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The Rootes car showroom and workshops, Mill Street, Maidstone, is designated at Grade II for the following principal reasons: * The building is of architectural interest as an example of a Modernist motorcar showroom and workshops which retains a significant proportion of its original fabric. * The building is of architectural interest due to its grand scale, town-centre location and picturesque setting adjacent to the Len mill pond, which distinguishes it from other buildings associated with the motorcar industry during this phase of early motoring. * The building is a prominent manifestation of a hugely successful British car manufacturer, built in a period when the expansion of car ownership was having a the revolutionary impact on the physical and social fabric of the nation.
Details
883/0/10032
MAIDSTONE MILL STREET Rootes Maidstone
01-OCT-09
II Car showroom and workshops, 1938-39, by Howard and Souster.
MATERIALS: steel-framed and reinforced concrete structure, walls of brick faced with reconstituted-stone blocks, now painted white. Roof of reinforced concrete and steel frame with metal sheeting. Floors of reinforced concrete with Terrazzo, rubber and grano finishing. Steel casement windows.
PLAN: irregular L-shape plan with showroom, offices (now snooker club) and car storage to the west facing onto Mill Street (this block is known as Len House), and workshops and administration block to the east, facing on to Len Pond. The east block is set back from Mill Road creating a courtyard space where an island filling station was originally located.
EXTERIOR: Moderne style west block (Len House) is built over two stories with a flat roof and parapet (now capped in folded metal sheet) to the front and a saw-tooth roof with corrugated covering to the rear. Ground floor double height showroom frontage with polished black stone stall-riser and integral fascia band, now covered by modern signage. A horizontal band of windows at first floor is interrupted by a central triangular tower, which rises from a canopy over the main showroom entrance. A string course connects the heads and sills of the windows. To the north, a single bay provides access from the street to the first floor through a pair of panelled timber doors. Over the door on a simple square-edged door surround applied lettering spells the name 'LEN HOUSE' above which is a band of horizontal reeding. At first floor a single window is surrounded by a square-edged architrave with an expressed keystone and reeded sill. The Mill Street elevation curves round into the south elevation of the block which provides a secondary canopied entrance to the showroom and a vehicular access to the car store to the rear of the block. The east block is over two floors but a mezzanine level at the west end results in two rows of upper windows on the west elevation. As with the west block, these horizontal bands of windows have a string course connecting their heads and sills. The west elevation provides access to the administration block with a canopy over the door, and a vehicular access into the workshops behind. The west elevation curves round into the south elevation. At either end the south elevation is punctuated by a projecting bay with raised parapet and pierced balconette in front of the ground floor window. Between the projecting bays are five bays with a continuous string course at the window heads and sills, either side of a central bay with a pronounced architrave and pierced balconette. To the far west of this elevation is an original entrance door into the administration block. The east elevation has been rendered and the fenestration largely blocked or altered and a new central entrance and canopy installed. The north elevation is of untreated brick with concrete banding at first floor and roof level. Most of the original openings remain although there has been some alteration. This elevation is of lesser interest. The roof of the east block is flat to the south, with ridge and furrow covered in corrugated sheeting to the north. The ridges are mounted by extractor units.
INTERIOR: the showroom has a modern interior, generally of little architectural interest, although a curved mezzanine viewing gallery (now enclosed) remains in the south-east corner of the showroom. The former offices on the first floor, now snooker hall, have been fitted with a Victorian-style interior, not of special interest. The car storage area to the rear of the showroom is largely open in plan, and fully open to the roof. At ground floor and mezzanine level the administration block is partially open-plan and partially subdivided into small offices with non-structural partitioning. The workshops are largely open plan with the vehicular ramp between ground and first floor being a principal feature. The concrete and steel structure of the building is undisguised; at ground floor concrete cross beams rest on large columns, supporting the first floor above, at first floor the workshops are open to the roof. The far east of the block is separated-off with a modern office interior, not of special interest. A number of original staircases remain throughout the building, mainly characterised by curved steel-strip balusters with wood or metal hand rails.
HISTORY: the Rootes motorcar showroom and workshop was built in 1937-38 for Rootes Ltd by Howard and Souster, an architectural firm who specialised in industrial and commercial buildings and who undertook a number of commissions for Rootes. The site, adjacent to a mill pond on the River Len, had formerly been occupied by a tannery. The tannery buildings were acquired by Rootes in 1917 and were later demolished to make way for the new complex of showroom, filling station, workshops and offices. At the time of its opening in April 1938, the showroom was considered the largest and most up to date in Kent; at night 700ft of neon tubing outlined the frontage and spelled out the name 'ROOTES' on the tower above the main entrance.
Rootes was started in 1895 by William Rootes Snr who opened a cycle and repair shop in Goudhurst, Kent. The business soon moved into motor cars and its growing success took him to new larger premises in Hawkhurst and then Maidstone, where his son William was placed in charge. In 1917 William was demobilised from the Royal Naval Volunteer Reserve to start the first aero engine repair organisation in the country. It was at this point that the old tannery, adjacent to the Len mill pond in Mill Street was obtained by the Rootes firm. Previously operating as a private firm, Rootes became Rootes Ltd, The Len Engineering Works, Maidstone; formed for the purpose of overhauling and repairing aero engines for the government.
By the mid 1920s, Rootes had become Britain's largest motor retailer and had moved into coach-building, acquiring in 1925 the firm of Thrupp and Maberly, coach builders for Humber, Daimler and Rolls-Royce. In the late 1920s, Rootes Ltd moved into car manufacture, forming Rootes Securities and making a successful bid for Humber-Hillman-Commer. The Hillman Minx, launched in 1931 became an outstanding success and by the late 1930s was the most popular light car in the world. In the mid 1930s the famous names of Sunbeam, Clement Talbot and Karrier all became part of the Rootes family. By 1937, Rootes controlled eight manufacturing companies, seven distributing companies, and was also controlling one of the largest export businesses in the British motor industry.
By the late 1930s manufacturing had moved away from the Maidstone site so the Len Engineering Works was rebuilt as a model super service station. In the preceding years, the motor car had become more accessible to the middle classes; the new showroom on Mill Street prided itself on offering 'models for the masses and millionaires'. The motor industry had embraced modernism in its architecture during the 1930s; the opportunities to exploit new materials and technologies allowed for an architectural expression linked to both the ideals of the motor industry, and the aspirations of their customers. The size of the Rootes showroom floor, uninterrupted by supporting columns, combined with an elegant, streamlined exterior glowing with neon light, would have made an impressive sight. The Rootes complex was referred to as a 'palace of modern motoring'.
