View allAll Photos Tagged Refinement
A first attempt to understanding the principles and aesthetics of the genre. Definitely missed a lot of nuances and refinements, but quite fun to see things differently.
The department has been building up a library of design related reference books over the last few years. Pupils are encouraged to make use of these books on a regular basis. The photographs here demonstrate the tremendous wealth of content contained therein.
The sequence has been shot in such a way that the cover of the book is shown first and a few sample pages are included to give the student an idea of the content the book contains. Pupils may then approach staff and request a short term loan.
David Bestué produced a new installation in the form of a sculptural timeline defined by ignition and invention, fat and oil, obsolescence, fluorescence, luminescence and incandescence – a history of humanity from antiquity to the present day told through the evolution and refinement of lighting technology. Located in the domestic setting of the former Director’s house within the 1920s Cosme Toda ceramics factory, the installation was companioned by sculptural clusters recuperating Art Nouveau ceramics and plaster pieces found in the factory itself. These linked to Bestué's ongoing interest in the evolution of architectural practice alongside building materials and engineering techniques.
_
‘Composiciones’ is a a programme of five interventions specially commissioned for the first Barcelona Gallery Weekend, 1–4 October 2015. The programme complimented the existing calendar of exhibitions by presenting the work of artists active in the Barcelona art scene whose interventions responded to singular locations – public and private sites significant for their architecture, activity or their history.
‘Composiciones’ unfolded through temporary interventions at different speeds and rhythms and one-off events outside of Barcelona's contemporary art circuit – including a private psychoanalytic library, a former ceramics factory and a botanical collection. Pinpointing some lesser-known aspects of the city's cultural history and municipal life, ‘Composiciones’ offered moments of interruption, intimacy and immersion throughout the weekend.
Projects by David Bestué (at the Factory complex Cosme Toda, L'Hospitalet); Dora García (at the Biblioteca del Campo Freudiano); Jordi Mitjà (at the Museu Geològic del Seminari de Barcelona); Rasmus Nilausen in collaboration with Pere Llobera (at the gardens of La Central bookstore, Raval); and Daniel Steegmann Magrané (at the Umbracle, Parc de la Ciutadella).
Curated by Latitudes | www.lttds.org
Photo: Roberto Ruiz / Courtesy: Barcelona Gallery Weekend.
Info: www.lttds.org/projects/composiciones/
Social media documentation: storify.com/lttds/composiciones-compositions-artists-comm...
The department has been building up a library of design related reference books over the last few years. Pupils are encouraged to make use of these books on a regular basis. The photographs here demonstrate the tremendous wealth of content contained therein.
The sequence has been shot in such a way that the cover of the book is shown first and a few sample pages are included to give the student an idea of the content the book contains. Pupils may then approach staff and request a short term loan.
Colorful or more pale, the charming hotel Le Tourville, offers several style of rooms but ever with the same elegance and comfort.
Choose the one which is like you!
www.hoosta.com/france/hotel-tourville/?lang=en
Hoosta Style Hotels Collection : the coolest travel website for modern urban nomads. Dream and book directly with your independant hotelier !
First series of refinements. Improved detail on beak and feet.
My son wanted me to make a bird for him. We were looking at a photo of Bernie Peyton's owls at the time, so I was influenced by the look of his design. After doing the first quick and dirty version for my son, I realized the design had potential, so I worked at refining it.
The name comes from a washi-producing area near Tokyo in Japan. I visited the area while on a sightseeing tour organized by Yamaguchi Makoto in 2004. The name of the place means "little bird". The pronunciation is unusual, so the name stuck in my head.
David Bestué produced a new installation in the form of a sculptural timeline defined by ignition and invention, fat and oil, obsolescence, fluorescence, luminescence and incandescence – a history of humanity from antiquity to the present day told through the evolution and refinement of lighting technology. Located in the domestic setting of the former Director’s house within the 1920s Cosme Toda ceramics factory, the installation was companioned by sculptural clusters recuperating Art Nouveau ceramics and plaster pieces found in the factory itself. These linked to Bestué's ongoing interest in the evolution of architectural practice alongside building materials and engineering techniques.
_
‘Composiciones’ is a a programme of five interventions specially commissioned for the first Barcelona Gallery Weekend, 1–4 October 2015. The programme complimented the existing calendar of exhibitions by presenting the work of artists active in the Barcelona art scene whose interventions responded to singular locations – public and private sites significant for their architecture, activity or their history.
‘Composiciones’ unfolded through temporary interventions at different speeds and rhythms and one-off events outside of Barcelona's contemporary art circuit – including a private psychoanalytic library, a former ceramics factory and a botanical collection. Pinpointing some lesser-known aspects of the city's cultural history and municipal life, ‘Composiciones’ offered moments of interruption, intimacy and immersion throughout the weekend.
Projects by David Bestué (at the Factory complex Cosme Toda, L'Hospitalet); Dora García (at the Biblioteca del Campo Freudiano); Jordi Mitjà (at the Museu Geològic del Seminari de Barcelona); Rasmus Nilausen in collaboration with Pere Llobera (at the gardens of La Central bookstore, Raval); and Daniel Steegmann Magrané (at the Umbracle, Parc de la Ciutadella).
Curated by Latitudes | www.lttds.org
Photo: Roberto Ruiz / Courtesy: Barcelona Gallery Weekend.
Info: www.lttds.org/projects/composiciones/
Social media documentation: storify.com/lttds/composiciones-compositions-artists-comm...
The department has been building up a library of design related reference books over the last few years. Pupils are encouraged to make use of these books on a regular basis. The photographs here demonstrate the tremendous wealth of content contained therein.
The sequence has been shot in such a way that the cover of the book is shown first and a few sample pages are included to give the student an idea of the content the book contains. Pupils may then approach staff and request a short term loan.
The department has been building up a library of design related reference books over the last few years. Pupils are encouraged to make use of these books on a regular basis. The photographs here demonstrate the tremendous wealth of content contained therein.
The sequence has been shot in such a way that the cover of the book is shown first and a few sample pages are included to give the student an idea of the content the book contains. Pupils may then approach staff and request a short term loan.
Nice enough frame..but little refinement. The cable stops are pressed steel instead of the turned steel ones used on the firm's top frames..there are no reinforcement tangs on the seat and mixte stay bridges.. The double cable stop on the transverse stay indicates that the double cable for the Cyclo gear was routed down this way.
