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New book! Epic Landscape Photography: The Principles of Fine Art Nature Photography!
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Join my new 45EPIC fine art landscapes page on facebook!
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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:
www.facebook.com/Epic-Poetry-for-Epic-Landscape-Photograp...
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!
www.facebook.com/lightimedimensiontheory/
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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From left to right: Chuck Ferguson, John Fullmer, Roger Button, Bob Reichen, Dick Wingard, Bob Hall, Scott Edwards, Jeff Hart, Mark Burris, Eugene Wallace and Bob Tomeoni.
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)
Responsible design strategy in this case means planting trees - any trees - which will withstand the wind at the top of a hill. Only then can we begin to consider food, colour, form and other uses.
(New York, 7 September 2018)—Today, the Global Innovation Coalition for Change (GICC), a unique alliance with 27 partners from private sector, non-profit organizations and academic institutions, facilitated by UN Women to develop the innovation market to work better for women and to accelerate the achievement of gender equality and women’s empowerment, is launching a set of global standards called the “Gender Innovation Principles”. The Principles aim to take a gender-responsive approach to innovation and technology.
After a year-long process, GICC established the ambitious Principles to help guide organizations toward including women and women’s needs throughout the various phases in the innovation lifecycle, such as design, implementation and evaluation.
Photo: UN Women/Ryan Brown
U.S. Department of Agriculture (USDA) Forest Service (FS) Superior National Forest (NF) Tofte Ranger Station sign on Forest Service Drive, near Grand Marais, MN on Feb. 27, 2018. Superior NF was established in 1909, the Superior is known for its boreal forest ecosystem, numerous clean lakes, and a colorful cultural history. Management by the USDA-Forest Service, under principles of ecosystem management and multiple use, the Forest provides for a diverse community of plants and animals as well as products for human needs. The concept of "all lands" management maintains strong partnerships and collaboration across the landscape. Popular recreational activities include fishing, hunting, camping, canoeing, swimming, hiking, snowmobiling, cross country skiing and ice fishing. Superior NF System is 2,174,993 acres. USDA Photo by Lance Cheung.
Ipê Amarelo, Tabebuia [chrysotricha or ochracea].
Ipê-amarelo em Brasília (UnB), Brasil.
This tree is in Brasília, Capital of Brazil.
Text, in english, from Wikipedia, the free encyclopedia
"Trumpet tree" redirects here. This term is occasionally used for the Shield-leaved Pumpwood (Cecropia peltata).
Tabebuia
Flowering Araguaney or ipê-amarelo (Tabebuia chrysantha) in central Brazil
Scientific classification
Kingdom: Plantae
(unranked): Angiosperms
(unranked): Eudicots
(unranked): Asterids
Order: Lamiales
Family: Bignoniaceae
Tribe: Tecomeae
Genus: Tabebuia
Gomez
Species
Nearly 100.
Tabebuia is a neotropical genus of about 100 species in the tribe Tecomeae of the family Bignoniaceae. The species range from northern Mexico and the Antilles south to northern Argentina and central Venezuela, including the Caribbean islands of Hispaniola (Dominican Republic and Haiti) and Cuba. Well-known common names include Ipê, Poui, trumpet trees and pau d'arco.
They are large shrubs and trees growing to 5 to 50 m (16 to 160 ft.) tall depending on the species; many species are dry-season deciduous but some are evergreen. The leaves are opposite pairs, complex or palmately compound with 3–7 leaflets.
Tabebuia is a notable flowering tree. The flowers are 3 to 11 cm (1 to 4 in.) wide and are produced in dense clusters. They present a cupular calyx campanulate to tubular, truncate, bilabiate or 5-lobed. Corolla colors vary between species ranging from white, light pink, yellow, lavender, magenta, or red. The outside texture of the flower tube is either glabrous or pubescentThe fruit is a dehiscent pod, 10 to 50 cm (4 to 20 in.) long, containing numerous—in some species winged—seeds. These pods often remain on the tree through dry season until the beginning of the rainy.
Species in this genus are important as timber trees. The wood is used for furniture, decking, and other outdoor uses. It is increasingly popular as a decking material due to its insect resistance and durability. By 2007, FSC-certified ipê wood had become readily available on the market, although certificates are occasionally forged.
Tabebuia is widely used as ornamental tree in the tropics in landscaping gardens, public squares, and boulevards due to its impressive and colorful flowering. Many flowers appear on still leafless stems at the end of the dry season, making the floral display more conspicuous. They are useful as honey plants for bees, and are popular with certain hummingbirds. Naturalist Madhaviah Krishnan on the other hand once famously took offense at ipé grown in India, where it is not native.
Lapacho teaThe bark of several species has medical properties. The bark is dried, shredded, and then boiled making a bitter or sour-tasting brownish-colored tea. Tea from the inner bark of Pink Ipê (T. impetiginosa) is known as Lapacho or Taheebo. Its main active principles are lapachol, quercetin, and other flavonoids. It is also available in pill form. The herbal remedy is typically used during flu and cold season and for easing smoker's cough. It apparently works as expectorant, by promoting the lungs to cough up and free deeply embedded mucus and contaminants. However, lapachol is rather toxic and therefore a more topical use e.g. as antibiotic or pesticide may be advisable. Other species with significant folk medical use are T. alba and Yellow Lapacho (T. serratifolia)
Tabebuia heteropoda, T. incana, and other species are occasionally used as an additive to the entheogenic drink Ayahuasca.
Mycosphaerella tabebuiae, a plant pathogenic sac fungus, was first discovered on an ipê tree.
Tabebuia alba
Tabebuia anafensis
Tabebuia arimaoensis
Tabebuia aurea – Caribbean Trumpet Tree
Tabebuia bilbergii
Tabebuia bibracteolata
Tabebuia cassinoides
Tabebuia chrysantha – Araguaney, Yellow Ipê, tajibo (Bolivia), ipê-amarelo (Brazil), cañaguate (N Colombia)
Tabebuia chrysotricha – Golden Trumpet Tree
Tabebuia donnell-smithii Rose – Gold Tree, "Prima Vera", Cortez blanco (El Salvador), San Juan (Honduras), palo blanco (Guatemala),duranga (Mexico)
A native of Mexico and Central Americas, considered one of the most colorful of all Central American trees. The leaves are deciduous. Masses of golden-yellow flowers cover the crown after the leaves are shed.
