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(Re)Spacing
Mittwoch, 08.05.2024 Kunsthalle Gießen
(Re)Spacing – „A Journey to Share“
Tanzperformances von und mit Pin-Chen Hsu,
Omar Torrico Real & Rose Marie Lindstrøm
Eine Kooperation mit dem Stadttheater Gießen
Die Tänzer*innen des Stadttheaters Gießen setzen sich in zwei miteinander verschränkten Performances mit den Umbrüchen und Vergänglichkeiten verschiedener
Stadien des Lebens auseinander. Damit setzen sie sich zur jüngsten Ausstellung der Kunsthalle Gießen ins Verhältnis,
„A Journey You Take Alone“ der britischen Künstlerin
Emma Talbot.
Kunsthalle Giessen
Copyright: Rolf K. Wegst
I wanted my 2 stud wide disc wheels to be placed very close together, without actually touching. I achieved this through a mix of technic bricks, plates, tiles, and 1 by 1x with a stud on the side.
The design of the Blackwood screwdock is a superb example of Victorian engineering, representing dry dock design at its best – good even by modern standards. Two primary elements of the design were unique: the use of power screws for lifting and trussed timber beams for the transverse girders. Another key feature of the design was the spacing of the screw jacks which kept down the loading on individual screws and beams. Planking laid athwart each beam abuts that on adjacent beams and created a continuous working platform.
It turns out that the screwdock concept and the shiplift system was a uniquely American invention of the early 19th century. Judging by the surviving descriptions and the remnants of the Barbados Screwdock, it was an invention that displayed all the elegant simplicity, practicality and ingenuity of the time and place of its inception.
The earliest screwdock, the earliest shiplift, was patented and constructed by Captain Jesse Hurd of Connecticut in New York in 1827 and incorporated as the “New York Screwdock Company” in 1828.
Two screwdocks were built shortly thereafter, one in Baltimore and one on the Kensington Reach of the Delaware River in Philadelphia.
The New York screwdock was suspended from eight screws of 41⁄2” (114 mm) diameter and apparently had a capacity of 200 tons. It was hand operated; it took about 30 men about half-
an-hour to raise such a vessel 10 feet (3 m).
The Baltimore screwdock was suspended from forty screws of about 5” (127 mm) diameter.
The Kensington Screwdock would seem to have been suspended from about 50 screws
The Barbados screwdock with a platform of 217’0” (66 m) by 45’6” (13.9m) is suspended from 62 screws of 41⁄2” (114 mm) diameter. The estimated capacity was around 1200 tons.
[hr]
The shiplift in Barbados uses screw jacks for lifting gear leading to an elegantly simple and durable system that remained in operation for nearly 100 years. It only became derelict when the owners were liquidated and the facility was abandoned. Currently [2010] moves are afoot to restore the facility with both historical preservation and a fully working dry dock being issues involved.
The “screwdock” as it is known locally was built on the south side of an area known as the “Careenage” at the mouth of the Constitution river in Bridgetown by John Blackwood (see locality plan, figure 1). Work was begun in 1889 and the lift was formally opened on 10th March, 1893 by Miss Hay, daughter of Sir James Hay, then Governor of Barbados.
Figure 1 Screwdock Locality
John Blackwood came out from Scotland in the early 1880’s as Assistant Engineer in the employ of Messrs Grant and Morrison. Within a few years Blackwood took over the business and ran it under his own name until his death in 1904. The business was then taken over by his brother-in-law, William McLaren who ran it until the formation of Central Foundry who took over the running of the dock together with John Blackwood’s workshops on the Pier Head.
In the early 1980’s the Central Foundry was in financial difficulty when their workshops and offices with all records, including those of the screwdock, were destroyed in a fire. The company was never able to recover from this blow. In 1984 the Central Foundry went into liquidation and the screwdock ceased operations. The screwdock has been derelict ever since. For some time thereafter, the site was under the jurisdiction of the Coast Guard which probably explains why there appears to be almost no vandalism of the site, only deterioration.
In its early history, Barbados was one of the major ports of the new world partly, in a world of sailing ships, because of its windward position with respect to the rest of the Caribbean. Even in the 19th century, it was still a very busy port, some 1500 vessel a year calling in the 1890’s. The decision to build a dry dock in Barbados was very much a response to this shipping activity – at the time Campbell’s dock in Bermuda of 380 ft (116m) was the only other significant dry dock in the region.
