View allAll Photos Tagged GeometricShape
ca. 1952 --- Photo of model in slow motion in front of Paris metro posters wearing Turquoise silk surah patterned with diamonds and pearl necklace and bracelet.
The Flickr Lounge ~ Geometric Shapes
Thank you to everyone who pauses long enough to look at my photo. All comments and Faves are very much appreciated
06 Jun 1977, Armet-sur-Marne, France --- David Bowie in Vasarely's Workshop --- Image by © Christian Simonpietri/Sygma/Corbis
On the B & Q trains from Dekalb Avenue into Manhattan
by navema
Bill Brand's Masstransiscope was installed in the abandoned Myrtle Avenue subway station in Brooklyn, New York in September 1980. It has been seen by millions of commuters for over twenty-five years. The 228 hand-painted panels are viewed through a series of vertical slits set into a specially constructed housing. The piece works on the principle of the Zoetrope, a 19th century optical toy.
There are no signs posted to alert you to its presence, no pre-recorded voices directing your gaze outside. Only if you happen to be looking out the correct side of the train at just the right moment will you see it: brightly colored geometric shapes that appear to be moving, as if an animated movie were playing alongside your subway car.
This mini-motion picture, visible from the right side of a Manhattan-bound B or Q train just after the DeKalb Avenue stop, is “Masstransiscope,” an art installation by Bill Brand that resides in the abandoned Myrtle Avenue subway station. “I was interested in making an artwork that people could encounter in their daily life that was not mediated by the usual filters of the museum, the gallery, the marketplace, or classroom,” says Brand, who started work on “Masstransiscope” in the mid-seventies with permission from the MTA. “The experience of seeing the piece is essentially a private one, even though it takes place in a most public setting.”
The “Masstransiscope,” which was installed in 1980, consists of 228 hand-painted panels that are mounted to the platform’s wall and illuminated by florescent lights. Brand (29 years younger, above), conceived the idea for the piece while riding the subway. “Seeing the light flicker as the train passed by structural pillars,” he remembers, “I started imagining making a movie by placing images in the tunnel.” An independent filmmaker with an interest in pre- and early cinema history, Brand based “Masstransiscope” on the zoetrope, a nineteenth-century cylindrical device that, when spun at the correct speed, created the illusion that the fixed images it contained were moving. As with the zoetrope, viewing slits — which Brand made by installing a series of vertical planks a few feet in front of the panels — fabricate this illusion by insuring the images don’t blur together.
Although Brand tried to keep his piece graffiti-clean and functioning during the early eighties, “Masstransiscope” eventually fell into disrepair and, excluding a brief restoration in the early nineties, was lost to viewers for decades. But thanks to a small grant in 2006, aid from the Arts for Transit program, and a bit of well-timed construction that briefly reopened the Myrtle Avenue stop last summer, Brand — along with volunteers from New York University and a professional cleaning company in Long Island City — was able to clean and repair all 228 panels.
Fully restored in November 2008, it’s once again amazing viewers — as long as they happen to be looking out the window as they whiz past.
For more about the installation, visit: www.bboptics.com/masstransiscope.html
FROM NYC TIMES ARTICLE 12.31.08
www.nytimes.com/2009/01/01/arts/design/01zoet.html
"Attention Passengers! To Your Right, This Trip Is About to Become Trippy"
The New York City subway is full of more or less secret works of art, salvos of illicit shape and color that you can appreciate only if your Lexington Avenue train slows near an abandoned platform or you make a life-threatening spelunk into the tunnels and stumble across scraps of manic autobiographical wall writings painted by a semi-mythical graffiti artist known as Revs.
But for many years, toward the end of a Brooklyn tunnel that leads onto the Manhattan Bridge, an unusual piece of urban art — part painting, part movie, part conceptual experiment — has been kept a secret only through neglect, layers of graffiti tags and fluorescent lights that were broken or turned off.
The work was the idea of the artist and filmmaker Bill Brand, who along with the public art organization Creative Time asked the Metropolitan Transportation Authority in the late 1970s, even as the system was beginning to crumble, to let him transform the tracks themselves into art.
He wanted to create a mass-transit version of a zoetrope, the earliest motion picture device, by constructing a long slitted light box alongside a subway track with a series of paintings inside so that, when a train passed, riders experienced the illusion that the painting was moving.
“I think it was such a preposterous idea that no one bothered to say no,” Mr. Brand said Wednesday of the work, which he christened with the back-to-the-future Latinate title “Masstransiscope.” “So they just kept having the next meeting — and then we built it.”