The post war years saw continued national and international success for Rootes but the 1960s brought change. In financial difficulty, aid came from Chrysler who eventually acquired a majority share and the company became Chrysler United Kingdom. When Chrysler pulled out of Britain, ownership of the Rootes showroom and workshops passed to the Peugeot-Talbot Motor Company. The site is now owned by Robins and Day Ltd and continues to operate as a car showroom and repair garage.
SOURCES Tony Calladine and Kathryn Morrison, Road Transport Buildings, A Report by the Royal Commission on the Historical Monuments of England for the English Heritage Post-1939 Listing Programme (1998), 8-35 (held in the National Monuments Record Centre) Julian Holder and Steven Parissien, The Architecture of British Transport in the Twentieth Century (2004), 161-188 'Kent's Link with Britain's Motor Industry', Kent Tells The World, 1951 'Rootes Strengthen Ties with County of Their Birth' Kent Messenger, April 9 1938 'Rootes' New Maidstone Showrooms', The Motor, 12 April 1938, 489 'Rootes of Maidstone, Part One: From Goudhurst to the World', Irene Hales, Bygone Kent, vol. 7, no. 10, 1986 'Rootes of Maidstone, Part Two: An Industrial Giant', Irene Hales, Bygone Kent, vol. 7, no. 11, 1986 'Rootes Reconstruct at Maidstone', The Motor, 22 March 1938, 342 'Stores, Shops and Showrooms Reference Section', Architectural Design and Construction, May 1939
REASONS FOR DESIGNATION The Rootes car showroom and workshops, Mill Street, Maidstone, is listed at Grade II for the following principal reasons: * the building is of special architectural interest as an example of a Modernist motorcar showroom, office and workshops complex which retains a significant proportion of its original fabric. * the building is of special architectural interest due to its grand scale, town-centre location and picturesque setting adjacent to the Len mill pond, which distinguishes it from other buildings associated with the motorcar industry during this phase of early motoring. * the building is a prominent manifestation of a hugely successful British car manufacturer, built in a period when the expansion of car ownership was having a the revolutionary impact on the physical and social fabric of the nation.
The pattern of seeds within a sunflower follows the Fibonacci sequence, or 1, 2, 3, 5, 8, 13, 21, 34, 55, 89, 144...
The individual seeds create spiral arms, curving to the right and the left. The number of spirals to the left, is however not equal to those spiraling to the right. The spiral arms to the left and to the right are always two successive numbers of the Fibonacci sequence.
This is when I wish I'd paid more attention to my maths lessons at school!
Tarlabaşı/Istanbul/Turkey
One of the biggest gentrification projects in the city...
located almost in the centre of the city, is a quirky, urban conundrum in the throes of a government gentrification drive. Officially, they are calling it a renewal programm – in reality, it’s a complete makeover and redevelopment, involving tearing down old structures, which are part of Istanbul’s architectural heritage, to make way for a new commercial zone, comprising shopping centres, malls and hotels.
Exact proportions in nature can be found in many flowers, including daisies. Resulting in the majority of daisies having 34, 55 or 89 petals i.e the Fibonacci sequence....so get counting!
Samburu National Reserve
Kenya
East Africa
Two male giraffes fighting down by the Ewaso Ng'iro River. They sometimes swing their heads under the body to try to knock their opponent off their feet.
Male giraffes use their necks as weapons in combat, a behavior known as "necking". Necking is used to establish dominance and males that win necking bouts have greater reproductive success. This behavior occurs at low or high intensity.
In low intensity necking, the combatants rub and lean against each other. The male that can hold itself more erect wins the bout. In high intensity necking, the combatants will spread their front legs and swing their necks at each other, attempting to land blows with their ossicones. The contestants will try to dodge each other's blows and then get ready to counter. The power of a blow depends on the weight of the skull and the arc of the swing.
A necking duel can last more than half an hour, depending on how well matched the combatants are. Although most fights do not lead to serious injury, there have been records of broken jaws, broken necks, and even deaths.
After a duel, it is common for two male giraffes to caress and court each other, leading up to mounting and climax. Such interactions between males have been found to be more frequent than heterosexual coupling. In one study, up to 94 percent of observed mounting incidents took place between males. The proportion of same-sex activities varied from 30–75 percent. Only one percent of same-sex mounting incidents occurred between females.
Do you realise that the symbol used to represent pi….you know, that horrible 3.141….thing you had to learn about at school in maths for calculating the circumference or area of a circle….., originated in North Wales?
The first calculation of pi was made by Archimedes of Syracuse (287–212 BC), one of the greatest mathematicians of the ancient world, but it was a much less famous man called William Jones who introduced that symbol ‘π’ which until then was just a Greek letter.
William Jones was born sometime around 1675 on the island Anglesey in the parish of Llanfihangel Tre’r Beirdd, about four miles west of the town which is now Benllech. He had a humble up-bringing and was raised on a small farmstead by his parents Siôn Siôr (John George Jones) and Elizabeth Rowland. However his talent for mathematics quickly became apparent when he attended a charity school at Llanfechell. It was to be his only formal education. His aptitude for the subject ensured that he would not follow in the family footsteps. A local squire and landlord of the distinguished Bulkeley family, heard of his skill and took him under their patronage. They arranged for him to work in a merchant’s counting house in London.
It was only the first of many journeys. Between 1695 and 1702 he served in the Royal Navy, sailing to the West Indies during which time he taught mathematics on board a man-of-war, en-route learning about navigation. He was present at the battle of Vigo in October 1702 when the English successfully captured the Spanish treasure fleet as it was returning to the port in north-west Spain under French escort. Ignoring the obvious riches of silver to be had, he went in search of other booty according to an 1807 memoir by Baron Teignmouth, ‘... literary treasures were the sole plunder that he coveted.’
On his return he published A New Compendium of the Whole Art of Navigation which he dedicated to a benefactor John Harris, a writer, scientist and Anglican priest who had taken him under his wing. Back in the capital, his voyages over, he became a mathematics teacher in coffee houses and as a private tutor to the son of the future Earl of Macclesfield. He also became tutor to Philip Yorke, later 1st Earl of Hardwicke (1690-1764), who became Lord Chancellor and provided an invaluable source of introductions for his tutor.