The topic ‘Space’ creates fantasy not just in kids but also in adults. The sole reason is that it is unexplored, unique, and difficult to access. In some people, this fantasy will turn into a strong passion where they look for various sources to quench their thirst on related topics, news, etc. On the other hand, space may seem a very challenging topic because every difficult thing is quoted as- ‘This is rocket science’. This builds up an aura in the minds of elders especially that learning about space is not a cup of tea, let’s try not to overburden our kids, and so on. For people falling under such categories, SPACE remains a fantasy forever. They don’t even attempt to cross that barrier forever in their life.
In both the categories mentioned before, there is a need for refinement on how to access space education, to get a feeling that space isn’t tough, and also why there is a need to study about it. Before this, there is one more important footstep i.e., one has to know what exactly interests an individual! According to many, the topic SPACE involves various perspectives such as the universe, black holes, rockets, satellites, flights, etc. This misconception has misguided many students in ending up with wrong choices in their career path and still repent on knowing about their insightful of real ‘SPACE’. Some of them may feel fascinated by airplanes flying in the sky, some others get goosebumps when they see live rocket launching, and others just get lost when they see the dark matter in the universe. Unfortunately, all these are grouped as ‘Space’. But in reality, they are as different as an apple and a peach, despite falling into the fruit category, they may look similar but are completely different. So, first one has to think deeply about what exactly drives their interest: is it the flights, rockets, satellites, or the stars. This is the first step towards diving into any subject for that matter. Once you have figured it out, the next step is to know why you need to know about space.
Thinking about things that fly will activate the brain in terms of physics, the mathematics behind flight, concepts such as gravity, density, etc. will be well learned, why not all the things on earth are flying, why is it only aircraft able to do it and so on. Similarly, the elevator helps us to go from the first floor to the 8th floor for instance; but how can I use such an elevator to go beyond the earth’s atmosphere? Oh yes, rockets do this job, then why only a rocket can do it, and why not the same aircraft that helped us to fly inside the earth can do it. Likewise, thinking about how are we able to communicate with people residing in corners of the world, how are we able to get a thorough understanding of the earth, mapping, weather forecast, etc. Thanks to the satellites that are orbiting our earth and doing all these jobs for us. Nevertheless, are we the only ones in this universe living? We don’t know yet, but why should we limit our curiosity! Let’s explore, and that is when a man can dream about going to other planets in search of life, resources, etc. A point to be noted is that all these can be done with the things we already know i.e., we use the same spacecraft to travel to Mars, and use the same parachute to land on it and use the same toy car i.e., rovers to explore the Martian surface or in the recent days, the same helicopter we use on earth was used on Mars too-The Ingenuity. Therefore, learning these basics is just like learning the art of stitching clothes. Once you become a master of this skill, you can be the designer to any person irrespective of events. Even in space education, after learning how everything works on Earth it is much easier to adapt your knowledge not just to Mars but even to design any vehicle, technologies for interstellar travels too. So, coming back to the question of why to study about space is because it is like breaking all the thought barriers which usually limits your rational process and going beyond the level one could even imagine, not just in a dream but bringing all imagination into reality and see things working. This is something the pleasure you can evidence only while exploring oneself about ‘Space’.
The last question, how do we learn about space. Of course, there are wide internet sources which help one to know the facts, watch amazing videos on YouTube, read the encyclopedia and the list goes on. But wait, what if you find a platform where one has been promised to give all these in a combo pack! What more one needs right! That is what the team www.givemefive.ai aims at doing this amazing job. With the experts, the students are helped to discover the path they are interested in, then they are encouraged to go with their passion, they are taught with the basics and train to grasp concepts up to an advanced level not limiting to theory but also many practical applications with interesting activities. The outcome of this course will be a strong, confident individual who knows what interests him/her in Space, they come out with the dream of achieving it and they are sure about what higher studies will lead this way. Unlike the individuals who dream of the universe but end up as an Aeronautical engineer.
#SpaceEducation #Spacecareer #Aeronautics #Aerospace #Satellites #Space #Universe #Rockets #Physics #Importance of Space
For more such blogs and to learn Space science by me visit www.givemefive.ai
Givemefive.ai is an award-winning private live online teacher-led Programming, Artificial Intelligence, Astroscience, Space Science , Universe Science teaching platform for kids and teens (7-18 years) across 15 countries. You can visit givemefive.ai/student_projects to see some of our awesome student projects.
Ashwini B.R
Co-Founder Givemefive.ai,
MS in Aerospace Engineering, FHWN, Austria
"Hindering Connectivity" - OK Gazette
"When the new Interstate 40 alignment is opened in 2012, the current I-40 alignment is set to be replaced with a partially at-grade boulevard. The eastwest vehicular connection made by the boulevard bisects the heart of the Core to Shore plan’s primary north-south pedestrian connection, introducing a significant barrier between Oklahoma City’s newly renovated Myriad Gardens and what will be the new MAPS 3 downtown park."
Read more commentary here
Fortune Cookie Icosahedron 20 modules + joints My own invention, but it needs further refinement. Last unit is also incredibly hard.
The department has been building up a library of design related reference books over the last few years. Pupils are encouraged to make use of these books on a regular basis. The photographs here demonstrate the tremendous wealth of content contained therein.
The sequence has been shot in such a way that the cover of the book is shown first and a few sample pages are included to give the student an idea of the content the book contains. Pupils may then approach staff and request a short term loan.
First series of refinements. Improved detail on beak and feet.
My son wanted me to make a bird for him. We were looking at a photo of Bernie Peyton's owls at the time, so I was influenced by the look of his design. After doing the first quick and dirty version for my son, I realized the design had potential, so I worked at refining it.
The name comes from a washi-producing area near Tokyo in Japan. I visited the area while on a sightseeing tour organized by Yamaguchi Makoto in 2004. The name of the place means "little bird". The pronunciation is unusual, so the name stuck in my head.
Ideally located on the famous Place de la Concorde, Hôtel de Crillon seduces with its exceptional location and its refinement.
(c)Eric Cuvillier
overview gets a menu, drops toolbars and now supports date range browsing
essentially we were running out of space. and hopefully the new version has solved that.
apart from that there is now zoom-out and zoom-in facility in the graphs and search is now using sqlite's freetext search. the latter allows to use wildcards with asterix (*) exclude terms with minus (-) and everything else that freetext search allows
The department has been building up a library of design related reference books over the last few years. Pupils are encouraged to make use of these books on a regular basis. The photographs here demonstrate the tremendous wealth of content contained therein.
