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Fossil Fuels are bad for your boobs.
That’s pretty much it. It turns out that the chemicals produced during the extraction, refining, and use of fossil fuels; high levels of benzene, toluene, and other polycyclic aromatic hydrocarbons (PAHs), and a few other bad guys are known carcinogens. That’s why Honor the Earth is introducing the pipeline free breast campaign, as a part of Breast Cancer Awareness Month.
Now, just to be clear, we’re not the only ones on this. Last year, Baker Hughes, who makes the enormous drill bits for the fracking industry introduced some pink drill bits for breast cancer awareness month, and donated $l00,000 for the second year in a row to Susan G. Komen, the best-funded breast cancer organization in the U.S. In return, apparently Baker Hughes got to use the specific shade of pink Susan G. Komen has trademarked. (Who knew they could trademark a shade of pink?)
Let’s get real: Pipelines, Fracking and the Tar Sands are Bad for your Boobs; they are bad for your health:
Researchers have known for years that the fossil fuel industry creates and releases carcinogens into the environment. Back in the 80’s researchers at Lawrence Livermore Labs in California, found that breast cells growing in culture exposed to benzopyrene had altered genetic make-up. Benzopyrene is the most common carcinogen in the environment that results from burning fossil fuels.
Benzene, a major chemical associated with the fossil fuel industry, is recognized as a carcinogen by the World Health Organization (WHO) and the US Environmental Protection Agency (EPA). Benzene is known to influence the development of leukemia, breast and urinary tract cancers. Benzene has also been linked to reduced red and white blood cell production, decreased auto-immune system, deformed spermatozoa and chromosomal mutations.
Benzene itself is known carcinogen.
Radon, an odorless radioactive gas which is found existing in bedrock has also been linked to cancer and the fossil fuel industry. Exposure to radon is the second largest cause of lung cancer in the US, and new studies have linked fracking to increased radon exposure. Radon can be released into groundwater and the air by the fracking process. Radon also travels with the fracked oil and gas through the pipelines to refineries and to the point of use, exposing communities along the way.
Polycyclic aromatic hydrocarbons (PAHs) are persistent chemicals that are also known carcinogens and genetic mutagens. PAHs can also affect childhood development, including; asthma, low birth weight, heart malformations, and behavior disorders.
Communities around the Alberta tar sands fields have been suffering from dangerously high levels of PAHs in the environment and have been reporting subsequently high rates of rare cancers and other diseases.
“More women in the community are contracting lupus. Infant asthma rates have also increased. During the summer months, it is not uncommon to find mysterious lesions and sores after swimming in Lake Athabasca. “When you look at what is happening in the area, it can’t not be related to development,” says Eriel Deranger, a spokesperson for the Athabasca Chipewyan First Nation. ‘Too many times, we see things in the animals and health that the elders have never seen before.’”
Spills and accidents can also expose communities to PAHs. After the 2010 BP/Deepwater Horizon spill, scientists found PAH levels to be 40 times higher than background levels. Fisherman also reported mutations and tumors on local shrimp and crabs. Scientists from several disciplines and universities cite PAHs as most likely cause.
The effects of these chemicals on humans and the environment should be a major concern of American lawmakers. Will we begin to see a sharp rise in rare cancers in oil producing and refining communities? Transportation corridor communities are also at risk. North Dakota had over 300 oil spills reported as of 2012, but the self reporting of oil and pipeline companies, including Enbridge ( with 800 spills in a decade) is in fact a risk to your breasts, and your health.. For sure, the l7,000 miles of pipeline in North Dakota as well as nearly l0,000 miles of pipeline in Minnesota, pose some risks.
The EPA is finally taking notice of the vast amount of toxins being emitted by the oil refining process, recently passing tough new restrictions on emissions.
In 2012, Marathon Oil completed a $2.2 billion upgrade on their 8l year old Detroit facility to process tar sands oil. Marathon’s expansion promises to create 135 jobs and generate millions of dollars in tax revenues. Even more important, Marathon says, it will help ensure that Michigan's only oil refinery will operate well into the future.
“…A reporter asked me what tar sands smell like, and it smells like death. And that’s what it is…”
Emma Lockridge
The Marathon oil refinery is in Boynton, Michigan; zip code 48217. It is known as Michigan’s most polluted zip code.
“ … We have a tar sands refinery in our community and it is just horrific. We are sick community.” Emma Lockridge explains. We have tried to get them to buy us out. They keep poisoning us. And we cannot get them to buy our houses. “ I can’t hardly breathe here. I have had kidney failure. Neighbor died on dialysis, Neighbor next door with dialysis. Neighbor across the street has kidney failure. The chemicals in our pipelines and are in our water will be the same chemicals that come through your land and can break and contaminate. We have cancer, we have autoimmune illnesses, we have MS, we have chemicals that have come up into our homes through the sewer. Those are from the companies, they end up in the public water and sewer system...They are poisoning us.”
Join Honor the Earth for this campaign. Fossil Fuels are bad for your breasts. And, a fossil fuel free future is healthy for all women, children, men and Mother Earth.
Models for the campaign continue to come forward. Jane Kleeb, Executive Director of Bold Nebraska, a lead organization fighting the Keystone XL Pipeline joined for a picture, noting” I’m standing up against Keystone XL because of the risks to our water and our health. The oil and gas industry denies the link of their risky product and cancer, just like the tobacco companies did years ago. Today, we stand up for women’s health."
Kandi Mossett, of the Indigenous Environmental Network posed with two logos; Mossett is from the Ft. Berthold reservation, where radioactive and salt spills, as well as radioactive fracking socks litter sections of the reservation. Supporting groups include VDay, Indigenous Women’s Network, and Babes Against Biotech. Other women are encouraged to join, and the materials can be downloaded off the Honor the Earth web site.
Sources: www.alternet.org/story/155022/the_human_cancer_risks_pose...
america.aljazeera.com/blogs/scrutineer/2014/10/8/pink-dri...
news.google.com/newspapers?nid=1915&dat=19830105&...
planetsave.com/2013/12/07/pollution-air-pollution-water-p...
The Parrot works to refine the nest in the Locust Tree. This nest survived Hurricane Sandy.
