared to other international metropolis in the world.
# SML Data
+ Date: 2013-04-12T15:37:34+0800
+ Dimensions: 9517 x 2688
+ Exposure: 1/160 - 1/250 sec at f/8.0
+ Focal Length: 40 mm
+ ISO: 100
+ Flash: Did not fire
+ Camera: Canon EOS 6D
+ Lens: Canon EF 17-40mm f/4L USM
+ Panorama FOV: 136 degree horizontal, 60 degree vertical
+ Panoramic Projection: Cylindrical
+ GPS: 22°17'36" N 114°10'21" E
+ Location: Tsim Sha Tsui Promenade, Hong Kong
+ Subject: Hong Kong Island + Victoria Harbour
+ Workflow: Hugin 2012, Lightroom 4
+ Serial: SML.20130412.6D.00198-SML.20130412.6D.00210-Pano.Cylindrical.136x60
+ Series: 山水 Landscape, 全景攝影 Panoramic Photography
“城市山水 Urban Landscape” / 香港維多利亞港全景 Hong Kong Victoria Harbour Panorama / SML.20130412.6D.00198-SML.20130412.6D.00210-Pano.Cylindrical.136x60
/ #全景 #Pano #SMLPano #建築 #建筑 #Architecture #黑白 #BW #SMLBW #CreativeCommons #CCBY #SMLPhotography #SMLUniverse #SMLProjects
/ #中國 #中国 #China #香港 #HongKong #攝影 #摄影 #photography #山水 #Landscape #城市 #Urban #Seascape #Harbor
www.flickr.com/photos/seeminglee/8671813930/
www.flickr.com/photos/seeminglee/8671813930/sizes/o/ (9517 x 2688)
I can't decide which version of this one I like better:
• wide
• tight
Either way, it's a shame -- this hill looked like it would be a blast to go bombing down on a bike, but it isn't allowed. Oh well. :-)
The Arboretum has an interactive map on their web site. This map is found at the Arborway Gate.
Pasting from Wikipedia: Arnold Arboretum:
• • • • •
The Arnold Arboretum of Harvard University is an arboretum located in the Jamaica Plain and Roslindale sections of Boston, Massachusetts. It was designed by Frederick Law Olmsted and is the second largest "link" in the Emerald Necklace.
History
The Arboretum was founded in 1872 when the President and Fellows of Harvard College became trustees of a portion of the estate of James Arnold (1781–1868).
In 1842, Benjamin Bussey (1757–1842), a prosperous Boston merchant and scientific farmer, donated his country estate Woodland Hill and a part of his fortune to Harvard University "for instruction in agriculture, horticulture, and related subjects". Bussey had inherited land from fellow patriot Eleazer Weld in 1800 and further enlarged his large estate between 1806 and 1837 by acquiring and consolidating various farms that had been established as early as the seventeenth century. Harvard used this land for the creation of the Bussey Institute, which was dedicated to agricultural experimentation. The first Bussey Institute building was completed in 1871 and served as headquarters for an undergraduate school of agriculture.
Sixteen years after Bussey's death, James Arnold, a New Bedford, Massachusetts whaling merchant, specified that a portion of his estate was to be used for "...the promotion of Agricultural, or Horticultural improvements". In 1872, when the trustees of the will of James Arnold transferred his estate to Harvard University, Arnold’s gift was combined with 120 acres (0.49 km2) of the former Bussey estate to create the Arnold Arboretum. In the deed of trust between the Arnold trustees and the College, income from Arnold’s legacy was to be used for establishing, developing and maintaining an arboretum to be known as the Arnold Arboretum which "shall contain, as far as practicable, all the trees [and] shrubs ... either indigenous or exotic, which can be raised in the open air of West Roxbury". The historical mission of the Arnold Arboretum is to increase knowledge of woody plants through research and to disseminate this knowledge through education.
Charles Sprague Sargent was appointed director and Arnold Professor of Botany shortly after the establishment of the institution in 1872.[2] Together with landscape architect Frederick Law Olmsted he developed the road and pathway system and delineated the collection areas by family and genus, following the then current and widely accepted classification system of Bentham and Hooker. The Hunnewell building was designed by architect Alexander Wadsworth Longfellow, Jr. in 1892 and constructed with funds donated by H. H. Hunnewell in 1903. From 1946 to 1950 the landscape architect Beatrix Farrand was the landscape design consultant for the Arboretum. Her early training in the 1890s included time with Charles Sprague Sargent and chief propagator and superintendent Jackson Thornton Johnson.[3] Today the Arboretum occupies 265 acres (107 hectares) of land divided between four parcels, viz. the main Arboretum and the Peters Hill, Weld-Walter and South Street tracts. The collections, however, are located primarily in the main Arboretum and on the Peters Hill tract. The Arboretum remains one of the finest examples of a landscape designed by Frederick Law Olmsted and it is a Frederick Law Olmsted National Historic Site) and a National Historic Landmark.