Though millions of riders saw it, by the mid-1980s, despite Mr. Brand’s own efforts to keep the artwork maintained, it had fallen into awful shape and for almost two decades — except for a brief resurrection around 1990 — was either dark or was seen only as a strange, illuminated mess of spray-paint outside the subway window.
But in the last several months, with help from a grant and the transportation authority’s Arts for Transit program, Masstransiscope is once again playing to carloads of audiences on Manhattan-bound Q and B trains as they leave the DeKalb Avenue station and head toward the bridge. Over the summer Mr. Brand, with transit workers, volunteers and professional sign cleaners in Long Island City, retrieved all 228 hand-painted panels from inside the light box and began the laborious process of de-gunking them.
By early November, with no formal ceremony or even a news release from transit officials, the lights were flipped back on, and Mr. Brand’s bright, trippy, mostly abstract forms have begun to move and morph (if the train from which you see them is not crawling “due to traffic up ahead,” as conductors like to say).
“It’s a beloved piece,” said Sandra Bloodworth, the director of the Arts for Transit program, which has installed hundreds of permanent works of art throughout the subway since 1985 by artists as prominent as Roy Lichtenstein, Elizabeth Murray and Al Held. “Bill’s work happened before Arts for Transit even came about. And that’s why it really is a part of New York history. It was a little glimpse of what could come, if you will.”
Mr. Brand, who is also a film archivist, said he began to think about a subway zoetrope while riding trains as a student at the School of the Art Institute of Chicago. After moving to New York in the mid-1970s he began to experiment with ways to create one.
“I was so naïve,” he said. He initially conceived of a much more ambitious project, using blownup photographs to create a virtual film strip behind the light-box walls. He wanted to change the images regularly, making a movie, in essence, that subway riders would see only in little segments of 20 seconds or so, like a crazily attenuated version of the serials that once ran in theaters.
He came to understand that the images behind the walls needed to be bright and hyperactive to resonate in such a short time, so he began to think of the work as a moving painting. But his basic ideas — of reversing the motion-picture paradigm by having the images stay still while the viewers were in motion; of creating what he thought of as a movie that viewers would see a few seconds a day but repetitively over many years, a “decades-long movie” — remained the same.
“One of the main motives for making Masstransiscope was to find out for myself — as someone who makes obscure films that not many people watch — if it would be different to have a mass audience,” said Mr. Brand, who for several years in the early 1980s used to take an M.T.A. key that “someone slipped me” and descend into the abandoned Myrtle Avenue subway station where the light box sits to clean and repair the piece himself.
“And what I discovered is that it really isn’t all that different,” he said.
Except, perhaps, that he cultivated unlikely fans like Lou Corradi, a subway conductor who saw the piece several times a day for years in the early 1980s and loved it so much that he tracked down its creator. “So many passengers used to question me about your project, and I had no information to give them, sorta like when they asked about service delays! (wink),” Mr. Corradi wrote in an e-mail message to Mr. Brand in 2007, after spotting the darkened hulk of the project on a subway trip.
In a moderately crowded car on the Q line on Wednesday morning, most of Mr. Brand’s potential audience, truth be told, did not notice the rebirth of Masstransiscope. A Russian woman was slowly addressing postcards with pictures of the Manhattan skyline, while a man near her rifled through a Target bag filled with crumpled utility bills, and a woman next to him was thumb-typing a text message so that she could send it as soon as the train emerged onto the bridge.
But Mr. Brand said he loved the idea that maybe only a few riders per train, or even one, daydreaming out into the tunnel darkness, caught sight of the piece.
“Even though it’s a very public work of art, it ends up being very personal,” he said. “It’s like it’s everybody’s little secret.”
He added: “When my ego is low, I do like to find teenagers on the train and make them look at it.”
ABOUT BILL BRAND:
Bill Brand's experimental films and videos have screened extensively since 1973 in the US and abroad in museums, festivals and independent film showcases. His feature documentary Home Less Home has been seen worldwide on television and was featured at major film festivals including the Berlin Film Festival and New Directors/ New Films Festival. His 1980 Masstransiscope, a mural installed in the subway system of New York City which is animated by the movement of passing trains, is a widely regarded work of public art. In 1973 he founded Chicago Filmmakers, the showcase and workshop and until 1991 served on the Board of Directors of the Collective for Living Cinema in New York City. He is currently an Artistic Director of Parabola Arts Foundation which he co-founded in 1981. Bill Brand lives in New York CIty and is Professor of Film and Photography at Hampshire College in Amherst, Massachusetts. Since 1976 he has operated BB Optics, an optical printing service specializing in 8mm blow-ups and archival preservation for independent filmmakers, libraries, museums and archives.
