View allAll Photos Tagged Rigidity
I took a walk in a nearby Pine plantation yesterday afternoon... looking for a very particular arrangement of trees that would allow me to capture a "pre-visualised" shot.
I didn't manage to find that particular arrangement of trees... but I did manage to find one or two other compositions that I quite liked. This is one of those.
So why am I so obsessed with sun-stars these days? There are a couple of good reasons for that...
1. The sun is what trees live for. I feel that including the sun in a forest photo best describes that special relationship.
2. I love the juxtaposition between the rigidity and permanence of the trees, and the fleeting ethereal nature of the sunbeams.
3. I enjoy photographing sun-stars in the forest because these scenes are so incredibly difficult to capture accurately. I always like to challenge myself photographically.
4. While it might take some skill to capture and accurately present an interesting forest scene that includes a sun-star, getting the perfect sun-star at the perfect moment is mostly about luck.
5. I like sun-stars because they're impossible to fake in Photoshop (at least, I haven't managed it yet). The number and shape of the rays is directly related to the number of aperture-blades of your camera.
6. I like sun-stars... mostly because I think they look cool. :)
Have a lekker weekend everyone!
My sister from the deep
Calls me back to the listening place
Far below the surface
Of all the messages
Pinging through the skies
Invading bodies and minds
She calls me down down deep
Into the thickness of the water
Into the silence of the salty sea
Into the womb of life
Into the slow motion lightness
Into weightlessness and play
Here she reveals to me my freedom
The relationship between color and sound
The songs of my heart beating
The songs of my sight seeing possibilities
The songs of the bigger story
Which wait forgotten in buried thoughts
Here there are no countries and races
Here there are no borders and divisions
Here there are no us and they
Here is only the depth of the One Life
Here is only the vibration of everything
Rising in pure potential into endless shapes
My sister from the deep emits her whale song
Antara appears in my hands and we play
Together we let go of rigidity and fear
Together we imagine the liquid light
Creating a new story of abundance and joy
Nothing is ever fixed and finished
The songs keep creating new worlds….
GF Jan 18, 2022
Les œuvres d'art monumentales illustrent la montée dans les années 90 d'une nouvelle architecture influencée par de nouvelles méthodes de conception et de processus de production numérisés. En permettant la variation de forme, qui est caractérisée par le flux d’informations qui la traverse, ces méthodes ont stimulé la création d’une architecture animée, vivante et dynamique dans laquelle se croisent les processus biologiques et la dynamique des fluides. Cette tendance, dite numérique, arithmétique et numérique, remet en question une architecture qui serait immuable et définitive au profit d'une "architecture liquide" (Marcos Novak), aux formes libres et évolutives, dans laquelle des cercles organiques et des surfaces continues se mélangent. Cela correspond au style de cette autre architecture qui, dans les années 1960 et 1970, est revenue aux styles plus anciens (gothique, baroque, expressionnisme) en évoquant la courbe, l'organique et le mouvement par rapport à la rigidité de l'angle droit.
The monumental works of art illustrate the rise in the 1990s of a new architecture influenced by new methods of digitized design and production processes. By allowing shape variation, which is characterized by the flow of information passing through it, these methods have stimulated the creation of an animated, dynamic and dynamic architecture in which biological processes and fluid dynamics intersect. This trend, known as numerical, arithmetical and numerical, calls into question an architecture that would be immutable and definitive in favor of a "liquid architecture" (Marcos Novak), with free and evolving forms, in which organic circles and continuous surfaces take place. mix. This corresponds to the style of this other architecture which, in the 1960s and 1970s, returned to older styles (Gothic, Baroque, Expressionism) evoking the curve, the organic and the movement in relation to the rigidity of the angle law.
[069/2014] | My web: jesuscm.com
Me gustó especialmente de esta toma el contraste entre la rigidez de las formas metálicas y la evanescencia de las cortinas impulsadas por el aire....
I especially liked this capture the contrast between the rigidity of the metal forms and evanescence of the air-driven curtains....
Thanks for the visit, comments, awards, invitations and favorites.
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2014©jesuscm. All rights reserved.
Fuji X-Pro1 plus Mitakon Speedmaster 0.95/35 wide-open. When releasing the shutter you also release the rigidity of your body, that is, you are softening the hardness of your photographic gesture. You are letting go. What has come out of you, the image, even when post-processing it, will have a life of its own.
The human body is soft, malleable, and incredibly versatile and interactive. It is also weak and vulnerable. The machine, seen as an extension of the human body, is amplifying a fraction only of the human body's versatility. Interestingly, everything that makes us human is excluded from this amplification.
ND filter switched on.
...or the Luminiferous Æther
"Now what is the luminiferous æther? It is matter prodigiously less dense than air - millions and millions and millions of times less dense than air. We can form some sort of idea of its limitations. We believe it is a real thing, with great rigidity in comparison with its density: it may be made to vibrate 400 million million times per second; and yet be of such density as not to produce the slightest resistance to any body going through it."
Lord Kelvin(1884)
Specifications for Century Universal from an advertisement:
Front Rise - geared - 3 inches
Front Fall — geared - 1 inch
Front Shift 4 inches (2" each way)
Front "Axis" Swing 30º /35º (L&R) this is rather subjective as acceptable rigidity will vary with individual satisfaction.
Front Axis Tilt 25º (Up &Down)
Rear Base Tilt 30º
Rear "Swing" approximately 10º
Bellows Extension 4” - 30"
Lens board 6x6 inches
Weight 9¾ pounds
1932 price with one 8x10 holder: $85.00 (a tremendous amount of money in The Great Depression)
Manufactured by The Folmer-Graflex Corporation, Rochester, NY
Used by Berenice Abbott, Ansel Adams and Edward Weston.
"Composition with Lampshades" is a captivating piece of digital art that immerses the viewer in a dreamlike and deeply evocative universe. The central structure of intertwined lamps, radiating light in multiple directions, acts as a symbolic beacon amidst a sky filled with colorful balloons — elements that float like scattered thoughts or suspended memories.
The visual composition is striking: the elegant rigidity of the lamps contrasts with the lightness of the balloons, creating a poetic tension that directly echoes classical surrealism, evoking masters like Magritte and Dalí. The misty setting and distant silhouettes reinforce the dreamlike atmosphere, inviting the observer to project their own narratives and emotions onto the scene.
Each element seems charged with hidden meanings — the balloons may represent desires, memories, or even souls in transit, while the lamps’ light suggests revelation, guidance, or introspection. This openness to multiple interpretations is precisely what makes the piece so rich: it doesn’t impose itself, but offers itself as a mirror to the unconscious.
In short, "Composition with Lampshades" is a work that transcends the digital medium and touches the symbolic, reaffirming surrealism’s power as a language to explore the invisible and the inexplicable.
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Growing up is difficult. Strangely, even when we have stopped growing physically, we seem to have to keep on growing emotionally, which involves both expansion and shrinkage, as some parts of us develop and others must be allowed to disappear. Rigidity never works; we end up being the wrong size for our world...
A foggy morning at the Sault Canal- -Parks Canada National Historic Site.
The International Railroad Swing Bridge allows trains to cross the Sault Canal; the bridge was built in 1895 by the Dominion Bridge Company based upon a Baltimore truss design. The bridge features extensive v-lacing and lattice for support. The bridge was originally a pin connected structure; however, the bridge has been altered in the past with additional steel bolted on to increase rigidity. The bridge was originally built by the Canadian Pacific Railroad Company and is now owned by the Canadian National Railway Company.
Black and white processing alchemy by Nik Silver Efex.
Our word today is corrugated, the definition - "shaped into alternating parallel grooves and ridges so as to give added rigidity and strength... corrugated"
Interesting, but I like the wood better.
Taken in Bridgeport, California, USA.
The Moulton bicycle is a unique design with many features that set it apart from other bicycles. Back in the 1950s, Alex Moulton defined the key features of the Moulton bicycle - small wheels, suspension, stiff unisex frame, adaptability to suit intended use, and innovation in design, engineering and manufacture.
Small wheels with high pressure tyres have been integral to the Moulton design from the beginning. The combination of the lower rolling resistance of high pressure tyres and the lower aerodynamic drag of small wheels, allows the bicycle to go faster with less effort.
In contrast to large bicycle wheels, the smaller Moulton wheels are immensely strong. Their lower moment of inertia allows faster acceleration and more responsive steering. Smaller wheels also reduce the overall length of the bicycle, making it compact and easier to transport.
In order to accommodate the hard ride of the ultra-rigid frame, strong wheels and high pressure tyres, full suspension has been a mandatory feature of all Moulton bicycles. This coupling of advanced suspension and small wheels provides superior comfort and road holding.