In those circles, Isaac Newton had already mentioned to the Admiralty the benefit of sending mathematicians to sea. So inevitably it was only a matter of time before Jones came to the attention of Newton after reading “Jones’s Synopsis”, in which the younger man explained Newton’s methods for calculus as well as other mathematical innovations. It was in this book that Jones first used the Greek symbol ‘π’ to denote the pi. More significantly he used it as a constant number - 3.141...
Before Jones, approximations such as 22/7 and 355/113 had also been used to express the ratio. Explaining its use, he wrote: ‘... the exact proportion between the diameter and the circumference can never be expressed in numbers...’. Hence, a symbol was required to represent an ideal that can be approached but never reached. For this Jones recognised that only a pure platonic symbol would suffice.
In 1708 Jones was able to acquire an extensive library and archive, which contained several of Newton’s letters and papers written in the 1670s. The following year he applied for the mastership of Christ’s Hospital Mathematical School, despite references from Newton and Edmund Halley (the astronomer who calculated the orbit of the comet, now named after him) but he was turned down. Jones went back into private teaching but thanks to the papers he had acquired he was able to help his old mentor Newton resolving a dispute with German mathematician Gottfried Leibniz, over which of the men first invented calculus.
In 1712 Jones joined the committee set up by the Royal Society to determine which of them invented calculus. He was now firmly in the mathematical establishment.
He married twice, firstly the widow of his counting-house employer, whose property he inherited on her death.He remarried in 1731, to Mary, the 22-year-old daughter (30 years his junior) of cabinet-maker George Nix, with whom he had three children.
And therein lies the story of ‘π’ and it’s origins in North Wales. My photo is actually of part of some derelict structure of the Penmaenmawr quarry, the quarry that has removed the top one third of this granite mountain. But I thought it looked like ‘π’ standing high above the North Wales Expressway.
File: 2023005-1502
At Shelsley Walsh, Worcestershire, England, United Kingdom on Saturday 3rd June 2023.
About the photograph.
I was attending a speed hill climbing motorsport event, during a hot sunny day, at the Shelsley Walsh Speed Hill Climb in the village of Shelsely Walsh in Worcestershire. I was there to take photos of the of the event.
They had four different nation flags of the British Isles on flagpoles alongside the track.
NOTE: British Isles is different from British Islands. British Islands refer to England, Scotland, Wales, Northern Ireland, and the small islands like Jersey, Guernsey, and Isle of Man, all together. Whereabouts British Isles is same as British Islands, but includes the Republic of Ireland.
Here, I took a series of photographs of the flag of Ireland, flying in the wind, along with the flags of England, Scotland, and Wales.
I’m not sure those flags are of official sizes and specifications, but still, it was a chance for me to take some shots of the flags.
By this time, I had already taken photos of the Union Flag, the Wales flag, and the American Stars and Strips from somewhere else. I thought to grab a chance to take photo of flags belonging to Scotland and Ireland that were flying at the grounds.
For details about the flag of Ireland, see About the overall subject.
About the overall subject.
About the flag.
This is the national flag for the Republic of Ireland. In the Irish language: bratach na hÉireann.
It is frequently referred in Ireland as the tricolour (an tridhathach).
The flag is a vertical tricolour of green, white, and orange bands of equal width, in the proportion of 1:2. That mean an aspect ratio where the width (2) is twice the size of the height (1).
Note: It is important to remember that the colour order from left to right, is green, white, and orange. Not to be confused with the flag of Ivory Coast which is very similar but theirs is in the order of orange, white, and green.
The two flags can often be confused, specially when using the reverse side of the flags.
The flag of Ireland had been adopted in 1922, however like with any other national flags all around the world, the history of the Irish tricolour can date back further from the date of adoption.
According to various history, it was presented as a gift by a small group of French women sympathetic to the Irish nationalism. The colours were intended to symbolise the hoped-for union between the Roman Catholics (green colour) and Protestants (white colour). The white in the middle signifies a lasting truce between the two. It was also based on the French tricolour.
The exact colours, like with any other flags in history, were never actually specified until modern times. Today, the Irish government, the Department of the Taoiseach is responsibility for the flag design and use, had set the actual colours which was in use since 2001.
About Shelsley Walsh.
Shelsley Walsh is a motorsports speed hill climb track in Worcestershire, and organised by the Midland Automobile Club (MAC).
It is one of the oldest motorsports event, having started in 1905, and held events every year, except for the two World Wars.
It is also a notably steep course by today’s hill climb standards, rising 328ft / 100m over its 1000 yards / 914 metres length.
The track and course do not belong to MAC, it is leased from the local landowner. The original lease ran for 99 years, and in 2005, a new lease was signed for the next 99 years.
The Comment Box is for comments about the photograph or about the subject in the photograph. It is NOT an adverting billboard for copy-and-paste Canned Comments with pre-prepared text and oversized pic of group logo. Those say something about the groups, not about my photo, therefore will be deleted. If you want to promote the groups you are member of, do so in YOUR own Photostream!
Another car designed in the Speed Champions style. Again, I wanted to address some of the proportion issues of the official sets. When working at this scale, even one stud makes a huge difference in the overall look. This theme is really fun to design in, and I’d like to do some more down the road (no apologies for the pun).
Today I am taking you to another small village in southern Burgundy, Farges-lès-Mâcon, to visit the Saint Bartholomew parish church, built between 1050 and 1100 and which depended from the abbey in Tournus. The similarities between the monumental church in Tournus and this small village church are striking: they were undoubtedly built by the same hands, or at least those who built Farges did it using Tournus as a model.
In spite of the limited technical and financial means, this church has been beautifully proportioned and designed, most likely by people sent from the abbey in Tournus. It must also be said that, for once, this is a very artistically lit church, and a pleasure to photograph —in spite of the usual, ugly-as-sin 19th century Stations of the Cross pictures.
Alot of people are still very much afraid to live beyond their fenced-off properties. They have these irrational fears based on grotesquely proportioned myths that keep them from really knowing their environment, getting to touch with what's real and what's really going on. Obviously I know no body wants crime to happen to them and so people do take the best of precautions, however letting that influence the whole flow of your life (and ultimately the destination) only enables those who want to control your flow. By engaging with your environment on all levels, not just the designated ones or the supposed 'safe-zones', you begin to get a true understanding for it and how it works and are then able to change it.
