View allAll Photos Tagged Geometry
Detail from a paper label on a wine bottle. For those of you who are curious, the source was a bottle of 2020 vintage Sauvignon Blanc from Clarksburg, California, bottle by Common Phenomena of American Canyon, California.
Taken expressly for the "Crazy Tuesday" theme of 8/23/2022: GEOMETRY.
VIEWERSHIP: 18% of 1,431 views on 8/23/2022.
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Track Geometry Train W001-28 heads west through McCords behind GP40-2 #6025. #6025 has long been one of the assigned Geometry train units, the other being GP40-2WH #9969. The silver baggage car "Florence" is a recent addition to the inspection train's consist.
Interested in purchasing a high-quality digital download of this photo, suitable for printing and framing? Let me know and I will add it to my Etsy Shop, MittenRailandMarine! Follow this link to see what images are currently listed for sale: www.etsy.com/shop/MittenRailandMarine
If you are interested in specific locomotives, trains, or freighters, please contact me. I have been photographing trains and ships for over 15 years and have accumulated an extensive library!
Recycling in Geometry
Recycling bottles in geometry with the ceiling foils and light
One of the "i light Singapore" art piece - The Lantern by Josephine Pun Tsz Kiu (National University of Singapore)
Here is the exhibit label:
Nestled in the embrace of the city, the luminous pavilion emerges as a contemplation on the voracious cycle of consumption. Its gentle luminescence is an alluring invitation to be mesmerized by the sight of light dancing upon the water within.
Made out of over 5,000 upcycled plastic water bottles - a staggering quantity that mirrors the relentless pace of bottle disposal in Singapore recurring every 7 minutes - The Lantern is a sobering physical embodiment of our collective harm to the environment. Yet, by harnessing the beauty of these upcycled materials. The Lantern is also a symbol of renewal and a call for bolder, innovative design approaches to shape a more sustainable future.
Dans le cadre de Fiesta, 7e édition de lille3000, l'artiste Felice Varini fait une prpoition à investir l'espace du rez-de-chaussée du Musée des Beaux Arts.
Peintre suisse né en 1952 à Locarno, Felice Varini crée depuis la fin des années 1970 des installations monumentales. Il analyse l'architecture, les matériaux, l'histoire et la fonction du lieu avant de définir un "point de vue" précis, souvent à la hauteur des yeux et dans un passage obligé, qui sert de point de départ à son oeuvre. Ce "point de vue" agit comme le point de lecture initial de l'oeuvre où la forme peinte apparaît cohérente. Toutefois, dès que l'on s'éloigne de ce point, l'interprétation de l'oeuvre évolue et offre une multitude de perspectives offrant au public une expérience, l'inscrivant dans le moment présent.
"Mes peintures apparaissent d'abord à la personne sous forme d'un tracé déconstruit qui ne lui évoque rien de familier ni de connu, d'où la perturbation. Par le déplacement du corps, el tracé initial vient à apparaître progressivement dans sa forme composée." Felice Varini
Séduit par les volumes du Palais de Beaux Arts, il propose un parcours en trois étapes autour de son atrium, permettant aux visiteurs de redécouvrir cette architecture tout en devenant acteurs de l'oeuvre.
Source: Panneau d'information dans l'Atrium expliquant le travail de Felice Varini.
> Disques dans le carré, Lille 2025 <
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As part of Fiesta, the 7th edition of lille3000, artist Felice Varini proposes to occupy the ground floor space of the Museum of Fine Arts.
A Swiss painter born in Locarno in 1952, Felice Varini has been creating monumental installations since the late 1970s. He analyzes the architecture, materials, history, and function of the site before defining a precise "viewpoint," often at eye level and in a prominent passageway, which serves as the starting point for his work. This "viewpoint" acts as the initial point of view, where the painted form appears coherent. However, as soon as one moves away from this point, the interpretation of the work evolves, offering a multitude of perspectives and providing the public with an experience that situates them in the present moment.
"My paintings first appear to the viewer as a deconstructed outline that evokes nothing familiar or known, hence the initial unsettling effect. Through the movement of the body, the initial outline gradually emerges in its composed form." Felice Varini
Captivated by the volumes of the Palais des Beaux-Arts, he proposes a three-stage journey around its atrium, allowing visitors to rediscover this architecture while becoming active participants in the artwork.
Source: Information panel in the Atrium explaining Felice Varini's work.
> Discs in the Square, Lille 2025 <
2011 - Grand Hyatt's Cancún ceiling. Each circle is a floor, and in the the center, a beautiful skylight.
