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I love this example of embodiment in Second Life. Here we have Pinkfeather Heron, actually blue and jay, DJing at Fracture, with the assistance of a box to raise hir to the required height. Actually, the DJ poseball left Pink floating above the floor, which was jarring to the illusion of solidity and weight we develop in SL, so Trinity rezzed hir a cube to stand on. But the cube lacked the depth of detail that gives the virtual world coherence, so I gave Trin textures to distress and realize the crate. And Pink DJed on, in geometric feathered glory.
design Alberto Meda
The teak collection returns to the essence of the setes bench with its chairs, tables
and chaise-longue models. Manufactured with teak wood slats on a die-cast aluminium
frame, the products of the teak collection are resistant over time and pleasant
to the touch. Suitable for outdoor areas, they add solidity and attention to detail
to the outdoor collections.
La collezione teak restituisce nei progetti di sedute, con e senza braccioli, lettini e tavoli
l’anima materica e formale della panchina setes. Realizzati con doghe di legno teak su
struttura in pressofusione di alluminio, i pezzi della collezione teak sono resistenti nel
tempo e piacevoli al tatto. Adatti agli spazi aperti dei giardini, aggiungono solidità
e cura dei dettagli al paesaggio outdoor.
Title: Metropolitan
Creator: Sir Norman Foster and Partners; JEMS Architekci
Creator role: Architect
Creator 2: Hochtief Polska
Creator 2 role: Contractor
Date: 1997-2003
Current location: Warsaw, Mazowieckie, Poland
Description of work: The Metropolitan building was erected at the northern edge of Pilsudski Square to fill a void where palaces had once stood until their destruction during World War II. The famous square (home to the Tomb of the Unknown Soldier, the Papal Cross, and near the Presidential Palace) is the site of military ceremonial gatherings. At the heart of the building is a circular courtyard and fountain, accessible to the street on three sides. "Above the ground level shops and restaurants there are five storeys of flexible office accommodation, grouped in three separate yet connected buildings. [...] The glazed facades maximise daylight in the offices and take advantage of views over the square and surrounding historic buildings, while vertical granite fins balance this sense of transparency with the impression of solidity" (Source: Foster + Partners website: www.fosterandpartners.com/projects/metropolitan-pilsudski...). The innovative building design by Norman Foster and collaborating architect Jems Achitekci won several awards, including the RIBA Worldwide Award, MIPIM Award 2004 in the Business Center category, Construction Journal Award for Best Overall Project of 2003, and the Platinum Drill 2004 (1st prize in Bosch competition for Polish construction companies). According to its website, the Metropolitan building can be rated as one of the most technologically advanced buildings in Europe due to its energy-saving and environmentally-friendly heating and cooling solutions (Source: Metropolitan: www.metropolitan.waw.pl/en/index.php).
Description of view: View of the western building entrance and northern courtyard entrance.
Work type: Architecture and Landscape
Style of work: Contemporary
Culture: Polish
Materials/Techniques: Glass
Stone
Metal
Source: Pisciotta, Henry (copyright Henry Pisciotta)
Date photographed: May 2011
Resource type: Image
File format: JPEG
Image size: 2736H X 3648W pixels
Permitted uses: This image is posted publicly for non-profit educational uses, excluding printed publication. Other uses are not permitted. alias.libraries.psu.edu/vius/copyright/publicrightsarch.htm
Collection: Worldwide Building and Landscape Pictures
Filename: WB2014-0195 Metropolitan.JPG
Record ID: WB2014-0195
Sub collection: office buildings
Copyright holder: Copyright Henry Pisciotta
This is the Hogan Block. Built in1895 and designed by Charles E. Colton in the Second Renaissance Revival style. The commercial block was built by attorney Thomas Hogan in two stages to house a warehouse, a retail business, and a restaurant. Along with other commercial blocks erected in the city at the time (Yates Hotel, Dey Brothers and the Kirk Fireproof Building), the Hogan Block was an expression of the city's business prosperity. A characteristic feature is the different articulation of each floor. The solidity of form, the organization of facades and the embellishment with Neo-Classical ornament, design features that might, so it was hoped, inspire confidence by association in the business establishment of their owners. Again a mixed-use building after its extensive renovation (1985-87), have created new space for retail, offices, and residential uses. Located in the Armory Square area at 247-259 West Fayette Street in Syracuse, NY. (S4/60)
The unusual Mission-style Whiteside bakery opened on January 16, 1908, the fiftieth birthday of Isaac Whiteside. His health began to decline shortly after and he was dead within the year. In 1913 the bakery was producing 140,000 loaves every 24 hours, according to the March 25, 1913 article above in the (Louisville) Courier-Journal and Louisville Times. The building still stands at 1400 West Broadway in Louisville, Kentucky, but is a shell of its former wonder.
From the 1979 application to be a Nationally Registered Historic Place:
"Whiteside Bakery was built in 1908 by Louisville architect Arthur Loomis. His choice of the Mission Style for the project is a curious one, since the style was not well represented in the Louisville area. Loomis's use of this contemporary California mode, however, provided a particularly happy solution for the structure's location with in a transitional zone. The bold, low massing of the Mission Style catered to the height of the bakery's residential neighbors, while the strength and solidity of the style justified its use as a commercial structure.
Asymmetrical square towers dominate each corner of the building, anchoring it to its site. The left tower is slightly taller than the one to the right for stylistic purposes. This tower commands the southwest corner of Broadway and 14th Streets, and was originally highly visible from the downtown direction. The crowning glory of this tower, no longer extant, was a large electric clock which tolled upon the hour. At dusk, we are told, “the characters describing the circle and declaring the hours stand forth in letters of fire and read 'Mother's Bread'." Unfortunately, this magnificent timepiece has met an ignominious end … A tile roof supported by piers caps the tower. Deep, bracketed wooden eaves protect recessed arched windows on each side to the tower, creating the visual effect of an open loggia from the street. Limestone rolled trim edges the base of the loggia, while gargoyles commanding each corner peer menacingly down upon passersby.
The lower tower to the right of the building has been designed in deliberate contrast to its taller counterpart on the left. In the first instance, the emphasis has been upon height and lightness; here, the stress is upon weight and mass. The tile roof sits firmly upon shorter piers, which appear more massive because of their reduced height. Squat columns recessed into the depths of the heavily-bracketed eaves support a low arch which enframes the windows on each tower face.
With the exception of the tower clock and the rooftop garden, the exterior of the bakery has changed little since 1908. The low, open pavilion to the far right of the structure, featured in an earliest photograph, is presently enclosed."
The attractive town of Tewkesbury has been dominated by its superb abbey church since the beginning of the 12th century, and we can be forever grateful to its townspeople for purchasing the monastic church in 1540 for £453 for use as their parish church, saving it from the fate that befell countless similar great churches across the land during the turmoil of the Dissolution. It reminds us both how lucky we are to still marvel at it today, yet also how great a loss to our heritage the period wrought when many more such buildings were so utterly plundered as to have gone without trace (the fate of the monastic buildings here and even the lady chapel of the church whose footings are laid out in the grass at the east end).
Tewkesbury Abbey is thus rightly celebrated as one of our greatest non-cathedral churches, and remarkably much of the original Norman church remains substantially intact, most apparently in the great central tower, a fine example of Romanesque architecture adorned with rows of blind-arcading. The west front is dominated by a massive Norman-arched recess (enclosing the somewhat later west window) and the nave and transepts remain largely as originally built, though this is less clear externally owing to the changes made to the windows, nearly all of which were enlarged in the 14th century in the Decorated Gothic style. This century also saw the complete rebuilding of the eastern limb of the church, of a form less common in England with radiating chapels surrounding the eastern apse of the choir (the central lady chapel sadly missing since 1540).
The interior reveals far more of the Romanesque structure with mighty columns supporting the round Norman arches of the nave arcades giving the building a great sense of solidity. The space is further enlivened by the changes made during the 14th century by the stunning vault over the nave (adorned with a rewarding series of figurative bosses) which sits surprisingly well with the Norman work below. Beyond the apsidal choir beckons, and both this and the space below the tower are enriched with stunningly complex vaulted ceilings (replete with further bosses and gilded metal stars), all ablaze with colour and gilding.
There is much to enjoy in glass here, most remarkably a complete set of 14th century glazing in the clerestorey of the choir, seven windows filled with saints and prophets (and most memorably two groups of knights in the westernmost windows on each side). A few of the figures have fared less well over the centuries but on the whole this is a wonderfully rare and well preserved scheme. There is much glass from the 19th century too, with an extensive scheme in the nave of good quality work by Hardman's, and more recently a pair of rich windows by Tom Denny were added in one of the polygonal chapels around the east end.
Some of the most memorable features are the monuments with many medieval tombs of note, primarily the effigies and chantry chapels of members of the Despenser family around the choir (two of the chantries being miniature architectural gems in their own right with exquisite fan-vaulting). In one of the apsidal chapels is the unusual cenotaph to Abbot Wakeman with his grisly cadaver effigy, a late medieval reminder of earthly mortality.
Tewkesbury Abbey is not to be missed and is every bit as rewarding as many of our cathedrals (superior in fact to all but the best). It is normally kept open and welcoming to visitors on a daily basis. I have also had the privilege of working on this great building several times over the years (as part of the team at the studio I once worked for), and have left my mark in glass in a few discreet places.
design Alberto Meda
The teak collection returns to the essence of the setes bench with its chairs, tables
and chaise-longue models. Manufactured with teak wood slats on a die-cast aluminium
frame, the products of the teak collection are resistant over time and pleasant
to the touch. Suitable for outdoor areas, they add solidity and attention to detail
to the outdoor collections.