Robert E. Cook is the seventh and current Director of the Arnold Arboretum. He is also the Director of the Harvard University Herbaria located in Cambridge, Massachusetts.
Status
The Arboretum is privately endowed as a department of Harvard University. The land, however, was deeded to the City of Boston in 1882 and incorporated into the so-called "Emerald Necklace". Under the agreement with the City, Harvard University was given a thousand-year lease on the property, and the University, as trustee, is directly responsible for the development, maintenance, and operation of the Arboretum; the City retains responsibility for water fountains, benches, roads, boundaries, and policing. The annual operating budget of $7,350,644 (fiscal year 2003) is largely derived from endowment, which is also managed by the University, and all Arboretum staff are University employees. Other income is obtained through granting agencies and contributors.
Location
The main Arborway gate is located on Route 203 a few hundred yards south of its junction with the Jamaicaway. Public transportation to the Arboretum is available on the MBTA Orange Line to its terminus at Forest Hills Station and by bus (#39) to the Monument in Jamaica Plain. The Arboretum is within easy walking distance from either of these points.
Hours
The grounds are open free of charge to the public from sunrise to sunset 365 days of the year. The Visitor's Center in the Hunnewell Building, 125 Arborway, is open Monday through Friday 9 a.m.–4 p.m.; Saturdays 10 a.m.–4 p.m.; Sundays 12 p.m.–4 PM. The Visitor’s Center is closed on holidays. The Library, located in the Hunnewell Building, is open Monday through Saturday, 10 a.m.–4 p.m.. The Library is closed on Sundays and holidays. Stacks are closed and the collection does not circulate.
Area
Two hundred and sixty-five acres (107 hectares) in the Jamaica Plain and Roslindale sections of Boston, Massachusetts, located at 42°19′N 71°5′W / 42.317°N 71.083°W / 42.317; -71.083, with altitudes ranging from 46 feet (15 m) in the meadow across the drive from the Hunnewell Building to 240 feet (79 m) at the top of Peters Hill.
Climate
Average yearly rainfall is 43.63 inches (1,102 mm); average snowfall, 40.2 inches (102 centimeters). Monthly mean temperature is 51.5 °F (10.8 °C); July's mean temperature is 73.5 °F (23 °C); January's is 29.6 °F (-1.3 °C). The Arboretum is located in USDA hardiness zone 6 (0 to −10 °F, −18 to −23 °C).
Collections (as of September 14, 2007)
At present, the living collections include 15,441 individual plants (including nursery holdings) belonging to 10,216 accessions representing 4,099 taxa; with particular emphasis on the ligneous species of North America and eastern Asia. Historic collections include the plant introductions from eastern Asia made by Charles Sprague Sargent, Ernest Henry Wilson, William Purdom, Joseph Hers, and Joseph Rock. Recent introductions from Asia have resulted from the 1977 Arnold Arboretum Expedition to Japan and Korea, the 1980 Sino-American Botanical Expedition to western Hubei Province, and more recent expeditions to China and Taiwan.
Comprehensive collections are maintained and augmented for most genera, and genera that have received particular emphasis include: Acer, Fagus, Carya, Forsythia, Taxodium, Pinus, Metasequoia, Lonicera, Magnolia, Malus, Quercus, Rhododendron, Syringa, Paulownia, Albizia, Ilex, Gleditsia and Tsuga. Other comprehensive collections include the Bradley Collection of Rosaceous Plants, the collection of conifers and dwarf conifers, and the Larz Anderson Bonsai Collection. Approximately 500 accessions are processed annually.
Collections policy
The mission of the Arnold Arboretum is to increase our knowledge of the evolution and biology of woody plants. Historically, this research has investigated the global distribution and evolutionary history of trees, shrubs and vines, with particular emphasis on the disjunct species of East Asia and North America. Today this work continues through molecular studies of the evolution and biogeography of the floras of temperate Asia, North America and Europe.
Research activities include molecular studies of gene evolution, investigations of plant-water relations, and the monitoring of plant phenology, vegetation succession, nutrient cycling and other factors that inform studies of environmental change. Applied work in horticulture uses the collections for studies in plant propagation, plant introduction, and environmental management. This diversity of scientific investigation is founded in a continuing commitment to acquire, grow, and document the recognized species and infraspecific taxa of ligneous plants of the Northern Hemisphere that are able to withstand the climate of the Arboretum’s 265-acre (1.07 km2) Jamaica Plain/Roslindale site.
As a primary resource for research in plant biology, the Arboretum’s living collections are actively developed, curated, and managed to support scientific investigation and study. To this end, acquisition policies place priority on obtaining plants that are genetically representative of documented wild populations. For each taxon, the Arnold Arboretum aspires to grow multiple accessions of known wild provenance in order to represent significant variation that may occur across the geographic range of the species. Accessions of garden or cultivated provenance are also acquired as governed by the collections policies herein.