Tabebuia dubia
Tabebuia ecuadorensis
Tabebuia elongata
Tabebuia furfuracea
Tabebuia geminiflora Rizz. & Mattos
Tabebuia guayacan (Seem.) Hemsl.
Tabebuia haemantha
Tabebuia heptaphylla (Vell.) Toledo – tajy
Tabebuia heterophylla – roble prieto
Tabebuia heteropoda
Tabebuia hypoleuca
Tabebuia impetiginosa – Pink Ipê, Pink Lapacho, ipê-cavatã, ipê-comum, ipê-reto, ipê-rosa, ipê-roxo-damata, pau d'arco-roxo, peúva, piúva (Brazil), lapacho negro (Spanish); not "brazilwood"
Tabebuia incana
Tabebuia jackiana
Tabebuia lapacho – lapacho amarillo
Tabebuia orinocensis A.H. Gentry[verification needed]
Tabebuia ochracea
Tabebuia oligolepis
Tabebuia pallida – Cuban Pink Trumpet Tree
Tabebuia platyantha
Tabebuia polymorpha
Tabebuia rosea (Bertol.) DC.[verification needed] (= T. pentaphylla (L.) Hemsley) – Pink Poui, Pink Tecoma, apama, apamate, matilisguate
A popular street tree in tropical cities because of its multi-annular masses of light pink to purple flowers and modest size. The roots are not especially destructive for roads and sidewalks. It is the national tree of El Salvador and the state tree of Cojedes, Venezuela
Tabebuia roseo-alba – White Ipê, ipê-branco (Brazil), lapacho blanco
Tabebuia serratifolia – Yellow Lapacho, Yellow Poui, ipê-roxo (Brazil)
Tabebuia shaferi
Tabebuia striata
Tabebuia subtilis Sprague & Sandwith
Tabebuia umbellata
Tabebuia vellosoi Toledo
Ipê-do-cerrado
Texto, em português, da Wikipédia, a enciclopédia livre.
Ipê-do-cerrado
Classificação científica
Reino: Plantae
Divisão: Magnoliophyta
Classe: Magnoliopsida
Subclasse: Asteridae
Ordem: Lamiales
Família: Bignoniaceae
Género: Tabebuia
Espécie: T. ochracea
Nome binomial
Tabebuia ochracea
(Cham.) Standl. 1832
Sinónimos
Bignonia tomentosa Pav. ex DC.
Handroanthus ochraceus (Cham.) Mattos
Tabebuia chrysantha (Jacq.) G. Nicholson
Tabebuia hypodictyon A. DC.) Standl.
Tabebuia neochrysantha A.H. Gentry
Tabebuia ochracea subsp. heteropoda (A. DC.) A.H. Gentry
Tabebuia ochracea subsp. neochrysantha (A.H. Gentry) A.H. Gentry
Tecoma campinae Kraenzl.
ecoma grandiceps Kraenzl.
Tecoma hassleri Sprague
Tecoma hemmendorffiana Kraenzl.
Tecoma heteropoda A. DC.
Tecoma hypodictyon A. DC.
Tecoma ochracea Cham.
Ipê-do-cerrado é um dos nomes populares da Tabebuia ochracea (Cham.) Standl. 1832, nativa do cerrado brasileiro, no estados de Amazonas, Pará, Maranhão, Piauí, Ceará, Pernambuco, Bahia, Espírito Santo, Goiás, Mato Grosso, Mato Grosso do Sul, Minas Gerais, Rio de Janeiro, São Paulo e Paraná.
Está na lista de espécies ameaçadas do estado de São Paulo, onde é encontrda também no domínio da Mata Atlântica[1].
Ocorre também na Argentina, Paraguai, Bolívia, Equador, Peru, Venezuela, Guiana, El Salvador, Guatemala e Panamá[2].
Há uma espécie homônima descrita por A.H. Gentry em 1992.
Outros nomes populares: ipê-amarelo, ipê-cascudo, ipê-do-campo, ipê-pardo, pau-d'arco-do-campo, piúva, tarumã.
Características
Altura de 6 a 14 m. Tronco tortuso com até 50 cm de diâmetro. Folhas pilosas em ambas as faces, mais na inferior, que é mais clara.
Planta decídua, heliófita, xerófita, nativa do cerrado em solos bem drenados.
Floresce de julho a setembro. Os frutos amadurecem de setembro a outubro.
FloresProduz grande quantidade de sementes leves, aladas com pequenas reservas, e que perdem a viabilidade em menos de 90 dias após coleta. A sua conservação vem sendo estudada em termos de determinação da condição ideal de armazenamento, e tem demonstrado a importância de se conhecer o comportamento da espécie quando armazenada com diferentes teores de umidade inicial, e a umidade de equilíbrio crítica para a espécie (KANO; MÁRQUEZ & KAGEYAMA, 1978). As levíssimas sementes aladas da espécie não necessitam de quebra de dormência. Podem apenas ser expostas ao sol por cerca de 6 horas e semeadas diretamente nos saquinhos. A germinação ocorre após 30 dias e de 80%. As sementes são ortodoxas e há aproximadamente 72 000 sementes em cada quilo.
O desenvolvimento da planta é rápido.
Como outros ipês, a madeira é usada em tacos, assoalhos, e em dormentes e postes. Presta-se também para peças torneadas e instrumento musicais.
