View allAll Photos Tagged Refinement
Ideally located on the famous Place de la Concorde, Hôtel de Crillon seduces with its exceptional location and its refinement.
(c)Eric Cuvillier
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.
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‘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.
The all-new Jaguar F-PACE is a performance crossover designed and engineered to offer the agility, responsiveness and refinement that all Jaguars are renowned for, together with unrivalled dynamics and everyday versatility.
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.
Logo refinement for ProSoccer.com, an online soccer retailer. It existed for a while, but the site owners decided to switch back to the old design in the end.
Just a little refinement here... I liked to radius the top edges of the split in the seat-lug in order to avoid leaving scratches on the seat pillar
1963 Mercedes-Benz 300 SL Roadster
$2,095,000 USD | Sold
From Sotheby's:
THE APOGEE OF ROADSTER PRODUCTION
When Mercedes-Benz introduced the 300 SL Roadster in 1957, the new model addressed many of the perceived shortcomings of the outgoing 300 SL Gullwing. Primarily, a redesign of the Gullwing’s tube frame allowed for the use of conventional doors, which improved the ease of ingress and egress. This refinement also allowed for the implementation of standard wind-up windows, significantly improving cabin comfort.
The unforgiving high-pivot swing-axle geometry of the Gullwing coupe was discarded in favor of a low-pivot swing-axle rear suspension. This configuration utilized a coil spring mounted transversely above the differential that was linked to the axles by vertical struts, serving to minimize oversteer. The frame and suspension redesign also facilitated the installation of softer coil springs, which provided the Roadsters with a more comfortable ride quality without compromising handling. The highly developed inline-six-cylinder engine was standard-equipped with the sport camshaft that had been so effective in the racing alloy-bodied coupes, increasing horsepower by 25.
In 1961 four-wheel disc brakes became standard equipment, improving the 300 SL’s stopping capabilities, thereby bringing the model in line with concurrent mechanical advancements at Ferrari. A year later, the engines were updated with aluminum alloy blocks, helping to minimize weight. Just 210 Roadsters were reportedly factory-equipped with disc brakes and alloy engine blocks, making these cars the apogee of 300 SL development—and a rarity in the bargain.
AMONG THE FINAL: CHASSIS 003188
An accompanying copy of its factory data card illustrates that this 300 SL Roadster—the 139th of those final 210 examples—is a US-market car which was delivered new on 5 August 1963 and clad in White Gray (DB 158) over a red leather interior (1079) with black soft top and matching White-Gray hardtop. Additional specifications furnished to this order included a Becker Mexico radio, sealed-beam headlamps, whitewall tires, and instrumentation in miles with standard 3.89 ratio rear axle. Though its early ownership history is unknown, by the late 1990s the car had been imported to the Netherlands.
RETURN TO DEUTSCHLAND
In April 2005, this 300 SL was acquired by a German dealer of specialty automobiles on behalf of a noted Mercedes-Benz collector and former rally driver from Berlin. Photos on file show that sometime immediately prior to its exportation from the Netherlands, it had been recently treated to a complete restoration and finished in the period-correct color of Medium Red (516) over a black leather interior and matching soft top. This theory is further supported by the fact that its new owner immediately completed a trouble-free edition of the famous 2,000-kilometer German “Oldtimer” Rally with it.
After several years of spirited enjoyment, in early 2010 our subject lot was then consigned back to the importing dealer and, from there, acquired by the renowned marque specialists at Kienle Autotechnik in Heimerdingen for their sales inventory. Upon receipt, it was decided that the car did not fully meet the firm’s exacting standards for presentation or accuracy, and as such this 300 SL Roadster was offered for sale with the condition that it was to undergo a complete and total restoration to original specifications executed by their staff. If anything, this made the sales proposition for this very late alloy-block roadster exceedingly more desirable to potential buyers, and the car was quickly snatched up by a repeat Kienle client from Oestrich-Winkel, Germany.
WITH LOVE FROM KIENLE
Images and nearly €430,000 (~$475,000) of work orders on file from Klaus Kienle thoroughly document the following six years of its transformative restoration to the stunning concours state in which it remains today. Beginning with a complete disassembly of the 300 SL’s famous tubular construction and steel body, absolutely no cosmetic or mechanical detail escaped redress during this endeavor. While the structural condition of the chassis was verified and its shapely body corrected to a sufficient degree, every mechanical component, underpinning, and assembly was exhaustively rebuilt with OEM parts or replaced as needed.
