View allAll Photos Tagged Reusable
The purpose - where I start - is the idea of use. It is not recycling, it's reuse.
~ Issey Miyake
Saori style handwoven wrap created from reclaimed fibers..
More on the blog at:
Bangor Craftivist first open get together, making re-useable shopping bags. Six of us met at the Greenhouse community centre and had an enjoyable evening of crafting, tea and cake :)
We all put slogans and logos on our bags which inspire us and make a statement that we feel is important to share. When we are filling our bags with shopping, or using them for our swimming kit(!) they will remind us or someone else who sees them, and might spark some interesting conversations!
National Register of Historic Places, No. 92000382, 1992
Los Angeles Historic-Cultural Landmark No. 178, 8/17/77
__________
The Herold-Examiner Building
1111 S Broadway.
Downtown, South Park, Los Angeles, CA
Julia Morgan
On February 26, 2011, we were invited by the Los Angeles Historic Theater Foundation (LAHTF) to preview the newly restored Belasco Theater on Hill Street, in the South Park neighborhood of Downtown Los Aneles. Ordinarily, "adaptive reuse" is a dirty word to a hard-core preservationist, but the rennovations made to the Belasco are sensitive to the architecture, and give new life to an otherwise vacant building. Working with the LAHTF and the Los Angeles Conservancy, the owner of the Belansco has created a wonderful, and vibrant entertainment complex. Restored to Department of Interior standards, and adapted for a multitude of uses, this theater is destined to become a new Los Angeles hot spot.
The story goes that Edward Doheny, who lived just southwest in Chester Place, wanted a theater closer to his residence. At the time, many of the older theaters on Broadway were in decline and beginning to turn burlesque. On land owned by his oil company, he commissioned Morgan, Walls, and Clements to create two new venues -- the Belasco (HCM-476) with a close space designed for plays, and the Mayan (HCM-460), for musicals. The theaters were completed and opened in 1926 and 1927 respectively. They Mayan took on a pre-columbian theme, while the Belasco incorporaes several different Spanish themes, including: Churrigueresque, Spanish Renaissance, Moorish, and Gothic. Doheeny choose Frederick Belasco (brother to David and Edward Belasco of the New York Belasco theaters) to run the new venue. The Belasco's opening production was Gentlement Prefer Blonds. After the theater closed, it was converted into a movie palace, became home to the Gospel Temple, and later the Metropolitan Community Church (MCC), before being acquired by the current owner.
I love my little point-and-shoot Sony T100. However, in the low light of the theater I had to use the OSI setting. As a result the interior appears an erie Victorian red, even though it's mostly blue and gold. No amount of tinting would help, so the pictures are what they are.
After the tour we decided to take a walk around the block to see what other architectural treasures were in the neighborhood:
-- The Mayan Theater (HCM-460). 1040 S Hill St. Built in 1927, the theater opened with George Gershwin's "Oh Key." It was designed by Morgan, Walls, and Clements, and is only one of eight buildings in Los Angeles designed in the Pre-Columbian (Mayan Revival) style. The hand-carved wall scuptures were created by Mexican artist Francisco Cornejo.
-- The White Log Cabin Coffee Shop. Across the street from the Belasco is an amazing little piece of Los Angeles Programmatic archiecture in the form of a quaint log cabin. Built in 1932 and designed by Kenneth Bemis, it began life as the White Log Cabin Coffee Shop. Later it was painted red and became Tony's Burgers. Today it survives as the El Comedor Mexican Grill.
-- The YWCA (Woman's Athletic Club). 1031 S Broadway. Designed by Allison and Allison in the Italian Renaissance style, the structure is impressive but in sad need of repair. Today it serves as a home of the Los Angeles Jobs Corps.
-- The Herold-Examiner (NRHP-92000382, HCM-178). 1111 S Broadway. The Harold-Examiner is a Mission and Spanish Colonial Revival masterpiece, built in 1912 by legendary California architect Julia Morgan, for William Randolph Hearst. It is said she took inspiration from A. Page Brown's California Building of the 1983 World Columbian Exposition in Chicago, however Gebhard and Winters owe this more to a coinciidence of styles. The building's colorful domes and open-arched arcades are it's most notable features, but the arches were closed in during a 10-year strike that lasted from 1967 to 1977. The Herold-Examiner finally closed it's doors November 2, 1989, and the building -- still owned by the Hearst family -- has remained shuttered ever since. Despite a scare in the early 1990's when the Hearst family wanted to tear down the building for a parking lot, it survives in relatively good condition (thanks in part to community outcry and it's designation as both a National Register of Historic Places and a Los Angeles Historic-Cultural Ladmark).
The Belasco Theater: thebelasco.com/Main/Main.htm
The Mayan Theater: clubmayan.com/
The Los Angeles Historic Theater Foundation (LAHTF): www.lahtf.org/
Wikipedia: The Los Angeles Herold-Examiner: en.wikipedia.org/wiki/Los_Angeles_Herald-Examiner
www.recyclart.org/2012/09/broken-odds-and-ends-make-beaut...
I've been creating brooches from reused jewelry for a few years, but have only recently decided to pursue it head on. So much up-cycled jewelry has the "recycled junk, eclectic" look to it, which is a beautiful aesthetic. But, I wanted to make it more simple. I wanted to transform what I was finding, first by modernizing it without losing its vintage/aged charm. Second, by making the items look as though they were meant to be together. I especially wanted to have the balance of design elements such as texture, color, and space. Here are some examples of what I've come up with. Enjoy!
++ More information at Pinup Brooches by Kaylin Lang website !
Idea sent by Kaylin Lang !
Los Angeles Historic-Cultural Landmark No. 476
__________
The Belasco Theater, 1926
1046 - 1054 S Hill St.
Downtown, South Park, Los Angeles, CA
Morgan, Walls, and Clements
On February 26, 2011, we were invited by the Los Angeles Historic Theater Foundation (LAHTF) to preview the newly restored Belasco Theater on Hill Street, in the South Park neighborhood of Downtown Los Aneles. Ordinarily, "adaptive reuse" is a dirty word to a hard-core preservationist, but the rennovations made to the Belasco are sensitive to the architecture, and give new life to an otherwise vacant building. Working with the LAHTF and the Los Angeles Conservancy, the owner of the Belansco has created a wonderful, and vibrant entertainment complex. Restored to Department of Interior standards, and adapted for a multitude of uses, this theater is destined to become a new Los Angeles hot spot.