For all specimens, full documentation of both provenance and history within the collection is a critical priority. Curatorial procedures provide for complete and accurate records for each accession, and document original provenance, locations in the collections, and changes in botanical identity. Herbarium specimens, DNA materials, and digital images are gathered for the collection and maintained in Arboretum data systems and the herbarium at the Roslindale site.
Research
Research on plant pathology and integrated pest management for maintenance of the living collections is constantly ongoing. Herbarium-based research focuses on the systematics and biodiversity of both temperate and tropical Asian forests, as well as the ecology and potential for sustainable use of their resources. The Arboretum's education programs offer school groups and the general public a wide range of lectures, courses, and walks focusing on the ecology and cultivation of plants. Its quarterly magazine, Arnoldia, provides in-depth information on horticulture, botany, and garden history. Current Research Initiatives
Plant Records
Plant records are maintained on a computerized database, BG-BASE 6.8 (BG-Base Inc.), which was initiated in 1985 at the request of the Arnold Arboretum and the Threatened Plants Unit (TPU) of the World Conservation Monitoring Centre (WCMC). A computerized mapping program (based on AutoCAD (Autodesk)) is linked to BG-BASE, and each accession is recorded on a series of maps at a scale of 1-inch (25 mm) to 20 feet (1:240) or 1-inch (25 mm) to 10 feet (1:120). A computer-driven embosser generates records labels. All accessioned plants in the collections are labeled with accession number, botanical name, and cultivar name (when appropriate), source information, common name, and map location. Trunk and/or display labels are also hung on many accessions and include botanical and common names and nativity. Stake labels are used to identify plants located in the Leventritt Garden and Chinese Path.
Grounds Maintenance
The grounds staff consists of the superintendent and assistant superintendent, three arborists, and ten horticultural technologists. A service garage is adjacent to the Hunnewell Building, where offices and locker rooms are located. During the summer months ten horticultural interns supplement the grounds staff. A wide array of vehicles and modern equipment, including an aerial lift truck and a John Deere backhoe and front loader, are used in grounds maintenance. Permanent grounds staff, excluding the superintendents, are members of AFL/CIO Local 615, Service Employees International Union (SEIU).
Nursery and Greenhouse Facilities
The Dana Greenhouses, located at 1050 Centre Street (with a mailing address of 125 Arborway), were completed in 1962. They comprise four service greenhouses totaling 3,744 square feet (348 m²), the headhouse with offices, cold rooms, storage areas, and a classroom. Staffing at the greenhouse includes the manager of greenhouses and nurseries, the plant propagator, two assistants, and, during the summer months, two horticultural interns. Adjacent to the greenhouse is a shade house of 3,150 square feet (293 m²), a 12,600 cubic foot (357 m³) cold storage facility, and three irrigated, inground nurseries totaling approximately one and one-half acres (6,000 m²). Also located in the greenhouse complex is the bonsai pavilion, where the Larz Anderson Bonsai Collection is displayed from the middle of April to the end of October. During the winter months the bonsai are held in the cold storage unit at temperatures slightly above freezing.
Isabella Welles Hunnewell Internship Program
The living collections department of the Arnold Arboretum offers a paid summer internship program [2] that combines hands-on training in horticulture with educational courses. Intern trainees will be accepted for 12- to 24-week appointments. Ten interns will work with the grounds maintenance department and two in the Dana Greenhouses.
As part of the training program, interns participate in mandatory instructional sessions and field trips in order to develop a broader sense of the Arboretum’s horticultural practices as well as those of other institutions. Sessions and field trips are led by Arnold staff members and embrace an open question and answer format encouraging all to participate. Interns often bring experience and knowledge that everyone, including staff, benefits from. It is a competitive-free learning environment.
Horticultural Apprenticeship
The Arboretum created the horticultural apprenticeship program in 1997 to provide hands-on experience in all aspects of the development, curation, and maintenance of the Arboretum's living collections to individuals interested in pursuing a career in an arboretum or botanical garden.
The Living Collections department of the Arnold Arboretum offers a summer internship program[4] that combines practical hands-on training in horticulture with educational courses. Fourteen Interns/Horticultural Trainees are accepted for twelve to twenty-four week appointments. Interns receive the majority of their training in one of three departments: Grounds Maintenance, Nursery and Greenhouse, or Plant Records.