Tabebuia alba (Ipê-Amarelo)
Texto, em português, produzido pela Acadêmica Giovana Beatriz Theodoro Marto
Supervisão e orientação do Prof. Luiz Ernesto George Barrichelo e do Eng. Paulo Henrique Müller
Atualizado em 10/07/2006
O ipê amarelo é a árvore brasileira mais conhecida, a mais cultivada e, sem dúvida nenhuma, a mais bela. É na verdade um complexo de nove ou dez espécies com características mais ou menos semelhantes, com flores brancas, amarelas ou roxas. Não há região do país onde não exista pelo menos uma espécie dele, porém a existência do ipê em habitat natural nos dias atuais é rara entre a maioria das espécies (LORENZI,2000).
A espécie Tabebuia alba, nativa do Brasil, é uma das espécies do gênero Tabebuia que possui “Ipê Amarelo” como nome popular. O nome alba provém de albus (branco em latim) e é devido ao tomento branco dos ramos e folhas novas.
As árvores desta espécie proporcionam um belo espetáculo com sua bela floração na arborização de ruas em algumas cidades brasileiras. São lindas árvores que embelezam e promovem um colorido no final do inverno. Existe uma crença popular de que quando o ipê-amarelo floresce não vão ocorrer mais geadas. Infelizmente, a espécie é considerada vulnerável quanto à ameaça de extinção.
A Tabebuia alba, natural do semi-árido alagoano está adaptada a todas as regiões fisiográficas, levando o governo, por meio do Decreto nº 6239, a transformar a espécie como a árvore símbolo do estado, estando, pois sob a sua tutela, não mais podendo ser suprimida de seus habitats naturais.
Taxonomia
Família: Bignoniaceae
Espécie: Tabebuia Alba (Chamiso) Sandwith
Sinonímia botânica: Handroanthus albus (Chamiso) Mattos; Tecoma alba Chamisso
Outros nomes vulgares: ipê-amarelo, ipê, aipê, ipê-branco, ipê-mamono, ipê-mandioca, ipê-ouro, ipê-pardo, ipê-vacariano, ipê-tabaco, ipê-do-cerrado, ipê-dourado, ipê-da-serra, ipezeiro, pau-d’arco-amarelo, taipoca.
Aspectos Ecológicos
O ipê-amarelo é uma espécie heliófita (Planta adaptada ao crescimento em ambiente aberto ou exposto à luz direta) e decídua (que perde as folhas em determinada época do ano). Pertence ao grupo das espécies secundárias iniciais (DURIGAN & NOGUEIRA, 1990).
Abrange a Floresta Pluvial da Mata Atlântica e da Floresta Latifoliada Semidecídua, ocorrendo principalmente no interior da Floresta Primária Densa. É característica de sub-bosques dos pinhais, onde há regeneração regular.
Informações Botânicas
Morfologia
As árvores de Tabebuia alba possuem cerca de 30 metros de altura. O tronco é reto ou levemente tortuoso, com fuste de 5 a 8 m de altura. A casca externa é grisáceo-grossa, possuindo fissuras longitudinais esparas e profundas. A coloração desta é cinza-rosa intenso, com camadas fibrosas, muito resistentes e finas, porém bem distintas.
Com ramos grossos, tortuosos e compridos, o ipê-amarelo possui copa alongada e alargada na base. As raízes de sustentação e absorção são vigorosas e profundas.
As folhas, deciduais, são opostas, digitadas e compostas. A face superior destas folhas é verde-escura, e, a face inferior, acinzentada, sendo ambas as faces tomentosas. Os pecíolos das folhas medem de 2,5 a 10 cm de comprimento. Os folíolos, geralmente, apresentam-se em número de 5 a 7, possuindo de 7 a 18 cm de comprimento por 2 a 6 cm de largura. Quando jovem estes folíolos são densamente pilosos em ambas as faces. O ápice destes é pontiagudo, com base arredondada e margem serreada.
As flores, grandes e lanceoladas, são de coloração amarelo-ouro. Possuem em média 8X15 cm.
Quanto aos frutos, estes possuem forma de cápsula bivalvar e são secos e deiscentes. Do tipo síliqua, lembram uma vagem. Medem de 15 a 30 cm de comprimento por 1,5 a 2,5 cm de largura. As valvas são finamente tomentosas com pêlos ramificados. Possuem grande quantidade de sementes.
As sementes são membranáceas brilhantes e esbranquiçadas, de coloração marrom. Possuem de 2 a 3 cm de comprimento por 7 a 9 mm de largura e são aladas.
Reprodução
A espécie é caducifólia e a queda das folhas coincide com o período de floração. A floração inicia-se no final de agosto, podendo ocorrer alguma variação devido a fenômenos climáticos. Como a espécie floresce no final do inverno é influenciada pela intensidade do mesmo. Quanto mais frio e seco for o inverno, maior será a intensidade da florada do ipê amarelo.
As flores por sua exuberância, atraem abelhas e pássaros, principalmente beija-flores que são importantes agentes polinizadores. Segundo CARVALHO (2003), a espécie possui como vetor de polinização a abelha mamangava (Bombus morio).
As sementes são dispersas pelo vento.
A planta é hermafrodita, e frutifica nos meses de setembro, outubro, novembro, dezembro, janeiro e fevereiro, dependendo da sua localização. Em cultivo, a espécie inicia o processo reprodutivo após o terceiro ano.
Ocorrência Natural
Ocorre naturalmente na Floresta Estaciobal Semidecicual, Floresta de Araucária e no Cerrado.
Segundo o IBGE, a Tabebuia alba (Cham.) Sandw. é uma árvore do Cerrado, Cerradão e Mata Seca. Apresentando-se nos campos secos (savana gramíneo-lenhosa), próximo às escarpas.
Clima
Segundo a classificação de Köppen, o ipê-amarelo abrange locais de clima tropical (Aw), subtropical úmido (Cfa), sutropical de altitude (Cwa e Cwb) e temperado.
A T.alba pode tolerar até 81 geadas em um ano. Ocorre em locais onde a temperatura média anual varia de 14,4ºC como mínimo e 22,4ºC como máximo.
Solo
A espécie prefere solos úmidos, com drenagem lenta e geralmente não muito ondulados (LONGHI, 1995).
