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Georg Baselitz *1938 (Lena, 1992). Albertina, Sammlung Batliner (Batliner Collection)
The Albertina
The architectural history of the Palais
(Pictures you can see by clicking on the link at the end of page!)
Image: The oldest photographic view of the newly designed Palais Archduke Albrecht, 1869
"It is my will that the expansion of the inner city of Vienna with regard to a suitable connection of the same with the suburbs as soon as possible is tackled and at this on Regulirung (regulation) and beautifying of my Residence and Imperial Capital is taken into account. To this end I grant the withdrawal of the ramparts and fortifications of the inner city and the trenches around the same".
This decree of Emperor Franz Joseph I, published on 25 December 1857 in the Wiener Zeitung, formed the basis for the largest the surface concerning and architecturally most significant transformation of the Viennese cityscape. Involving several renowned domestic and foreign architects a "master plan" took form, which included the construction of a boulevard instead of the ramparts between the inner city and its radially upstream suburbs. In the 50-years during implementation phase, an impressive architectural ensemble developed, consisting of imperial and private representational buildings, public administration and cultural buildings, churches and barracks, marking the era under the term "ring-street style". Already in the first year tithe decided a senior member of the Austrian imperial family to decorate the facades of his palace according to the new design principles, and thus certified the aristocratic claim that this also "historicism" said style on the part of the imperial house was attributed.
Image: The Old Albertina after 1920
It was the palace of Archduke Albrecht (1817-1895), the Senior of the Habsburg Family Council, who as Field Marshal held the overall command over the Austro-Hungarian army. The building was incorporated into the imperial residence of the Hofburg complex, forming the south-west corner and extending eleven meters above street level on the so-called Augustinerbastei.
The close proximity of the palace to the imperial residence corresponded not only with Emperor Franz Joseph I and Archduke Albert with a close familial relationship between the owner of the palace and the monarch. Even the former inhabitants were always in close relationship to the imperial family, whether by birth or marriage. An exception here again proves the rule: Don Emanuel Teles da Silva Conde Tarouca (1696-1771), for which Maria Theresa in 1744 the palace had built, was just a close friend and advisor of the monarch. Silva Tarouca underpins the rule with a second exception, because he belonged to the administrative services as Generalhofbaudirektor (general court architect) and President of the Austrian-Dutch administration, while all other him subsequent owners were highest ranking military.
In the annals of Austrian history, especially those of military history, they either went into as commander of the Imperial Army, or the Austrian, later kk Army. In chronological order, this applies to Duke Carl Alexander of Lorraine, the brother-of-law of Maria Theresa, as Imperial Marshal, her son-in-law Duke Albert of Saxe-Teschen, also field marshal, whos adopted son, Archduke Charles of Austria, the last imperial field marshal and only Generalissimo of Austria, his son Archduke Albrecht of Austria as Feldmarschalil and army Supreme commander, and most recently his nephew Archduke Friedrich of Austria, who held as field marshal from 1914 to 1916 the command of the Austro-Hungarian troops. Despite their military profession, all five generals conceived themselves as patrons of the arts and promoted large sums of money to build large collections, the construction of magnificent buildings and cultural life. Charles Alexander of Lorraine promoted as governor of the Austrian Netherlands from 1741 to 1780 the Academy of Fine Arts, the Théâtre de Ja Monnaie and the companies Bourgeois Concert and Concert Noble, he founded the Academie royale et imperial des Sciences et des Lettres, opened the Bibliotheque Royal for the population and supported artistic talents with high scholarships. World fame got his porcelain collection, which however had to be sold by Emperor Joseph II to pay off his debts. Duke Albert began in 1776 according to the concept of conte Durazzo to set up an encyclopedic collection of prints, which forms the core of the world-famous "Albertina" today.
Image : Duke Albert and Archduchess Marie Christine show in family cercle the from Italy brought along art, 1776. Frederick Henry Füger.
1816 declared to Fideikommiss and thus in future indivisible, inalienable and inseparable, the collection 1822 passed into the possession of Archduke Carl, who, like his descendants, it broadened. Under him, the collection was introduced together with the sumptuously equipped palace on the Augustinerbastei in the so-called "Carl Ludwig'schen fideicommissum in 1826, by which the building and the in it kept collection fused into an indissoluble unity. At this time had from the Palais Tarouca by structural expansion or acquisition a veritable Residenz palace evolved. Duke Albert of Saxe-Teschen was first in 1800 the third floor of the adjacent Augustinian convent wing adapted to house his collection and he had after 1802 by his Belgian architect Louis de Montoyer at the suburban side built a magnificent extension, called the wing of staterooms, it was equipped in the style of Louis XVI. Only two decades later, Archduke Carl the entire palace newly set up. According to scetches of the architect Joseph Kornhäusel the 1822-1825 retreaded premises presented themselves in the Empire style. The interior of the palace testified from now in an impressive way the high rank and the prominent position of its owner. Under Archduke Albrecht the outer appearance also should meet the requirements. He had the facade of the palace in the style of historicism orchestrated and added to the Palais front against the suburbs an offshore covered access. Inside, he limited himself, apart from the redesign of the Rococo room in the manner of the second Blondel style, to the retention of the paternal stock. Archduke Friedrich's plans for an expansion of the palace were omitted, however, because of the outbreak of the First World War so that his contribution to the state rooms, especially, consists in the layout of the Spanish apartment, which he in 1895 for his sister, the Queen of Spain Maria Christina, had set up as a permanent residence.
Picture: The "audience room" after the restoration: Picture: The "balcony room" around 1990
The era of stately representation with handing down their cultural values found its most obvious visualization inside the palace through the design and features of the staterooms. On one hand, by the use of the finest materials and the purchase of masterfully manufactured pieces of equipment, such as on the other hand by the permanent reuse of older equipment parts. This period lasted until 1919, when Archduke Friedrich was expropriated by the newly founded Republic of Austria. With the republicanization of the collection and the building first of all finished the tradition that the owner's name was synonymous with the building name:
After Palais Tarouca or tarokkisches house it was called Lorraine House, afterwards Duke Albert Palais and Palais Archduke Carl. Due to the new construction of an adjacently located administration building it received in 1865 the prefix "Upper" and was referred to as Upper Palais Archduke Albrecht and Upper Palais Archduke Frederick. For the state a special reference to the Habsburg past was certainly politically no longer opportune, which is why was decided to name the building according to the in it kept collection "Albertina".
Picture: The "Wedgwood Cabinet" after the restoration: Picture: the "Wedgwood Cabinet" in the Palais Archduke Friedrich, 1905
This name derives from the term "La Collection Albertina" which had been used by the gallery Inspector Maurice von Thausing in 1870 in the Gazette des Beaux-Arts for the former graphics collection of Duke Albert. For this reason, it was the first time since the foundation of the palace that the name of the collection had become synonymous with the room shell. Room shell, hence, because the Republic of Austria Archduke Friedrich had allowed to take along all the movable goods from the palace in his Hungarian exile: crystal chandeliers, curtains and carpets as well as sculptures, vases and clocks. Particularly stressed should be the exquisite furniture, which stems of three facilities phases: the Louis XVI furnitures of Duke Albert, which had been manufactured on the basis of fraternal relations between his wife Archduchess Marie Christine and the French Queen Marie Antoinette after 1780 in the French Hofmanufakturen, also the on behalf of Archduke Charles 1822-1825 in the Vienna Porcelain Manufactory by Joseph Danhauser produced Empire furnitures and thirdly additions of the same style of Archduke Friedrich, which this about 1900 at Portois & Ffix as well as at Friedrich Otto Schmidt had commissioned.
The "swept clean" building got due to the strained financial situation after the First World War initially only a makeshift facility. However, since until 1999 no revision of the emergency equipment took place, but differently designed, primarily the utilitarianism committed office furnitures complementarily had been added, the equipment of the former state rooms presented itself at the end of the 20th century as an inhomogeneous administrative mingle-mangle of insignificant parts, where, however, dwelt a certain quaint charm. From the magnificent state rooms had evolved depots, storage rooms, a library, a study hall and several officed.
Image: The Albertina Graphic Arts Collection and the Philipphof after the American bombing of 12 März 1945.
Image: The palace after the demolition of the entrance facade, 1948-52
Worse it hit the outer appearance of the palace, because in times of continued anti-Habsburg sentiment after the Second World War and inspired by an intolerant destruction will, it came by pickaxe to a ministerial erasure of history. In contrast to the graphic collection possessed the richly decorated facades with the conspicuous insignia of the former owner an object-immanent reference to the Habsburg past and thus exhibited the monarchial traditions and values of the era of Francis Joseph significantly. As part of the remedial measures after a bomb damage, in 1948 the aristocratic, by Archduke Albert initiated, historicist facade structuring along with all decorations was cut off, many facade figures demolished and the Hapsburg crest emblems plunged to the ground. Since in addition the old ramp also had been cancelled and the main entrance of the bastion level had been moved down to the second basement storey at street level, ended the presence of the old Archduke's palace after more than 200 years. At the reopening of the "Albertina Graphic Collection" in 1952, the former Hapsburg Palais of splendour presented itself as one of his identity robbed, formally trivial, soulless room shell, whose successful republicanization an oversized and also unproportional eagle above the new main entrance to the Augustinian road symbolized. The emocratic throw of monuments had wiped out the Hapsburg palace from the urban appeareance, whereby in the perception only existed a nondescript, nameless and ahistorical building that henceforth served the lodging and presentation of world-famous graphic collection of the Albertina. The condition was not changed by the decision to the refurbishment because there were only planned collection specific extensions, but no restoration of the palace.