Brooklyn, NY
Nov 2, 2013
Many people believe the crash is over because removing the supply stabilized prices. Most people who carefully watch housing markets agree that a cartel of lenders controls the market through its ability to control supply. Since lenders are being permitted to hold non-performing loans on their... at How Lenders Dispose Their REO Will Determine Future House Prices
Visit the OC Housing News, and read the OC Housing News blog. Learn why you should use a home guide. Meet the Akason Realty Consulting home guides and housing market analysts, and read our real estate agent testimonials. Discover why you should register with the OC Housing News and how to use the OC Housing News. Utilize the advanced property search, or the MLS map search.
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This beet root sugar refining factory in Vierverlaten is now 112 years old and still going strong. Another refinery near the city of Groningen was closed this year. When operational at the end of each year, the plumes of steam can be seen from miles around. With a westerly wind, the sweet (and to some nauseating) smell of the factory permeates the city in the background.
The factory was built in between a canal (on the left) and a railway line (on the right), but these days, all beets are trucked in.
In the absence of rising wages, when mortgage interest rates go up, one of two things will happen: either sales will fall, or prices will fall. Since we don’t have a free market in housing, sales will fall and remain depressed for a very long time. at Higher mortgage interest rates lead to lower sales or lower prices
Visit the OC Housing News, and read the OC Housing News blog. Learn why you should use a home guide. Meet the Akason Realty Consulting home guides and housing market analysts, and read our real estate agent testimonials. Discover why you should register with the OC Housing News and how to use the OC Housing News. Utilize the advanced property search, or the MLS map search.
See our special real estate offers: property search guide, housing market reports, home ownership cost guide, guide to rent or own decision, home financing guide, foreclosure 101, short sale guide, how to sell your home without a realtor, The Great Housing Bubble free PDF, 1.5% rebate on new home construction, no cost home sale program, and maximum impact real estate marketing.
Also read Renter News, SD Housing News, Housing Bubble News & Information, Housing Market Forecast US, Housing Market News & Information, Real Estate Ruin, USA Housing News, California Real Estate News, Housing Market News, USA Foreclosure News, Mortgage and Foreclosure News, Mortgage Refinance News, Real Estate Loan News, Debt Default News, Ponzi Debt, Loan Modification and Default News, Mortgage News Clips, and Fay Mortgage News.
For people who purchased properties in California, a non-recourse state, and never refinanced, lenders cannot come after them seeking to recoup their losses on a foreclosure. For those who live in recourse states, or California loanowners who refinanced, the situation is quite different. Lenders... at Lenders ambush newly solvent borrowers seeking old bad debts
Visit the OC Housing News, and read the OC Housing News blog. Learn why you should use a home guide. Meet the Akason Realty Consulting home guides and housing market analysts, and read our real estate agent testimonials. Discover why you should register with the OC Housing News and how to use the OC Housing News. Utilize the advanced property search, or the MLS map search.
See our special real estate offers: property search guide, housing market reports, home ownership cost guide, guide to rent or own decision, home financing guide, foreclosure 101, short sale guide, how to sell your home without a realtor, The Great Housing Bubble free PDF, 1.5% rebate on new home construction, no cost home sale program, and maximum impact real estate marketing.
Also read Renter News, SD Housing News, Housing Bubble News & Information, Housing Market Forecast US, Housing Market News & Information, Real Estate Ruin, USA Housing News, California Real Estate News, Housing Market News, USA Foreclosure News, Mortgage and Foreclosure News, Mortgage Refinance News, Real Estate Loan News, Debt Default News, Ponzi Debt, Loan Modification and Default News, Mortgage News Clips, and Fay Mortgage News.
Participants in NASA's 7th annual Robotic Mining Competition refine their robotic excavator before taking it to the competition arena for competitive runs. The RMC is set up for college students to design and build a mining robot that can travel over a simulated Martian surface, excavate regolith and deposit as much of it as possible into a bin, all within 10 minutes. Team members may control their bots remotely from a trailer where their only line of sight is via a computer screen, or completely autonomously, with their programming skills put to the test as their robot handles the mission on its own. The competition, which takes place May 16 to 20 at the Kennedy Space Center Visitor Complex in Florida, focuses on technologies necessary to extract consumables such as oxygen and water to support human life and provide methane fuel to spacecraft. Photo credit: NASA/Bill White
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 raising and refining of mandioca is one of ways many of the local inhabitants of the Amazon region of Brazil, near Manaus, can make a living without a major investment of money. Brazil. Photo: Julio Pantoja / World Bank
Photo ID: JPBR-1504-8-B World Bank
Force Crag Mine was the last working metal mine in the Lake District, prior to its final abandonment in 1991. The site was mined for lead from 1839 until 1865, and for zinc and barytes from 1867. The job of the mill was to separate these minerals from each other, and from any other minerals and the country rock. It is a Scheduled Ancient Monument, and a geological SSSI (site of special scientific interest). The mine occupies a spectacular location at the head of the remote Coledale Valley, 7 km west of Keswick above Braithwaite.
The The mill buildings that you can see today were built in 1908-9 and redesigned in 1939-40. The mill contains the ore-refining machinery that was in use during the 1980s and until is closed, along with some earlier equipment. It is the only former mineral mining site in the country that has retained its processing equipment in something approaching complete order.
The National Trust owns the site, and access to the processing mill buildings and machinery was restored in 2004. Visitors can discover what was mined and follow the processing of the minerals through the mill plant.
Admission into the mine building is via booked tours only, there is no access to the mine itself.
Information from Visit Cumbria Website.
This particular project began back in January of 2010, and it started with the name. I worked with her in refining her business name. She didn't want the typical dental name incorporating the word "smiles" like everyone else. Something clean, simple, and reflects the nature of the business. We went back and forth several times and one word kept on sticking, and it wasn't taken. It was the word "pure", and it sounded really nice with the word "dental". "Pure" represents cleanliness, and that's why we go to the dentist – to keep our teeth/mouth as clean as possible. Then the word "spa" was thrown into the name, because this new office was going to embody spa-like services. There is this new trend called "dental spa" where dental offices want their offices to now be soothing and comforting for their client visits. And we all know, dental offices aren't at the top of anyone's list for places to go visit.
With the name down, Pure Dental Spa, it was time to develop the identity. As soon as the name was selected, I had a good idea on how it was going to look, and the client was totally one the same page with me; it was great. The fact that I knew I was going to be working on the interior decor of her office, it helped me build her brand colors since she really wanted an avocado-like green color on her office wall. I envisioned in my mind seeing the word "pure" all in white against the green wall, and it truly brought out the essence of clean in the word and the nature of the business.