Lilac Sunday
The second Sunday in May every year is "Lilac Sunday". This is the only day of the year that picnicing is allowed. In 2008, on the 100th anniversary of Lilac Sunday, the Arboretum website touted:
Of the thousands of flowering plants in the Arboretum, only one, the lilac, is singled out each year for a daylong celebration. On Lilac Sunday, garden enthusiasts from all over New England gather at the Arboretum to picnic, watch Morris dancing, and tour the lilac collection. On the day of the event, which takes place rain or shine, the Arboretum is open as usual from dawn to dusk.[5]
Associated Collections
The Arboretum's herbarium in Jamaica Plain holds specimens of cultivated plants that relate to the living collections (ca. 160,000). The Jamaica Plain herbarium, horticultural library, archives, and photographs are maintained in the Hunnewell building at 125 Arborway; however, the main portions of the herbarium and library collections are housed in Cambridge on the campus of Harvard University, at 22 Divinity Avenue.
Publications
The inventory of living collections is updated periodically and made available to sister botanical gardens and arboreta on request; it is also available on the Arboretum’s website (searchable inventory). Arnoldia, the quarterly magazine of the Arnold Arboretum, frequently publishes articles relating to the living collections. A Reunion of Trees[6] by Stephen A. Spongberg (curator emeritus) recounts the history of the introduction of many of the exotic species included in the Arobretum’s collections. New England Natives[7] written by horticultural research archivist Sheila Connor describes many of the trees and shrubs of the New England flora and the ways New Englanders have used them since prehistoric times. Science in the Pleasure Ground[8] by Ida Hay (former curatorial associate) constitutes an institutional biography of the Arboretum.
Institutional Collaborations
The Arboretum maintains an institutional membership in the American Public Garden Association (APGA) and the International Association of Botanical Gardens and Arboreta. Additionally, members of the staff are associated with many national and international botanical and horticultural organizations. The Arboretum is also a cooperating institution with the Center for Plant Conservation (CPC), and as an active member of the North American Plant Collections Consortium (NAPCC), it is committed to broadening and maintaining its holdings of: Acer, Carya, Fagus, Stewartia, Syringa, and Tsuga for the purposes of plant conservation, evaluation, and research. The Arboretum is also a member of the North American China Plant Exploration Consortium (NACPEC).
See also
Larz Anderson Bonsai Collection, donated by businessman and ambassador Larz Anderson
The Case Estates of the Arnold Arboretum
List of botanical gardens in the United States
North American Plant Collections Consortium
External links
Arnold Arboretum Official Website
Arnold Arboretum Visitor Information
American Public Gardens Association (APGA)
Virtual Information Access (VIA) Catalog of visual resources at Harvard University.
Garden and Forest A Journal of Horticulture, Landscape Art, and Forestry (1888–1897)
....Caterham then tweeted it! :)
My Flickr stream appears to average around 8000 views a day now. When I posted the finished Caterham pics it was at a total of 3.88 million , the various blogs that day took it upwards rapidly and just when I thought it was all going back to normal, this happens. So thanks to all, while some colleagues joke that its great for my ego (which I suppose it is!) its actually quite humbling, as I always want to better my last model because of the faults I see in them, if that makes any sense whatsoever?!
If anything inspires anyone as much as others inspired me, then its all worth it to me.
Ever since the EOSM has disappeared into the SML Blackhole [1], 彩熊 Rainbow Teddy (RT) has been working hard to continue doing photography with the 7D. Most recently, he became interested in the 100-400 because with the super telephoto he deduced that he might be able to find some other teddies nearby.
But in reality, this photo was mainly to show what that US$4 umbrella looks like. It is not silky smooth—to be frank, it has all kinds of wrinkling on its surface, even the bokeh could not hide that fact. But as you can see, a reflector is a reflector is a reflector. It does its job, and for a starving artist like SML, any penny saved is another bread on the table…
RT needed a stool on the chair because alas the Manfrotto tripod could only go as low as that, apparently.
Pictured: RT with the 7D + battery grip + 100-400 unextended. Shot with the 6D + 24-70 f/2.8L with 90EX as remote strobe + 580EX with bargain umbrella on top left, and another 430EX bargain umbrella on top right. At this rate SML should be able to afford some lightbox + monolights soon. Stay tuned!
# Notes
1. A term coined by Louis Seigal (Instagram:@seigalphoto) on SML’s supreme ability to lose things inside SML Universe’s chaos.
# Strobist Info
+ Canon 580EX with umbrella on top left
+ Canon 430EX with umbrella on top right
+ Canon 90EX as remote strobe (replacing the ST-E2) to trigger the two strobes, which is set to A:B 4:1.