La collezione teak restituisce nei progetti di sedute, con e senza braccioli, lettini e tavoli
l’anima materica e formale della panchina setes. Realizzati con doghe di legno teak su
struttura in pressofusione di alluminio, i pezzi della collezione teak sono resistenti nel
tempo e piacevoli al tatto. Adatti agli spazi aperti dei giardini, aggiungono solidità
e cura dei dettagli al paesaggio outdoor.
Blythe size stand made of painted acrylic resin.
Inspired by Michael Ende's novel, 'The Neverending Story', and the imaginery of the 1984 movie by Wolfgang Petersen's, it shows the Auryn, a medallion with two serpents carved in relief, a light one and a dark one that bite each other's tails.
Because of the nature of the material used, it has a nice strong and compact presence and a stone-like solidity.
The pole is removable and it's crossed by a tin wire that can be bent to grab the doll.
Albi Cathedral is one of the most unique, awe-inspiring churches ever concieved, quite simply one of the wonders of the medieval world.
Although contemporary with the great gothic cathedrals of Northern France, this largely 13th century structure is radically different, being constructed almost entirely of brick and built like a mighty fortress; mostly unadorned walls rise uninterrupted from the ground like sheer cliff-faces of brick. The simplicity of the design gives it an almost modern appearance, and the massive scale gives it a quite overpowering presence.
The cathedral's powerful fortified appearance is largely down to two factors, the shape of the building is consistent with local forms of gothic churches in southern France and northern Spain, whilst the fortified solidity can be associated with the supression of the Cathars in this area during the Albigensian Crusades, the building serving a lesson in strength and permanence as a warning to any rebellious locals.
The plain exterior was relieved in the more stable climate of the 16th century by the huge flamboyant porch on the south side of the nave, more like an enormous spikey canopy open on three sides. It remains the main entrance to the cathedral, the base of the enormous tower being so massively constructed as to leave no room for a traditional west entrance.
On entering this vast edifice one's senses are overwhelmed yet again, this time by the profusion of decoration in the cavernous interior. The walls and ceilings are entirely covered by frescoes dating from the early 16th century (mostly in Renaissance style, much of it colourful geometric patterns. The most memorable sections are the earliest frescoes at the west end from an enormous Last Judgement; the central section was sadly removed in the 18th century but the extensive and graphic depiction of the torments of Hell remains.
In addition this cathedral is rare in preserving it's 'jube' or choir screen), a late medieval masterpiece of decoration and sculpture which extends into a lavishly sculpted choir enclosure adorned with a riot of angels and saints.
All in all this unforgettable cathedral is a monument that defies description alone and bombards the senses!
The attractive town of Tewkesbury has been dominated by its superb abbey church since the beginning of the 12th century, and we can be forever grateful to its townspeople for purchasing the monastic church in 1540 for £453 for use as their parish church, saving it from the fate that befell countless similar great churches across the land during the turmoil of the Dissolution. It reminds us both how lucky we are to still marvel at it today, yet also how great a loss to our heritage the period wrought when many more such buildings were so utterly plundered as to have gone without trace (the fate of the monastic buildings here and even the lady chapel of the church whose footings are laid out in the grass at the east end).
Tewkesbury Abbey is thus rightly celebrated as one of our greatest non-cathedral churches, and remarkably much of the original Norman church remains substantially intact, most apparently in the great central tower, a fine example of Romanesque architecture adorned with rows of blind-arcading. The west front is dominated by a massive Norman-arched recess (enclosing the somewhat later west window) and the nave and transepts remain largely as originally built, though this is less clear externally owing to the changes made to the windows, nearly all of which were enlarged in the 14th century in the Decorated Gothic style. This century also saw the complete rebuilding of the eastern limb of the church, of a form less common in England with radiating chapels surrounding the eastern apse of the choir (the central lady chapel sadly missing since 1540).
The interior reveals far more of the Romanesque structure with mighty columns supporting the round Norman arches of the nave arcades giving the building a great sense of solidity. The space is further enlivened by the changes made during the 14th century by the stunning vault over the nave (adorned with a rewarding series of figurative bosses) which sits surprisingly well with the Norman work below. Beyond the apsidal choir beckons, and both this and the space below the tower are enriched with stunningly complex vaulted ceilings (replete with further bosses and gilded metal stars), all ablaze with colour and gilding.
There is much to enjoy in glass here, most remarkably a complete set of 14th century glazing in the clerestorey of the choir, seven windows filled with saints and prophets (and most memorably two groups of knights in the westernmost windows on each side). A few of the figures have fared less well over the centuries but on the whole this is a wonderfully rare and well preserved scheme. There is much glass from the 19th century too, with an extensive scheme in the nave of good quality work by Hardman's, and more recently a pair of rich windows by Tom Denny were added in one of the polygonal chapels around the east end.
Some of the most memorable features are the monuments with many medieval tombs of note, primarily the effigies and chantry chapels of members of the Despenser family around the choir (two of the chantries being miniature architectural gems in their own right with exquisite fan-vaulting). In one of the apsidal chapels is the unusual cenotaph to Abbot Wakeman with his grisly cadaver effigy, a late medieval reminder of earthly mortality.
Tewkesbury Abbey is not to be missed and is every bit as rewarding as many of our cathedrals (superior in fact to all but the best). It is normally kept open and welcoming to visitors on a daily basis. I have also had the privilege of working on this great building several times over the years (as part of the team at the studio I once worked for), and have left my mark in glass in a few discreet places.
Andrew Kay - wrought iron
Part of the Gyosei Art Trail in Milton Keynes
Along the Grand Union Canal the Gyosei Art Tral comprises eight art works linked by the themes of Japanese Connections, Canal History, Fish, Fowl, Insects and Invertebrates.
Andrew has created a powerful shire horse whose steady toil propelled the barges of yesteryear along the towpaths of the Grand Union Canal.
Andrew says he's tried to capture the huge strength and solidity of a Shire, while also suggesting the calm and resolute approach to the task in hand.
Taken from the Gyosei art trail leaflet.
Suspended Animation Classic #872 First published September11, 2005 (#37) (Dates are approximate)
Invincible: Family Matters
By Mark Allen
Invincible: Family Matters, published by Image Comics, 120 pages, $12.95.
Forgive me, I’m just now catching up. I finally picked up the first trade collection of Image Comics’ Invincible. A lot of buzz surrounds this book, the series now having run for over two years. The story revolves around a teenage boy who has inherited his superhero dad’s powers. Nothing new, in and of itself, of course. It’s creator/writer Robert Kirkman’s skill at characterization and plot-crafting that causes this book to be a diamond among the lumps of coal which largely comprise the superhero genre today.
Kirkman’s main character, Mark Grayson, is pretty much your typical high school kid. Well, besides his obvious anticipation of his genetic birthright kicking in. The scene in which this happens is as entertaining (as is Mark’s response) as it is surreal, and something the likes of which I had never seen during over 30 years of comics indulgence. Kirkman also manages to breathe life into Mark’s father, his world’s “iconic” superhero. This is done primarily through a scene in which daddy decides to sit down with Mark and have “the talk”. It’s not what readers expect. At least, not everything they expect. I believe Mark’s mother would be called the “down-to-earth” character. And how! With no super powers, she deals with the dangers associated with her family members’ calling with the solidity of concrete.
Or … does she? This is a character with layers to be pulled back, I believe.
Kirkman’s story of a young man’s desire to follow in his father’s footsteps rings a poignant bell with a big fat hammer of super heroic fun!
Top all of this great characterization and story with stunningly action-oriented pencils and inks by Cory Walker and you’ve got the hit everyone’s been talking about. So, Invincible: Family Matters is recommended for those who enjoy superhero stories with style, as well as substance. Look for it at your local comics shop, online retailers, and auctions.
Victorian plaster cast of a roof boss in the 14th century vault of the nave. Displayed as part of a small exhibition around the Abbey in 2013.
The attractive town of Tewkesbury has been dominated by its superb abbey church since the beginning of the 12th century, and we can be forever grateful to its townspeople for purchasing the monastic church in 1540 for £453 for use as their parish church, saving it from the fate that befell countless similar great churches across the land during the turmoil of the Dissolution. It reminds us both how lucky we are to still marvel at it today, yet also how great a loss to our heritage the period wrought when many more such buildings were so utterly plundered as to have gone without trace (the fate of the monastic buildings here and even the lady chapel of the church whose footings are laid out in the grass at the east end).
Tewkesbury Abbey is thus rightly celebrated as one of our greatest non-cathedral churches, and remarkably much of the original Norman church remains substantially intact, most apparently in the great central tower, a fine example of Romanesque architecture adorned with rows of blind-arcading. The west front is dominated by a massive Norman-arched recess (enclosing the somewhat later west window) and the nave and transepts remain largely as originally built, though this is less clear externally owing to the changes made to the windows, nearly all of which were enlarged in the 14th century in the Decorated Gothic style. This century also saw the complete rebuilding of the eastern limb of the church, of a form less common in England with radiating chapels surrounding the eastern apse of the choir (the central lady chapel sadly missing since 1540).
The interior reveals far more of the Romanesque structure with mighty columns supporting the round Norman arches of the nave arcades giving the building a great sense of solidity. The space is further enlivened by the changes made during the 14th century by the stunning vault over the nave (adorned with a rewarding series of figurative bosses) which sits surprisingly well with the Norman work below. Beyond the apsidal choir beckons, and both this and the space below the tower are enriched with stunningly complex vaulted ceilings (replete with further bosses and gilded metal stars), all ablaze with colour and gilding.