Aparece em terras de boa à média fertilidade, em solos profundos ou rasos, nas matas e raramente cerradões (NOGUEIRA, 1977).
Pragas e Doenças
De acordo com CARVALHO (2003), possui como praga a espécie de coleópteros Cydianerus bohemani da família Curculionoideae e um outro coleóptero da família Chrysomellidae. Apesar da constatação de elevados índices populacionais do primeiro, os danos ocasionados até o momento são leves. Nas praças e ruas de Curitiba - PR, 31% das árvores foram atacadas pela Cochonilha Ceroplastes grandis.
ZIDKO (2002), ao estudar no município de Piracicaba a associação de coleópteros em espécies arbóreas, verificou a presença de insetos adultos da espécie Sitophilus linearis da família de coleópteros, Curculionidae, em estruturas reprodutivas. Os insetos adultos da espécie emergiram das vagens do ipê, danificando as sementes desta espécie nativa.
ANDRADE (1928) assinalou diversas espécies de Cerambycidae atacando essências florestais vivas, como ingazeiro, cinamomo, cangerana, cedro, caixeta, jacarandá, araribá, jatobá, entre outras como o ipê amarelo.
A Madeira
A Tabebuia alba produz madeira de grande durabilidade e resistência ao apodrecimento (LONGHI,1995).
MANIERI (1970) caracteriza o cerne desta espécie como de cor pardo-havana-claro, pardo-havan-escuro, ou pardo-acastanhado, com reflexos esverdeados. A superfície da madeira é irregularmente lustrosa, lisa ao tato, possuindo textura media e grã-direita.
Com densidade entre 0,90 e 1,15 grama por centímetro cúbico, a madeira é muito dura (LORENZI, 1992), apresentando grande dificuldade ao serrar.
A madeira possui cheiro e gosto distintos. Segundo LORENZI (1992), o cheiro característico é devido à presença da substância lapachol, ou ipeína.
Usos da Madeira
Sendo pesada, com cerne escuro, adquire grande valor comercial na marcenaria e carpintaria. Também é utilizada para fabricação de dormentes, moirões, pontes, postes, eixos de roda, varais de carroça, moendas de cana, etc.
Produtos Não-Madeireiros
A entrecasca do ipê-amarelo possui propriedades terapêuticas como adstringente, usada no tratamento de garganta e estomatites. É também usada como diurético.
O ipê-amarelo possui flores melíferas e que maduras podem ser utilizadas na alimentação humana.
Outros Usos
É comumente utilizada em paisagismo de parques e jardins pela beleza e porte. Além disso, é muito utilizada na arborização urbana.
Segundo MOREIRA & SOUZA (1987), o ipê-amarelo costuma povoar as beiras dos rios sendo, portanto, indicado para recomposição de matas ciliares. MARTINS (1986), também cita a espécie para recomposição de matas ciliares da Floresta Estacional Semidecidual, abrangendo alguns municípios das regiões Norte, Noroeste e parte do Oeste do Estado do Paraná.
Aspectos Silviculturais
Possui a tendência a crescer reto e sem bifurcações quando plantado em reflorestamento misto, pois é espécie monopodial. A desrrama se faz muito bem e a cicatrização é boa. Sendo assim, dificilmente encopa quando nova, a não ser que seja plantado em parques e jardins.
Ao ser utilizada em arborização urbana, o ipê amarelo requer podas de condução com freqüência mediana.
Espécie heliófila apresenta a pleno sol ramificação cimosa, registrando-se assim dicotomia para gema apical. Deve ser preconizada, para seu melhor aproveitamento madeireiro, podas de formação usuais (INQUE et al., 1983).
Produção de Mudas
A propagação deve realizada através de enxertia.
Os frutos devem ser coletados antes da dispersão, para evitar a perda de sementes. Após a coleta as sementes são postas em ambiente ventilado e a extração é feita manualmente. As sementes do ipê amarelo são ortodoxas, mantendo a viabilidade natural por até 3 meses em sala e por até 9 meses em vidro fechado, em câmara fria.
A condução das mudas deve ser feita a pleno sol. A muda atinge cerca de 30 cm em 9 meses, apresentando tolerância ao sol 3 semanas após a germinação.
Sementes
Os ipês, espécies do gênero Tabebuia, produzem uma grande quantidade de sementes leves, aladas com pequenas reservas, e que perdem a viabilidade em poucos dias após a sua coleta. A sua conservação vem sendo estudada em termos de determinação da condição ideal de armazenamento, e tem demonstrado a importância de se conhecer o comportamento da espécie quando armazenada com diferentes teores de umidade inicial, e a umidade de equilíbrio crítica para a espécie (KANO; MÁRQUEZ & KAGEYAMA, 1978).
As levíssimas sementes aladas da espécie não necessitam de quebra de dormência. Podem apenas ser expostas ao sol por cerca de 6 horas e semeadas diretamente nos saquinhos. A quebra natural leva cerca de 3 meses e a quebra na câmara leva 9 meses. A germinação ocorre após 30 dias e de 80%.
As sementes são ortodoxas e há aproximadamente 87000 sementes em cada quilo.
Preço da Madeira no Mercado
O preço médio do metro cúbico de pranchas de ipê no Estado do Pará cotado em Julho e Agosto de 2005 foi de R$1.200,00 o preço mínimo, R$ 1509,35 o médio e R$ 2.000,00 o preço máximo (CEPEA,2005).
From left to right: Chuck Ferguson, John Fullmer, Roger Button, Bob Reichen, Dick Wingard, Bob Hall, Scott Edwards, Jeff Hart, Mark Burris, Eugene Wallace and Bob Tomeoni
WASHINGTON - Secretary of Homeland Security Jeh Johnson and China Customs Minister Yu Guangzhou discuss progress on a number of customs and law enforcement issues since Secretary Johnson visited Beijing in April 2015 in a meeting in Washington D.C., June 23, 2015. During the meeting, Secretary Johnson and Minister Yu signed a Declaration of Principles that will expand the Container Security Initiative in China to better adapt to and prioritize threats and customs violations, including intellectual property enforcement, narcotics, and precursor chemicals. Official DHS photo by Barry Bahler.
