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According to the Van Dusen website: "Travertine Sculpture 75 or Three Forms or Family Life
by David F.Marshall (1928-2006)
travertine – 1975 Symposium
Artist Statement: “I became aware that the uncarved blocks fit roughly into a Fibonacci series, and this became the scale of values used through all the forms. Variety of plane and shape, contrast rather than formal unity, is stressed. The western side, facing the setting sun, is like a flat wall with projections and indentations. The eastern side facing the sunrise is organic, rounded. The bottom block is carved into two forms. One is geometric, flat masculine; the other is organic, rounded feminine. The upper, smaller form, supported like a child by its parents, has some of the characteristics of each of the lower forms. It acts as a unifying element.” Originally named Travertine Sculpture 75 by Mr. Marshall for the 1975 Symposium, he has also referred to this piece at various times by two other names – Three Forms and Family Life. Choose the one you like best!" - vancouver.ca/vandusen/sculpture/collection.htm
Well, 2014 finds me continuing the same activity; documenting colour forms of globular springtails in the genus Sminthurinus.
Towards the end of December 2013, I started seeing darkly-pigmented forms of what looked like Sminthurinus reticulatus. Sminthurinus reticulatus are similar to the reticulata form of Sminthurinus aureus but the reticulate abdominal patterning contains dark pigment.
Here's a selection of Sminthurinus sprintails from today. All show some degree of reticulate patterning but it is very variable and barely noticeable in some. 4 and 5 do show some of the "dark form" characteristics that I've been seeing locally though, with an area of dark pigmentation between the eyes and a "moustache" radiating out underneath with a number of dark "spokes" (compare with 2 and 6).
It's all of little import really, but it keeps me amused!
Canon 5D3 + MP-E 65mm (at 5x) + 1.4x Extender + 36mm extension tube + MT24-EX Flash. Magnification x8. All cropped significantly for the collage.
Well, it took a while, but we've finally arrived at the end of the Vancouver figure deals line, and I've save the best for last. Presenting Mahou Shoujo Lyrical Nanoha StrikerS - Fate T. Harlaown - Moekore Plus 11 - 1/7 - Shin Sonic Form from Volks, which I purchased for $10 CAD.
Volks is a manufacturer that is generally known for its high end anime collectibles, namely the Dolfie line of highly customizable 1/4 scale dolls with a variety of outfits that are either in house creations or licensed from various properties. They do on occasion (or maybe they DID.. I dunno) make resin kits, as well as scale PVC statues, some of which were sold directly from their retail stores and online service. In 2009, when Mahou Shoujo Lyrical Nanoha was viable property, Volks produced this particular piece which was an exclusive to their stores, retailing for a whopping 7,900 Yen.
If you've read any of my other stuff before, here's the usual blurb - I have never watched the series, movies, and have never read any manga. The only reason I know anything about Fate Testarossa is due to the fact that many years ago I purchased a Fate Testarossa Figma on a whim, and in the past year or so did some research for writing purposes, though I think this predated my Facebook page babbling. Arch rival to the franchise character Nanoha, I guess its safe to say that Fate is the Vegeta of this series. Doing a bit more digging, I now expand on my vast depths of Nanoha knowledge by adding that this Shine Sonic Form differs the Figma by losing the white cape, her military-esque tunic is now basically a mini-dress, and she has armoured gauntlets and boots. She still is rocking her trademark twin blonde pigtails though with black bows.
This statue comes with a translucent yellow base with a magic glyph printed on it, the statue itself, an extra face plate for two expressions (neutral smile, open mouth attack), and extra arms/hands to allow Fate to pose with both her Riot Blades and Riot Zamber.
So, you must be wondering - what's the catch? Why is all this exclusive greatness only $10? Well, Fate is a fixer upper, though it's hard to see due to my almost Divine level repair skills *gag* and general ability to hide things. The handles of her Riot Blades snapped off so I needed to glue those back in place, and the twosmall pegs that hold one foot in place on the base are also broken.. but clearly, nothing that a spot of glue and some patience can't fix. At least her hair was still in one piece!
Fate is sculpted in one pose, body mid pose with hair that accents this movement. As stated above, she has extra arms and hands such that she poses with either her Riot Blades on each side of her, or with her giant Riot Zamber behind her head, both excellent choices though for the purposes of space the Zamber pose is the way to go. From a sculpting perspective, I'd say Fate is generally solid, even by modern standards. Being effectively magical girls, Fate and her coherts weren't exactly designed with a lot of muscle definition to replicate. On the whole, Fate has just the right amount of curves to make her feminine, but not enough to turn her into a T & A statue - this is a battle pose statue, after all. There is some good detailing on the armoured parts, particularly on the fingers of the gauntlets, The weakest link of the statue is one that continues to plaque even modern day releases, which is the hair. Detailing on the braids is alright - not super fine, but there's something. Bangs are decent. I just feel that they could have done something with the top of her head rather than simply have it as a vast desert of yellow.
Paint work for the statue on the whole is fairly clean, witht he messiest bits being the white highlights on her outfit, especially around her chest, and one of the red bands around her ankle. I do love the extra glossy paint Volks chose for her tunic though - the shine not only makes it look like a different material, but also, it allows for the tunic to pop against her black stockings and the rest of her body on the whole. Paint work on the hair is fairly good, though I suspect a bit of a brighter yellow would have been nice.. and perhaps none of those brownish highlights. The overall finish on the statue is above average. There are no obvious signs of assembly gaps (expect for the head, but what can you do about that given it's meant to separate), but I know that the finishes could have been better as the texture of the pieces aren't as good as say that from Alter or Good Smile Company. But at least it isn't Kotobukiya levels of mediocrity.
The face sculpt appears to be bang on, with good angles on the jaw line and large expressive eyes backed up with some solid decal work. Her nose has good definition which helps it pop. The open mouth sculpt is.. alright. I mean, it doesn't offend or anything, but traditionally open mouth sculpts aren't the greatest. I think it doesn't annoy me because there are no teeth, which usually have horrible paint due and poor detailing to the small size.