The story goes that Edward Doheny, who lived just southwest in Chester Place, wanted a theater closer to his residence. At the time, many of the older theaters on Broadway were in decline and beginning to turn burlesque. On land owned by his oil company, he commissioned Morgan, Walls, and Clements to create two new venues -- the Belasco (HCM-476) with a close space designed for plays, and the Mayan (HCM-460), for musicals. The theaters were completed and opened in 1926 and 1927 respectively. They Mayan took on a pre-columbian theme, while the Belasco incorporaes several different Spanish themes, including: Churrigueresque, Spanish Renaissance, Moorish, and Gothic. Doheeny choose Frederick Belasco (brother to David and Edward Belasco of the New York Belasco theaters) to run the new venue. The Belasco's opening production was Gentlement Prefer Blonds. After the theater closed, it was converted into a movie palace, became home to the Gospel Temple, and later the Metropolitan Community Church (MCC), before being acquired by the current owner.
I love my little point-and-shoot Sony T100. However, in the low light of the theater I had to use the OSI setting. As a result the interior appears an erie Victorian red, even though it's mostly blue and gold. No amount of tinting would help, so the pictures are what they are.
After the tour we decided to take a walk around the block to see what other architectural treasures were in the neighborhood:
-- The Mayan Theater (HCM-460). 1040 S Hill St. Built in 1927, the theater opened with George Gershwin's "Oh Key." It was designed by Morgan, Walls, and Clements, and is only one of eight buildings in Los Angeles designed in the Pre-Columbian (Mayan Revival) style. The hand-carved wall scuptures were created by Mexican artist Francisco Cornejo.
-- The White Log Cabin Coffee Shop. Across the street from the Belasco is an amazing little piece of Los Angeles Programmatic archiecture in the form of a quaint log cabin. Built in 1932 and designed by Kenneth Bemis, it began life as the White Log Cabin Coffee Shop. Later it was painted red and became Tony's Burgers. Today it survives as the El Comedor Mexican Grill.
-- The YWCA (Woman's Athletic Club). 1031 S Broadway. Designed by Allison and Allison in the Italian Renaissance style, the structure is impressive but in sad need of repair. Today it serves as a home of the Los Angeles Jobs Corps.
-- The Herold-Examiner (NRHP-92000382, HCM-178). 1111 S Broadway. The Harold-Examiner is a Mission and Spanish Colonial Revival masterpiece, built in 1912 by legendary California architect Julia Morgan, for William Randolph Hearst. It is said she took inspiration from A. Page Brown's California Building of the 1983 World Columbian Exposition in Chicago, however Gebhard and Winters owe this more to a coinciidence of styles. The building's colorful domes and open-arched arcades are it's most notable features, but the arches were closed in during a 10-year strike that lasted from 1967 to 1977. The Herold-Examiner finally closed it's doors November 2, 1989, and the building -- still owned by the Hearst family -- has remained shuttered ever since. Despite a scare in the early 1990's when the Hearst family wanted to tear down the building for a parking lot, it survives in relatively good condition (thanks in part to community outcry and it's designation as both a National Register of Historic Places and a Los Angeles Historic-Cultural Ladmark).
The Belasco Theater: thebelasco.com/Main/Main.htm
The Mayan Theater: clubmayan.com/
The Los Angeles Historic Theater Foundation (LAHTF): www.lahtf.org/
Wikipedia: The Los Angeles Herold-Examiner: en.wikipedia.org/wiki/Los_Angeles_Herald-Examiner
We were given two free reusable grocery bags at the Giant in Columbia Heights today. I think we're going to leave them by the front door to remind us to actually use them, in light of DC's new 5 cents per platic bag tax. We already have reusable bags but forget to bring them with us half the time.
Blogged:
dendroica.blogspot.com/2010/01/dc-bag-tax-reducing-plasti...
www.welovedc.com/2010/03/30/dc-bag-tax-nets-150000-for-an...
blog.liveserramar.com/go-green/byob-bring-your-own-bag/
www.digitalpicturezone.com/featured/11-eco-friendly-techn...
dcist.com/2010/11/sen_chuck_schumer_calls_for_reusabl.php
dcist.com/2011/02/survey_says_bag_tax_not_harmful_to.php
dcist.com/2012/01/those_reusable_bags_can_kill_you.php
www.washingtoncitypaper.com/blogs/citydesk/2012/03/05/pri...
Girl Scout Troop #41280 in Bethal, Ohio. They are a part of the Girl Scouts of Western Ohio Council.
Title of Artwork - :Reduse, Reuse, & Recycle"
Looks like this artwork is hand woven.
(We will add more information shortly)
Project Organizer - Deborah Davis
★What IS THE INTERNATIONAL FIBER COLLABORATIVE?
As the leading voice for collaborative public art projects around the world, the International Fiber Collaborative is dedicated to promoting understanding and appreciation of contemporary art & craft through educational experiences. We are committed to developing vital education programs that elevate, expand, modernize and enhance the image of collaboration and education today.
★WHAT IS THE DREAM ROCKET PROJECT?
The Dream Rocket Team is collecting nearly 8,000 artworks from participants around the globe. The artwork will be assembled together to create a massive cover in which will wrap a 37 story Saturn V Moon Rocket at the U.S. Space & Rocket Center in Huntsville, Alabama. We will also be displaying submitted artwork in dozens of national venues prior to the wrapping of the Saturn V. Additionally, we are posting images of submitted artwork & their stories on our Website, Flickr, and Facebook.The Dream Rocket project uses the Saturn V Moon Rocket as a symbolism of universal values of the human spirit. Optimism, hope,
caring for our natural resources, scientific exploration, and harnessing technological advancements for a better quality of life while safeguarding our communities, are all common desires across national and international boundaries. Participants are able to express and learn about these values through this creative collaboration. With the completion of each artwork, participants are asked to write an essay explaining their artwork, and the dream theme in which they chose.
★How can I Participate & Have my Artwork Displayed?