Inspection of the car’s major drivetrain components reveals its alloy-block engine and 3.89 rear axle are numbers-matching units compared to those listed on the its factory data card. Its four-speed synchromesh gearbox, stamped with number 003511, was apparently installed at a later date, but is of the correct type. The only noteworthy stylistic changes to this 300 SL’s original form appear to be a tan soft top, and 3.89 metric speedometer.
Additional equipment specified by the client included Kienle’s bespoke fuel injection pump system, engine modifications for the use of modern unleaded fuel, floor mats, and a rear trunk clothed in red leather with two pieces of matching luggage. A light smattering of more modern conveniences such as a battery kill switch, improved firewall insulation, hazard lights, 12-volt socket, and an improved diaphragm spring for the clutch were also furnished at the previous owner’s request.
Now presented today in its original color combination of White Gray (DB 158) over red leather with a matching hard top, this 300 SL Roadster is absolutely stunning. The consignor reports that between his ownership and previous, the car has traveled fewer than 300 kilometers (~185 miles) since completion of its restoration.
Among the most desirable modern Mercedes-Benzes is the Roadster, and many consider that the one to have is an alloy-block, disc-brake car. Having been completely restored by the “German pope” of world-class 300 SL specialists, this particular chassis would be a fine acquisition for any enthusiast looking to experience the sensory pleasure that the comes with driving this famous model on the open road.
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Kristina and I headed over to RM Sotheby's at the Monterey Conference Center to view some glorious cars at their auction preview.
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Had a blast with our auto-enthusiast friend and neighbor, Fred, at Monterey Car Week 2022.
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...
Second series of refinements. Added detail on wings, eyes, and breast.
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.
May 2, 2018
Big changes in Seattle waterfront design merge Overlook Walk with Ocean Pavilion
The result will be a grand civic gesture, a single project that changes the way people experience the city.
By CLAIR ENLOW
Special to the Journal
Five years from now, getting to the Seattle waterfront should be an unforgettable experience. That's still just a promise, but design of the future waterfront has reached another milestone.
New drawings shown to the Seattle Design Commission last month tell the story. There were a variety of changes and refinements, but the big step is that the Overlook Walk and the Ocean Pavilion — an addition to the Seattle Aquarium — have been joined together as a seamless whole.
The designer of the Overlook Walk is James Corner Field Operations, and LMN is designing the Ocean Pavilion.
It may come as a surprise that the Overlook Walk, the cliff-spanning centerpiece of the post-viaduct Seattle waterfront, is actually partly built. It is part of MarketFront, an extension of Pike Place Market designed by The Miller Hull Partnership, and yields new views and pathways west from the market. The space opened last spring and is already a popular spot to sit, snack and soak in the views.
Miller Hull is collaborating with JCFO on the Overlook Walk.
A good fit
Design for the Overlook Walk and MarketFront started six years ago, and design of the Ocean Pavilion has accelerated in the last year. But until now it's been difficult to work out how exactly MarketFront and the Overlook Walk would fit with the Ocean Pavilion.
Now it's clear. The Ocean Pavilion has been moved to the south and reshaped under a functional roof so it is a little more streamlined and less obstructive to grand views of the bay.
The Overlook Walk and Ocean Pavilion will be virtually indistinguishable from some angles, with a roof on the pavilion that doubles as a park-like view deck and walkway. That walkway will lead to an elevator on the south side, one of three prominent public elevators connected with the Overlook Walk.
That's not the only thing that has changed since new images were last available, in the fall of 2017. The overlooks themselves — vantage points for pedestrians — have shifted. They are more integrated with the rest of the Overlook Walk and there are none that look out directly over a street.
New drawings from JCFO show that the Overlook Walk will consist of three main structures on the hillside between Pike Place Market and the Seattle Aquarium. There is a platform or bridge to span a street — the un-built Elliott Way — between the lower two structures.
At the top is MarketFront, already filled with people streaming from Pike Place Market and Western Avenue. It extends the character and presence of the market.
Overlook Building
The second structure, roughly in the path of the Alaskan Way Viaduct, is called the Overlook Building, and it will partly extend the character of the market with a shed-like cafe structure on top, looking out toward the water. It will also be a base for the next segment of the path to the waterfront. Planters, seating and places for kids to slide are shown.