Pure Dental Spa color palette: white, grey & green. White is pure and clean. Grey represents a brushed aluminum material and the sterilized equipment that is used to clean our teeth. And green is fresh, calming, and it is all "spa".
For the logo identity, I used a very clean, modern typeface, Helvetica Neue, and balanced the weights and the kerning between the letters. "Pure" is the boldest and "dental" is the second heaviest weight. Those two words have the most emphasis in weights, because they are the most important. "Spa" is secondary, but still important to the overall vision.
For the logo identity, I used a very clean, modern typeface, Helvetica Neue, and balanced the weights and the kerning between the letters. "Pure" is the boldest and "dental" is the second heaviest weight. Those two words have the most emphasis in weights, because they are the most important. "Spa" is secondary, but still important to the overall vision.
For the business/appointment cards, I knew we had to print them with a very cool technique called blind embossing – where an image is raised up from the flat surface of the paper. This was how I was able to keep the word "pure" white on white paper. And on the reverse-side, the paper was flooded with green, and where the word "pure" was embossed, it was kept white also. These are some well-designed appointment cards I must say.
Originally, I wasn't planning on designing her website since I am not a huge fan of website design. I always felt it was one of my weaknesses. I thought I was going to be handing over logo files, color codes and some images. But after we saw the first round from the programmers, I knew I had to get my feet wet and guide the overall structure, because it wasn't meshing with her brand essence, and I couldn't let that happen.
To see more custom design projects, visit www.designwithchon.com
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Design With Chon (DWC), a boutique design studio with defined niches in (1) visual communication, (2) event design and (3) interiors. Each of these industries are huge in themselves, but DWC has an understanding that bridges them together — color, balance, texture, order and a good eye for design. DWC’s goal is to achieve good design in all its various forms, whether it’s from the branding of your business to saying “I do” to transforming a dwelling in your home. Let me, “Chon," be your go-to person for good design, color, great photography and art. A balanced environment makes you feel good, and I am here to inspire your surroundings.
If you’re interested in sharing an idea or a project, drop me a line at designwithchon[at]gmail.com to start the conversation.
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May 12, 2019 - Frank Lloyd Wright Home and Studio located at 951 Chicago Ave., Oak Park, IL.
"In 1889 Wright completed the construction of a small two-story residence in Oak Park on the Western edges of Chicago. The building was the first over which Wright exerted complete artistic control. Designed as a home for his family, the Oak Park residence was a site of experimentation for the young architect during the twenty-year period he lived there. Wright revised the design of the building multiple times, continually refining ideas that would shape his work for decades to come.
The semi-rural village of Oak Park, where Wright built his home, offered a retreat from the hurried pace of city life. Named “Saint’s Rest” for its abundance of churches, Oak Park was originally settled in the 1830s by pioneering East Coast families. In its early years farming was the principal business of the village, however its proximity to Chicago soon attracted professional men and their families. Along its unpaved dirt streets sheltered by mature oaks and elms, prosperous families erected elaborate homes. Beyond the borders of the village farmland and open prairie stretched as far as the eye could see.
The Oak Park Home was the product of the nineteenth century culture from which Wright emerged. For its design, Wright drew upon many inspirational sources prevalent in the waning years of the nineteenth century. From his family background in Unitarianism Wright absorbed the ideas of the Transcendentalists, Ralph Waldo Emerson and Henry David Thoreau, who encouraged an honest life inspired by nature. The English Arts and Crafts movement, which promoted craftsmanship, simplicity and integrity in art, architecture and design, provided a powerful impetus to Wright’s principles. The household art movement, a distinct movement in middle-class home decoration, informed Wright’s earliest interiors. It aimed, as the name implies, to bring art into the home, and was primarily disseminated through books and articles written by tastemakers who believed that the home interior could exert moral influences upon its inhabitants. These various sources were tempered by the lessons and practices Wright learned under his mentors, Joseph Lyman Silsbee and Louis Sullivan.
For the exterior of his home, Wright adapted the picturesque Shingle style, fashionable for the vacation homes of wealthy East Coast families and favored by his previous employer, Silsbee. The stamp of Sullivan’s influence is apparent in the simplification and abstraction of the building and its plan. In contrast to what Wright described as “candle-snuffer roofs, turnip domes [and] corkscrew spires” of the surrounding houses, his home’s façade is defined by bold geometric shapes—a substantial triangular gable set upon a rectangular base, polygonal window bays, and the circular wall of the wide veranda.
Despite its modest scale, the interior of the home is an early indication of Wright’s desire to liberate space. On the ground floor Wright created a suite of rooms arranged around a central hearth and inglenook, a common feature of the Shingle style. The rooms flow together, connected by wide, open doorways hung with portieres that can be drawn for privacy. To compensate for the modest scale of the house, and to create an inspiring environment for his family, Wright incorporated artwork and objects that brought warmth and richness to the interiors. Unique furniture, Oriental rugs, potted palms, statues, paintings and Japanese prints filled the rooms, infusing them with a sense of the foreign, the exotic and the antique.
In 1895, to accommodate his growing family, Wright undertook his first major renovation of the Home. A new dining room and children’s playroom doubled the floor space. The design innovations pioneered by Wright at this time marked a significant development in the evolution of his style, bringing him closer to his ideal for the new American home.
The original dining room was converted into a study, and a new dining room replaced the former kitchen. The dining room is unified around a central oak table lit through a decorative panel above and with an alcove of leaded glass windows in patterns of conventionalized lotus flowers. The walls and ceiling are covered with honey-toned burlap; the floor and fireplace are lined with red terracotta tile.
The new dining room is a warm and intimate space to gather with family and friends. The Wrights entertained frequently, and were joined at their table by clients, artists, authors and international visitors. Such festive occasions, according to Wright’s son, John, gave the house the air of a “jolly carnival.”
The 1895 playroom on the second floor of the Home is one of the great spaces of Wright’s early career. Designed to inspire and nurture his six children, the room is a physical expression of Wright’s belief that, “For the same reason that we teach our children to speak the truth, or better still live the truth, their environment ought to be as truly beautiful as we are capable of making it.” Architectural details pioneered by Wright in this room would be developed and enhanced in numerous commissions throughout his career.
The high, barrel-vaulted ceiling rests on walls of Roman brick. At the center of the vault’s arc a skylight, shielded by wood grilles displaying stylized blossoms and seedpods, provides illumination. Striking cantilevered light fixtures of oak and glass, added after Wright’s 1905 trip to Japan, bathe the room in a warm ambient glow. On either side of the room, window bays of leaded glass with built-in window seats are at the height of the mature trees that surround the lot, placing Wright’s children in the leafy canopy of the trees outside.