The Dream Rocket project would like to challenge you to ‘Dare to Dream’. To dream about your future and the future of our world through dream themes such as health, community, conservation, science, technology, space, peace, and so on. We would like you to use your selected Dream Theme to express, explore, and create your vision on your section of the wrap. We hope that you are able to express and learn through this creative collaboration. With the completion of each artwork, you are asked to write a brief essay explaining your artwork, and the dream theme in which you chose.
“The Saturn V is the ideal icon to represent a big dream. This rocket was designed and built as a collaboration of nearly half-a-million people and allowed our human species to venture beyond our world and stand on ANOTHER - SURELY one of the biggest dreams of all time. ENABLING THE DREAMS of young people to touch this mighty rocket sends a powerful message in conjunction with creating an educational curriculum to engage students to embrace the power of learning through many important subjects”
-Neil deGrasse Tyson, Director of the Hayden Planetarium, New York
★I VALUE THE ARTS!!!!
The International Fiber Collaborative is able to share the power of a collaboration and art, thanks to the support of generous individual donors. We welcome any amount of donations and remember the International Fiber Collaborative is exempt under Section 501(c)(3) of the Internal Revenue Code, making this gift tax deductible.
Donate Today at: www.thedreamrocket.com/support-the-dream-rocket
See our Online Flickr Photo Album at: www.flickr.com/photos/thedreamrocket/
★★★SIGN UP AT WWW.THEDREAMROCKET.COM
Made for a friend from some home decorator fabric I bought on sale and didn't know what to do with. :)
Wonderful DIY Reusing Girl’s Clothes Last
It starts when you announce your pregnancy; friends and family just can’t resist giving you all sorts of baby clothing. From hats …
super interesting to se where these things end up.
www.ehow.co.uk/facts_5728909_shipping_-receiving-clerk-jo...
quartet shipping boxes pic.
It's the Flame Skipper- proboscis, the spiral thingie it uses to sip nectar by uncurling it down to the bottom of the flower where the nectar is. It 11 can also completely curl it up under its "chin" when done.
It's on a Fiddleneck wildflower which is a favorite 07454557favorite 2.223232322223122322223332
(The cat typed the last part of the previous sentence [after the first "favorite" ] while cleaning itself on top of my tablet. He even opened the "show more stats" before leaving. 😸)
MLK Shoreline Regional Park, Oakland, CA
Edward (Edmund) Holmes Day was born in Beverley in 1887. He married Daisy May Welburn in 1910. They had three sons. He was employed as a tanner’s labourer.
Edmund enlisted with the Yorkshire Regiment in April 1915 and soon found himself in France as part of the 150th Brigade, 50th Northumbrian division.
He was involved in the Battles of the Somme and following the clearance of Delville Wood a deep advance was made towards Flers. The British using tanks for the first time in the battle known as Flers Courcelette, it was on the first day of this battle that he was killed in action. He lies in the Adanac Military Cemetery, Miraumont, France and is commemorated on the East Riding Memorial in Beverley Minster, the War Memorial in Hengate and on the Hodgson’s Tannery Roll of Honour.
For any enquiries about this image please quote the archive reference 'WL'.
(Copyright) We're happy for you to share this digital image within the spirit of Creative Commons. Please cite 'East Riding Archives ' when reusing.
Certain restrictions on high quality reproductions and commercial use of the original physical version apply. If unsure please email archives.service@eastriding.gov.uk
(Why not try searching our East Riding of Yorkshire Map for more historic images? www.flickr.com/photos/erarchives/map )
This is a picture of some recycling containers in the biology building. This helps make the building green by being environmentally friendly. There are several different kinds of recycling containers located on campus including paper and plastic.
I am going to post this as is for now, Iteration 1. Besides USPTO issued patent on the tanks last week. What is that? SS1, Single Stage to orbit Smallsat Launches to LEO. Orbital debris removal, satellite servicing. etc. Eliminating rockets, forever.
Launch cost estimates for 200 LBS? $50,000 USD... Correct. How? Slows it's itself down to 8,000 mph before re-entry which results in very little wear on the aircraft along with very high thermal resistance. It does not use liquid fuels, and unlike the other SSTO's I have designed and ready to be built, this is not a scramjet. This does not use rocket boosters. Takes off from a runway under its own power.. hence SSTO
space, ssto, space plane, ussf, space force, smallsat, orbital debri, satellite service, hypersonics, hypersonic, hydrogen, graphene, solar electric propulsion, satellite propulsion, satellites, Space Tech, Reusable Rockets, Sustainable Space, Rocket Engine, Space flight, darpa, defwerx, sda, Virgin Orbit, Sierra Nevada Corporation, NASA, National Aeronautics and Space Administration, AFWERX, Advanced Research Projects Agency, DARPA, Air Force Research Laboratory, Firefly Aerospace, European Space Agency, ESA, SpaceX, ARIANE SPACE, Axiom Space, Airbus Defence and Space, United States Space Force, Virgin Orbit Sierra Nevada Corporation NASA - National Aeronautics and Space Administration AFWERX Defense Advanced Research Projects Agency (DARPA) Air Force Research Laboratory Firefly Aerospace European Space Agency - ESA SpaceX ARIANESPACE Axiom Space Airbus Defense and Space United States Space Force
The Helms Bakery on the border of Los Angeles and Culver City, California, was a notable industrial bakery of Southern California that operated from 1931 to 1969. The buildings have now been adapted for reuse as retail shops, restaurants and the interior design trade showrooms and the complex is part of what is now called the Helms Bakery District.[1] In 1926, Paul Helms of New York took an early retirement for health reasons and moved his family to Southern California and its mild climate. Helms started construction on a building between Washington and Venice Boulevards in 1930 and, on March 2, 1931, the Helms Bakery opened with 32 employees and 11 delivery coaches (trucks).