The star attractions of the statue are, of course, the weapons, which is really why I noticed the character to begin with. Based on the repairs I had to make, I'm guessing perhaps the handles aren't made from the stiffest materials, which is unfortunate given the small diameter of the piece. Having said that, the larger sword handle did survive intact after all these years, so maybe it was a bad handling thing or perhaps a batch issue. Either way, the giant translucent plastic blades do look fantastic, and were expertly finished with no rough edges or scratches.
Clearly for $10 this was an excellent display piece purchase which cleaned up quite well. Despite its age, the overall statue is still a looker and is a good size for shelf presence. The ability to swap out the weapons is also great, and allows for a small bit of personalization, or even the ability to freshen up the display periodically. I suspect that even if I was into the line back in the day, the price tag would have put this piece out of my admittedly cheap grasp, so it's nice when opportunities like this come up that allow for the ability to enjoy the piece without breaking the bank, albeit with some conditions attached.
Now to find an actual spot to display her in.
An unusual form of tourism to say the least. However. We went to the funeral of a rich business man. It's a celebration of life and the colors for Ghanaian funerals are red and black. Ungewöhnlicher tourismus - die Beerdigung eines reichen Geschäftsmanns.
This work by Jasmine Nears is licensed under a Creative Commons Attribution-ShareAlike 4.0 International License
Rocky planets may be able to form in harsher environments than we thought. Webb detected key building blocks of planets, including water and carbon dioxide, in a rocky planet-forming zone being hit by extreme amounts of ultraviolet radiation.
Planets are formed from disks of gas, dust and rock surrounding stars. The specific disk Webb observed, XUE 1, is near several massive stars. These stars emit high levels of ultraviolet radiation, which scientists expected would disperse gas and break apart chemical molecules.
To the team’s surprise, Webb found partially crystalline silicate dust, plus various molecules (water, carbon monoxide, carbon dioxide, hydrogen cyanide, acetylene) that can form rocky planets. It’s the first time such molecules have been detected under these extreme conditions.
Learn more: www.nasa.gov/missions/webb/webb-study-reveals-rocky-plane...
This image: This is an artist’s impression of a young star surrounded by a protoplanetary disk in which planets are forming. Credit: ESO/L. Calçada
Image description: This artist concept is dominated by a dusty disk extending from upper left to lower right and tilted toward the viewer. It resembles patchy clouds with small rocky bits scattered throughout. At 4 o’clock and 11 o’clock are two small, embedded planets. The outer edges of the disk are reddish, the middle orange, and the inner region yellow-white. At the center is a gap within which is a bright white star. In the top right corner is a label that reads “artist concept.”
Clan Jetties form part of the Penang Heritage Trail. There used to be seven jetties until one was demolished by fire and now six remain. Billed as one of the last bastions of old Chinese settlements on the island, this waterfront society is home to houses on stilts of various Chinese clans.
Located straight down from Lebuh Chulia (beside the Kapitan Kling Mosque) at Pengkalan Weld (Weld Quay), these water villages are over a century old. Each jetty is named after a Chinese clan – the Chew Jetty is the most tourist-friendly with the most stilt-houses, the longest walkway, a temple that is worth stopping by and plenty of places for those Kodak moments.
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The exploitation rights for this text are the property of the Vienna Tourist Board. This text may be reprinted free of charge until further notice, even partially and in edited form. Forward sample copy to: Vienna Tourist Board, Media Management, Invalidenstraße 6, 1030 Vienna; media.rel@wien.info. All information in this text without guarantee.
Author: Andreas Nierhaus, Curator of Architecture/Wien Museum
Last updated January 2014
Architecture in Vienna
Vienna's 2,000-year history is present in a unique density in the cityscape. The layout of the center dates back to the Roman city and medieval road network. Romanesque and Gothic churches characterize the streets and squares as well as palaces and mansions of the baroque city of residence. The ring road is an expression of the modern city of the 19th century, in the 20th century extensive housing developments set accents in the outer districts. Currently, large-scale urban development measures are implemented; distinctive buildings of international star architects complement the silhouette of the city.
Due to its function as residence of the emperor and European power center, Vienna for centuries stood in the focus of international attention, but it was well aware of that too. As a result, developed an outstanding building culture, and still today on a worldwide scale only a few cities can come up with a comparable density of high-quality architecture. For several years now, Vienna has increased its efforts to connect with its historical highlights and is drawing attention to itself with some spectacular new buildings. The fastest growing city in the German-speaking world today most of all in residential construction is setting standards. Constants of the Viennese architecture are respect for existing structures, the palpability of historical layers and the dialogue between old and new.
Culmination of medieval architecture: the Stephansdom
The oldest architectural landmark of the city is St. Stephen's Cathedral. Under the rule of the Habsburgs, defining the face of the city from the late 13th century until 1918 in a decisive way, the cathedral was upgraded into the sacral monument of the political ambitions of the ruling house. The 1433 completed, 137 meters high southern tower, by the Viennese people affectionately named "Steffl", is a masterpiece of late Gothic architecture in Europe. For decades he was the tallest stone structure in Europe, until today he is the undisputed center of the city.
The baroque residence
Vienna's ascension into the ranks of the great European capitals began in Baroque. Among the most important architects are Johann Bernhard Fischer von Erlach and Johann Lucas von Hildebrandt. Outside the city walls arose a chain of summer palaces, including the garden Palais Schwarzenberg (1697-1704) as well as the Upper and Lower Belvedere of Prince Eugene of Savoy (1714-22). Among the most important city palaces are the Winter Palace of Prince Eugene (1695-1724, now a branch of the Belvedere) and the Palais Daun-Kinsky (auction house in Kinsky 1713-19). The emperor himself the Hofburg had complemented by buildings such as the Imperial Library (1722-26) and the Winter Riding School (1729-34). More important, however, for the Habsburgs was the foundation of churches and monasteries. Thus arose before the city walls Fischer von Erlach's Karlskirche (1714-39), which with its formal and thematic complex show façade belongs to the major works of European Baroque. In colored interior rooms like that of St. Peter's Church (1701-22), the contemporary efforts for the synthesis of architecture, painting and sculpture becomes visible.