Image: The palace after the Second World War with simplified facades, the rudiment of the Danubiusbrunnens (well) and the new staircase up to the Augustinerbastei
This paradigm shift corresponded to a blatant reversal of the historical circumstances, as the travel guides and travel books for kk Residence and imperial capital of Vienna dedicated itself primarily with the magnificent, aristocratic palace on the Augustinerbastei with the sumptuously fitted out reception rooms and mentioned the collection kept there - if at all - only in passing. Only with the repositioning of the Albertina in 2000 under the direction of Klaus Albrecht Schröder, the palace was within the meaning and in fulfillment of the Fideikommiss of Archduke Charles in 1826 again met with the high regard, from which could result a further inseparable bond between the magnificent mansions and the world-famous collection. In view of the knowing about politically motivated errors and omissions of the past, the facades should get back their noble, historicist designing, the staterooms regain their glamorous, prestigious appearance and culturally unique equippment be repurchased. From this presumption, eventually grew the full commitment to revise the history of redemption and the return of the stately palace in the public consciousness.
Image: The restored suburb facade of the Palais Albertina suburb
The smoothed palace facades were returned to their original condition and present themselves today - with the exception of the not anymore reconstructed Attica figures - again with the historicist decoration and layout elements that Archduke Albrecht had given after the razing of the Augustinerbastei in 1865 in order. The neoclassical interiors, today called after the former inhabitants "Habsburg Staterooms", receiving a meticulous and detailed restoration taking place at the premises of originality and authenticity, got back their venerable and sumptuous appearance. From the world wide scattered historical pieces of equipment have been bought back 70 properties or could be returned through permanent loan to its original location, by which to the visitors is made experiencable again that atmosphere in 1919 the state rooms of the last Habsburg owner Archduke Frederick had owned. The for the first time in 80 years public accessible "Habsburg State Rooms" at the Palais Albertina enable now again as eloquent testimony to our Habsburg past and as a unique cultural heritage fundamental and essential insights into the Austrian cultural history. With the relocation of the main entrance to the level of the Augustinerbastei the recollection to this so valuable Austrian Cultural Heritage formally and functionally came to completion. The vision of the restoration and recovery of the grand palace was a pillar on which the new Albertina should arise again, the other embody the four large newly built exhibition halls, which allow for the first time in the history of the Albertina, to exhibit the collection throughout its encyclopedic breadh under optimal conservation conditions.
Image: The new entrance area of the Albertina
64 meter long shed roof. Hans Hollein.
The palace presents itself now in its appearance in the historicist style of the Ringstrassenära, almost as if nothing had happened in the meantime. But will the wheel of time should not, cannot and must not be turned back, so that the double standards of the "Albertina Palace" said museum - on the one hand Habsburg grandeur palaces and other modern museum for the arts of graphics - should be symbolized by a modern character: The in 2003 by Hans Hollein designed far into the Albertina square cantilevering, elegant floating flying roof. 64 meters long, it symbolizes in the form of a dynamic wedge the accelerated urban spatial connectivity and public access to the palace. It advertises the major changes in the interior as well as the huge underground extensions of the repositioned "Albertina".
Christian Benedictine
Art historian with research interests History of Architecture, building industry of the Hapsburgs, Hofburg and Zeremonialwissenschaft (ceremonial sciences). Since 1990 he works in the architecture collection of the Albertina. Since 2000 he supervises as director of the newly founded department "Staterooms" the restoration and furnishing of the state rooms and the restoration of the facades and explores the history of the palace and its inhabitants.
cutiepiecompany
this was the same textbook I used in my junior high science class... I found one at a yard sale sometime ago and have been using it to make fun little cards!
Epic Fine Art Malibu Seascape Landscape Photography: Elliot McGucken Fine Art Nature Photography!
New book! Epic Landscape Photography: The Principles of Fine Art Nature Photography!
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Working on a couple photography books! 45EPIC GODDESS PHOTOGRAPHY: A classic guide to exalting the archetypal woman. And 45EPIC Fine Art Landscape Photography!
More on my golden ratio musings: facebook.com/goldennumberratio
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Greetings all! I have been busy finishing a few books on photography, while traveling all over--to Zion and the Sierras--shooting fall colors. Please see some here: facebook.com/mcgucken
Let me know in the comments if you would like a free review copy of one of my photography books! :)
Titles include:
The Tao of Epic Landscape Photography: Exalt Fine Art with the Yin-Yang Wisdom of Lao Tzu's Tao Te Ching!
The Golden Number Ratio Principle: Why the Fibonacci Numbers Exalt Beauty and How to Create PHI Compositions in Art, Design, & Photography
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And I am also working on a book on photographing the goddesses! :) More goddesses soon!
Best wishes on your epic hero's odyssey!:)
I love voyaging forth into nature to contemplate poetry, physics, the golden ratio, and the Tao te Ching! What's your favorite epic poetry reflecting epic landscapes? I recently finished a book titled Epic Poetry for Epic Landscape Photographers:
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Did you know that John Muir, Thoreau, and Emerson all loved epic poetry and poets including Shakespeare, Milton, Homer, and Robert Burns?
I recently finished my fourth book on Light Time Dimension Theory, much of which was inspired by an autumn trip to Zion!
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Via its simple principle of a fourth expanding dimension, LTD Theory provides a unifying, foundational *physical* model underlying relativity, quantum mechanics, time and all its arrows and asymmetries, and the second law of thermodynamics. The detailed diagrams demonstrate that the great mysteries of quantum mechanical nonlocality, entanglement, and probability naturally arise from the very same principle that fosters relativity alongside light's constant velocity, the equivalence of mass and energy, and time dilation.
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Women’s Empowerment Principles (WEPs) Annual Event
Scenes from the Women’s Empowerment Principles (WEPs) Annual Event, Business Partners for Gender Equality: Multipliers for Development at UN Headquarters on 15 March 2016.
Photo: UN Women/Ryan Brown
Permaculture Design Certificate
With Nick Ritar + special guests
Alexandria, Sydney Australia
May-August 2010
Principles of Engineering
Technology
Front Row L to R: High School Silver-Nathan Videjo, Dubiski Career High School (Texas), not present for photo; Gold-Mamady Camara, Greater Lowell Tech High School (Mass.) and Bronze-Matthew Beck, Worcester Tech HS (Md.). Back row L to R: College/postsecondary Silver-Charles Myatt, Wake Technical Community College (N.C.); Gold-Damian Vasquez, Slawson Occupational Center (Calif.); and Bronze-Claudio Molina, Northern Virginia Community College (Va.).
Couple of posters revealing Dieter Ram's principles with graphics based on his Braun ET 55 calculator.
Golden Principles Of #VastuShastra
Lord #Vishwakarma has developed and given us the Vastu Shastra for the upliftment of the society.
Following are some of the golden principles of Vastu Shastra :
Shape of the #plot should be either rectangular or square.
#Doors facing south are not at all advisable.
House next to #temple or grave-yard should be avoided.
All #doors and #windows facing east and north should be kept open in daytime whereas those facing south and west should be kept closed when not in use.
While sleeping head should be kept in south or west direction.
One should use light #colors for Bedroom walls, bed-sheets, and nightdress.
The seating arrangement in drawing room should be such that person seating faces either north or east only.
South, west or southwest directions are advisable for electronic instruments and apparatus.
Important cupboards should be kept in such a way that the person opening it should face south direction.
Puja room should be kept in northeast.
Kitchen should be kept in southeast or in northwest only. Person should face east or north when cooking.
Everybody should face east or north while eating.
Grand Central Terminal is one of America's finest examples of the Beaux-Arts style. The monumental, sober classical vocabulary of the building is enlivened by rich sculptural detail of a Baroque exuberance. Not only in style, but in siting and plan, Grand Central is the quintessence of Beaux-Arts design principals.
Beaux-Arts principles emphasize the expression of a building's function through its design. In discussing Grand Central, Whitney Warren proclaimed "Modern cities have no portals or arches of triumph. The real gateways are the railroad stations."18 The exterior of Grand Central expresses this function, for the facades of the building closely resemble ancient triumphal arches, the gateways to Imperial Roman cities.
The allusion is most direct on the main entrance facade. Above the podium crested by the first story, three, great round-arched windows are enframed by engaged fluted columns upon a high stylobate. These Roman Doric columns visually support the cornice and attic story above. Even the depth of a triumphal arch Is suggested, since the east and west facades of the building are recessed at the corners. The triumphal arches at east and west project forward slightly, reiterating the 42nd Street facade motif on a slightly reduced scale.
The main facade of Grand Central is crowned by the justifiably famous sculptural group created by the French artist Jules Alexis Coutan. The. sculpture, a "tribute to commerce depicts a triumphant Mercury, god of commerce and travel, flanked by a reclining Hercules, the hero famed for physical strength and moral courage, and Minerva, goddess of wisdom and patroness of artists and artisans. The huge group - roughly 50 feet tail - is perfectly scaled to the monumental facade and plays an integral part in the architectural composition, functioning as the dramatic climax to the whole.
Few buildings in New York enjoy a more impressive, setting than does. Grand Central. From Park Avenue, south of Grand Central, one approaches the triumphal facade, enframed by the buildings along the Avenue, and visible from nearly a mile away. The architects, by raising the building on the podium created by the elevated driveways, enhanced Grand Central's visibility and intensified the dramatic focus. Although the site of Grand Central was determined by purely practical considerations, (the location of the railroad trackage), it nevertheless has much in common with the sitings of Beaux-Arts buildings in Paris, which frequently are placed at the termination of the. city's grand boulevards.