# SML Data
+ Date: 2013-07-05T20:04:26+0800
+ Dimensions: 3648 x 3648
+ Exposure: 1/180 sec at f/2.8
+ Focal Length: 32 mm
+ ISO: 400
+ Camera: Canon EOS 6D
+ Lens: Canon EF 24-70mm f/2.8L USM
+ Flash: Canon 580EX + Canon 430EX + Canon 90EX
+ Accessories: Manfrotto tripod, light stands, 鑫威森 umbrellas
+ GPS: 22°25'10" N 114°13'26" E
+ Location: SML Universe HKG (Vista Paradiso, Ma On Shan, Hong Kong)
+ Workflow: Lightroom 5
+ Serial: SML.20130704.6D.17984
+ Series: 彩熊 Rainbow Teddy, Toy Story, Crazyisgood
# Media Licensing
Creative Commons (CCBY) See-ming Lee 李思明 / SML Photography / SML Universe Limited
Rainbow Teddy (RT) plays with Canon EOS 7D + Canon EF 100-400 f/4-5.6L IS USM / Crazyisgood Toy Story / SML.20130705.6D.18046
/ #RainbowTeddy #彩熊 #ToyStory #CreativeCommons #CCBY #LifeCelebratesDiversity #Crazyisgood #SMLPhotography #SMLUniverse #SMLProjects
/ #中國 #中国 #China #香港 #HongKong #gay #Teddy #WTF #instagay #gaybear #LGBT #LOL #geekporn #7D #Canon100400 #Canon #Manfrotto #strobist
Quoting from Wikipedia: Jaguar E-Type:
• • • • •
The Jaguar E-Type (UK) or XK-E (US) is a British automobile manufactured by Jaguar between 1961 and 1974. Its combination of good looks, high performance, and competitive pricing established the marque as an icon of 1960s motoring. A great success for Jaguar, over seventy thousand E-Types were sold during its lifespan.
In March 2008, the Jaguar E-Type ranked first in Daily Telegraph list of the "100 most beautiful cars" of all time.[2] In 2004, Sports Car International magazine placed the E-Type at number one on their list of Top Sports Cars of the 1960s.
Contents
•• 4.2 Lightweight E-Type (1963-1964)
Overview
The E-Type was initially designed and shown to the public as a grand tourer in two-seater coupé form (FHC or Fixed Head Coupé) and as convertible (OTS or Open Two Seater). The 2+2 version with a lengthened wheelbase was released several years later.
On its release Enzo Ferrari called it "The most beautiful car ever made".
The model was made in three distinct versions which are now generally referred to as "Series 1", "Series 2" and "Series 3". A transitional series between Series 1 and Series 2 is known unofficially as "Series 1½".
In addition, several limited-edition variants were produced:
• The "'Lightweight' E-Type" which was apparently intended as a sort of follow-up to the D-Type. Jaguar planned to produce 18 units but ultimately only a dozen were reportedly built. Of those, one is known to have been destroyed and two others have been converted to coupé form. These are exceedingly rare and sought after by collectors.
• The "Low Drag Coupé" was a one-off technical exercise which was ultimately sold to a Jaguar racing driver. It is presently believed to be part of the private collection of the current Viscount Cowdray.
Concept versions
E1A (1957)
After their success at LeMans 24 hr through the 1950s Jaguars defunct racing department were given the brief to use D-Type style construction to build a road going sports car, replacing the XK150.
It is suspected that the first prototype (E1A) was given the code based on: (E): The proposed production name E-Type (1): First Prototype (A): Aluminium construction (Production models used steel bodies)
The car featured a monocoque design, Jaguar's fully independent rear suspension and the well proved "XK" engine.
The car was used solely for factory testings and was never formally released to the public. The car was eventually scrapped by the factory
E2A (1960)
Jaguar's second E-Type concept was E2A which unlike E1A was constructed from a steel chassis and used a aluminium body. This car was completed as a race car as it was thought by Jaguar at the time it would provide a better testing ground.
E2A used a 3 litre version of the XK engine with a Lucas fuel injection system.
After retiring from the LeMans 24 hr the car was shipped to America to be used for racing by Jaguar privateer Briggs Cunningham.
In 1961 the car returned to Jaguar in England to be used as a testing mule.
Ownership of E2A passed to Roger Woodley (Jaguars customer competition car manager) who took possession on the basis the car not be used for racing. E2A had been scheduled to be scrapped.