As with other vehicles, bicycle frame stiffness is a key element of performance. Lateral rigidity is vital, as any of the rider's energy spent flexing a frame is lost. A stiff frame also ensures accurate wheel tracking for secure road holding and cornering stability.
The unique Moulton space frame, a highly engineered lattice of small diameter tubes, is far stiffer than a conventional diamond frame. This frame architecture fits riders of all sizes and the low step-through allows the bike to be mounted with ease by both sexes. The low weight and high stiffness of the Moulton frame produces a ride that is lively and amazingly efficient.
All Moulton bicycles are inherently more compact and most feature separable frames for storage or transport. This separability introduces no compromises other than a little extra weight; there is no loss of stiffness or ride quality. When disassembled, the two halves of a Moulton fit easily in the boot of a car or travel case.
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This is my 34th photo to make Explore.
Excerpt from agb.life/visit/exhibitions/holding_up_the_sky:
Caroline Monnet: Holding Up The Sky
Lee-Chin Family Gallery
In this survey of new and recent works, multidisciplinary artist Caroline Monnet centers geometries, especially the cube, to draw attention to how different spatial relationships condition the way that we live and think. Monnet’s practice moves between textiles, photography, sculpture, and film to address the complexity of Indigenous identities and bilateral legacies, drawing from her Anishinaabe and French heritages. In her work, traditional Anishinaabe sacred geometry transforms and softens the industrial into something more personal, constructing a new point of view—centering the cube. As a form, the cube is present in architecture and many traditions of building, shaping the way we understand the world and dictating the ways in which we live, play, and learn. And, like the repetitious creations unfolded in birch biting, Holding Up The Sky follows a symmetrical continuum.
The exhibition features her new work The Room (2023), a ten-foot square construction of industrial-grade styrofoam, a material used in residential buildings to create water and air-resistive barriers and insulate against inclement climate conditions. The Room is open on one side, exposing the box and welcoming the audience into its constructed space. The foam is incised with a repetitive pattern; the motifs, inspired by traditional Anishinaabe iconography, break the strictness of the industrial square form by introducing the personal and the poetic into architectural rigidity.
In conversation with The Room is Pikogan (Shelter) (2021), a sculptural work with voluminous curvatures constructed of reticulated polyethylene pipes, PVC conduits, copper, velcro, and steel. The materials are bent to shape, working against the prescription of colonial architecture, and resisting the urge to square and compartmentalize. The fluidity of the circle intentionally builds from knowledge rooted in the past. This can also be seen in the direction of Monnet’s recent photographic works that depict a formal arranging and rearranging of foam “beads” into cubed borders. Manipulating the material for the camera leads to endless possible formations and configurations.
A series of technical drawings from Monnet’s early career (2014) of multiple cube structures are seen alongside a new series of diagrams, completed in a Swedish residency, mapping the ceiling of her studio. Positioning these works in conversation illustrates the circular process of Monnet’s practice—from drafting architectural forms, to utilizing structural design to underscore the severity of the housing crisis, to manipulating industrial material into textile creations and wearable fabrics, and returning to schematic renderings and geometric linework. These are simultaneously performances for the camera and blueprints for future work.
Born to an Anishinaabe mother and a French father, Caroline Monnet is from Outaouais, Québec, and now based in Montréal. After studying at the University of Ottawa and the University of Granada, in Spain, she pursued a career in visual arts and film. Her work is regularly presented internationally and can be found in prestigious museum, private, and corporate collections. Monnet has become known for minimalist yet emotionally charged work that uses industrial materials and combines the vocabulary of popular and traditional visual cultures with the tropes of modernist abstraction to create unique hybrid forms. She is represented by Blouin Division Gallery.
At the AGB, we lean into our unique position of being a public art gallery at the crossroads of craft and contemporary art production and presentation. Monnet’s work examines the traditional craft of Anishinaabe embroidery and textiles in alternative methods and materials, exemplifying the potent fluidity of craft and contemporary art. Holding Up The Sky continues the dialogue on how new material engagement takes up space within craft and how traditional and ancestral knowledge of art production is being represented in the expanded field of contemporary art institutes.
This image was processed with different kelvin temps for the foreground and background and then merged in Photoshop. Still searching for a tripod which is taking a most of my time so I haven't been commenting much :( Has anyone heard of the new hybrid carbon fiber/basalt tripods that are coming out. I can't seem to find any tests to prove the rigidity that they claim with the addition of the basalt fibers. The technology makes sense in theory but on the flip side basalt is also cheaper and the company hasn't gotten back to me about how much of the tripod is carbon fiber vs how much is basalt. Got to do some waterfalling with Lance this weekend and he let me borrow his gitzo tripod and me not being used to the twist locks was having a really hard time. I didn't get anything worth postin but I do know that my new pod cannot weigh more than 4 pounds with the head !
Man becoming machine. Contre-jour/reflector. Steel object (candlestick) made by Eleni O'Hara around 1970.
And after two months... here we are!
This is one of the cars I'm most proud of having made through these many years as a builder. The shaping is exactly as I planned, and the model structural rigidity is incredibly solid (at 10248's level).
Also, it's my part on the joint project me and Sam organized for the 2017 own brand models. Tonagari and Prowler are the most active supercar makers, so it was more than fair that they went up to do something.
Big thanks to Mr. Sam The First for letting this idea come true!
I'm still working on this silly thing but this time the tunnel part of it and the internal structural supports. It's pure system (no technic pieces used for structure). From what I have tested it will be able to maintain rigidity even when turned upside down with everything attached - which is going to be approximately 2.5kg.
Palacio del Marqués de Santa Cruz, Viso del Marqués, Ciudad Real, Castilla-La Mancha, España.
El palacio del Marqués de Santa Cruz es un edificio situado en el municipio de Viso del Marqués (Ciudad Real), en la Comunidad autónoma de Castilla-La Mancha, en España. Fue construido a finales del siglo XVI por Álvaro de Bazán, primer marqués de Santa Cruz. Actualmente es la sede del Archivo General de la Marina.
Fue construido entre 1564 y 1586 con modificaciones posteriores, y se trata de un edificio de planta cuadrada y estilo renacentista articulado en torno a un atrio renacentista con una tumba yacente. Los muros y techos se hallan cubiertos de frescos de doble temática: por un lado, escenas mitológicas y, por otro, batallas navales y ciudades italianas relacionadas con la trayectoria militar del marqués y de sus familiares. Los frescos se deben a unos pintores manieristas italianos, los Péroli. Al verlos, Felipe II les encargaría trabajos para El Escorial y el Alcázar de Toledo.
Para levantarlo, el marqués contrató a un equipo de arquitectos, pintores y decoradores que trabajaron en la obra desde 1564 hasta 1586. Para algunos, el diseño del edificio se debió al italiano Giovanni Battista Castello, conocido como el Bergamasco, que más tarde trabajó en El Escorial; para otros lo trazó, al menos en su plan original, Enrique Egas el Mozo.
La arquitectura se percibe como típica española, sin las arquerías italianas, con paramentos lisos y torres cuadradas en las esquinas, influidos por la austeridad de El Escorial y el Alcázar de Toledo, dentro de las relaciones armónicas características del Renacimiento. El espacio central está ocupado por un patio porticado que junto con la escalera forma un conjunto típicamente manierista entendido como estilo elegante y cortesano que desborda el marco meramente arquitectónico. Contaba con cuatro torres que, al parecer, se derrumbaron a consecuencia del Terremoto de Lisboa de 1755.
Las paredes están decoradas con 8.000 metros cuadrados de frescos manieristas elaborados por Giovanni Battista Peroli con Esteban Peroli y César de Bellis. Todos trabajaron para crear un espacio erigido a la mayor gloria de su dueño: por un lado, había que exaltar sus virtudes militares, y por el otro, enaltecer su linaje. Para lo primero, se pintaron en las paredes, las bóvedas y los techos del palacio vistas de ciudades y de puertos, así como los baluartes y las batallas en los que había conquistado su inmenso prestigio. A ambos lados de la escalera se ubicaron dos estatuas en las que aparecía representado como Neptuno (dios de los mares, con su tridente) y como Marte (dios de la guerra), y sobre las puertas del piso superior se colocaron los fanales de popa de las naves capitanas vencidas en las batallas, que eran los trofeos de los marinos. Para elogiar su linaje, y siguiendo la misma tradición renacentista de representar a hombres como dioses o semidioses de la antigüedad, se pintó a los antepasados del marqués y a sus esposas (tuvo dos) e hijos.