Triangles, squares, and circles. They are all very strong compositional elements in an image. Find a way to use geometric shapes in your storytelling.
I always struggle with telling a story so I just thought I'd take a bit of a funky photo.
On the B & Q trains from Dekalb Avenue into Manhattan
by navema
Bill Brand's Masstransiscope was installed in the abandoned Myrtle Avenue subway station in Brooklyn, New York in September 1980. It has been seen by millions of commuters for over twenty-five years. The 228 hand-painted panels are viewed through a series of vertical slits set into a specially constructed housing. The piece works on the principle of the Zoetrope, a 19th century optical toy.
There are no signs posted to alert you to its presence, no pre-recorded voices directing your gaze outside. Only if you happen to be looking out the correct side of the train at just the right moment will you see it: brightly colored geometric shapes that appear to be moving, as if an animated movie were playing alongside your subway car.
This mini-motion picture, visible from the right side of a Manhattan-bound B or Q train just after the DeKalb Avenue stop, is “Masstransiscope,” an art installation by Bill Brand that resides in the abandoned Myrtle Avenue subway station. “I was interested in making an artwork that people could encounter in their daily life that was not mediated by the usual filters of the museum, the gallery, the marketplace, or classroom,” says Brand, who started work on “Masstransiscope” in the mid-seventies with permission from the MTA. “The experience of seeing the piece is essentially a private one, even though it takes place in a most public setting.”
The “Masstransiscope,” which was installed in 1980, consists of 228 hand-painted panels that are mounted to the platform’s wall and illuminated by florescent lights. Brand (29 years younger, above), conceived the idea for the piece while riding the subway. “Seeing the light flicker as the train passed by structural pillars,” he remembers, “I started imagining making a movie by placing images in the tunnel.” An independent filmmaker with an interest in pre- and early cinema history, Brand based “Masstransiscope” on the zoetrope, a nineteenth-century cylindrical device that, when spun at the correct speed, created the illusion that the fixed images it contained were moving. As with the zoetrope, viewing slits — which Brand made by installing a series of vertical planks a few feet in front of the panels — fabricate this illusion by insuring the images don’t blur together.
Although Brand tried to keep his piece graffiti-clean and functioning during the early eighties, “Masstransiscope” eventually fell into disrepair and, excluding a brief restoration in the early nineties, was lost to viewers for decades. But thanks to a small grant in 2006, aid from the Arts for Transit program, and a bit of well-timed construction that briefly reopened the Myrtle Avenue stop last summer, Brand — along with volunteers from New York University and a professional cleaning company in Long Island City — was able to clean and repair all 228 panels.
Fully restored in November 2008, it’s once again amazing viewers — as long as they happen to be looking out the window as they whiz past.
For more about the installation, visit: www.bboptics.com/masstransiscope.html
FROM NYC TIMES ARTICLE 12.31.08
www.nytimes.com/2009/01/01/arts/design/01zoet.html
"Attention Passengers! To Your Right, This Trip Is About to Become Trippy"
The New York City subway is full of more or less secret works of art, salvos of illicit shape and color that you can appreciate only if your Lexington Avenue train slows near an abandoned platform or you make a life-threatening spelunk into the tunnels and stumble across scraps of manic autobiographical wall writings painted by a semi-mythical graffiti artist known as Revs.
But for many years, toward the end of a Brooklyn tunnel that leads onto the Manhattan Bridge, an unusual piece of urban art — part painting, part movie, part conceptual experiment — has been kept a secret only through neglect, layers of graffiti tags and fluorescent lights that were broken or turned off.
The work was the idea of the artist and filmmaker Bill Brand, who along with the public art organization Creative Time asked the Metropolitan Transportation Authority in the late 1970s, even as the system was beginning to crumble, to let him transform the tracks themselves into art.
He wanted to create a mass-transit version of a zoetrope, the earliest motion picture device, by constructing a long slitted light box alongside a subway track with a series of paintings inside so that, when a train passed, riders experienced the illusion that the painting was moving.