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BOOK TITLE : Principles of Development
AUTHOR : Lewis Wolpert, Jim Smith, Tom Jessell, Peter Lawrence, Elizabeth Robertson, Elliot Meyerowitz
EDITION : 3rd
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ISTANBUL, TURKEY - 24 May 2016: Noha Yehya attends the High-Level Leaders’ Roundtable “Women and Girls: Catalyzing Action to Achieve Gender Equality” held in the World Humanitarian Summit. OCHA / Berk Ozkan
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West 130th Street, Harlem
The group of buildings known as Astor Row is comprised of 28 houses, effectively grouped in pairs, extending along most of the south side of 130th Street between Fifth ,Avenue and Lenox Avenue. They were bull t as a speculative development in the 1800s at a time when William Astor owned this land. Their architectural details are unusual for their place and time and their coherent style sets them apart from other remaining 19th-century rowhouses In the Harlem area. As a group, they create a pleasant streetfront, recalling a period when Harlem was changing from a country town to an urbanized area.
Practically all the houses that stand in Harlem today were built in the period beginning in the 1870s through the first decade of the 20th century. Exclusive homes such as those on Striver's Row in the St. Nicholas Historic District, helped establish Harlem as a center of fashion and elegance. The area also boasted rows of more modest brownstones, the popular Polo Grounds, and the distinguished Harlem Opera House. Some speculators made tremendous profits by Buying and re-selling land.
Prices increased so dramatically that one old-timer complained In 1839, ''When I see the prices real estate Is now bringing In Harlem, It makes me feel that I was a fool for not making investments years ago when property was so cheap." One canny Investor was John Jacob Astor. Adhering to his own principles of buying land In outlying areas of New York on the certain conviction that the city would eventually grow to meet them, he hea purchased a number of lots In Harlem at an auction in 1844.
Astor's creed was to pay less than premium price because the land was uninhabited or farmland. lie was content to hold onto his lots for long periods, allowing them to remain empty until someone came along who was Interested In Improving them.
The block of West 130th Street between Fifth and Lenox Avenues was purchased by Astor In 1844 for $10,000. When Astor died in 1848, the block passed with the rest of his estate to his son William Backhouse Astor. William B. Astor's holdings were In turn bequeathed in 1375 to his sons John Jacob Astor III and William Astor.
These two created a partition agreement in 1878, dividing the Inherl.ted real estate between themselves. On this block In Harlem, John Jacob Astor III received the southern half of the block which faces 129th Street (Jots 1-36), while William Astor held title to the northern half, facing 130th Street (lots 37-12). Astor Row was constructed on part of this latter section in the early 1880s, during the tremendous Harlem building boom. In 189), as part of William Astor's will, the houses were divided among his grandchildren, Mary, James and Sarah Van Alen. They maintained ownership until the second and third decade of the 20th century. During their ownership these were single family dwellings, housing middle-and upper-middle-class whites. "people of taste and wealth") from downtown Manhattan.
In 1920, the houses were described by a New York Times reporter "as one of the most attractive and exclusive home centres" in Harlem, presenting "a picture of domestic tranquility and comfort which few other blocks in the city possess." Sarah Van Alen was the first of the Astor Row land holders to sell, divesting herself of nos. 42-62 (lots 59-103) in 1912. The rest of Astor Row was held by Mary and James Van Alen until 1920 and 1921, respectively. An all-white enclave until that time, Astor Row was described in Claude Clay's novel, Home to Harlem (New York, 1928) as "the block beautiful." By the time these lots were sold, Harlem was predominately populated by African-Americans. During the next ten years, Harlem changed from a promising black community to a deplorable slum. A tremendous need for housing due to the influx of blacks from the South and from the West Indies, as well as exorbitant rents for the living spaces that existed led to the subdIvision of houses like those on Astor Row.
Although built for single families, within a short time they were carved up into boarding houses and single-room- ,. occupancy dwellings. Their ownership changed often during these years, as did the tenants and the modifications to the interiors. These buildings on Astor Row provide an excellent study in the development and change of the community of Harlem. Today, most of these buildings remain divided into single room or small apartments. The only exception is no. 62 which is owned by and serves the Pentecostal Faith Church.
The 28 buildings of Astor Row were constructed in three groups.
Nos. 8-22 were built first, in 1880-1881, the architect was Charles Buek.
The second group of houses, nos. 24-30, was built in 1882-1883, while the final section, nos. 40-62, was erected later in 1883. The design of the last twenty houses, created without benefit of an architect, was almost identical to that of the first group. Except for slight changes in the decorative motifs, the main difference between them is that the first group of buildings was constructed in freestanding pairs, each pair separate from its neighbors. The remaining houses were built as continuous row, although a deep recess between each pair of houses carries through the same effect as is found on the first buildings. The houses are ~et back from the street behind small front yards.
Whether or not the Astor Row houses were built under the direction of William Astor remains a question. The usual Astor policy with regard to real estate was to grant a lease on a certain parcel for a long term, usually 21 years. The leasor would then be expected to make Improvements to the land, such as erecting buildings, and would also be responsible for maintaining the buildings. At the onset of a new lease, Astor could then raise the rent because the land contained improvements and was thus more valuable. Whether or not this happened on Astor Row and a leasor was responsible for hiring Charles Buek and erecting these houses has been Impossible to determine. The most that can be stated with certainty Is that the buildings were erected during the time the land was owned by William Astor.
The architect of the first eight houses, Charles Buek, was known primarily for the large, elaborate private homes and apartments he designed for wealthy clients. He started his career in the firm of Duggin & Crossman In 1870. When this firm dissolved, Buek established his own office as Charles Buek & Co., with Charles Duggin as special partner. Much of their work centered around the east side of Manhattan, on Lexington and Madison Avenues, from the 30's to the 70's. Later they produced some buildings In the West 72n Street area. Buek's clients included George Moor, Charles Dana, Charles M. Fry and John A. Stewart.