So as you can see, it's quite a big one this, takes up the whole bridge. Sorry about the funky joiner (my photoshop skills aren't too hot). Took about 25-30 hours collectively over a couple of days. Sorry that it took alittle longer than expected, I get carried away with these things. I don't mind though, because art is about the only thing where the juice is truly worth the squeeze. The more you squeeze, the more juice you get, and I'm damn thirsty! Shouts going out to OWN and 012 on this one!
One of the keys to shooting Epic Landscape Photography is exalting the photograph's soul via golden ratio compositions, thusly wedding the photographic art to the divine proportion by which life itself was designed and exalted.
Dr. Elliot McGucken's Golden Number Ratio Fine Art Landscape & Nature Photography Composition Studies!
instagram.com/goldennumberratio
www.facebook.com/goldennumberratio/
Greetings flickr friends! I am working on several books on "epic photography," and I recently finished a related one titled: The Golden Number Ratio Principle: Why the Fibonacci Numbers Exalt Beauty and How to Create PHI Compositions in Art, Design, & Photography: An Artistic and Scientific Introduction to the Golden Mean . Message me on facebook for a free review copy!
www.facebook.com/goldennumberratio/
The Golden Ratio also informs the design of the golden revolver on all the swimsuits and lingerie, as well as the 45surf logo!
The Golden Number Ratio Principle: Dr. E’s Golden Ratio Principle: The golden ratio exalts beauty because the number is a characteristic of the mathematically and physically most efficient manners of growth and distribution, on both evolutionary and purely physical levels. The golden ratio ensures that the proportions and structure of that which came before provide the proportions and structure of that which comes after. Robust, ordered growth is naturally associated with health and beauty, and thus we evolved to perceive the golden ratio harmonies as inherently beautiful, as we saw and felt their presence in all vital growth and life—in the salient features and proportions of humans and nature alike, from the distribution of our facial features and bones to the arrangements of petals, leaves, and sunflowers seeds. As ratios between Fibonacci Numbers offer the closest whole-number approximations to the golden ratio, and as seeds, cells, leaves, bones, and other physical entities appear in whole numbers, the Fibonacci Numbers oft appear in nature’s elements as “growth’s numbers.” From the dawn of time, humanity sought to salute their gods in art and temples exalting the same proportion by which all their vital sustenance and they themselves had been created—the golden ratio.
Ansel Adams is not only my favorite photographer, but he is one of the greatest photographers and artists of all time. And just like great artists including Michelangelo, Monet, Degas, Renoir, Leonardo da Vinci, Vermeer, Rembrandt, Botticelli, and Picasso, Ansel used the golden ratio and divine proportions in his epic art.
Not so long ago I discovered golden regions in many of his famous public domain his 8x10 aspect ratio photographs. I call these golden harmony regions "regions of golden action" or "ROGA"S, as seen here:
www.facebook.com/media/set/?set=a.1812448512351066.107374...
And too, I created some videos highlighting Ansel's use of the golden harmonies. Enjoy!
www.youtube.com/watch?v=AGnxOAhK3os
www.youtube.com/watch?v=WFlzAaBgsDI
www.youtube.com/watch?v=D3eJ86Ej1TY
More golden ratio and epic photography composition books soon! Best wishes for the Holiday Season! Dr. Elliot McGucken :)
Albrecht Dürer (Nuremberg, 21 May 1471 - Nuremberg, 6 April 1528) of the symmetry of human bodies (vier bücher von menschlicher proportion) - Biblioteca Reale, Turin
Si tratta della prima traduzione italiana del 1591 del "Vier bücher von menschlicher proportion", trattato contenente trentanove diagrammi e oltre cento xilografie in cui Dürer medita sulle proporzioni e l'armonia del corpo umano, intese come dipendenti da precise regole geometriche riproducibili ed indagabili attraverso il disegno.
It is the first Italian translation of 1591 of the "Vier bücher von menschlicher proportion", a treatise containing thirty-nine diagrams and over one hundred woodcuts in which Dürer meditates on the proportions and harmony of the human body, understood as dependent on precise geometric rules reproducible and investigable through drawing.
From Millie Marotta's Curious Creatures: A Colouring Book.
I looked up Kiwi using Wi-Fi.... (isn't English pronunciation odd!)
From Wiki:
'The kiwi lays the biggest egg in proportion to its size of any bird in the world, so even though the kiwi is about the size of a domestic chicken, it is able to lay eggs that are about six times the size of a chicken's egg.'
The kiwi is basically a plain brown bird so I brightened this one with autumnal colours using my Tombow Irojiten pencils without a blender.
P.S. - 'Producing the huge egg places significant physiological stress on the female; for the thirty days it takes to grow the fully developed egg, the female must eat three times her normal amount of food. Two to three days before the egg is laid there is little space left inside the female for her stomach and she is forced to fast.'
Latest news 29/10/2016 Kiwis win by one point:
Rugby Four Nations Opener: England 16-17 New Zealand.
One of my favourite ducks. I especially enjoy watching their gleeful interactions with each other. They have large heads in proportion to their body accented with a white patch on their cheeks. For the most part the Buffleheads I see are very shy, and they maintain quite a distance, from people. While they were feeding, I managed to get quite close to several males (5 feet) and sort of close to several females (25 feet) yesterday. There always seems to be one male sentry between the females and people, and as a diving duck they'll spend more than half their time under water while feeding. Weekdays appear to be less intimidating to them, with a lot fewer people around at the George C. Reifel Migratory Bird Sanctuary Delta BC Canada
Diplazontinae parasitic wasp.
With around 6,000 species, parasitic wasps make up by far the greatest proportion of Hymenoptera in Britain and they remain sorely under-researched, not least because some are incredibly small, less than one millimetre in length and identification can be extremely difficult.
Some of these parasites are extremely useful to humans, notably the Brachonid wasp Spathius exarator which can remove up to 90% of a Woodworm infestation in any property. Others significantly reduce numbers of pest species in crops, including aphids.
Because there was insufficient information, none of this large group were included in the Red Data Book published in 1987 aimed at detailing our vulnerable invertebrates. Clearly if any of the hosts are vulnerable or endangered the parasites are likely to be in the same parlous position. More information would be of great benefit in devising ways to maintain this part of our biodiversity.