Planning and spatial organization, are central to Beaux-Arts theory. The. interiors of Grand Central, designed by the associated firms of Warren & Wetmore and Reed & Stem, are a paradigmatic expression of these concerns, displaying the order and clarity, the amplitude and grandeur which was the goal of the Beaux-Arts approach. The plan of Grand Central, hailed as "a model of coherence and clarity," is symmetrically disposed with a series of axially aligned, major spaces - the Waiting Room and Concourses - connected, by passageways and ramps. These ramps, unlike stairways, enhance the sense of easy progress and transition, and also facilitate-circulation.
On entering Grand Central, one senses the directionalized quality of the plan - a Beaux-Arts concern. Movement forward and gradually downward toward the actual train track platforms is suggested by the axiality of the plan, while lateral ancillary spaces contribute a sense of spatial flow and freedom, harmoniously balancing the dominant forward impetus. In addition, the plan of Grand Central allows not only for ease of circulation within the building itself, but also for easy entrance and exit. The terminal functions as a center of transfer - "a great reciprocating engine for pumping a huge flow of pedestrian traffic. " The noted architectural historian Carroll Meeks has termed this plan "a brilliant design" and continued "no better station of its size has ever been built."
The. interior of Grand Central relies not only on its planning for its impressiveness, but also on what the architectural critic Lewis Mum-ford has characterized as "its major quality.... space - generously and even nobly handled."" Beaux-Arts design attains much of its magnificence through monumental scaling and few interiors better illustrate this principle. At Grand Central, the Associated Architects handled the ancillary spaces monumentally end thus these spaces serve an an appropriate and essential introduction to the Main Concourse, the climax of the entire composition.
The Main Concourse, "breathtakingly grand," and in the opinion of the eminent architectural historian, Henry-Russell Hitchcock, "one of the grandest spaces the early 20th century ever enclosed" has captured the affection and admiration of generations of travelers.
Aside from the fineness of the plan and the grandness of the spaces of Grand Central's Beaux-Arts interiors, the architectural, detailing is of exceptional quality. Ornate, yet boldly scaled In keeping with the monumentality of the overall conception, it demonstrates a sensitive understanding of the use of classically inspired forms. As has been noted earlier, Whitney Warren, who had studied at the Ecole des Beaux-Arts Is very likely -to have been the principal designer of this fine detail, which Is exuberant yet dignified. The rich materials employed, marble and bronze most notably, have been skillfully and painstakingly crafted in the finest Beaux-Aits tradition. All of these elements - plan, space, and detail - combine to create one of America's great Beaux-Arts interiors.
Arriving at Grand Central, many passengers of an earlier time, had just descended from trains such as the Yankee Clipper, the Wolverine, the Empire State Express, and the Twentieth Century limited, names which today evoke the romance and excitement of train, level. That romance and excitement still echo within the Main Concourse, the. Waiting Room and the halls of Grand Central. It is these architecturally and historically significant interiors which the Commission designates an Interior Landmark.
The main entrance to Grand Central is located on 42nd Street, directly under thts viaduct which leads from Park Avenue to the elevated driveways. One first enters a short, segmentally-arched passageway with a ramped floor. Simply, but handsomely detailed, the passageway has segmentally-arched shop windows along its side wails, two fine glass and bronze chandeliers. a sober classical cornice, and most notably, a decorated tympanum above the doors leading in the Waiting Room, This consists of a marble panel adorned with a bronze relief of garlands with a central cad uceus, the- attribute of Mercury. The panel bears the inscription "To all those with head heart, and hand/Toiled in the construction of this monument to the public, service/This is inscribed. Above, is a clockface enframed by paired cornucopias in relief.
This relatively narrow, Iow~ceilinged entry opens onto the vast Waiting Room, precursor of the splendour of the Main Concourse, and in its own right, a room of extraordinary power and beauty. The Waiting Room is a hugs rectangle - 65 feet by 205 feet - divided into five monumental bays, lit by enormous windows and splendid chandeliers. Above a dado of light beige Botticino marble., the walls are faced with simulated Caen stone. This facing, used throughout Grand Central, is a fine example of such "Counterfeiting," a tribute to the craftsmen who so successfully imitated the"fine-grained, high-priced limestone of the Caen quarries in France, Tliis Caen facing is "set" in broad and narrow alternating courses.
The south wall of the Waiting Room contains five large windows, three broad ones, separated by two narrower. All are screened with handsome, heavy brona?grilles, the borders of which contain acanthus foliate panels. Between the windows broad, smooth pilasters project slightly from the wall and arc crowned by simple, leafy capitals. Beneath the windows to each side of the central entry are ornate marble enframed doorways surmounted by triangular pediments containing shells and oak branches, supported by consoles with acanthus leaf reliefs.
The north wall, similar to the south, contains five great windows with bronze grilles, through which one glimpses the Main Concourse. The walls resemble monumental piers, and effect enhanced by the broad pilasters which adorn them. Set into the pilasters are handsome bronze ventilation grilles of a type seen throughout the Terminal. The skilled craftsmanship and the richness of materials which characterize Grand Central as a whole, extend to all such details. Other examples include the bronze, classically ornamented letter boxes, the handsome marble drinking fountains, and the metal train indicator signs at the platform entrances.
The end wall of the Waiting Room are mirror images of one another, with large Caen -faced panels enframed by narrow floral borders, beneath which are the handsome marble entries to the Men's Room (at the wast) and the former Ladies' Room (at the east). Above the doors are clocks surrounded by garland reliefs set upon lintels carried on consoles. The corners of the room are rounded, and each contains a smooth pilaster which conforms to the curve.
The ceiling is richly adorned and painted to resemble bronze. It contains five bays, each with a central. "Caen" panel lavishly enframed with foliate console brackets and classically detailed mouldings. From a central rosette in each bay is suspended an imposing three tiered bronze and gilt-bronze chandelier,
Many of the original mahogany benches are still In place. A few have been removed and one can now clearly see the indentation in the marble paving of the floor where millions of travelers' feet have rested.
Leaving the Waiting Roojq, one descends along a ramp which bisects the south gallery-like section of the Main Concourse. This ramp is flanked by ticket booths, constructed of marble and bronze.
Beyond, is the Main Concourse which Carl Condit has called "the classic- work of interior space in American architecture,This vast chamber, of wall-merited world fame, billows upward to a height of 125 feet, and stretches to a breadth of 120 feet and a length of 375 feet. Although much larger than the Waiting Room, it too is divided into five bays which here attain a rarely equalled grandeur. The Main Concourse is essentially a. great barrel vaulted hall with galleried aisles to the north and south, separated from the main space by monumental piers carrying a strong, imposing bracketed entablature. Within the galleries are huge square-headed windows, while at the east and west ends of the Concourse are three round-arched windows echoing in their arrangement the triumphal arch, ot gates to the city motif of the exterior.
The upper walls and piers of the Concourse are sheathed in simulated Caen stone, while below, at "passenger level" marble predominates, not only because of its richness, but also because of its durability. The ticket windows ranged in two banks along the south wall of the Concourse are constructed of Italian Botticino marble with handsome Doric pilasters enframing each window. All the windows have numbered glass and bronze light fixtures, illuminated only when the window ir- in service. At the center of the vast Tennessee marble floor is a circular information desk., with marble counters enclosing a cylindrical bronze cote which connects this desk with the corresponding structure in the Lower Concourse beneath. The Main Concourse desk is topped by a handsome four-faced, bronze clock.
To arrive by train and enter the Main Concourse of Grand Central Terminal is an appropriate and impressive introduction to America's largest and most cosmopolitan city. The vast scale, the richness and beauty of the architectural detail and materials, and the fine planning of Grand Central's interiors, are considered truly exceptional. Until the construction of the Grand Central complex, no railroad station in the world had so completely fulfilled the needs of the traveler Grand Central, and most especially its interiors, is one of the city's most treasured buildings, valued not only for its beauty, but also for the vitality it imparts to the mid town area. The Terminal is a survivor in an age of planned obsolescence. Its symbolic power as an emblem of Manhattan makes it a landmark in the fullest sense of the word.
- From the 1980 NYCLPC Landmark Designation Report
December 6, 2013- The candle lighting ceremony, principles of Nguzo Saba, during the Kwanzaa celebration inside the Cabral Center.
The principles mound is headed by the august bodies of the W3C (the the MIT Great Dome) and the Ietf (the greybeards as greek gods). Singled out are the key principles which lead to the success of the Web: Cool URIs Don't Change, Safety, Jon Postel's law "be conservative in what you send, liberal in what you accept" otherwise known as The Robustness Principle, the IETF mantra "rough consensus and running Code", the separation of content from representation and finally the en.wikipedia.org/wiki/End-to-end_principle's famous The Network is Stupid paper.
Killer Whale Pod Monterey California! Pod of Orcas Marine Wildlife Landscape Seascape Ocean Art Photography! Sony Alpha 1 & Sony FE Telephoto Zoom 70-200mm f/2.8 GM OSS E-Mount Lens SEL70200G ! 45EPIC Elliot McGucken Sony A1 ILCE-1 Killer Whales!
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All my photography celebrates the physics of light! The McGucken Principle of the fourth expanding dimension: The fourth dimension is expanding at the rate of c relative to the three spatial dimensions: dx4/dt=ic .