By the next year, the Helms Bakery had become the "official baker" of the 1932 Summer Olympics when Paul Helms won a contract to supply bread for the 1932 games in Los Angeles. His slogan was "Olympic Games Bakers - Choice of Olympic Champions."[2] Four years later in time for the 1936 Summer Olympics Germany asked Helms for his bread recipes to feed to the German Olympic team. His relationship with Olympians continued in later years, the U.S. teams at London and Helsinki requested his bread be served.[3] Early Helms vehicles sported the Olympic symbol, and it also appeared on, and was mentioned in, the Helms logo on the bread wrappers,[4] the company logo and sign.[5] Despite never being sold in stores, Helms baked products soon became known to millions of consumers. The Helms motto was "Daily at Your Door" and every weekday morning, from both the Culver City facility and a second Helms Bakery site in Montebello, dozens of Helms coaches,[6] painted in a unique two-tone scheme, would leave the bakery for various parts of the Los Angeles Basin, some going as far as the eastern San Gabriel Valley. This is remarkable because the network of freeways had not yet been built, so the trip might take an hour or more. One of each of these coaches is on display at the Petersen Automotive Museum in Los Angeles,[7] Lyon Air Museum in Santa Ana, and the LeMay Car Museum in Tacoma, WA. In an apparent tribute to the Helms Bakery, a churro cart ("Willie's Churros") in Disney California Adventure is styled and painted to resemble a Helms delivery truck.
Each coach would travel through its assigned neighborhoods, with the driver periodically pulling (twice) on a large handle which sounded a distinctive whistle or stop at a house where a Helms sign, a blue placard with an "H" on it, was displayed in their windows.[8] Customers would come out and wave the coach down, or sometimes chase the coaches to adjacent streets. Wooden drawers in the back of the coach were stocked with fresh donuts, cookies, pastries and candies, while the center section carried dozens of loaves of freshly baked bread. Products often reached the buyers still warm from the oven. Helms Bakery coaches were originally manufactured by Twin-Coach, a delivery truck firm in Kent, Ohio, and were designed similar to that firm's buses, only smaller. In the 1930s, the Fageol brothers merged Twin-Coach with Divco, another delivery truck maker based in Detroit, Michigan. Until WWII both Twin-Coach and early Divco vehicles were manufactured by the merged Divco-Twin Truck Company in a new factory opened in 1939 on Hoover Road in suburban Detroit.
In 1937 the firm had introduced a new, very modern looking (for the era) snub-nosed delivery vehicle based on a design similar to Chrysler's Airflow, which by WWII had captured most of the market for Divco. Trucks made with the older Twin-style bodies were discontinued when the factory switched to military parts in WWII, and were never resumed. The Twin name was dropped from the company at the same time. But Helms still wanted the older design which had become iconic to their home delivery business, so they bought unfinished snub-nosed chassis from Divco and had them finished with newly made older style bodies by several local California Truck body manufacturers. An example of this style truck may be found at the Petersen Automotive Museum in Los Angeles. Helms' later Divco chassis coaches were powered by various engines, including motors purchased from Nash and Studebaker.[citation needed]
Paul Helms died on January 5, 1957 at age 67, but the business continued to operate, run by family members. Its delivery network gradually grew to include Fresno to the north; San Bernardino to the east, and south to Orange County and San Diego. In the company's final year of operation, a clever marketing campaign netted Helms a contract to furnish "the first bread on the moon," via the Apollo 11 space mission. The San Bernardino facility was located on the northeast corner of Mt Vernon Avenue and Birch Street. After Helm Bakeries closed that location, it was taken over as a small warehouse by FEDCO Corporation, which has since gone out of business as well. The building in San Bernardino is still there, housing a mattress and home furnishings business.
Although popular, the Helms method of neighborhood delivery was doomed both by the expense of sending their coaches hundreds of miles each week and by the advent of the supermarket, which stocked products from other (less expensive) bakeries, which delivered once or twice each week. The Helms company ceased operations in 1969. The Marks family purchased Helms Bakery in the early 1970s and since then, they have completed a rare feat in Los Angeles - successful transformation and adaptive reuse of a historic structure. Covering the 11 acres, the many improvements include restoring original neon signs on the roofs, creating two historic murals, installing two large photovoltaic solar arrays, restoring the Zigzag Moderne detailing, reinventing retail, home furnishings and eateries, as well as creating a home for top-flight media and arts related companies. To honor the history of the bakery, a small museum was installed inside one of the retail stores.
The closure of Helms Avenue to through traffic created a new pedestrian plaza giving the neighborhood a much deserved community space, Helms Walk. The closed portion of Helms Avenue has been developed with trees, lawn areas, a water feature, free Wi-Fi, music and basalt pavers creating a new found space – a meeting place to sip coffee, chat with an old friend or simply “remember the day”. Helms Bakery's most recent addition closest to the Culver City station on the Expo Line is the newly created Helms Design Center. Featuring five to-the-trade contract showrooms with well-known brands such as Vitra, Louis Poulsen, Adotta, Bolon, Snowsound, and The Splash Lab, the center is a destination for commercial architects and designers. Lastly, a 200-car automated parking structure has been constructed, a first for Culver City, and in its making the bakery building continues to be a leader in civic mindedness with an eye to technological advances and innovations to the built environment and urban fabric. There are several retail stores now located at the Helms Bakery District. There is a Helms Bakery Collectors Club, established as a resource for Helms fans to obtain literature, memorabilia and even Helms Coaches.
Made for okwiccan. ATC with hand-made Japanese paper doll.
Materials: Background (reused paper bag from Taiwan); stickers; kimono and obi (yuzen washi); viscose string on obi; hair decor (nail art sticker).
Having just done a delivery on the same road I was pleased to see this old friend so pulled over to take a quick shot of it
Rather than throw out your old toothbrush, reuse it and give it new life as something else...it's called recycling!
Visit:
www.squidoo.com/ReuseToothbrushes
...for more info
Olean, NY. March 2025.
If you would like to use THIS picture in any sort of media (such as newspaper or article) please send me a Flickr mail or an e-mail at natehenderson6@gmail.com.
La Basilica di Santa Maria in Trastevere è una chiesa di Roma, la più importante del rione Trastevere.
Fondata nel III secolo da papa Callisto I, la chiesa fu poi rinnovata sotto papa Innocenzo II (1130-1143).
La facciata, che conserva nella parte superiore un mosaico del XIII secolo, è preceduta dal portico progettato da Carlo Fontana (1702).
