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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
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“The mountains are calling and I must go.” --John Muir
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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)
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The corn dryer is placed here to benefit from the dominant west wind tunnel created by the trees protecting the potager from the north wind.
Developed using the principles of New Urbanism, CLC worked with its private sector partners to create a compact, pedestrian-friendly community. Our shared goal was to build a space where residents are never more than a few minutes away from parks, schools, green space and access to public transit. With 1,600 housing units ranging from single-family homes to townhouses and apartments, as well as retail shops and services located on the property, the development offers something for everyone.
Garrison Woods also celebrates its association with its military past, by retaining existing street names from the former Canadian Forces Base. As a gesture of respect to the Base’s history, Garrison Woods also incorporates memorials to pay tribute to the men and women of Canada’s military.
Garrison Woods was completed in 2004, and has since become one of Calgary’s most desirable neighbourhoods.
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La SIC et ses partenaires du secteur privé ont utilisé les principes du nouvel urbanisme pour créer un quartier compact et invitant pour la marche. Le but consistait à construire un secteur où les gens sont à quelques minutes à pied des parcs, écoles, espaces verts et transport en commun. Le quartier compte 1 600 résidences de toutes sortes, des maisons individuelles aux maisons en rangée et aux appartments, de même que des commerces et services qui répondent aux besoins des résidents.
Garrison Woods est un endroit qui commémore l’histoire militaire des lieux, en conservant les noms des rues de l’ancienne base des Forces canadiennes. En guise de respect pour l’histoire de la base, des monuments ont aussi été érigés à Garrison pour rendre hommage aux hommes et aux femmes qui ont servi dans les Forces canadiennes.
Garrison Woods a été terminé en 2004 et, depuis, est devenu un des quartiers les plus recherchés de Calgary.
The University of Greenwich is a public university located in London and Kent, United Kingdom. Previous names include Woolwich Polytechnic and Thames Polytechnic.
The university's main campus is at the Old Royal Naval College, which along with its Avery Hill campus, is located in the Royal Borough of Greenwich. Greenwich also has a satellite campus in Medway, Kent, as part of a shared campus. The university's range of subjects includes architecture, business, computing, mathematics, education, engineering, humanities, maritime studies, natural sciences, pharmacy and social sciences. Greenwich's alumni include two Nobel laureates: Abiy Ahmed and Charles K. Kao. It received a Silver rating in the UK government's Teaching Excellence Framework.
The university dates back to 1891, when Woolwich Polytechnic, the second-oldest polytechnic in the United Kingdom, opened in Woolwich. It was founded by Frank Didden, supported by and following the principles of Quintin Hogg, and opened to students in October 1891. Like Hogg's pioneering venture in London's Regent Street, it initially combined education with social and religious functions.
In 1894 it focused on an educational role, concentrating on higher technical education appropriate to its location close to Woolwich Dockyard and the Royal Arsenal; William Anderson, director-general of the Ordnance Factories, was a trustee and later a member of the board of governors. Its premises were also used for day schools – the first Woolwich Polytechnic School was established in 1897.
In 1970, Woolwich Polytechnic merged with part of Hammersmith College of Art and Building to form Thames Polytechnic. In the following years, Dartford College (1976), Avery Hill College of Education (1985), Garnett College (1987) and parts of Goldsmiths College and the City of London College (1988) were incorporated.[9]
In 1992, Thames Polytechnic was granted university status by the Major government (together with various other polytechnics) and renamed the University of Greenwich in 1993. On 1 January 1993, the Thames College of Health Care Studies, itself a merger of three local nursing and midwifery training schools, officially merged with the newly designated University of Greenwich, becoming a full faculty of the university.
Formerly a UK government research agency, the Natural Resources Institute (NRI) was incorporated into the university in 1996.
In 2001, the university gave up its historic main campus in the Bathway Quarter in Woolwich, relocating to its current main campus in Greenwich.
Greenwich Campus is located mainly in the Old Royal Naval College, into which it moved in the 1990s when the premises were sold by the Royal Navy.