Even one family containing a good proportion of pretty obvious species in both colour and size, the Ichneumon wasps, was not in the Red Data Book.
Adult Ichneumons, which tend to have long antennae with up to 40 segments, are not carnivores, gaining their sustenance from nectar and honeydew. Their larvae certainly are carnivorous though and given their numbers and dramatic variation in size use a huge range of invertebrates from, spiders to butterflies and moths, as hosts.
Arguably the most striking Ichneumons are females with an ovipositor as long as the rest of the insect or longer. These devices, with all the penetration of a long hypodermic needle, are used with astonishing precision to insert eggs in the larvae or pupae of the host. The latter are located accurately by use of scent and sensory perception in the legs and the Ichneumon then can take up to half an hour applying her ovipositor to penetrate the wood, find the larva and lay an egg on it.
A hefty number of Ichneumons, and all the Ichneumoninae sub-family, parasitise moth or butterfly species, laying their eggs in larvae or pupae; adult emergence is always from the pupa. None of these need the long ovipositors required by wood and stem-boring Ichneumons.
New virus variant - I needed a better mask.
The new SARS-CoV-2 variant is growing rapidly, is more transmissible than other variants, and affecting a greater proportion of under 20s.
The new variant has a transmission advantage of 0.4 to 0.7 in reproduction number compared to the previously observed strain.
The findings come in a pre-print authored by a collaborative team from Imperial College London, University of Edinburgh, Public Health England (PHE), the Wellcome Sanger Institute, the University of Birmingham and the COVID-19 Genomics UK (COG-UK) Consortium.
Britain’s health secretary says every adult in the country will be offered a COVID-19 vaccine by the autumn as the U.K. ramps up its mass vaccination program amid a huge surge of infections and hospital admissions.
This is close up of the detail from the sculpture titled Polyhedras.
Geometry is universal across cultures and religions, across the globe, and even across the planets.
dbg.org/events/light-bloom/2024-10-12/
www.youtube.com/watch?v=FFelgzzzQqg
LIGHT BLOOM by HYBYCOZO is a limited-time exhibit where nature and light converge. This mesmerizing display invites you to explore the Garden transformed by stunning geometric light installations that illuminate the beauty of the desert landscape in a new way. As the sun sets, LIGHT BLOOM comes to life, casting intricate shadows and vibrant hues across the Garden. Wander the trails and let the enchanting installations transport you to a magical realm where the natural world meets the abstract.
HYBYCOZO is the collaborative studio of artists Serge Beaulieu and Yelena Filipchuk. Based in Los Angeles, their work consists of larger than life geometric sculptures, often with pattern and texture that draw on inspirations from mathematics, science, and natural phenomena. Typically illuminated, the work celebrates the inherent beauty of form and pattern and represents their ongoing journey in exploring the myriad dimensions of geometry. HYBYCOZO is short for the Hyperspace Bypass Construction Zone, a nod to their favorite novel (The Hitchhikers Guide to the Galaxy) and was the title of their first installation in 2014. They continue to create under this name. In the novel earth was being destroyed to make way for a bypass. It lead Serge and Yelena to ask what it means to make art at a time where the earth’s hospitable time in the universe may be limited.
dbg.org/meet-the-artists-behind-light-bloom/
Q: Walk us through your creative process?
A: The focus of our creative process is to explore the intricate interplay between geometry, light, space and to inspire contemplation, wonder and a sense of place among our audiences. Geometry and pattern-making serve as the backbone of our creative expression. It is the framework through which we navigate the complexities of form, proportion and spatial relationships. Patterns, both simple and complex, have a profound impact on our perception and understanding of the world. They possess the ability to evoke a sense of order, balance and aesthetic pleasure. Pattern making and geometry offer us a means of storytelling and communication. These patterns serve as conduits for deeper exploration, provoking introspection and contemplation to uncover the underlying symbols embedded within the human psyche.
A: Just as many cactus and desert plants have evolved to produce night-blooming flowers, adapting to their environment and thriving in darkness, our sculptures come alive after sunset, blossoming with light and transforming the night into a glowing landscape of art and geometry.
Q: What inspired the concept of LIGHT BLOOM?
A: Just as many cactus and desert plants have evolved to produce night-blooming flowers, adapting to their environment and thriving in darkness, our sculptures come alive after sunset, blossoming with light and transforming the night into a glowing landscape of art and geometry.
Desert Botanical Garden has an incredible collection of plants and cacti arranged in a beautiful park setting.
"Think the desert is all dirt and tumbleweeds? Think again. Desert Botanical Garden is home to thousands of species of cactus, trees and flowers from all around the world spread across 55 acres in Phoenix, Arizona."
Desert Botanical Garden
DBG HYBYCOZO Light Bloom
One of the keys to shooting Epic Landscape Photography is exalting the photograph's soul via golden ratio compositions, thusly wedding the photographic art to the divine proportion by which life itself was designed and exalted.
Dr. Elliot McGucken's Golden Number Ratio Fine Art Landscape & Nature Photography Composition Studies!
instagram.com/goldennumberratio
www.facebook.com/goldennumberratio/
Greetings flickr friends! I am working on several books on "epic photography," and I recently finished a related one titled: The Golden Number Ratio Principle: Why the Fibonacci Numbers Exalt Beauty and How to Create PHI Compositions in Art, Design, & Photography: An Artistic and Scientific Introduction to the Golden Mean . Message me on facebook for a free review copy!
www.facebook.com/goldennumberratio/
The Golden Ratio also informs the design of the golden revolver on all the swimsuits and lingerie, as well as the 45surf logo!
The Golden Number Ratio Principle: Dr. E’s Golden Ratio Principle: The golden ratio exalts beauty because the number is a characteristic of the mathematically and physically most efficient manners of growth and distribution, on both evolutionary and purely physical levels. The golden ratio ensures that the proportions and structure of that which came before provide the proportions and structure of that which comes after. Robust, ordered growth is naturally associated with health and beauty, and thus we evolved to perceive the golden ratio harmonies as inherently beautiful, as we saw and felt their presence in all vital growth and life—in the salient features and proportions of humans and nature alike, from the distribution of our facial features and bones to the arrangements of petals, leaves, and sunflowers seeds. As ratios between Fibonacci Numbers offer the closest whole-number approximations to the golden ratio, and as seeds, cells, leaves, bones, and other physical entities appear in whole numbers, the Fibonacci Numbers oft appear in nature’s elements as “growth’s numbers.” From the dawn of time, humanity sought to salute their gods in art and temples exalting the same proportion by which all their vital sustenance and they themselves had been created—the golden ratio.