Upgrading into metropolis: the ring road time (Ringstraßenzeit)
Since the Baroque, reflections on extension of the hopelessly overcrowed city were made, but only Emperor Franz Joseph ordered in 1857 the demolition of the fortifications and the connection of the inner city with the suburbs. 1865, the Ring Road was opened. It is as the most important boulevard of Europe an architectural and in terms of urban development achievement of the highest rank. The original building structure is almost completely preserved and thus conveys the authentic image of a metropolis of the 19th century. The public representational buildings speak, reflecting accurately the historicism, by their style: The Greek Antique forms of Theophil Hansen's Parliament (1871-83) stood for democracy, the Renaissance of the by Heinrich Ferstel built University (1873-84) for the flourishing of humanism, the Gothic of the Town Hall (1872-83) by Friedrich Schmidt for the medieval civic pride.
Dominating remained the buildings of the imperial family: Eduard van der Nüll's and August Sicardsburg's Opera House (1863-69), Gottfried Semper's and Carl Hasenauer's Burgtheater (1874-88), their Museum of Art History and Museum of Natural History (1871-91) and the Neue (New) Hofburg (1881-1918 ). At the same time the ring road was the preferred residential area of mostly Jewish haute bourgeoisie. With luxurious palaces the families Ephrussi, Epstein or Todesco made it clear that they had taken over the cultural leadership role in Viennese society. In the framework of the World Exhibition of 1873, the new Vienna presented itself an international audience. At the ring road many hotels were opened, among them the Hotel Imperial and today's Palais Hansen Kempinski.
Laboratory of modernity: Vienna around 1900
Otto Wagner's Postal Savings Bank (1903-06) was one of the last buildings in the Ring road area Otto Wagner's Postal Savings Bank (1903-06), which with it façade, liberated of ornament, and only decorated with "functional" aluminum buttons and the glass banking hall now is one of the icons of modern architecture. Like no other stood Otto Wagner for the dawn into the 20th century: His Metropolitan Railway buildings made the public transport of the city a topic of architecture, the church of the Psychiatric hospital at Steinhofgründe (1904-07) is considered the first modern church.
With his consistent focus on the function of a building ("Something impractical can not be beautiful"), Wagner marked a whole generation of architects and made Vienna the laboratory of modernity: in addition to Joseph Maria Olbrich, the builder of the Secession (1897-98) and Josef Hoffmann, the architect of the at the western outskirts located Purkersdorf Sanatorium (1904) and founder of the Vienna Workshop (Wiener Werkstätte, 1903) is mainly to mention Adolf Loos, with the Loos House at the square Michaelerplatz (1909-11) making architectural history. The extravagant marble cladding of the business zone stands in maximal contrast, derived from the building function, to the unadorned facade above, whereby its "nudity" became even more obvious - a provocation, as well as his culture-critical texts ("Ornament and Crime"), with which he had greatest impact on the architecture of the 20th century. Public contracts Loos remained denied. His major works therefore include villas, apartment facilities and premises as the still in original state preserved Tailor salon Knize at Graben (1910-13) and the restored Loos Bar (1908-09) near the Kärntner Straße (passageway Kärntner Durchgang).
Between the Wars: International Modern Age and social housing
After the collapse of the monarchy in 1918, Vienna became capital of the newly formed small country of Austria. In the heart of the city, the architects Theiss & Jaksch built 1931-32 the first skyscraper in Vienna as an exclusive residential address (Herrengasse - alley 6-8). To combat the housing shortage for the general population, the social democratic city government in a globally unique building program within a few years 60,000 apartments in hundreds of apartment buildings throughout the city area had built, including the famous Karl Marx-Hof by Karl Ehn (1925-30). An alternative to the multi-storey buildings with the 1932 opened International Werkbundsiedlung was presented, which was attended by 31 architects from Austria, Germany, France, Holland and the USA and showed models for affordable housing in greenfield areas. With buildings of Adolf Loos, André Lurçat, Richard Neutra, Gerrit Rietveld, the Werkbundsiedlung, which currently is being restored at great expense, is one of the most important documents of modern architecture in Austria.
Modernism was also expressed in significant Villa buildings: The House Beer (1929-31) by Josef Frank exemplifies the refined Wiener living culture of the interwar period, while the house Stonborough-Wittgenstein (1926-28, today Bulgarian Cultural Institute), built by the philosopher Ludwig Wittgenstein together with the architect Paul Engelmann for his sister Margarete, by its aesthetic radicalism and mathematical rigor represents a special case within contemporary architecture.
Expulsion, war and reconstruction
After the "Anschluss (Annexation)" to the German Reich in 1938, numerous Jewish builders, architects (female and male ones), who had been largely responsible for the high level of Viennese architecture, have been expelled from Austria. During the Nazi era, Vienna remained largely unaffected by structural transformations, apart from the six flak towers built for air defense of Friedrich Tamms (1942-45), made of solid reinforced concrete which today are present as memorials in the cityscape.
The years after the end of World War II were characterized by the reconstruction of the by bombs heavily damaged city. The architecture of those times was marked by aesthetic pragmatism, but also by the attempt to connect with the period before 1938 and pick up on current international trends. Among the most important buildings of the 1950s are Roland Rainer's City Hall (1952-58), the by Oswald Haerdtl erected Wien Museum at Karlsplatz (1954-59) and the 21er Haus of Karl Schwanzer (1958-62).
The youngsters come
Since the 1960s, a young generation was looking for alternatives to the moderate modernism of the reconstruction years. With visionary designs, conceptual, experimental and above all temporary architectures, interventions and installations, Raimund Abraham, Günther Domenig, Eilfried Huth, Hans Hollein, Walter Pichler and the groups Coop Himmelb(l)au, Haus-Rucker-Co and Missing Link rapidly got international attention. Although for the time being it was more designed than built, was the influence on the postmodern and deconstructivist trends of the 1970s and 1980s also outside Austria great. Hollein's futuristic "Retti" candle shop at Charcoal Market/Kohlmarkt (1964-65) and Domenig's biomorphic building of the Central Savings Bank in Favoriten (10th district of Vienna - 1975-79) are among the earliest examples, later Hollein's Haas-Haus (1985-90), the loft conversion Falkestraße (1987/88) by Coop Himmelb(l)au or Domenig's T Center (2002-04) were added. Especially Domenig, Hollein, Coop Himmelb(l)au and the architects Ortner & Ortner (ancient members of Haus-Rucker-Co) by orders from abroad the new Austrian and Viennese architecture made a fixed international concept.