There is much to enjoy in glass here, most remarkably a complete set of 14th century glazing in the clerestorey of the choir, seven windows filled with saints and prophets (and most memorably two groups of knights in the westernmost windows on each side). A few of the figures have fared less well over the centuries but on the whole this is a wonderfully rare and well preserved scheme. There is much glass from the 19th century too, with an extensive scheme in the nave of good quality work by Hardman's, and more recently a pair of rich windows by Tom Denny were added in one of the polygonal chapels around the east end.
Some of the most memorable features are the monuments with many medieval tombs of note, primarily the effigies and chantry chapels of members of the Despenser family around the choir (two of the chantries being miniature architectural gems in their own right with exquisite fan-vaulting). In one of the apsidal chapels is the unusual cenotaph to Abbot Wakeman with his grisly cadaver effigy, a late medieval reminder of earthly mortality.
Tewkesbury Abbey is not to be missed and is every bit as rewarding as many of our cathedrals (superior in fact to all but the best). It is normally kept open and welcoming to visitors on a daily basis. I have also had the privilege of working on this great building several times over the years (as part of the team at the studio I once worked for), and have left my mark in glass in a few discreet places.
Matthew 16:16-20 (NLT)
16 Simon Peter answered, “You are the Messiah, the Son of the living God.”
17 Jesus replied, “You are blessed, Simon son of John, because my Father in heaven has revealed this to you. You did not learn this from any human being. 18 Now I say to you that you are Peter (which means ‘rock’), and upon this rock I will build my church, and all the powers of hell will not conquer it. 19 And I will give you the keys of the Kingdom of Heaven. Whatever you forbid on earth will be forbidden in heaven, and whatever you permit on earth will be permitted in heaven.”
20 Then he sternly warned the disciples not to tell anyone that he was the Messiah.
DRAWING NOTES:
TIME OF DAY:
From the text it is uncertain what time of day the story is set at. I have set the time as mid morning.
LIGHTING NOTES:
The sun rising on the left (east) of this scene provides the natural light.
CHARACTERS PRESENT:
From left to right: Jesus, in blue outer robe, talking to Andrew, Simon/Peter, Bartholomew/Nathaniel.
RESEARCH/ADDITIONAL NOTES:
There are two versions of this scene:
Version 01 (Previous page) has a rock background.
Version 02 (This page) has a plain, teal coloured background.
This scene has the same characters as in the previous one (Matthew 16 - Peter’s confession - Scene 02 - Who am I?). The primary difference being the pebble that Jesus is holding in his hand, which he is using to illustrate his point about Peter (which means “rock”, in Greek ) & the bedrock (”Petros”, bedrock, which we see in the background) on which Jesus will build his church.
Difference between Petros & Petra.
Verse 18 reads, “Now I say to you that you are Peter (which means ‘rock’), and upon this rock I will build my church, and all the powers of hell will not conquer it.” It is interesting to note the difference between the word for Peter (Greek Petros) & the word “rock” (Greek Petra) in this verse. The name Peter means a rock or stone, but the reference to rock (Petra) refers to a rocky ledge, a cliff, or bedrock.
The Teacher's Commentary has an interesting observation regarding the various meanings of Jesus use of the term “£rock” in this verse:
“The ancient church fathers gave various interpretations of this statement. Some said that the rock on which the church was founded was Peter. Others insisted that the name Peter (petros, which means "little stone") could hardly be identified as a foundation rock. Other fathers have argued that the church is founded on Peter's confession: it is the faith in Christ which Peter professed which is the church's foundation. Still others have seen this as a reference to Christ Himself. Jesus the Christ, the Son of God, is the foundation.
The Epistles seem to support this third conclusion. "No one can lay any foundation other than the one already laid, which is Jesus Christ" (1 Cor. 3:11). Christ Himself, the Messiah and Son of God, is the Foundation of the church and the kingdom.”
When relating the parable of the wise & foolish builders (see Matthew 7:24-27) Jesus referred to the wise man building on solid rock (verse 24) & bedrock (verse 25). In both these cases the word we translate is the Greek word petra.
In Romans chapter 9 the author uses the word Petra when referring to Jesus as “the rock that makes people fall.”
Romans 9:33
God warned them of this in the Scriptures when he said,
“I am placing a stone in Jerusalem [Gk. in Zion] that makes people stumble,
a rock [Gk. Petra] that makes them fall.
But anyone who trusts in him
will never be disgraced.” Isaiah 8:14, 28:16]
Romans 9:33 is quoting from Isaiah 8:14:
He will keep you safe.
But to Israel and Judah
he will be a “stone” that makes people stumble,
a “rock” that makes them fall.
And for the people of Jerusalem
he will be a trap and a snare.
The word for “stone” is the Hebrew word ‘eden. That word has lots of meanings including: stone (large or small),
common stone (in natural state), stone (as material), of tablets, marble, hewn stones, precious stones, stones of fire, stones containing metal (ore), tool for work or weapon, weight, etc. It can also refer to strength, firmness, solidity, & metaphorically, it can mean petrified with terror, perverse, hard hearted.
The word for “rock” is the Hebrew word tsuwr. That word refers to rock, cliff, rocky wall, block of stone, &/or boulder.
Notice that Isaiah writes “HE” will be a stone that makes people stumble, a rock that makes them fall. Commentators are generally agreed that the “HE” is referring to Jesus.
Why not visit my website & see all the cartoons there? www.biblecartoons.co.uk
The Praktik Metropol Hotel has been remodelled according to state-of-the-art criteria for comfort and style, safe-keeping the integrity and beauty of the original building while adding the practical, luxurious simplicities of the 21st century. Over 60 comfortable rooms with wi-fi, safe deposit boxes, hair dryer and telephone as well as the elegant solidity that is synonymous to Praktik Hotels; Hotel Praktik Metropol is proud to open its doors and invite you on a trip to enjoy Madrid with all your senses, starting with your hotel, at an incomparably affordable cost.
Starck pays tribute to three icons of contemporary design and creates a fusion of styles to get a “summa stilistica”, the Masters chair. Reinterpreted in “space-age” mood, the Series 7 by Arne Jacobsen, the Tulip Armchair by Eero Saarinen and the Eiffel Chair by Charles Eames interweave in a charming and winding hybrid.
Supported on four slender legs, the Masters chair is roomy and comfortable. Its distinctiveness is, of course, in the back which is characterised by the solidity and void created by the meetings of curving lines of the three different backs which flow down and join together along the perimeter of the chair.
In March 2022, I went to the Burgundy town of Autun, chiefly to photograph the world-renowned tympanum of the Saint Lazarus cathedral. However, I had in mind to visit also another, much older place...
This is the Carolingian crypt of Saint-Andoche. It is not a place open to the public, as it is enclosed within the confines of a catholic teaching institution, but I managed to get access through my contacts. Even through the place is quite dirty and used as a repository for old school furniture and similar junk, the pillars and vaults from the 800s are splendid in their purity, lightness and immovable solidity. They have been standing and supporting the hundred of tons above since the 800s.
Viaje a EEUU - Día 10
The American Radiator Building (since renamed to the American Standard Building) is a landmark skyscraper located at 40 West 40th Street, in midtown Manhattan, New York City. It was conceived by the architects John Howells and Raymond Hood, and built in 1924 for the American Radiator Company.
The building's structural form is based on Eliel Saarinen's unbuilt competition entry for the Tribune Tower, augmented with a strong use of color.
The architects combined Gothic and modern styles in the design of the building. Black brick on the frontage of the building (symbolizing coal) was selected to give an idea of solidity and to give the building a solid mass. Other parts of the facade were covered in gold bricks (symbolizing fire), and the entry was decorated with marble and black mirrors. Howells and Hood employed the talents of their frequent collaborator Rene Paul Chambellan for the ornamentation and sculptures.
In 1998, the building was sold to Philip Pilevsky for $150 million. Three years afterwards, the American Radiator Building was converted into The Bryant Park Hotel with 130 rooms and a theatre in the basement.
The landmark status of the exterior required the conversion pay special attention to the renovation of the facade decor, and prohibited proposed changes such as bigger guestroom windows. The building is listed on the National Register of Historic Places. It was also a subject of Georgia O'Keeffe in her noted 1927 painting Radiator Building - Night, New York.
The Trenton Battle Monument is a massive column-type structure in the Battle Monument section of Trenton, Mercer County, New Jersey, United States. It commemorates the December 26, 1776, Battle of Trenton, a pivotal victory for the Continental forces during the American Revolutionary War.
Designed by John H. Duncan, the architect of Grant's Tomb, the monument is an early example of Beaux-Arts architecture in America. The design is based on "The Monument", a 1671 structure built to commemorate the Great Fire of London, on the London street where the 1666 fire started. The height of the Trenton monument is intentionally the same height as the London monument.
The hollow Roman-Doric fluted column of the monument is constructed of granite, as is the pedestal which supports it, although slightly darker stone was used to give the base the appearance of more solidity. The column is capped by a small, round pavilion, forming an observation deck; accessible by means of an electric elevator, that has provided thousands of tourists an excellent view of the city and the surrounding scene of the battle. Encircling the column, just above the cap, thirteen electric lights, symbolizing the original Thirteen Colonies, shed their radiance at night.
The pavilion is surmounted by an acanthus leaf pedestal where, atop the entire structure, a colossal bronze statue of General George Washington by William Rudolf O'Donovan crowns the monument. Washington is depicted as he appeared at the opening of the engagement and, with his extended right hand, directs the fire of the Continental artillery down King (now Warren) Street. The figure is 13 feet (4.0 m) feet tall, while the monument, including the statue, is 150 feet (46 m) above street level.