A nice looking TEST car brings up the rear of this geometry train as it hustles north on the DW&P near Harney. Power was grungy C40-8 2038. I haven't seen this car in TEST service, so it might be a recent convert to the engineering department.
1984 - '85 Toyota Celica GT-S convertible.
Roscoe Village, Chicago, Illinois.
Saturday, June 17, 2023.
Another shot from Barcelona from MACBA. All of these shots were handheld at anything from ISO1600 to ISO6400 using a Fuji XT-1 and an 18-135mm lens - which I have to say is just about the most perfect travel lens.
This shot is another exploration of shapes, light and shade.
Thanks very much for the previous comments too.
The Engineering Building (1959–1963) was the first major building by British architects James Stirling and James Gowan. This Grade II* listed building comprises workshops and laboratories at ground level, and a tower containing offices and lecture theatres.
The building is part of the Red Trilogy by James Stirling. Beginning in the late 1950s, the architect designed three university buildings featuring distinctly red materials: red bricks and red tiles. The Red Trilogy includes the Engineering Building, University of Leicester (1959–1963), the Faculty of History, University of Cambridge (1964–1967), and the Florey Building, The Queen's College, Oxford (1966–1971). James Stirling and James Gowan worked together on the design for the Engineering Building. The Trilogy's two later buildings were designed by Stirling, without Gowan.
The Engineering Building is a large and complex structure. Stirling and Gowan were tasked to design spaces for offices, laboratories, auditorium, and workshops with heavy machinery. The design also includes a water tank on top. The workshops are located in the low-rise section of the building, in a hall with a rectangular floor plan. Connected to the workshop hall is the tower, which houses auditorium, offices, and laboratories. The water tank sits on top of the tower. The tower section is notable for its chamfered edges and its prismatic geometry. The auditorium is located at the base of the tower. The auditoriums seating arrangement is designed typically stadium-like with staggered rows of seats. The angled auditorium floor results in a pronounced wedge-shape on the building's exterior. The tower's facades are clad in glass and red tiles, the workshop hall's facade is entirely made of frosted glass.
A unique feature of the workshop hall is its roof construction. The roof's geometry is rotated by 45 degrees in respect to the floor plan's orientation. This results in a unique jagged roof line and a diamond-pattern-like perimeter. The roof appears as a series of multiple translucent prisms. The translucent effect was achieved by lining the glass panes with fibre-glass. Other parts of the glass shell are completely opaque, in contrast. Here, the glass panes were coated with a thin layer of aluminium.
Stirling and Gowan were commissioned in 1957. The design is dated to 1959. Construction lasted from 1960 to 1963. The consulting structural engineer was Frank Newby.
1. Taking pictures a tool (camera), not a photographer.
2. The choice of tool limits the possibilities.
3. Experience allows him (instrument) less and less to limit their capabilities.
4. The ability to see is given only when the observer allows ...
5. The moment of observation is the real find ...
6. Training and mastering it defies. Training leads to poor imitations of the original.
7. Often the result should ripen, like wine. Although time is the understanding of the mind, therefore it is very speculative.
8. The meaning of all this is the process!
9. Find someone who inspires shooting the camera!
windows with sgraffiti seen in Guarda / Switzerland
The term sgraffito comes from the Italian word sgraffiare which literally means “to scratch”. The technique involves scratching through a layer to reveal the layers below.
In an exceptionally beautiful location (Istria, Municipality of Bale) on a land comprising 100 000 m2 owned by Bioaromatica Ltd. and some additional 150 000 m2 in concession, emerged a unique agricultural farm and theme park called Histria Aromatica.
Histria Aromatica is conceived as a unique production and educational agro-tourism centre following the cycle called "From seed to brand". Histria Aromatica conforms their activities with the ideas of modern philosophy of sustainable development, such as optimal management of natural
resources, eco-production, preserving tradition, culture and education, with particular emphasis on the study of ethnobotany as a scientific discipline.
Once an abandoned area covered with wild Mediterranean scrub, has been turned into a heavenly garden. By transforming the landscape,beautiful gardens and plantations were created.
Lavender, pyrethrum, peppermint, chamomile, calendula and sage filds, olive groves and vineyards remind us of the typical old Istrian farms .
Respecting the configuration of the soil and its biodiversity with more than two hundred plant species, walking paths with benches were built for relaxation in a wide variety of colours, excotic and aromatic scents.
Its unique views of the sea and the old towns of Rovinj, Vodnjan and Bale followed by the beautiful landscape of Mount Ucka and Cicarija, offer a fabulous experience of the idyllic Istrian environment.