MuseumQuarter and Gasometer
Since the 1980s, the focus of building in Vienna lies on the compaction of the historic urban fabric that now as urban habitat of high quality no longer is put in question. Among the internationally best known projects is the by Ortner & Ortner planned MuseumsQuartier in the former imperial stables (competition 1987, 1998-2001), which with institutions such as the MUMOK - Museum of Modern Art Foundation Ludwig, the Leopold Museum, the Kunsthalle Wien, the Architecture Center Vienna and the Zoom Children's Museum on a wordwide scale is under the largest cultural complexes. After controversies in the planning phase, here an architectural compromise between old and new has been achieved at the end, whose success as an urban stage with four million visitors (2012) is overwhelming.
The dialogue between old and new, which has to stand on the agenda of building culture of a city that is so strongly influenced by history, also features the reconstruction of the Gasometer in Simmering by Coop Himmelb(l)au, Wilhelm Holzbauer, Jean Nouvel and Manfred Wehdorn (1999-2001). Here was not only created new housing, but also a historical industrial monument reinterpreted into a signal in the urban development area.
New Neighborhood
In recent years, the major railway stations and their surroundings moved into the focus of planning. Here not only necessary infrastructural measures were taken, but at the same time opened up spacious inner-city residential areas and business districts. Among the prestigious projects are included the construction of the new Vienna Central Station, started in 2010 with the surrounding office towers of the Quartier Belvedere and the residential and school buildings of the Midsummer quarter (Sonnwendviertel). Europe's largest wooden tower invites here for a spectacular view to the construction site and the entire city. On the site of the former North Station are currently being built 10,000 homes and 20,000 jobs, on that of the Aspangbahn station is being built at Europe's greatest Passive House settlement "Euro Gate", the area of the North Western Railway Station is expected to be developed from 2020 for living and working. The largest currently under construction residential project but can be found in the north-eastern outskirts, where in Seaside Town Aspern till 2028 living and working space for 40,000 people will be created.
In one of the "green lungs" of Vienna, the Prater, 2013, the WU campus was opened for the largest University of Economics of Europe. Around the central square spectacular buildings of an international architect team from Great Britain, Japan, Spain and Austria are gathered that seem to lead a sometimes very loud conversation about the status quo of contemporary architecture (Hitoshi Abe, BUSarchitektur, Peter Cook, Zaha Hadid, NO MAD Arquitectos, Carme Pinós).
Flying high
International is also the number of architects who have inscribed themselves in the last few years with high-rise buildings in the skyline of Vienna and make St. Stephen's a not always unproblematic competition. Visible from afar is Massimiliano Fuksas' 138 and 127 meters high elegant Twin Tower at Wienerberg (1999-2001). The monolithic, 75-meter-high tower of the Hotel Sofitel at the Danube Canal by Jean Nouvel (2007-10), on the other hand, reacts to the particular urban situation and stages in its top floor new perspectives to the historical center on the other side.
Also at the water stands Dominique Perrault's DC Tower (2010-13) in the Danube City - those high-rise city, in which since the start of construction in 1996, the expansion of the city north of the Danube is condensed symbolically. Even in this environment, the slim and at the same time striking vertically folded tower of Perrault is beyond all known dimensions; from its Sky Bar, from spring 2014 on you are able to enjoy the highest view of Vienna. With 250 meters, the tower is the tallest building of Austria and almost twice as high as the St. Stephen's Cathedral. Vienna, thus, has acquired a new architectural landmark which cannot be overlooked - whether it also has the potential to become a landmark of the new Vienna, only time will tell. The architectural history of Vienna, where European history is presence and new buildings enter into an exciting and not always conflict-free dialogue with a great and outstanding architectural heritage, in any case has yet to offer exciting chapters.
Info: The folder "Architecture: From Art Nouveau to the Presence" is available at the Vienna Tourist Board and can be downloaded on www.wien.info/media/files/guide-architecture-in-wien.pdf.
Out of the Archives: Wooden form in place near the bottom of a shaft, where concrete was later poured around it to make a quarter bend. May 12, 1932. (Image ID: p012229)
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Après avoir constaté les différences fortement observables entre des Petit-ducs maculés de forme grises (Parc Angrignon) et d'autres de formes rousses (Jacques Gagnon à St-Antoine de Richelieu) et découvert dans la littérature ornithologique que trois formes existes, la troisième étant brune chocolat, il apparaît plus que probable que celui-ci, du Boisé Papineau, soit de forme brune chocolat. Il est intéressant de noter que, tout comme pour les chiens labrador, on peut retrouver dans une portée les trois couleurs si les parents sont de couleurs différentes.
MLC Students belong to various age brackets and come form different backgrounds and cultures, namely public and private sector employees, businessmen, international and local undergraduate, graduate and postgraduate students, housewives and many others.
Through our courses, our main concern is to focus on the four vital language skills: Speaking, Writing, Reading, and Listening. We make sure that our students are be able to speak the language effectively, fluently, and that they can interact with others and realize their ambitions.
Summer courses for high school kids constitute the backbone of our summer activities. Our summer program has a two-tier purpose: a) English teaching as the focus of our attention b) summer activities including skating, swimming, horse riding, trips by bus, and other activities. Our students enjoy both the humane and academic nature of our trips.
Housewives are usually good participants, they form social gatherings during their free time in the mornings. They get to know each other and benefit from their special conversational course with an American teacher. They feel they belong to a women’s club in which they discuss many things, including cooking recipes and most important of all fashion in English.
Adults and businessmen are welcome all the year round, and private organizations get the lion’s share. This is where they need us the most. We extend our technical assistance to them, vocational and educational expertise as well. This is a mutual cooperation so that they can fulfill their objectives.