The sequence has been shot in such a way that the cover of the book is shown first and a few sample pages are included to give the student an idea of the content the book contains. Pupils may then approach staff and request a short term loan.
The department has been building up a library of design related reference books over the last few years. Pupils are encouraged to make use of these books on a regular basis. The photographs here demonstrate the tremendous wealth of content contained therein.
The sequence has been shot in such a way that the cover of the book is shown first and a few sample pages are included to give the student an idea of the content the book contains. Pupils may then approach staff and request a short term loan.
The department has been building up a library of design related reference books over the last few years. Pupils are encouraged to make use of these books on a regular basis. The photographs here demonstrate the tremendous wealth of content contained therein.
The sequence has been shot in such a way that the cover of the book is shown first and a few sample pages are included to give the student an idea of the content the book contains. Pupils may then approach staff and request a short term loan.
The department has been building up a library of design related reference books over the last few years. Pupils are encouraged to make use of these books on a regular basis. The photographs here demonstrate the tremendous wealth of content contained therein.
The sequence has been shot in such a way that the cover of the book is shown first and a few sample pages are included to give the student an idea of the content the book contains. Pupils may then approach staff and request a short term loan.
The department has been building up a library of design related reference books over the last few years. Pupils are encouraged to make use of these books on a regular basis. The photographs here demonstrate the tremendous wealth of content contained therein.
The sequence has been shot in such a way that the cover of the book is shown first and a few sample pages are included to give the student an idea of the content the book contains. Pupils may then approach staff and request a short term loan.
David Bestué produced a new installation in the form of a sculptural timeline defined by ignition and invention, fat and oil, obsolescence, fluorescence, luminescence and incandescence – a history of humanity from antiquity to the present day told through the evolution and refinement of lighting technology. Located in the domestic setting of the former Director’s house within the 1920s Cosme Toda ceramics factory, the installation was companioned by sculptural clusters recuperating Art Nouveau ceramics and plaster pieces found in the factory itself. These linked to Bestué's ongoing interest in the evolution of architectural practice alongside building materials and engineering techniques.
_
‘Composiciones’ is a programme of five interventions specially commissioned for the first Barcelona Gallery Weekend, 1–4 October 2015. The programme complimented the existing calendar of exhibitions by presenting the work of artists active in the Barcelona art scene whose interventions responded to singular locations – public and private sites significant for their architecture, activity or their history.
‘Composiciones’ unfolded through temporary interventions at different speeds and rhythms and one-off events outside of Barcelona's contemporary art circuit – including a private psychoanalytic library, a former ceramics factory and a botanical collection. Pinpointing some lesser-known aspects of the city's cultural history and municipal life, ‘Composiciones’ offered moments of interruption, intimacy and immersion throughout the weekend.
Projects by David Bestué (at the Factory complex Cosme Toda, L'Hospitalet); Dora García (at the Biblioteca del Campo Freudiano); Jordi Mitjà (at the Museu Geològic del Seminari de Barcelona); Rasmus Nilausen in collaboration with Pere Llobera (at the gardens of La Central bookstore, Raval); and Daniel Steegmann Magrané (at the Umbracle, Parc de la Ciutadella).
Curated by Latitudes | www.lttds.org
Photo: Roberto Ruiz / Courtesy: Barcelona Gallery Weekend.
Info: www.lttds.org/projects/composiciones/
Social media documentation: storify.com/lttds/composiciones-compositions-artists-comm...
Built in 1895-1896, this Chicago School-style thirteen-story skyscraper was designed by Louis Sullivan and Dankmar Adler for the Guaranty Construction Company. It was initially commissioned by Hascal L. Taylor, whom approached Dankmar Adler to build "the largest and best office building in the city,” but Taylor, whom wanted to name the building after himself, died in 1894, just before the building was announced. Having already had the building designed and ready for construction, the Guaranty Construction Company of Chicago, which already had resources lined up to build the project, bought the property and had the building constructed, with the building instead being named after them. In 1898, the building was renamed after the Prudential Insurance Company, which had refinanced the project and became a major tenant in the building after it was completed. Prudential had the terra cotta panels above the main entrances to the building modified to display the company’s name in 1898, upon their acquisition of a partial share in the ownership of the tower. The building became the tallest building in Buffalo upon its completion, and was a further refinement of the ideas that Sullivan had developed with the Wainwright Building in St. Louis, which was built in 1890-92, and featured a design with more Classical overtones, which were dropped with the design of the Guaranty Building in favor of a more purified Art Nouveau and Chicago School aesthetic, and with more intricate visual detail, with the ornate terra cotta panels cladding the entire structure, leaving very few areas with sparse detail. The building is an early skyscraper with a steel frame supporting the terra cotta panel facade, a departure from earlier load bearing masonry structures that had previously been predominant in many of the same applications, and expresses this through large window openings at the base and a consistent wall thickness, as there was no need to make the exterior walls thicker at the base to support the load from the structure above. The building also contrasts with the more rigid historically-influenced Classical revivalism that was growing in popularity at the time, and follows Sullivan’s mantra of “form ever follows function” despite having a lot of unnecessary detail on the exterior cladding and interior elements. The building’s facade also emphasizes its verticality through continual vertical bands of windows separated by pilasters that are wider on the first two floors, with narrower pilasters above, with the entire composition of the building following the tripartite form influenced by classical columns, with distinct sections comprising the base, shaft, and capital, though being a radical and bold abstraction of the form compared to the historical literalism expressed by most of its contemporaries, more directly displaying the underlying steel structure of the building.