Estos dos grupos de representaciones se aderezaron con trampantojos, pinturas que simulaban puertas, columnas y otros elementos decorativos y arquitectónicos; y también con motivos grutescos que incluían animales mitológicos, sabandijas y follajes. Conforme una temática muy variada que se puede interpretar como defensa del catolicismo defendido en Trento.
Las estatuas sepulcrales de Alonso de Bazán (hermano de don Álvaro) y su esposa María de Figueroa, son el único ejemplo de escultura funeraria perteneciente al primer tercio del siglo XVII. Fueron ejecutados para el Monasterio de la Concepción que ocupaba la Comunidad de Religiosas Franciscas de El Viso del Marqués, ubicándose a día de hoy en el muro del Palacio más cercano a los jardines. Su creador fue Antonio de Riera, escultor relacionado con la corte de origen catalán. En ellas, aparecen los marqueses en actitud de orante, arrodillados en un reclinatorio, todo ello en mármol blanco que resalta sobre el mármol negro de los nichos. Se advierte en ellos cierta similitud con la elegancia y el clasicismo de los Leoni, a pesar de cierta rigidez formal, siendo de especial relevancia la forma en la que están ejecutadas las telas y el detalle de los vestidos.
The Palace of the Marquis of Santa Cruz is a building located in the municipality of Viso del Marqués (Ciudad Real), in the autonomous community of Castilla-La Mancha, Spain. It was built in the late 16th century by Álvaro de Bazán, the first Marquis of Santa Cruz. It currently houses the General Archive of the Navy.
Built between 1564 and 1586, with subsequent modifications, it is a square, Renaissance-style building centered around a Renaissance atrium with a recumbent tomb. The walls and ceilings are covered with frescoes depicting two themes: mythological scenes, and naval battles and Italian cities related to the military career of the Marquis and his family. The frescoes are by Italian Mannerist painters, the Pérolis. Upon seeing them, Philip II commissioned works from them for El Escorial and the Alcázar of Toledo.
To build it, the Marquis hired a team of architects, painters, and decorators who worked on the project from 1564 to 1586. Some believe the building was designed by the Italian Giovanni Battista Castello, known as El Bergamasco, who later worked at El Escorial; others believe it was designed, at least in its original plan, by Enrique Egas the Younger.
The architecture is perceived as typically Spanish, lacking the Italian arches, with smooth walls and square towers at the corners, influenced by the austerity of El Escorial and the Alcázar of Toledo, within the harmonious relationships characteristic of the Renaissance. The central space is occupied by a porticoed courtyard that, together with the staircase, forms a typically Mannerist ensemble, understood as an elegant and courtly style that transcends the purely architectural framework. It had four towers that apparently collapsed as a result of the Lisbon Earthquake of 1755.
The walls are decorated with 8,000 square meters of Mannerist frescoes created by Giovanni Battista Peroli with Esteban Peroli and César de Bellis. They all worked to create a space built to the greatest glory of its owner: on the one hand, to exalt his military virtues, and on the other, to honor his lineage. To this end, views of cities and ports, as well as the bastions and battles in which he had earned his immense prestige, were painted on the walls, vaults, and ceilings of the palace. On either side of the staircase were two statues depicting him as Neptune (god of the seas, with his trident) and Mars (god of war). Above the doors on the upper floor were the stern lanterns of defeated flagships, trophies of the sailors. To praise his lineage, and following the same Renaissance tradition of depicting men as gods or demigods of antiquity, the marquis's ancestors, his wives (he had two) and children were painted.
These two groups of representations were embellished with trompe l'oeil paintings simulating doors, columns, and other decorative and architectural elements; as well as grotesque motifs that included mythological animals, vermin, and foliage. This varied theme can be interpreted as a defense of the Catholicism championed in Trent.
The sepulchral statues of Alonso de Bazán (Don Álvaro's brother) and his wife María de Figueroa are the only examples of funerary sculpture dating from the first third of the 17th century. They were executed for the Monastery of the Concepción, which was occupied by the Community of Franciscan Nuns of El Viso del Marqués, and are now located on the wall of the Palace closest to the gardens. Their creator was Antonio de Riera, a sculptor of Catalan origin associated with the court. They depict the marquises in a prayerful attitude, kneeling on a prie-dieu. All in white marble, which stands out against the black marble of the niches. There is a certain similarity to the elegance and classicism of the Leoni family, despite their formal rigidity, with the execution of the fabrics and the detail of the dresses being particularly noteworthy.
Ever since I was a little kid - every one of my shadow puppets looks like this. It's the only one I could ever do. True to this day.
A little glimpse into my (madness, silliness, goofiness, oddness, weirdness, insert your own description here) that I am shackled with each day:
I am currently on a 23 day rotation with posting to different albums. The number fluctuates over time as albums begin and are completed. The current number is 23. I have a list that I carry in my wallet that lets me know which album I am on. When this system was in its infancy - I noticed a deficiency in the inherent rigidity of the system in that there was no way to post something that wasn't already part of an album without creating a new one. 'Random' emerged as a solution.
Sometimes I have used 'Random' to go on rants or raves about social issues, environmental issues or personal issues. Sometimes I have used it as a vehicle to post an image that doesn't fit in so much with the other work I am currently creating. Of the current 23 - I have two 'Random' slots. One at the middle and one at the end.
As I was looking around for an image to post today I stumbled across this one and thought: "Well, that's random."
I may have issues.
I hope that you have a wonderfully random Wednesday.
Palacio del Marqués de Santa Cruz, Viso del Marqués, Ciudad Real, Castilla-La Mancha, España.
El palacio del Marqués de Santa Cruz es un edificio situado en el municipio de Viso del Marqués (Ciudad Real), en la Comunidad autónoma de Castilla-La Mancha, en España. Fue construido a finales del siglo XVI por Álvaro de Bazán, primer marqués de Santa Cruz. Actualmente es la sede del Archivo General de la Marina.
Fue construido entre 1564 y 1586 con modificaciones posteriores, y se trata de un edificio de planta cuadrada y estilo renacentista articulado en torno a un atrio renacentista con una tumba yacente. Los muros y techos se hallan cubiertos de frescos de doble temática: por un lado, escenas mitológicas y, por otro, batallas navales y ciudades italianas relacionadas con la trayectoria militar del marqués y de sus familiares. Los frescos se deben a unos pintores manieristas italianos, los Péroli. Al verlos, Felipe II les encargaría trabajos para El Escorial y el Alcázar de Toledo.
Para levantarlo, el marqués contrató a un equipo de arquitectos, pintores y decoradores que trabajaron en la obra desde 1564 hasta 1586. Para algunos, el diseño del edificio se debió al italiano Giovanni Battista Castello, conocido como el Bergamasco, que más tarde trabajó en El Escorial; para otros lo trazó, al menos en su plan original, Enrique Egas el Mozo.
La arquitectura se percibe como típica española, sin las arquerías italianas, con paramentos lisos y torres cuadradas en las esquinas, influidos por la austeridad de El Escorial y el Alcázar de Toledo, dentro de las relaciones armónicas características del Renacimiento. El espacio central está ocupado por un patio porticado que junto con la escalera forma un conjunto típicamente manierista entendido como estilo elegante y cortesano que desborda el marco meramente arquitectónico. Contaba con cuatro torres que, al parecer, se derrumbaron a consecuencia del Terremoto de Lisboa de 1755.
Las paredes están decoradas con 8.000 metros cuadrados de frescos manieristas elaborados por Giovanni Battista Peroli con Esteban Peroli y César de Bellis. Todos trabajaron para crear un espacio erigido a la mayor gloria de su dueño: por un lado, había que exaltar sus virtudes militares, y por el otro, enaltecer su linaje. Para lo primero, se pintaron en las paredes, las bóvedas y los techos del palacio vistas de ciudades y de puertos, así como los baluartes y las batallas en los que había conquistado su inmenso prestigio. A ambos lados de la escalera se ubicaron dos estatuas en las que aparecía representado como Neptuno (dios de los mares, con su tridente) y como Marte (dios de la guerra), y sobre las puertas del piso superior se colocaron los fanales de popa de las naves capitanas vencidas en las batallas, que eran los trofeos de los marinos. Para elogiar su linaje, y siguiendo la misma tradición renacentista de representar a hombres como dioses o semidioses de la antigüedad, se pintó a los antepasados del marqués y a sus esposas (tuvo dos) e hijos.
Estos dos grupos de representaciones se aderezaron con trampantojos, pinturas que simulaban puertas, columnas y otros elementos decorativos y arquitectónicos; y también con motivos grutescos que incluían animales mitológicos, sabandijas y follajes. Conforme una temática muy variada que se puede interpretar como defensa del catolicismo defendido en Trento.