In November 1887 the Barbados Parliament passed an act to authorise the lease of Government lands for harbour improvements and the construction of a dry dock. A lease for the site of the screwdock in favour of John Blackwood was only signed in February of 1899. Under the terms of the lease a construction period of two years was allowed at a rental of £40 a year. Thereafter, once the dock became operational, the lease would run for 20 years at a rental of £276.4.0. The Government reserved the right to take over the dock on expiry of the lease at prime cost less a reasonable allowance for deterioration. The cost of removing and re-erecting Government buildings, water and gas mains were excluded from the prime costs. The Government also claimed priority for docking their own vessels.
In March of 1889 a Bill was passed to allow all construction materials, including timber, cement and machinery to be imported free of duty. Permission was also given for the free use of a diving bell, centrifugal pumps and the Priestman Dredger. The the lift was formally opened on 10th March 1893 by Miss Hay, daughter of Sir James Hay,then Governor of Barbados.
Figure 2 View of the Screwdock and the Careenage
Actual construction took far longer than the two years allowed – the whole construction period being about four years. One of the reasons given was the flooding of the works by exceptionally high tides. Since the retaining walls had not yet been built, portions of the embankments collapsed into the works. While this can only be part of the explanation for the extended delays, it does serve to suggest that the works, at least initially, were coffered and built in the dry.
The initial drive for the dock was a 100 hp steam engine with a coal burning locomotive type boiler although, for much of the time, squeeze-dried sugar cane was used as fuel. In 1953 the steam engine was replaced by a 130 hp electric motor. (HUTSON F. 1973; THRELFALL T. 1995)
Hutson (HUTSON F. 1973) gives the following docking charges as originally provided for in the lease and those ruling in 1972. These figures are in Barbadian dollars as of 1972:
18891972
Vessels not exceeding 100 register tons
For 1st day including lifting$50$150
For each subsequent day25¢ per ton60¢ per ton
Vessels exceeding 100 register tons
For 1st day including lifting50¢ per ton$1.50 per ton
For each subsequent day25¢ per ton65¢ per ton
Elsewhere Threlfall (THRELFALL T. 1995) gives charges as embodied in the original lease of 2s per ton for lifting and 6d per ton per day for dock occupation.
In 1968 a high pressure water jet was acquired to speed up the cleaning of marine fouling from ships hulls and for paint stripping (ST. PIERRE GILL, C.H. 2009).
By the 1970’s, the dock was still lifting over 10 000 tons of shipping per year (HUTSON F. 1973).
In 1977, in correspondence with Andrew Hutchison (HUTCHINSON A.P. 1977) at that time secretary, later president of the Barbados Association of Professional Engineers, he stated that the original drawings still existed but that they were “very worn and unsuitable for reproduction”.
By the start of the fourth quarter of the 20th century the operations of the Central Foundry and the screwdock were coming to an end. Peter Simpson was quoted as saying that the dock was “antiquated and not easy to work” (ST. PIERRE GILL, C.H. 2009). Although ship construction was changing from wood to steel, labour rates were increasing and Barbados had lost its pre-eminence as a shipping centre, institutional and financial matters seem to have been at the heart of the problem. In the late 1970’s there were also problems with the lease of the site. Central Foundry was not able to reach agreement with the Government on this matter.
Central Foundry had suffered a number of fires, the first in 1938 and then in 1948. They were able to recover from these but it was the third fire in 1981 that ravaged the works and destroyed all the records. The firm never really recovered. In 1984 it went into liquidation and the screwdock ceased operations. It has been derelict ever since (THRELFALL T. 1995).
Threlfall (THRELFALL T. 1995) makes the comment that “after carefully studying some ideas embodying hydraulics, Blackwood chose a system based upon screw-jacks”. Although this quote is not explicit, this does sound rather like the Hydraulic Lift Dock of Edwin Clark (CLARK E. 1866; MACKIE K.P. 2008) built in London in 1857 – the first shiplift ever built. Clark was Robert Stevenson’s house boffin on the design of the Britannia Bridge over the Menai Staits and later his resident engineer on the construction of the bridge. His experience on that bridge seems to have been a significant influence on his choice of design. Although du Platt-Taylor (DU PLAT-TAYLOR F.M. 1949) mentions having seen it in operation as a child, it seems it was decommissioned and demolished early in the 20th century.
Blackwood’s Screwdock some 30 years later is the second shiplift ever built and, although it is currently derelict, it can be restored. It is this statement that makes the restoration of the screwdock such an important and viable proposal.
The modern, Syncrolift© style of shiplifts using steel wire rope winches was only developed in about 1957 by Raymond Pearlson.