All'interno, a tre navate su colonne ioniche architavate (ispirato a Santa Maria Maggiore), si notano il bel soffitto ligneo, disegnato da Domenichino (autore anche dell'Assunzione al centro) e alcune pitture risalenti al restauro del XIX secolo, sotto papa Pio IX. Nella prima cappella della navata destra si trova Santa Francesca Romana di Giacomo Zoboli mentre nella seconda cappella la Natività di Etienne Parrocel. Nella conca dell'abside si può ammirare un mosaico con l'Incoronazione della Madonna (XII secolo), ornato, nella parte inferiore, da Storie della Vergine, sempre a mosaico, opera di Pietro Cavallini (1291). La prima cappella della navata sinistra è la cappella Avila, con stucchi in stile barocco di Antonio Gherardi (1680). Tra la quarta e la terza cappella v'è la tomba di Innocenzo II opera dell'architetto Vespignani che tra il 1866 e il 1877 eseguì un restauro stilistico della chiesa. Nella terza cappella lunette, sofitto e pala d'altare di Ferrau Tenzone. Tra le altre opere d'arte si segnala l'icona della Madonna della Clemenza o Madonna Theotokòs, preziosissimo esemplare risalente forse al VI secolo (ma alcuni storici suppongono all'VIII), dalla rigida frontalità e i colori smaglianti messi in relazione con il primo strato di affreschi della chiesa di Santa Maria Antiqua. La cappella Altemps risale alla fine XVI secolo.
This is the queen of the churches in Trastevere. The inscription on the episcopal chair states that it is the first church dedicated to the Mother of God, although some claim that privilege belongs to the Basilica di Santa Maria Maggiore. In its foundation it is certainly one of the oldest churches in the city. A Christian house-church was founded here about 220 by Pope Saint Callixtus I (217-222) on the site of the Taberna meritoria, an asylum for retired soldiers. The area was given over to Christian use by the Emperor Septimius Severus when he settled a dispute between the Christians and tavern-keepers, saying, “I prefer that it should belong to those who honor God, whatever be their form of worship.” In 340 Pope Julius I (337-352) rebuilt the titulus Callixti on a larger scale, and it became the titulus Iulii commemorating his patronage, one of the original twenty-five parishes in Rome; indeed it may be the first church in which Mass was celebrated openly. It underwent two restorations in the fifth and eighth centuries. In 1140-43 the church was re-erected on its old foundations under Pope Innocent II.[1] The richly carved Ionic capitals reused along its nave were taken either from the ruins of the Baths of Caracalla[2] or the nearby Temple of Isis on the Janiculum. When scholarship during the nineteenth century identified the faces in their carved decoration as Isis, Serapis and Harpocrates, a restoration under Pius IX in 1870 hammered off the offending faces.[3]
The 13th-century mosaics in the apse are attributed to Pietro Cavallini.
The predecessor of the present church was probably built in the early fourth century although that church was the successor to one of the tituli, those Early Christian basilicas that were ascribed to a patron and perhaps literally inscribed with his name. Though nothing remains to establish with certainty where any of the public Christian edifices of Rome before the time of Constantine the Great were situated, the basilica on this site was known as Titulus Callisti, since a legend in the Liber Pontificalis ascribed the earliest church here to a foundation by Pope Callixtus I (died 222), whose remains, translated to the new structure, are preserved under the altar.
..:: Autorisation disponible ::..
Copyright By Corsu, All rights reserved. Do not copy or otherwise reuse my photos.
See flickr TOS (Terms of service) on how to link back to a photo. Contact me if you want a print or e-copy.
© By Corsu.
Copyright By Corsu, Tous droits réservés. Ne pas copier ou toute autres réutilisations de mes photos sont interdites.
Contactez-moi pour une e-copie.
© By Corsu.
This was a great way to use reuse some of the trash we generate. Since all the trash goes into $3.00 trash bags, less is a good thing.
Unimpressed with the reusable k-cup I bought for the Keurig. Somethings not right with the design because there are grounds in my mug. Not acceptable. Bought it quite a while back so I can't return it, so it'll end up in the donation box - perhaps someone else can make it work. I've made a smaller cup of coffee (using onely 1 T of grounds) it still didn't work. I think the problem is the hole in the top is too large and the water and grounds are coming back up through the top and then dripping down the sides into my mug. I'm sorely disappointed because I purchased a bag of nice coffee and was hoping to enjoy it. If anyone has a model of reusable k-cup for the older keurigs that works well, please let me know - I'd prefer to buy on recommendation... Excuse me while I go brush my teeth 8-)
I have been working on making some reusable bags. I like this one because it has long handles and is a heavy upholstery fabric that some one gave me. It's lined and about 16" x 16".
Creeya is the latest modular exhibition stand design offering, loaded with unique features. Modular exhibition system Creeya is also termed as- custom modular trade show exhibit displays or custom modular trade show stand designs, since it allows myriad customized configurations. It’s locking & extension mechanism makes this modular exhibition design system applicable in the range from 3x3 sq m – 3x6 sq m exhibition stall designs to 36+ sq m large island modular trade show displays. These stall designs are completely tool free making messebau (stand construction) quick and hassle free. These custom modular Trade Show Exhibition stands are also available as Modular Trade Show Rentals. Exhibition booth rental facility gives custom modular cost advantage providing complete value to your spent even on rental exhibits. This modular exhibition stand design encompasses the versatility of fabric substrate walls as well as the possibility of using rigid panels on front and back sides. Creeya is unique since it can be easily configured with other exhibition systems or Messestände (trade show booths) to make hybrid trade show booth designs to fit every budget. Creeya Modulare Messestände (modular booth) system is ideal for trade shows, events, conferences, exhibitions and point of purchase displays. Creeya is most innovative trade show display since it embraces the ten most essential elements which any trade show exhibiting system or booth design must have, viz:
Light Weight,
Tool Free,
Quick Set-up,
Modular system,
Stable exhibit,
Double sided graphic walls,
Eco-friendly fabric walls,
LED lighting,
Do it yourself ease,
Easy to transport.
Here are my entries for ReUse Project 3. This project is asking people to reuse anything they can get their hands on for a bit of artistic doodling, and the results will be shown in an abandoned building in Israel.
Exif:
Nikon D7000
AF Nikkor 80-200mm 2.8D ED Pro Telephoto lens
ISO-100
F/2.8
1/1600th sec
Hand-held
Find us on Facebook: www.facebook.com/TheJordanCollectivePhotography
___________________________________________________________________________
© The Jordan Collective Photography, under the Creative Commons (Attribution-NonCommercial-NoDerivs 3.0 Unported) License.