Above the fireplace of Roman brick, a mural depicting the story of the Fisherman and the Genie from The Arabian Nights is painted on the plastered wall. An integral architectural feature within the room, the mural was designed by Wright and executed by his colleague, the artist Charles Corwin. It is a fascinating blend of decorative motifs; forms from exotic cultures—such as Egyptian winged scarabs—are combined with flat, geometric designs that echo the work of Wright’s international contemporaries, Charles Rennie Mackintosh and the Vienna Secessionists.
In 1898 Wright built a new Studio wing with funds secured through a commission with the Luxfer Prism Company. The Studio faced Chicago Avenue and was connected to his residence by a corridor. Clad in wood shingles and brick, the Studio exterior is consistent with the earlier home. However, the long, horizontal profile, a key feature of Wright’s mature Prairie buildings, sets it apart. Adjacent to the entrance, a stone plaque announces to the world, “Frank Lloyd Wright, Architect.” Decorative embellishments and figural sculptures set off the building’s artistic character and impressed arriving clients.
The reception hall serves as the entrance to the Studio. A waiting room for clients and a place for Wright to review architectural plans with contractors, this low-ceilinged space connects the main areas of the Studio—a library, a small office, and the dramatic two-story drafting room, the creative heart of the building.
The studio staff worked on drafting tables and stools designed by Wright in rooms decorated with eclectic displays of artwork and objects. Japanese prints, casts of classical sculptures, as well as models and drawings executed in the drafting room, filled the interiors of the Studio. In Wright’s home the integration of art and architecture served to nurture and intellectually sustain his family. In the Studio, these same elements served a further purpose, the marketing of Wright’s artistic identity to his clients and the public at large.
In September of 1909, Wright left America for Europe to work on the publication of a substantial monograph of his buildings and projects, the majority of which had been designed in his Oak Park Studio. The result was the Wasmuth Portfolio (Berlin, 1910), which introduced Wright's work to Europe and influenced a generation of international architects. Wright remained abroad for a year, returning to Oak Park in the fall of 1910. He immediately began plans for a new home and studio, Taliesin, which he would build in the verdant hills of Spring Green, Wisconsin. Wright’s Oak Park Studio closed in 1910, though Wright himself returned occasionally to meet with his wife Catherine who remained with the couple's youngest children at the Oak Park Home and Studio until 1918. The Home and Studio was the birthplace of Wright's vision for a new American architecture. Wright designed over 150 projects in his Oak Park Studio, establishing his legacy as a great and visionary architect.
Previous text from the following website: flwright.org/researchexplore/homeandstudio
South Pacific Enterprise 1956.
The history of the Colonial Sugar Refining Company (CSR Co.)
This Centenary commemorative book was issued to company shareholders in 1955.
An Australian enterprise founded 1855 by Edward Knox, a Danish immigrant, from earlier origins as the Australasian Sugar Company ( 1842), which Knox managed. The company established sugar operations in Australia, Fiji, New Zealand and over the next 150 years diversified into building materials, chemicals etc.
Published by Angus & Robertson, Sydney. Cloth boards, 500 pages 16cm x 24cm.
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The following is my amateur opinion, which all readers can dismiss. My amateur opinions wait for time and more careful research to refine by more qualified historians. Some of it, and much of it, probably is true, but I can't prove it.
I am deeply immersed in the Atlantean myth, and the Teotihuacan reality. They both seem related, as if the builders in the Valley of Mexico were long-lost survivors of the cataclysm of Atlantis. The legend itself speaks of the wealth and knowledge of Atlantis was distributed to at least two other locations around the world. While the dates of the Sun Temple complex of Teotihuacan are tentatively dated in the modern era, i.e., 400 AD, there are four layered cities still buried under the mud of the Valley of Mexico which have never been identified.
A recurring iconograph symbol displayed repeatedly along the Avenida de Morte, is the rectangular box with three vertical stripes underneath, a universal hieroglyphic of "the underworld". I believe this coincides exactly with the Atlantean legend of Atlas having to set down three apples, so he could assume the new role (tricked into it, actually, by Hercules), of holding up the celestial heavens. So while Zeus was the Olympian God of the heavens and skies, the nasty business of destructive storms and bad events was layed on the shoulders of the traitor Atlas, the Titan. (How convenient for Zeus, no doubt).
However, in time epochs before Zeus, the God of all Gods was Tehoti, Thoth, Djeheuty, Tchaus, "Texas", and probably followed by the more human-like Osiris, whose A-ats, "Kingdoms" were most likely on what are now the bottom of the oceans and seas. With the cataclysmic rising of waters, destroying the A-ats, the regional kingdoms of Osiris became the "regions of death".
A-at-te-Los, Region of the God of Light, i.e., the "rising sun". Atlas. It appears that his legs stand on what could be a moon "mountain", with the other leg on the sun "mountain". Hercules and Atlas had one leg on both the moon and the sun, the night and the day, I believe. Those are the "pillars of Hercules" of Atlantean legend. Not shown in this image is the Seine ("Sin" or "Cheyenne", Moon Goddess), and the Essaouira (Osiris, Ra, Sun God), which I believe are the ancient Pillars of Hercules, although the name may have previously been "Pillars of Osiris", or "Pillars of Thoth".
For reference, see also the "Western Wall of Teoti-huacan"
www.flickr.com/photos/10749411@N03/5109902240/in/photostream
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.
© I m a g e D a v e F o r b e s
Engagement 2,000+
The Sugar refining industry was part of Greenock trade and industrial past as far back as 1765 with a dozen or more refineries at one point.
The most famous of these was Tate & Lyle which formed as a merger between Henry Tate and Abram Lyle in 1921.
Luckliy the building we see today in this picture has survived at James Watt Dock were designated 'A-Listed' as a great example of early historic Industrial Architecture with their unique colonnade of cast iron columns.
The warehouse will be incorporated into future waterfront development. Today it is utilised for stowage and the offices of the relatively recent James Watt Dock Marina There is no more sugar industry at the site anymore today.
I have been doing lots of experimentation in my Trip Prep journal during the last week....and doing a lot of thinking....
My goals for this years books include
- trying to do something a bit different
-add more ephemera ...more collage elements
- variety in line - colour
-make sure that I draw maps of every day
-more consistently record the funny/silly ‘moments’ during the day. (I did this and the maps very consistently during my 2009 journals but last year was too full on for me)
-take a little more time before sketching
-dare I say it ‘slow down’ SOMEHOW!?! Even a LITTLE!?!