In his paper on the screwdock Frank Hutson (HUTSON F. 1973) remarks: “It has been said that a similar dock was supplied to some country in the Far East, but where it went to and whether it is still in operation is unknown, if in fact it ever existed”. This comment has since been picked up by other commentators on the screwdock with the site being given variously as Hong Kong or Singapore often in the positive and without Hutson’s proviso.
The mechanical equipment for the dock was provided by the Glasgow based engineering firm of Duncan Stewart. A rendition of the various Scottish engineering firms involved in supplying sugar mill machinery to Barbados was given by Peter Simpson (MACKIE K.P. 2009) during an interview for the December 2009 investigations. Of significance, the firm of Duncan Stewart was only a small player in this industry in Barbados at the time the screwdock was built.
Although industrial accidents are to be deplored, they are of considerable value in advancing the state of the art. Hutson (HUTSON F. 1973) records four such incidents:
1935: The schooner Eastern Star fell over on its side after being docked causing the death of two workmen and injury to others. She was afterwards righted and repaired.
1948: M.V. Willemstad, a heavy vessel, said to have been badly docked, caused three sections to break four days after being docked and said to have caused enormous overload on adjacent sections. By working around the clock, the sections were repaired and the situation saved.
WWII: H.M.S. Black Bear was a converted yacht with an excessively sloping bow. This was not properly supported and some adjacent sections were broken. These were repaired in time to prevent further damage.
1953: The auxiliary schooner Cachalot caught fire while on the dock. The cause was overhead welding which caused considerable damage to the engine room but there were no casualties.
Design Concept
The four diagrams, figures 11 to 14, placed at the end of this paper have been compiled from measurements made on site during the week 7th to 11th December 2009. They have been drawn to scale but only the dimensions shown are the dimensions actually measured. The rest have been inferred from various sources. The dimensions shown are given in SI metric measure although the dock was originally built to imperial measurement which is still in general use in Barbados. Measurements were made with linen tape, pocket tape and vernier caliper and, except where an original exact, rounded, imperial dimension could be inferred, are of limited accuracy.
This lift differs in concept from the earlier Clark system or the later Pearlson Syncrolift© system. Where the Clark system uses long stroke hydraulic cylinders as the lifting medium and the Pearlson system steel wire rope winches, the Blackwood uses long power screws. The practical capacity of individual screws is much less than hydraulic cylinders or winches so many more are needed and the main beams are much more closely spaced – so much so that, at least in the case of the Barbados screwdock, no intermediate grillage is needed between the beams.
Figure 4 Screwdock with Large Coaster (HUTCHINSON A.P. 1983)
The Blackwood has a very simple plan. It uses 31 screws down each side set at intervals of 7’0” (2133.6mm) and 31 sets of girders spanning between pairs of screws. Planking laid athwart the main beams provides a continuous working platform when all the beams are up.
The main rectangular plan of the dock, allowing for run-off of the retaining walls past the screws is 217’0” (66142 mm) and the clear space between copes is 45’6” (13868). A triangular space at the landward end of the pit extends its length by another 23’0” (7010 mm) to give a total length of 240’0” (73152 mm).
The civil engineering structures consist of coral block walling – a vertical retaining wall around the perimeter of the dock with rectangular, 2’0” (610 mm) wide by 2’6” (762 mm) deep vertical buttresses at 7’0” (2133.6) centres to carry the screw loads. Aside from the actual facing of the wall and the buttresses, the details of the wall construction are unknown.
The buttresses have a pair of 12” (305 mm) by 9” (228 mm) timbers placed over their tops, extending from the face of the copes to some distance behind the retaining wall face to receive the timber cope beams – a pair of 12” (305 mm) by 12” (305 mm) Greenheart baulks
The girders are constructed as trussed beams. The beam portion is formed from two 20” by 20” ( 508 by 508 mm) baulks of greenheart timber (given, in some references as “whalebone” greenheart) laid side by side, each end resting on a cast iron plates at the end of the screw rod. A cotter and washer system underneath these plates transfers the load to the screw rods. It has not been possible to examine the bottom of the plates but from photos it seems that the end of each screw rod is squared where it passes through the plate to prevent it from turning with the gear wheel and so failing to rise or fall as the wheel turns.
Figure 5 Last Remaining Trussed Beam showing Planking Athwart the Beam and Timber Keel Block.
Timber Cope Beams and Coral Buttresses can be seen in the background.
Four cast iron brackets, one on top of each end of each baulk, act as anchors for the 2” dia (51 mm) steel tie rods that dip down to about 12” (304 mm) below the soffit of the baulks. Cross pieces of 12” (305 mm) square timbers passing under the main baulks serve to transfer the load from the baulks to the tie rods.