On the base of the pedestal are two bronze relief panels by Thomas Eakins depicting "The Continental Army Crossing the Delaware River" and "The Opening of the Battle." The latter panel depicts the battery of Alexander Hamilton about to fire down King Street. A third bronze relief panel, "The Surrender of the Hessians," was modeled by Charles Henry Niehaus. On the north side of the pedestal is a bronze tablet presented by the Society of the Cincinnati of New Jersey.
Guarding the entrance to the monument stand two bronze figures of Continental soldiers by O'Donovan. One is a statue of Private John Russell, a member of Colonel John Glover's Marblehead Regiment of seafaring men from Marblehead, Massachusetts, who gained fame by transporting Washington's army across the ice-choked Delaware River on the night of December 25–26, 1776. The other figure is modeled after a likeness of Private Blair McClenachan, of the Philadelphia Light Horse Troop, a unit which also took part in the battle.
The monument is located in an area of the city known as "Five Points". It was here, at the intersection of Warren (King) Street, North Broad (Queen) Street, Brunswick, Pennington and Princeton Avenues, that the American artillery was placed. From this high vantage point, they dominated the streets of Trenton, preventing the Hessian troops from organizing an effective counterattack.
A movement to erect a monument commemorating the victory at Trenton began in 1843. About forty years later in 1886, the property for the monument was acquired by the Trenton Monument Association. To build the monument, the New Jersey legislature appropriated $15,000, Congress $30,000, and citizens contributed $15,000. Monument Park at the "Five Points" was acquired under the provisions of an ordinance passed June 28, 1893.
The cornerstone was laid Saturday, December 26, 1891, on the 115th anniversary of the Battle of Trenton. The base and pedestal were erected in the spring of 1892, the capstone raised into position on Saturday, August 31, 1893, and the statue of General Washington finally placed atop the shaft September 5 of the same year. The completed memorial was dedicated with elaborate ceremonies on October 19, 1893, the 112th anniversary of the surrender of General Lord Cornwallis at the Siege of Yorktown in Virginia; in attendance were eight governors of the original thirteen states.
Although various changes have taken place in the immediate vicinity of the monument since its dedication, the commanding figure of Washington still looks down upon the city, which has developed from what was a small village in 1776. The monument was listed on the National Register of Historic Places in 1977.
en.wikipedia.org/wiki/Trenton_Battle_Monument
en.wikipedia.org/wiki/Wikipedia:Text_of_Creative_Commons_...
Love these old images ... another image no longer in copyright ... some TLC.
SPECIAL THANK YOUs to Rosemary Kneipp in France, who tracked down the Chateau Railly websites below.
Rosemary is an Australian happily living in France and is the author of a blog named AUSSIE IN FRANCE.
CHATEL ROSE
Rosemary is also co-author of a Travel Rental website:
www.loirevalleyholidayrental.com/
with partner Jean Michel Avril. Together Rosemary & Jean rent Châtel Rose, a well-lit studio apartment in a quiet street in the Mediaeval Quarter of Blois.
CHATEAU RAILLY
This private chateau still exists with the Rive Cure still running south of it. The older building at left was the 13th century castle. It was rebuilt in the 17th century with the same local quarry stone, into the Chateau Railly in this 1848 artwork by Victor Petit.
You can see a photo of it from this website:
and another here: Heritage of the Morvan -
www.patrimoinedumorvan.org/inventaire-historique/edifices...
Chateau Railly
89630 Saint-Germain-des-Champs
France
' In 1806, the castle was sold to Leonard Houdaille. His grandson, Achille, added, in 1860, two towers to the old buildings, and large buildings ... Today the castle, on a square plan, on two levels, is provided at each corner with a tower capped with a conical roof. Of the sixteenth-century castle, only the facade and the north-east tower remain. The reconstruction imitating the old one, dates from 1861. The large-scale stones, reflecting the grayish tones of the Quarré granite, therefore retain a local character to the building. This air of severity and youth, solidity and good taste, is far from detracting from the site, one of the most beautiful in the territory. The castle has a large park and outbuildings. A large farmhouse with a beautiful Venetian villa formerly dependent on the castle is located to the north of it. '
Source: CHATEAUX de FRANCE, this site lists all the castles of France -
chateau-fort-manoir-chateau.eu/chateaux-yonne-chateau-a-s...
' On this site, all the castles, fortified castles, manors, fortified houses, ruins and important remains, castle hotel-restaurant, castles with guest rooms, cottages, and castles with rooms for receptions, you will find the list of all departments on the homepage, but also a page reserved for abandoned castles, in danger, and the castles of the Loire Valley we have also listed castles in French-speaking countries, Switzerland, Belgium and Grand Duchy of Luxembourg see Foreign castles, and also the castles in villages classified among the most beautiful villages in France. ' chateauxdefrance@orange.fr
This image is 175 years old, as of the Dec2023 uploading to our photostream.
Image Title: Chateau De Railly (Burgundy) . Chateau de Railly-Sur-Cure (Bourgogne) - plate no. 75
Book Title: Country Houses - Habitants Champetres
Date: 1848
Artist & Illustrator: Victor Petit
Editor & Publisher: Monrocq, Paris - located at Rue Segur 3
Image Source: Internet Archive
Here's a nice bit brace. This is a 8 inch Stanley bit brace model no 925. I suppose you could call this a mid range brace because of the rather simple chuck shell and the alligator jaws. But this example has handles made of cocobolo, a ball bearing head and ratchet mechanism and despite being well used it has the solidity of a very well made bit brace.
The ratchet mechanism still works like a clock and the top handle spins nicely without sloppiness.
Victorian plaster cast of a roof boss in the 14th century vault of the nave. Displayed as part of a small exhibition around the Abbey in 2013.
The attractive town of Tewkesbury has been dominated by its superb abbey church since the beginning of the 12th century, and we can be forever grateful to its townspeople for purchasing the monastic church in 1540 for £453 for use as their parish church, saving it from the fate that befell countless similar great churches across the land during the turmoil of the Dissolution. It reminds us both how lucky we are to still marvel at it today, yet also how great a loss to our heritage the period wrought when many more such buildings were so utterly plundered as to have gone without trace (the fate of the monastic buildings here and even the lady chapel of the church whose footings are laid out in the grass at the east end).
Tewkesbury Abbey is thus rightly celebrated as one of our greatest non-cathedral churches, and remarkably much of the original Norman church remains substantially intact, most apparently in the great central tower, a fine example of Romanesque architecture adorned with rows of blind-arcading. The west front is dominated by a massive Norman-arched recess (enclosing the somewhat later west window) and the nave and transepts remain largely as originally built, though this is less clear externally owing to the changes made to the windows, nearly all of which were enlarged in the 14th century in the Decorated Gothic style. This century also saw the complete rebuilding of the eastern limb of the church, of a form less common in England with radiating chapels surrounding the eastern apse of the choir (the central lady chapel sadly missing since 1540).
The interior reveals far more of the Romanesque structure with mighty columns supporting the round Norman arches of the nave arcades giving the building a great sense of solidity. The space is further enlivened by the changes made during the 14th century by the stunning vault over the nave (adorned with a rewarding series of figurative bosses) which sits surprisingly well with the Norman work below. Beyond the apsidal choir beckons, and both this and the space below the tower are enriched with stunningly complex vaulted ceilings (replete with further bosses and gilded metal stars), all ablaze with colour and gilding.
There is much to enjoy in glass here, most remarkably a complete set of 14th century glazing in the clerestorey of the choir, seven windows filled with saints and prophets (and most memorably two groups of knights in the westernmost windows on each side). A few of the figures have fared less well over the centuries but on the whole this is a wonderfully rare and well preserved scheme. There is much glass from the 19th century too, with an extensive scheme in the nave of good quality work by Hardman's, and more recently a pair of rich windows by Tom Denny were added in one of the polygonal chapels around the east end.
Some of the most memorable features are the monuments with many medieval tombs of note, primarily the effigies and chantry chapels of members of the Despenser family around the choir (two of the chantries being miniature architectural gems in their own right with exquisite fan-vaulting). In one of the apsidal chapels is the unusual cenotaph to Abbot Wakeman with his grisly cadaver effigy, a late medieval reminder of earthly mortality.
Tewkesbury Abbey is not to be missed and is every bit as rewarding as many of our cathedrals (superior in fact to all but the best). It is normally kept open and welcoming to visitors on a daily basis. I have also had the privilege of working on this great building several times over the years (as part of the team at the studio I once worked for), and have left my mark in glass in a few discreet places.
So from one extreme of emotion to another.
I find cemeteries rather soothing places to spend time, especially in beautiful Spring sunshine, I study the stones and epitaphs with curiosity and interest, mostly dispassionately, it isn't that I don't care.
Perhaps it is because I usually favour the solidity and noncomformist nature of a Rodin or an Epstein. This figure however, moved me profoundly.....
Here's a nice bit brace. This is a 8 inch Stanley bit brace model no 925. I suppose you could call this a mid range brace because of the rather simple chuck shell and the alligator jaws. But this example has handles made of cocobolo, a ball bearing head and ratchet mechanism and despite being well used it has the solidity of a very well made bit brace.
The ratchet mechanism still works like a clock and the top handle spins nicely without sloppiness.