Roger's wife Penny Griffiths owned E2A until 2008 when it was offered for sale at Bonham's Quail Auction. Sale price was US$4.5 million
Production versions
Series 1 (1961-1968)
Series I
• Production
2-door coupe
2-door convertible
96.0 in (2438 mm) (FHC / OTS)
105.0 in (2667 mm) (2+2) [5]
• Length
175.3125 in (4453 mm) (FHC / OTS)
184.4375 in (4685 mm) (2+2) [5]
• Width
65.25 in (1657 mm) (all) [5]
• Height
48.125 in (1222 mm) (FHC)
50.125 in (1273 mm) (2+2)
46.5 in (1181 mm) (OTS)[5]
2,900 lb (1,315 kg) (FHC)
2,770 lb (1,256 kg) (OTS)
3,090 lb (1,402 kg) (2+2) [6]
• Fuel capacity
63.64 L (16.8 US gal; 14.0 imp gal)[5]
The Series 1 was introduced, initially for export only, in March 1961. The domestic market launch came four months later in July 1961.[7] The cars at this time used the triple SU carburetted 3.8 litre 6-cylinder Jaguar XK6 engine from the XK150S. The first 500 cars built had flat floors and external hood (bonnet) latches. These cars are rare and more valuable. After that, the floors were dished to provide more leg room and the twin hood latches moved to inside the car. The 3.8 litre engine was increased to 4.2 litres in October 1964.[7]
All E-Types featured independent coil spring rear suspension with torsion bar front ends, and four wheel disc brakes, in-board at the rear, all were power-assisted. Jaguar was one of the first auto manufacturers to equip cars with disc brakes as standard from the XK150 in 1958. The Series 1 can be recognised by glass covered headlights (up to 1967), small "mouth" opening at the front, signal lights and tail-lights above bumpers and exhaust tips under the licence plate in the rear.
3.8 litre cars have leather-upholstered bucket seats, an aluminium-trimmed centre instrument panel and console (changed to vinyl and leather in 1963), and a Moss 4-speed gearbox that lacks synchromesh for 1st gear ("Moss box"). 4.2 litre cars have more comfortable seats, improved brakes and electrical systems, and an all-synchromesh 4-speed gearbox. 4.2 litre cars also have a badge on the boot proclaiming "Jaguar 4.2 Litre E-Type" (3.8 cars have a simple "Jaguar" badge). Optional extras included chrome spoked wheels and a detachable hard top for the OTS.
An original E-Type hard top is very rare, and finding one intact with all the chrome, not to mention original paint in decent condition, is rather difficult. For those who want a hardtop and aren't fussy over whether or not it is an original from Jaguar, several third parties have recreated the hardtop to almost exact specifications. The cost ranges anywhere from double to triple the cost of a canvas/vinyl soft top.
A 2+2 version of the coupé was added in 1966. The 2+2 offered the option of an automatic transmission. The body is 9 in (229 mm) longer and the roof angles are different with a more vertical windscreen. The roadster remained a strict two-seater.
There was a transitional series of cars built in 1967-68, unofficially called "Series 1½", which are externally similar to Series 1 cars. Due to American pressure the new features were open headlights, different switches, and some de-tuning (with a downgrade of twin Zenith-Stromberg carbs from the original triple SU carbs) for US models. Some Series 1½ cars also have twin cooling fans and adjustable seat backs. Series 2 features were gradually introduced into the Series 1, creating the unofficial Series 1½ cars, but always with the Series 1 body style.
Less widely known, there was also right at the end of Series 1 production and prior to the transitional "Series 1½" referred to above, a very small number of Series 1 cars produced with open headlights.[8] These are sometimes referred to as "Series 1¼" cars.[9] Production dates on these machines vary but in right hand drive form production has been verified as late as March 1968.[10] It is thought that the low number of these cars produced relative to the other Series make them amongst the rarest of all production E Types.
An open 3.8 litre car, actually the first such production car to be completed, was tested by the British magazine The Motor in 1961 and had a top speed of 149.1 mph (240.0 km/h) and could accelerate from 0-60 mph (97 km/h) in 7.1 seconds. A fuel consumption of 21.3 miles per imperial gallon (13.3 L/100 km; 17.7 mpg-US) was recorded. The test car cost £2097 including taxes.[11]
Production numbers from Graham[12]:
• 15,490 3.8s
• 17,320 4.2s
• 10,930 2+2s
Production numbers from xkedata.com[13]: [omitted -- Flickr doesn't allow tables]
Series 2 (1969-1971)
Series II
• Production
2-door coupe
2-door convertible
3,018 lb (1,369 kg) (FHC)
2,750 lb (1,247 kg) (OTS)
3,090 lb (1,402 kg) (2+2) [6]
Open headlights without glass covers, a wrap-around rear bumper, re-positioned and larger front indicators and taillights below the bumpers, better cooling aided by an enlarged "mouth" and twin electric fans, and uprated brakes are hallmarks of Series 2 cars. De-tuned in US, but still with triple SUs in the UK, the engine is easily identified visually by the change from smooth polished cam covers to a more industrial 'ribbed' appearance. Late Series 1½ cars also had ribbed cam covers. The interior and dashboard were also redesigned, with rocker switches that met U.S health and safety regulations being substituted for toggle switches. The dashboard switches also lost their symmetrical layout. New seats were fitted, which purists claim lacked the style of the originals but were certainly more comfortable. Air conditioning and power steering were available as factory options.
Production according to Graham[12] is 13,490 of all types.
Series 2 production numbers from xkedata.com[13]: [omitted -- Flickr doesn't allow tables]
Official delivery numbers by market and year are listed in Porter[3] but no summary totals are given.
