View allAll Photos Tagged OUTWARDS
this is the purple themed zentangle for swapbot swap~ i started with the embossed butterfly and worked outwards!
Caboose marker lights. Red towards the ends and green towards the center of the car and outwards (to the side). Same pattern on both sides of the caboose.
IMG_8796
Here's a closer look at the optical setup showing, from camera body outwards:
> Kood Nikon F-mount bayonet to M42 thread adaptor
> 4 extension rings
> rolled-up foamboard
> x10 objective lens
I'm aware that there are proper adaptors to connect an RMS-threaded microscope objective onto an M42 mount and will soon track one down.
taken with homemade anamorphic pinhole camera, then post-processed in photoshop using polar filter to make a circular image
the lines radiating outwards are the heavily distored bar code on the edge of the 35mm film
The ground tracking camera atop the Tracking Station follows the rocket as it pitches further over into its second minute of flight. As it passes into the upper atmosphere the lower air pressure allows the gasses of the engine exhaust plume to expand outwards
Caboose marker lights. Red towards the ends and green towards the center of the car and outwards (to the side). Same pattern on both sides of the caboose.
IMG_8772
Half Marathon outwards at Lovestation (Higher City Farm 3 Miles) - WSR Giant's Head 2022. Photographs taken at White Star Running Giant's Head Weekend at Sydling St Nicholas, Dorset on 25th and 26th June 2022.
Built between 1959 and 1962, this Modern Futurist and Googie building was designed by Eero Saarinen and Associates for Trans World Airlines to serve as a Flight Center, or Terminal headhouse, for their passenger services at John F. Kennedy International Airport in New York City. The building is an example of thin shell construction, with a parabolic and curved sculptural concrete roof and concrete columns, with many surfaces of the building's structure and exterior being tapered or curved. The building also appears to take inspiration from natural forms, with the roofs appearing like the wings of a bird or bat taking flight. The building served as a passenger terminal from 1962 until 2001, when it was closed.
The building's exterior is dominated by a thin shell concrete roof with parabolic curves, which is divided by ribs into four segments, with the larger, symmetrical north and south segments tapering towards the tallest points of the exterior walls, and soar over angled glass curtain walls underneath. At the ends of the four ribs are Y-shaped concrete columns that curve outwards towards the top and bottom, distributing the weight of the roof structure directly to the foundation. The east and west segments of the roof are smaller, with the west roof angling downwards and forming a canopy over the front entrance with a funnel-shaped sculptural concrete scupper that empties rainwater into a low grate over a drain on the west side of the driveway in front of the building, and the east roof angling slightly upwards, originally providing sweeping views of the tarmac and airfield beyond. The exterior walls of the building beneath the sculptural roof consist of glass curtain walls, with the western exterior wall sitting to the east of the columns and the eastern exterior wall being partially comprised of the eastern columns, with the curtain wall located in the openings between the columns. To the east and west of the taller central section are two half crescent-shaped wings with low-slope roofs, with a curved wall, integrated concrete canopy, tall walls at the ends, and regularly-spaced door openings. To the rear, two concrete tubes with elliptical profiles formerly linked the headhouse to the original concourses, and today link the historic building to the new Terminal 5 and Hotel Towers.
Inside, the building features a great hall with a central mezzanine, and features curved concrete walls and columns, complex staircases, aluminum railings, ticket counters in the two halls to either side of the front entrance, a clock at the center of the ceiling, and skylights below the ribs of the roof. The space features penny tile floors, concrete walls and built-in furniture, red carpeting, and opalescent glass signage. On the west side of the great hall, near the entrance, is a curved concrete counter in front of a large signboard housed in a sculptural concrete and metal shell that once displayed departing and arriving flights. On the north and south sides of this space are former ticket counters and baggage drops, which sit below a vaulted ceiling, with linear light fixtures suspended between curved sculptural concrete piers that terminate some ways below the ceiling. To the east of the entrance is a staircase with minimalist aluminum railings, beyond which is a cantilevered concrete bridge, with balconies and spaces with low ceilings to either side, off which are several shops, restrooms, and telephone booths. On the east side of the bridge is a large sunken lounge with red carpet and concrete benches with red upholstered cushions, surrounded by low concrete walls that feature red-cushioned benches on either side, sitting below a metal analog signboard mounted to the inside of the curtain wall. To the north and south of the lounge are the entrances to the concrete tubes that once provided access to the concourses, which are elliptical in shape, with red carpeted floors and white walls and a white ceiling. On the mezzanine are several former lounges and a restaurant, which feature historic mid-20th Century finishes and fixtures.