Below the Overlook Building, a span over the future Elliott Way takes the Overlook Walk over to the top of the Ocean Pavilion. North of the pavilion the path divides into three distinct stairways. Whether they lead toward Pier 62-63 or hug the pavilion, all the stairways will lead to the shore.
As JCFO's Overlook Walk design has evolved, a primary piece is the span over Elliott Way between the Overlook Building and the complex structure of the Ocean Pavilion. The landscaped bridge will be an important segment of the whole. In previous versions, the width threatened to cast too much shadow on the street.
When shown last fall, the bridge was streamlined and curved to minimize cost and maximize light. In the newest version, it has also been slightly raised and leveled to bring more light to the street — and to the Overlook Building's storefronts along Elliott Way.
The top of the bridge and connecting pathways give less emphasis to north and south views, saving them to be enjoyed from the Ocean Pavilion's roof.
At the street level of Elliott Way, just below the bridge, is another significant change in the design. It's an opening and archway between the branching stairways, leading from Elliott Way under the Overlook Walk, gently down to the plaza around Ocean Pavilion.
With the top of the Overlook Walk mimicking features of Pike Place Market and the lower parts made of streamlined concrete, two very distinct characters will meet in the middle, at the Overlook Building.
But the three parts add up to a grand civic gesture, a single project that will change the way people experience the city. Some of the basic ideas seem simple, but it's complicated to join different projects of this scale and deliver them at the same time.
Most of the Overlook Walk will be so visible and accessible that it will undoubtedly be well used — at least by the people who now stream through the market and along the waterfront. The growing population of downtown Seattle is expected to show up.
The pathways will be welcoming and exciting, especially going down.
Will elevators work?
When it comes time to rise, the three elevators — especially the one next to the roof platform of the Ocean Pavilion, will be very popular. Will they work? The city of Seattle will have to do better than it has with the prominent lift to the east of Alaskan Way across from Bell Street Pier, which has had spotty service in the last year.
So far, the design of the Overlook Walk has been well received by the Seattle Design Commission. It's due for one more review at an undetermined time before passing into the next phase — permitting.
Ken Johnsen of Shiels Obletz Johnsen was hired last fall by the Seattle Aquarium to manage the Ocean Pavilion project, and he has seen the designers of MarketFront, Overlook Walk and Ocean Pavilion come together as a team to work out the overall concept.
But Overlook Walk and the pavilion will be permitted separately. The city has already completed the environmental impact statement for the Overlook Walk, and the aquarium will begin its EIS next month and finish in time to meet the Overlook Walk schedule, according to Johnsen.
Construction on both will wait until demolition of the Alaskan Way Viaduct is complete and construction on the new Alaskan Way is well underway, likely in the summer of 2021.
Johnsen expects that construction contracts for both projects will be advertised this summer, and contractors will become part of both teams early. He emphasized the need for both projects to be completed in tandem, and estimates that will happen by 2023.
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.
It is generally assumed that the people who attend classical music concerts at Carnegie Hall are all highbrow gray-haireds who are all refinement. If you happen to be one who holds such an opinion, let me share with you this tidbit wherein an ugly brawl erupted two rows back in Section P:
-"Hey--hey, hey. Who told you to throw my bag you fucking asshoooole!"
-{GASP}
-"Don't touch my shit. I'll kill you. Why'd you throw my bag?"
-"It was in my way; I was just getting by..."
-"So you just throw it? I hope you fucking... leave... you fucking asshoooole!"
-"No, YOU! I hope YOU leave!"
-"Asshoooole. What?"
-"crazy"
-"Asshooole."
It's embarrassing to watch people use expletives clumsily. Also, have you noticed how people just cling onto the same phrases, repeating them over and over, during these kind of mundane public conflcts? It's as if the rational mind shuts off entirely.
Now, this was not nearly as rowdy as the altercation I witnessed after an unsatisfying performance of Tosca at City Opera in which one patron shoved a senior citizen, who ended up tumbling several rows down the balcony. The two had been engaged in a shouting match because the senior citizen though it was rude to leave before curtain call and blocked the patron and his wife from making an exit. Yeah, those guys at City Opera are a bunch of riffraff.
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.