You are free to share - to copy, distribute and transmit the work, under the following conditions:
Attribution — You must attribute the work in the manner specified by the author or licensor (but not in any way that suggests that we (The Jordan Collective) endorse you or your use of the work).
Noncommercial — You may not use this work for commercial purposes.
No Derivative Works — You may not alter, transform, or build upon this work.
Waiver — Any of the above conditions can be waived if you get permission from The Jordan Collective Photography. You must contact us BEFORE the image is used in any way that conflicts with the current license. We often grant waivers, but you must contact us FIRST.
Public Domain — Where the work or any of its elements is in the public domain under applicable law, that status is in no way affected by the license.
Other Rights — In no way are any of the following rights affected by the license:
•Your fair dealing or fair use rights, or other applicable copyright exceptions and limitations;
•The author's moral rights;
•Rights other persons may have either in the work itself or in how the work is used, such as publicity or privacy rights.
Notice — For any reuse or distribution, you must make clear to others the license terms of this work. We recommend you either link back to this page, or to our website (www.TheJordanCollective.com)
Description: View of the front facade of the C. H. Hanson Company building (303 West Erie Street), located at the southwest corner of West Erie Street and North Franklin Street. The main entrance has been remodeled, and the building is currently used for office and retail space. The C. H. Hanson Company now occupies a facility in Naperville, Illinois.
Photographer: Brubaker, C. William, 1978
Architecture Date: 1978
Geographic coverage: Near North Side (Chicago, Ill.); River North (Chicago, Ill.)
Collection: C. William Brubaker Collection (University of Illinois at Chicago)
Repository: University of Illinois at Chicago. Library. Special Collections Department
File Name: bru009_04_iF
Rights: This image may be used freely, with attribution, for research, study and educational purposes. For permission to publish, distribute, or use this image for any other purpose, please contact Special Collections and University Archives, University of Illinois at Chicago Library at lib-spec@uic.libanswers.com
For more images from the collection, visit collections.carli.illinois.edu/cdm/landingpage/collection/uic_bru...
KLIO - Die Rührende, Muse der Geschichtsschreibung
MELPOMENE - Die Singende, Muse der Tragödie
THALIA - Die Blühende, Muse der Komödie
KALLIOPE - die Schönstimmige, Muse der epischen Dichtkunst
TERPSICHORE - Die im Reigen Tanzende, Muse des Tanzes
EUTERPE - Die Erfreuende, Muse der Musik
ERATO - Die Liebevolle, Muse der Liebesdichtung
URANIA - Die Himmliche, Muse der Astronomie
POLYHYMNIA - die Hymnenreiche, Muse der lyrischen Dichtkunst
Apollo und die neun Musen
Der Figurenzyklus hat sein Zentrum und seinen Ausgangspunkt in der Figur von Apollon, den Sohn von Göttervater Zeus und der Titanentochter Leto. Als Gott der Künste, vor allem der Musik und des Gesangs, wird Apollon mit der Lyra dargestellt, die er von dem Götterboten Hermes geschenkt bekommen hatte. In seiner Funktion als Musenführer trägt er den Beinamen Musagetes. Die Musen, Töchter von Zeus und der Titanin Mnemosyne, bewohnen den Parnass und begleiten das Göttermahl mit Musik und Gesang.
Der Musensaal
Der Musensaal ist das repräsentative Zentrum der Habsburgischen Prunkräume. Der prächtig gestaltete Festsaal wurde 1822-1825 im Sinne eines Gesamtkunstwerks von Joseph Kornhäusel 1772-1860 für Erzherzog Carl (1771-1847) hergestellt. Kornhäusels künstlerischer Partner Joseph Klieber (1773-1850) versah ihn mit den namensgebenden Figurenzyklus Apollo und die neun Musen. Die überlebensgroßen, griechisch-mythologischen Gottheiten stellen das umfangreichste Skulpturenensemble des Wiener Klassizismus dar. Joseph Klieber war ein glühender Verehrer von Antonio Canova (1757-1822) und fertigte deshalb die gegenüber Apollon aufgestellte Muse des Tanzes Terpsichore exakt nach dem Entwurf von dessen berühmter Danzatrice. Erzherzog Carl pflegte mit seiner Familie im Musensaal zu speisen, wobei ein verstecktes Panharmonicum, eine Art Musikautomat, die Tafel musikalisch untermalte. In diesem prachtvollen Ambiente fanden auch Soireen und Bälle statt, die durch die fünf mächtigen, feuervergoldeten und bronzierten Kristallluster sowie mehrere freistehende Kandelaber zwischen den Statuen prächtigst illuminiert wurden.
(further information about the world of the Habsburg you can get by clicking on the link at the end of page!)
The Hall of the Muses
The Hall of the Muses, the spatial and ceremonial center of the state apartments, served as a dining room and offered the prestigious setting for glamorous soirees and splendid balls.
Five gorgeous crystal chandeliers enlighted the room in light brightness, 258 additional candles that were additionally anchored in the running rosette frieze, plunged it in a sea of lights.
Hall of the Muses © Albertina, Vienna (Photo: Alexander Ch Wulz)
Musensaal
To the splendid appearance of the hall also contribute the precious stucco marble panelings of the wall panels and pilasters as well as the gilded doors and decorative elements.
The name of the hall is derived from the cycle of figures "Apollo and the Nine Muses". The life-size, with a marble imitating polishing white surface provided sandstone figures come from Joseph Klieber (1773-1859), who drew inspiration for this work from the oeuvres of the sculptor Antonio Canova.
www.albertina.at/das_palais/prunkraeume/musensaal
The Albertina
The architectural history of the Palais
(Pictures you can see by clicking on the link at the end of page!)
Image: The oldest photographic view of the newly designed Palais Archduke Albrecht, 1869
"It is my will that the expansion of the inner city of Vienna with regard to a suitable connection of the same with the suburbs as soon as possible is tackled and at this on Regulirung (regulation) and beautifying of my Residence and Imperial Capital is taken into account. To this end I grant the withdrawal of the ramparts and fortifications of the inner city and the trenches around the same".