The complex includes two contemporary hotel towers, the Saarinen and Hughes wings, which were designed carefully to harmonize with the original building and match its character. The two wings feature concrete end walls, curved Miesian glass curtain walls, and interiors with red carpeting, wooden paneling, brass fittings and fixtures, and white walls and ceilings. The only substantial modification to the structure's significant interior spaces was the puncturing of the two concrete tubes to provide access to these towers. The former terminal also features several service areas that were not previously open to visitors, which today house a massive fitness center, a cavernous underground conference center, and various meeting rooms and ballrooms, with all of these spaces, except the fitness center, being redesigned to match the mid-20th Century modern aesthetics of the rest of the building, with new fixtures, furnishings, and finishes that are inspired directly by the time period in which the building was built, and are nearly seamless in appearance with the rest of the building.
The fantastic building was designated a New York City Landmark in 1994, and was listed on the National Register of Historic Places in 2005. Between 2005 and 2008, the new Terminal 5, occupied by JetBlue, was built, which wraps the structure to the east, and was designed by Gensler, and was carefully placed so as to avoid altering or damaging the character-defining features of the historic terminal. Between 2016 and 2019, the building was rehabilitated in an adaptive reuse project that converted it into the TWA Hotel, which was carried out under the direction of Beyer Blinder Belle, Lubrano Ciavarra Architects, Stonehill Taylor, INC Architecture and Design, as well as the Port Authority of New York and New Jersey and MCR/Morse Development. The hotel features 512 guest rooms, large event spaces, a rooftop pool at the top of the Hughes Wing, a large basement fitness center, and a Lockheed Constellation L-1649A "Connie" on a paved courtyard to the east of the building, which houses a cocktail lounge. The hotel is heavily themed around the 1960s, and was very carefully designed to preserve the character of this iconic landmark.
The jaggedly flamboyant blades burst outwards as if coming from the very core of a dragon's internal furnace.
This is an extraordinarily brilliant specimen of Hechtia texensis.
Today I FINALLY found the knock off Kristoff doll at an Asian store for $10 since my local stores have been getting hordes of the Elsa and Hans doll set. Hans looks to be a Mattel Kristoff with different sculpted hair so I passed on him, and was so happy to get a knock off Kristoff since I’m not paying $60 for that ugly Mattel two set or even try getting any Kristoff doll from the secondary market.
I knew he was a Mattel bootleg rather than a DS Kristoff but the Mattel sculpts are pretty okay I think. Weirdly enough it looks like the bootleggers cut off his sculpted hat and just shoddily sculpted extra hair on top so that’s cool.
Weirdly enough, Kristoff is fully articulated, and if his arms only hung down instead of sticking outwards I would keep him on it. It’s about as decent hollow plastic as my other Fashionista knock offs so lol.
I’ve been wanting a spare Kristoff to actually play with so I guess this is good enough for me lol.
This shot of downtown Chicago gives you an idea of how much of an urban region this city is.. it sprawls outwards for miles.
Many of the windows have these shutters that open outwards. In many cases, the mechanism appears to be broken.
Bodmin Jail (alternatively Bodmin Gaol) is an historic former prison situated in Bodmin, on the edge of Bodmin Moor in Cornwall. Built in 1779 and closed in 1927, the large range of buildings is now largely in ruins, although parts of the prison have been turned into a tourist attraction.
Bodmin Gaol was designed by Sir John Call and built in 1779 by prisoners of war, and was operational for 150 years, in which it saw over 50 public hangings. It was the first British prison to hold prisoners in individual cells.
The Debtors Act of 1869 abolished imprisonment for debt so the prison had spare space that was taken over by the Admiralty for naval prisoners. Eventually, the naval prison occupied an entire wing of the building, before it was closed in 1922.
During World War I the prison was deemed worthy of holding some of Britain's priceless national treasures including the Domesday Book and the Crown Jewels of the United Kingdom.
The first hanging was apparently in 1785, but the finishing date of the jail was in 1788. Executioners were paid about £10 a hanging. The last person to be hanged was in 1909, subsequent executions took place in Exeter Prison.
The jail closed in 1927. Since that date, there has been no prison within the county of Cornwall.
The former Bank House B&B, No 3 Banks Street in Blackpool.