According to google, "Emerald green symbolizes wealth, refinement, and royalty. Additionally, it represents balance, harmony, renewal, and growth. As the color of nature, green embodies life, fertility, and abundance. As a result, it has a soothing effect on the mind and body, inspiring relaxation and feelings of safety."
it does have a soothing effect on the mind and body for sure <3
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.
George Brinton McClellan (December 3, 1826 – October 29, 1885) was a major general during the American Civil War and the Democratic Party candidate for President in 1864. He organized the famous Army of the Potomac and served briefly (November 1861 to March 1862) as the general-in-chief of the Union Army.
Early in the war, McClellan played an important role in raising a well-trained and organized army for the Union. Although McClellan was meticulous in his planning and preparations, these characteristics may have hampered his ability to challenge aggressive opponents in a fast-moving battlefield environment. He chronically overestimated the strength of enemy units and was reluctant to apply principles of mass, frequently leaving large portions of his army unengaged at decisive points.
McClellan was born in Philadelphia, the son of a prominent surgical ophthalmologist, Dr. George McClellan (1796–1847), the founder of Jefferson Medical College. His father's family had Scottish heritage. His mother was Elizabeth Sophia Steinmetz Brinton McClellan (1800–1889), daughter of a leading Pennsylvania family, a woman noted for her "considerable grace and refinement". The couple produced five children: a daughter, Frederica; then three sons, John, George, and Arthur; and a second daughter, Mary. McClellan was the grandson of Revolutionary War general Samuel McClellan of Woodstock, Connecticut. He first attended the University of Pennsylvania in 1840 at age 13, resigning himself to the study of law. After two years, he changed his goal to military service. With the assistance of his father's letter to President John Tyler, young George was accepted at the United States Military Academy in 1842, the academy having waived its normal minimum age of 16. He graduated in 1846, second in his class of 59 cadets, losing the top position (to Charles Seaforth Stewart) only because of poor drawing skills. He was commissioned a brevet second lieutenant in the U.S. Army Corps of Engineers.
McClellan began courting his future wife, Ellen Mary Marcy (1836–1915), the daughter of his former commander. Ellen, or Nelly, refused McClellan's first proposal of marriage, one of nine that she received from a variety of suitors, including his West Point friend, A. P. Hill. Ellen accepted Hill's proposal in 1856, but her family did not approve and he withdrew.
McClellan resigned his commission January 16, 1857, and, capitalizing on his experience with railroad assessment, became chief engineer and vice president of the Illinois Central Railroad and also president of the Ohio and Mississippi Railroad in 1860. He performed well in both jobs, expanding the Illinois Central toward New Orleans and helping the Ohio and Mississippi recover from the Panic of 1857. But despite his successes and lucrative salary ($10,000 per year), he was frustrated with civilian employment and continued to study classical military strategy assiduously. During the Utah War against the Mormons, he considered rejoining the Army. He also considered service as a filibuster in support of Benito Juárez in Mexico.
In October 1859 McClellan was able to resume his courtship of Ellen Mary, and they were married in Calvary Church, New York City, on May 22, 1860.
At the start of the Civil War, McClellan's knowledge of what was called "big war science" and his railroad experience suggested he might excel at military logistics. This placed him in great demand as the Union mobilized. The governors of Ohio, Pennsylvania, and New York, the three largest states of the Union, actively pursued him to command their states' militia. Ohio Governor William Dennison was the most persistent, so McClellan was commissioned a major general of volunteers and took command of the Ohio militia on April 23, 1861. Unlike some of his fellow Union officers who came from abolitionist families, he was opposed to federal interference with slavery. So some of his Southern colleagues approached him informally about siding with the Confederacy, but he could not accept the concept of secession.
On May 3 McClellan re-entered federal service by being named commander of the Department of the Ohio, responsible for the states of Ohio, Indiana, Illinois, and, later, western Pennsylvania, western Virginia, and Missouri. On May 14, he was commissioned a major general in the regular army. At age 34 he now outranked everyone in the Army other than Lt. Gen. Winfield Scott, the general-in-chief. McClellan's rapid promotion was partly because of his acquaintance with Salmon P. Chase, Treasury Secretary and former Ohio governor and senator.