Figure 6 Main Drive Train
The main drive, which has the option of a 1:1 or a 1:2 reduction gear box, is transmitted by shafts and bevel gears to the two main drive shafts – one on each side running down the full length of the cope. At each screw there is a worm floating on the shaft and a sliding dog clutch keyed to the shaft that can engage or disengage the worm. The worm in turn engages a worm wheel. The screw passes through this wheel. It has a bronze nut and thrust washer embedded axially in it to engage the screw and raise or lower it. Each gear set is mounted on a cast iron base plate set onto the timber cope beams exactly between the wall buttresses.
The screw itself was cut from 4” (101.6 mm) OD “bright” steel shafting. The thread appeared to be a 0°/52° buttress thread with a pitch of 1” (25 mm) although actual measurement seemed to suggest something more like 0°/62°.
Docking Operations
Some information on the practice of docking vessels on the screwdock was obtained from Mr Joe Weeks. For a period of 10 years in the 1960’s and 1970’s he had been Assistant Dockmaster (MACKIE K.P. 2009).
Other than a steel ring embedded in the concrete at the head of the dock, there is no sign that the dock was ever fitted with any dock furniture – fenders, bollards, fairleads, capstans etc. Weeks confirmed that the dock was operated so. On occasion, the vessel being dry docked would hang a few used tyres over the side or a few would be hung over the side of the dock.
Generally, six lines were used to bring the vessel into the dock and to position it. A head line was made fast to a ring set into the concrete at the head of the dock and the crew on board the vessel would warp the vessel into the dock either by hauling manually or, if available, by using an on-board capstan. Two breasting lines were used each side to position the vessel. A stern line was also used mainly, presumable, to warp the vessel out of the dock.
Mr Weeks confirmed that vessels (presumably he was referring to larger vessels such as coasters) were always brought to an even keel by flooding the forepeak tanks to avoid any sue load. As the vessel took the blocks, the water would be pumped out to lighten the vessel. This water had to be replaced on undocking as the vessel went into the water.
If a section was lowered to work on the keel, the screws to that section were marked so that the beams in the section could be brought back up to exactly the original height against the keel.
If the platform was lowered too far and sat on the bottom, the load would come off the cotters that secured it to the screws and they could and sometimes did work loose so that the beam end became effectively disconnected.
Joe Weeks reported that surge was not a problem. No docking operations, docking or undocking were done when there was rough weather at sea with a surge running up the Careenage. In fact the screw drive system does not permit of any penduluming of the platform which would bend the screw rods if it happened. If the surge got bad, the lift was kept up, clear of the water. In the event of hurricanes and severe storms, blocks of wood were inserted between the main girders and the cope beams and the lift tensioned against the blocks to fix it securely.
Joe did comment that normal surge had never delayed docking or undocking, only hurricanes and severe storms. The deck planking was laid tight to prevent barnacles and scrapings falling through.
Staffing levels were:
1 dockmaster
1 assistant dockmaster
6 permanent men on dockmaster’s staff including the 2 no divers. Divers only received extra pay while they were diving. At other times they assisted the rest of the staff.
8 – 12 casual workers to assist with the docking as needed.
All parties assisted with the scraping and painting of the vessels
A separate department employed an engineer foreman and 6 engineers to work on the ships. These men had nothing to do with the docking of vessels.
Weeks and Peter Simpson (MACKIE K.P. 2009) concurred that it was unsafe to walk along the dock in the region of the main load concentrations when a heavy vessel was being lifted. Under these conditions, the gears and worms would emit sparks and small chips of hot metal. These sparks and chips made it uncomfortable to be near the gears when this was happening.
Central foundry made all replacement screws, bronze nuts and cotter pins. Gear wheels and worm wheels were imported. At one stage both were supplied in the wrong grade of metal and were sent back.
Joe commented that at one time during his stint, there had been a proposal to scrap the drive shaft, worm and gear system and fit each screw with its own motor.
Peter Simpson confirmed that the overall condition of the dock had been allowed to deteriorate to a dangerous level some time before the fire and before the lift was abandoned. He had in fact put in a report on the condition that was also lost in the fire. He stated that before the fire a complete set of documents including drawings of the dock were held by Central Foundry.
Nothing has survived of the bilge support system except old photos. It would appear that it consisted of Morton type sliding bilge blocks riding on inclined baulks (see figure 8). Rollinson (ROLLINSON D. 1993) states that these baulks were attached to the main girders by a metal hinge structure at the inboard end. Thus, the inclination of these slides could be varied by changing the blocking that supported the centres and the outboard ends of these baulks. With high bilge vessels, this reduced the build-up of the bilge blocks. The inclination of the slides did make it easier to pull the blocks in against hull of the vessel.