“I think it was such a preposterous idea that no one bothered to say no,” Mr. Brand said Wednesday of the work, which he christened with the back-to-the-future Latinate title “Masstransiscope.” “So they just kept having the next meeting — and then we built it.”
Though millions of riders saw it, by the mid-1980s, despite Mr. Brand’s own efforts to keep the artwork maintained, it had fallen into awful shape and for almost two decades — except for a brief resurrection around 1990 — was either dark or was seen only as a strange, illuminated mess of spray-paint outside the subway window.
But in the last several months, with help from a grant and the transportation authority’s Arts for Transit program, Masstransiscope is once again playing to carloads of audiences on Manhattan-bound Q and B trains as they leave the DeKalb Avenue station and head toward the bridge. Over the summer Mr. Brand, with transit workers, volunteers and professional sign cleaners in Long Island City, retrieved all 228 hand-painted panels from inside the light box and began the laborious process of de-gunking them.
By early November, with no formal ceremony or even a news release from transit officials, the lights were flipped back on, and Mr. Brand’s bright, trippy, mostly abstract forms have begun to move and morph (if the train from which you see them is not crawling “due to traffic up ahead,” as conductors like to say).
“It’s a beloved piece,” said Sandra Bloodworth, the director of the Arts for Transit program, which has installed hundreds of permanent works of art throughout the subway since 1985 by artists as prominent as Roy Lichtenstein, Elizabeth Murray and Al Held. “Bill’s work happened before Arts for Transit even came about. And that’s why it really is a part of New York history. It was a little glimpse of what could come, if you will.”
Mr. Brand, who is also a film archivist, said he began to think about a subway zoetrope while riding trains as a student at the School of the Art Institute of Chicago. After moving to New York in the mid-1970s he began to experiment with ways to create one.
“I was so naïve,” he said. He initially conceived of a much more ambitious project, using blownup photographs to create a virtual film strip behind the light-box walls. He wanted to change the images regularly, making a movie, in essence, that subway riders would see only in little segments of 20 seconds or so, like a crazily attenuated version of the serials that once ran in theaters.
He came to understand that the images behind the walls needed to be bright and hyperactive to resonate in such a short time, so he began to think of the work as a moving painting. But his basic ideas — of reversing the motion-picture paradigm by having the images stay still while the viewers were in motion; of creating what he thought of as a movie that viewers would see a few seconds a day but repetitively over many years, a “decades-long movie” — remained the same.
“One of the main motives for making Masstransiscope was to find out for myself — as someone who makes obscure films that not many people watch — if it would be different to have a mass audience,” said Mr. Brand, who for several years in the early 1980s used to take an M.T.A. key that “someone slipped me” and descend into the abandoned Myrtle Avenue subway station where the light box sits to clean and repair the piece himself.
“And what I discovered is that it really isn’t all that different,” he said.
Except, perhaps, that he cultivated unlikely fans like Lou Corradi, a subway conductor who saw the piece several times a day for years in the early 1980s and loved it so much that he tracked down its creator. “So many passengers used to question me about your project, and I had no information to give them, sorta like when they asked about service delays! (wink),” Mr. Corradi wrote in an e-mail message to Mr. Brand in 2007, after spotting the darkened hulk of the project on a subway trip.
In a moderately crowded car on the Q line on Wednesday morning, most of Mr. Brand’s potential audience, truth be told, did not notice the rebirth of Masstransiscope. A Russian woman was slowly addressing postcards with pictures of the Manhattan skyline, while a man near her rifled through a Target bag filled with crumpled utility bills, and a woman next to him was thumb-typing a text message so that she could send it as soon as the train emerged onto the bridge.
But Mr. Brand said he loved the idea that maybe only a few riders per train, or even one, daydreaming out into the tunnel darkness, caught sight of the piece.
“Even though it’s a very public work of art, it ends up being very personal,” he said. “It’s like it’s everybody’s little secret.”
He added: “When my ego is low, I do like to find teenagers on the train and make them look at it.”
ABOUT BILL BRAND:
Bill Brand's experimental films and videos have screened extensively since 1973 in the US and abroad in museums, festivals and independent film showcases. His feature documentary Home Less Home has been seen worldwide on television and was featured at major film festivals including the Berlin Film Festival and New Directors/ New Films Festival. His 1980 Masstransiscope, a mural installed in the subway system of New York City which is animated by the movement of passing trains, is a widely regarded work of public art. In 1973 he founded Chicago Filmmakers, the showcase and workshop and until 1991 served on the Board of Directors of the Collective for Living Cinema in New York City. He is currently an Artistic Director of Parabola Arts Foundation which he co-founded in 1981. Bill Brand lives in New York CIty and is Professor of Film and Photography at Hampshire College in Amherst, Massachusetts. Since 1976 he has operated BB Optics, an optical printing service specializing in 8mm blow-ups and archival preservation for independent filmmakers, libraries, museums and archives.