Series 3 (1971-1975)
Series III
• Production
1971–1975
2-door convertible
105 in (2667 mm) (both)[6]
• Length
184.4 in (4684 mm) (2+2)
184.5 in (4686 mm) (OTS)[6]
• Width
66.0 in (1676 mm) (2+2)
66.1 in (1679 mm) (OTS)[6]
• Height
48.9 in (1242 mm) (2+2)
48.1 in (1222 mm) (OTS)[6]
3,361 lb (1,525 kg) (2+2)
3,380 lb (1,533 kg) (OTS)[6]
• Fuel capacity
82 L (21.7 US gal; 18.0 imp gal)[14]
A new 5.3 L 12-cylinder Jaguar V12 engine was introduced, with uprated brakes and standard power steering. The short wheelbase FHC body style was discontinued and the V12 was available only as a convertible and 2+2 coupé. The convertible used the longer-wheelbase 2+2 floorplan. It is easily identifiable by the large cross-slatted front grille, flared wheel arches and a badge on the rear that proclaims it to be a V12. There were also a very limited number of 4.2 litre six-cylinder Series 3 E-Types built. These were featured in the initial sales literature. It is believed these are the rarest of all E-Types of any remaining.
In 2008 a British classic car enthusiast assembled what is surely the last ever E-Type from parts bought from the end-of-production surplus in 1974.[15]
Graham[12] lists production at 15,290.
Series 3 production numbers from xkedata.com[13]: [omitted -- Flickr doesn't allow tables]
Limited edtions
Two limited production E-Type variants were made as test beds, the Low Drag Coupe and Lightweight E-Type, both of which were raced:
Low Drag Coupé (1962)
Shortly after the introduction of the E-Type, Jaguar management wanted to investigate the possibility of building a car more in the spirit of the D-Type racer from which elements of the E-Type's styling and design were derived. One car was built to test the concept designed as a coupé as its monocoque design could only be made rigid enough for racing by using the "stressed skin" principle. Previous Jaguar racers were built as open-top cars because they were based on ladder frame designs with independent chassis and bodies. Unlike the steel production E-Types the LDC used lightweight aluminium. Sayer retained the original tub with lighter outer panels riveted and glued to it. The front steel sub frame remained intact, the windshield was given a more pronounced slope and the rear hatch welded shut. Rear brake cooling ducts appeared next to the rear windows,and the interior trim was discarded, with only insulation around the transmission tunnel. With the exception of the windscreen, all cockpit glass was plexi. A tuned version of Jaguar's 3.8 litre engine with a wide angle cylinder-head design tested on the D-Type racers was used. Air management became a major problem and, although much sexier looking and certainly faster than a production E-Type, the car was never competitive: the faster it went, the more it wanted to do what its design dictated: take off.
The one and only test bed car was completed in summer of 1962 but was sold a year later to Jaguar racing driver Dick Protheroe who raced it extensively and eventually sold it. Since then it has passed through the hands of several collectors on both sides of the Atlantic and now is believed to reside in the private collection of the current Viscount Cowdray.
Lightweight E-Type (1963-1964)
In some ways, this was an evolution of the Low Drag Coupé. It made extensive use of aluminium alloy in the body panels and other components. However, with at least one exception, it remained an open-top car in the spirit of the D-Type to which this car is a more direct successor than the production E-Type which is more of a GT than a sports car. The cars used a tuned version of the production 3.8 litre Jaguar engine with 300 bhp (224 kW) output rather than the 265 bhp (198 kW) produced by the "ordinary" version. At least one car is known to have been fitted with fuel-injection.
The cars were entered in various races but, unlike the C-Type and D-Type racing cars, they did not win at Le Mans or Sebring.
Motor Sport
Bob Jane won the 1963 Australian GT Championship at the wheel of an E-Type.
The Jaguar E-Type was very successful in SCCA Production sports car racing with Group44 and Bob Tullius taking the B-Production championship with a Series-3 V12 racer in 1975. A few years later, Gran-Turismo Jaguar from Cleveland Ohio campaigned a 4.2 L 6 cylinder FHC racer in SCCA production series and in 1980, won the National Championship in the SCCA C-Production Class defeating a fully funded factory Nissan Z-car team with Paul Newman.
See also
• Jaguar XK150 - predecessor to the E-Type
• Jaguar XJS - successor to the E-Type
• Jaguar XK8 - The E-Type's current and spiritual successor
• Guyson E12 - a rebodied series III built by William Towns
References
• ^ Loughborough graduate and designer of E Type Jaguar honoured
• ^ a b cPorter, Philip (2006). Jaguar E-type, the definitive history. p. 443. ISBN 0-85429-580-1.
• ^ a b"'69 Series 2 Jaguar E Types", Autocar, October 24, 1968
• ^ a b c d eThe Complete Official Jaguar "E". Cambridge: Robert Bentley. 1974. p. 12. ISBN 0-8376-0136-3.