Lao Tzu--The Tao: Nature does not hurry, yet everything is accomplished.
Light Time Dimension Theory: The Foundational Physics Unifying Einstein's Relativity and Quantum Mechanics: A Simple, Illustrated Introduction to the Unifying Physical Reality of the Fourth Expanding Dimensionsion dx4/dt=ic !: geni.us/Fa1Q
"Between every two pine trees there is a door leading to a new way of life." --John Muir
Epic Stoicism guides my fine art odyssey and photography: geni.us/epicstoicism
“The clearest way into the Universe is through a forest wilderness.” --John Muir
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“The mountains are calling and I must go.” --John Muir
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Golden Ratio Compositions & Secret Sacred Geometry for Photography, Fine Art, & Landscape Photographers: How to Exalt Art with Leonardo da Vinci's, Michelangelo's!
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A Simple Guide to the Principles of Fine Art Nature Photography: Master Composition, Lenses, Camera Settings, Aperture, ISO, ... Hero's Odyssey Mythology Photography)
All art is but imitation of nature.-- Seneca (Letters from a Stoic - Letter LXV: On the First Cause)
The universe itself is God and the universal outpouring of its soul. --Chrysippus (Quoted by Cicero in De Natura Deorum)
Photographs available as epic fine art luxury prints. For prints and licensing information, please send me a flickr mail or contact drelliot@gmail.com with your queries! All the best on your Epic Hero's Odyssey!
Former Foreign Office Minister James Duddridge at the Annual Plenary Meeting of the Voluntary Principles on Security and Human Rights Initiative, 17 March 2015, London.
This book is the Russian equivalent of the 1959 trilobite treatise volume (Treatise on Invertebrate Paleontology).
"Osnovy Paleontologii" means "Principles of Paleontology". This is the trilobites and crustaceans volume, published in 1960 and edited by Nina Evgenevna Chernysheva.
Chernysheva, N.E., ed. 1960. Osnovy Paleontologii, Chlenistonogie, Trilobitoobraznye i Rakoobraznye [Principles of Paleontology, Arthropods, Trilobitomorphs and Crustaceomorphs]. Moscow. Gosudarstvennoe Nauchno-Tekhnicheskoe Isdatelstvo Literatury po Geologii i Okhrane Nedr. 515 pp.
The example plate shows Cambrian and Ordovician trilobites.
Figure 1: Dipharus attleborensis (Lower Cambrian, North America)
Figure 2: Glabrella ventrosa (Middle Cambrian, central Asia)
Figure 3: Weymouthia nobilis (Lower Cambrian, North America)
Figure 4: Schmalenseeia amphionura (Upper Cambrian, eastern Siberia)
Figure 5: Solenopleura flerovae (Middle Cambrian, eastern Siberia)
Figure 6: Erdelia venusta (Lower Ordovician, Gornaya Shoriya)
Figure 7: Granularia protolenorum (Lower Cambrian, eastern Siberia)
Figure 8: Binodaspis spinosa (Lower Cambrian, eastern Siberia
Figure 9: Lecanopleura glabella (Upper Cambrian, eastern Siberia)
Figure 10: Esseigania tolli (Upper Cambrian, eastern Siberia)
Figure 11: Anomacarioides limbataeformis (Middle Cambrian, eastern Siberia)
Figure 12: Tuvanella communis (Lower Cambrian, Tuva)
Figure 13: Bailiaspis dalmani (Middle Cambrian, eastern Siberia)
Figure 14: Liostracus allachjunensis (Middle Cambrian, eastern Siberia)
Listed 9/3/2019
Millbrook, New York
Reference number: 100004333
Innisfree is a public garden of approximately 200 acres, blending Japanese, Chinese, Modern, and ecological design principles in Millbrook, a rural area roughly in the center of Dutchess County, New York. Innisfree’s distinctive sloping, rocky landscape, which forms the literal and visual foundation for the garden, is set within a natural bowl wrapping around the 40-acre Tyrrel Lake. This bowl, with no other signs of human intervention visible beyond the garden, creates a profound sense of intimacy and privacy at Innisfree that is one of its defining characteristics. A product of postwar ideas in American landscape architecture, Innisfree merges the essence of Modernist and Romantic ideas with traditional Chinese and Japanese garden design principles in a form that evolved through subtle, sculptural handling of the site and slow, science-based manipulation of its ecology. The result is a distinctly American stroll garden organized around placemaking techniques used in ancient Chinese villa gardens and described as “cup gardens.”
Innisfree, one of the largest intact modern designed landscapes in America, is the masterwork of Lester Collins (1914-1993), a seminal figure in American twentieth century landscape architecture. Lester Collins, fellow of the American Society of Landscape Architects, was one of the most sought-after designers and influential educators of his generation. Innisfree’s design reflects the philosophies and practices that guided Collins’s approach throughout his career, integrates innovative, sometimes truly groundbreaking horticultural and environmental engineering practices, and embodies the distinctive characteristics of postwar Modernist landscape architecture.
Innisfree began as the private estate of Walter and Marion Beck, who started initial work on the garden during the early 1930s. Starting in 1938, they continued its development in collaboration with and under the direction of Lester Collins. In 1960, following the deaths of the Becks and pursuant to their wishes, Collins transformed Innisfree from a private estate garden into a substantially larger, more nuanced public garden. He ran the public
garden while continuing to gradually develop and transform the landscape until his death in 1993.
Innisfree demonstrates Collins’s focus on the experience of people in the landscape; his ability to respond adroitly to the particularities of site and program; his approach and aesthetics as a Modernist; his scholarly understanding of landscape history, particularly of Romantic, Chinese, and Japanese gardens; and his innovative use of scientific and engineering principles to develop an environmentally and economically sustainable landscape. Innisfree has long been a mecca for designers from all over the world and it is now attracting similar attention from the global horticultural
community.
The primary features of Innisfree’s design are its principal cup gardens (loosely understood as garden rooms), Tyrrel Lake, and the Lake Path. Collins used the unifying features of the lake and lake path to integrate the many cup gardens into one dynamic experience in the natural landscape. The cup gardens vary in form, scale, and materials. One is an organically shaped meadow bisected by a wildly meandering stream and dotted with sculptural rocks and specimen trees. Another is a bog garden that has been carefully but lightly managed so that a new plant community emerged to play a particular aesthetic role. One more still is an elaborate complex of rock terraces stepping down a slope, each with its own vocabulary of design, materials, and mood.
Throughout the garden, there are themes and motifs that recur in varied forms. There is a dynamic tension between what appears to be natural and what appears to be cultivated. At a macro scale, this is evidenced by the entirety of the garden itself emerging from apparent wooded wilderness. Undulating, almost surreal natural topography is echoed in the rounded forms of clipped trees and constructed berms. Tall, straight pine trunks are mirrored in a 60’ high fountain jet. Naturalistic bogs are discreetly cultivated while areas that look like traditional planted beds are allowed to evolve and change like native plant communities.
While there are some exceptional horticultural specimens at Innisfree, the vast majority of the plants are native or naturalized. Instead of labor-intensive maintenance to strictly adhere to a fixed planting plan, plants are encouraged to find locations where they thrive just as they do in the wild and then gently edited for aesthetics. Sometimes this is achieved simply by allowing plants to self-sow; sometimes by sowing seed or moving plants in from elsewhere on site to increase a successful population; sometimes by limited hybridization to develop strains that are more ideally suited to specific local conditions. As a result, the overall plantings at Innisfree have an unstudied visual character punctuated by a handful of carefully placed, carefully sculpted trees.
There is also a deliberate choreographing of human perceptual experiences throughout Innisfree. Collins paid particular attention to these ideas. Scale ranges from massive to intimate. Spaces are open and bright, or tight and shadowy. Surfaces vary in material, texture, slope, and sound. Water changes form, scale, and sound. Design and planting details are dense or spare.
Another important motif at Innisfree is sculptural landforms. Collins began to clear trees to reveal the undulating glacial landforms. Collins felt that “land shapes, both natural and man-made…separate but also knit together sequences of cup gardens. Just like the sculptural rocks, these land forms are permanent design features in the garden, for they do not grow and their health is not subject to vagaries.” In the 1970s and early 1980s, Collins created dramatic berms in the garden to echo and emphasize the natural landforms.
In the nearly 70 years since Innisfree opened to the public, the garden has delighted and captured the imagination of experts and non-experts alike. Garden lovers, landscape writers and critics have sought to capture the unique aesthetic qualities and unusual design sophistication of Innisfree in various descriptive terms.
National Register of Historic Places Homepage
This image is split using the divine proportion, or ground thirds, along a horizontal axis. The first third is the awning of the bakery, along with its shadow on the window display beneath it. The second third is the blue square making up the window, and the final third is from the window's bottom frame to the edge of the poster. This final third contains the majority of Minnie, and the trays of pastries and the bottom layer of the cupcake display. Minnie and the cupcake tiers cross over the ground thirds lines, adding flow and sequence to the image.
This poster was part of a 2013 calendar collection from the Disneyland Resort. Photograph by me.
2001 China TCDC International Training Course on Bamboo Technology
DESCRIPTION:
Training Course
China National Bamboo Research Center
CHINA
FOR MORE INFORMATION:
Mr. Ding Xingcui,
Mr. Wu Jintao cbrc@mail.hz.zj.cn
+86 571 8869217 or 8863888 ext. 8915
PRESS RELEASE:
Participants are required to master the basic theories and principles of cultivation processing and utilization of bamboo so as to enhance their awareness and capacity of integrated development of bamboo, and create a chance leading to further mutual fruitful exchange and cooperation.