The campus is home to the Business School and the Faculty of Liberal Arts and Sciences. The campus also includes university's Greenwich Maritime Institute, a specialist maritime management, policy and history teaching and research institute. The Old Royal Naval College also hosts "The Painted Hall", which was painted in the 18th century by Sir James Thornhill, which covers over 40,000 square feet of surface in 200 painting of kings, queens and mythological creatures.
The campus has a large library at Stockwell Street which houses an extensive collection of books and journals, language labs and a 300-PC computing facility. Other facilities include specialist computer laboratories including one at Dreadnought centre, a TV studio and editing suites. The Stephen Lawrence Gallery at the Stockwell Street building, showcases the work of contemporary artists and is linked to the School of Design.
The Avery Hill Campus comprises two sites, Mansion and Southwood. Both are situated in the 86-acre Avery Hill Park in the Royal Borough of Greenwich, south-east London.
The campus is home to the Faculty of Education & Health. Facilities include computer laboratories, a library and a TV studio, as well as a sports and teaching centre with a sports hall and 220-seat lecture theatre. Southwood site also has clinical skills laboratories. These replicate NHS wards, enabling trainee health professionals to gain hands-on experience. The village complex provides student accommodation, a general shop and a launderette. The Dome, in the centre of the complex, houses a food outlet and gym. Rugby, football, indoor pitches, netball and tennis courts, and a dance studio are on Avery Hill campus.
The facility, which was built by Wimpey Construction under a PFI contract, was completed in 1996.
The Winter Garden, the centrepiece of the Mansion site, has fallen into neglect and is on Historic England's 'At Risk' Register. A campaign to restore the Winter Garden is putting pressure on the university and Greenwich Council to ensure its future.
The Medway Campus is located on a former Royal Navy shorebase (called HMS Pembroke) opened in 1903 at Chatham Maritime, Kent.
The Faculty of Engineering and Science is based here, as is the Natural Resources Institute, a centre for research, consultancy and education in natural and human resources. It is also the home of Medway School of Pharmacy, a joint school operated by the Universities of Greenwich and Kent. The Faculty of Education & Health offers a number of its programmes at Medway. Facilities include laboratories, workshops, a computer-aided design studio and a training dispensary.
The Drill Hall Library is a learning resource centre with a library, computers, study areas and teaching rooms. Social facilities include a sports hall, bar, gym and outdoor tennis courts. The university is a member of Universities at Medway, a partnership of educational establishments at Chatham Maritime that is developing the area as a major higher education centre in the Medway region.
Greenwich Campus is near 74-hectare Greenwich Park, home to the Royal Observatory, Greenwich. The Stockwell Street Building opened in 2014 and is now home to the campus library, film and TV studios, and state-of-the-art editing suites. In 2015, it was shortlisted for the Stirling Prize for excellence in architecture.
The Dreadnought Building is a central hub for the Greenwich Campus, with further teaching and social spaces.
The Student Village at Avery Hill Campus provides accommodation for around 1,000 students. On-site facilities include a café, canteen, shop, launderette, bicycle parking, and a gym.
Medway Campus has 350 rooms across five halls of residence dedicated to student accommodation.
Greenwich Students' Union is the university's students' union. In October 2019, the GSU Student Assembly voted to ask the university to declare a climate emergency and for the university and union sustainability strategies to consult with students in creating them. This call to action aimed to speed up the university's efforts at becoming carbon neutral.
At the Medway campus in Kent there is a partnership between the University of Greenwich Students' Union, Canterbury Christ Church and University of Kent Union on the Medway campus. Greenwich Students' Union has been leading the partnership since July 2021 and manages The Hub space, previously The Student Hub when it was looked after by GK Unions – the Greenwich & Kent Students' Unions Together (once the Universities at Medway Students Association, UMSA).
Greenwich Students' Union delivers at Avery Hill, Greenwich and Medway campus.
Greenwich research seeks to influence and enhance health, education, science, engineering, computing and social policy, and attracts international agencies, government departments and global corporations (for example, Pfizer, GlaxoSmithKline, BAE Systems, Airbus, GE Aviation and Merck Consumer Health) from over 50 countries. Significant areas of research and consultancy include landscape architecture, employment relations, fire safety, natural resources, tourism and hospitality, social network analysis, education, training, educational leadership and public services.