This decree of Emperor Franz Joseph I, published on 25 December 1857 in the Wiener Zeitung, formed the basis for the largest the surface concerning and architecturally most significant transformation of the Viennese cityscape. Involving several renowned domestic and foreign architects a "master plan" took form, which included the construction of a boulevard instead of the ramparts between the inner city and its radially upstream suburbs. In the 50-years during implementation phase, an impressive architectural ensemble developed, consisting of imperial and private representational buildings, public administration and cultural buildings, churches and barracks, marking the era under the term "ring-street style". Already in the first year tithe decided a senior member of the Austrian imperial family to decorate the facades of his palace according to the new design principles, and thus certified the aristocratic claim that this also "historicism" said style on the part of the imperial house was attributed.
Image: The Old Albertina after 1920
It was the palace of Archduke Albrecht (1817-1895), the Senior of the Habsburg Family Council, who as Field Marshal held the overall command over the Austro-Hungarian army. The building was incorporated into the imperial residence of the Hofburg complex, forming the south-west corner and extending eleven meters above street level on the so-called Augustinerbastei.
The close proximity of the palace to the imperial residence corresponded not only with Emperor Franz Joseph I and Archduke Albert with a close familial relationship between the owner of the palace and the monarch. Even the former inhabitants were always in close relationship to the imperial family, whether by birth or marriage. An exception here again proves the rule: Don Emanuel Teles da Silva Conde Tarouca (1696-1771), for which Maria Theresa in 1744 the palace had built, was just a close friend and advisor of the monarch. Silva Tarouca underpins the rule with a second exception, because he belonged to the administrative services as Generalhofbaudirektor (general court architect) and President of the Austrian-Dutch administration, while all other him subsequent owners were highest ranking military.
In the annals of Austrian history, especially those of military history, they either went into as commander of the Imperial Army, or the Austrian, later kk Army. In chronological order, this applies to Duke Carl Alexander of Lorraine, the brother-of-law of Maria Theresa, as Imperial Marshal, her son-in-law Duke Albert of Saxe-Teschen, also field marshal, whos adopted son, Archduke Charles of Austria, the last imperial field marshal and only Generalissimo of Austria, his son Archduke Albrecht of Austria as Feldmarschalil and army Supreme commander, and most recently his nephew Archduke Friedrich of Austria, who held as field marshal from 1914 to 1916 the command of the Austro-Hungarian troops. Despite their military profession, all five generals conceived themselves as patrons of the arts and promoted large sums of money to build large collections, the construction of magnificent buildings and cultural life. Charles Alexander of Lorraine promoted as governor of the Austrian Netherlands from 1741 to 1780 the Academy of Fine Arts, the Théâtre de Ja Monnaie and the companies Bourgeois Concert and Concert Noble, he founded the Academie royale et imperial des Sciences et des Lettres, opened the Bibliotheque Royal for the population and supported artistic talents with high scholarships. World fame got his porcelain collection, which however had to be sold by Emperor Joseph II to pay off his debts. Duke Albert began in 1776 according to the concept of conte Durazzo to set up an encyclopedic collection of prints, which forms the core of the world-famous "Albertina" today.
Image : Duke Albert and Archduchess Marie Christine show in family cercle the from Italy brought along art, 1776. Frederick Henry Füger.
1816 declared to Fideikommiss and thus in future indivisible, inalienable and inseparable, the collection 1822 passed into the possession of Archduke Carl, who, like his descendants, it broadened. Under him, the collection was introduced together with the sumptuously equipped palace on the Augustinerbastei in the so-called "Carl Ludwig'schen fideicommissum in 1826, by which the building and the in it kept collection fused into an indissoluble unity. At this time had from the Palais Tarouca by structural expansion or acquisition a veritable Residenz palace evolved. Duke Albert of Saxe-Teschen was first in 1800 the third floor of the adjacent Augustinian convent wing adapted to house his collection and he had after 1802 by his Belgian architect Louis de Montoyer at the suburban side built a magnificent extension, called the wing of staterooms, it was equipped in the style of Louis XVI. Only two decades later, Archduke Carl the entire palace newly set up. According to scetches of the architect Joseph Kornhäusel the 1822-1825 retreaded premises presented themselves in the Empire style. The interior of the palace testified from now in an impressive way the high rank and the prominent position of its owner. Under Archduke Albrecht the outer appearance also should meet the requirements. He had the facade of the palace in the style of historicism orchestrated and added to the Palais front against the suburbs an offshore covered access. Inside, he limited himself, apart from the redesign of the Rococo room in the manner of the second Blondel style, to the retention of the paternal stock. Archduke Friedrich's plans for an expansion of the palace were omitted, however, because of the outbreak of the First World War so that his contribution to the state rooms, especially, consists in the layout of the Spanish apartment, which he in 1895 for his sister, the Queen of Spain Maria Christina, had set up as a permanent residence.
Picture: The "audience room" after the restoration: Picture: The "balcony room" around 1990
The era of stately representation with handing down their cultural values found its most obvious visualization inside the palace through the design and features of the staterooms. On one hand, by the use of the finest materials and the purchase of masterfully manufactured pieces of equipment, such as on the other hand by the permanent reuse of older equipment parts. This period lasted until 1919, when Archduke Friedrich was expropriated by the newly founded Republic of Austria. With the republicanization of the collection and the building first of all finished the tradition that the owner's name was synonymous with the building name:
After Palais Tarouca or tarokkisches house it was called Lorraine House, afterwards Duke Albert Palais and Palais Archduke Carl. Due to the new construction of an adjacently located administration building it received in 1865 the prefix "Upper" and was referred to as Upper Palais Archduke Albrecht and Upper Palais Archduke Frederick. For the state a special reference to the Habsburg past was certainly politically no longer opportune, which is why was decided to name the building according to the in it kept collection "Albertina".