Enrollment Information for Course Guangzhou - 10-May-2001
ENROLLMENT INFORMATION 2001
China TCDC International Training Course on Bamboo Technology
Totally, there are 1250 species of bamboo or more belonged to 150 genera with a bamboo forest area of 1700 million ha. in the world, among which, there are more than 500 species belonging to 39 genera with a bamboo forest area of 500 million ha. in China, or about 1/3 of the world total, therefore, China is reputed as a "Bamboo Kingdom". China not only is a big country of bamboo resources, but also has already accumulated so much experience in bamboo research, exploitation, production, and management, etc., as a result, has been in advanced position of the world in many aspects of bamboo, especially marked achievements have been scored in bamboo integrated processing and utilization. The total production value of bamboo sector in China in 1999 is over US$ 2.2 billion. Bamboo sector has been becoming a new sunrising industry.
China National Bamboo Research Center (CBRC) was established in 1988 in Hangzhou, a picturesque city in eastern China, which is located in one of the China's biggest bamboo grown centers, and well-known for its West Lake. CBRC has three missions as enshrined by the Ministry of Science and Technology, the State Administration of Forestry: (a) to undertake, organize and coordinate major international and domestic bamboo projects of research and exploitation; (b) to undertake international technical and economic exchange and cooperation and personnel training in bamboo; and (c) to be managed and operated by modality of share-holding and gradually grow into a locomotive and backbone enterprise of China's bamboo sector so as to enhance China bamboo industry as a whole.
In order to disseminate bamboo technology, CBRC has already held with success several training courses/workshops entrusted by United Nations Development Program (UNDP), the Ministry of Foreign Trade & Economic Cooperation (MOFTEC), P.R. China, etc.
"2001 China TCDC International Training Course on Bamboo Technology" is the course sponsored by the Chinese Government. CBRC is entrusted by the MOFTEC to organize this training course. We should invite famous experts, professors all over the China, even an academician to give lectures.
1. Objectives
Participants are required to master the basic theories and principles of cultivation, processing and utilization of bamboo so as to enhance their awareness and capacity of integrated development of bamboo, and create a chance leading to further mutual fruitful exchange and cooperation.
2. Date and Duration
From May 8 to June 22, 2001.
3. Venue
China National Bamboo Research Center (CBRC) No. 138 Wenyi Rd., Hangzhou, Zhejiang Province, 310012 P.R. China
4. Main Course Contents
Present situation of bamboo resources, cultivation, processing, utilization in China and in the world; Bamboo sustainable development; Bamboo classification and introduction; Bamboo genetic pool set-up and maintenance; Bamboo biology and ecology, including individual and population growth and development; Bamboo propagation; Oriented cultivation of in-kind bamboo stands, such as for shoot, timber, both shoot and timber, coastal shelter, water and soil conservation, landscape, and pulp etc.; Bamboo landscaping; Bamboo pest control; Bamboo shoot production and processing; Production technologies of bamboo flooring and 10-plus bamboo artificial boards; Bamboo food, Bamboo integrated utilization (bamboo mats, bamboo charcoal, bamboo chemical utilization, etc); and Bamboo timber and shoot preservation; Bamboo social economy, etc.
5. Training Methods
Lectures, Field Practice, Demonstration, Seminar on Special Topics, Field Tours, Discussion and Report Presentation, Term Paper, etc.
6. Medium of Instruction
English
7. Source of Trainees
Technical, management and research personnel or officials in the field of forestry, bamboo, agriculture and others from developing countries.
8. Methods for Evaluation
The evaluation for the participants will be done on the basis of written tests, field practice, site study and comprehensive performance. Successful completion of the training program will lead to a diploma offered by CBRC. The allotment of marks will be as follows: a) Written tests 50% b) Comprehensive performance 50%
9. Participant's Qualifications and Requirements for Admission
Participants are requested: 1) To be nominated by his/her related government department; 2) To be less than 45 years old, better with a minimum educational background of college graduate, better with an agriculture, forestry and bamboo background and with a minimum of two years' practice in the relative profession; 3) To be in good health conditions with no infectious diseases and not handicapped. Physically fit to completing all course activities; 4) To be proficient in English reading, listening, speaking and writing; 5) To prepare a review paper or report on the bamboo (forestry) production or research of the participant's country and brief introduction of the participant's professional experiences for the purpose of experiences exchange; 6) Not to bring family members to the training course; and 7) To observe all the laws, rules and regulations of P. R. China and respect the Chinese customs during the training period.
10. Training Expenses
1) The expenses of training, boarding and lodging, local transportation, pocket money of RMB 30 Yuan per person per day during the training period in China will be borne by the Chinese Government and distributed by CBRC. 2) The International travel costs including round trip tickets, transit fares are to be covered by the participants themselves, or their respective Governments, or their employers or sponsored by some international organizations, like UNDP, ESCAP, FAO, etc. through proper application and consultations. 3) The expenses of medical care, insurance and domestic salaries for the participants are to be borne by the participants' governments.
11. Application and Admission
1) The applicants should be nominated by their respective Governments. The nominated participants are requested to fill up the Application Forms, which should be endorsed by the departments concerned of their respective Governments, and submit with valid Health Certificates provided by authorized physicians or hospitals to the Economic and Commercial Counselor's Office of the Chinese Embassy ( ECCOCE ) for examination, recommendation and endorsement; 2) After endorsed by the Economic and Commercial Counselor's Office of the Chinese Embassy, Admission Notices will be issued to the accepted participants by the ECCOCE through the related governmental departments of the participants. With the Admission Notices, the participants are requested to go through all necessary formalities for entering into China and bring all the documents like Admission Notices, Application Forms, Health Certificates to China for attending the Course on time.
12. Insurance
The training course organizer dose not hold any responsibility for such risks as loss of life, accidents, illness, loss of properties incurred by the participants during the training period.
13. Liaison Address
Attn: Mr. Ding Xingcui, Mr. Wu Jintao China National Bamboo Research Center No. 138, Wenyi Rd., Hangzhou 310012 Zhejiang Province P.R. China Phone:+86 571 8869217 or 8863888 ext. 8915 Mobile: +86 13805791796 Fax: +86 571 8869217, 8860944
E-mail: cbrc@mail.hz.zj.cn
Great American West Landscape Photography by California Fine Art Landscape Photographer Elliot McGucken! Fine Art Landscape & Nature Photography
I sign every print with dx4/dt=ic, and my physics equation dx4/dt=ic graces the swimsuits and bikinis, while the golden gun is designed in proportion with the golden ratio, and the photos are oft cropped in divine proportions!
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An anti-establishment view or belief is one which stands in opposition to the conventional social, political, and economic principles of a society. The term was first used in the modern sense in 1958, by the British magazine New Statesman to refer to its political and social agenda. Antiestablishmentarianism (or anti-establishmentarianism) is an expression for such a political philosophy.
In the UK anti-establishment figures and groups are seen as those who argue or act against the ruling class. Having an established church, in England, a British monarchy, an aristocracy, and an unelected upper house in Parliament made up in part by hereditary nobles, the UK has a clearly definable[citation needed] Establishment against which anti-establishment figures can be contrasted. In particular, satirical humour is commonly used to undermine the deference shown by the majority of the population towards those who govern them. Examples of British anti-establishment satire include much of the humour of Peter Cook and Ben Elton; novels such as Rumpole of the Bailey; magazines such as Private Eye; and television programmes like Spitting Image, That Was The Week That Was, and The Prisoner (see also the satire boom of the 1960s). Anti-establishment themes also can be seen in the novels of writers such as Will Self.
However, by operating through the arts and media, the line between politics and culture is blurred, so that pigeonholing figures such as Banksy as either anti-establishment or counter-culture figures can be difficult. The tabloid newspapers such as The Sun, are less subtle, and commonly report on the sex-lives of the Royals simply because it sells newspapers, but in the process have been described as having anti-establishment views that have weakened traditional institutions. On the other hand, as time passes, anti-establishment figures sometimes end up becoming part of the Establishment, as Mick Jagger, the Rolling Stones frontman, became a Knight in 2003, or when The Who frontman Roger Daltrey was made a Commander of the Order of the British Empire in 2005 in recognition of both his music and his work for charity.
Anti-establishment in the United States began in the 1940s and continued through the 1950s.
Many World War II veterans, who had seen horrors and inhumanities, began to question every aspect of life, including its meaning. Urged to return to "normal lives" and plagued by post traumatic stress disorder (discussing it was "not manly"), in which many of them went on to found the outlaw motorcycle club Hells Angels. Some veterans, who founded the Beat Movement, were denigrated as Beatniks and accused of being "downbeat" on everything. Lawrence Ferlinghetti wrote a Beat autobiography that cited his wartime service.
Citizens had also begun to question authority, especially after the Gary Powers U-2 Incident, wherein President Eisenhower repeatedly assured people the United States was not spying on Russia, then was caught in a blatant lie. This general dissatisfaction was popularized by Peggy Lee's laconic pop song "Is That All There Is?", but remained unspoken and unfocused. It was not until the Baby Boomers came along in huge numbers that protest became organized, who were named by the Beats as "little hipsters".