It’s been years now since we have been teaching English to make communication easier for all of us. Now the time has come for non-Arabs to learn Arabic. The MLC has just completed an Arabic course to make it easier for foreigners to study Arabic. Please pay us a visit at the MLC, and I am sure you will not be disappointed. Certainly, you will not only love it, but you will enjoy it.
We always look forward to seeing our graduates make it through colleges & universities. Now, It is a requirement that all graduates in Jordan pass the TOEFL or the IELTS in order to obtain their degrees. The MLC is committed to our future generations to make it possible for them to pass one of these international tests. It’s through us (MLC) that they make their dreams come true.
Sandra Bullock:
Sandra Bullock was struggling to see Bryan Randall as her boyfriend at the beginning of their history. But the actress is very loving and very pleased with him according tothe magazine British Grazia.
Sandra Bullock comes out with the former Bryan Randall model since a few ...
celebup.com/sandra-bullock-received-the-blessing-form-jen...
This Paperbark tree stands on the parking area of Mt. Coot-tha botanic garden, Brisbane, Australia
Melaleuca quinquenervia as labelled there.
Rare red flowered form, normally they are white-cream coloured.
Australian native tree (NSW, QLD)
Exceptionnelle jardinière en métal argenté, fondu, ciselé et gravé, de forme rectangulaire aux extrémités arrondies, soutenue par quatre pilastres feuillagés reliant des prises en têtes de lion, bordure ajourée de piastres, encadrement de perles. Les cotés sont ornés de bas reliefs représentant des enfants occupés à la chasse au sanglier, les moissons, les vendanges et la pèche, la traite d'une vache. Signée et N°: Christofle et Cie. N° 106 260 3 X. (Maison fondée en 1830). Jardinière réalisée entre 1879 et 1880 sur un modèle de Jules Klagmann (1810-1867). L : 69,5cm P : 33cm H : 28cm Nous remercions Madame Anne GROS, responsable du Musée et des Archives du Musée Bouilhet-Christofle pour son aimable collaboration et les précisions qu'elle a bien voulu apporter à cette notice. Jean-Baptiste-Jules Klagmann, né le 1er avril 1810 à Paris où il est mort le 18 janvier 1867, est un sculpteur français. Élève du sculpteur néoclassiqueJules Ramey à l'école des beaux-arts de Paris, Klagmann est parallèlement initié à l'art de la Renaissance par Jean-Jacques Feuchère1. Il débute au Salon de 1831, en plein essor de la sculpture romantique, avec une esquisse de l'Attaque des Titans contre Jupiter Klagmann s'illustre principalement comme sculpteur-décorateur. Il travaille notamment pour la porte des Séances du Sénat et les boiseries de son hémicycle, ainsi que pour les décorations de la deuxième Salle Favart de l'Opéra-comique à Paris. Dans les années 1840, il réalise les quatre fontaines représentant les quatre fleuves de France (Garonne, Loire, Saône, Seine) pour la fontaine du square Louvois à Paris, conçue par l'architecte Louis Visconti Dans le registre des arts décoratifs, il fournit certains modèles de pièces pour le grand surtout de table que réalise Claude-Aimé Chenavard pour le duc d'Orléans à partir de 1834, avec les sculpteurs Antoine-Louis Barye et Jean-Jacques Feuchère. En 1848, Klagmann fut nommé membre du Conseil supérieur de perfectionnement des manufactures des Gobelins, de Beauvais et de Sèvres. Il séjourne à Londres vers 1851 et, sous le Second Empire, participe au chantier du Nouveau Louvre, aux agrandissements du Palais-Royal et de la Comédie-Française ainsi qu'à la réfection de la fontaine de Léda. Il n'abandonne pour autant pas son activité d'artiste pour les arts décoratifs, dessinant une épée commandée par la Ville de Paris pour le comte de Paris, un vase de François-Désiré Froment-Meurice offert par la Ville de Paris à l'ingénieur Emmery, et une coupe en ivoire d'Alessandri. Il travaille aussi pour Duponchel (coupe et candélabres avec nymphes et tritons pour l'exposition de 1862) et Christofle (surtout d'Isaac Pereire de 1862, en préparation au moment de sa mort).
Calvin is in the final stages of manufacture of component parts for his lamp model. He will be using polystyrene to create a hemispherical dome for the top of his lamp. This will emerge from a hole cut out of pine 'furniture board' and this in turn will enable the dome to attach to the central cylindrical form of the bottom part of the lamp. This central cylinder is made from aluminium sheet which has been pop rivited together. Seven holes have been drilled around the circumference of the aluminium and these will accomodate nylon spikes that have been turned on the metalwork lathe. These will be attached using epoxy resin adhesive. These spikes have been counter-bored with a step drill so that the light will be transmitted along the nylon to the end of the spike. An energy efficient bulb and holder will be mounted on a wooden base at the bottom of the aluminium section.
Calvin has worked extremely hard over the last few weeks and has easily risen to each and every challenge that his concept has generated along the way.
Even the creation of the mdf former created issues by Calvin persevered with steely determination and kep at it until he was satisfied with the results. Good work, looking forward to seeing the completed model.
Manche de patère
Egypte chrétienne copte
IVè - Vè siècle après J.-C.
Bronze
Une patère est un vase servant à puiser l'eau pour la toilette ou pour le culte
Elle est ici dotée d'un manche en forme de jeune femme nue portant la croix (ce qui est plutôt inhabituel)
Site du musée
Exposition
Du 14/06/2017 au 10/09/2017
L’exposition Le Rêve des formes, présentée à l’occasion du vingtième anniversaire du Fresnoy – Studio national des arts contemporains, est conçue comme un paysage imaginaire, un jardin monstrueux où se cultivent des formes périssables et des surfaces en germination, des organismes protubérants et de plates silhouettes.
Les artistes et chercheurs rassemblés dans Le Rêve des formes témoignent de leur rencontre avec de nouvelles possibilités de représentation, issues de découvertes scientifiques et techniques récentes, qui bouleversent notre façon de voir et de montrer. En renouvelant grâce à cela le champ du perceptible – nanotechnologies, imagerie de synthèse, scan 3D, stéréolithographie… –, ces nouvelles visualisations nous laissent présumer de géométries encore inconnues.