The building is clad in rusty terra cotta panels which feature extensive Sullivanesque ornament inspired by the Art Nouveau movement, which clad the entirety of the building’s facades along Church Street and Pearl Street, with simpler red brick and painted brick cladding on the facades that do not front public right-of-ways, which are visible when the building is viewed from the south and west. The white painted brick cladding on the south elevation marks the former location of the building’s light well, which was about 30 feet wide and 68 feet deep, and was infilled during a 1980s rehabilitation project, adding an additional 1,400 square feet of office space, and necessitating an artificial light source to be installed above the stained glass ceiling of the building’s lobby. The building’s windows are mostly one-over-one double-hung windows in vertical columns, with one window per bay, though this pattern is broken at the painted portions of the non-principal facades, which feature paired one-over-one windows, on the second floor of the principal facades, which features Chicago-style tripartite windows and arched transoms over the building’s two main entry doors, on the thirteenth floor of the principal facades, which features circular oxeye windows, and at the base, which features large storefront windows that include cantilevered sections with shed glass roofs that wrap around the columns at the base of the building. The building’s terra cotta panels feature many natural and geometric motifs based on plants and crystalline structures, the most common being a “seed pod” motif that symbolizes growth, with a wide variation of patterns, giving the facade a dynamic appearance, which is almost overwhelming, but helps to further grant the building a dignified and monumental appearance, and is a signature element of many of the significant works of Adler and Sullivan, as well as Sullivan’s later independent work. The building’s pilasters halve in number but double in thickness towards the base, with wide window openings underneath pairs of window bays above on the first and second floors, with the pilasters terminating at circular columns with large, decorative, ornate terra cotta capitals in the central bays, and thick rectilinear pilasters at the corners and flanking the entry door openings. The circular columns penetrate the extruded storefront windows and shed glass roofs below, which formed display cases for shops in the ground floor of the building when it first opened, and feature decorative copper trim and mullions framing the large expanses of plate glass. The base of the building is clad in medina sandstone panels, as well as medina sandstone bases on the circular columns. The major entry doors feature decorative copper trim surrounds, a spandrel panel with ornate cast copper detailing above and the name “Guaranty” emblazoned on the face of each of the two panels at the two entrances, decorative transoms above with decorative copper panels as headers, and arched transoms on the second floor with decorative terra cotta trim surrounds. Each of the two major entrance doors is flanked by two ornate Art Nouveau-style wall-mounted sconces mounted on the large pilasters, with smaller, partially recessed pilasters on either side. The building features two cornices with arched recesses, with the smaller cornice running as a belt around the transition between the base and the shaft portions of the building, with lightbulbs in each archway, and the larger cornice, which extends further out from the face of the building, running around the top of the building’s Swan Street and Pearl Street facades, with a circular oxeye window in each archway. The lower corner recessed into the facade at the ends, while the upper cornice runs around the entire top of the facade above, with geometric motifs in the central portions and a large cluster of leaves in a pattern that is often repeated in Sullivan’s other work at the corners. The spandrel panels between the windows on the shaft portion of the building feature a cluster of leaves at the base and geometric patterns above, with a repeat of the same recessed arch detail as the cornice at the sill line of each window. The pilasters feature almost strictly geometric motifs, with a few floral motifs thrown in at key points to balance the composition of the facade with the windows. A small and often overlooked feature of the ground floor is a set of stone steps up to an entrance at the northwest corner of the building, which features a decorative copper railing with Sullivanesque and Art Nouveau-inspired ornament, which sits next to a staircase to the building’s basement, which features a more utilitarian modern safety railing in the middle.
The interior of the building was heavily renovated over the years before being partially restored in 1980, with the lobby being reverted back to its circa 1896 appearance. The Swan Street vestibule has been fully restored, featuring a marble ceiling, decorative mosaics around the top of the walls, a decorative antique brass light fixture with Art Nouveau detailing and a ring of lightbulbs in the center, the remnant bronze stringer of a now-removed staircase to the second floor in a circular glass wall at the north end of the space, and a terazzo floor. The main lobby, located immediately to the west, features a Tiffany-esque stained glass ceiling with ellipsoid and circular panels set into a bronze frame that once sat below a skylight at the base of the building’s filled-in light well, marble cladding on the walls, mosaics on the ceiling and around the top of the walls, a bronze staircase with ornate railing at the west end of the space, which features a semi-circular landing, a basement staircase with a brass railing, a terrazzo floor, and multiple historic three-bulb wall sconces, as well as brass ceiling fixtures matching those in the vestibule. The building’s elevators, located in an alcove near the base of the staircase, features a decorative richly detailed brass screen on the exterior, with additional decorative screens above, with the elevator since having been enclosed with glass to accommodate modern safety standards and equipment, while preserving the visibility of the original details. Originally, when the building was built, the elevators descended open shafts into a screen wall in the lobby, with the elevators originally being manufactured by the Sprague Electric Railway and Motor Company, with these being exchanged in 1903 for water hydraulic elevators that remained until a renovation in the 1960s. Sadly, most of the historic interior detailing of the upper floors was lost during a series of renovations in the 20th Century, which led to them being fully modernized during the renovation in the 1980s, with multiple tenant finish projects since then further modifying the interiors of the upper floors.
The building was listed on the National Register of Historic Places in 1973, and designated a National Historic Landmark in 1975, owing to its architectural significance, and to help save the building, which had suffered a major fire in 1974 that led to the city of Buffalo seeking to demolish it. A renovation in the early 1980s managed to modernize the building while restoring the lobby and the exterior, which was carried out under the direction of the firm CannonDesign, and partial funding from federal historic tax credits. The building was purchased in 2002 by Hodgson Russ, a law firm, which subsequently further renovated the building to suit their needs, converting the building into their headquarters in 2008. This renovation was carried out under the direction of Gensler Architects and the local firm Flynn Battaglia Architects. The building today houses offices on the upper floors, with a visitor center, known as the Guaranty Interpretative Center, on the first floor, with historic tours offered of some of the building’s exterior and interior spaces run by Preservation Buffalo Niagara. The building was one of the most significant early skyscrapers, and set a precedent for the modern skyscrapers that began to be built half a century later.