-make sure that my writing is always ‘neat’ (last year I achieved this – 2009 there were many messy scribbles... Please take this comment in the light of the fact that I am an architect and getting a job used to be dependant on having perfect handwriting!)
-and of course... Improve my sketches – colour – capturing light – eye-hand coordination etc... I am in high hopes of the symposium being a big boost in this regard.
Anyway... for the last week or so I have been refining my opening spread for each day of my trip(refer also an earlier post last week)...and will continue to do so till Saturday. Following a similar formula from 2009 - my morning devotions, moments of the day, a map and a detail sketch (or collage or both) from the day. Experimenting with maps, text boxes, coloured pens, collage.
Introducing collage is a risk and might take away from the sketches on some pages... But I am willing to experiment and will still have many collage-free pages in my book.
Also, I am planning to start my trip journals on Saturday – 4 days before I leave (I leave on Wednesday 13 in the evening ie. I work a full day at work and go straight to the airport...one of the reasons why I am trying to be very organised!) I want to blur the edges of the start of my trip and record some of the last minute thoughts / activities and record goals and anticipations etc – a little more interesting that the opening plane sketch.
Australasian Sugar Refining Company complex 1891, 1899 at conversion to apartments in the 1980s.
Designers: Hyndman and Bates.
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`The site of the factory was included in Section 2B [of the original Port Melbourne survey], which was surveyed into four allotments early in the history of Sandridge. By November 1860 three of these had been purchased by A. Ross, joining William Jones, S.G. Henty and P. Lalor as owners of the section (2)..
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In February 1890, the Melbourne Tram and Omnibus Company Limited, had stables, offices, land and an omnibus repository on the section.(3) [Most of the present buildings on the site date from 1891, when the Australasian Sugar Refining Company established a refinery.(4)] On the MMBW detail plan dated 1894, the section is labelled 'sugar works' and the configuration of buildings approximately conforms with the present layout. [The refinery was closed in 1894 following its purchase by the Colonial Sugar Refining Company as part of a move to strengthen its monopoly.].
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[In 1899, Robert Harper and Company Pty Ltd converted the buildings to a starch factory, and various brick additions were constructed to designs by Hyndman and Bates, architects.(5)] When the sewerage was connected in 1899, a plan was drawn by the architects and this closely resembles the 1894 MMBW detail plan configuration. (6) .
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The buildings .. form the major part of the original factory complex on the site, one of the largest nineteenth century industrial sites in Victoria. The complex as a whole is significant for its large size and range of building types. The dramatic massing and height of the 9 Beach Street buildings gives them additional importance as local landmarks as viewed both from the surrounding streets and the sea..
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COMPARATIVE ANALYSIS.
The former Australasian Sugar Refining Company and Robert Harper starch factory complex can be compared with a number of other large nineteenth century industrial complexes in Melbourne. These include the former Yorkshire Brewery, Wellington Street, Collingwood (from 1876), the former Victoria Brewery, Victoria Parade, East Melbourne (established 1854), the former Kimpton's Flour Mill, Elizabeth Street, Kensington, the Thomas Brunt flour mill and Brockhoff and T.B. Guest biscuit factories complex, Laurens and Munster Streets, North Melbourne (from 1888-9) and the Joshua Bros (now CSR) sugar refinery, Whitehall Street, Yarraville (established 1873). All of these are representative of the development in Victoria of the manufacture of foodstuffs and related raw materials. Of these, the CSR refinery is the most directly comparable in terms of original function and the scale and massing of the buildings. Established significantly earlier than the Port Melbourne refinery, the site is larger and more intact..
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In the local context, the only other surviving industrial site of comparable scale is the Swallow and Ariell Biscuit Factory complex (q.v.). This complex is of state significance, and is considerably earlier, with parts dating from the 1850s. The predominantly two- and three-storey buildings, however, are of a different type to the former refinery and starch factory buildings..
Allom Lovell and Associates1995 cite Jacobs Lewis Vines. Port Melbourne Conservation Study:.
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Was back playing DIY last night and refining the clamp a bit more, but that doesnt mean I cant try and make a nice pic :)
Previous shots were taken with my P&S so it was nice to use a DSLR so it can be seen in more detail.
The rubber pads on the jaws of the clamp are working great, even on quite slippery surfaces, like shown here mounted on the leg of a tripod.
I have also found (after this photo was taken) that by using a half inch or 12mm M4 nut and bolt, that I can mount several on the clamp and have a choice of mounting points for the ballhead, on the same clamp.
The ballhead assembly can then be taken off the nut and bolt by hand and moved from one mounting point to another.
At one time, I did have 2 flashes mounted on the same clamp :)
So I guess I need to go out and get a few more of these mini tripods to remove the heads. Only a Pound (GB) at Poundland, 5 times that much at Jessops :(
I wasnt going to post a setup shot today, but I guess it wont do any harm showing how all this fitted on the coffee table and it also shows the 2 flashes mounted on the clamp.
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The economy is being dragged down by massive debts taken on by insolvent households. We have tried loan modifications, and they failed. Voluntary principal forgiveness is not forthcoming, so that leaves only one alternative to purging the excess debt: massive strategic default. Massive default... at Widespread strategic default is essential to economic recovery
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this is the left sidebar on ebay, when browsing the Art- original paintings category. You can refine the search by all these parameters.
Some similar advanced search feature is badly needed on Etsy.
May 12, 2019 - Wright's Mothers House located next to his home and studio at 931 Chicago Ave., Oak Park, IL.
"In 1889 Wright completed the construction of a small two-story residence in Oak Park on the Western edges of Chicago. The building was the first over which Wright exerted complete artistic control. Designed as a home for his family, the Oak Park residence was a site of experimentation for the young architect during the twenty-year period he lived there. Wright revised the design of the building multiple times, continually refining ideas that would shape his work for decades to come.
The semi-rural village of Oak Park, where Wright built his home, offered a retreat from the hurried pace of city life. Named “Saint’s Rest” for its abundance of churches, Oak Park was originally settled in the 1830s by pioneering East Coast families. In its early years farming was the principal business of the village, however its proximity to Chicago soon attracted professional men and their families. Along its unpaved dirt streets sheltered by mature oaks and elms, prosperous families erected elaborate homes. Beyond the borders of the village farmland and open prairie stretched as far as the eye could see.