Las estatuas sepulcrales de Alonso de Bazán (hermano de don Álvaro) y su esposa María de Figueroa, son el único ejemplo de escultura funeraria perteneciente al primer tercio del siglo XVII. Fueron ejecutados para el Monasterio de la Concepción que ocupaba la Comunidad de Religiosas Franciscas de El Viso del Marqués, ubicándose a día de hoy en el muro del Palacio más cercano a los jardines. Su creador fue Antonio de Riera, escultor relacionado con la corte de origen catalán. En ellas, aparecen los marqueses en actitud de orante, arrodillados en un reclinatorio, todo ello en mármol blanco que resalta sobre el mármol negro de los nichos. Se advierte en ellos cierta similitud con la elegancia y el clasicismo de los Leoni, a pesar de cierta rigidez formal, siendo de especial relevancia la forma en la que están ejecutadas las telas y el detalle de los vestidos.
The Palace of the Marquis of Santa Cruz is a building located in the municipality of Viso del Marqués (Ciudad Real), in the autonomous community of Castilla-La Mancha, Spain. It was built in the late 16th century by Álvaro de Bazán, the first Marquis of Santa Cruz. It currently houses the General Archive of the Navy.
Built between 1564 and 1586, with subsequent modifications, it is a square, Renaissance-style building centered around a Renaissance atrium with a recumbent tomb. The walls and ceilings are covered with frescoes depicting two themes: mythological scenes, and naval battles and Italian cities related to the military career of the Marquis and his family. The frescoes are by Italian Mannerist painters, the Pérolis. Upon seeing them, Philip II commissioned works from them for El Escorial and the Alcázar of Toledo.
To build it, the Marquis hired a team of architects, painters, and decorators who worked on the project from 1564 to 1586. Some believe the building was designed by the Italian Giovanni Battista Castello, known as El Bergamasco, who later worked at El Escorial; others believe it was designed, at least in its original plan, by Enrique Egas the Younger.
The architecture is perceived as typically Spanish, lacking the Italian arches, with smooth walls and square towers at the corners, influenced by the austerity of El Escorial and the Alcázar of Toledo, within the harmonious relationships characteristic of the Renaissance. The central space is occupied by a porticoed courtyard that, together with the staircase, forms a typically Mannerist ensemble, understood as an elegant and courtly style that transcends the purely architectural framework. It had four towers that apparently collapsed as a result of the Lisbon Earthquake of 1755.
The walls are decorated with 8,000 square meters of Mannerist frescoes created by Giovanni Battista Peroli with Esteban Peroli and César de Bellis. They all worked to create a space built to the greatest glory of its owner: on the one hand, to exalt his military virtues, and on the other, to honor his lineage. To this end, views of cities and ports, as well as the bastions and battles in which he had earned his immense prestige, were painted on the walls, vaults, and ceilings of the palace. On either side of the staircase were two statues depicting him as Neptune (god of the seas, with his trident) and Mars (god of war). Above the doors on the upper floor were the stern lanterns of defeated flagships, trophies of the sailors. To praise his lineage, and following the same Renaissance tradition of depicting men as gods or demigods of antiquity, the marquis's ancestors, his wives (he had two) and children were painted.
These two groups of representations were embellished with trompe l'oeil paintings simulating doors, columns, and other decorative and architectural elements; as well as grotesque motifs that included mythological animals, vermin, and foliage. This varied theme can be interpreted as a defense of the Catholicism championed in Trent.
The sepulchral statues of Alonso de Bazán (Don Álvaro's brother) and his wife María de Figueroa are the only examples of funerary sculpture dating from the first third of the 17th century. They were executed for the Monastery of the Concepción, which was occupied by the Community of Franciscan Nuns of El Viso del Marqués, and are now located on the wall of the Palace closest to the gardens. Their creator was Antonio de Riera, a sculptor of Catalan origin associated with the court. They depict the marquises in a prayerful attitude, kneeling on a prie-dieu. All in white marble, which stands out against the black marble of the niches. There is a certain similarity to the elegance and classicism of the Leoni family, despite their formal rigidity, with the execution of the fabrics and the detail of the dresses being particularly noteworthy.
Excerpt from agb.life/visit/exhibitions/holding_up_the_sky:
Caroline Monnet: Holding Up The Sky
Lee-Chin Family Gallery
In this survey of new and recent works, multidisciplinary artist Caroline Monnet centers geometries, especially the cube, to draw attention to how different spatial relationships condition the way that we live and think. Monnet’s practice moves between textiles, photography, sculpture, and film to address the complexity of Indigenous identities and bilateral legacies, drawing from her Anishinaabe and French heritages. In her work, traditional Anishinaabe sacred geometry transforms and softens the industrial into something more personal, constructing a new point of view—centering the cube. As a form, the cube is present in architecture and many traditions of building, shaping the way we understand the world and dictating the ways in which we live, play, and learn. And, like the repetitious creations unfolded in birch biting, Holding Up The Sky follows a symmetrical continuum.
The exhibition features her new work The Room (2023), a ten-foot square construction of industrial-grade styrofoam, a material used in residential buildings to create water and air-resistive barriers and insulate against inclement climate conditions. The Room is open on one side, exposing the box and welcoming the audience into its constructed space. The foam is incised with a repetitive pattern; the motifs, inspired by traditional Anishinaabe iconography, break the strictness of the industrial square form by introducing the personal and the poetic into architectural rigidity.
In conversation with The Room is Pikogan (Shelter) (2021), a sculptural work with voluminous curvatures constructed of reticulated polyethylene pipes, PVC conduits, copper, velcro, and steel. The materials are bent to shape, working against the prescription of colonial architecture, and resisting the urge to square and compartmentalize. The fluidity of the circle intentionally builds from knowledge rooted in the past. This can also be seen in the direction of Monnet’s recent photographic works that depict a formal arranging and rearranging of foam “beads” into cubed borders. Manipulating the material for the camera leads to endless possible formations and configurations.
A series of technical drawings from Monnet’s early career (2014) of multiple cube structures are seen alongside a new series of diagrams, completed in a Swedish residency, mapping the ceiling of her studio. Positioning these works in conversation illustrates the circular process of Monnet’s practice—from drafting architectural forms, to utilizing structural design to underscore the severity of the housing crisis, to manipulating industrial material into textile creations and wearable fabrics, and returning to schematic renderings and geometric linework. These are simultaneously performances for the camera and blueprints for future work.
Born to an Anishinaabe mother and a French father, Caroline Monnet is from Outaouais, Québec, and now based in Montréal. After studying at the University of Ottawa and the University of Granada, in Spain, she pursued a career in visual arts and film. Her work is regularly presented internationally and can be found in prestigious museum, private, and corporate collections. Monnet has become known for minimalist yet emotionally charged work that uses industrial materials and combines the vocabulary of popular and traditional visual cultures with the tropes of modernist abstraction to create unique hybrid forms. She is represented by Blouin Division Gallery.
At the AGB, we lean into our unique position of being a public art gallery at the crossroads of craft and contemporary art production and presentation. Monnet’s work examines the traditional craft of Anishinaabe embroidery and textiles in alternative methods and materials, exemplifying the potent fluidity of craft and contemporary art. Holding Up The Sky continues the dialogue on how new material engagement takes up space within craft and how traditional and ancestral knowledge of art production is being represented in the expanded field of contemporary art institutes.
Excerpt from agb.life/visit/exhibitions/holding_up_the_sky:
Caroline Monnet: Holding Up The Sky
Lee-Chin Family Gallery
In this survey of new and recent works, multidisciplinary artist Caroline Monnet centers geometries, especially the cube, to draw attention to how different spatial relationships condition the way that we live and think. Monnet’s practice moves between textiles, photography, sculpture, and film to address the complexity of Indigenous identities and bilateral legacies, drawing from her Anishinaabe and French heritages. In her work, traditional Anishinaabe sacred geometry transforms and softens the industrial into something more personal, constructing a new point of view—centering the cube. As a form, the cube is present in architecture and many traditions of building, shaping the way we understand the world and dictating the ways in which we live, play, and learn. And, like the repetitious creations unfolded in birch biting, Holding Up The Sky follows a symmetrical continuum.
The exhibition features her new work The Room (2023), a ten-foot square construction of industrial-grade styrofoam, a material used in residential buildings to create water and air-resistive barriers and insulate against inclement climate conditions. The Room is open on one side, exposing the box and welcoming the audience into its constructed space. The foam is incised with a repetitive pattern; the motifs, inspired by traditional Anishinaabe iconography, break the strictness of the industrial square form by introducing the personal and the poetic into architectural rigidity.