Des images, des transcriptions, des modélisations, des formes spéculatives produites par les inventeurs et savants des sciences prospectives, issues des mathématiques, de la physique, de la biologie, de l’optique ou de la chimie par exemple, rejoignent ou inspirent des œuvres qui résultent des greffes opérées entre art et science, entre spéculation et invention, par une vingtaine d’artistes contemporains.
Avec : Francis Alÿs, Hicham Berrada & Sylvain Courrech du Pont & Simon de Dreuille, Michel Blazy, Juliette Bonneviot, Dora Budor, Damien Cadio, Julian Charrière, Sylvie Chartrand, Clément Cogitore, Hugo Deverchère, Bertrand Dezoteux, Mimosa Echard, Alain Fleischer, Fabien Giraud & Raphaël Siboni, Bruno Gironcoli, Spiros Hadjidjanos, Patrick Jouin, Ryoichi Kurokawa, Annick Lesne & Julien Mozziconacci, Adrien Missika, Jean-Luc Moulène, Marie-Jeanne Musiol, Katja Novitskova, Jonathan Pêpe & Thibaut Rostagnat & David Chavalarias, Olivier Perriquet & Jean-Paul Delahaye, Arnaud Petit, Jean-François Peyret & Alain Prochiantz, Gaëtan Robillard, Gwendal Sartre, SMITH & Antonin-Tri Hoang, Anicka Yi
Curso de “Corte e Costura” ABECAO
As beneficiárias da Oficina de Corte e Costura da ABECAO estão colocando em prática as técnicas adquiridas nas aulas, confeccionando vários modelos de vestuários. O objetivo do curso visa resgatar este projeto de qualificação tradicional, ensinando as técnicas para confecção de vestuários de maneira clara, objetiva e completa de como cortar e costurar, promovendo a profissionalização da mão de obra prioritariamente às pessoas em risco social, formando profissionais atendendo a necessidade do mercado de trabalho, estimulando o desenvolvimento da criatividade com qualidade as alunas, Natalia Aparecida Silva Santos, Alessandra Carla da Silva, Aparecida Castanha Vieira, Elaine Pereira Gomes, Graziela Pereira Celestino, Lindalva Leite Melo Barboza, Maria Aparecida Olmedo, Rose Mara Domelas de Castro,Tassiana de Menezes da Silva, demonstra grande aptidão profissional como mostra as fotos, parabéns as alunas e a monitora Marlene Canhada.
"The National Railway Museum is a museum in York forming part of the Science Museum Group. The museum tells the story of rail transport in Britain and its impact on society. It is the home of the national collection of historically significant railway vehicles such as Mallard, Stirling Single, Duchess of Hamilton and a Japanese bullet train. In addition, the National Railway Museum holds a diverse collection of other objects from a household recipe book used in George Stephenson’s house to film showing a "never stop railway" developed for the British Empire Exhibition. It has won many awards, including the European Museum of the Year Award in 2001.
As of 2019 the museum is about to embark on a once-in-a-generation site development. As part of the York Central redevelopment which will divert Leeman Road, the National Railway Museum will be building a new entrance building to connect the two separate parts of the museum together. At the same time, the space around the museum will be landscaped to provide public spaces.
In 2020 architectural practice Feilden Fowles won an international competition to create the museum’s new £16.5 million Central Hall building—a key element of the museum’s Vision 2025 masterplan.
York is a cathedral city and unitary authority area in North Yorkshire, England. The population of the council area which includes nearby villages was 208,200 as of 2017[citation needed] and the population of the urban area was 153,717 at the 2011 census. Located at the confluence of the Rivers Ouse and Foss, it is the county town of the historic county of Yorkshire. The city is known for its famous historical landmarks such as York Minster and the city walls, as well as a variety of cultural and sporting activities, which makes it a popular tourist destination in England. The local authority is the City of York Council, a single tier governing body responsible for providing all local services and facilities throughout the city. The City of York local government district includes rural areas beyond the old city boundaries. It is about 25 miles north-east of Leeds and 34 miles north-west of Kingston upon Hull. York is the largest settlement in the ceremonial county of North Yorkshire.
The city was founded by the Romans as Eboracum in 71 AD. It became the capital of the Roman province of Britannia Inferior, and later of the kingdoms of Deira, Northumbria and Jórvík. In the Middle Ages, York grew as a major wool trading centre and became the capital of the northern ecclesiastical province of the Church of England, a role it has retained. In the 19th century, York became a major hub of the railway network and a confectionery manufacturing centre, a status it maintained well into the 20th century. During the Second World War, York was bombed as part of the Baedeker Blitz. Although less affected by bombing than other northern cities, several historic buildings were gutted and restoration efforts continued into the 1960s.
The economy of York is dominated by services. The University of York and National Health Service are major employers, whilst tourism has become an important element of the local economy. In 2016, York became sister cities with the Chinese city of Nanjing, as per an agreement signed by the Lord Mayor of York, focusing on building links in tourism, education, science, technology and culture. Today, the city is a popular tourist attraction, especially for international visitors from America, Germany, France and China. In 2017, York became UK's first human rights city, which formalised the city's aim to use human rights in decision making." - info from Wikipedia.
Summer 2019 I did a solo cycling tour across Europe through 12 countries over the course of 3 months. I began my adventure in Edinburgh, Scotland and finished in Florence, Italy cycling 8,816 km. During my trip I took 47,000 photos.
Now on Instagram.
Become a patron to my photography on Patreon.
PGB Photographer & Creative - © Philip Romeyn - Phillostar Gone Ballistic 2021 - Photo may not be edited from its original form. Commercial use is prohibited without contacting me.
A loom is a device used to weave cloth and tapestry. The basic purpose of any loom is to hold the warp threads under tension to facilitate the interweaving of the weft threads. The precise shape of the loom and its mechanics may vary, but the basic function is the same.