"Anti-establishment" became a buzzword of the tumultuous 1960s. Young people raised in comparative luxury saw many wrongs perpetuated by society and began to question "the Establishment". Contentious issues included the ongoing Vietnam War with no clear goal or end point, the constant military build-up and diversion of funds for the Cold War, perpetual widespread poverty being ignored, money-wasting boondoggles like pork barrel projects and the Space Race, festering race issues, a stultifying education system, repressive laws and harsh sentences for casual drug use, and a general malaise among the older generation. On the other side, "Middle America" often regarded questions as accusations, and saw the younger generation as spoiled, drugged-out, sex-crazed, unambitious slackers.
Anti-establishment debates were common because they touched on everyday aspects of life. Even innocent questions could escalate into angry diatribes. For example, "Why do we spend millions on a foreign war and a space program when our schools are falling apart?" would be answered with "We need to keep our military strong and ready to stop the Communists from taking over the world." As in any debate, there were valid and unsupported arguments on both sides. "Make love not war" invoked "America, love it or leave it."
As the 1960s simmered, the anti-Establishment adopted conventions in opposition to the Establishment. T-shirts and blue jeans became the uniform of the young because their parents wore collar shirts and slacks. Drug use, with its illegal panache, was favored over the legal consumption of alcohol. Promoting peace and love was the antidote to promulgating hatred and war. Living in genteel poverty was more "honest" than amassing a nest egg and a house in the suburbs. Rock 'n roll was played loudly over easy listening. Dodging the draft was passive resistance to traditional military service. Dancing was free-style, not learned in a ballroom. Over time, anti-establishment messages crept into popular culture: songs, fashion, movies, lifestyle choices, television.
The emphasis on freedom allowed previously hushed conversations about sex, politics, or religion to be openly discussed. A wave of radical liberation movements for minority groups came out of the 1960s, including second-wave feminism; Black Power, Red Power, and the Chicano Movement; and gay liberation. These movements differed from previous efforts to improve minority rights by their opposition to respectability politics and militant tone. Programs were put in place to deal with inequities: Equal Opportunity Employment, the Head Start Program, enforcement of the Civil Rights Act, busing, and others. But the widespread dissemination of new ideas also sparked a backlash and resurgence in conservative religions, new segregated private schools, anti-gay and anti-abortion legislation, and other reversals. Extremists[clarification needed] tended to be heard more because they made good copy for newspapers and television.[citation needed] In many ways, the angry debates of the 1960s led to modern right-wing talk radio and coalitions for "traditional family values".
As the 1960s passed, society had changed to the point that the definition of the Establishment had blurred, and the term "anti-establishment" seemed to fall out of use.
In recent years, with the rise of the populist right, the term anti-establishment has tended to refer to both left and right-wing movements expressing dissatisfaction with mainstream institutions. For those on the right, this can be fueled by feelings of alienation from major institutions such as the government, corporations, media, and education system, which are perceived as holding progressive social norms, an inversion of the meaning formerly associated with the term. This can be accounted for by a perceived cultural and institutional shift to the left by many on the right. According to Pew Research, Western European populist parties from both sides of the ideological spectrum tapped into anti-establishment sentiment in 2017, "from the Brexit referendum to national elections in Italy." Sarah Kendzior of QZ opines that "The term "anti-establishment" has lost all meaning," citing a campaign video from then candidate Donald Trump titled "Fighting the Establishment." The term anti-establishment has tended to refer to Right-wing populist movements, including nationalist movements and anti-lockdown protests, since Donald Trump and the global populist wave, starting as far back as 2015 and as recently as 2021.
California Pier Winter Sunset! Santa Barbara Wharf Pier Red Orange Yellow Clouds Beautiful Sunset Southern California Fine Art Fuji GFX100 Landscape Photography! Ocean Art Seascape Orange County! Elliot McGucken Master Medium Format Landscape Nature Photography Fuji GFX 100 & FUJINON FUJIFILM GF LM WR Lens
Enjoy some epic drone footage and more on my newish Youtube channel, where I fly the DJI Mavic 2 Pro & DJI Mavic 2 Zoom!
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All my photography celebrates the physics of light! The McGucken Principle of the fourth expanding dimension: The fourth dimension is expanding at the rate of c relative to the three spatial dimensions: dx4/dt=ic .
Lao Tzu--The Tao: Nature does not hurry, yet everything is accomplished.
Light Time Dimension Theory: The Foundational Physics Unifying Einstein's Relativity and Quantum Mechanics: A Simple, Illustrated Introduction to the Unifying Physical Reality of the Fourth Expanding Dimensionsion dx4/dt=ic !: geni.us/Fa1Q
"Between every two pine trees there is a door leading to a new way of life." --John Muir
Epic Stoicism guides my fine art odyssey and photography: geni.us/epicstoicism
“The clearest way into the Universe is through a forest wilderness.” --John Muir
Epic Poetry inspires all my photography: geni.us/9K0Ki Epic Poetry for Epic Landscape Photography: Exalt Fine Art Nature Photography with the Poetic Wisdom of John Muir, Emerson, Thoreau, Homer's Iliad, Milton's Paradise Lost & Dante's Inferno Odyssey
“The mountains are calling and I must go.” --John Muir
Epic Art & 45EPIC Gear exalting golden ratio designs for your Hero's Odyssey:
Support epic fine art! 45surf ! Bitcoin: 1FMBZJeeHVMu35uegrYUfEkHfPj5pe9WNz
Exalt the goddess archetype in the fine art of photography! My Epic Book: Photographing Women Models!
Portrait, Swimsuit, Lingerie, Boudoir, Fine Art, & Fashion Photography Exalting the Venus Goddess Archetype: How to Shoot Epic ... Epic! Beautiful Surf Fine Art Portrait Swimsuit Bikini Models!
Some of my epic books, prints, & more!
Exalt your photography with Golden Ratio Compositions!
Golden Ratio Compositions & Secret Sacred Geometry for Photography, Fine Art, & Landscape Photographers: How to Exalt Art with Leonardo da Vinci's, Michelangelo's!
Epic Landscape Photography:
A Simple Guide to the Principles of Fine Art Nature Photography: Master Composition, Lenses, Camera Settings, Aperture, ISO, ... Hero's Odyssey Mythology Photography)
All art is but imitation of nature.-- Seneca (Letters from a Stoic - Letter LXV: On the First Cause)
The universe itself is God and the universal outpouring of its soul. --Chrysippus (Quoted by Cicero in De Natura Deorum)
Best wishes on your Epic Odyssey!
Homer: Tell me, O muse, of that ingenious hero who traveled far and wide after he had sacked the famous town of Troy. Many cities did he visit, and many were the nations with whose manners and customs he was acquainted; moreover he suffered much by sea while trying to save his own life and bring his men safely home. . . --Homer's Odyssey, Book I
Listed 9/3/2019
Millbrook, New York
Reference number: 100004333
Innisfree is a public garden of approximately 200 acres, blending Japanese, Chinese, Modern, and ecological design principles in Millbrook, a rural area roughly in the center of Dutchess County, New York. Innisfree’s distinctive sloping, rocky landscape, which forms the literal and visual foundation for the garden, is set within a natural bowl wrapping around the 40-acre Tyrrel Lake. This bowl, with no other signs of human intervention visible beyond the garden, creates a profound sense of intimacy and privacy at Innisfree that is one of its defining characteristics. A product of postwar ideas in American landscape architecture, Innisfree merges the essence of Modernist and Romantic ideas with traditional Chinese and Japanese garden design principles in a form that evolved through subtle, sculptural handling of the site and slow, science-based manipulation of its ecology. The result is a distinctly American stroll garden organized around placemaking techniques used in ancient Chinese villa gardens and described as “cup gardens.”
Innisfree, one of the largest intact modern designed landscapes in America, is the masterwork of Lester Collins (1914-1993), a seminal figure in American twentieth century landscape architecture. Lester Collins, fellow of the American Society of Landscape Architects, was one of the most sought-after designers and influential educators of his generation. Innisfree’s design reflects the philosophies and practices that guided Collins’s approach throughout his career, integrates innovative, sometimes truly groundbreaking horticultural and environmental engineering practices, and embodies the distinctive characteristics of postwar Modernist landscape architecture.
Innisfree began as the private estate of Walter and Marion Beck, who started initial work on the garden during the early 1930s. Starting in 1938, they continued its development in collaboration with and under the direction of Lester Collins. In 1960, following the deaths of the Becks and pursuant to their wishes, Collins transformed Innisfree from a private estate garden into a substantially larger, more nuanced public garden. He ran the public
garden while continuing to gradually develop and transform the landscape until his death in 1993.
Innisfree demonstrates Collins’s focus on the experience of people in the landscape; his ability to respond adroitly to the particularities of site and program; his approach and aesthetics as a Modernist; his scholarly understanding of landscape history, particularly of Romantic, Chinese, and Japanese gardens; and his innovative use of scientific and engineering principles to develop an environmentally and economically sustainable landscape. Innisfree has long been a mecca for designers from all over the world and it is now attracting similar attention from the global horticultural
community.
The primary features of Innisfree’s design are its principal cup gardens (loosely understood as garden rooms), Tyrrel Lake, and the Lake Path. Collins used the unifying features of the lake and lake path to integrate the many cup gardens into one dynamic experience in the natural landscape. The cup gardens vary in form, scale, and materials. One is an organically shaped meadow bisected by a wildly meandering stream and dotted with sculptural rocks and specimen trees. Another is a bog garden that has been carefully but lightly managed so that a new plant community emerged to play a particular aesthetic role. One more still is an elaborate complex of rock terraces stepping down a slope, each with its own vocabulary of design, materials, and mood.