Examples of research
The university's Natural Resources Institute has developed an artificial cow that attracts and kills the tsetse fly. This was recognised by a Universities UK survey in 2009 as one of the ten most important discoveries to be made in a UK university over the past 60 years.
The Fire Safety Engineering Group, part of the School of Computing & Mathematical Sciences, is a world leader in computational fire engineering, including expertise in aircraft, building, ship and rail evacuation and fire modelling. It has developed airEXODUS, a leading evacuation model in the aviation industry.
A University of Greenwich research team helped restore the Cutty Sark after it was badly damaged by fire.
Researchers working on 19 sustainable development and agriculture projects in India helped the university to win the 2010 Times Higher Education Award for Outstanding International Strategy.
Two University of Greenwich scientists have developed a technology which converts contaminated land and industrial waste into harmless pebbles, capturing large amounts of carbon dioxide at the same time.
The Greenwich Maritime Institute makes internationally recognised contributions to research in maritime history and economics, such as its exploration of the governance of the River Thames since the 1960s and the effects this has had on the economic development of adjacent communities.
The university has had many famous movie productions that were filmed on campus, one example of a movie is the classic 2013 Marvel movie Thor: Dark World
Rankings
Rankings
National rankings
Complete (2024)110
Guardian (2024)116
Times / Sunday Times (2024)105
Global rankings
ARWU (2023)601–700
QS (2024)671–680
THE (2024)501–600
The university was ranked 94 out of 121 UK institutions according to The Guardian University Guide 2022 league table. For 2023, the University of Greenwich was ranked 60 according to Times Higher education (THE). Moreover, University of Greenwich ranked first in London for Events, Tourism and Hospitality by the Guardian’s 2023 university rankings. Subjects taught at Greenwich have seen rises in the Guardian university league tables for 2022: Chemistry was at 10, up 10 places since 2021. Forensic Science (9), Criminology (10), Mechanical Engineering (12), and Education (48) also moved up significantly.
In Center for World University Rankings World University Rankings 2020–21 – University of Greenwich was ranked 76 in the UK. In 2022, University of Greenwich was ranked in the 750-800 range globally by QS World University Rankings.
In the Times Higher Education (THE) Impact Rankings 2020, Greenwich performed well in several categories:
Responsible Consumption and Production (24th)
Life on Land (66th)
Reduced Inequalities (68th)
Climate Action (75th)
Partnership for the Goals (77th)
Awards
In 2012, the university was rated as the greenest in the UK by People & Planet Green League Table. In 2019, it was ranked 14 in UK, and third in London. The University has gained many national awards, including four Queen's Anniversary Prizes, nine Times Higher Education Awards and two Guardian University Awards.
In 2019, the university's Natural Resources Institute was awarded a Queen's Anniversary Prize for its research in pest management and control to combat human and animal diseases in the UK and internationally; in 2015 it won a prize for work on the cassava crop in Africa.
In 2023, the university has been classified as Gold in Teaching Excellence Framework (TEF) of Higher Education.
Cafeteria workers' dispute
In 2019, the university's main cafeteria was operated by BaxterStorey, which paid its workers £9.25 per hour without contractual sick pay. After a chef had collapsed on his way home from a shift during a typical 80-hour week, all workers joined UVW union. After four strike days in October 2019, and protests disrupting the annual graduation ceremony and a board meeting, Greenwich University announced in early January 2020 that all outsourced cafe workers, cleaners and security guards would receive the London living wage of £10.55, in addition to the same sick pay and annual leave as university staff.
Partnership with Charlton Athletic
In 2018, the University of Greenwich started a partnership with Charlton Athletic F.C.
Notable alumni
Abiy Ahmed is Prime Minister of Ethiopia and a Nobel Peace prize winner
Sir Charles Kao was one of the distinguished alumni at UOG
Demitu Hambisa Bonsa
Prominent alumni of the university and its predecessor organisations include Nobel Laureate Charles Kao, who was awarded the Nobel Prize in Physics in 2009 for his work on transmission of light in fibre optics, and Abiy Ahmed, who won the 2019 Nobel Peace Prize. In June 2021, representatives from multiple countries called for the award of the Nobel Peace Prize to Abiy to be re-considered because of the war crimes committed in Tigray. Two British government ministers, Richard Marsh and Gareth Thomas, are also graduates. A more extensive list is given below.