The style Buek chose to employ on the Astor Row houses was not only quite different from other structures in his oeuvre, but was unusual for most row houses built during this period. By contrast, the houses on the north side of 130th Street, built during the 1870's which are not a Buek design and are not associated with the Astor family, are more typical: high stoops, stone facades and more elaborate Italianate details.
The simple brick facades of Astor Row, with their wide front porches and small, neat yards were much more suggestive of the rural background of Harlem than of the urban area it was becoming. A few houses with broad wooden porches remained scattered throughout the area into the early years of the 20th century, remnants of a much earlier period. The arrangement of the Astor Row houses in pairs, with recesses between them, is also quite unusual.
The neo-Grec details found on these buildings typified by the simple, linear incised designs in the lintels were commonly found on commercial cast-iron buildings. Examples of these types of motifs are found on the Roosevelt Building at 478-482 Broadway, designed in 1874 by Richard Morris Hunt. The original B. P Altman store at 19th Street and Sixth Avenue, designed by David and John Jardine in 1876 contains some elements which are similar to those found on the Astor houses. A small pendant triangle droops down from the horizontal line of the lintel with a light and dainty incised motif centered above it.
The Astor Row buildings are all three stories high and are constructed of brick with light stone trim. Each pair is symmetrical, the center being indicated by a projecting brick•pier topped by a stone triglyph at the '•cornice line. Each individual house is two bays wide, with a double door and a full height window on the~ first floor. Two double-hung windows are located on each floor above this one. Each window is surmounted by a broad, shouldered stone lintel with a delicate incised design centered in it. The mid-point of the lintel is emphasized by a small triangular extension which points down in front of the window molding. A simple, projecting string course wraps around the building at each sill line with footed sill is located just below these courses.
A complete entablature crowns the front of these houses. It is composed of a simple projecting stone architrave surmounted by a brick frieze comprised of recessed quatrefoil motifs. A cornice with brick dentils finishes the roof line.
Originally each house had a large wooden porch running the full width of the building. Many porches are still in place although some have bee-• changed or removed. The porches are covered by shallow roofs supported on thin wooden columns •at each corner. The upper part of each column is squared and is distinguished by bands and decorative bosses as well as by paint of contrasting color. Decorative brackets join these columns to the roof. Just below the roof is a continuous row of thin wooden spindles.
The effect of the spindles and the decorative wood trim is reminiscent of the Eastlake style of decoration, popular in this country in the 1870s and 1880s. A plain railing with straight wooden slats surrounds the porch at the floor level.
- From the 1981 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
ISTANBUL, TURKEY - 24 MAY 2016: Ambassador Hesham Youssef is Assistant Secretary General for Humanitarian Affairs at the Organization of Islamic Cooperation attends the Special Session on “Humanitarian Principles” within the World Humanitarian Summit. OCHA / Berk Ozkan
ISTANBUL, TURKEY - 24 May 2016: Sorcha O'Callaghan, Head of Humanitarian Policy at the British Red Cross, attends the High-Level Leaders’ Roundtable “Women and Girls: Catalyzing Action to Achieve Gender Equality” held in the World Humanitarian Summit. OCHA / Berk Ozkan
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Christian Principles Dinner
Thursday, November 12th, 2009
We are hosting our 4th annual fundraising dinner at the Beaverton Hoop YMCA. Dr. Wayne Wescott, renowned Health and Wellness expert, will be the keynote speaker. For more information, visit www.ymca-portland.org/christianprinciplesdinner.html
The Castillo San Felipe del Morro is a massive fort built by the Spaniards between 1539 and 1786 to protect the half-mile-wide entrance to San Juan Bay and San Juan harbor. The fortress has six levels and rises 140 feet above the Atlantic Ocean. Its external walls are 18 feet (5.5 m) thick.
The current appearance is based on a 1587 design that followed state of the art Spanish military fortification design principles. El Morro suffered several attacks from the English in 1595 and 1598 and the Dutch in 1625. In 1898, during the Spanish-American War, United States Navy ships fired upon the fortification, destroying the lighthouse, which was rebuilt in 1908.
It remained a Spanish garrison until Puerto Rico was ceded to the United States as a result of the Spanish–American War of 1898. The fort became a part of a large U.S. Army post, called Fort Brooke. During World War II, the United States Army added a massive concrete bunker to the top of El Morro to serve as a Harbor Defense Fire Control Station to direct a network of coastal artillery sites and to keep watch for German submarines which were ravaging shipping in the Caribbean. The fort was de-militarized in 1961 and turned over to the National Park Service which still maintains the fort today.
In view is the main courtyard. The tall structure on the right is the lighthouse, built in 1908.
The Alexander Hamilton Custom House is one of New York's finest examples of Beaux Arts architecture, incorporating City Beautiful Movement planning principles with architecture, engineering, and fine arts. The seven story structure with 450,000 square feet sits on three city block in Bowling Green.
Is is here, at the southern terminus of the old Algonquin trade route, Wiechquaekeck Trail, that Peter Minuet purchased the island of Manhattes for trinkets valued at 60 guilders, or about $24, from the Lenape Indians in 1626. Soon thereafter the Dutch West India Company built Fort Amsterdam on this site, which came to be the nucleus for the New Amsterdam settlement. After the American Revolution the fort was replaced by the brick Government House, which was intended to be but never used as a residence for the President. Instead it became the residence of New York Governors DeWitt Clinton and John Jay. The building served briefly as the Custom House from 1799 and 1815 before being torn down and replaced with rowhouses.
Before a federal income tax was imposed in 1916, a primary source of revenue for the federal government was custom duty. New York City, as the country's most active port, has had a Custom House since the country's founding in in 1781. In 1899, the United States Department of the Treasury acquired the Bowling Green property and sponsored a competition to build a new U.S. Custom House. Minnesotan Cass Gilbert, who later designed the Woolworth Building, won the competition by designing a building that was not just a functional building for commerce, but exuded a palatial grandeur. Construction began in 1900 and completed in 1907.