Again waiting for the last minute to shoot.
This time like a deer in the head lights, was my daughters bike, both my girls learned to ride on this glider bike. I always loved the wood, its simple design and function, a timeless keeper.
Main wall: Empress Teal 510B-7
Accent wall: Glowing Firelight S-G-200
Ceiling: Status Bronze 280B-7
Trim: Soulful Music 600F-7
Accents: Chlorophyll 460B-6
The Lowry Park Zoo has decorations all over the park for their evening light show - called Zoominations - a Chinese Lantern Festival of Lights.
Flickr Lounge - Weekly Theme (Week 22) ~ Geometric Shapes ....
Thanks to everyone who views this photo, adds a note, leaves a comment and of course BIG thanks to anyone who chooses to favourite my photo .... thanks to you all.
Walls: Chili Pepper 180B-7
Ceiling: Polished UL200-11
Counter tops: Ashes UL260-9
Trim: Polished UL200-11
Accents: Cornmeal 310B-4
Beluga 770F-7
Located at 528 North Second Street, Richmond, VA, within the Jackson Ward Historic District, the recently renovated circa 1934, Art Deco two story, stone facade structure has symmetrical vertical, geometric shapes over a horizontal, cantilevered marquee. Simple lines along with glass brick and metallic surfaces give the theatre a distinct look in the city.
The theater was a popular entertainment center from the 1930s through the 1950s. The Hippodrome attracted the greats of the era, including Duke Ellington, Billie Holiday, Nat King Cole, and Louis Armstrong. Central to the social life of Jackson Ward were the theaters, restaurants, clubs, and hotels along the three blocks of N. 2nd Street between Clay and Leigh Streets. "Two Street" never closed during the World War II years, as patrons and soldiers on leave would cross back and forth going from club to club, to the Hippodrome Theater, and to restaurants and hotels.
Main wall: Sage Gray 710F-4
Left lower wall: Koi UL120-18
Ceiling and trim: Gallery White UL260-15
Accents: Dark Ash 770F-5
Observatory UL230-22
ca. 1968 --- Model sitting on desk, in the apartment of Cy Twombly, wearing blue coat with circular pattern and matching hat, by Mila Schoen. --- Image by © Condé Nast Archive/CORBIS
Shanghai Financial Center, ATall modern glass skyscraper photographed from a low angle against a soft blue sky, highlighting its reflective facade, geometric lines and corporate presence in LuJiazui busy financial district.
A sort-of-failed effort at last week's Macro Mondays theme -- Geometric Shapes.
My idea was to capture a tiny catenary -- the shape of a hanging rope or chain. (en.wikipedia.org/wiki/Catenary)
I found this tie tack with a little chain on it (and my initials), and propped it up with a couple of little quick-grip clamps, just to see if the catenary would look all right. I shot exactly ONE quick test photo in that moment. Then I fussed around with the setup for a solid hour, never becoming happy with any composition that I tried. Finally, as it was last-minute and I had a lot of other work to do, I gave it up.
Now, one week later, I finally downloaded this image from my camera and found that it actually doesn't look all that bad. So I am putting it here anyway, even though it's WAY too late for the group.
It's too bad, really: I didn't see a single other catenary in the group pool last week.
The High Line, NYC
by navema
On view May 7, 2010 — May 2011 on the east side of the High Line, between West 17th and West 18th Streets.
Richard Galpin is best known for creating altered photographs of cityscapes. His chosen method of manipulation is to cut and remove the top layer of the colored emulsion from his photographic prints, exposing the paper substrate. By eradicating part of the photograph, the imagery becomes altered to the point of total abstraction. Using clean lines and sharp angles, Galpin's technique produces works with an emphasis on geometric shapes, recalling early 20th century movements such as Constructivism, Cubism and Futurism.
For the High Line, Galpin has created a 'viewing station' that functions in a manner similar to his cut photographs. Park visitors can look through a viewing apparatus lined up with a metal screen from which geometric shapes have been cut. The combination of these two devices gives visitors an altered, abstracted view from the High Line. One of the wonderful experiences the High Line has provided to visitors is a new vista of Manhattan. Similarly, Galpin's artwork will offer a novel reconsideration of our surroundings.