Built in 1895-1896, this Chicago School-style thirteen-story skyscraper was designed by Louis Sullivan and Dankmar Adler for the Guaranty Construction Company. It was initially commissioned by Hascal L. Taylor, whom approached Dankmar Adler to build "the largest and best office building in the city,” but Taylor, whom wanted to name the building after himself, died in 1894, just before the building was announced. Having already had the building designed and ready for construction, the Guaranty Construction Company of Chicago, which already had resources lined up to build the project, bought the property and had the building constructed, with the building instead being named after them. In 1898, the building was renamed after the Prudential Insurance Company, which had refinanced the project and became a major tenant in the building after it was completed. Prudential had the terra cotta panels above the main entrances to the building modified to display the company’s name in 1898, upon their acquisition of a partial share in the ownership of the tower. The building became the tallest building in Buffalo upon its completion, and was a further refinement of the ideas that Sullivan had developed with the Wainwright Building in St. Louis, which was built in 1890-92, and featured a design with more Classical overtones, which were dropped with the design of the Guaranty Building in favor of a more purified Art Nouveau and Chicago School aesthetic, and with more intricate visual detail, with the ornate terra cotta panels cladding the entire structure, leaving very few areas with sparse detail. The building is an early skyscraper with a steel frame supporting the terra cotta panel facade, a departure from earlier load bearing masonry structures that had previously been predominant in many of the same applications, and expresses this through large window openings at the base and a consistent wall thickness, as there was no need to make the exterior walls thicker at the base to support the load from the structure above. The building also contrasts with the more rigid historically-influenced Classical revivalism that was growing in popularity at the time, and follows Sullivan’s mantra of “form ever follows function” despite having a lot of unnecessary detail on the exterior cladding and interior elements. The building’s facade also emphasizes its verticality through continual vertical bands of windows separated by pilasters that are wider on the first two floors, with narrower pilasters above, with the entire composition of the building following the tripartite form influenced by classical columns, with distinct sections comprising the base, shaft, and capital, though being a radical and bold abstraction of the form compared to the historical literalism expressed by most of its contemporaries, more directly displaying the underlying steel structure of the building.
The building is clad in rusty terra cotta panels which feature extensive Sullivanesque ornament inspired by the Art Nouveau movement, which clad the entirety of the building’s facades along Church Street and Pearl Street, with simpler red brick and painted brick cladding on the facades that do not front public right-of-ways, which are visible when the building is viewed from the south and west. The white painted brick cladding on the south elevation marks the former location of the building’s light well, which was about 30 feet wide and 68 feet deep, and was infilled during a 1980s rehabilitation project, adding an additional 1,400 square feet of office space, and necessitating an artificial light source to be installed above the stained glass ceiling of the building’s lobby. The building’s windows are mostly one-over-one double-hung windows in vertical columns, with one window per bay, though this pattern is broken at the painted portions of the non-principal facades, which feature paired one-over-one windows, on the second floor of the principal facades, which features Chicago-style tripartite windows and arched transoms over the building’s two main entry doors, on the thirteenth floor of the principal facades, which features circular oxeye windows, and at the base, which features large storefront windows that include cantilevered sections with shed glass roofs that wrap around the columns at the base of the building. The building’s terra cotta panels feature many natural and geometric motifs based on plants and crystalline structures, the most common being a “seed pod” motif that symbolizes growth, with a wide variation of patterns, giving the facade a dynamic appearance, which is almost overwhelming, but helps to further grant the building a dignified and monumental appearance, and is a signature element of many of the significant works of Adler and Sullivan, as well as Sullivan’s later independent work. The building’s pilasters halve in number but double in thickness towards the base, with wide window openings underneath pairs of window bays above on the first and second floors, with the pilasters terminating at circular columns with large, decorative, ornate terra cotta capitals in the central bays, and thick rectilinear pilasters at the corners and flanking the entry door openings. The circular columns penetrate the extruded storefront windows and shed glass roofs below, which formed display cases for shops in the ground floor of the building when it first opened, and feature decorative copper trim and mullions framing the large expanses of plate glass. The base of the building is clad in medina sandstone panels, as well as medina sandstone bases on the circular columns. The major entry doors feature decorative copper trim surrounds, a spandrel panel with ornate cast copper detailing above and the name “Guaranty” emblazoned on the face of each of the two panels at the two entrances, decorative transoms above with decorative copper panels as headers, and arched transoms on the second floor with decorative terra cotta trim surrounds. Each of the two major entrance doors is flanked by two ornate Art Nouveau-style wall-mounted sconces mounted on the large pilasters, with smaller, partially recessed pilasters on either side. The building features two cornices with arched recesses, with the smaller cornice running as a belt around the transition between the base and the shaft portions of the building, with lightbulbs in each archway, and the larger cornice, which extends further out from the face of the building, running around the top of the building’s Swan Street and Pearl Street facades, with a circular oxeye window in each archway. The lower corner recessed into the facade at the ends, while the upper cornice runs around the entire top of the facade above, with geometric motifs in the central portions and a large cluster of leaves in a pattern that is often repeated in Sullivan’s other work at the corners. The spandrel panels between the windows on the shaft portion of the building feature a cluster of leaves at the base and geometric patterns above, with a repeat of the same recessed arch detail as the cornice at the sill line of each window. The pilasters feature almost strictly geometric motifs, with a few floral motifs thrown in at key points to balance the composition of the facade with the windows. A small and often overlooked feature of the ground floor is a set of stone steps up to an entrance at the northwest corner of the building, which features a decorative copper railing with Sullivanesque and Art Nouveau-inspired ornament, which sits next to a staircase to the building’s basement, which features a more utilitarian modern safety railing in the middle.
The interior of the building was heavily renovated over the years before being partially restored in 1980, with the lobby being reverted back to its circa 1896 appearance. The Swan Street vestibule has been fully restored, featuring a marble ceiling, decorative mosaics around the top of the walls, a decorative antique brass light fixture with Art Nouveau detailing and a ring of lightbulbs in the center, the remnant bronze stringer of a now-removed staircase to the second floor in a circular glass wall at the north end of the space, and a terazzo floor. The main lobby, located immediately to the west, features a Tiffany-esque stained glass ceiling with ellipsoid and circular panels set into a bronze frame that once sat below a skylight at the base of the building’s filled-in light well, marble cladding on the walls, mosaics on the ceiling and around the top of the walls, a bronze staircase with ornate railing at the west end of the space, which features a semi-circular landing, a basement staircase with a brass railing, a terrazzo floor, and multiple historic three-bulb wall sconces, as well as brass ceiling fixtures matching those in the vestibule. The building’s elevators, located in an alcove near the base of the staircase, features a decorative richly detailed brass screen on the exterior, with additional decorative screens above, with the elevator since having been enclosed with glass to accommodate modern safety standards and equipment, while preserving the visibility of the original details. Originally, when the building was built, the elevators descended open shafts into a screen wall in the lobby, with the elevators originally being manufactured by the Sprague Electric Railway and Motor Company, with these being exchanged in 1903 for water hydraulic elevators that remained until a renovation in the 1960s. Sadly, most of the historic interior detailing of the upper floors was lost during a series of renovations in the 20th Century, which led to them being fully modernized during the renovation in the 1980s, with multiple tenant finish projects since then further modifying the interiors of the upper floors.