ETYMOLOGY
The word "loom" is derived from the Old English geloma, formed from ge-(perfective prefix) and loma, a root of unknown origin; this meant a utensil, tool, or machine of any kind. In 1404 it was used to mean a machine to enable weaving thread into cloth. By 1838, it had gained the meaning of a machine for interlacing thread.
WEAVING
Weaving is done by intersecting the longitudinal threads, the warp, i.e. "that which is thrown across", with the transverse threads, the weft, i.e. "that which is woven".
The major components of the loom are the warp beam, heddles, harnesses or shafts (as few as two, four is common, sixteen not unheard of), shuttle, reed and takeup roll. In the loom, yarn processing includes shedding, picking, battening and taking-up operations. These are the principal motions.
Shedding. Shedding is the raising of part of the warp yarn to form a shed (the vertical space between the raised and unraised warp yarns), through which the filling yarn, carried by the shuttle, can be inserted, forming the weft. On the modern loom, simple and intricate shedding operations are performed automatically by the heddle or heald frame, also known as a harness. This is a rectangular frame to which a series of wires, called heddles or healds, are attached. The yarns are passed through the eye holes of the heddles, which hang vertically from the harnesses. The weave pattern determines which harness controls which warp yarns, and the number of harnesses used depends on the complexity of the weave. Two common methods of controlling the heddles are dobbies and a Jacquard Head.
Picking. As the harnesses raise the heddles or healds, which raise the warp yarns, the shed is created. The filling yarn is inserted through the shed by a small carrier device called a shuttle. The shuttle is normally pointed at each end to allow passage through the shed. In a traditional shuttle loom, the filling yarn is wound onto a quill, which in turn is mounted in the shuttle. The filling yarn emerges through a hole in the shuttle as it moves across the loom. A single crossing of the shuttle from one side of the loom to the other is known as a pick. As the shuttle moves back and forth across the shed, it weaves an edge, or selvage, on each side of the fabric to prevent the fabric from raveling.
Battening. Between the heddles and the takeup roll, the warp threads pass through another frame called the reed (which resembles a comb). The portion of the fabric that has already been formed but not yet rolled up on the takeup roll is called the fell. After the shuttle moves across the loom laying down the fill yarn, the weaver uses the reed to press (or batten) each filling yarn against the fell. Conventional shuttle looms can operate at speeds of about 150 to 160 picks per minute.
There are two secondary motions, because with each weaving operation the newly constructed fabric must be wound on a cloth beam. This process is called taking up. At the same time, the warp yarns must be let off or released from the warp beams. To become fully automatic, a loom needs a tertiary motion, the filling stop motion. This will brake the loom if the weft thread breaks. An automatic loom requires 0.125 hp to 0.5 hp to operate.
TYPES OF LOOMS
BACK STRAP LOOM
The back strap loom is a simple loom that has its roots in ancient civilizations. It consists of two sticks or bars between which the warps are stretched. One bar is attached to a fixed object and the other to the weaver, usually by means of a strap around the back. The weaver leans back and uses their body weight to tension the loom. On traditional looms, the two main sheds are operated by means of a shed roll over which one set of warps pass, and continuous string heddles which encase each of the warps in the other set. To open the shed controlled by the string heddles, the weaver relaxes tension on the warps and raises the heddles. The other shed is usually opened by simply drawing the shed roll toward the weaver.
Both simple and complex textiles can be woven on this loom. Width is limited to how far the weaver can reach from side to side to pass the shuttle. Warp faced textiles, often decorated with intricate pick-up patterns woven in complementary and supplementary warp techniques are woven by indigenous peoples today around the world. They produce such things as belts, ponchos, bags, hatbands and carrying cloths. Supplementary weft patterning and brocading is practiced in many regions. Balanced weaves are also possible on the backstrap loom. Today, commercially produced backstrap loom kits often include a rigid heddle.[
WARP-WEIGHTED LOOM
The warp-weighted loom is a vertical loom that may have originated in the Neolithic period. The earliest evidence of warp-weighted looms comes from sites belonging to the Starčevo culture in modern Serbia and Hungary and from late Neolithic sites in Switzerland. This loom was used in Ancient Greece, and spread north and west throughout Europe thereafter. Its defining characteristic is hanging weights (loom weights) which keep bundles of the warp threads taut. Frequently, extra warp thread is wound around the weights. When a weaver has reached the bottom of the available warp, the completed section can be rolled around the top beam, and additional lengths of warp threads can be unwound from the weights to continue. This frees the weaver from vertical size constraint.
DRAWLOOM
A drawloom is a hand-loom for weaving figured cloth. In a drawloom, a "figure harness" is used to control each warp thread separately. A drawloom requires two operators, the weaver and an assistant called a "drawboy" to manage the figure harness. The earliest confirmed drawloom fabrics come from the State of Chu and date c. 400 BC. Most scholars attribute the invention of the drawloom to the ancient Chinese, although some speculate an independent invention from ancient Syria since drawloom fabrics found in Dura-Europas are thought to date before 256 AD The draw loom for patterned weaving was invented in ancient China during the Han Dynasty. Chinese weavers and artisans used foot-powered multi-harness looms and jacquard looms for silk weaving and embroidery; both of which were cottage industries with imperial workshops. The Chinese-invented drawloom enhanced and sped up the production of silk and play a significant role in Chinese silk weaving. The loom was later introduced to Persia, India, and Europe.
HANDLOOM
A handloom is a simple machine used for weaving. In a wooden vertical-shaft looms, the heddles are fixed in place in the shaft. The warp threads pass alternately through a heddle, and through a space between the heddles (the shed), so that raising the shaft raises half the threads (those passing through the heddles), and lowering the shaft lowers the same threads — the threads passing through the spaces between the heddles remain in place. This was a great invention in the 13th century.
FLYING SHUTTLE
Hand weavers could only weave a cloth as wide as their armspan. If cloth needed to be wider, two people would do the task (often this would be an adult with a child). John Kay (1704–1779) patented the flying shuttle in 1733. The weaver held a picking stick that was attached by cords to a device at both ends of the shed. With a flick of the wrist, one cord was pulled and the shuttle was propelled through the shed to the other end with considerable force, speed and efficiency. A flick in the opposite direction and the shuttle was propelled back. A single weaver had control of this motion but the flying shuttle could weave much wider fabric than an arm’s length at much greater speeds than had been achieved with the hand thrown shuttle.