The rear wall is visibly bulging outwards.
Panasonic TZ9 camera, 17th February 2017.
Stockholm grew rapidly after the second world war. The city expanded to the south and west as the subway line stretched further and further outwards. Each subway stop becoming a new community centre neighborhood following the modernist city planning principles of the times. The spaces between the more densely built centers was used for infrastructure, motorways and recreational purposes. In many current discussions on the properties of the modernist city these spaces are typically described as non-places, empty, leftover, wasteland. (bit.ly/2kA0wYh, Cecilia von Schéele, The void : Urban wasteland as political space, 2016) Spaces defined as a negative, as an absence or as without use or program. Today these descriptions are often used as arguments for densification or to defend a new paradigm in city planning. This workshop is about engaging with these kind of spaces using the Örbyleden site as an example. Are they empty, useless and un-programmed? If any, what kind of activities do take place, what uses are already there?
In 1995 the Spanish architect and philosopher Ignasi de Solà-Morales calls these spaces a terrain vague (bit.ly/2jYIRX4, Ignasi de Sola-Morales, Terrain Vague, 1995). The vague terrain belong spaces seemingly designed without any purpose at all, can be seen as a product of the modernist city. They create an uncertainty in respect of what is allowed, grey zones of insecurities. The vague terrain questions our role as participants in the city, it puts into question under what authority, along what protocols we are supposed to act. As such the terrain vague can be seen to take on virtual properties, spaces where potentially another city is already there, spaces waiting to be actualized.
Long steel framed wagon with a short wheelbase (to clear the turntables) at Holzwollefabrik und Sägewerk, Hammerunterwiesenthal, 2013. When loading, the workers must have started over the axles and worked their way outwards.
Brugmansia suaveolens is a semi-woody shrub or small tree, growing up to 3-5m tall. The leaves are oval, to 25 cm long by 15 cm wide, and even larger when grown in the shade. The flowers are remarkably beautiful and sweetly fragrant, about 24-32 cm long and shaped like trumpets. The corolla body is slightly recurved to 5 main points, but the very peaks in the true species are always curved outwards. The flowers are usually white but may be yellow or pink and hang downward from fully pendulous up to nearly horizontal.
STENA EMBLA
FLAG : CYPRUS
REGISTRY : LIMASSOL
IMO :9807322
TYPE :M.FERRY
BUILDER :CHINA MERCHANTS HI.JINLING
COUNTRY :CHINA
YD NR :W0266
SHIP DESIGN :
BUILT :2020
GT :41671
DWT :7700
OWNER :STENA LINE SCANDINAVIA AB. GOTHENBURG
STENA LINE LTD. HOLYHEAD
JIAHE INTERNATIONAL SHIP LEASE. C/O STENA LINE AB
EX :
LOCATION :NEW BRIGHTON 30 MARCH 2021
ZEN MAGNETS - Neodymium Magnetic Balls (@Varies) - Fun with 5-ball pentagon rings part 3
(@060) - Diamond subunit (3-layer) = (4 x (3 x 5))
(@040) - 12-pointed star / Dome = =((6 x (Diamond subunit (3-layer)) + (6 x (3 x 5))
(@030) - 2-layer triangle subunit - (3 x (2 x 5))
(@120) - Outwards quad triangle subunit = (4 x (2-layer triangle subunit))
(@360) - Outwards quad-tri triangle = (3 x (Outwards quad triangle subunit))
(@600) - Outwards quad-tri star= (5 x (Outwards quad triangle subunit))
(@600) - Outwards quad-tri spaceship v1 = (5 x (Outwards quad triangle subunit))
(@480) - Outwards quad-tri square = (4 x (Outwards quad triangle subunit))
(@600) - Outwards quad-tri spaceship v2 = (5 x (Outwards quad triangle subunit))
(@120) - Inwards quad triangle subunit = (4 x (2-layer triangle subunit))
(@600) - Inwards quad-tri pentagon = (5 x (Inwards quad triangle subunit))
(@600) - Inwards quad-tri spaceship v3 = (5 x (Inwards quad triangle subunit))
(@960) - Triangle subunit ring variations v1 = (8 x (2-layer triangle subunit))
(@720) - Triangle subunit ring variations v2 = (6 x (2-layer triangle subunit))
(@040) - Triangle subunit ring variations squares = (16 x (2-layer triangle subunit))
(@720) - Triangle subunit ring variations v2 = (6 x (2-layer triangle subunit))
(@070) - Heptagon subunit = (7 x (2 x 5))
(@140) - Heptagon subunit stacker v1 = (2 x (Heptagon subunit))
(@560) - Heptagon subunit stacker v2 = (8 x (Heptagon subunit))
Note: Outward = three pentagon rings facing outward, Inward = three pentagon rings facing inward. For polarity reversed, separate two from the rest, and use a separator card in-between to flip the two ball from top set to bottom set.