In conversation with The Room is Pikogan (Shelter) (2021), a sculptural work with voluminous curvatures constructed of reticulated polyethylene pipes, PVC conduits, copper, velcro, and steel. The materials are bent to shape, working against the prescription of colonial architecture, and resisting the urge to square and compartmentalize. The fluidity of the circle intentionally builds from knowledge rooted in the past. This can also be seen in the direction of Monnet’s recent photographic works that depict a formal arranging and rearranging of foam “beads” into cubed borders. Manipulating the material for the camera leads to endless possible formations and configurations.
A series of technical drawings from Monnet’s early career (2014) of multiple cube structures are seen alongside a new series of diagrams, completed in a Swedish residency, mapping the ceiling of her studio. Positioning these works in conversation illustrates the circular process of Monnet’s practice—from drafting architectural forms, to utilizing structural design to underscore the severity of the housing crisis, to manipulating industrial material into textile creations and wearable fabrics, and returning to schematic renderings and geometric linework. These are simultaneously performances for the camera and blueprints for future work.
Born to an Anishinaabe mother and a French father, Caroline Monnet is from Outaouais, Québec, and now based in Montréal. After studying at the University of Ottawa and the University of Granada, in Spain, she pursued a career in visual arts and film. Her work is regularly presented internationally and can be found in prestigious museum, private, and corporate collections. Monnet has become known for minimalist yet emotionally charged work that uses industrial materials and combines the vocabulary of popular and traditional visual cultures with the tropes of modernist abstraction to create unique hybrid forms. She is represented by Blouin Division Gallery.
At the AGB, we lean into our unique position of being a public art gallery at the crossroads of craft and contemporary art production and presentation. Monnet’s work examines the traditional craft of Anishinaabe embroidery and textiles in alternative methods and materials, exemplifying the potent fluidity of craft and contemporary art. Holding Up The Sky continues the dialogue on how new material engagement takes up space within craft and how traditional and ancestral knowledge of art production is being represented in the expanded field of contemporary art institutes.
The International Railway Swing Bridge--Sault Canal National Historic Site.
The International Railroad Swing Bridge allows trains to cross the Sault Canal; the bridge was built in 1895 by the Dominion Bridge Company based upon a Baltimore truss design. The bridge features extensive v-lacing and lattice for support. The bridge was originally a pin connected structure; however, the bridge has been altered in the past with additional steel bolted on to increase rigidity.
The bridge was originally built by the Canadian Pacific Railroad Company and is now owned by the Canadian National Railway Company.
Excerpt from agb.life/visit/exhibitions/holding_up_the_sky:
Caroline Monnet: Holding Up The Sky
Lee-Chin Family Gallery
In this survey of new and recent works, multidisciplinary artist Caroline Monnet centers geometries, especially the cube, to draw attention to how different spatial relationships condition the way that we live and think. Monnet’s practice moves between textiles, photography, sculpture, and film to address the complexity of Indigenous identities and bilateral legacies, drawing from her Anishinaabe and French heritages. In her work, traditional Anishinaabe sacred geometry transforms and softens the industrial into something more personal, constructing a new point of view—centering the cube. As a form, the cube is present in architecture and many traditions of building, shaping the way we understand the world and dictating the ways in which we live, play, and learn. And, like the repetitious creations unfolded in birch biting, Holding Up The Sky follows a symmetrical continuum.
The exhibition features her new work The Room (2023), a ten-foot square construction of industrial-grade styrofoam, a material used in residential buildings to create water and air-resistive barriers and insulate against inclement climate conditions. The Room is open on one side, exposing the box and welcoming the audience into its constructed space. The foam is incised with a repetitive pattern; the motifs, inspired by traditional Anishinaabe iconography, break the strictness of the industrial square form by introducing the personal and the poetic into architectural rigidity.
In conversation with The Room is Pikogan (Shelter) (2021), a sculptural work with voluminous curvatures constructed of reticulated polyethylene pipes, PVC conduits, copper, velcro, and steel. The materials are bent to shape, working against the prescription of colonial architecture, and resisting the urge to square and compartmentalize. The fluidity of the circle intentionally builds from knowledge rooted in the past. This can also be seen in the direction of Monnet’s recent photographic works that depict a formal arranging and rearranging of foam “beads” into cubed borders. Manipulating the material for the camera leads to endless possible formations and configurations.
A series of technical drawings from Monnet’s early career (2014) of multiple cube structures are seen alongside a new series of diagrams, completed in a Swedish residency, mapping the ceiling of her studio. Positioning these works in conversation illustrates the circular process of Monnet’s practice—from drafting architectural forms, to utilizing structural design to underscore the severity of the housing crisis, to manipulating industrial material into textile creations and wearable fabrics, and returning to schematic renderings and geometric linework. These are simultaneously performances for the camera and blueprints for future work.
Born to an Anishinaabe mother and a French father, Caroline Monnet is from Outaouais, Québec, and now based in Montréal. After studying at the University of Ottawa and the University of Granada, in Spain, she pursued a career in visual arts and film. Her work is regularly presented internationally and can be found in prestigious museum, private, and corporate collections. Monnet has become known for minimalist yet emotionally charged work that uses industrial materials and combines the vocabulary of popular and traditional visual cultures with the tropes of modernist abstraction to create unique hybrid forms. She is represented by Blouin Division Gallery.
At the AGB, we lean into our unique position of being a public art gallery at the crossroads of craft and contemporary art production and presentation. Monnet’s work examines the traditional craft of Anishinaabe embroidery and textiles in alternative methods and materials, exemplifying the potent fluidity of craft and contemporary art. Holding Up The Sky continues the dialogue on how new material engagement takes up space within craft and how traditional and ancestral knowledge of art production is being represented in the expanded field of contemporary art institutes.
The Walt Disney Concert Hall stands as a gleaming symbol of Los Angeles’ artistic soul. In this photograph, its stainless-steel curves catch the morning light, creating a dance of reflections that mimic the fluidity of music itself. Designed by the legendary architect Frank Gehry, the building’s sculptural form contrasts starkly with the geometric rigidity of its downtown surroundings. This image, taken from the corner of 1st Street and Grand Avenue, captures the hall in its most expressive moment—its metallic skin glowing gold and silver under a partly cloudy sky, as if the building is breathing in rhythm with the city.
The story behind the concert hall is as dramatic as its appearance. Lillian Disney, the wife of Walt Disney, contributed $50 million in 1987 to initiate the project in memory of her husband’s love for the arts. Yet, the building’s journey was riddled with delays, rising costs, and engineering complexities. Construction didn’t begin until 1999, and it was finally completed in 2003—sixteen years after the original gift. Gehry’s design, once considered too radical, ultimately became a triumph, with the concert hall earning global acclaim not only for its architecture but also for its superb acoustics, engineered in collaboration with Yasuhisa Toyota.
This photograph attempts to bridge the hall’s artistic intent with its historical narrative. The vantage point was chosen deliberately to highlight the interplay of surfaces, where reflections of nearby buildings and the sky add a temporal dimension to the architecture. It’s a portrait of ambition and perseverance, set in steel. The Walt Disney Concert Hall is more than a venue—it’s a monument to visionaries, from the Disneys to Gehry, who dared to dream of something timeless in a city that’s constantly reinventing itself.
The International Railway Swing Bridge--Sault Canal National Historic Site.
The International Railroad Swing Bridge allows trains to cross the Sault Canal; the bridge was built in 1895 by the Dominion Bridge Company based upon a Baltimore truss design. The bridge features extensive v-lacing and lattice for support. The bridge was originally a pin connected structure; however, the bridge has been altered in the past with additional steel bolted on to increase rigidity. The bridge was originally built by the Canadian Pacific Railroad Company and is now owned by the Canadian National Railway Company.
Black and white processing alchemy by Nik Silver Efex.
Spotted trunkfish have a body that is narrow on top and wide at the base, the rigid outer triangular shaped structure helps protect spotted trunkfish from predators. Because of this odd shape and rigidity, they are poor swimmers. They are protected by a bony outer surface that acts as body armour and includes two sharp spines guarding their rear fins, it also secretes a colourless toxin from glands on it’s skin when touched. Predators as large as nurse sharks can die as a result of eating a trunkfish.
Usually found in and around coral reefs at depths of 3-50 m (10-164 ft), normally solitary individuals except for when they breed. At maturity they average 15 to 30 cm (6 to 12 in) in length, weighing 1.7-3.3 kg (3.7-7.3 lb) and can live roughly 6 to 12 years. The spotted trunkfish “blows” jets of water at the seafloor to uncover organisms and small invertebrates that are hidden as one of the ways they get their food. Otherwise, they are omnivorous and will consume small invertebrates, crustaceans, mollusks, sea urchins, starfish, sea cucumbers, seagrasses, algae, and crabs.