The flying shuttle was one of the key developments in weaving that helped fuel the Industrial Revolution. The whole picking motion no longer relied on manual skill and it was just a matter of time before it could be powered.
HAUTE-LISSE AND BASSE-LISSE LOOMS
Looms used for weaving traditional tapestry are classified as haute-lisse looms, where the warp is suspended vertically between two rolls. In basse-lisse looms, however, the warp extends horizontally between the two rolls.
RIBBON WEAVING
TRADITIONAL LOOMS
Several other types of hand looms exist, including the simple frame loom, pit loom, free-standing loom, and the pegged loom. Each of these can be constructed, and provide work and income in developing economies.
POWER LOOMS
Edmund Cartwright built and patented a power loom in 1785, and it was this that was adopted by the nascent cotton industry in England. The silk loom made by Jacques Vaucanson in 1745 operated on the same principles but was not developed further. The invention of the flying shuttle by John Kay was critical to the development of a commercially successful power loom. Cartwright's loom was impractical but the ideas behind it were developed by numerous inventors in the Manchester area of England where, by 1818, there were 32 factories containing 5,732 looms.
Horrocks loom was viable, but it was the Roberts Loom in 1830 that marked the turning point. Incremental changes to the three motions continued to be made. The problems of sizing, stop-motions, consistent take-up, and a temple to maintain the width remained. In 1841, Kenworthy and Bullough produced the Lancashire Loom which was self-acting or semi-automatic. This enables a youngster to run six looms at the same time. Thus, for simple calicos, the power loom became more economical to run than the hand loom – with complex patterning that used a dobby or Jacquard head, jobs were still put out to handloom weavers until the 1870s. Incremental changes were made such as the Dickinson Loom, culminating in the Keighley-born inventor Northrop, who was working for the Draper Corporation in Hopedale producing the fully automatic Northrop Loom. This loom recharged the shuttle when the pirn was empty. The Draper E and X models became the leading products from 1909. They were challenged by synthetic fibres such as rayon. By 1942, faster, more efficient, and shuttleless Sulzer and rapier looms had been introduced. Modern industrial looms can weave at 2,000 weft insertions per minute.
WEFT INSERTION
Different types of looms are most often defined by the way that the weft, or pick, is inserted into the warp. Many advances in weft insertion have been made in order to make manufactured cloth more cost effective. There are five main types of weft insertion and they are as follows:
Shuttle: The first-ever powered looms were shuttle-type looms. Spools of weft are unravelled as the shuttle travels across the shed. This is very similar to projectile methods of weaving, except that the weft spool is stored on the shuttle. These looms are considered obsolete in modern industrial fabric manufacturing because they can only reach a maximum of 300 picks per minute.
Air jet: An air-jet loom uses short quick bursts of compressed air to propel the weft through the shed in order to complete the weave. Air jets are the fastest traditional method of weaving in modern manufacturing and they are able to achieve up to 1,500 picks per minute. However, the amounts of compressed air required to run these looms, as well as the complexity in the way the air jets are positioned, make them more costly than other looms.
Water jet: Water-jet looms use the same principle as air-jet looms, but they take advantage of pressurized water to propel the weft. The advantage of this type of weaving is that water power is cheaper where water is directly available on site. Picks per minute can reach as high as 1,000.
Rapier loom: This type of weaving is very versatile, in that rapier looms can weave using a large variety of threads. There are several types of rapiers, but they all use a hook system attached to a rod or metal band to pass the pick across the shed. These machines regularly reach 700 picks per minute in normal production.
Projectile: Projectile looms utilize an object that is propelled across the shed, usually by spring power, and is guided across the width of the cloth by a series of reeds. The projectile is then removed from the weft fibre and it is returned to the opposite side of the machine so it can get reused. Multiple projectiles are in use in order to increase the pick speed. Maximum speeds on these machines can be as high as 1,050 ppm.
SHEDDING
DOBBY LOOMS
A dobby loom is a type of floor loom that controls the whole warp threads using a dobby head. Dobby is a corruption of "draw boy" which refers to the weaver's helpers who used to control the warp thread by pulling on draw threads. A dobby loom is an alternative to a treadle loom, where multiple heddles (shafts) were controlled by foot treadles – one for each heddle.
JACQUARD LOOMS
The Jacquard loom is a mechanical loom, invented by Joseph Marie Jacquard in 1801, which simplifies the process of manufacturing textiles with complex patterns such as brocade, damask and matelasse. The loom is controlled by punched cards with punched holes, each row of which corresponds to one row of the design. Multiple rows of holes are punched on each card and the many cards that compose the design of the textile are strung together in order. It is based on earlier inventions by the Frenchmen Basile Bouchon (1725), Jean Baptiste Falcon (1728) and Jacques Vaucanson (1740) To call it a loom is a misnomer, a Jacquard head could be attached to a power loom or a hand loom, the head controlling which warp thread was raised during shedding. Multiple shuttles could be used to control the colour of the weft during picking. The Jacquard loom is the predecessor to the punch card computers of the 19th and 20th centuries.
CICULAR LOOMS
A circular loom is used to create a seamless tube of fabric for products such as hosiery, sacks, clothing, fabric hose (such as fire hose) and the like. Circular looms can be small jigs used for circular knitting or large high-speed machines for modern garments. Modern circular looms use up to ten shuttles driven from below in a circular motion by electromagnets for the weft yarns, and cams to control the warp threads. The warps rise and fall with each shuttle passage, unlike the common practice of lifting all of them at once.
SYMBOLISM AND CULTURAL SIGNIFICANCE
The loom is a symbol of cosmic creation and the structure upon which individual destiny is woven. This symbolism is encapsulated in the ancient Greek myth of Arachne who was changed into a spider by the goddess Athene, who was jealous of her skill at the godlike craft of weaving. In Maya Cultures the goddess Ixchel who is symbolized by the moon, taught the first woman how to weave at the beginning of time.
WIKIPEDIA