Picture: The "Wedgwood Cabinet" after the restoration: Picture: the "Wedgwood Cabinet" in the Palais Archduke Friedrich, 1905
This name derives from the term "La Collection Albertina" which had been used by the gallery Inspector Maurice von Thausing in 1870 in the Gazette des Beaux-Arts for the former graphics collection of Duke Albert. For this reason, it was the first time since the foundation of the palace that the name of the collection had become synonymous with the room shell. Room shell, hence, because the Republic of Austria Archduke Friedrich had allowed to take along all the movable goods from the palace in his Hungarian exile: crystal chandeliers, curtains and carpets as well as sculptures, vases and clocks. Particularly stressed should be the exquisite furniture, which stems of three facilities phases: the Louis XVI furnitures of Duke Albert, which had been manufactured on the basis of fraternal relations between his wife Archduchess Marie Christine and the French Queen Marie Antoinette after 1780 in the French Hofmanufakturen, also the on behalf of Archduke Charles 1822-1825 in the Vienna Porcelain Manufactory by Joseph Danhauser produced Empire furnitures and thirdly additions of the same style of Archduke Friedrich, which this about 1900 at Portois & Ffix as well as at Friedrich Otto Schmidt had commissioned.
The "swept clean" building got due to the strained financial situation after the First World War initially only a makeshift facility. However, since until 1999 no revision of the emergency equipment took place, but differently designed, primarily the utilitarianism committed office furnitures complementarily had been added, the equipment of the former state rooms presented itself at the end of the 20th century as an inhomogeneous administrative mingle-mangle of insignificant parts, where, however, dwelt a certain quaint charm. From the magnificent state rooms had evolved depots, storage rooms, a library, a study hall and several officed.
Image: The Albertina Graphic Arts Collection and the Philipphof after the American bombing of 12 März 1945.
Image: The palace after the demolition of the entrance facade, 1948-52
Worse it hit the outer appearance of the palace, because in times of continued anti-Habsburg sentiment after the Second World War and inspired by an intolerant destruction will, it came by pickaxe to a ministerial erasure of history. In contrast to the graphic collection possessed the richly decorated facades with the conspicuous insignia of the former owner an object-immanent reference to the Habsburg past and thus exhibited the monarchial traditions and values of the era of Francis Joseph significantly. As part of the remedial measures after a bomb damage, in 1948 the aristocratic, by Archduke Albert initiated, historicist facade structuring along with all decorations was cut off, many facade figures demolished and the Hapsburg crest emblems plunged to the ground. Since in addition the old ramp also had been cancelled and the main entrance of the bastion level had been moved down to the second basement storey at street level, ended the presence of the old Archduke's palace after more than 200 years. At the reopening of the "Albertina Graphic Collection" in 1952, the former Hapsburg Palais of splendour presented itself as one of his identity robbed, formally trivial, soulless room shell, whose successful republicanization an oversized and also unproportional eagle above the new main entrance to the Augustinian road symbolized. The emocratic throw of monuments had wiped out the Hapsburg palace from the urban appeareance, whereby in the perception only existed a nondescript, nameless and ahistorical building that henceforth served the lodging and presentation of world-famous graphic collection of the Albertina. The condition was not changed by the decision to the refurbishment because there were only planned collection specific extensions, but no restoration of the palace.
Image: The palace after the Second World War with simplified facades, the rudiment of the Danubiusbrunnens (well) and the new staircase up to the Augustinerbastei
This paradigm shift corresponded to a blatant reversal of the historical circumstances, as the travel guides and travel books for kk Residence and imperial capital of Vienna dedicated itself primarily with the magnificent, aristocratic palace on the Augustinerbastei with the sumptuously fitted out reception rooms and mentioned the collection kept there - if at all - only in passing. Only with the repositioning of the Albertina in 2000 under the direction of Klaus Albrecht Schröder, the palace was within the meaning and in fulfillment of the Fideikommiss of Archduke Charles in 1826 again met with the high regard, from which could result a further inseparable bond between the magnificent mansions and the world-famous collection. In view of the knowing about politically motivated errors and omissions of the past, the facades should get back their noble, historicist designing, the staterooms regain their glamorous, prestigious appearance and culturally unique equippment be repurchased. From this presumption, eventually grew the full commitment to revise the history of redemption and the return of the stately palace in the public consciousness.
Image: The restored suburb facade of the Palais Albertina suburb
The smoothed palace facades were returned to their original condition and present themselves today - with the exception of the not anymore reconstructed Attica figures - again with the historicist decoration and layout elements that Archduke Albrecht had given after the razing of the Augustinerbastei in 1865 in order. The neoclassical interiors, today called after the former inhabitants "Habsburg Staterooms", receiving a meticulous and detailed restoration taking place at the premises of originality and authenticity, got back their venerable and sumptuous appearance. From the world wide scattered historical pieces of equipment have been bought back 70 properties or could be returned through permanent loan to its original location, by which to the visitors is made experiencable again that atmosphere in 1919 the state rooms of the last Habsburg owner Archduke Frederick had owned. The for the first time in 80 years public accessible "Habsburg State Rooms" at the Palais Albertina enable now again as eloquent testimony to our Habsburg past and as a unique cultural heritage fundamental and essential insights into the Austrian cultural history. With the relocation of the main entrance to the level of the Augustinerbastei the recollection to this so valuable Austrian Cultural Heritage formally and functionally came to completion. The vision of the restoration and recovery of the grand palace was a pillar on which the new Albertina should arise again, the other embody the four large newly built exhibition halls, which allow for the first time in the history of the Albertina, to exhibit the collection throughout its encyclopedic breadh under optimal conservation conditions.
Image: The new entrance area of the Albertina
64 meter long shed roof. Hans Hollein.
The palace presents itself now in its appearance in the historicist style of the Ringstrassenära, almost as if nothing had happened in the meantime. But will the wheel of time should not, cannot and must not be turned back, so that the double standards of the "Albertina Palace" said museum - on the one hand Habsburg grandeur palaces and other modern museum for the arts of graphics - should be symbolized by a modern character: The in 2003 by Hans Hollein designed far into the Albertina square cantilevering, elegant floating flying roof. 64 meters long, it symbolizes in the form of a dynamic wedge the accelerated urban spatial connectivity and public access to the palace. It advertises the major changes in the interior as well as the huge underground extensions of the repositioned "Albertina".
Christian Benedictine
Art historian with research interests History of Architecture, building industry of the Hapsburgs, Hofburg and Zeremonialwissenschaft (ceremonial sciences). Since 1990 he works in the architecture collection of the Albertina. Since 2000 he supervises as director of the newly founded department "Staterooms" the restoration and furnishing of the state rooms and the restoration of the facades and explores the history of the palace and its inhabitants.