Ansel Adams is not only my favorite photographer, but he is one of the greatest photographers and artists of all time. And just like great artists including Michelangelo, Monet, Degas, Renoir, Leonardo da Vinci, Vermeer, Rembrandt, Botticelli, and Picasso, Ansel used the golden ratio and divine proportions in his epic art.
Not so long ago I discovered golden regions in many of his famous public domain his 8x10 aspect ratio photographs. I call these golden harmony regions "regions of golden action" or "ROGA"S, as seen here:
www.facebook.com/media/set/?set=a.1812448512351066.107374...
And too, I created some videos highlighting Ansel's use of the golden harmonies. Enjoy!
www.youtube.com/watch?v=AGnxOAhK3os
www.youtube.com/watch?v=WFlzAaBgsDI
www.youtube.com/watch?v=D3eJ86Ej1TY
More golden ratio and epic photography composition books soon! Best wishes for the Holiday Season! Dr. Elliot McGucken :)
A marginal railroad that has a fanbase all out of proportion to its importance to the national network. Gone since 1957, I never saw it run. BR&W western RR in New Jersey, 12/5/15
Symmetry (from Greek συμμετρία symmetria "agreement in dimensions, due proportion, arrangement") in everyday language refers to a sense of harmonious and beautiful proportion and balance. Wikipedia.
Yosemite Winter Fine Art Landscapes! Sony A7RII yosemite National Park Winter Snow! Dr. Elliot McGucken Fine Art Landscape Photography
Follow me on instagram for more!
Had a great time waking up at 5 AM every day to shoot tunnel view and then driving around down in the valley to Half Dome, Bridalviel Falls, Cook's Meadow and the glorious Cook's Meadow elm tree, Sentinel Bridge, Valley View, Swinging Bridge, and more! Yosemite winters are made for black and whites, and Ansel Adam's ghost haunts the brilliant landscape scenery!
The most epic "Ansel Adams" view is tunnel view where one can see El Capitan, Bridalviel Falls, and Half Dome over magnificent trees, snow, rising fogs, and breaking mists. Enjoy!
Been busy traveling and shooting landscapes and working on my books The Golden Hero's Odyssey about the golden rectangle and divine proportion I use in a lot of my compositions! Also working on my physics book on Dynamic Dimensions Theory! The equation dx4/dt=ic is on a lot of the 45surf swimsuit and shirts and all! :)
Follow me & 45surf!!
www.facebook.com/45surfAchillesOdysseyMythology/
www.facebook.com/elliot.mcgucken
My fine art landscape lenses for the A7RII are the Sony 16-35mm Vario-Tessar T FE F4 ZA OSS E-Mount Lens and the Sony FE 24-240mm f/3.5-6.3 OSS Lens ! Love the Carl Zeiss and super sharp Sony Glass!
Winter fine art landscapes!
Epic Yosemite valley village winter snowstorm!
Yosemite Winter Fine Art Landscapes! Sony A7RII yosemite National Park Winter Snow! Dr. Elliot McGucken Fine Art Landscape Photography
Thanks to all who comment or favorite; it is always appreciated!
This photo was taken in Charleston, SC, and shows a window beautifully framed by lush ivy. Charleston is known for its well-preserved historic architecture, which reflects its rich history and cultural heritage. The buildings in Charleston often exhibit elements of Georgian, Federal, and Greek Revival styles, with a strong emphasis on symmetry, proportion, and decorative details.
The ivy-clad window in the photo brings to mind the city's antebellum homes, which frequently feature large windows with shutters, brick facades, and abundant greenery. The ivy adds charm and is a natural cooling system during Charleston's hot summers.
Charleston's architectural legacy dates back to the colonial era, with many buildings surviving the Civil War and hurricanes. The city's commitment to preservation has maintained its historic charm, making it a popular destination for history enthusiasts and architecture lovers.
Thank you for viewing! If you like this photo, remember to favorite it and follow for more! Have you visited Charleston and its historic sites? Share your experiences in the comments below!
From this angle the beautifully proportioned Chrysler building looks like a giant space rocket poised for lift-off from its midtown Manhattan launch pad.
This morning its upper storeys were illuminated by strong dawn sunlight.
COPYRIGHT © Towner Images
Two male birds (eye-ring reddish colour whereas the female has a grey eye-ring).
It is difficult to know how many Carnaby's Black-Cockatoos are left, but it is known that their populations have declined by over 50% in the past 45 years and that they no longer breed in up to a third of their former breeding sites in the Wheatbelt.
They are gregarious birds and live in pairs or small flocks during the breeding season. After fledging, the young move with their parents from breeding areas to feeding areas where other family groups join the flock.
The cockatoos live for 40-50 years in the wild. A large proportion of the remaining population now is past breeding age. When these older birds die, there will be very few younger birds to take their place.
A76I2313
The famous Fibonacci sequence and Golden Ratio has captivated mathematicians, artists, designers, and scientists for centuries.
The golden ratio ("phi") is approximately equal to 1.618 and exists when a line is divided into two parts and the longer part (a) divided by the smaller part (b) is equal to the sum of (a) + (b) divided by (a), which both equal 1.618. I know that sounds nerdy but it is amazing how often it occurs in nature.
The spiralling patterns seen in seeds in a sunflower head, spirals in sea shells, winds in a hurricane, and the human face can all follow this pattern. In a so called ‘perfect smile’, the visible surfaces of teeth will follow the Golden Proportion and the real nerds in the Dental profession may even have a set of calipers which reproduce the ratio 1.618.
The Fibonacci sequence can also be seen in the way tree branches form or split. A main trunk will grow until it produces a branch, which creates two growth points. Then, one of the new stems branches into two, while the other one lies dormant. This pattern of branching is repeated for each of the new stems. This sand pattern reminds me of that.
I write this at 12.58, unable to get to sleep. How the hell this stuff doesn’t put you to sleep is beyond me!
The beautifully proportioned pagoda at Eindawya Paya stands west of Zegyo Market. It is covered in goldleaf and makes a fine, shimmering sight on a sunny day. The pagoda was built by King Pagan Min in 1847, on the site of the palace where he lived before he ascended the throne – which at that time was still at Amarapura.