The building was listed on the National Register of Historic Places in 1973, and designated a National Historic Landmark in 1975, owing to its architectural significance, and to help save the building, which had suffered a major fire in 1974 that led to the city of Buffalo seeking to demolish it. A renovation in the early 1980s managed to modernize the building while restoring the lobby and the exterior, which was carried out under the direction of the firm CannonDesign, and partial funding from federal historic tax credits. The building was purchased in 2002 by Hodgson Russ, a law firm, which subsequently further renovated the building to suit their needs, converting the building into their headquarters in 2008. This renovation was carried out under the direction of Gensler Architects and the local firm Flynn Battaglia Architects. The building today houses offices on the upper floors, with a visitor center, known as the Guaranty Interpretative Center, on the first floor, with historic tours offered of some of the building’s exterior and interior spaces run by Preservation Buffalo Niagara. The building was one of the most significant early skyscrapers, and set a precedent for the modern skyscrapers that began to be built half a century later.
Villa GRO (Eden House) was one of the very first villas on the island of St Barts¦. It has now become one of the finest contemporary achievements of the island. It also boasts an exceptional location with a path directly accessing the sea and double exposure both to Marigot Bay on one side and the Atlantic Ocean on the other.
The nature of its Garden of Eden designed by landscape gardener, Frederic de Sainte Preuve, only adds to its originality. Sober lines, refined purity with a decidedly minimalist and an almost monastic style.
At a first glance, this villa seems relatively austere with its grey rendered concrete; however, gradually notes of incredible joviality are progressively revealed. An exterior fuchsia wall. Vivid, lively, acidulous and fresh colors in the three bedrooms which are designed identically, but each with their own distinct hue: aniseed, fuchsia and turquoise.
The bedroom furniture is a reference in the field of design: MDF Italia beds, Artemide lamps and linens from the collections of Valerie Barkowski and Mia Zia. A remarkable alchemy and contemporary timeless elegance. The vast cembonit floored reception area unites the living room, dining room and kitchen in the same open plan space, which opens onto the concrete pool and the deck shaded by grey nautical awnings supported by massive stainless steel bars.
The Ground piece sofas (Flexform), the MDF coffee table, the Hudson Starck (Emeco) chairs have found their perfect setting. As does the exterior furniture outside: the Gandia Blasco lounge chairs (Spain), the MDF Italia table and the Longframe chairs (Alias). Eden House is bounderless bold and daring architecture has remarkably blended into the landscape of the island becoming an integral part of its surroundings. This property immediately charms you not only by a series of extraordinary details, but also by its aesthetic sensual atmosphere and gentle, contemporary refinement. Villa GRO is a pure gem, quite simply a celebration of joy and happiness.
The department has been building up a library of design related reference books over the last few years. Pupils are encouraged to make use of these books on a regular basis. The photographs here demonstrate the tremendous wealth of content contained therein.
The sequence has been shot in such a way that the cover of the book is shown first and a few sample pages are included to give the student an idea of the content the book contains. Pupils may then approach staff and request a short term loan.
Croatia By Night
The land of refinement and relaxed nighttime activity
Away from the boutique dance spots and the teeming streets of some of Croatia’s bigger cities like Split, Zagreb and Rijeka, there are tranquil, relaxed locations that are perfect for intimate nighttime entertainment.
Whether it be gazing at the stars in the clear night sky, enjoying live jazz, dining on the local, regional cuisine and wine, or even just going for a pine-scented stroll around the coastal edge, you can guarantee that Croatia offers some of the best refined and relaxed entertainment, that will suit your tastes, on your terms.
These kinds of after-dark excursions are dotted all over Croatia, so our experts have put together our top tips and ideas for enjoying the balmy evenings at more leisurely - but no less enjoyable - pace!
Visit https://adventurescroatia.com
via Tumblr adventures-croatia.tumblr.com/post/644207279046000640
Offering the volume of a much larger craft with her excellent refinement and space utilisation, the Heysea Zoom 76 is well suited to a relaxed way of life. She features 3 external zones for entertaining with her extended flybridge, sheltered cockpit and forward lounge area making her perfect for entertaining. Zoom 76 consists of 1 Owner's, 1 VIP cabin and 2 guest cabins that can accommodate 8 people on board.
#yacht #yachting #yachtlife #superyacht #megayacht #yachting #yachtlife #yachtdesign #yachtconstruction #luxury #luxuryyacht #luxurydesign #luxurylife #luxurylifestyle #lifestyle #luxurytoys #design #exteriordesign #motoryacht #heysea #heyseayachts #china #chinese #singapore #zoom76
The department has been building up a library of design related reference books over the last few years. Pupils are encouraged to make use of these books on a regular basis. The photographs here demonstrate the tremendous wealth of content contained therein.
The sequence has been shot in such a way that the cover of the book is shown first and a few sample pages are included to give the student an idea of the content the book contains. Pupils may then approach staff and request a short term loan.
M.bian Moleskine Case was my original design back in 2005. Dozens of prototyping and refinement were done and I even created a POP system for display in retail stores. However the production quantity required to get price down to consumer acceptable level couldn't be met. I had some opportunities to be able to have U.S. large distribution network to help lower the cost but turned out because of their Moleskine distributorship prevented them to sell products that could potentially harm the Moleskine business, I lost the chance to make it happen. Time flies, it is already two years passed.
When I was developing the M.bian case, my mind was thinking about ambience, i.e. an aura of excitement without intrusion. That's where the name M.bian came from. Today, I still use the prototypes to hold my pens, travel accessories and Moleskine.
I designed the velcro/button hanging system with two levels of height, i.e. you can have the M.bian case hanged from your waist belt close to the waist or have it lowered. You have more chance to hurt your waist if the case is held close to it, especially when you try to sit down on an armed chair, the case can pop to your waist and hurt you. That's why I designed a lowered configuration so that it stays near your lap preventing the armchair accident.
To me, the features are amazing coz M.bian is a condensed version of my whole digital/analog life. It has 3 pen holders on the outside covered with a flap, which acts as a quick pocket for storing train tickets and receipts. It has 2 mesh pockets inside to put more essential stuffs. It also has a headphone access port so that you can use it as an iPod holder on your belt. It also has cushion to protect your iPod or Moleskine.