This High Line Art Commission is presented by Friends of the High Line and the New York City Department of Parks & Recreation.
ABOUT THE ARTIST:
Since graduating from Goldsmiths College with an MA in 2001, Richard Galpin has had solo exhibitions at Franklin Art Works, Minneapolis; Brancolini Grimaldi Arte Contemporanea, Rome; Galeria Leme, Sao Paulo; Roebling Hall, New York; and Hales Gallery, London. Group exhibitions include Under Erasure at Temple Bar Gallery, Dublin; When it's a Photograph at The Bolsky Gallery, Los Angeles; Prints and Drawings: Recent Acquisitions at the British Museum, London; The Photograph in Question, Von Lintel Gallery, New York; Attack: Attraction, Marcel Sitcoske Gallery, San Francisco; and Looking With/Out at the Courtauld Institute of Art, London. His work is included in several public collections including the British Government Art Collection, the British Museum, and the Victoria and Albert Museum. He lives and works in London, and is represented by Hales Gallery, London and Galeria Leme, Sao Paulo.
HISTORY OF THE HIGH LINE:
The High Line is a park built on a section of the former elevated freight railroad spur called the West Side Line, which runs along the lower west side of Manhattan; it has been redesigned and planted as an aerial greenway.
In 1847, the City of New York authorizes street-level railroad tracks down Manhattan’s West Side. Between 1851 – 1929, so many accidents occur between freight trains and street-level traffic that 10th Avenue becomes known as Death Avenue. For safety, men on horses, called the West Side Cowboys, ride in front of trains waving red flags.
The High Line was built in the 1930s, as part of a massive public-private infrastructure project called the West Side Improvement. It lifted freight traffic 30 feet in the air, removing dangerous trains from the streets of Manhattan's largest industrial district. The entire project was 13 miles long, eliminated 105 street-level railroad crossings, and added 32 acres to Riverside Park. It cost over $150 million in 1930 dollars—more than $2 billion today. In 1934, the High Line opens to trains. It runs from 34th Street to St. John’s Park Terminal, at Spring Street. It is designed to go through the center of blocks, rather than over the avenue, to avoid creating the negative conditions associated with elevated subways. It connects directly to factories and warehouses, allowing trains to roll right inside buildings. Milk, meat, produce, and raw and manufactured goods come and go without causing street-level traffic.
No trains have run on the High Line since 1980 - the last train ran on the High Line pulling three carloads of frozen turkeys. Friends of the High Line, a community-based non-profit group, formed in 1999 when the historic structure was under threat of demolition. Friends of the High Line works in partnership with the City of New York to preserve and maintain the structure as an elevated public park.
The project gained the City's support in 2002, and in 2003, an open ideas competition, "Designing the High Line," solicited proposals for the High Line's reuse. 720 teams from 36 countries entered - hundreds of design entries were displayed at Grand Central Terminal. The selected team was established in 2004: James Corner Field Operations, a landscape architecture firm, Diller Scofidio + Renfro, an architecture firm, and experts in horticulture, engineering, security, maintenance, public art, and other disciplines.
In 2006, groundbreaking is celebrated on the High Line with the lifting of a rail track, and the beginning of construction begins. On June 9, 2009, the first section (Gansevoort Street to West 20th Street) opens to the public. The second section (West 20th Street to West 30th Street) is projected to open in spring, 2011.
When all sections are complete, the High Line will be a mile-and-a-half-long elevated park, running through the West Side neighborhoods of the Meatpacking District, West Chelsea and Clinton/Hell's Kitchen. It features an integrated landscape, combining meandering concrete pathways with naturalistic plantings. Fixed and movable seating, lighting, and special features are also included in the park.
Access points from street level will be located every two to three blocks. Many of these access points will include elevators, and all will include stairs.
For more information, visit: www.thehighline.org
Through a shop window in Vienna — light, form and darkness in quiet dialogue.
The warm sphere radiates like a small sun in an otherwise sleeping city.
A fragile moment of geometry and glow, hidden in plain sight.
Sony A7III | 85mm | f/2.5 | 1/250s
Light doesn’t shout. It invites.
©2011 Blomerus Calitz (All rights reserved)
Best viewed full size.
Playing with a crystal pyramid and an acrylic spheres