To view more of my images, of Belton House, please click "here" ! Click any image to view large!
Please, no group invites; thank you!
Belton House is a Grade I listed country house in Belton near Grantham, Lincolnshire, England. The mansion is surrounded by formal gardens and a series of avenues leading to follies within a larger wooded park. Belton has been described as a compilation of all that is finest of Carolean architecture, the only truly vernacular style of architecture that England had produced since the Tudor period. The house has also been described as the most complete example of a typical English country house; the claim has even been made that Belton's principal facade was the inspiration for the modern British motorway signs which give directions to stately homes. Only Brympton d'Evercy has been similarly lauded as the perfect English country house. For three hundred years, Belton House was the seat of the Brownlow and Cust family, who had first acquired land in the area in the late 16th century. Between 1685 and 1688 Sir John Brownlow and his wife had the present mansion built. Despite great wealth they chose to build a modest country house rather than a grand contemporary Baroque palace. The contemporary, if provincial, Carolean style was the selected choice of design. However, the new house was fitted with the latest innovations such as sash windows for the principal rooms, and more importantly completely separate areas for the staff. As the Brownlows rose from baronets to barons upward to earls and then once again became barons, successive generations made changes to the interior of the house which reflected their changing social position and tastes, yet the fabric and design of the house changed little. Following World War I (a period when the Machine Gun Corps was based in the park), the Brownlows, like many of their peers, were faced with mounting financial problems. In 1984 they gave the house away—complete with most of its contents. The recipients of their gift, the National Trust, today fully open Belton to the public. It is in a good state of repair and visited by many thousands of tourists each year The Brownlow family, a dynasty of lawyers, began accumulating land in the Belton area from approximately 1598. In 1609 they acquired the reversion of the manor of Belton itself from the Pakenham family, who finally sold the manor house to Sir John Brownlow I in 1619. The old house was situated near the church in the garden of the present house and remained largely unoccupied, since the family preferred their other houses elsewhere. John Brownlow had married an heiress but was childless. He became attached to two of his more distant blood relations: a great-nephew, also called John Brownlow, and a great-niece, Alice Sherard. The two cousins married each other in 1676 when both were aged 16; three years later, the couple inherited the Brownlow estates from their great-uncle together with an income of £9,000 per annum (about £ 1.17 million in present day terms) and £20,000 in cash (equivalent to about £ 2.59 million now). They immediately bought a town house in the newly fashionable Southampton Square in Bloomsbury, and decided to build a new country house at Belton. Work on the new house began in 1685. The architect thought to have been responsible for the initial design is William Winde, although the house has also been attributed to Sir Christopher Wren, while others believe the design to be so similar to Roger Pratt's Clarendon House, London, that it could have been the work of any talented draughtsman. The assumption popular today, that Winde was the architect, is based on the stylistic similarity between Belton and Coombe Abbey, which was remodelled by Winde between 1682 and 1685. Further evidence is a letter dated 1690, in which Winde recommends a plasterer who worked at Belton to another of his patrons. Whoever the architect, Belton follows closely the design of Clarendon House, completed in 1667. This great London town house (demolished circa 1683) has been one of the most admired buildings of its era due to "its elegant symmetry and confident and common-sensical design". Sir John Summerson described Clarendon House as "the most influential house of its time among those who aimed at the grand manner" and Belton as "much the finest surviving example of its class". John and Alice Brownlow assembled one of the finest teams of craftsmen available at the time to work on the project. This dream team was headed by the master mason William Stanton who oversaw the project. His second in command, John Thompson, had worked with Sir Christopher Wren on several of the latter's London churches, while the chief joiner John Sturges had worked at Chatsworth under William Talman. The wrought-ironworker John Warren worked under Stanton at Denham Place, Buckinghamshire, and the fine wrought iron gates and overthrow at Belton may be his. Thus so competent were the builders of Belton that Winde may have done little more than provide the original plans and drawings, leaving the interpretation to the on-site craftsmen. This theory is further demonstrated by the external appearance of the adjoining stable block. More provincial, and less masterful in proportion, it is known to have been entirely the work of Stanton.
Excerpt from heritageburlington.ca:
Built in 1905 / 1907 by W. D. Flatt as a summer cottage in the Craftsman Style most favoured by him, the one-storey house has a high truncated hipped roof, with overhanging eaves displaying rafter tails (comparable to the eaves and rafter tails at the Burlington West train station, built in 1909). The central chimney is built of the same large brick as the fireplace. The front elevation, facing the lake, has a large offset projecting gable. The verandah thus created has a continuous band of eighteen-paned windows, some of which slide open on brass rollers. The corners of the verandah window frame are supported by very substantial arched brackets. The double entrance has been narrowed from its original width, which is indicated by the characteristic Craftsman Style entrance steps.
The unusually wide rough-sawn clapboard siding (8 inch exposure) is protected by a natural dark brown stain, and the trim is painted white. This is the earliest known example in Burlington of this treatment, which is also seen in the illustration of the house of Mr Charles Loosley, at Pine Cove, in Flatt's Lake Shore Surveys booklet in 1912; and in the cottages of the Cedar Springs Community, built by Flatt in the mid-1920s. The white paint enhances the effect of the strong triangle brackets supporting the overhanging eaves of the front gable, and emphasizes the well-proportioned trim of the windows. The double-hung windows have six over one panes in the usual Craftsman style. They are grouped in pairs on the west-side bedrooms and occur singly on the east and north elevations. All the original windows except for the verandah windows and the bathroom window have solid shutters with large metal hinge brackets and crescent moon cutouts.
The Craftsman Style interior is exceptionally well maintained and authentic. The double entrance doors open onto interior double doors leading from the verandah to the sitting room, where a massive brick fireplace with a bracketed wooden mantelpiece aligns with the doors. A bookcase with drawers beneath is built in alongside the fireplace. The dining room contains a built-in cabinet with leaded glass doors not dissimilar to the stained-glass work that was to be featured in Flatt's own house, Lakehurst Villa, built a few years later. A narrow staircase leads up from the dining room to what was originally an attic over the verandah. All of this interior woodwork, including the window trim and plate rails in the dining room and sitting room and the floors, is completely unspoiled and has its original dark walnut-stained finish. The plaster walls and coved ceilings are in excellent condition. The pantry contains original cupboards.