More build pics here:
This picture of the entrance to Caisteal Grugaig Broch could be the starting image for a production that in parts follows the routine of a preflight safety announcement. Using hands gestures familiar to flight attendants, as well as to those focused on their gesticulation, the central aisle can be indicated with two hands in a parallel almost chopping gesture. The side portals leading of the central aisle can be indicated with repeated sideways palms outwards chopping actions. Instead of indicating routes to safely leave the plane to escape danger the indications in this imaginary production would be a guide to places ready to engage, encounter and experience the traveller with the history and mystery raised in the remains of the stone structure. For me the preflight safety announcement idea opens up the potential available from following the direct route down the aisle as a visitor stooping and stepping into the central open section.
Also I am following the imaginary guide from the preflight safety announcement to step off the central aisle to take in the potential available from the side portals. By absolute happenstance the image when reflected has a some excellent patterns that create figures with one of them looking like an iconic version of old sacred statuary with a superb feather headdress. The synchronicity of the patterns holding such striking figures is supremely serendipitous as I have recently been looking at iconic old sacred statuary and enjoying the symbols in their structure when synchronicity strikes at the edges of the images of Caisteal Grugaig Broch rousing notions of a preflight safety announcement to then reveal in reflections of statue like figures.
The witchcraft that is stirred into these images is not the cunning editing as the editing is simple and straightforward just reflecting the original image. The name name Caisteal Grugaig is a reminder of the witch that supposedly lived here. Grugaig had two sons Telve and Todder. The sons are sometimes mentioned as giants and these two giants built and lived in Dun Telve and Dun Troddan the two magnificent brochs just over the hills and past Glenelg. There is also Dun Gruaig Broch that is closer to Dun Telve and Dun Troddan so the witch may have been in two places at once as well as having two giant sons in two magnificent brochs. Which ever way the witch story weaves a narrative, the beauty of the four brochs is tale set in stone that is worth telling and retelling.
The stones rise into open skies that release the imagination to fuel our inspiration until we are in our own ingenious visualisation ready to recount our own narration of witches, giants and brochs. I have my story from listening in to the wind and reflecting the resound of the echoes from the ground that around a campfire can be shared as water bubbles and boils to give accompanying brew to enlighten the story.
There are some further details here. Some useful details here.
Caisteal Grugaig Broch, if not with the white Hare Hind as seen in some of the other pictures, is a phantastique place of solid stone and dreaming design. Something secure rose here to stretch the sky and meet the clouds and even as the stone falls gently back down to the ground the sky still rolls in off the mountains and across the lochs to meet this site next to fresh water and towering over the sea.
Caisteal Grugaig Broch Ordnance Survey Map Grid Reference and Global Position
OS Grid Ref: NG 86681 25076
Latitude: 57° 15' 59" N
Longitude: 5° 32' 21" W
PHH Sykes ©2020
phhsykes@gmail.com
This is an enclosure I made, using several mods, for raising Indominus Rexes and Reaper Kings. Could work for just about anything, tho, and I love how it turned out!
...this time in my childhood home village in Eastern Westfalia...
Fussfall
...diesmal in meinem Heimatdorf in Ostwestfalen...
A caudex Yucca.