I solved the frame spacing problem of my Pentacon six TL by simple means: Cut two pieces out of a sponge (had only a yellow one at hand that Sunday morning... may replace it with a black one) and sticked it with double-sided tape onto the lid of the camera. This way, the film rolls are always under slight pressure and do not unwind. Inspired by my Holga, where the sponge is in the body, underneath the spools.
Changed the foam to a ca. 3mm layer of neopren (smoother surface). Film transport is easier now. No overlaps anymore, but some frames are very close (still a narrow rim between shots). The 120 film takes 13 shots this way. Film transport without holding the shutter down .
An Illustration of A Future Toronto.
* PRINTS ARE AVAILABLE at the Spacing pop-up store at Richmond & Portland in Toronto. *
Made mostly with Modo, with some 3D coat and photoshop.
Spacing for 2 figs and openable front trunk! Later some cool custom stickers will come for the Herigate edition too!😛
Can be built in 5 colors.
Instagram:
Rebrickable:
In the DUNE universe interplanetary travel is facililitated by the secretive Spacing Guild, whose Navigators (humans mutated by Spice and confined to tanks filed with the melange gas) can "Fold Space" to move thier enourmous ships instantaneously from one place in the galaxy to another.
This MOC is my vision of one of the mighty Heighliner's filled with many smaller ships from various Houses across the Imperium, perhaps even House Atreides on their wat to Arrakis.
Although the design is my own it takes inspiration from the visuals in both the David Lynch movie from 1984 and the 2000 Sci-Fi miniseries.
The Spice Must Flow!
I am spacing at the moment as to who lent me these species, but hopefully can track that down and correct the record. Such a lovely odd bee. It forages a dawn in the deserts of the Southwest, is big, lush and lovely. One of only 3 species. This one caught in Wilcox, AZ...probably at the Bee Course. Photographed by Dejen Mengis.
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All photographs are public domain, feel free to download and use as you wish.
Photography Information: Canon Mark II 5D, Zerene Stacker, Stackshot Sled, 200mm Pentax-m with Nikon 10X infinity microscope objective lens mounted on front , Twin Macro Flash in Styrofoam Cooler, F5.6, ISO 100, Shutter Speed 200
Love for Other Things
It’s easy to love a deer
But try to care about bugs and scrawny trees
Love the puddle of lukewarm water
From last week’s rain.
Leave the mountains alone for now.
Also the clear lakes surrounded by pines.
People are lined up to admire them.
Get close to the things that slide away in the dark.
Be grateful even for the boredom
That sometimes seems to involve the whole world.
Think of the frost
That will crack our bones eventually.
- Tom Hennen
You can also follow us on Instagram account USGSBIML Want some Useful Links to the Techniques We Use? Well now here you go Citizen:
Basic USGSBIML set up:
www.youtube.com/watch?v=S-_yvIsucOY
USGSBIML Photoshopping Technique: Note that we now have added using the burn tool at 50% opacity set to shadows to clean up the halos that bleed into the black background from "hot" color sections of the picture.
www.youtube.com/watch?v=Bdmx_8zqvN4
PDF of Basic USGSBIML Photography Set Up:
ftp://ftpext.usgs.gov/pub/er/md/laurel/Droege/How%20to%20Take%20MacroPhotographs%20of%20Insects%20BIML%20Lab2.pdf
Google Hangout Demonstration of Techniques:
plus.google.com/events/c5569losvskrv2nu606ltof8odo
or
www.youtube.com/watch?v=4c15neFttoU
Excellent Technical Form on Stacking:
Contact information:
Sam Droege
sdroege@usgs.gov
301 497 5840
First Ha image with Qhy163M camera, Baader 7Nm filter, Takahashi FS60C with f/4.2 reducer. Spacing not yet correct for the camera. Total of 75 minutes with moon in the sky.
Another one to view on black ideally.
An alternative sunrise shot of the carpet of bluebells at this superb location. I think the best of them are over now, but it was a real joy to be able to get out and shoot them on my own. I liked the more regular spacing to the trees on this one, which I feel created a more settled comp in general. Incidentally it was shot just after my last upload of the tree tops :)
Check out my Profile page for links to my website and info about Workshops I run in Cornwall.
www.flickr.com/people/24562498@N03/
Camera Canon EOS 5D Mark II
Exposure 0.25 sec (1/4)
Aperture f/11.0
Focal Length 36 mm
ISO Speed 100
Exposure Bias +1/3 EV
A re-creation of page 9 ("Letter spacing") of Unimark's NYC Transit Authority Graphics Manual as found on page 46 of Paul Shaw's excellent book Helvetica and the New York City Subway System.