The house is secluded from the Lakeshore Road by its extensive garden, which contains many old trees, shrubs, and perennials. This seclusion from the road is a strong reminder of the earliest landscaping practices along this stretch of the Lakeshore. The vegetable and perennial beds are in the original locations, where they are placed for the best views from the windows of the house. Some roses remain from the garden of Mr Latham, who grew many prize-winning blooms. The rise of the lake level in recent years has caused the loss of the beach and the original dock.
This is an exceptional example of the Burlington summer house in the Edwardian period. Its first owner was a Mr White, of Hamilton. It was bought circa 1910 by Richard L. Latham, Chief Engineer for the T H & B Railway in Hamilton, and has remained in the family for some 80 years.
One of the keys to shooting Epic Landscape Photography is exalting the photograph's soul via golden ratio compositions, thusly wedding the photographic art to the divine proportion by which life itself was designed and exalted.
Dr. Elliot McGucken's Golden Number Ratio Fine Art Landscape & Nature Photography Composition Studies!
instagram.com/goldennumberratio
www.facebook.com/goldennumberratio/
Greetings flickr friends! I am working on several books on "epic photography," and I recently finished a related one titled: The Golden Number Ratio Principle: Why the Fibonacci Numbers Exalt Beauty and How to Create PHI Compositions in Art, Design, & Photography: An Artistic and Scientific Introduction to the Golden Mean . Message me on facebook for a free review copy!
www.facebook.com/goldennumberratio/
The Golden Ratio also informs the design of the golden revolver on all the swimsuits and lingerie, as well as the 45surf logo!
The Golden Number Ratio Principle: Dr. E’s Golden Ratio Principle: The golden ratio exalts beauty because the number is a characteristic of the mathematically and physically most efficient manners of growth and distribution, on both evolutionary and purely physical levels. The golden ratio ensures that the proportions and structure of that which came before provide the proportions and structure of that which comes after. Robust, ordered growth is naturally associated with health and beauty, and thus we evolved to perceive the golden ratio harmonies as inherently beautiful, as we saw and felt their presence in all vital growth and life—in the salient features and proportions of humans and nature alike, from the distribution of our facial features and bones to the arrangements of petals, leaves, and sunflowers seeds. As ratios between Fibonacci Numbers offer the closest whole-number approximations to the golden ratio, and as seeds, cells, leaves, bones, and other physical entities appear in whole numbers, the Fibonacci Numbers oft appear in nature’s elements as “growth’s numbers.” From the dawn of time, humanity sought to salute their gods in art and temples exalting the same proportion by which all their vital sustenance and they themselves had been created—the golden ratio.
Ansel Adams is not only my favorite photographer, but he is one of the greatest photographers and artists of all time. And just like great artists including Michelangelo, Monet, Degas, Renoir, Leonardo da Vinci, Vermeer, Rembrandt, Botticelli, and Picasso, Ansel used the golden ratio and divine proportions in his epic art.
Not so long ago I discovered golden regions in many of his famous public domain his 8x10 aspect ratio photographs. I call these golden harmony regions "regions of golden action" or "ROGA"S, as seen here:
www.facebook.com/media/set/?set=a.1812448512351066.107374...
And too, I created some videos highlighting Ansel's use of the golden harmonies. Enjoy!
www.youtube.com/watch?v=AGnxOAhK3os
www.youtube.com/watch?v=WFlzAaBgsDI
www.youtube.com/watch?v=D3eJ86Ej1TY
More golden ratio and epic photography composition books soon! Best wishes for the Holiday Season! Dr. Elliot McGucken :)
Sony A7R2 Bishop California Fine Art Autumn Landscapes! Dr. Elliot McGucken Fine Art Photography!
Been busy traveling and shooting landscapes and working on my books The Golden Hero's Odyssey about the golden rectangle and divine proportion I use in a lot of my compositions! Also working on my physics book on Dynamic Dimensions Theory! The equation dx4/dt=ic is on a lot of the 45surf swimsuit and shirts and all! :)
Follow me & 45surf!!
www.facebook.com/45surfAchillesOdysseyMythology/
www.facebook.com/elliot.mcgucken
My fine art landscape lenses for the A7RII are the Sony 16-35mm Vario-Tessar T FE F4 ZA OSS E-Mount Lens and the Sony FE 24-240mm f/3.5-6.3 OSS Lens ! Love the Carl Zeiss and super sharp Sony Glass!
Subscribe to my new youtube channel and see how I used the divine section and golden rectangle, spiral, and ratio to get the cover of N-Photo Magazine with my fine-art landscape photo Sunrise at Toroweap in the Grand Canyon! And see how Ansel Adams and the great painters, photographers, and fine art masters all used the golden mean to exalt their compositions:
www.youtube.com/watch?v=JLlB_W3XG-k
www.youtube.com/channel/UC42cWDExI8K8stjROqOlLbQ
The golden section shows up in a lot of my surf and model photos too!
Join me friends!!
www.facebook.com/elliot.mcgucken
www.facebook.com/45surfAchillesOdysseyMythology
Subscribe to my new youtube!
www.youtube.com/watch?v=JLlB_W3XG-k
All the best on your epic hero's odyssey! :)
Been hard at work on my books--my physics books on Dynamic Dimensions Theory (dx4/dt=ic) celebrating the hitherto unsung reality of the fourth expanding dimension which all the photons surf across the universe en route to making a photograph! Also working on an art, mythology, and photography book titled The Golden Hero's Odyssey! All the best on your Epic Hero's Odyssey! Always love hearing from y'all! :)
Legendary Status - Agnes von Weiss
She was highly anticipated, her face printed on every convention box, stand and header of every email.
Sigh. I wanted to like her so badly... But to me this is not what I had expected as a special anniversary doll. The make up looks different, probably because the the banner and box pics were oversaturated caused by the box being metallic hot pink what already gives a different hue to a doll photographed next to it.
Yes, she's Agnes and yes she's a lovely doll but holy moly that dress... There is so much going on and every aspect of it screams for attention. So much so that the actual doll fades away. The yellow and silver ( a not so appealing combo, to mé), the out of proportion big bedazzled stockings attached ( yes, one piece) to the shoes. The overly big and ( again, to mé) clashing blue jewelry, two dresses crammed into one not flowing and very stiff looking one. If only I would have the option to order her in her nudy trudy, I would have ordered her right away...