(taken with my little underwater camera - big gear doesn't have proper coverage sadly)
A ShiFeng truck on a cold spring morning near the Ming Tombs. I like the understated and utilitarian design of these low-budget vehicles (advertised by the company as "low-speed truck [...] full full of strength and rigidity").
Morgan Plus Six (2019-on) Engine 2998cc BMW B58B30 turbo S6 335 bhp (340 PS)
Registration Number VU 21 BPO (Worcester)
MORGAN ALBUM
www.flickr.com/photos/45676495@N05/sets/72157623797607694...
Introduced into the Morgan range in 2019 as a replacement for the Plus 8, discontinued in 2018. Unveiled at the 2019 Geneva Motorshow it is built on the new CX-Generation aluminium platform.. Compared to the old platform, the Plus Six features a new glued aluminium platform, with the torsional rigidity increased by 100% and the weight of the new basic structure reduced by 100 kg (220 lb). The body still sits on an ash wood frame, which has been significantly reinforced compared to the previous series. At launch it was available in two colours Emerald and Moonstone.
Thanks for 88,578,514 amazing views, every one is greatly appreciated.
Shot 10.10.2021 at Bicester Scramble, Bicester, Oxon. Ref. 122-275
Coachwork by Vignale
The Maserati 3500 GT Spyder is an iconic masterpiece designed by Giovanni Michelotti and built by Carrozzeria Vignale. It marks Maserati's entry into the world of open-top luxury sports cars, complementing the successful 3500 GT coupé, built by Touring. The Spyder stands out with its unique design and 10 cm shorter wheelbase, enhancing both rigidity and handling. It features a steel body with aluminum panels for the bonnet and boot lid, embodying a blend of elegance and performance-focused engineering. This luxurious open-top design comes equipped with electric windows as standard, with an optional hardtop for added versatility. This car has been inspected and certified by Maserati Classiche in Modena, Italy.
3.485 cc
6 In-line
235 hp
Maserati 110 Years
19/12/2024 - 23/02/2025
Autoworld
Brussels - Belgium
July 2024
A test version of the payload module of ESA's exoplanet-detecting Plato spacecraft underwent a prolonged vacuum soak within Europe’s largest thermal vacuum chamber, to evaluate its endurance of space conditions.
There are tasks in space where multiple smaller imagers are better than one big equivalent. ESA PLAnetary Transits and Oscillations of stars mission, Plato, is to detect Earth-scale exoplanets using an array of 26 cameras to perform prolonged observations of target stars. This combination of cameras will pick up tiny variations in their light output due to the transit of exoplanets across them.
But in order for the mission to perform as planned, the optical bench securing these cameras in place must maintain a fixed optical-quality rigidity, despite the extreme conditions of deep space, as Plato operates from out at the second Sun-Earth Lagrange point, 1.5 million km from Earth.
So this initial ‘structural and thermal model’ of Plato’s optical bench has been built specifically for testing in space-like conditions. Testing includes ‘thermal cycling’ to assess how the optical bench responds to the in orbit temperature variations, and ‘thermal balance’ to measure the operating temperature that it maintains in these conditions.
Testing took place inside ESA’s Large Space Simulator, the largest thermal vacuum chamber in Europe, based at the Agency's ESTEC establishment in Noordwijk, the Netherlands. Standing 15m high by 10m wide the LSS is cavernous enough to encompass an upturned London double decker bus.
Once the chamber’s top and side hatches are sealed, high-performance pumps create a vacuum a billion times sparser than standard sea-level atmosphere, and this can be held for weeks at a time during test runs. At the same time liquid nitrogen is pumped through the walls to recreate the cold of space in the shade.
The LSS testing began at the end of March and was successfully completed in the third week of May.
This current test campaign has been preceded by environmental testing of the Plato camera design, performed both at ESA’s ESTEC Test Centre and at SRON, the Netherlands Institute for Space Research.
For the flight version of Plato, thermal vacuum testing of the 26 cameras required will be divided between SRON in Groningen, IAS in Paris and INTA in Madrid, running this autumn into 2024, to be ready for Plato’s 2026 launch date.
Credit: ESA-Remedia
This is an updated version of my BR55HB, or Halo 3 Battle Rifle, Lego build. The old version was flimsy, inaccurate, and too short, and while the overall build hasn't changed much, the critical things that have are greater structural rigidity, more polish, and a cleaner overall appearance, as well as the correct number of triangles on the side.
The model features a spring-loaded trigger, spring loaded bolt, and removable magzine
K2 INTEX EXCURSION PRO Having the right kayak to support you on your day in the water can make a huge difference in the quality of your experience. That's why the Intex Excursion™ Pro Kayak is made with features like adjustable seats or built-in footrests to keep you comfortable. Not only that, it's also made with fishing rod holders on each side for hands-free fishing. There's also a waterproof bag you can latch into the front for anything you need to carry out onto the water with you. Since it's inflatable, it's easy to stow away on a car or in the back of a truck. Even when it is inflated, handles on the front and back give you an easy way to carry it over land or onto a beach. Packaged with a pair of aluminum oars and an air pump, the Intex Excursion™ Pro Kayak has everything you need to start enjoying your day on the lake, river, or ocean.
Super-Tough laminate material with polyester core for high strength and durability, ensuring high impact and abrasion resistance, while retaining light weight and portability
High pressure inflation provides extra rigidity and stability, with high pressure spring loaded valves for easy inflation and fast deflation
Two Specially designed removable skegs for optimal maneuverability through deep and shallow waters
Two floor mounted footrests
Two integrated recessed fishing rod holders
Removable and adjustable mounting bracket for additional accessories, such as GPS systems, fish finders, swivel fishing rod holders, etc.
Grab handles on both ends
Two adjustable bucket seats
Inflatable booster pad for elevated seating
Storage space in bow and stern with stainless steel D-rings for tying down dry bags and gear
Includes a carry bag and repair patch
3-ply super tough construction employs a high molecular PVC that is unaffected by gasoline, oil and salt water. It is highly resistant to damage from abrasion, impact and sunlight. It also permits more air pressure for rigidity.
Includes 86in Aluminum Oars and High-output pump
Weight capacity 400 lbs
2 Person capacity
Build with durable 30ga vinyl
Approximate dimensions 151in x 13in x 18in
BC british Columbia Chilcotin.” Before there was a bridge, rafts were used to cross the river. In the early 1800s, Hudson Bay Company fur traders and trappers were ferried across the Fraser on these rafts, which they referred to as barges. Seeing a good business opportunity, a local began a ferry boat operation across the Fraser in the late 1880s. The ‘ferry’ consisted first of a large freighter canoe and later a six-by-12-foot scow, both of which were rowed across the river. When transporting freight wagons on the scow, the wagon was unhitched and loaded, and then the horses were led into the water and pulled behind the ferry as it crossed. In 1902, work began on a 325-foot bridge with wooden towers at each end. It was completed in 1904 after a massive undertaking. It had a unique design, featuring a lower cable and counterweight to provide rigidity and to overcome wind lift and movement common to suspension bridges of the day. The stone footings, constructed out of large granite blocks, still stand today, 122 years later. The bridge was an adventurous crossing. Hanging 100 feet above the river, it swayed and squeaked and groaned. The movement and the noise made both people and animals nervous; animals would go partway and refuse to go further. It is said that it moved around so much that it was like driving on waves. As the bridge aged, it sagged more and more in the middle, and vehicles had to climb uphill to get off in either direction. By 1960 it reached the end of its life, and it was obvious that a new bridge was needed. A new concrete and steel bridge was built just upstream from the old one, and in 1962 it opened. The old bridge was unsafe to remain standing and was blown up into small pieces so that the debris would not cause problems downstream.
This is a tessellation of the molecule which I first used in Lucky Star Box and which I later extended into Lucky Star Fractal. As I learned after the fact, the same molecule had been independently designed by several others before me, starting with Shuzo Fujimoto. Halina Rościszewska Narloch (Haligami) called her version Day and Night Tessellation since one side resembles stars and the other one suns. In order to fold this model, you can follow, with minor modification, my instructions for the fractal version.
I folded this model from a sheet of blue, hand-made abaca and flax paper created by John Gerard paperworks. Since this is artisanal paper, my review can probably only apply to that individual sheet and to other sheets with similar composition and preparation technique.
The picture does not fully do justice to this beautiful paper. Color is deep, with some variability which makes it more interesting. In back light, the paper becomes translucent. In contrast to John Gerard’s pure flax papers which I tried, creases preserve the paper’s original color, so they do not stand out so much. The side I used for the front of the tessellation (stars) is smooth while the back preserves the sieve’s texture.