Abiy Ahmed, Prime Minister of Ethiopia and Nobel Peace prize winner
Jamie 'JME' Adenuga, MC
Bola Agbaje, playwright
Helen Bailey, writer
Natasha Bedingfield, pop singer (did not graduate)
John Behr, theologian
Malorie Blackman, children's author
Demitu Hambisa Bonsa, Ethiopian government minister
John Boyega, actor, best known for Star Wars: The Force Awakens
Sheila Bromberg, musician
Liam Brown, author
Campbell Christie, chairman of Falkirk F.C.
Terry Christian, radio and television presenter
Mark Daly, Irish senator
Siobhan Dowd, writer (A Swift Pure Cry)
Sarah Eberle, garden designer
Jenni Fagan, author
Leo Fortune-West, professional footballer
Sarah Gillespie, singer-songwriter
Pippa Guard, actress
Andrey Guryev (born 1982), Russian entrepreneur
Gareth Hale, comedian
Patrick Harrington, politician in the National Front (1979–1989) and currently Third Way (UK) think tank; general secretary of Solidarity – The Union for British Workers
Rachael Heyhoe-Flint, cricketer
Roy Hodgson, England and Premier League football manager
Dermot Hudson, left-wing political activist
Brian Jacks, 1972 Summer Olympics bronze medallist in Judo
Mark Jackson, musician (VNV Nation)
Charles K. Kao, Nobel Prize winning scientist
Graham Kendrick, Christian worship leader
Sammy Lee, IVF specialist
Pablo Daniel Magee, writer, journalist and playwright
Richard Marsh, Baron Marsh, politician
Rui Moreira, Portuguese politician and businessman; mayor of Porto
Chinenye Ochuba, former Most Beautiful Girl in Nigeria
Sarah Ockwell-Smith, childcare author
Joy Onumajuru, model and philanthropist
Norman Pace, comedian
Ann Packer, 1964 Summer Olympics gold medallist
Lara Pulver, Olivier Award-nominated dancer and actress
Richard Pybus, cricket coach
George Rose, businessman
Dave Rowntree, musician (Blur)
Etienne Schneider, Deputy Prime Minister of Luxembourg
Peter Skinner, MEP
Aramazd Stepanian, playwright
William G. Stewart, TV presenter (Fifteen to One)
Nina Stibbe, author
Adelle Stripe, author
Gareth Thomas, politician
Ewen Whitaker, lunar astronomer (alumnus of Woolwich Polytechnic)
Joel Willans, author and copywriter of works in Finland.
Brisk, rainy weather couldn't deter JHC members and friends from coming out to the Jay Estate on the first day of May for a program aptly called "Views from Our Veranda." First steps towards a significant and thoughtful rehabilitation of the grounds have been discussed for almost twenty years and now have clear definition as well as an enthusiastic groundswell of support.
Over 70 people came to hear presentations by Landscape Architect Thomas Woltz and Meadow Designer Larry Weaner. On arrival, everyone saw gorgeous planters brimming with native species like baptisia and butterfly weed. Large color banners and a vibrant slideshow illustrated the exciting impact of work planned for the landmark site. Weaner and Woltz both explained the guiding principles in this multi-year endeavor: increasing biodiversity and providing greater access to open space and cultural heritage for the community.
Woltz framed the discussion first with a synopsis of the gardens' timeline of ownership and described the dominant features of the 3 "garden rooms" under design which include parterre plantings, vegetable beds, a reflecting pool, and pollinator panels anchored by a rose arbor. He noted that there is no one fixed point in history that the spaces can or should be restored to; instead known historic features and plantings will inform a modern and sustainable interpretation rather than a period style recreation. The stories of resilience and strength of enslaved women and men like Mary, Clarinda and Caesar Valentine will be especially highlighted in the first "classroom" where performances of Striving for Freedom will take place.