The interior of the building is dominated by the huge rotunda, which survives as one of the largest public spaces in New York. Commissioned In 1936 as part of the Treasury Relief Art Project, Reginald Marsh was commissioned to paint the elliptical space around the 140-ton skylight with sixteen frescoes. The larger sections portray eight successive stages of the arrival of an ocean liner in the harbor. Eight smaller panels, painted in grisaille to simulate statuary, depict famous explorers like Amerigo Vespucci, Christopher Columbus, Giovanni da Verrazano and Henry Hudson.
Above the main cornice on the sixth story are standing sculptures representing the great commercial sea-faring nations, from the Phoenicians to the Americans.
Central to Gilbert's design of the Custom House were four separate sculptures to be placed at the front entrance of the Custom House, representing four continents (from left to right) - Asia, America, Europe and Africa. Gilbert asked both Daniel Chester French and August Saint-Gaudens both to submit designs for the sculptures. Saint-Gaudens declined the invitation, citing other work he was occupied with, so French received the commission. French began designing the sculptures of "Continents" in 1903 and they were completed and installed in 1907. Art scholars consider French's "Continents" to be perhaps the best examples of architecture sculpture in the United States. Each of the four "Continents" represent a view of the continents through French's early 20th century lens: Asia and Africa are still cloaked in mystery, Europe is in the waning years of its colonial conquests, and America is emerging as a new, vibrant society.
The building was subsequently abandoned in the 1970's and was scheduled for demolition before being saved and restored in the early 1980's. In 1987, the United States Bankruptcy Court for the Southern District of New York occupied the building and in 1994, the Smithsonian Institution's National Museum of the American Indian took over two floors of the Old Custom House.
The United States Custom House was designated a landmark by the New York Landmarks Preservation Commission in 1965. Its interior was designated separately in 1979.
Carlous Palmer Designs, LLC.
The Challenge:
The challenge for the WEB EXOTIQE COLLECTION was to create a collection based on basic principles of minimalism. The designs for this collection must have a futuristic yet wearable appeal and only the use of Eco-conscious (materials that are directly from/ or easy on the environment) materials. The use of the colors (BLUE), which represents coolness and fluidity (GREEN) which represents wealth, as well as taking our wealth to improve our environment , lastly the shade (black) or the tint (white). The collection must have a message that relates to the current human condition. In this particular challenge black was chosen to represent depth as well as a timeless all inclusive beauty, after all Black is a mixture of all of the colors on the color wheel created to make one.
The-concept:
An Eco- conscious ready to wear collection with an artistic flair that juxtapositions sensuality and sexuality to celebrate the female body in a tasteful manner while asking the question what does the future hold? This collection was executed with the use of Beachwood Pulp, Cotton and Squid Ink.
The Execution (Artist Statement)
The lack of a full creative team forced the designer to have to search high and low for inspiration, recently moving back to Baltimore , since the designers usual Palm Beach sources of inspiration were not readily available to him; so for the first time Carlous went out into the world and studied the people around him, he noticed groups of people doing various activities together ,hence the use of (Black) , a shade that cannot be accomplished without the use of all of the colors in the color spectrum; also black is a shade that represents mystery and intrigue. The designer also asked several women who have a very distinct sense of style and whom the artist believes are some of the best dressed women in Baltimore. Out of the five that were asked all except one said, CORAL. Carlous immediately knew that he had limitations of utilizing Blue ,green and black, so his solution was to add the color coral by way of jewelry and makeup, lastly The designer needed architectural inspiration, because for those of you, who are familiar with his work, understand that his design aesthetic derives from the use of simple geometric shapes that work cohesively to create interesting fashion when worn by the human figure. Mr Palmer’s immediate choice of Architectural inspiration was the Earl S. Richardson Library at Morgan University; the staircase is a fashion gem which not many of us notice, but will soon be noted for being one of Baltimore’s new architectural marvels. The Bugatti Veyron was the engineering inspiration, its sleek modern design can only inspire. I hope that you all enjoy the collection available on the east coast at KATWALK and coming soon to retailers in Los Angeles and Hawaii.
About the Photography
Creating a collection takes a lot of work and energy, bringing the clothes to life, is a job that only great photographers can do. This collection is the first collection that Carlous created in Baltimore City in over ten years. He spent months looking for a photographer that not only had integrity and the ability to work with some of outlandish ideas, but a photographer that can turn his concepts into dynamic eye catching works of art that are meant to inspire. Although, he has worked with many photographers over the years, the designer decided to work with someone that he was unfamiliar with; in his search he found the most amazing photographer. The photographer Mark Moyer is a graduate of Towson State University, also a full service photography business in the city of Baltimore, Maryland. This collection would not have its amazing appeal without the powerful images that this two photographer has created it is encouraged that you to visit the Photographers website to see how you can have your own beautiful images created, www.moyerphotography.com.
About the Location
For over 140 years, Morgan State University has been an important part of the higher education system in Baltimore City, the State of Maryland, and the nation. Throughout its history, Morgan has served the community with distinction while meeting the educational needs of an increasingly diverse society. Its designation as Maryland's Public Urban University assures that Morgan will continue to play a prominent role in Maryland's education future. (MSU . 2011. Web. 2012). The reason for utilizing the Earl S. Richardson Library at Morgan State University my choice to shoot this collection at the University is due to my strong ties to the university. The inspiration that the library gives me is unmatched by any inspiration that I have ever had. I hope to draw attention to the University’s magnificent beauty in hopes that others will be as inspired as I have been.
carlouspalmer.zohosites.com
Make up: by Heather Cotter
Styling assistants :Tanya Crawley and Olusegun T. Ojo
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Hand typeset in Folio Extra Bold and Stempel Helvetica and letterpress printed by Typoretum onto 350gsm Colorplan Natural card stock.
Design © Taxi Studio 2013
Because of the work of L. R. Emerson II and other supporting Upside-Down artists the old texts and teaching foundations known as The Principles of Art/Design are outdated and need revision. Museums, Art Critics, Educators, conservators and Historians can no longer ignore the relevance and merit of multi-directional composition or Upside-Down Art.