Diego Rivera
Mexican, 1886-1957
Detail from: The Flower Carrier [ formerly The Flower Vendor ]
1935
Oil and tempera on Masonite
In 1935 Albert M. Bender asked Rivera to select a work of art for the new San Francisco Museum of Art (Now SFMOMA). Rivera’s choice, The Flower Carrier , is a rhythmic, powerful image of peasants at work. As in many of Rivera’s depictions of Mexican campesinos, or agricultural workers, the painting conveys underlying Marxist convictions and a sympathetic respect for manual labor. Though the workers are heavily burdened, they are painted with a sculptural solidity that lends them a monumental dignity. One may interpret then as idealized representatives of their class, in harmony with each other and with the natural world.
Albert M. Bender Collection, gift of Albert M. Bender in memory of Caroline Walter
35.4516
From the placard: San Francisco Museum of Modern Art
Pen and ink sketch by Dirk Blokland, taken from a National Trust of Qld. book "Historic Ipswich"
The Post Office, Town Hall (originally School of Arts and Mechanics' Institute) and old Bank of Australasia form a civic complex of great solidity and architectural appeal. For many years the group suffered from civic neglect but with recent attention the handsomeness of these classic styled 19th century civic buildings is able to be appreciated.
Photograph of these buildings circa 1900 at: en.wikipedia.org/wiki/File:Brisbane-street-ipswich-r.jpg
Google maps street view: maps.google.com.au/maps?q=161+brisbane+street+ipswich&...
I could have spent hours studying these serene, contemplative faces.
I'm very accustomed to seeing (and making!) digitally-distorted images, so encountering huge, tactile and very solid examples was disconcerting.
Yet their appearence also challenges that solidity (and the heads are definitely not tactile – touching the soft, easily discoloured alabaster was strictly forbidden). The material's almost organic translucence, softly lit from above, seemed improbable, as if the real reason we weren't allowed to touch was that they were secretly holograms.
None of the heads is completely 'finished': their bases and backs exhibit the rough, chisel-marked stone of the early stages of shaping, with only the fronts and sides polished to perfection, whilst some have barely been freed from the original quarry-cut alabaster blocks; peaceful faces emerging from otherwise rough columns.
[And no, the photo isn't distorted – the heads really are elongated.]
The Lafayette Building and former First Presbyterian Church in South Bend are new on Indiana Landmarks' 10 Most Endangered in 2015. Learn more at www.indianalandmarks.org.
Two South Bend landmarks on the 10 Most Endangered list sit next door to one another, across the street from the city’s historic courthouses. The city ordered both structures sealed until multiple code violations are cured.
Last fall, when slate began cascading from the roof of the long-vacant former First Presbyterian, the out-of-state owner replaced the slate with a tar paper roof. This year, finally, installation of a new imitation slate roof began on the vacant, damaged landmark.
Pittsburgh architect J. P. Bailey—creator of courthouses and schools from the Midwest to Maine—designed the 1888 sandstone and limestone church in the Richardsonian Romanesque Revival style. Local industrialists J. M Studebaker and J.D. Oliver, who each covered a third of the cost, favored the style’s expression of solidity and permanence.
The Lafayette Building dates from 1901 and 1903, when it went from three to five stories. The understated Neoclassical exterior gives no hint of the graceful interior, lit by a five-story skylighted atrium. In addition to its deteriorated condition, the property’s delinquent tax bill tops $1 million.
“Indiana Landmarks linked the two sites as a 10 Most Endangered entry because we think each affects the fate of the other, and because we believe the solution may be a redevelopment that unites them,” says Todd Zeiger, director of the organization’s northern office.
Bauhaus Museum Weimar, Germany
German architect Heike Hanada designed a minimalist concrete museum to celebrate the Bauhaus in Weimar, where the design school was founded 100 years ago. The building is dedicated to the design school creates a physical cultural presence for the Bauhaus in the German city where it was based between 1919 and 1925. Located near the Nazi-era Gauforum square and the Neue Museum Weimar, the Bauhaus Museum is a simple five-storey concrete box broken only with its entrance and a couple of windows. The enclosing shell of light-grey concrete lends the cube stability and dynamic solidity. Equally spaced horizontal grooves run around the facades of the museum, with the words "bauhaus museum" repeated in a band near the top of the building. Hanada designed the museum to be a public building for the city and has attempted to clearly connect it to the neighbouring park. With elements such as plinths, fasciae, portals, stairways and a terrace to the park, the architecture incorporates classical themes that underscore its public character.
The museum contains 2,000 m2 of exhibition space, which will be used to display around 1,000 items from the Weimar Bauhaus collection. A shop and entrance hall is located on the ground floor, with a cafe and toilets below, and three floors dedicated to telling the story of the Bauhaus above. Each of the galleries overlooks double-height spaces and are accessed from a long ceremonial staircase that stretches the height of the building. The visitors ascend a succession of interchanging open spaces and staircases until they finally arrive at the top floor where they are presented with an unobstructed view of the park. The cascading staircases are encased by ceiling-high walls and function as free-standing, enclosed bodies in the interior space. The collection is arranged to inform visitors about the history of the design school, with the gallery on the first floor dedicated to its origins in Weimar and the Bauhaus manifesto that Walter Gropius wrote in 1919. The second floor has exhibits that show how these ideas were implemented, with galleries dedicated to each of the Bauhaus directors – Gropius, Hannes Meyer and Mies van der Rohe – at the top of the building.
The museum in Weimar has opened to coincide with the centenary of the Bauhaus, which was established in the city in 1919. The school was forced to relocate from Weimar to Dessau in 1925, where Gropius designed a new school building for the institution. Following a short time based in Berlin the school closed for good in 1933. Although only open for just over a decade, the Bauhaus is the most influential art and design school in history. The ideas and people associated with the school had an incredible impact on design and architecture, and to mark its centenary we created a series exploring its key works and figures.
Here's a nice bit brace. This is a 8 inch Stanley bit brace model no 925. I suppose you could call this a mid range brace because of the rather simple chuck shell and the alligator jaws. But this example has handles made of cocobolo, a ball bearing head and ratchet mechanism and despite being well used it has the solidity of a very well made bit brace.
The ratchet mechanism still works like a clock and the top handle spins nicely without sloppiness.
design Alberto Meda
The teak collection returns to the essence of the setes bench with its chairs, tables
and chaise-longue models. Manufactured with teak wood slats on a die-cast aluminium
frame, the products of the teak collection are resistant over time and pleasant
to the touch. Suitable for outdoor areas, they add solidity and attention to detail
to the outdoor collections.
La collezione teak restituisce nei progetti di sedute, con e senza braccioli, lettini e tavoli
l’anima materica e formale della panchina setes. Realizzati con doghe di legno teak su
struttura in pressofusione di alluminio, i pezzi della collezione teak sono resistenti nel
tempo e piacevoli al tatto. Adatti agli spazi aperti dei giardini, aggiungono solidità
e cura dei dettagli al paesaggio outdoor.
Albi Cathedral is one of the most unique, awe-inspiring churches ever concieved, quite simply one of the wonders of the medieval world.
Although contemporary with the great gothic cathedrals of Northern France, this largely 13th century structure is radically different, being constructed almost entirely of brick and built like a mighty fortress; mostly unadorned walls rise uninterrupted from the ground like sheer cliff-faces of brick. The simplicity of the design gives it an almost modern appearance, and the massive scale gives it a quite overpowering presence.
The cathedral's powerful fortified appearance is largely down to two factors, the shape of the building is consistent with local forms of gothic churches in southern France and northern Spain, whilst thr fortified solidity can be associated with the supression of the Cathars in this area during the Albigensian Crusades, the building serving a lesson in strength and permanence as a warning to any rebellious locals.
The plain exterior was relieved in the more stable climate of the 16th century by the huge flamboyant porch on the south side of the nave, more like an enormous spikey canopy open on three sides. It remains the main entrance to the cathedral, the base of the enormous tower being so massively constructed as to leave no room for a traditional west entrance.
On entering this vast edifice one's senses are overwhelmed yet again, this time by the profusion of decoration in the cavernous interior. The walls and ceilings are entirely covered by frescoes dating from the early 16th century (mostly in Renaissance style, much of it colourful geometric patterns. The most memorable sections are the earliest frescoes at the west end from an enormous Last Judgement; the central section was sadly removed in the 18th century but the extensive and graphic depiction of the torments of Hell remains.
In addition this cathedral is rare in preserving it's 'jube' or choir screen), a late medieval masterpiece of decoration an sculpture which extends into a lavishly sculpted choir enclosure adorned with a riot of angels and saints.
All in all this unforgettable cathedral is a monument that defies description alone and bombards the senses!
design Alberto Meda
The teak collection returns to the essence of the setes bench with its chairs, tables
and chaise-longue models. Manufactured with teak wood slats on a die-cast aluminium
frame, the products of the teak collection are resistant over time and pleasant
to the touch. Suitable for outdoor areas, they add solidity and attention to detail
to the outdoor collections.
La collezione teak restituisce nei progetti di sedute, con e senza braccioli, lettini e tavoli
l’anima materica e formale della panchina setes. Realizzati con doghe di legno teak su
struttura in pressofusione di alluminio, i pezzi della collezione teak sono resistenti nel
tempo e piacevoli al tatto. Adatti agli spazi aperti dei giardini, aggiungono solidità
e cura dei dettagli al paesaggio outdoor.
design Alberto Meda
The teak collection returns to the essence of the setes bench with its chairs, tables
and chaise-longue models. Manufactured with teak wood slats on a die-cast aluminium
frame, the products of the teak collection are resistant over time and pleasant
to the touch. Suitable for outdoor areas, they add solidity and attention to detail
to the outdoor collections.