Weaner followed with his own scientific observations of the site having studied the inventory of invasive and native species rooted there. Seeing what he called a "Confluence of Centuries," Weaner explained the importance of preserving the imprints of many natural and human inhabitants from the Indigenous era through an estate period that included slave ownership up to contemporary usage. Etched memorial stones telling these stories will be installed in both the gardens and the through the meadow.
NY State Assemblyman Steve Otis applauded the efforts and perseverance of the JHC Board. Many of the guests then headed outdoors in slickers and wellies to see the landscape up close and ask follow-up questions. Afterwards they returned back to the mansion to study gorgeous planters filled with pollinator-attracting plants and enjoy refreshments provided by Rye's own Rosemary & Vine.
JHC is currently hoping to raise enough money to plant the upland part of the Jay meadow by October 2016. Please help us with your donation on Crowdrise. www.crowdrise.com/save-the-jay-meadow---bring-back-grassl...
(Photos by Cutty McGill)
Jay Heritage Center
210 Boston Post Road
Rye, NY 10580
(914) 698-9275
Email: jayheritagecenter@gmail.com
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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
BLM forest lands in Oregon and Washington are administered under the Oregon and California Railroad Lands Act (O&C) of 1937 and the Federal Land Policy and Management Act (FLPMA) of 1976. The O&C lands are in western Oregon and are managed for sustained yield of timber; economic stability of local communities; conservation and recovery of threatened and endangered species; restoration of forest health, resilience and diversity; and providing clean water in watersheds. The FLPMA identifies land to be held in what is known as public domain. These lands are generally found in eastern Oregon and Washington. Public domain lands are managed under the principles of multiple use and sustained yield without impairment of land productivity or environmental equality.
Desert Milky Way Joshua Tree National Park Fine Art Landscape Seascape Photography! Long Exposure California Starry Night Photos. High ISO Sony A7R 2 Carl Zeiss 16-35mm F4 Wide Angle Zoom! McGucken Fine Art Milkyway!
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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
Patterns formed from random 'colour static' by self-organisation principles, where 'similar' colours try to move towards each other and cluster over time. From the initial random mix, accidental clustering of similar colours is amplified until separation of the colours occurs and some degree of stability is reached.
This image appears in a collection...
www.datenreorganisation.de/2011/08/27/unknown-organizatio...
Large Herd of Deer Canyonlands National Park South Side Utah Winter Trees Fine Art Landscape Photography Fuji GFX100! Elliot McGucken Master Medium Format Nature Photographer Moab! Fuji GFX100 & Fujinon GF Lens American Southwest Desert Art
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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
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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)
Season of mists and mellow fruitfulness
Close bosom-friend of the maturing sun
Conspiring with him how to load and bless
With fruit the vines that round the thatch-eves run;
To bend with apples the moss'd cottage-trees,
And fill all fruit with ripeness to the core;
To swell the gourd, and plump the hazel shells
With a sweet kernel; to set budding more,
And still more, later flowers for the bees,
Until they think warm days will never cease,
For Summer has o'er-brimm'd their clammy cells. --To Autumn. by John Keats
A view of participants during the opening of the Permanent Forum on Indigenous Issues (UNPFII), held on the theme: "Indigenous peoples, business, autonomy and the human rights principles of due diligence including free, prior and informed consent". The 21st session of the UNPFII is held between 25 April - 6 May.
UN Photo/Manuel Elías
25 April 2022
New York, United States of America
Photo # UN7930713
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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
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“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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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)
Season of mists and mellow fruitfulness
Close bosom-friend of the maturing sun
Conspiring with him how to load and bless
With fruit the vines that round the thatch-eves run;
To bend with apples the moss'd cottage-trees,
And fill all fruit with ripeness to the core;
To swell the gourd, and plump the hazel shells
With a sweet kernel; to set budding more,
And still more, later flowers for the bees,
Until they think warm days will never cease,
For Summer has o'er-brimm'd their clammy cells. --To Autumn. by John Keats
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.
Make up: by Heather Cotter
Styling assistants :Tanya Crawley and Olusegun T. Ojo
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Ralph Waldo Emerson. The happiest man is he who learns from nature the lesson of worship.