After the defeat of the Union forces at Bull Run on July 21, 1861, Lincoln summoned McClellan from West Virginia, where McClellan had given the North the only actions thus far having a semblance of military victories. He traveled by special train on the main Pennsylvania line from Wheeling through Pittsburgh, Philadelphia, and Baltimore, and on to Washington, D.C., and was overwhelmed by enthusiastic crowds that met his train along the way.
During the summer and fall, McClellan brought a high degree of organization to his new army, and greatly improved its morale by his frequent trips to review and encourage his units. It was a remarkable achievement, in which he came to personify the Army of the Potomac and reaped the adulation of his men. He created defenses for Washington that were almost impregnable, consisting of 48 forts and strong points, with 480 guns manned by 7,200 artillerists. The Army of the Potomac grew in number from 50,000 in July to 168,000 in November and was considered by far the most colossal military unit the world had seen in modern historical times. But this was also a time of tension in the high command, as he continued to quarrel frequently with the government and the general-in-chief, Lt. Gen. Scott, on matters of strategy. McClellan rejected the tenets of Scott's Anaconda Plan, favoring instead an overwhelming grand battle, in the Napoleonic style. He proposed that his army should be expanded to 273,000 men and 600 guns and "crush the rebels in one campaign." He favored a war that would impose little impact on civilian populations and require no emancipation of slaves.
McClellan's antipathy to emancipation added to the pressure on him, as he received bitter criticism from Radical Republicans in the government. He viewed slavery as an institution recognized in the Constitution, and entitled to federal protection wherever it existed (Lincoln held the same public position until August 1862). McClellan's writings after the war were typical of many Northerners: "I confess to a prejudice in favor of my own race, & can't learn to like the odor of either Billy goats or niggers." But in November 1861, he wrote to his wife, "I will, if successful, throw my sword onto the scale to force an improvement in the condition of those poor blacks." He later wrote that had it been his place to arrange the terms of peace, he would have insisted on gradual emancipation, guarding the rights of both slaves and masters, as part of any settlement. But he made no secret of his opposition to the radical Republicans. He told Ellen, "I will not fight for the abolitionists." This placed him at an obvious handicap because many politicians running the government believed that he was attempting to implement the policies of the opposition party.
The immediate problem with McClellan's war strategy was that he was convinced the Confederates were ready to attack him with overwhelming numbers. On August 8, believing that the Confederates had over 100,000 troops facing him (in contrast to the 35,000 they actually deployed at Bull Run a few weeks earlier), he declared a state of emergency in the capital. By August 19, he estimated 150,000 enemy to his front. McClellan's future campaigns would be strongly influenced by the overblown enemy strength estimates of his secret service chief, detective Allan Pinkerton, but in August 1861, these estimates were entirely McClellan's own. The result was a level of extreme caution that sapped the initiative of McClellan's army and caused great condemnation by his government. Historian and biographer Stephen W. Sears has called McClellan's actions "essentially sound" if he had been as outnumbered as he believed, but McClellan in fact rarely had less than a two-to-one advantage over his opponents in 1861 and 1862. That fall, for example, Confederate forces ranged from 35,000 to 60,000, whereas the Army of the Potomac in September numbered 122,000 men; in early December 170,000; by year end, 192,000.
On November 1, 1861, Winfield Scott retired and McClellan became general-in-chief of all the Union armies. The president expressed his concern about the "vast labor" involved in the dual role of army commander and general-in-chief, but McClellan responded, "I can do it all."
McClellan further damaged his reputation by his insulting insubordination to his commander-in-chief. He privately referred to Lincoln, whom he had known before the war as a lawyer for the Illinois Central, as "nothing more than a well-meaning baboon", a "gorilla", and "ever unworthy of ... his high position." On November 13, he snubbed the president, visiting at McClellan's house, by making him wait for 30 minutes, only to be told that the general had gone to bed and could not see him.
On March 11, 1862, Lincoln removed McClellan as general-in-chief, leaving him in command of only the Army of the Potomac, ostensibly so that McClellan would be free to devote all his attention to the move on Richmond. Lincoln's order was ambiguous as to whether McClellan might be restored following a successful campaign. In fact, his position was not filled by another officer. Lincoln, Stanton, and a group of officers called the "War Board" directed the strategic actions of the Union armies that spring. Although McClellan was assuaged by supportive comments Lincoln made to him, in time he saw the change of command very differently, describing it as a part of an intrigue "to secure the failure of the approaching campaign."