When you are sitting or standing, accessing your Moleskine or iPod is super easy, just unzip forward and down, your iPod/Moleskine is exposed and you can quickly pull it out.
You can also use it as a travel pouch to store iPod and related connecting cables and headphones.
I love the headphone access port feature, it is water proof and headphone jack can easily pass the small but flexible opening.
The size is just fit for pocket size Moleskine, but it also fits standard passport so your personal identification document is never far from your waist. Pockets can even hold your portable digital camera.
Well, in this configuration, you can put a pen, a zippo lighter, a swiss knife and a small size compass. All on the outside easily accessible pocket and pen holders.
Since travelers use backpacks and most backpacks has some nylon strap on the shoulder strap. I added a small but userful hole on the velcro strap so that not only you can hang your M.bian case on belt, you can strap it on your backpack. Call it an explorer's case :)
For less active persons, M.bian case can be used as a pen case storing your precious pens both on the outside 3 pen holders and inside spacious compartments.
This must be the most loved feature of Moleskine users, instead of freely insert your Moleskine into the case, you can insert the left part of your Moleskine to the left side of the pouch which has a vertical mesh pocket. This setup is like a notebook cover for your Moleskine. On the other hand, if you are a Moleskine Reporter user, you can use the horizontal mesh pocket on the right side of the case to insert your Reporter! Call it a double feature!
Finally, comparing the price for all the other Moleskine cases available in the market, it is still the best. I hope somebody is still interested in this complete design. I also want it to be done in leather which feels more precious. So even though it didn't happen, it doesn't mean it won't and I love the features offered very much and it is my daily companion for the pass 2 years and still works great for me. Get in touch with me if you are interested to help make it come true.
More on Scription blog: moleskine.vox.com/library/post/mbian-moleskine-case---an-...
The department has been building up a library of design related reference books over the last few years. Pupils are encouraged to make use of these books on a regular basis. The photographs here demonstrate the tremendous wealth of content contained therein.
The sequence has been shot in such a way that the cover of the book is shown first and a few sample pages are included to give the student an idea of the content the book contains. Pupils may then approach staff and request a short term loan.
Built in 1895-1896, this Chicago School-style thirteen-story skyscraper was designed by Louis Sullivan and Dankmar Adler for the Guaranty Construction Company. It was initially commissioned by Hascal L. Taylor, whom approached Dankmar Adler to build "the largest and best office building in the city,” but Taylor, whom wanted to name the building after himself, died in 1894, just before the building was announced. Having already had the building designed and ready for construction, the Guaranty Construction Company of Chicago, which already had resources lined up to build the project, bought the property and had the building constructed, with the building instead being named after them. In 1898, the building was renamed after the Prudential Insurance Company, which had refinanced the project and became a major tenant in the building after it was completed. Prudential had the terra cotta panels above the main entrances to the building modified to display the company’s name in 1898, upon their acquisition of a partial share in the ownership of the tower. The building became the tallest building in Buffalo upon its completion, and was a further refinement of the ideas that Sullivan had developed with the Wainwright Building in St. Louis, which was built in 1890-92, and featured a design with more Classical overtones, which were dropped with the design of the Guaranty Building in favor of a more purified Art Nouveau and Chicago School aesthetic, and with more intricate visual detail, with the ornate terra cotta panels cladding the entire structure, leaving very few areas with sparse detail. The building is an early skyscraper with a steel frame supporting the terra cotta panel facade, a departure from earlier load bearing masonry structures that had previously been predominant in many of the same applications, and expresses this through large window openings at the base and a consistent wall thickness, as there was no need to make the exterior walls thicker at the base to support the load from the structure above. The building also contrasts with the more rigid historically-influenced Classical revivalism that was growing in popularity at the time, and follows Sullivan’s mantra of “form ever follows function” despite having a lot of unnecessary detail on the exterior cladding and interior elements. The building’s facade also emphasizes its verticality through continual vertical bands of windows separated by pilasters that are wider on the first two floors, with narrower pilasters above, with the entire composition of the building following the tripartite form influenced by classical columns, with distinct sections comprising the base, shaft, and capital, though being a radical and bold abstraction of the form compared to the historical literalism expressed by most of its contemporaries, more directly displaying the underlying steel structure of the building.
The building is clad in rusty terra cotta panels which feature extensive Sullivanesque ornament inspired by the Art Nouveau movement, which clad the entirety of the building’s facades along Church Street and Pearl Street, with simpler red brick and painted brick cladding on the facades that do not front public right-of-ways, which are visible when the building is viewed from the south and west. The white painted brick cladding on the south elevation marks the former location of the building’s light well, which was about 30 feet wide and 68 feet deep, and was infilled during a 1980s rehabilitation project, adding an additional 1,400 square feet of office space, and necessitating an artificial light source to be installed above the stained glass ceiling of the building’s lobby. The building’s windows are mostly one-over-one double-hung windows in vertical columns, with one window per bay, though this pattern is broken at the painted portions of the non-principal facades, which feature paired one-over-one windows, on the second floor of the principal facades, which features Chicago-style tripartite windows and arched transoms over the building’s two main entry doors, on the thirteenth floor of the principal facades, which features circular oxeye windows, and at the base, which features large storefront windows that include cantilevered sections with shed glass roofs that wrap around the columns at the base of the building. The building’s terra cotta panels feature many natural and geometric motifs based on plants and crystalline structures, the most common being a “seed pod” motif that symbolizes growth, with a wide variation of patterns, giving the facade a dynamic appearance, which is almost overwhelming, but helps to further grant the building a dignified and monumental appearance, and is a signature element of many of the significant works of Adler and Sullivan, as well as Sullivan’s later independent work. The building’s pilasters halve in number but double in thickness towards the base, with wide window openings underneath pairs of window bays above on the first and second floors, with the pilasters terminating at circular columns with large, decorative, ornate terra cotta capitals in the central bays, and thick rectilinear pilasters at the corners and flanking the entry door openings. The circular columns penetrate the extruded storefront windows and shed glass roofs below, which formed display cases for shops in the ground floor of the building when it first opened, and feature decorative copper trim and mullions framing the large expanses of plate glass. The base of the building is clad in medina sandstone panels, as well as medina sandstone bases on the circular columns. The major entry doors feature decorative copper trim surrounds, a spandrel panel with ornate cast copper detailing above and the name “Guaranty” emblazoned on the face of each of the two panels at the two entrances, decorative transoms above with decorative copper panels as headers, and arched transoms on the second floor with decorative terra cotta trim surrounds. Each of the two major entrance doors is flanked by two ornate Art Nouveau-style wall-mounted sconces mounted on the large pilasters, with smaller, partially recessed pilasters on either side. The building features two cornices with arched recesses, with the smaller cornice running as a belt around the transition between the base and the shaft portions of the building, with lightbulbs in each archway, and the larger cornice, which extends further out from the face of the building, running around the top of the building’s Swan Street and Pearl Street facades, with a circular oxeye window in each archway. The lower corner recessed into the facade at the ends, while the upper cornice runs around the entire top of the facade above, with geometric motifs in the central portions and a large cluster of leaves in a pattern that is often repeated in Sullivan’s other work at the corners. The spandrel panels between the windows on the shaft portion of the building feature a cluster of leaves at the base and geometric patterns above, with a repeat of the same recessed arch detail as the cornice at the sill line of each window. The pilasters feature almost strictly geometric motifs, with a few floral motifs thrown in at key points to balance the composition of the facade with the windows. A small and often overlooked feature of the ground floor is a set of stone steps up to an entrance at the northwest corner of the building, which features a decorative copper railing with Sullivanesque and Art Nouveau-inspired ornament, which sits next to a staircase to the building’s basement, which features a more utilitarian modern safety railing in the middle.