More
4jpeg @1 EV spacing merge in Photomatix. Enhancements in CS5
Website: www.pma.ph/
Location map: maps.google.com/maps/place?cid=7371036764335608536&q=...
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Koures Lily* Lilium 'Koures'
Height: 4 feet
Spacing: 18 inches
Sunlight: full sun partial shade
Hardiness Zone: 4a
Group/Class: Asiatic Hybrid
Description:
A large upward facing bloom that features coral-pink petals, blushed with scarlet; a very noticeable mid summer presentation for borders, gardens or containers
Ornamental Features
Koures Lily features bold coral-pink trumpet-shaped flowers with rose overtones, white throats and scarlet streaks at the ends of the stems in mid summer. The flowers are excellent for cutting. Its narrow leaves remain green in color throughout the season.
Landscape Attributes
Koures Lily is an herbaceous perennial with a rigidly upright and towering form. Its medium texture blends into the garden, but can always be balanced by a couple of finer or coarser plants for an effective composition.
This plant will require occasional maintenance and upkeep, and should be cut back in late fall in preparation for winter. Gardeners should be aware of the following characteristic(s) that may warrant special consideration;
Insects
Disease
Koures Lily is recommended for the following landscape applications;
Mass Planting
General Garden Use
Planting & Growing
Koures Lily will grow to be about 4 feet tall at maturity, with a spread of 24 inches. When grown in masses or used as a bedding plant, individual plants should be spaced approximately 18 inches apart. It tends to be leggy, with a typical clearance of 1 foot from the ground, and should be underplanted with lower-growing perennials. The flower stalks can be weak and so it may require staking in exposed sites or excessively rich soils. It grows at a fast rate, and under ideal conditions can be expected to live for approximately 10 years. As an herbaceous perennial, this plant will usually die back to the crown each winter, and will regrow from the base each spring. Be careful not to disturb the crown in late winter when it may not be readily seen!
This plant does best in full sun to partial shade. It does best in average to evenly moist conditions, but will not tolerate standing water. It is not particular as to soil type or pH. It is somewhat tolerant of urban pollution. This particular variety is an interspecific hybrid. It can be propagated by multiplication of the underground bulbs; however, as a cultivated variety, be aware that it may be subject to certain restrictions or prohibitions on propagation.
i got my toronto subway button set in the mail today. each button matches the tile pattern at each subway stop. you can get them at spacing.ca/, where you can also read a number of great articles on toronto's urban space.
here we are looking north.
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Drawing Weight = Heavy
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Paint = High Contrast
Paint Lightness = Normal
Paint Intensity = More
Water = Tap Water
Water Edges = Blurry
Water Bleed = Average
Brush = Fine Detail
Brush Focus = Everything
Brush Spacing = Medium
Paper = Watercolor
Paper Texture = Medium
Paper Shading = Medium
Options Faces = Enhance Faces
Shot taken in Half Moon Bay, just down the coast from SF.
Decided on a larger crop to include the canopy of branches.
Red Tail Hawk
Inside, spacing is close as in many temples. Banteay Samre has two galleried enclosures and a single tower over the shrine (the steps lead up to the central shrine). Unusually, it has no apsara carvings. The grey-green sandstone and laterite comes from the Kulen mountains, transported to Angkor by raft along the river.
“There is geometry in the humming of the strings, there is music in the spacing of the spheres."
Pythagoras (Greek philosopher and mathematician, BC 580-500)
Other Names:
Morse’s Teas
Jerusalem Warehouse
Construction Date:
1841/01/01 to 1841/12/31
Link to photos - The Morse’s Tea Building - spacing.ca/atlantic/2013/11/26/rose-name-morses-tea-build...
Description of Historic Place:
Morse’s Teas is a six-storey brick and stone commercial property located on Hollis Street, in downtown Halifax, Nova Scotia. A landmark of the downtown, the large trapezoidal building is one of Halifax’s oldest commercial properties and is situated on the northern end of the block bounded by Hollis, Duke and Water Streets. The designation extends to the building and the land it occupies.
Heritage Value:
Morse’s Teas is valued for its association with early trade in Halifax, its associations to J.S. MacLean and J.E. Morse and Company Ltd. and for its Georgian architectural features. It is also valued as Canada’s first tea company and for its association with Halifax’s conservation awakening.