The Battle of Antietam on September 17, 1862, was the single bloodiest day in American military history. The outnumbered Confederate forces fought desperately and well. Despite significant advantages in manpower, McClellan was unable to concentrate his forces effectively, which meant that Lee was able to shift his defenders to parry each of three Union thrusts, launched separately and sequentially against the Confederate left, center, and finally the right. And McClellan was unwilling to employ his ample reserve forces to capitalize on localized successes. Historian James M. McPherson has pointed out that the two corps McClellan kept in reserve were in fact larger than Lee's entire force. The reason for McClellan's reluctance was that, as in previous battles, he was convinced he was outnumbered.
The battle was tactically inconclusive, although Lee technically was defeated because he withdrew first from the battlefield and retreated back to Virginia. McClellan wired to Washington, "Our victory was complete. The enemy is driven back into Virginia." Despite being a tactical draw, Antietam is considered a turning point of the war and a victory for the Union because it ended Lee's strategic campaign (his first invasion of the North) and it allowed President Lincoln to issue the Emancipation Proclamation on September 22, taking effect on January 1, 1863. Although Lincoln had intended to issue the proclamation earlier, he was advised by his Cabinet to wait until a Union victory to avoid the perception that it was issued out of desperation. The Union victory and Lincoln's proclamation played a considerable role in dissuading the governments of France and Britain from recognizing the Confederacy; some suspected they were planning to do so in the aftermath of another Union defeat. McClellan had no prior knowledge that the plans for emancipation rested on his battle performance.
When McClellan failed to pursue Lee aggressively after Antietam, Lincoln ordered that he be removed from command on November 5. Maj. Gen. Ambrose Burnside assumed command of the Army of the Potomac on November 7.[73] McClellan wrote to his wife, "Those in whose judgment I rely tell me that I fought the battle splendidly and that it was a masterpiece of art. ... I feel I have done all that can be asked in twice saving the country. ... I feel some little pride in having, with a beaten & demoralized army, defeated Lee so utterly. ... Well, one of these days history will I trust do me justice."
McClellan was nominated by the Democrats to run against Abraham Lincoln in the 1864 U.S. presidential election. Following the example of Winfield Scott, he ran as a U.S. Army general still on active duty; he did not resign his commission until election day, November 8, 1864. He supported continuation of the war and restoration of the Union (though not the abolition of slavery), but the party platform, written by Copperhead Clement Vallandigham of Ohio, was opposed to this position. The platform called for an immediate cessation of hostilities and a negotiated settlement with the Confederacy. McClellan was forced to repudiate the platform, which made his campaign inconsistent and difficult. He also was not helped by the party's choice for vice president, George H. Pendleton, a peace candidate from Ohio.
The deep division in the party, the unity of the Republicans (running under the label "National Union Party"), and the military successes by Union forces in the fall of 1864 doomed McClellan's candidacy. Lincoln won the election handily, with 212 Electoral College votes to 21 and a popular vote of 403,000, or 55%. For all his popularity with the troops, McClellan failed to secure their support and the military vote went to Lincoln nearly 3-1. Lincoln's share of the vote in the Army of the Potomac was 70%.
At the conclusion of the war, McClellan and his family went to Europe (not returning until 1868), during which he did not participate in politics.[79] When he returned, the Democratic Party expressed some interest in nominating him for president again, but when it became clear that Ulysses S. Grant would be the Republican candidate, this interest died. McClellan's final years were devoted to traveling and writing, including his memoirs McClellan's Own Story (published posthumously in 1887) in which he stridently defended his conduct during the war. He died unexpectedly of a heart attack at age 58 at Orange, New Jersey, after having suffered from chest pains for a few weeks.
U.S. Marine Corps UH-1Y Venoms conduct live fire training during Air to Ground Refinement in support of Weapons and Tactics Instructors course 2-18 at Marine Corps Air Station Yuma, Yuma, Ariz., April 2. WTI is a seven-week training event hosted by Marine Aviation Weapons and Tactics Squadron 1 cadre, which emphasizes operational integration of the six functions of Marine Corps aviation in support of a Marine Air Ground Task Force and provides standardized advanced tactical training and certification of unit instructor qualifications to support Marine Aviation Training and Readiness and assists in developing and employing aviation weapons and tactics. (U.S. Marine Corps photo by Cpl. Nathaniel S. McAllister/ Released)