The Oak Park Home was the product of the nineteenth century culture from which Wright emerged. For its design, Wright drew upon many inspirational sources prevalent in the waning years of the nineteenth century. From his family background in Unitarianism Wright absorbed the ideas of the Transcendentalists, Ralph Waldo Emerson and Henry David Thoreau, who encouraged an honest life inspired by nature. The English Arts and Crafts movement, which promoted craftsmanship, simplicity and integrity in art, architecture and design, provided a powerful impetus to Wright’s principles. The household art movement, a distinct movement in middle-class home decoration, informed Wright’s earliest interiors. It aimed, as the name implies, to bring art into the home, and was primarily disseminated through books and articles written by tastemakers who believed that the home interior could exert moral influences upon its inhabitants. These various sources were tempered by the lessons and practices Wright learned under his mentors, Joseph Lyman Silsbee and Louis Sullivan.
For the exterior of his home, Wright adapted the picturesque Shingle style, fashionable for the vacation homes of wealthy East Coast families and favored by his previous employer, Silsbee. The stamp of Sullivan’s influence is apparent in the simplification and abstraction of the building and its plan. In contrast to what Wright described as “candle-snuffer roofs, turnip domes [and] corkscrew spires” of the surrounding houses, his home’s façade is defined by bold geometric shapes—a substantial triangular gable set upon a rectangular base, polygonal window bays, and the circular wall of the wide veranda.
Despite its modest scale, the interior of the home is an early indication of Wright’s desire to liberate space. On the ground floor Wright created a suite of rooms arranged around a central hearth and inglenook, a common feature of the Shingle style. The rooms flow together, connected by wide, open doorways hung with portieres that can be drawn for privacy. To compensate for the modest scale of the house, and to create an inspiring environment for his family, Wright incorporated artwork and objects that brought warmth and richness to the interiors. Unique furniture, Oriental rugs, potted palms, statues, paintings and Japanese prints filled the rooms, infusing them with a sense of the foreign, the exotic and the antique.
In 1895, to accommodate his growing family, Wright undertook his first major renovation of the Home. A new dining room and children’s playroom doubled the floor space. The design innovations pioneered by Wright at this time marked a significant development in the evolution of his style, bringing him closer to his ideal for the new American home.
The original dining room was converted into a study, and a new dining room replaced the former kitchen. The dining room is unified around a central oak table lit through a decorative panel above and with an alcove of leaded glass windows in patterns of conventionalized lotus flowers. The walls and ceiling are covered with honey-toned burlap; the floor and fireplace are lined with red terracotta tile.
The new dining room is a warm and intimate space to gather with family and friends. The Wrights entertained frequently, and were joined at their table by clients, artists, authors and international visitors. Such festive occasions, according to Wright’s son, John, gave the house the air of a “jolly carnival.”
The 1895 playroom on the second floor of the Home is one of the great spaces of Wright’s early career. Designed to inspire and nurture his six children, the room is a physical expression of Wright’s belief that, “For the same reason that we teach our children to speak the truth, or better still live the truth, their environment ought to be as truly beautiful as we are capable of making it.” Architectural details pioneered by Wright in this room would be developed and enhanced in numerous commissions throughout his career.
The high, barrel-vaulted ceiling rests on walls of Roman brick. At the center of the vault’s arc a skylight, shielded by wood grilles displaying stylized blossoms and seedpods, provides illumination. Striking cantilevered light fixtures of oak and glass, added after Wright’s 1905 trip to Japan, bathe the room in a warm ambient glow. On either side of the room, window bays of leaded glass with built-in window seats are at the height of the mature trees that surround the lot, placing Wright’s children in the leafy canopy of the trees outside.
Above the fireplace of Roman brick, a mural depicting the story of the Fisherman and the Genie from The Arabian Nights is painted on the plastered wall. An integral architectural feature within the room, the mural was designed by Wright and executed by his colleague, the artist Charles Corwin. It is a fascinating blend of decorative motifs; forms from exotic cultures—such as Egyptian winged scarabs—are combined with flat, geometric designs that echo the work of Wright’s international contemporaries, Charles Rennie Mackintosh and the Vienna Secessionists.
In 1898 Wright built a new Studio wing with funds secured through a commission with the Luxfer Prism Company. The Studio faced Chicago Avenue and was connected to his residence by a corridor. Clad in wood shingles and brick, the Studio exterior is consistent with the earlier home. However, the long, horizontal profile, a key feature of Wright’s mature Prairie buildings, sets it apart. Adjacent to the entrance, a stone plaque announces to the world, “Frank Lloyd Wright, Architect.” Decorative embellishments and figural sculptures set off the building’s artistic character and impressed arriving clients.
The reception hall serves as the entrance to the Studio. A waiting room for clients and a place for Wright to review architectural plans with contractors, this low-ceilinged space connects the main areas of the Studio—a library, a small office, and the dramatic two-story drafting room, the creative heart of the building.
The studio staff worked on drafting tables and stools designed by Wright in rooms decorated with eclectic displays of artwork and objects. Japanese prints, casts of classical sculptures, as well as models and drawings executed in the drafting room, filled the interiors of the Studio. In Wright’s home the integration of art and architecture served to nurture and intellectually sustain his family. In the Studio, these same elements served a further purpose, the marketing of Wright’s artistic identity to his clients and the public at large.
In September of 1909, Wright left America for Europe to work on the publication of a substantial monograph of his buildings and projects, the majority of which had been designed in his Oak Park Studio. The result was the Wasmuth Portfolio (Berlin, 1910), which introduced Wright's work to Europe and influenced a generation of international architects. Wright remained abroad for a year, returning to Oak Park in the fall of 1910. He immediately began plans for a new home and studio, Taliesin, which he would build in the verdant hills of Spring Green, Wisconsin. Wright’s Oak Park Studio closed in 1910, though Wright himself returned occasionally to meet with his wife Catherine who remained with the couple's youngest children at the Oak Park Home and Studio until 1918. The Home and Studio was the birthplace of Wright's vision for a new American architecture. Wright designed over 150 projects in his Oak Park Studio, establishing his legacy as a great and visionary architect.