La collezione teak restituisce nei progetti di sedute, con e senza braccioli, lettini e tavoli
l’anima materica e formale della panchina setes. Realizzati con doghe di legno teak su
struttura in pressofusione di alluminio, i pezzi della collezione teak sono resistenti nel
tempo e piacevoli al tatto. Adatti agli spazi aperti dei giardini, aggiungono solidità
e cura dei dettagli al paesaggio outdoor.
PAGEANT 23 (WESTERLY)
Sailboat Specifications
Hull Type: Twin Keel
Rigging Type: Masthead Sloop
LOA: 23.00 ft / 7.01 m
LWL: 19.00 ft / 5.79 m
Beam: 8.00 ft / 2.44 m
S.A. (reported): 236.00 ft2 / 21.93 m2
Draft (max): 2.83 ft / 0.86 m
Displacement: 4,300 lb / 1,950 kg
Ballast: 2,094 lb / 950 kg
S.A./Disp.: 14.32
Bal./Disp.: 48.70
Disp./Len.: 279.87
Construction: GRP
First Built: 1970
Last Built: 1979
# Built: 551
Designer: Laurent Giles
Builder: Westerly Yacht Construction Ltd (UK)
Builder: Westerly Marine, Hampshire
The Pageant is one of the smaller of the Westerly range designed by Laurent Giles and produced in volume in the 1970s. She offers an excellent small cruiser, with remarkable room below for her length, and has the typical Westerly virtues of strength and solidity.
The Pageant was designed for Westerly by Laurent Giles in 1969, as a replacement for the earlier Nomad. Production ran from 1970 to 1979, the yacht shown in the photographs here being one of the last of the 550 or so built. A very few (reportedly just six) fin-keel versions were also produced in 1976, these being called Westerly Kendals. As with all other Westerly Marine yachts the Pageant was very strongly built to Lloyds specifications, which meant that the building processes were rigorously monitored and all materials had to be approved by Lloyds in order that a hull certificate could be issued.
Auxiliary Power/Tanks (orig. equip.)
Make: Volvo Penta
Model: MD1B
Type: Diesel
HP: 10
Fuel: 10 gals / 38 L
Sailboat Calculations
S.A./Disp.: 14.32
Bal./Disp.: 48.70
Disp./Len.: 279.87
Comfort Ratio: 20.61
Capsize Screening Formula: 1.97
Accommodations
Water: 15 gals / 57 L
Headroom1.75m
Cabins 2
Berths 5/6
Albi Cathedral is one of the most unique, awe-inspiring churches ever concieved, quite simply one of the wonders of the medieval world.
Although contemporary with the great gothic cathedrals of Northern France, this largely 13th century structure is radically different, being constructed almost entirely of brick and built like a mighty fortress; mostly unadorned walls rise uninterrupted from the ground like sheer cliff-faces of brick. The simplicity of the design gives it an almost modern appearance, and it's massive scale exudes a quite overpowering presence.
The cathedral's powerful fortified appearance is largely down to two factors, the form of the building is consistent with local forms of gothic churches in southern France and northern Spain, whilst thr fortified solidity can be associated with the supression of the Cathars in this area during the Albigensian Crusades, the building serving as a lesson in strength and permanence as a warning to any rebellious locals.
The plain exterior was relieved in the more stable climate of the 16th century by the huge flamboyant porch on the south side of the nave, more like an enormous spikey canopy open on three sides. It remains the main entrance to the cathedral, the base of the enormous tower being so massively constructed as to leave no room for a traditional west entrance.
On entering this vast edifice one's senses are overwhelmed yet again, this time by the profusion of decoration in the cavernous interior. The walls and ceilings are entirely covered by frescoes dating from the early 16th century, mostly in Renaissance style, much of it colourful geometric patterns. The most memorable sections are the earliest frescoes at the west end from an enormous Last Judgement; the central section was sadly removed in the 18th century but the extensive and graphic depiction of the torments of Hell remains.
In addition this cathedral is rare in preserving it's 'jube' or choir screen), a late medieval masterpiece of decoration and sculpture which extends into a lavishly sculpted choir enclosure adorned with a riot of angels and saints.
All in all this unforgettable cathedral is a monument that defies description alone and bombards the senses!
www.lissongallery.com/exhibitions/anish-kapoor-f45a2ea5-2...
For his latest exhibition, Anish Kapoor presents a new series of paintings, an element of his practice that has rarely been seen, exploring the intimate and ritualistic nature of his work. Created over the past year, the show provides a poetic view of the artist's recent preoccupations. While painting has always been an integral part of Kapoor’s practice, this radical new body of work is both spiritual and ecstatic, showing Kapoor working in more vivid and urgent form than ever. Alongside this exhibition, a solo show dedicated to Kapoor's paintings will run at Modern Art Oxford from 2 October 2021 - 13 February 2022, and both shows precede Kapoor’s major retrospective at Gallerie dell'Accademia di Venezia, opening April 2022 to coincide with the Venice Biennale.
Through painting, Kapoor delves into the deep inner world of our mind and body, from the physical exploration of the flesh and blood, to investigating psychological concepts as primal and nameless as origin and obliteration. Since the 1980s, Kapoor has been celebrated largely as a sculptor, yet painting, and its rawest composition, colour and form, have been a fundamental element of his practice-. The presentation will feature a selection of new and recent paintings, created between 2019 and 2021, the majority in the artist’s London-based studio during the pandemic. Like the artist’s wider oeuvre, these paintings are rooted in a drive to grasp the unknown, to awaken consciousness and experiment with the phenomenology of space.
Kapoor’s work has been characterized by an intense encounter with colour and matter – manifest either through refined, reflective surfaces such as metal or mirrors, or through the tactile, sensual quality of the blankets of impasto. The magnetism of the colour red is evident in these new paintings, manifesting the elemental force that flows through us all, yet now accompanied by a new palette of telluric greys and yellows, as if witnessing a surge from the depths of the earth. Some works appear volcanic, with an intense, fiery energy, while others are more primitive and abstract, with layers of dense pigment and resin forming a sculpted solidity. Many of the paintings have a visceral outpouring where a canvas within a canvas rotates and evolves in space, seeming to defy gravity, with brushstrokes cascading over the edges like a waterfall. In others we see distorted, polymorphic figures emerging from a deep, radiant void, with a ghostly aura.
Kapoor achieves a coherence of mind and body, of interior and exterior in two of the series of works, illustrating a mythic landscape with a turbulent, ominous atmosphere that differentiates land from sky, body from space. These whirling landscapes evoke the extraordinary, eerie Romanticism of JMW Turner, a worship of nature marked through an expressive, dramatic scene. Similar in disposition are two works where we imagine the moon rising over the peak – a symbolic narrative of a new cycle, of origins and menstruation.
The wall-based paintings recall some of Kapoor’s most ambitious, distinguished works, including Svayambhu (2007), My Red Homeland (2003) and Symphony for a Beloved Sun (2013). In these floor-based works we see a more ritualistic, visceral language, where Kapoor unashamedly delves into depicting the very blood and flesh from which we are all born. Artists from Leonardo di Vinci to Francis Bacon have been fascinated with the innards of the body, be it our anatomy or the surrealist beauty in violence. The work also stands in a powerful tradition of artists exploring the human body’s expression of divine matters, yet through the unique vision of Kapoor’s Eastern and Western influences, and ---– considering the year in which they were created --– taking on new meaning highlighting the fragility of the body and self.
The first forms the centrepiece to the entrance hall, where a bespoke oak and glass staircase rises effortlessly from an expanse of marble.
The open tread and the glass balustrades ensure that it does not overpower the surrounding space, which is uncluttered and minimalist. The straight flights reflect the clean modern lines of this house, whilst the burnished stainless steel fittings, incorporated as part of the design, enhance the contemporary appearance. The clever construction defies the solidity of the structure, the flying half-landings encased in glass almost appear to float.
Two other Kevala staircases are fitted in this property. A stair from the first floor to the second floor also using an open oak tread and glass balustrade design to maximise the expression of space. With a third staircase connecting the house to the space over the garage. Here, the dramatic lines of the straight stair are modified to allow an elegant twist, to complement the more intimate space. These stairs of lacquered pine are more functional, but the same attention to detail and quality of materials is evident.
Title: Metropolitan
Creator: Sir Norman Foster and Partners; JEMS Architekci
Creator role: Architect
Creator 2: Hochtief Polska
Creator 2 role: Contractor
Date: 1997-2003
Current location: Warsaw, Mazowieckie, Poland
Description of work: The Metropolitan building was erected at the northern edge of Pilsudski Square to fill a void where palaces had once stood until their destruction during World War II. The famous square (home to the Tomb of the Unknown Soldier, the Papal Cross, and near the Presidential Palace) is the site of military ceremonial gatherings. At the heart of the building is a circular courtyard and fountain, accessible to the street on three sides. "Above the ground level shops and restaurants there are five storeys of flexible office accommodation, grouped in three separate yet connected buildings. [...] The glazed facades maximise daylight in the offices and take advantage of views over the square and surrounding historic buildings, while vertical granite fins balance this sense of transparency with the impression of solidity" (Source: Foster + Partners website: www.fosterandpartners.com/projects/metropolitan-pilsudski...). The innovative building design by Norman Foster and collaborating architect Jems Achitekci won several awards, including the RIBA Worldwide Award, MIPIM Award 2004 in the Business Center category, Construction Journal Award for Best Overall Project of 2003, and the Platinum Drill 2004 (1st prize in Bosch competition for Polish construction companies). According to its website, the Metropolitan building can be rated as one of the most technologically advanced buildings in Europe due to its energy-saving and environmentally-friendly heating and cooling solutions (Source: Metropolitan: www.metropolitan.waw.pl/en/index.php).