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
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
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 Compass Principles offer aspirational guidelines for what constitute quality in innovation and execution of basic financial services—those that allow people to transact, borrow, save and plan in ways that are beneficial to the consumer and profitable for industry.
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.
Movements Afoot Pilates Studio
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This poster uses almost perfect vertical symmetry in its design. The small Mickey Mouse head at the top of the poster marks the dividing point. From there, the word "Twenty" is split, three letters on each side. The number 13 roughly follows the line. This pattern continues all the way down, to the second Mickey head, banners, circles, and all other design elements in the background and foreground.
This poster was part of a 2013 calendar collection from the Disneyland Resort. Photograph by me.
Go to Page 495 in the Internet Archive
Title: Diseases of the skin [electronic resource] : an outline of the principles and practice of dermatology
Creator: Morris, Malcolm Alexander, Sir, 1849-1924
Creator: Gamsu, Harold, 1931-2004 former owner
Creator: King's College London
Publisher: London : Cassell and Company
Sponsor: Jisc and Wellcome Library
Contributor: King's College London, Foyle Special Collections Library
Date: 1899
Language: eng
Description: King’s College London
Includes bibliographical references and index
First published in 1893
This material has been provided by King’s College London. The original may be consulted at King’s College London
If you have questions concerning reproductions, please contact the Contributing Library.
Note: The colors, contrast and appearance of these illustrations are unlikely to be true to life. They are derived from scanned images that have been enhanced for machine interpretation and have been altered from their originals.
Read/Download from the Internet Archive
God Spilled Buckets of Paint Carrizo Plain National Monument Superbloom! California Spring Fine Art Landscape & Nature Photography! Spring Flowers Blooming! Sony A7R III & Sony Vario-Tessar T* FE 16-35mm f/4 ZA OSS Lens SEL1635Z Carl Zeiss Glass!
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Ralph Waldo Emerson. The happiest man is he who learns from nature the lesson of worship.
Lucius Annaeus Seneca: On entering a temple we assume all signs of reverence. How much more reverent then should we be before the heavenly bodies, the stars, the very nature of God!
John Muir: All the wild world is beautiful, and it matters but little where we go, to highlands or lowlands, woods or plains, on the sea or land or down among the crystals of waves or high in a balloon in the sky; through all the climates, hot or cold, storms and calms, everywhere and always we are in God's eternal beauty and love. So universally true is this, the spot where we chance to be always seems the best.
(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
Object Type: Manuscript
Title: The Principles of Geology
Maker: Charles Lyell
Date: 1830
Medium: Litho Frontispiece of printed book
Dimensions: vol. 1: 9 x 6 x 1 1/2 in.; x 12 1/2 in. open
Significance: Influence on Darwin
To learn more visit http://www.apsmuseum.org/darwin
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.
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).
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.
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The Tao of Epic Landscape Photography:
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)
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Ralph Waldo Emerson. The happiest man is he who learns from nature the lesson of worship.
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.).
ISTANBUL, TURKEY - 24 MAY 2016: General view of the Special Session on “Humanitarian Principles” within the World Humanitarian Summit. OCHA / Berk Ozkan
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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I'm exploring the various design principles in terms of styling. This is my attempt at playing with scale.
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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!
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Some of my epic books, prints, & more!
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
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 my photography celebrates the physics of light! dx4/dt=ic! Light Time Dimension Theory: The Foundational Physics Unifying Einstein's Relativity and Quantum Mechanics: A Simple, Illustrated Introduction to the Physical: geni.us/Fa1Q
Ralph Waldo Emerson. The happiest man is he who learns from nature the lesson of worship.
Carl von Linné: Hortus Cliffortianus
Amsterdam: 1737
Sp Coll Old Library Bi1-a.3
This work, along with the author's "Genera plantarum" and "Species plantarum", forms the starting point of modern systematic botany. Linnaeus established the principles of class, order, genus and species for all plants and animals. His botanical system was based mainly on flower parts, which tend to remain unchanged during the course of evolution.
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
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
High-level Event to launch the Principles for Responsible Banking
Remarks by the Secretary-General
Principles for Responsible banking, CEO’s signing agreement to do responsible banking
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