The interior of the building was heavily renovated over the years before being partially restored in 1980, with the lobby being reverted back to its circa 1896 appearance. The Swan Street vestibule has been fully restored, featuring a marble ceiling, decorative mosaics around the top of the walls, a decorative antique brass light fixture with Art Nouveau detailing and a ring of lightbulbs in the center, the remnant bronze stringer of a now-removed staircase to the second floor in a circular glass wall at the north end of the space, and a terazzo floor. The main lobby, located immediately to the west, features a Tiffany-esque stained glass ceiling with ellipsoid and circular panels set into a bronze frame that once sat below a skylight at the base of the building’s filled-in light well, marble cladding on the walls, mosaics on the ceiling and around the top of the walls, a bronze staircase with ornate railing at the west end of the space, which features a semi-circular landing, a basement staircase with a brass railing, a terrazzo floor, and multiple historic three-bulb wall sconces, as well as brass ceiling fixtures matching those in the vestibule. The building’s elevators, located in an alcove near the base of the staircase, features a decorative richly detailed brass screen on the exterior, with additional decorative screens above, with the elevator since having been enclosed with glass to accommodate modern safety standards and equipment, while preserving the visibility of the original details. Originally, when the building was built, the elevators descended open shafts into a screen wall in the lobby, with the elevators originally being manufactured by the Sprague Electric Railway and Motor Company, with these being exchanged in 1903 for water hydraulic elevators that remained until a renovation in the 1960s. Sadly, most of the historic interior detailing of the upper floors was lost during a series of renovations in the 20th Century, which led to them being fully modernized during the renovation in the 1980s, with multiple tenant finish projects since then further modifying the interiors of the upper floors.
The building was listed on the National Register of Historic Places in 1973, and designated a National Historic Landmark in 1975, owing to its architectural significance, and to help save the building, which had suffered a major fire in 1974 that led to the city of Buffalo seeking to demolish it. A renovation in the early 1980s managed to modernize the building while restoring the lobby and the exterior, which was carried out under the direction of the firm CannonDesign, and partial funding from federal historic tax credits. The building was purchased in 2002 by Hodgson Russ, a law firm, which subsequently further renovated the building to suit their needs, converting the building into their headquarters in 2008. This renovation was carried out under the direction of Gensler Architects and the local firm Flynn Battaglia Architects. The building today houses offices on the upper floors, with a visitor center, known as the Guaranty Interpretative Center, on the first floor, with historic tours offered of some of the building’s exterior and interior spaces run by Preservation Buffalo Niagara. The building was one of the most significant early skyscrapers, and set a precedent for the modern skyscrapers that began to be built half a century later.
"An orchid displays refinement."
~ Anonymous
memories from a neighbor's garden
created using my flower photo...
Sorry, Italia )) Animal species refinement. Not Тритон Лауренти (Серопятнистый тритон) / Triturus carnifex / Italian crested newt. Another species.
The Balkan-Anatolian Crested Newt (Balkan crested newt or Buresch's crested newt) (Triturus ivanbureschi) is a newt species of the crested newt species complex in genus Triturus. The species was redescribed from southern crested newt (Triturus karelinii), with a new type specimen, as T. ivanbureschi in 2013, the species epithet was chosen in honour of Bulgarian zoologist and entomologist Ivan Buresh. Buresh was curator of the Royal Museum of Natural History (Bulgaria), director of the Royal Institutes of Natural Science, which included the Royal Museum of Natural History, the Sofia Zoo and the Botanical Garden.
Its distribution ranges from the Southeastern Balkan peninsula (Western Macedonia, Northwestern Greece, Bulgaria, Eastern Thrace) to Western Anatolia, Turkey. An isolated population, surrounded by other crested newt species, occurs in Serbia.
For the populations of crested newts most dangerous is destruction of the forests, as they are terrestrial animals living in mountainous areas, including deciduous and coniferous forests, and only during the breeding season goes into waterways.
Балкано-Анатолийский хохлатый тритон Triturus ivanbureschi был переописан в 2013 году из вида Тритон Карелина (Triturus karelinii), видовой эпитет был выбран в честь болгарского зоолога Ивана Буреша, основателя Болгарского орнитологического центра, в течение 33 лет - директора Научно-природоведческого музея в Софии, затем директора Зоологического института и Софийского зоопарка.
Ареал - юго-восток Балканского полуострова (Западная Македония, Северо-Западная Греция, Болгария, Восточная Фракия) в Западной Анатолии, Турция. Изолированная популяция, в окружении других видов хохлатых тритонов, имеется в Сербии.
Для популяций хохлатых тритонов наиболее опасно разрушение лесов, т.к. они являются наземными животными, обитают в горных местах, в том числе в широколиственных и хвойных лесах, и только во время сезона размножения уходят в водоемы.