Description of view: Close up view of the granite fins and windows that wrap around the building.
Work type: Architecture and Landscape
Style of work: Contemporary
Culture: Polish
Materials/Techniques: Glass
Stone
Metal
Source: Pisciotta, Henry (copyright Henry Pisciotta)
Date photographed: May 2011
Resource type: Image
File format: JPEG
Image size: 3648H X 2736W pixels
Permitted uses: This image is posted publicly for non-profit educational uses, excluding printed publication. Other uses are not permitted. alias.libraries.psu.edu/vius/copyright/publicrightsarch.htm
Collection: Worldwide Building and Landscape Pictures
Filename: WB2014-0187 Metropolitan.JPG
Record ID: WB2014-0187
Sub collection: office buildings
Copyright holder: Copyright Henry Pisciotta
1400 West Broadway, Louisville, Kentucky.
From the 1979 application to be a Nationally Registered Historic Place:
"Whiteside Bakery was built in 1908 by Louisville architect Arthur Loomis. His choice of the Mission Style for the project is a curious one, since the style was not well represented in the Louisville area. Loomis's use of this contemporary California mode, however, provided a particularly happy solution for the structure's location with in a transitional zone. The bold, low massing of the Mission Style catered to the height of the bakery's residential neighbors, while the strength and solidity of the style justified its use as a commercial structure.
Asymmetrical square towers dominate each corner of the building, anchoring it to its site. The left tower is slightly taller than the one to the right for stylistic purposes. This tower commands the southwest corner of Broadway and 14th Streets, and was originally highly visible from the downtown direction. The crowning glory of this tower, no longer extant, was a large electric clock which tolled upon the hour. At dusk, we are told, “the characters describing the circle and declaring the hours stand forth in letters of fire and read 'Mother's Bread'." Unfortunately, this magnificent timepiece has met an ignominious end … A tile roof supported by piers caps the tower. Deep, bracketed wooden eaves protect recessed arched windows on each side to the tower, creating the visual effect of an open loggia from the street. Limestone rolled trim edges the base of the loggia, while gargoyles commanding each corner peer menacingly down upon passersby.
The lower tower to the right of the building has been designed in deliberate contrast to its taller counterpart on the left. In the first instance, the emphasis has been upon height and lightness; here, the stress is upon weight and mass. The tile roof sits firmly upon shorter piers, which appear more massive because of their reduced height. Squat columns recessed into the depths of the heavily-bracketed eaves support a low arch which enframes the windows on each tower face.
With the exception of the tower clock and the rooftop garden, the exterior of the bakery has changed little since 1908. The low, open pavilion to the far right of the structure, featured in an earliest photograph, is presently enclosed."
At the northern end of the north transept was formerly a large chapel (possibly an earlier Lady Chapel?) which consisted of a nave and chancel divided by an open arch with slender 'Y' tracery supported by a slender column. Following the Dissolution the 'nave' part of this chapel was demolished but the eastern part beyond the arch was retained with the archway partially blocked with the remainder glazed to form a large window. This fine vaulted room is at present closed to visitors, being used as the Abbey's choir room.
In 2005 I was still working for Norgrove Studios who were commissioned to reglaze the arch with quarries in handmade glass. I thus got to not only get inside a part of the Abbey not normally seen by the public but also had the rare chance to see the openings of the arch re-opened while it was reglazed, return to its original state, if only for a mere few hours.
The attractive town of Tewkesbury has been dominated by its superb abbey church since the beginning of the 12th century, and we can be forever grateful to its townspeople for purchasing the monastic church in 1540 for £453 for use as their parish church, saving it from the fate that befell countless similar great churches across the land during the turmoil of the Dissolution. It reminds us both how lucky we are to still marvel at it today, yet also how great a loss to our heritage the period wrought when many more such buildings were so utterly plundered as to have gone without trace (the fate of the monastic buildings here and even the lady chapel of the church whose footings are laid out in the grass at the east end).
Tewkesbury Abbey is thus rightly celebrated as one of our greatest non-cathedral churches, and remarkably much of the original Norman church remains substantially intact, most apparently in the great central tower, a fine example of Romanesque architecture adorned with rows of blind-arcading. The west front is dominated by a massive Norman-arched recess (enclosing the somewhat later west window) and the nave and transepts remain largely as originally built, though this is less clear externally owing to the changes made to the windows, nearly all of which were enlarged in the 14th century in the Decorated Gothic style. This century also saw the complete rebuilding of the eastern limb of the church, of a form less common in England with radiating chapels surrounding the eastern apse of the choir (the central lady chapel sadly missing since 1540).
The interior reveals far more of the Romanesque structure with mighty columns supporting the round Norman arches of the nave arcades giving the building a great sense of solidity. The space is further enlivened by the changes made during the 14th century by the stunning vault over the nave (adorned with a rewarding series of figurative bosses) which sits surprisingly well with the Norman work below. Beyond the apsidal choir beckons, and both this and the space below the tower are enriched with stunningly complex vaulted ceilings (replete with further bosses and gilded metal stars), all ablaze with colour and gilding.
There is much to enjoy in glass here, most remarkably a complete set of 14th century glazing in the clerestorey of the choir, seven windows filled with saints and prophets (and most memorably two groups of knights in the westernmost windows on each side). A few of the figures have fared less well over the centuries but on the whole this is a wonderfully rare and well preserved scheme. There is much glass from the 19th century too, with an extensive scheme in the nave of good quality work by Hardman's, and more recently a pair of rich windows by Tom Denny were added in one of the polygonal chapels around the east end.
Some of the most memorable features are the monuments with many medieval tombs of note, primarily the effigies and chantry chapels of members of the Despenser family around the choir (two of the chantries being miniature architectural gems in their own right with exquisite fan-vaulting). In one of the apsidal chapels is the unusual cenotaph to Abbot Wakeman with his grisly cadaver effigy, a late medieval reminder of earthly mortality.
Tewkesbury Abbey is not to be missed and is every bit as rewarding as many of our cathedrals (superior in fact to all but the best). It is normally kept open and welcoming to visitors on a daily basis. I have also had the privilege of working on this great building several times over the years (as part of the team at the studio I once worked for), and have left my mark in glass in a few discreet places.
PAGEANT 23 (WESTERLY)
Sailboat Specifications
Hull Type: Twin Keel
Rigging Type: Masthead Sloop
LOA: 23.00 ft / 7.01 m
LWL: 19.00 ft / 5.79 m
Beam: 8.00 ft / 2.44 m
S.A. (reported): 236.00 ft2 / 21.93 m2
Draft (max): 2.83 ft / 0.86 m
Displacement: 4,300 lb / 1,950 kg
Ballast: 2,094 lb / 950 kg
S.A./Disp.: 14.32
Bal./Disp.: 48.70
Disp./Len.: 279.87
Construction: GRP
First Built: 1970
Last Built: 1979
# Built: 551
Designer: Laurent Giles
Builder: Westerly Yacht Construction Ltd (UK)
Builder: Westerly Marine, Hampshire
The Pageant is one of the smaller of the Westerly range designed by Laurent Giles and produced in volume in the 1970s. She offers an excellent small cruiser, with remarkable room below for her length, and has the typical Westerly virtues of strength and solidity.
The Pageant was designed for Westerly by Laurent Giles in 1969, as a replacement for the earlier Nomad. Production ran from 1970 to 1979, the yacht shown in the photographs here being one of the last of the 550 or so built. A very few (reportedly just six) fin-keel versions were also produced in 1976, these being called Westerly Kendals. As with all other Westerly Marine yachts the Pageant was very strongly built to Lloyds specifications, which meant that the building processes were rigorously monitored and all materials had to be approved by Lloyds in order that a hull certificate could be issued.
Auxiliary Power/Tanks (orig. equip.)
Make: Volvo Penta
Model: MD1B
Type: Diesel
HP: 10
Fuel: 10 gals / 38 L
Sailboat Calculations
S.A./Disp.: 14.32
Bal./Disp.: 48.70
Disp./Len.: 279.87
Comfort Ratio: 20.61
Capsize Screening Formula: 1.97
Accommodations
Water: 15 gals / 57 L
Headroom1.75m
Cabins 2
Berths 5/6
Part of the complete sequence of seven early 14th century windows preserving most of their original glass in the choir clerestorey.
The attractive town of Tewkesbury has been dominated by its superb abbey church since the beginning of the 12th century, and we can be forever grateful to its townspeople for purchasing the monastic church in 1540 for £453 for use as their parish church, saving it from the fate that befell countless similar great churches across the land during the turmoil of the Dissolution. It reminds us both how lucky we are to still marvel at it today, yet also how great a loss to our heritage the period wrought when many more such buildings were so utterly plundered as to have gone without trace (the fate of the monastic buildings here and even the lady chapel of the church whose footings are laid out in the grass at the east end).
Tewkesbury Abbey is thus rightly celebrated as one of our greatest non-cathedral churches, and remarkably much of the original Norman church remains substantially intact, most apparently in the great central tower, a fine example of Romanesque architecture adorned with rows of blind-arcading. The west front is dominated by a massive Norman-arched recess (enclosing the somewhat later west window) and the nave and transepts remain largely as originally built, though this is less clear externally owing to the changes made to the windows, nearly all of which were enlarged in the 14th century in the Decorated Gothic style. This century also saw the complete rebuilding of the eastern limb of the church, of a form less common in England with radiating chapels surrounding the eastern apse of the choir (the central lady chapel sadly missing since 1540).