Previous text from the following website: flwright.org/researchexplore/homeandstudio
JAC Refine S3
1.590 cc
4 in-line
115 pk @ 6.300 rpm
155 Nm @ 3.500-4.500 rpm
Vmax : 180 km/h
0-100 km/h : 10,5 sec
1.275 kg
CO2 : 174 g/km
434,5 x 176,5 x 164 cm
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Humble Oil and Refining Company was founded in 1911 in Humble, Texas. The company was acquired by Standard Oil of New Jersey in September 1959 and merged with its parent to become Exxon Company in 1973. In 1999, Exxon and Mobil merged to become the ExxonMobil Company.
Getty Refining & Marketing Company located near Delaware City, Delaware. This is an LTI Ladder Tower with fire pump. This unit was designed to flow a high capacity of foam through the aerial piping.
taken May of 1979
Miner's guide P8 - Digging Deeper
All photos should be credited to Fairphone.
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This license lets others remix, tweak, and build upon our work non-commercially, as long as you credit us and license our new creations under the identical terms.
May 12, 2019 - Frank Lloyd Wright Home and Studio located at 951 Chicago Ave., Oak Park, IL.
"In 1889 Wright completed the construction of a small two-story residence in Oak Park on the Western edges of Chicago. The building was the first over which Wright exerted complete artistic control. Designed as a home for his family, the Oak Park residence was a site of experimentation for the young architect during the twenty-year period he lived there. Wright revised the design of the building multiple times, continually refining ideas that would shape his work for decades to come.
The semi-rural village of Oak Park, where Wright built his home, offered a retreat from the hurried pace of city life. Named “Saint’s Rest” for its abundance of churches, Oak Park was originally settled in the 1830s by pioneering East Coast families. In its early years farming was the principal business of the village, however its proximity to Chicago soon attracted professional men and their families. Along its unpaved dirt streets sheltered by mature oaks and elms, prosperous families erected elaborate homes. Beyond the borders of the village farmland and open prairie stretched as far as the eye could see.
The Oak Park Home was the product of the nineteenth century culture from which Wright emerged. For its design, Wright drew upon many inspirational sources prevalent in the waning years of the nineteenth century. From his family background in Unitarianism Wright absorbed the ideas of the Transcendentalists, Ralph Waldo Emerson and Henry David Thoreau, who encouraged an honest life inspired by nature. The English Arts and Crafts movement, which promoted craftsmanship, simplicity and integrity in art, architecture and design, provided a powerful impetus to Wright’s principles. The household art movement, a distinct movement in middle-class home decoration, informed Wright’s earliest interiors. It aimed, as the name implies, to bring art into the home, and was primarily disseminated through books and articles written by tastemakers who believed that the home interior could exert moral influences upon its inhabitants. These various sources were tempered by the lessons and practices Wright learned under his mentors, Joseph Lyman Silsbee and Louis Sullivan.
For the exterior of his home, Wright adapted the picturesque Shingle style, fashionable for the vacation homes of wealthy East Coast families and favored by his previous employer, Silsbee. The stamp of Sullivan’s influence is apparent in the simplification and abstraction of the building and its plan. In contrast to what Wright described as “candle-snuffer roofs, turnip domes [and] corkscrew spires” of the surrounding houses, his home’s façade is defined by bold geometric shapes—a substantial triangular gable set upon a rectangular base, polygonal window bays, and the circular wall of the wide veranda.
Despite its modest scale, the interior of the home is an early indication of Wright’s desire to liberate space. On the ground floor Wright created a suite of rooms arranged around a central hearth and inglenook, a common feature of the Shingle style. The rooms flow together, connected by wide, open doorways hung with portieres that can be drawn for privacy. To compensate for the modest scale of the house, and to create an inspiring environment for his family, Wright incorporated artwork and objects that brought warmth and richness to the interiors. Unique furniture, Oriental rugs, potted palms, statues, paintings and Japanese prints filled the rooms, infusing them with a sense of the foreign, the exotic and the antique.
In 1895, to accommodate his growing family, Wright undertook his first major renovation of the Home. A new dining room and children’s playroom doubled the floor space. The design innovations pioneered by Wright at this time marked a significant development in the evolution of his style, bringing him closer to his ideal for the new American home.
The original dining room was converted into a study, and a new dining room replaced the former kitchen. The dining room is unified around a central oak table lit through a decorative panel above and with an alcove of leaded glass windows in patterns of conventionalized lotus flowers. The walls and ceiling are covered with honey-toned burlap; the floor and fireplace are lined with red terracotta tile.
The new dining room is a warm and intimate space to gather with family and friends. The Wrights entertained frequently, and were joined at their table by clients, artists, authors and international visitors. Such festive occasions, according to Wright’s son, John, gave the house the air of a “jolly carnival.”
The 1895 playroom on the second floor of the Home is one of the great spaces of Wright’s early career. Designed to inspire and nurture his six children, the room is a physical expression of Wright’s belief that, “For the same reason that we teach our children to speak the truth, or better still live the truth, their environment ought to be as truly beautiful as we are capable of making it.” Architectural details pioneered by Wright in this room would be developed and enhanced in numerous commissions throughout his career.
The high, barrel-vaulted ceiling rests on walls of Roman brick. At the center of the vault’s arc a skylight, shielded by wood grilles displaying stylized blossoms and seedpods, provides illumination. Striking cantilevered light fixtures of oak and glass, added after Wright’s 1905 trip to Japan, bathe the room in a warm ambient glow. On either side of the room, window bays of leaded glass with built-in window seats are at the height of the mature trees that surround the lot, placing Wright’s children in the leafy canopy of the trees outside.
Above the fireplace of Roman brick, a mural depicting the story of the Fisherman and the Genie from The Arabian Nights is painted on the plastered wall. An integral architectural feature within the room, the mural was designed by Wright and executed by his colleague, the artist Charles Corwin. It is a fascinating blend of decorative motifs; forms from exotic cultures—such as Egyptian winged scarabs—are combined with flat, geometric designs that echo the work of Wright’s international contemporaries, Charles Rennie Mackintosh and the Vienna Secessionists.
In 1898 Wright built a new Studio wing with funds secured through a commission with the Luxfer Prism Company. The Studio faced Chicago Avenue and was connected to his residence by a corridor. Clad in wood shingles and brick, the Studio exterior is consistent with the earlier home. However, the long, horizontal profile, a key feature of Wright’s mature Prairie buildings, sets it apart. Adjacent to the entrance, a stone plaque announces to the world, “Frank Lloyd Wright, Architect.” Decorative embellishments and figural sculptures set off the building’s artistic character and impressed arriving clients.