The building was constructed in 1841 for David & Edward Starr and Co. and served as a warehouse for several downtown businesses. It was known locally then as Jerusalem Warehouse, a name that hearkened back to when the site was occupied by the Jerusalem Coffee House. The coffee house had operated for nearly a century in the former residence of Thomas Saul, a British army agent from Lancashire, England. Saul’s house dated to 1753 but it was destroyed by fire in 1837. Many of the stones used in Morse’s Teas were salvaged from the ruined building.
In 1855, J.S. MacLean, a New York businessman, purchased the building and based his grocery store there. Importing products from overseas, his business specialized in tea, which he transported in small sailing vessels and horse-drawn wagons to communities throughout Nova Scotia, New Brunswick and Prince Edward Island. Respected not only for his successful business, MacLean later became president of the Bank of Nova Scotia. After 30 years in business, he sold the building to another local merchant, Cyril H. Gorham, and in 1910, Gorham sold it to O.E. Smith, president of J.E. Morse and Company Ltd.
Under Smith’s direction, tea was blended, packaged and shipped to wholesalers and retailers, establishing the property as Canada’s first tea business. Most sales were to Atlantic Canada though tea was also shipped to destinations in the U.S. and West Indies. Beyond his business endeavours, Smith was also a philanthropist and donated sums of money to local hospitals and Dalhousie University. The building underwent several changes after sustaining damage from a fire in 1927: the loading doors were relocated from the north and east walls to the west side of the building, two additional storeys were constructed and the pitched roof was replaced with a flat roof.
The building remained in the Smith family until the late 1970s. In 1973, the building was threatened with demolition to make way for a proposed superhighway but Halifax City Council saved the building along with several other heritage structures in the vicinity. In 1989, Morse’s Teas became part of the campus for the Nova Scotia College of Art and Design (NSCAD). In 2004, a Toronto-based developer purchased the property.
Architecturally, Morse’s Teas has retained elements of the Georgian style, which include its symmetrical façade, six-over-six windows with quoins and stone and brick construction. It has maintained its original masonry, a feature also mirrored in other historic properties along Halifax’s waterfront. Built out of native ironstone with granite trim similar to other warehouse buildings in the area, the large rectangular building boasts similar unadorned construction techniques. It initially stood just four storeys tall, but two storeys were added following a fire in 1927. On the south side of the building, the outline of the former pitched roof is visible. The building is distinguished by its unusual trapezoidal footprint.
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Sent and signed by - Charles F. Gorham - he lived in Rockingham (Station) and is listed as a commercial Traveller in the 1896 McAlpine's City Directory.
Name - Charles Freeman Gorham
Birth Date - 29 January 1851 in Halifax, Nova Scotia
Death - 23 February 1934 at age 83 in Liverpool, Queens, Nova Scotia
Spouse's Name Helen (Ella) N. Baxter
Spouse's Birth Date 1849 in Liverpool, Nova Scotia
Married - 1 Sep 1881 at Liverpool, Queens, Nova Scotia
Father's Name - Richd.
Mother's Name - Margt.
Spouse's Father's Name - James
Spouse's Mother's Name - Eliza
Charles Freeman Gorham was born on January 29, 1851, in Nova Scotia, his father, Richard, was 51 and his mother, Margaret, was 36. He had two sons with Helen N Baxter between 1883 and 1888. He died on February 23, 1934, at the age of 83.
Helen N Baxter was born in 1849, the daughter of Elizabeth and James. She had two sons with Charles Freeman Gorham between 1883 and 1888. She died in 1936 at the age of 87.
His brother John William Gorham died on July 27, 1914, when Charles Freeman was 63 years old.
Charles died 23 February 1934 in Liverpool, Nova Scotia, Helen W. (sic) in 1936. Background and Occupations - His early life was spent in Halifax, and until 1876-77 he lived at home on Maynard Street. City Directories list him at 38 Carleton in 1882-83 after his marriage. He and his family were in Rockingham (near Prince's Lodge) in 1891-92, and on Bedford Road, Rockingham, in 1902-03; son C. Fred was then a student. From 1907 to 1912 the family lived at 2 Smith Street, Halifax, with son Harold (a clerk in the Bank of Montreal). John W.'s obituary has Charles in Liverpool by 1914. He worked for J.W. Gorham and Co. in early life as clerk, accountant, and commercial traveller, but by 1903-04 and from 1907 to 1912 was listed as a commercial traveller for J. and M. Murphy. According to his flmeral home record he was a salesman and belonged to the Congregational Church in Liverpool.
Loved the spacing of the trees and the clouds in this photo!
Macy, NE.