The paper is thin, and at the same time very stiff. Precreases went almost perfectly where I wanted even over long distances. Geometry was preserved very well, and the paper didn’t stretch during folding. Even hand-made papers sometimes exhibit a slight machine/grain direction but in this sheet it was not discernible — a very good thing for pre-creasing on a hex grid and with some acute angles. I had to construct some really long precreased lines without relying on a complete grid but was able to do so with very high precision. The collapse went smoothly as well, despite the paper’s thinness and the model’s complexity. High rigidity enabled a clean collapse, with all the folds neatly snapping into place. Folded creases held very well which made the collapse and shaping the final model easier, even when it came to shaping the small details like the stars’ centers. The only thing that could be better was squashing the pleats on the back side (pictures coming up): the paper contains some small bits which are harder than their surroundings and which sometimes caused crumpling while I was flattening squash folds. However, this was a minor thing. Overall, I can't praise this paper enough, and it may well be the best paper I ever folded.
Geneviève Cadieux Broken Memory, 1995
Words to be Sung– Sister Juana Inés de la Cruz, 1651–1695
L'OUTRE-VIE
L'outre-vie c'est quand on n'est pas encore dans la vie, qu'on la regarde, que l'on cherche à y entrer. On n'est pas morte encore mais déjà presque vivante, presque née, en train de naître peut-être, dans ce passage hors frontière et hors temps qui caractérise le désir. Désir de l'autre, désir du monde. Que la vie jaillisse comme dans une outre gonflée. Et l'on est encore loin. L'outre-vie comme l'outre-mer ou l'outre-tombe. Il faut traverser la rigidité des évidences, des préjugés, des peurs, des habitudes, traverser le réel obtus pour entrer dans une réalité à la fois plus douloureuse et plus plaisante, dans l'inconnu, le secret, le contradictoire, ouvrir ses sens et connaître. Traverser l'opacité du silence, inventer nos existences, nos amours, là où il n'y a plus de fatalité d'aucune sorte.
Référence. Marie Uguay, l'Outre vie
OUTRE-VIE
Outre-vie is when one is not yet alive, that one watch it, that one is looking to enter it. We're not dead yet but already almost alive, almost born, being born perhaps in this passage out border and timeless characteristic desire. Desire of the other, desire of the world. That life blazes like in an inflated waterskin. And that we are still far. Outre-vie as overseas or afterlife. You have to cross the rigidity of evidences, prejudices, fears, habits, cross obtuse reality to enter a reality both more painful and more enjoyable, the unknown, the secret, contradictory, and open your senses and know. Crossing the opacity of the silence, invent our existences, our loves, where there is no inevitability of any kind.
Reference. Marie Uguay, Overseas life
1983 Austin Metro 3-door.
Supplied by whoever the Austin Rover dealer was in Holt (name of garage unreadable on this photo!).
Last MoT test expired in December 2018 and last SORN declaration expired in January 2023 (now MoT exempt).
It failed a test in October 2020 -
Nearside front integral body structure corroded to the extent that the rigidity of the assembly is significantly reduced floor by jacking point (6.1.1 (c) (i)) - Major
Nearside front subframe mounting prescribed area excessively corroded significantly reducing structural strength front cross member (5.3.6 (a) (i)) - Major
Offside front integral body structure corroded to the extent that the rigidity of the assembly is significantly reduced floor by jacking point (6.1.1 (c) (i)) - Major
Offside front subframe mounting prescribed area excessively corroded significantly reducing structural strength (5.3.6 (a) (i)) - Major
Offside rear integral body structure corroded to the extent that the rigidity of the assembly is significantly reduced outer sill (6.1.1 (c) (i)) - Major
Rear fog lamp not working (4.5.1 (a) (ii)) - Major
Rear sub-frame corroded and seriously weakened axle beam welded repairs (5.3.3 (b) (i)) - Major
Windscreen washer provides insufficient washer liquid (3.5 (a)) - Major
Anglia Car Auctions, King's Lynn -
"Chassis number: SAXXBANB1BD832552. This 998cc Austin Metro MkI has been off-road for a few years, with its last MoT expiring in December 2018, and a subsequent test in October 2020 producing a fail. The current mileage indicated by the odometer is 64,965 miles and the vehicle was registered in May 1983. The vehicle becomes tax and MoT exempt from April 1, 2024 although work will be required to return the Metro to a roadworthy state; however, it does start and drive well, according to the vendor, who believes the mileage to be correct as he has owned the car for nine years. A new battery has been fitted, while new tyres were fitted four years ago. Three keepers overall are recorded on the V5C.
"Documentation with the Metro includes the V5C, a photo of the car at Sandringham during Drive It Day 2016, various old tax discs and a brochure. There's also a Heritage Certificate, while the MoT certificates date from 2012, 2013, 2014, 2015, 2016 and 2017."
No reserve. Sold for £660 including premium.
1991 Nissan Figaro.
Registered in June 2006.
Last MoT test expired in July 2021 (SORN).
It failed a test on 11th January 2022 -
Exhaust carbon monoxide content after 2nd fast idle exceeds manufacturer's specified limits (8.2.1.2 (a)) - Major
Nearside integral body structure corroded to the extent that the rigidity of the assembly is significantly reduced (6.1.1 (c) (i)) - Major
Rear brakes imbalanced across an axle axle 2 (1.2.1 (b) (i)) - Major
Exhaust hydrocarbon content after 2nd fast idle exceeds manufacturer's specified limits (8.2.1.2 (a)) - Major
Offside integral body structure corroded to the extent that the rigidity of the assembly is significantly reduced (6.1.1 (c) (i)) - Major
1992 Mercedes 190E 2.0 auto.
Last taxed in July 2020 and last MoT test expired in August 2020.
It failed a test in July 2020 -
Offside rear integral body structure or chassis has excessive corrosion, seriously affecting its strength within 30cm of a body mounting rear floor rusty (6.2.2 (d) (i)) - Major
Nearside rear integral body structure or chassis has excessive corrosion, seriously affecting its strength within 30cm of a body mounting (6.2.2 (d) (i)) - Major
Vehicle structure corroded to the extent that the rigidity of the assembly is significantly reduced (6.1.1 (c) (i)) - Major
Night
Snowing
Winter
The Sault Canal opened in 1895- - it was the world’s first electrically operated lock and the world’s longest lock: 274 metres / 899 feet long and 18 metres / 59 feet wide. Closed in 1987 due to a lock wall collapse, the canal was reconstructed and reopened for recreational use in 1998. The Sault Canal is operated as a National Historic Site by Parks Canada.
The International Bridge- -a 4.5 kilometer / 2.8 mile long metal Cantilever (suspended deck) Warren Through Truss two lane bridge with a two span arch over the American Soo Locks and a single span arch over the Canadian Sault Canal. It was designed by the New York architectural firm of Steinman, Boynton, Gronquist and London; the bridge opened October 1962. The bridge spans the St. Marys River and connects Sault Ste. Marie Michigan to Sault Ste. Marie Ontario.
The International Railroad Swing Bridge allows trains to cross the Sault Canal; the bridge was built in 1895 by the Dominion Bridge Company based upon a Baltimore truss design. The bridge features extensive v-lacing and lattice for support. The bridge was originally a pin connected structure; however, the bridge has been altered in the past with additional steel bolted on to increase rigidity. The bridge was originally built by the Canadian Pacific Railroad Company and is now owned by the Canadian National Railway Company.
Night
Railway Swing Bridge
Sault Ste. Marie International Bridge
Sault Canal (National Historic Site)
The International Railroad Swing Bridge allows trains to cross the Sault Canal; the bridge was built in 1895 by the Dominion Bridge Company based upon a Baltimore truss design.
The bridge features extensive v-lacing and lattice for support. The bridge was originally a pin connected structure; however, the bridge has been altered in the past with additional steel bolted on to increase rigidity.
Coachwork by Vignale
The Maserati 3500 GT Spyder is an iconic masterpiece designed by Giovanni Michelotti and built by Carrozzeria Vignale. It marks Maserati's entry into the world of open-top luxury sports cars, complementing the successful 3500 GT coupé, built by Touring. The Spyder stands out with its unique design and 10 cm shorter wheelbase, enhancing both rigidity and handling. It features a steel body with aluminum panels for the bonnet and boot lid, embodying a blend of elegance and performance-focused engineering. This luxurious open-top design comes equipped with electric windows as standard, with an optional hardtop for added versatility. This car has been inspected and certified by Maserati Classiche in Modena, Italy.