The reception hall serves as the entrance to the Studio. A waiting room for clients and a place for Wright to review architectural plans with contractors, this low-ceilinged space connects the main areas of the Studio—a library, a small office, and the dramatic two-story drafting room, the creative heart of the building.
The studio staff worked on drafting tables and stools designed by Wright in rooms decorated with eclectic displays of artwork and objects. Japanese prints, casts of classical sculptures, as well as models and drawings executed in the drafting room, filled the interiors of the Studio. In Wright’s home the integration of art and architecture served to nurture and intellectually sustain his family. In the Studio, these same elements served a further purpose, the marketing of Wright’s artistic identity to his clients and the public at large.
In September of 1909, Wright left America for Europe to work on the publication of a substantial monograph of his buildings and projects, the majority of which had been designed in his Oak Park Studio. The result was the Wasmuth Portfolio (Berlin, 1910), which introduced Wright's work to Europe and influenced a generation of international architects. Wright remained abroad for a year, returning to Oak Park in the fall of 1910. He immediately began plans for a new home and studio, Taliesin, which he would build in the verdant hills of Spring Green, Wisconsin. Wright’s Oak Park Studio closed in 1910, though Wright himself returned occasionally to meet with his wife Catherine who remained with the couple's youngest children at the Oak Park Home and Studio until 1918. The Home and Studio was the birthplace of Wright's vision for a new American architecture. Wright designed over 150 projects in his Oak Park Studio, establishing his legacy as a great and visionary architect.
Previous text from the following website: flwright.org/researchexplore/homeandstudio
refining my signature processing…
press L to view on black
f/1.4│ISO 160│1/90sec (my ND Filter was still mounted…)
LEICA M9-P • LEICA SUMMILUX-M 50 f/1.4 ASPH.
Churchill Falls, Labrador 1 March 2010
Refining arctic fighting skills
Private Ryan Scott, a member of 1st Battalion, Royal New Brunswick Regiment, Fredericton, lights a candle that will illuminate a box made of snow blocks. The soldiers built about 40 snow blocks on both sides of an abandoned runway near Churchill Falls and lit them at night to simulate a night landing for an aircraft.
Soldiers from 1st Battalion, Royal New Brunswick Regiment, Edmonston, Fredericton, Grand Falls and St. John New Brunswick, conduct a sovereignty exercise during EXERCISE STALWART GOOSE in Churchill Falls Labrador along with the guidance and assistance of members from the Canadian Rangers (CR’s) from 5 Canadian Ranger Patrol Group (CRPG), Churchill Falls Patrol.
The Eastern Arctic region of Canada continues to be the focus of strategic importance to the Government of Canada (GoC) and the Canadian Forces (CF) as we fine-tune our capabilities in conducting Sovereignty Exercises (SOVEXs) and Sovereignty Operations (SOVOPs). From this analysis, Churchill Falls, Labrador was chosen for EX SG 10 as it offers the remoteness and limited infrastructure making the conduct of any CF northern operation extremely challenging.
1 Royal New Brunswick Regiment (1RNBR) as the Land force Atlantic Area (LFAA) Arctic Response Company Group (ARCG) toke advantage of this remoteness and incorporate the achievements and lessons learned from EX STALWART GOOSE 09 in conducting this exercise. It is expected that this unit will accomplish the requirements to further develop and refine our arctic war fighting skills whilst fulfilling the task of conducting a SOVEX.
Canadian Forces Image Number LH2009-005-002
By Warrant Officer Jerry Kean with JTFA Public Affairs
_____________________________Traduction
Churchill Falls (Labrador), 1er mars 2010
Améliorer la capacité de combat dans l’Arctique
Le Soldat Ryan Scott, membre du 1er Bataillon, The Royal New Brunswick Regiment, Fredericton, allume une chandelle qui éclairera une boîte faite de blocs de neige. Les soldats construisent environ 40 blocs de neige de chaque côté d’une piste abandonnée, près de Churchill Falls, et, la nuit tombée, les allument pour la simulation de l’atterrissage de nuit d’un avion.
Des membres du 1 RNBR, d’Edmundston, de Grand Sault, de Fredericton et de Saint-Jean au Nouveau-Brunswick, effectuent un exercice de souveraineté dans le cadre de l’exercice Stalwart Goose à Churchill Falls, au Labrador, sous la direction et avec l’aide de Rangers qui font partie du 5e Groupe de patrouilles des Rangers canadiens (5 GPRC) de Churchill Falls.
La région de l’Arctique de l’Est du Canada revêt toujours une importance stratégique pour le gouvernement du Canada (GC) et les Forces canadiennes (FC), en raison de la mise au point de nos capacités de réalisation d’exercices de souveraineté (SOVEX) et d’opérations d’affirmation de la souveraineté (SOVOP). On a donc choisi la région de Churchill Falls, au Labrador, pour l’Ex SG 10, car elle est éloignée et elle offre une infrastructure restreinte, ce qui rend très difficile la réalisation d’une opération nordique par les FC.
Le 1 RNBR, en qualité de groupe-compagnie d’intervention dans l’Arctique du Secteur de l’Atlantique de la Force terrestre (SAFT), a tiré parti de l’éloignement et a intégré les réalisations et les leçons retenues de l’Ex Stalwart Goose 09 à l’exécution de cet exercice. On prévoit que cette unité permettra de respecter les exigences liées à l’amélioration et au peaufinage de nos capacités de combat dans l’Arctique tout en menant à bien un SOVEX.
Image des Forces canadiennes numéro LH2009-005-002
Par l’Adjuvant Jerry Kean, Affaires publiques de la FOIA
TAMBUA
Australian
Owners: Colonial Sugar Refining Co Ltd
Port of Registry: AUS Sydney
IDNo:5351636
Year:1938
Name:TAMBUA
Keel:
Type:Cargo ship
Launch Date:27.5.38
Flag:AUS
Date of completion:7.38
Tons:3566
Link:1619
DWT:
Yard No:376
Length overall:
Ship Design:
LPP:110.8
Country of build:GBR
Beam:15.3
Builder:Caledon SB & E Co
Material of build:
Location of yard:Dundee
Number of
screws/Mchy/
Speed(kn):1T-11
Naval or paramilitary marking :
A:*
End:1973
Subsequent History:
[part molasses tanker] - 68 MARIA ROSA
Disposal Data:
BU Kaohsiung 7.1.73, work began 22.1.73 [Chin Ho Fa Steel & Iron Co]
Details: Mirimar Ship Index
Photo Credits: The late Don Ross collection