Hopefully it will eventually multiply outwards again. I may not live long enough to see it
ZEN MAGNETS - Neodymium Magnetic Balls (@Varies) - Fun with 5-ball pentagon rings part 3
(@060) - Diamond subunit (3-layer) = (4 x (3 x 5))
(@040) - 12-pointed star / Dome = =((6 x (Diamond subunit (3-layer)) + (6 x (3 x 5))
(@030) - 2-layer triangle subunit - (3 x (2 x 5))
(@120) - Outwards quad triangle subunit = (4 x (2-layer triangle subunit))
(@360) - Outwards quad-tri triangle = (3 x (Outwards quad triangle subunit))
(@600) - Outwards quad-tri star= (5 x (Outwards quad triangle subunit))
(@600) - Outwards quad-tri spaceship v1 = (5 x (Outwards quad triangle subunit))
(@480) - Outwards quad-tri square = (4 x (Outwards quad triangle subunit))
(@600) - Outwards quad-tri spaceship v2 = (5 x (Outwards quad triangle subunit))
(@120) - Inwards quad triangle subunit = (4 x (2-layer triangle subunit))
(@600) - Inwards quad-tri pentagon = (5 x (Inwards quad triangle subunit))
(@600) - Inwards quad-tri spaceship v3 = (5 x (Inwards quad triangle subunit))
(@960) - Triangle subunit ring variations v1 = (8 x (2-layer triangle subunit))
(@720) - Triangle subunit ring variations v2 = (6 x (2-layer triangle subunit))
(@040) - Triangle subunit ring variations squares = (16 x (2-layer triangle subunit))
(@720) - Triangle subunit ring variations v2 = (6 x (2-layer triangle subunit))
(@070) - Heptagon subunit = (7 x (2 x 5))
(@140) - Heptagon subunit stacker v1 = (2 x (Heptagon subunit))
(@560) - Heptagon subunit stacker v2 = (8 x (Heptagon subunit))
Note: Outward = three pentagon rings facing outward, Inward = three pentagon rings facing inward. For polarity reversed, separate two from the rest, and use a separator card in-between to flip the two ball from top set to bottom set.
More build pics here:
According to Vish, the minarets were built leaning very slightly outwards. The reason for this was that if they fell as a result of an earhquake, it would be better if they fell outwards than inwards towards the tomb!
Lichfield Cathedral is situated in Lichfield, Staffordshire, England. It is the only medieval English cathedral with three spires. The Diocese of Lichfield covers all of Staffordshire, much of Shropshire and part of the Black Country and West Midlands. The 99th and current Bishop of Lichfield is Michael Ipgrave who was appointed on 10 June 2016.
The cathedral is dedicated to St Chad and Saint Mary. Its internal length is 113 metres (370 feet), and the breadth of the nave is 21m (68'). The central spire is 77m (252') high and the western spires are about 58m (190').
The stone is sandstone and came from a quarry on the south side of Lichfield. The walls of the nave lean outwards slightly, due to the weight of stone used in the ceiling vaulting; some 200–300 tons of which was removed during renovation work to prevent the walls leaning further.
Lichfield suffered severe damage during the English Civil War in which all of the stained glass was destroyed. In spite of this the windows of the Lady Chapel contain some of the finest medieval Flemish painted glass in existence. Dating from the 1530s it came from the Abbey of Herkenrode in Belgium, in 1801, having been purchased by Brooke Boothby when that abbey was dissolved during the Napoleonic Wars. It was sold on to the cathedral for the same price. There are also some fine windows by Betton and Evans (1819), and many fine late 19th century windows, particularly those by Charles Eamer Kempe.
The Lichfield Gospels, also known as the Book of Chad, are the gospels of Matthew and Mark, and the early part of Luke, written mainly in Latin with some text in early Welsh and dating from around 730. There were originally two volumes but one went missing around the time of the English Civil War. It is closely related in style to the Lindisfarne Gospels. The manuscript is on display in the Chapter House from Easter to Christmas.
The Close is one of the most complete in the country and includes a medieval courtyard which once housed the men of the choir. The three spires are often referred to as 'the Ladies of the Vale'.
Early history and elevation to Archbishopric
The cathedral choir
The high altar
When Chad was made Bishop of Mercia in 669 he moved his See from Repton to Lichfield, possibly because this was already a holy site, as the scene of martyrdoms during the Roman period. The first cathedral to be built on the present site was in 700AD when Bishop Hedda built a new church to house the bones of St Chad which had become a sacred shrine to many pilgrims when he died in 672. Offa, King of Mercia seemed to resent his own bishops paying allegiance to the Archbishop of Canterbury in Kent who, whilst under Offa's control, was not of his own kingdom of Mercia. Offa therefore created his own archbishopric in Lichfield, who presided over all the bishops from the Humber to the Thames. All this began in 786, with the consent of Pope Adrian. The Pope’s official representatives were received warmly by Offa and were present at the Council of Chelsea (787), often called `the contentious synod', where it was proposed that the Archbishopric of Canterbury be restricted in order to make way for Offa's new archbishop. It was vehemently opposed, but Offa and the papal representatives defeated Archbishop Jaenbert, installing Higbert as the new Archbishop of Lichfield. Pope Adrian sent Higbert the pallium, denoting his support for this move. In gratitude, Offa promised to send an annual shipment of gold to the pope for alms and supplying the lights in St. Peter's church in Rome. However, The Archbishopric of Lichfield lasted for only 16 years, ending soon after Offa's death, when it was restored to Archbishop Aethelheard of Canterbury.