3.485 cc
6 In-line
235 hp
Maserati 110 Years
19/12/2024 - 23/02/2025
Autoworld
Brussels - Belgium
July 2024
Ferrari Portofina (type F164) (2017-on) 3855cc Ferrari F154BE twin-turbocharged V8 600PS (592bhp)
Registration Number 12 FX (Cherished number, now transferred, first allocated for issue from Dorset)
FERRARI SET
www.flickr.com/photos/45676495@N05/sets/72157623665054999...
Designed at Ferrari Styling Centre under the direction of Flavio Manzoni, the Portofina is a two door 2+2 retractable hardtop convertible introduced at the end of 2017 as a replacement for the Ferrari California T.
The Ferrari Portofino was unveiled on the Italian Riviera in the village of Portofino at two exclusive evenings on 7 and 8 September 2017, and at Marinello the two following days. Priced at launch in Japan start from JPY25,300,000. Prices in the U.S. start from $215,000.
The chassis is made of 12 different aluminium alloys with much of its components now being integrated. The A-pillar of its predecessor consisted of 21 separate components but it is now a single piece in the Portofino. Hollow castings allow for increased structural rigidity, increasing it by 35% over its predecessor, the Ferrari California T. Its weight was parred down during developement resulting in a weight of 1,664 kg, or 80kg lighter than the California T.
The car is powered by a 3,855 cc Ferrari F154BE twin-turbocharged V8, simular to the engine used in the Ferrari GTC4Lusso T, but yields a slightly de-tuned power output of 600PS (592bhp). Driving through a seven speed dual clutch transmission with new softwear designed to allow for faster gear shifts. The Portofino can accelerate from 0–100 km/h (0–62 mph) in 3.5 seconds, 0–200 km/h (0–124 mph) in 10.8 seconds and can attain a terminal speed of 199mph
Diolch yn fawr am 73,194,807 o olygfeydd anhygoel, mwynhewch ac arhoswch yn ddiogel
Thank you 73,194,807 amazing views, enjoy and stay safe
Shot 06.05.2019 at Gawsworth Hall, Classic Car Show Ref 141-298
Hard places breed hard men and cold Garvey is no other. Battered by icy winds propelled forward by the Eye of Mimir, a maelstrom and freak weather phenomenon off the Garvian coast, the rough country is plagued by icy winters and only moderate summers - unlike its neighbours, who enjoy more a more temperate climate.
Stubborn individualists and rebels, the sparsely populated country only maintains a small standing army, which is supported by numerous bands of militia during wartime.
Both the unique climate and mindset of the Garvians are reflected in the army's uniforms. Unlike most of the Madrician armies, the Garvian Royal Army opts for thick great coats and practical equipment, going for substance over style.
The cut of the uniform is similar to that of their Essian cousins, yet the overall look of the soldiers is quite different. Whereas the Essians are known for their discipline and rigidity, the Garvians embrace their capricious spirit which is reflected in the diverse looks of individual soldiers. While tricorns are the officially issued headgear, many tend to opt for fur skin hats or the very practical karpus hats: a wool cap with foldable ear muffs. Another distinction from most other armies is the abundance of facial hair. Many soldiers grow their beards thick, as has been the way in Garvey for centuries.
While the Garvian army is known for its tenacious defensive doctrines, they are no strangers to a bloody melee. All of the soldiers carry hand weapons next to their musket and are not afraid to charge the enemy head on looking for a confrontation, whipped on by sermons of the rune priests promising a glorious afterlife. It is known that some weapons are passed down by generations and are treasured items.
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Notes:
There's not a lot of information on Garvey, so I just made up some extra stuff to fluff up the NPC faction.
I haven't had a lot of time on my hands since summer, so I've been rather inactive. With a new 'lockdown light' coming in Belgium, maybe I'll find some more time to spend with the bricks and figures.
Unless you are a huge old movie fan, you probably know Joan Crawford as "Mommie Dearest" a wire-hanger wielding monster of a mother with giant shoulderpads. Well, for a few minutes, try to erase that image from your mind entirely because I'd like you to meet somebody.
This is Lucielle LeSueur. In the 1920's when Lucielle went to Hollywood, MGM studios held a nationwide contest to find a new name for their new star. The name "Joan Crawford" was chosen. (she always thought it sounded like "crawfish") The name Joan Crawford seems to fit that image we are familiar with today- it imbues control freak and rigidity. But from the moment she was rechristened until the early 1940's, Joan Crawford was really Lucielle LeSueur. She was softer, beautiful and feminine. In her movies, she conveys the quinetessential flapper/working girl, often getting the short end of the stick and working her way to happiness. She was energetic, and believable as a spunky human being.
Most of the available DVDs starring Joan Crawford represent her "tough broad" films like Mildred Pierce or her later horror movies like Strait Jacket. But two of her really, really good old movies are on DVD- Rain and Sadie McKee. Rain is the story of a prostitute who is taunted by a religious zealot who wants to save her, and Sadie McKee is one of the working-girl makes good stories (the song "All I do is dream of you" is repeated numerous times in this film, and I guarantee you'll be humming it in your head for weeks... and that's a good thing!) I highly recommend renting both of these films. But before you put them in the DVD player, try to clear your mind of the iconic Crawford and open your heart to Lucille LeSueur. I'm sure you'll be impressed by her talent and beauty--- and you will probably agree with me-- that whoever told Joan Crawford "You'd look absolutely divine if you just wore football player shoulder pads, drew in huge dark eyebrows and made your lips look like a rectangle!" should have been fired on the spot.
As soon as I saw this gorgeous hypersport supercar in my email notification as a new Bugatti super sports production car, I decided to build it in LEGO form, so I started this build in the 1st of March and complete it around 2 weeks later. Unfortunately though, and since I don't have enough blue pieces, and since ordering some pieces online would take 1000 years! I decided to build my version in red, but to be honest I'm glad of the way the color combo turned out, red and black is always a great combination. Hope you like and enjoy it. Thanks for looking everyone :-)
-Also, I'd like to take this opportunity and share some interesting facts about this crazy hyper supercar with you guys:
-Newly developed W16 engine
-Two-stage turbocharging is the outstanding technical feature of the powertrain
-New titanium exhaust system / the main catalytic converters are about six times as large as the unit fitted to a medium-sized car
-The transmission has the largest, highest-performance clutch fitted to a passenger car
-Highly sophisticated monocoque with extremely high rigidity - LMP1 level
-First airbag in the world to shoot through a carbon fibre housing
-Carbon fibre body is an example of sophisticated craftsmanship
-For the first time, Bugatti has developed an adaptive chassis - for significantly greater agility and driving comfort
-New high-performance tyres tested at aerospace facilities
-Newly developed high-performance brakes with Formula One technical modules
-New adaptive chassis with five driving programs
-Intelligent air intake management significantly improves aerodynamic properties as well as enhancing vehicle cooling
-Newly developed heat shield for very-high-efficiency brake cooling
-Active aerodynamics system is a unique combination of performance-defining features
-Highest-performance, most intelligent cooling system in sports car sector
-The world's most intelligent super sports car with a high degree of future orientation
-High-performance high-end sound system makes the Chiron the world's fastest concert hall
-Electromagnetic compatibility comparable to that of a military vehicle
-100 percent authentic materials
-Newly designed front emblem crafted from solid 970 fine silver and enamel
-Illuminated C-bar in the interior is the longest light conductor in the automobile industry
1972 Citroen AK 400 van.
Registered in July 1981.
Last MoT test expired in June 2019 (now exempt, SORN).
It failed a test that month -
Nearside front tyre tread depth below requirements of 1.6mm (5.2.3 (e)) - Dangerous
Offside rear rear fog lamp tell-tale not working (4.9.1 (a) (ii)) - Major
Nearside front position lamp adversely affected by the operation of another lamp (4.2.3 (c)) - Major
Central rear integral body structure corroded to the extent that the rigidity of the assembly is significantly reduced (6.1.1 (c) (i)) - Major
Offside rear integral body structure or chassis has excessive corrosion, seriously affecting its strength within 30cm of a body mounting jacking point out rigger (6.2.2 (d) (i)) - Major
Nearside rear integral body structure or chassis has excessive corrosion, seriously affecting its strength within 30cm of a body mounting floor to jacking point (6.2.2 (d) (i)) - Major
Offside front suspension component pin or bush excessively worn steering pivot lower (5.3.4 (a) (i)) - Major
Central front exhaust system insecure (6.1.2 (a)) - Major
Nearside front outer drive shaft joint constant velocity boot split or insecure, no longer prevents the ingress of dirt (6.1.7 (g) (ii)) - Major
Offside front outer drive shaft joint constant velocity boot split or insecure, no longer prevents the ingress of dirt (6.1.7 (g) (ii)) - Major