•In 2005, after having been kept secret for over two decades, Masg or Upside-Down Art was introduced to more than 500 galleries and in excess of 50 renowned museums worldwide including:
National Gallery
Tate Museum, London
Smithsonian American Art Museum
Musée du Louvre, Paris
The Museum of Modern Art, NYC
Solomon R. Guggenheim Foundation
San Francisco Museum of Modern Art
The J. Paul Getty Museum, Los Angeles
Additionally, several videos were produced in the past three years and subsequently presented to the global community including the following:
Art is Art is Art by L R Emerson II
www.youtube.com/watch?v=ftwMV0kxeuo
L R Emerson II Art
www.youtube.com/watch?v=gyekoiK5N4c
Art is Upside-Down by L R Emerson II
www.youtube.com/watch?v=f7R5nuZ-2So
Art 21 L. R. Emerson II: Masg A New Art Movement
www.youtube.com/watch?v=xIYCTL-cnPs
Art History by L. R. Emerson II
www.youtube.com/watch?v=rjlw6iFfnvQ
Math and Art - Music and Art
www.youtube.com/watch?v=Ks1RKmUodbA
The Purple Tree: Art in a Boundless Age
www.youtube.com/watch?v=OjZwNnWZNLA
“Currently as I continue my research and documentation I look toward an Upside-Down Art group exhibition including myself, Georg Baselitz, and Anish Kapoor. London’s Tate Museum, NYC Guggenheim, MOMA and the Los Angeles County Museum of Art are fine venues for this warranted proposal. The considerably unusual exhibition will likely be presented as the world’s most unusual art of the 20th and 21st Century.
We have come a long way but still have an engaging journey ahead. I am pleased however at our progress so far and know we have truly shattered the proverbial “glass ceiling” or stronghold of art conservators, critics and museums as they too now have accepted our methods of composition and see that we have forever changed the manner in which art is composed.
The more I’ve advocated for Upside-Down Art, the greater the number of artists we (representatives and assistants) find are mimicking my style, however this is rewarding to me. Neither am I displeased to be named ‘Jack the Flipper’ (linguistically spinning Pollack’s ‘… dripper’ nomenclature).” Excerpt: L. R. Emerson II, 2012
Please see the revolutionary art of L. R. Emerson II at www.upside-down-art.com , “The World’s Largest Solo Artist Site” TM, and consider the merit of L. R. Emerson II’s work for inclusion in your presentation, writing, evaluation and discussion of 21st Century Art.
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Ralph Waldo Emerson. The happiest man is he who learns from nature the lesson of worship.
Christian art is art produced in an attempt to illustrate, supplement and portray in tangible form the principles of Christianity. Virtually all Christian groupings use or have used art to some extent. The prominence of art and the media, style, and representations change; however, the unifying theme is ultimately the representation of the life and times of Jesus and in some cases the Old Testament. Depictions of saints are also common, especially in Anglicanism, Roman Catholicism, and Eastern Orthodoxy.
Christian art is art produced in an attempt to illustrate, supplement and portray in tangible form the principles of Christianity. Virtually all Christian groupings use or have used art to some extent. The prominence of art and the media, style, and representations change; however, the unifying theme is ultimately the representation of the life and times of Jesus and in some cases the Old Testament. Depictions of saints are also common, especially in Anglicanism, Roman Catholicism, and Eastern Orthodoxy.
www.sriyantras.com/christian-symbols.html
Hundreds Of High Resolution Christian Symbols in Mandala Form. The Symbols Of The Cross and The Star Of Bethlehem Drawn In Mandala Formation With Influence From Tibetan BUddhist Concepts.
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
Committee for fundamental principles and rights at work. 106th Session of the International Labour Conference. Geneva, June 2017.
Commission pour les principes et droits fondamentaux au travail. 106e session de la Conférence internationale du Travail. Genève, juin 2017.
Comisión para los principios y derechos fundamentales en el trabajo. 106.a reunión de la Conferencia Internacional del Trabajo. Ginebra, junio de 2017.
Photo © Crozet / Pouteau
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Scanning negatives from 'first principles' ; PHOTAX test negative / the negative was illuminated by simply laying it flat on a light box, then photographed with a Canon G9 power shot digital camera (camera held rigid on a copy stand) The image was uploaded onto an iPad mini and then edited on the iPad using the Snap Seed application : I reversed the image from negative to positive (seen here) by using the 'curves' facility of the Snap Seed app. Considering the primitive nature of the scanning method it's a reasonable result and offers a way to get negative images onto internet media sites (such as Flickr).
PILATES PRINCIPLES
Breathe and hollowThigh liftPreparation
1. Lie on the back with both knees bent and feet off the floor. Place the hands behind the head. Float the head off the floor.
2. Practice 3 sets of breath with hollowing. Feel the belly deflate with the hollow.The lower the leg to the floor demands more abdominal control. If you feel the back, bring the leg higher or return to beginner version. This is about the abdominals working!
Beginner version I
Beginner version II
DOUBLE LEG TO CEILING
1. Lie on back with both knees bent and feet off the floor. The hands are laced behind the head. Float the head off the floor.
2. Exhale, hollow and extend both legs towards the ceiling.
3. Inhale, bend knees and flex upper spine closer to the knees.
4. Repeat three more sets.
ISTANBUL, TURKEY - 24 MAY 2016: General view of the Special Session on “Humanitarian Principles” within the World Humanitarian Summit. OCHA / Berk Ozkan
ISTANBUL, TURKEY - 24 MAY 2016: Manuel Bessler, Head of the Swiss government’s Humanitarian Aid Unit attends the Special Session on “Humanitarian Principles” within the World Humanitarian Summit. OCHA / Berk Ozkan
Beautiful Golden Ratio Composition Photography Surf Goddesses! Athletic Action Portraits of Swimsuit Bikini Models! Athena, Artemis, Helen, and Aphrodite! Athletic Fitness Models! dx4/dt=ic
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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