Starting in 1085 and continuing through the twelfth century the original wooden Saxon church was replaced by a Norman cathedral made from stone, and this was in turn replaced by the present Gothic cathedral begun in 1195. It was completed by the building of the Lady Chapel in the 1330s. The Choir dates from 1200, the Transepts from 1220 to 1240 and the Nave was started in 1260. The octagonal Chapter House, which was completed in 1249 and is one of the most beautiful parts of the Cathedral with some charming stone carvings, houses an exhibition of the cathedral's greatest treasure, the Lichfield Gospels, an 8th-century illuminated manuscript.
Devastation of the English Civil War
The Sleeping Children by Francis Chantrey (1817), portrays two young sisters, Ellen-Jane and Marianne, who died in tragic circumstances in 1812
There were three great sieges of Lichfield during the period 1643–1646 as the cathedral close was surrounded by a ditch and defensive walls it made a natural fortress. The cathedral authorities with a certain following were for Charles I, but the townsfolk generally sided with Parliament, and this led to the fortification of the close in 1643. Robert Greville, 2nd Baron Brooke, led an assault against it, but was killed [1] by a deflected bullet from John Dyott (known as 'dumb' because he was a deaf mute) who along with his brother Richard Dyott had taken up a position on the battlements of the central cathedral spire on 2 March 1643.[citation needed] Brooke's deputy John Gell, took over the siege. The Royalist garrison surrendered to Gell two days later.[citation needed]
In April of the same year (1643) Prince Rupert led an Royalist expeditionary force from Oxford to recapture Lichfield.[1] The siege started on 8 April. During the second assault Rupert's engineers detonated what is thought to be the first explosive mine to be used in England to breach the defences. Unable to defend the Close, Colonel Russell, the parliamentary commander of the garrison, surrendered on terms to Rupert on 21 April.[2]
The cathedral suffered extensive damage: the central spire was demolished, the roofs ruined and all the stained glass smashed. Bishop Hacket began the restoration of the cathedral in the 1660s, aided by substantial funds donated by the restored monarch, but it was not until the 19th century that the damage caused by the Civil War was fully repaired. Up until the 19th century, on top of an ornamented gable, between the two spires, stood a colossal figure of Charles II, by William Wilson. Today it stands just outside the south doors
Victorian restoration
The Cathedral Close, Lichfield with its many fine buildings is one of the most unspoilt in England
The Lichfield Angel carving
Although the 18th century was a golden age for the City of Lichfield, it was a period of decay for the cathedral. The 15th-century library, on the north side of the nave, was pulled down and the books moved to their present location above the Chapter House. Most of the statues on the west front were removed and the stonework covered with Roman cement. At the end of the century James Wyatt organised some major structural work, removing the High Altar to make one worship area of Choir and Lady Chapel and adding a massive stone screen at the entrance to the Choir. Francis Eginton painted the east window and was commissioned by the chapter to do other work in the cathedral. The ornate west front was extensively renovated in the Victorian era by George Gilbert Scott.
It includes a remarkable number of ornate carved figures of kings, queens and saints, working with original materials where possible and creating fine new imitations and additions when the originals were not available. Wyatt's choir-screen had utilised medieval stone-work which Scott in turn used to create the clergy's seats in the sanctuary. The new metal screen by Francis Skidmore and John Birnie Philip to designs by Scott himself is a triumph of High Victorian art, as are the fine Mintons tiles in the choir, inspired by the medieval ones found in the Choir foundations and still seen in the Library.