Throughout the garden, there are themes and motifs that recur in varied forms. There is a dynamic tension between what appears to be natural and what appears to be cultivated. At a macro scale, this is evidenced by the entirety of the garden itself emerging from apparent wooded wilderness. Undulating, almost surreal natural topography is echoed in the rounded forms of clipped trees and constructed berms. Tall, straight pine trunks are mirrored in a 60’ high fountain jet. Naturalistic bogs are discreetly cultivated while areas that look like traditional planted beds are allowed to evolve and change like native plant communities.
While there are some exceptional horticultural specimens at Innisfree, the vast majority of the plants are native or naturalized. Instead of labor-intensive maintenance to strictly adhere to a fixed planting plan, plants are encouraged to find locations where they thrive just as they do in the wild and then gently edited for aesthetics. Sometimes this is achieved simply by allowing plants to self-sow; sometimes by sowing seed or moving plants in from elsewhere on site to increase a successful population; sometimes by limited hybridization to develop strains that are more ideally suited to specific local conditions. As a result, the overall plantings at Innisfree have an unstudied visual character punctuated by a handful of carefully placed, carefully sculpted trees.
There is also a deliberate choreographing of human perceptual experiences throughout Innisfree. Collins paid particular attention to these ideas. Scale ranges from massive to intimate. Spaces are open and bright, or tight and shadowy. Surfaces vary in material, texture, slope, and sound. Water changes form, scale, and sound. Design and planting details are dense or spare.
Another important motif at Innisfree is sculptural landforms. Collins began to clear trees to reveal the undulating glacial landforms. Collins felt that “land shapes, both natural and man-made…separate but also knit together sequences of cup gardens. Just like the sculptural rocks, these land forms are permanent design features in the garden, for they do not grow and their health is not subject to vagaries.” In the 1970s and early 1980s, Collins created dramatic berms in the garden to echo and emphasize the natural landforms.
In the nearly 70 years since Innisfree opened to the public, the garden has delighted and captured the imagination of experts and non-experts alike. Garden lovers, landscape writers and critics have sought to capture the unique aesthetic qualities and unusual design sophistication of Innisfree in various descriptive terms.
National Register of Historic Places Homepage
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Bryant Park Hotel / American Standard Building. West 40th Street, Midtown Manhattan
The American Radiator Building, a striking twenty-three story black and gold tower, is one of the finest and most significant skyscrapers in Manhattan. Designed by Raymond M. Hood and built in 1923-24, the American Radiator Building initiated a new trend in skyscraper design in Mew York City with its bold cubic massing of forms--often associated with the Art Deco style--and-its freedom from the Beaux-Arts classical details that had previously encumbered New York City skyscrapers.
In the period following World War I, architects continued to use classical details and principles of proportion for their skyscraper designs, although these were often ill-adapted to high buildings. Hood's design broke with tradition and utilized new forms.
Raymond Mathewson Hood (1881-1934), who had received architectural training at the Ecole des Beaux-Arts in Paris, worked for the firm of Cram, Goodhue Ferguson--noted for its neo-Gothic architectural designs--in 1906. Hood's first great architectural success came in 1922 when John Mead IIowclls asked Hood to join him in submitting a design for the Chicago Tribune competition. Hood's winning design was a soaring tower terminating in setback peaks and flying buttresses of neo-Gothic design.
In the early 1920s Hood formed a partnership with J. Andre' Fouilhoux, and the firm received the commission for the American Radiator Building. His 1923 building for the National Radiator Company in London, a subsidiary of the American company, is indicative of Hood's continuing success with the company. Among later notable skyscraper designs by Hood, which further established his reputation, were the Daily News Building, the McGraw-Hill Building, and. several buildings in Rockefeller Center for which he was an associated architect.
Heywood Broun, the well-known journalist, wrote a tribute to Hood after his death: Even if you look down the list through the ages Raymond Hood will stand out among the architects of all time as one who had the fortune and the genius to conduct radical experimentation with mass and color/' Hood was posthumously honored with a gold medal from the New York Chapter of the American Institute of Architects in 1940.
The great skyscraper building boom of the 1920s encouraged architects to seek a new means to best express the height of the building. The New York City i. Zoning Law of 1916, which dictated a series of setbacks as the buildings rose above a certain height, also had its effect on skyscraper design. Moreover, big business saw the skyscraper as a potent tool, as a symbol to express the pride and power of great corporations.
In the American Radiator Building, Hood had ample opportunity to exploit the new possibilities of skyscraper design. He stated that in its form and mass the building was Han honest development of the zoning law." At the same time Hood was able to create a building that would become a striking corporate symbol.
Hood used two elements to make the building a unique architectural expression. One was the unusual design of the tower itself which was a conscious attempt to use new forms and break away from the classical mold. The tower rises up fifteen stories before it begins a series of setbacks, that not only accorded with the Zoning Law, but also contributed to its striking silhouette. Above the fifteenth story the sides are indented at the corners to create small recessed bays in which windows are located. The corners at the front of the building are beveled to give a shaft-like effect to the main portion of the tower. The upper part of the building can be easily viewed from three sides.
The most striking feature of the building is its unusual black and gold color scheme. In 1926, Talbot Hamlin, the noted architectural historian, described it as "the most daring experiment in color in modern buildings yet made in America."' To prevent the many windows from looking like black holes and destroying the solid effect of the tower, Hood decided to face the walls with black brick. Gold accents at the tops of the setback pinnacles provide a handsome contrast to the black walls. Hood's interest in color, which is not generally associated with the classical tradition, was also expressed in many of his other buildings. The building was equally dramatic at night when it was floodlighted. It became, in effect, an advertisement for the American Radiator Company. The vivid effects of coloration made it look like a giant glowing coal, even though Hood denied his intention of creating this conscious symbolic effect.
Although the striking silhouette and color scheme catch the viewer*s eye from a distance, the fine details of the lower three stories give an especially interesting character to the portion of the building that is immediately visible from the sidewalk. These details were carefully designed to enhance the windows of the ground floor showrooms. These large plate glass windows are enframed by slender, bronze, ribbed shafts reminiscent of the Gothic style but terminating in cubistic pinnacles. The windows are surmounted by a slender continuous modillioned bronze enframement.
The main entrance, placed between the showroom windows, is set within an arched opening and accented by striking bronze details of modified Gothic design. The pinnacles of the framing above the arch are grouped into the same type of cubistic masses that are so prominent a part of the tower setbacks. The deep reveals of the entrance and the panels above and flanking the arch arc of gold-colored stone which provide a striking contrast to the polished black granite stone facing of the lower two stories. The second floor is surmounted by a modillioned cornice set on large intricate corbel blocks, which display a variety of figures reminiscent of medieval prototypes--recalling Hood's work of two years earlier on the Chicago Tribune tower.
The third story has a distinctive window bay treatment which sets off the tower rising above it. The bays are flanked by indented brick pilasters which are surmounted by gold pinnacles. The design of these pinnacles anticipates the peaks of the setbacks at the upper portions of the tower. Gold spandrel panels above the windows provide further contrast to the black brick. : Intricately designed railings, incorporating S-curved snake designs, shield the bases of the third floor windows.
Although Hood sought to give the main shaft of the tower a massive appearance, it does not have a monolithic quality. Slightly projecting brickwork adds subtle variety to the wall surfaces. The various setbacks of the tower terminate in gold-colored cubistic masses--forms that are often associated with the Art Deco style of architecture. Corbels, cornices and spandrel panels, also of gold, accent various window portions of the setbacks. Crowning the tower is a striking arched and pinnacled form that adds the final golden touch to the silhoutte of the building.
The building was regarded as a startling departure from the past. On January 20, 1924, the New York Times described the building: "A daring departure from the conventional in office building construction marks the new home of the American Radiator Building...Unlike any office building in the country, the new structure is faced entirely with black brick with golden colored stone trimming, worked together to give a rich black and gold decorative effect. The building has already provoked wide discussion in professional circles because of its unique design An interesting feature is that over 90 percent of the floor space is within 25 feet of the windows."
As a measure of its excellence, the Fifth Avenue Association awarded the American Radiator Building a Silver Medal in 1925. The architectural importance of the building is further attested by a bronze plaque, donated by the Community Trust of Now York in 1962, which is placed by the entrance.
The American Radiator Building with its striking forms and colors not only initiated a new trend in skyscraper design in New York City, but also retains its architectural significance today as a unique expression of design that adds grace and elegance to Manhattan.
- From the 1974 NYCLPC Landmark Designation Report
Listed 9/3/2019
Millbrook, New York
Reference number: 100004333
Innisfree is a public garden of approximately 200 acres, blending Japanese, Chinese, Modern, and ecological design principles in Millbrook, a rural area roughly in the center of Dutchess County, New York. Innisfree’s distinctive sloping, rocky landscape, which forms the literal and visual foundation for the garden, is set within a natural bowl wrapping around the 40-acre Tyrrel Lake. This bowl, with no other signs of human intervention visible beyond the garden, creates a profound sense of intimacy and privacy at Innisfree that is one of its defining characteristics. A product of postwar ideas in American landscape architecture, Innisfree merges the essence of Modernist and Romantic ideas with traditional Chinese and Japanese garden design principles in a form that evolved through subtle, sculptural handling of the site and slow, science-based manipulation of its ecology. The result is a distinctly American stroll garden organized around placemaking techniques used in ancient Chinese villa gardens and described as “cup gardens.”