1, 0, -1 EVs. Merged and Tone Mapped with Photomatix Pro and final adjustments with PS CS 2.
I wanted my 2 stud wide disc wheels to be placed very close together, without actually touching. I achieved this through a mix of technic bricks, plates, tiles, and 1 by 1x with a stud on the side.
I don't know why I took this, other than I thought it looked kinda cute, and reminded me that we all just zone out once in awhile. Taken in our back yard during autumn.
New bike day!
Features:
Frame: Sentier 27.5" hardtail, 6061 Alloy, Boost spacing
Forks: Marzocchi Bomber Z2, 27.5", 140mm, Boost, 15x110mm, Kabolt axle, 44mm offset, RAIL damper, tapered
Speed: 12 speed
Rear Shock: N/A
Brakes: Shimano MT501, resin pads without fin, SM-MA-F180P-P2 adaptor, 180mm 6-bolt SM-RT56 rotors
Shifter: SRAM SX Eagle
Front Derailleur: N/A
Rear Derailleur: SRAM SX Eagle
Cassette: SRAM SX Eagle, 11-50T
Chainset: SRAM SX Eagle, 32T, 170mm, GXP 73mm, 53mm Boost chainline, Powerspline
Chain: SRAM SX Eagle
Rims: WTB ST i30, TCS 2.0, 27.5", 30mm inner rim width, 32H, pinned joint
Front Hub: Vitus DHF112, 32H, Boost, 110x15mm, double sealed bearings, 6-bolt
Rear Hub: Vitus M5ER, 32H, Boost, 148x12mm, double sealed bearings, 6-bolt
Tyres: Front: Schwalbe Magic Mary Evo, 27.5x2.6", SnakeSkin, TLE, ADDIX Soft; Rear: Schwalbe Hans Dampf Evo, 27.5x2.6", SnakeSkin, TLE, ADDIX, SpeedGrip
Saddle: Nukeproof Neutron
Seatpost: Brand X Ascend, 31.6mm, left hand remote lever
Seat Clamp: Vitus, 34.9mm diameter, quick-release lever
Stem: Vitus, 50mm, 31.8mm diameter, 3° rise, 45mm stack height
Bars: Nukeproof Neutron, 25mm rise, 31.8mm diameter
Headset: Acros, zero stack 44/56mm
Weight: 13.70kg
Name/spacing testing. Will likely just get place on top of the hull plate panels, just need to get the spacing and break points right.
Preset Style = Bold
Format = Medium
Format Margin = Small
Format Border = Sm. Rounded
Drawing = #2 Pencil
Drawing Weight = Heavy
Drawing Detail = Medium
Paint = High Contrast
Paint Lightness = Lighter
Paint Intensity = More
Water = Tap Water
Water Edges = Blurry
Water Bleed = Average
Brush = Fine Detail
Brush Focus = Everything
Brush Spacing = Medium
Paper = Watercolor
Paper Texture = Medium
Paper Shading = Medium
Preset Style = Color Bloom
Format = 6" (Medium)
Format Margin = None
Format Border = Straight
Drawing = #2 Pencil
Drawing Weight = Heavy
Drawing Detail = Medium
Paint = Natural
Paint Lightness = Auto
Paint Intensity = More
Water = Tap Water
Water Edges = Blurry
Water Bleed = Average
Brush = Fine Detail
Brush Focus = Everything
Brush Spacing = Wide
Paper = Watercolor
Paper Texture = Medium
Paper Shading = Light
Options Faces = Enhance Faces
(Re)Spacing
Mittwoch, 08.05.2024 Kunsthalle Gießen
(Re)Spacing – „A Journey to Share“
Tanzperformances von und mit Pin-Chen Hsu,
Omar Torrico Real & Rose Marie Lindstrøm
Eine Kooperation mit dem Stadttheater Gießen
Die Tänzer*innen des Stadttheaters Gießen setzen sich in zwei miteinander verschränkten Performances mit den Umbrüchen und Vergänglichkeiten verschiedener
Stadien des Lebens auseinander. Damit setzen sie sich zur jüngsten Ausstellung der Kunsthalle Gießen ins Verhältnis,
„A Journey You Take Alone“ der britischen Künstlerin
Emma Talbot.
Kunsthalle Giessen
Copyright: Rolf K. Wegst
Deserted patios outside the bars along Huron Road, near Rocket Mortgage Fieldhouse in the Gateway District of Cleveland. Even though Ohio Gov. Mike DeWine eased restrictions on bars and restaurants, allowing them to serve patrons outside, the owners of this string of establishments chose to remain closed.