Lichfield Angel
In February 2003, an eighth century sculpted panel of the Archangel Gabriel was discovered under the nave of the cathedral. The 600mm tall panel is carved from limestone, and originally was part of a stone chest, which is thought to have contained the relics of St Chad.[3] The panel was broken into three parts but was still otherwise intact and had traces of red pigment from the period. The pigments on the Lichfield Angel correspond closely to those of the Lichfield Gospels which have been dated to around 730AD. The Angel was first unveiled to the public in 2006, when visitor numbers to the cathedral trebled. After being taken to Birmingham for eighteen months for examination, it is now exhibited in the cathedral. wikipedia
Watching the raindrops, splashing down. Spreading outwards as it hits, the ground, it's make a sound. A cleaning of the air, cooling down, sometimes whats in the ground hopefully worn't drown. A summer rain, to some a pain. To me, it's sometime renew of plants, drinking water, interesting to see. Without rain, life could be down a drain. Down it comes, a summer's rain, thunderstorm train. ~ ~ Mirando las gotas de lluvia, chapoteando. Extendiéndose hacia fuera cuando golpea, el suelo, es hacer un sonido. Una limpieza del aire, enfriamiento, a veces lo que está en el suelo esperanzadamente no se puede ahogar. Una lluvia de verano, para algunos un dolor. Para mí, es en algún momento la renovación de las plantas, el agua potable, interesante de ver. Sin lluvia, la vida podría ser un abajo los desagüe. Abajo viene, una lluvia de verano, tren de tormenta.
These canons looked outwards from the wall that surrounds oldtown. I can't take credit for this shot as it was taken by my girlfriend!
Luke Agbaimoni
The central point from which all the buildings fanned outwards from the keep, the Cour Ovale more or less marks the position of the original Château de Fontainebleau (aside from a tidy-up of the layout at the end of the Renaissance). Lined with 16th and 17th century facades, it opens to the south through the former fortified entrance (the Porte Dorée), and since Henry IV’s time opens to the east onto the Cour des Offices (Baptistry entrance). www.musee-chateau-fontainebleau.fr/The-Cour-Ovale?lang=en
"Suffering a certain moral amputation; deprived of the discipline of designing outwards from an original planning solution, the Roman architect, to produce convincing buildings, must compensate with a visual discipline so brilliant as never to give the impression that he is avoiding the pitfalls of Eclecticism, a formal discipline so exacting as to galvanize a conventional layout into new, expressive life. Few of the architects in Rome can body out this ideal, can resist the temptation to relapse into Empiricism or Imperial bombast, and of these few the most notable is Luigi Moretti.
Floodlight incorrectly installed such that it is shinning outwards, making a person almost impossible to see due to glare.
Photograph: M Morgan-Taylor for the Campaign for Dark-Skies
Stockholm grew rapidly after the second world war. The city expanded to the south and west as the subway line stretched further and further outwards. Each subway stop becoming a new community centre neighborhood following the modernist city planning principles of the times. The spaces between the more densely built centers was used for infrastructure, motorways and recreational purposes. In many current discussions on the properties of the modernist city these spaces are typically described as non-places, empty, leftover, wasteland. (bit.ly/2kA0wYh, Cecilia von Schéele, The void : Urban wasteland as political space, 2016) Spaces defined as a negative, as an absence or as without use or program. Today these descriptions are often used as arguments for densification or to defend a new paradigm in city planning. This workshop is about engaging with these kind of spaces using the Örbyleden site as an example. Are they empty, useless and un-programmed? If any, what kind of activities do take place, what uses are already there?
In 1995 the Spanish architect and philosopher Ignasi de Solà-Morales calls these spaces a terrain vague (bit.ly/2jYIRX4, Ignasi de Sola-Morales, Terrain Vague, 1995). The vague terrain belong spaces seemingly designed without any purpose at all, can be seen as a product of the modernist city. They create an uncertainty in respect of what is allowed, grey zones of insecurities. The vague terrain questions our role as participants in the city, it puts into question under what authority, along what protocols we are supposed to act. As such the terrain vague can be seen to take on virtual properties, spaces where potentially another city is already there, spaces waiting to be actualized.
The older and newer buttressess sit adjacent. The S.C.W.S. had to strengthen the wall because it was buckling outwards. Many decades later the whole hillside was landfilled to stabilize it.
From the exhibition introductory text (section 'Illuminating Obscurity'): "De Chirico's oeuvre is like an immense epistemological architecture, an uninterrupted process of discovery aimed at illuminating that which is obscure. In a journey enriched by symbolic cross-references, the artist's work represents an invitation to ponder upon the complexities of Knowledge, to lose oneself in order to find oneself, to accept the existential challenge of analysing both ourselves and our position within the Universe."
The gate pillars to Fort Burgoyne, facing outwards over the ditch. The pillars would once have supported and operated a raising drawbridge; the remains of the workings can still be seen.