• ^ a b c d e f g"Jaguar E-Type Specifications". http://www.web-cars.com/e-type/specifications.php. Retrieved 29 August 2009.
• ^ a b"Buying secondhand E-type Jaguar". Autocar 141 (nbr4042): pages 50–52. 6 April 1974.
• ^ See Jaguar Clubs of North America concourse information at: [1] and more specifically the actual Series 1½ concourse guide at [2]
• ^ Ibid.
• ^ Compare right hand drive VIN numbers given in JCNA concours guide referred to above with production dates for right hand drive cars as reflected in the XKEdata database at [3]
• ^"The Jaguar E-type". The Motor. March 22, 1961.
• ^ a b cRobson, Graham (2006). A–Z British Cars 1945–1980. Devon, UK: Herridge & Sons. ISBN 0-9541063-9-3.
• ^ a b chttp://www.xkedata.com/stats/. http://www.xkedata.com/stats/. Retrieved 29 August 2009.
• ^Daily Express Motor Show Review 1975 Cars: Page 24 (Jaguar E V12). October 1974.
• ^ jalopnik.com/5101872/british-man-cobbles-together-last-ja...
Sometimes the simplest things are the most beautiful. These are water patterns left behind by the boat during my boat ride in Sanya.
Photographed with the Canon EOS 6D + Canon EF 24-70mm f/2.8L USM.
水 Water / 中國海南三亞 Sanya, Hainan, China / SML.20140507.6D.32155.P2.BW
Did Flickr change its view counting method after the recent UI change which shows photos in a never-ending scroll?
In the past, my typical daily view count circles around 3000 views per day, but as you can be seen in the screenshot here, it has gone up to the 5-digit range. So much so that in typical Flickr fashion they have probably locked my account two days before which moved view count to zero.
I know that they do inspect “suspicious activities” by temporarily locking accounts because every time my photos get used on prominent web sites, my view count will soar, and then immediately the next day I would see my view count drop to zero. But I am fairly certain that this is not such instance.
Also noted: normal new photo views typically circles around 50 at most daily but something posted yesterday now will circle in the 200+ values, leading me to suspect that something is going on — though exactly what is unclear.
SML Flickr Stats: 2013-08-01 / SML Data / SML.20130801.SC
/ #SMLFlickrStats #SMLScreenshots #CreativeCommons #CCBY #SMLData #SMLOpinions #SMLAnalytics #SMLUniverse
/ #Flickr #Stats #FlickrStats #screenshots #data #views #opinions #analytics
Originally I had come here to do time-lapse of the sunset, though right before I started the timer, I was working on an HDR panorama of the scenery, and had forgotten to turn off AEB (auto-exposure bracketing) setting when the timer started running. So what ended up happening is that I now have a series of HDR time-lapse footage.
In the perfect world, perhaps, these captures will automatically be stacked to HDR, then perhaps with a script I will be able to batch-process them throughout. But since I have not yet figured out how to do this, here I present you with a still capture from one of the series, here I present you with one of the HDR captures instead.
# SML Data
+ Date: 2013-08-07T19:02:31+0800
+ Dimensions: 5431 x 3621
+ Exposure: 0.4, 1/20, 1/160 sec at f/8.0
+ Focal Length: 17 mm
+ ISO: 400
+ Flash: Did not fire
+ Camera: Canon EOS 6D
+ Lens: Canon EF 17-40 f/4L USM
+ Accessories: Canon TC-80N3, Manfrotto tripod / head
+ GPS: 22°23'16" N 114°11'58" E
+ Location: 香港沙田翠榕橋 Banyan Bridge, Shatin, Hong Kong
+ Subject: 香港沙田城門河 Shing Mun River, Shatin, Hong Kong
+ Workflow: Photomatix Pro 4.2.5, Lightroom 5
+ Serial: SML.20130807.6D.25123-24-25.HDR.BW
+ Series: 寧 Serenity, HDR
# Media Licensing
Creative Commons (CCBY) See-ming Lee 李思明 / SML Photography / SML Universe Limited
如上以下 As above, so below / 香港沙田城門河之寧 Hong Kong Shatin Shing Mun River Serenity (BW HDR) / SML.20130807.6D.25123-24-25.HDR.BW
/ #寧 #Serenity #SMLSerenity #HDR #SMLHDR #黑白 #BW #SMLBW #CreativeCommons #CCBY #SMLPhotography #SMLUniverse #SMLProjects
/ #中國 #中国 #China #香港 #HongKong #攝影 #摄影 #photography #山水 #landscape #自然 #Nature #cloudscape #clouds
www.flickr.com/photos/seeminglee/9501334606/
www.flickr.com/photos/seeminglee/9501334606/sizes/o/ (5431 x 3621)