Innisfree, one of the largest intact modern designed landscapes in America, is the masterwork of Lester Collins (1914-1993), a seminal figure in American twentieth century landscape architecture. Lester Collins, fellow of the American Society of Landscape Architects, was one of the most sought-after designers and influential educators of his generation. Innisfree’s design reflects the philosophies and practices that guided Collins’s approach throughout his career, integrates innovative, sometimes truly groundbreaking horticultural and environmental engineering practices, and embodies the distinctive characteristics of postwar Modernist landscape architecture.
Innisfree began as the private estate of Walter and Marion Beck, who started initial work on the garden during the early 1930s. Starting in 1938, they continued its development in collaboration with and under the direction of Lester Collins. In 1960, following the deaths of the Becks and pursuant to their wishes, Collins transformed Innisfree from a private estate garden into a substantially larger, more nuanced public garden. He ran the public
garden while continuing to gradually develop and transform the landscape until his death in 1993.
Innisfree demonstrates Collins’s focus on the experience of people in the landscape; his ability to respond adroitly to the particularities of site and program; his approach and aesthetics as a Modernist; his scholarly understanding of landscape history, particularly of Romantic, Chinese, and Japanese gardens; and his innovative use of scientific and engineering principles to develop an environmentally and economically sustainable landscape. Innisfree has long been a mecca for designers from all over the world and it is now attracting similar attention from the global horticultural
community.
The primary features of Innisfree’s design are its principal cup gardens (loosely understood as garden rooms), Tyrrel Lake, and the Lake Path. Collins used the unifying features of the lake and lake path to integrate the many cup gardens into one dynamic experience in the natural landscape. The cup gardens vary in form, scale, and materials. One is an organically shaped meadow bisected by a wildly meandering stream and dotted with sculptural rocks and specimen trees. Another is a bog garden that has been carefully but lightly managed so that a new plant community emerged to play a particular aesthetic role. One more still is an elaborate complex of rock terraces stepping down a slope, each with its own vocabulary of design, materials, and mood.
Throughout the garden, there are themes and motifs that recur in varied forms. There is a dynamic tension between what appears to be natural and what appears to be cultivated. At a macro scale, this is evidenced by the entirety of the garden itself emerging from apparent wooded wilderness. Undulating, almost surreal natural topography is echoed in the rounded forms of clipped trees and constructed berms. Tall, straight pine trunks are mirrored in a 60’ high fountain jet. Naturalistic bogs are discreetly cultivated while areas that look like traditional planted beds are allowed to evolve and change like native plant communities.
While there are some exceptional horticultural specimens at Innisfree, the vast majority of the plants are native or naturalized. Instead of labor-intensive maintenance to strictly adhere to a fixed planting plan, plants are encouraged to find locations where they thrive just as they do in the wild and then gently edited for aesthetics. Sometimes this is achieved simply by allowing plants to self-sow; sometimes by sowing seed or moving plants in from elsewhere on site to increase a successful population; sometimes by limited hybridization to develop strains that are more ideally suited to specific local conditions. As a result, the overall plantings at Innisfree have an unstudied visual character punctuated by a handful of carefully placed, carefully sculpted trees.
There is also a deliberate choreographing of human perceptual experiences throughout Innisfree. Collins paid particular attention to these ideas. Scale ranges from massive to intimate. Spaces are open and bright, or tight and shadowy. Surfaces vary in material, texture, slope, and sound. Water changes form, scale, and sound. Design and planting details are dense or spare.
Another important motif at Innisfree is sculptural landforms. Collins began to clear trees to reveal the undulating glacial landforms. Collins felt that “land shapes, both natural and man-made…separate but also knit together sequences of cup gardens. Just like the sculptural rocks, these land forms are permanent design features in the garden, for they do not grow and their health is not subject to vagaries.” In the 1970s and early 1980s, Collins created dramatic berms in the garden to echo and emphasize the natural landforms.
In the nearly 70 years since Innisfree opened to the public, the garden has delighted and captured the imagination of experts and non-experts alike. Garden lovers, landscape writers and critics have sought to capture the unique aesthetic qualities and unusual design sophistication of Innisfree in various descriptive terms.
National Register of Historic Places Homepage
Objective 3: Elements and Principles of Design
Line: this photo has many kinds of line in it, on the leafs there is straight line from the start to end and along that straight line there is curved lines running off of it, the lines on the leafs draw your eye to them because they are defined and have a calm and beautiful feel to them. The main branch that the leaves are connected to also demonstrates straight line and has a rigid feeling to it.
Colour: the main colour in this photo is the green leafs and as well as some pink on the ends of buds. This colour give off a nature feel to the image and shows you that it was taken on a cloudy day because there is no hard lighting in the image.
Shape: the leaves in this photo are organic and an oval shape, this adds to the nature feeling of this image.
Space: in the background the space is negative and it draws your eyes towards the foreground and makes your eye really focus on the branches and the raindrops on the leaves.
Texture: the texture of this photo is smooth because it was a cloudy day which made for no harsh lighting and the leaves give off a smooth texture the way that the rain drops are on them and the smooth texture gives this photo an at peace feeling with nature.
Emphasis: in this photo I made sure that background was clutter free and had nothing going on in it so this way the eye would mainly focus on the close up shot of the branch and leafs and especially the water drops which were the main point of focus in this photo.
Movement: in this image there are lots of diagonal lines on the leaves and it draws your eye to other leafs and that keeps it a flowing movement which your eyes are drawn too. The rain drops are also dripping from the ends of the leaves which show us they have moved and that the photo has been taken after it had just rained.
Repetition/pattern: the repeating pattern of the different types of lines on the leafs adds to this image quite a lot because it draws your eye to them which makes the image a lot more interesting to the eye.
Contrast: in this image I adjusted the contrast so that the darks would be darker and the lights lighter so that this way the green on the leaves stand out more and this makes the foreground become more interesting. And by making the lights lighter it makes the background become brighter and blurred so this way it is even more so out of focus.
Unity: I believe that this photo has unity by the way the foreground is in focus, the leafs and the rain also give off a smooth texture which makes them go together and the rain drops just give the image a sense of nature and peace which just gives it an overall completeness.
Objective 4: Lighting
This picture was taken outside but I took it on a cloudy rainy day so that made the lighting not so harsh and hard but instead soft.
Objective 5: Post Production (ex. dust/spot removal, resize, contrast, white balance, sharpening, borders, etc.)
In this image I contrasted it so that the darks would be just a little bit darker and the lights lighter so that way the green leafs stand out more, another thing I did was resize the image so that it is easier to download or to post.
Objective 6: Critique
For this image I would have liked to have an extended lens to try different zooms.
Next time I would like to try to shoot this image while it is raining and try to get it in the image.
I liked how the post production made this image turn out and as well as how I took it after it rained so there was rain drops in the image.
Objective 7: Photographic Styles (ex. portrait, landscape, etc.) – Explain why the settings and composition are appropriate for the style of photography. (How did you create the shot?) You do NOT need to do Objective 2 if you are handing in this objective.
Type/style of photography: the photography style I used in this photo was close up.
The camera mode used in this picture was Av
f stop used: 5.6
shutter speed used: the shutter speed was decided for me because I was in Av mode
ISO used: 400 because it was outside lighting but it was a cloudy day so it did not need to be down any lower.
Exposure compensation: 0
Focal length: the focal length was 55 because I wanted to get close in to this photo and not have much in the background so that your eyes would mostly focus on the rain drops and leafs.
From left to right: Chuck Ferguson, Roger Button, John Fullmer, Bob Reichen, Dick Wingard, Bob Hall, Scott Edwards, Mark Burris, Eugene Wallace and Bob Tomeoni.
I chose this picture for my Principles of Design for rhythm because it is showing a pattern or a flow and its moving.
Students in Mark Corson's principles of humanitarian aid course sort through logistical issues involved in a trimester-long role-playing simulation, Dec. 6, 2011. The scenario, in the fictional country Atlantica, had students working in a consortium comprised of four humanitarian aid groups to deliver aid to Atlantica, which was devastated by an earthquake. The course is offered as part of Northwest's comprehensive crisis response minor. (Photo by Darren Whitley/Northwest Missouri State University)
New book! Epic Landscape Photography: The Principles of Fine Art Nature Photography!
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Greetings all! I have been busy finishing a few books on photography, while traveling all over--to Zion and the Sierras--shooting fall colors. Please see some here: facebook.com/mcgucken
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Titles include:
The Tao of Epic Landscape Photography: Exalt Fine Art with the Yin-Yang Wisdom of Lao Tzu's Tao Te Ching!
The Golden Number Ratio Principle: Why the Fibonacci Numbers Exalt Beauty and How to Create PHI Compositions in Art, Design, & Photography
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And I am also working on a book on photographing the goddesses! :) More goddesses soon!
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I love voyaging forth into nature to contemplate poetry, physics, the golden ratio, and the Tao te Ching! What's your favorite epic poetry reflecting epic landscapes? I recently finished a book titled Epic Poetry for Epic Landscape Photographers:
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Did you know that John Muir, Thoreau, and Emerson all loved epic poetry and poets including Shakespeare, Milton, Homer, and Robert Burns?
I recently finished my fourth book on Light Time Dimension Theory, much of which was inspired by an autumn trip to Zion!
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Via its simple principle of a fourth expanding dimension, LTD Theory provides a unifying, foundational *physical* model underlying relativity, quantum mechanics, time and all its arrows and asymmetries, and the second law of thermodynamics. The detailed diagrams demonstrate that the great mysteries of quantum mechanical nonlocality, entanglement, and probability naturally arise from the very same principle that fosters relativity alongside light's constant velocity, the equivalence of mass and energy, and time dilation.
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