The interior reveals far more of the Romanesque structure with mighty columns supporting the round Norman arches of the nave arcades giving the building a great sense of solidity. The space is further enlivened by the changes made during the 14th century by the stunning vault over the nave (adorned with a rewarding series of figurative bosses) which sits surprisingly well with the Norman work below. Beyond the apsidal choir beckons, and both this and the space below the tower are enriched with stunningly complex vaulted ceilings (replete with further bosses and gilded metal stars), all ablaze with colour and gilding.
There is much to enjoy in glass here, most remarkably a complete set of 14th century glazing in the clerestorey of the choir, seven windows filled with saints and prophets (and most memorably two groups of knights in the westernmost windows on each side). A few of the figures have fared less well over the centuries but on the whole this is a wonderfully rare and well preserved scheme. There is much glass from the 19th century too, with an extensive scheme in the nave of good quality work by Hardman's, and more recently a pair of rich windows by Tom Denny were added in one of the polygonal chapels around the east end.
Some of the most memorable features are the monuments with many medieval tombs of note, primarily the effigies and chantry chapels of members of the Despenser family around the choir (two of the chantries being miniature architectural gems in their own right with exquisite fan-vaulting). In one of the apsidal chapels is the unusual cenotaph to Abbot Wakeman with his grisly cadaver effigy, a late medieval reminder of earthly mortality.
Tewkesbury Abbey is not to be missed and is every bit as rewarding as many of our cathedrals (superior in fact to all but the best). It is normally kept open and welcoming to visitors on a daily basis. I have also had the privilege of working on this great building several times over the years (as part of the team at the studio I once worked for), and have left my mark in glass in a few discreet places.
Blythe size stand made of painted acrylic resin.
It shows a little bit of a cobbled street including a storm drain and it's inspired by cities like Rome or Lisbon.
Because of the nature of the material used, it has a nice strong and compact presence and a stone-like solidity.
The pole is removable and it's crossed by a tin wire that can be bent to grab the doll.
PAGEANT 23 (WESTERLY)
Sailboat Specifications
Hull Type: Twin Keel
Rigging Type: Masthead Sloop
LOA: 23.00 ft / 7.01 m
LWL: 19.00 ft / 5.79 m
Beam: 8.00 ft / 2.44 m
S.A. (reported): 236.00 ft2 / 21.93 m2
Draft (max): 2.83 ft / 0.86 m
Displacement: 4,300 lb / 1,950 kg
Ballast: 2,094 lb / 950 kg
S.A./Disp.: 14.32
Bal./Disp.: 48.70
Disp./Len.: 279.87
Construction: GRP
First Built: 1970
Last Built: 1979
# Built: 551
Designer: Laurent Giles
Builder: Westerly Yacht Construction Ltd (UK)
Builder: Westerly Marine, Hampshire
The Pageant is one of the smaller of the Westerly range designed by Laurent Giles and produced in volume in the 1970s. She offers an excellent small cruiser, with remarkable room below for her length, and has the typical Westerly virtues of strength and solidity.
The Pageant was designed for Westerly by Laurent Giles in 1969, as a replacement for the earlier Nomad. Production ran from 1970 to 1979, the yacht shown in the photographs here being one of the last of the 550 or so built. A very few (reportedly just six) fin-keel versions were also produced in 1976, these being called Westerly Kendals. As with all other Westerly Marine yachts the Pageant was very strongly built to Lloyds specifications, which meant that the building processes were rigorously monitored and all materials had to be approved by Lloyds in order that a hull certificate could be issued.
Auxiliary Power/Tanks (orig. equip.)
Make: Volvo Penta
Model: MD1B
Type: Diesel
HP: 10
Fuel: 10 gals / 38 L
Sailboat Calculations
S.A./Disp.: 14.32
Bal./Disp.: 48.70
Disp./Len.: 279.87
Comfort Ratio: 20.61
Capsize Screening Formula: 1.97
Accommodations
Water: 15 gals / 57 L
Headroom1.75m
Cabins 2
Berths 5/6
design Alberto Meda
The teak collection returns to the essence of the setes bench with its chairs, tables
and chaise-longue models. Manufactured with teak wood slats on a die-cast aluminium
frame, the products of the teak collection are resistant over time and pleasant
to the touch. Suitable for outdoor areas, they add solidity and attention to detail
to the outdoor collections.
La collezione teak restituisce nei progetti di sedute, con e senza braccioli, lettini e tavoli
l’anima materica e formale della panchina setes. Realizzati con doghe di legno teak su
struttura in pressofusione di alluminio, i pezzi della collezione teak sono resistenti nel
tempo e piacevoli al tatto. Adatti agli spazi aperti dei giardini, aggiungono solidità
e cura dei dettagli al paesaggio outdoor.
Albi Cathedral is one of the most unique, awe-inspiring churches ever concieved, quite simply one of the wonders of the medieval world.
Although contemporary with the great gothic cathedrals of Northern France, this largely 13th century structure is radically different, being constructed almost entirely of brick and built like a mighty fortress; mostly unadorned walls rise uninterrupted from the ground like sheer cliff-faces of brick. The simplicity of the design gives it an almost modern appearance, and it's massive scale exudes a quite overpowering presence.
The cathedral's powerful fortified appearance is largely down to two factors, the form of the building is consistent with local forms of gothic churches in southern France and northern Spain, whilst thr fortified solidity can be associated with the supression of the Cathars in this area during the Albigensian Crusades, the building serving as a lesson in strength and permanence as a warning to any rebellious locals.
The plain exterior was relieved in the more stable climate of the 16th century by the huge flamboyant porch on the south side of the nave, more like an enormous spikey canopy open on three sides. It remains the main entrance to the cathedral, the base of the enormous tower being so massively constructed as to leave no room for a traditional west entrance.
On entering this vast edifice one's senses are overwhelmed yet again, this time by the profusion of decoration in the cavernous interior. The walls and ceilings are entirely covered by frescoes dating from the early 16th century, mostly in Renaissance style, much of it colourful geometric patterns. The most memorable sections are the earliest frescoes at the west end from an enormous Last Judgement; the central section was sadly removed in the 18th century but the extensive and graphic depiction of the torments of Hell remains.
In addition this cathedral is rare in preserving it's 'jube' or choir screen), a late medieval masterpiece of decoration and sculpture which extends into a lavishly sculpted choir enclosure adorned with a riot of angels and saints.
All in all this unforgettable cathedral is a monument that defies description alone and bombards the senses!
The elaborate canopied tomb of Hugh le Despenser (d.1349) and his wife Elizabeth Montacute (d.1359) on the north side of the high altar. This is the finest tomb in the Abbey, but the effigies are frustratingly difficult to see (being set too high up to be seen properly from the ambulatory, and the more accessible sanctuary side of course being off limits to casual visitors).
The attractive town of Tewkesbury has been dominated by its superb abbey church since the beginning of the 12th century, and we can be forever grateful to its townspeople for purchasing the monastic church in 1540 for £453 for use as their parish church, saving it from the fate that befell countless similar great churches across the land during the turmoil of the Dissolution. It reminds us both how lucky we are to still marvel at it today, yet also how great a loss to our heritage the period wrought when many more such buildings were so utterly plundered as to have gone without trace (the fate of the monastic buildings here and even the lady chapel of the church whose footings are laid out in the grass at the east end).
Tewkesbury Abbey is thus rightly celebrated as one of our greatest non-cathedral churches, and remarkably much of the original Norman church remains substantially intact, most apparently in the great central tower, a fine example of Romanesque architecture adorned with rows of blind-arcading. The west front is dominated by a massive Norman-arched recess (enclosing the somewhat later west window) and the nave and transepts remain largely as originally built, though this is less clear externally owing to the changes made to the windows, nearly all of which were enlarged in the 14th century in the Decorated Gothic style. This century also saw the complete rebuilding of the eastern limb of the church, of a form less common in England with radiating chapels surrounding the eastern apse of the choir (the central lady chapel sadly missing since 1540).
The interior reveals far more of the Romanesque structure with mighty columns supporting the round Norman arches of the nave arcades giving the building a great sense of solidity. The space is further enlivened by the changes made during the 14th century by the stunning vault over the nave (adorned with a rewarding series of figurative bosses) which sits surprisingly well with the Norman work below. Beyond the apsidal choir beckons, and both this and the space below the tower are enriched with stunningly complex vaulted ceilings (replete with further bosses and gilded metal stars), all ablaze with colour and gilding.
There is much to enjoy in glass here, most remarkably a complete set of 14th century glazing in the clerestorey of the choir, seven windows filled with saints and prophets (and most memorably two groups of knights in the westernmost windows on each side). A few of the figures have fared less well over the centuries but on the whole this is a wonderfully rare and well preserved scheme. There is much glass from the 19th century too, with an extensive scheme in the nave of good quality work by Hardman's, and more recently a pair of rich windows by Tom Denny were added in one of the polygonal chapels around the east end.
Some of the most memorable features are the monuments with many medieval tombs of note, primarily the effigies and chantry chapels of members of the Despenser family around the choir (two of the chantries being miniature architectural gems in their own right with exquisite fan-vaulting). In one of the apsidal chapels is the unusual cenotaph to Abbot Wakeman with his grisly cadaver effigy, a late medieval reminder of earthly mortality.
Tewkesbury Abbey is not to be missed and is every bit as rewarding as many of our cathedrals (superior in fact to all but the best). It is normally kept open and welcoming to visitors on a daily basis. I have also had the privilege of working on this great building several times over the years (as part of the team at the studio I once worked for), and have left my mark in glass in a few discreet places.
design Alberto Meda
The teak collection returns to the essence of the setes bench with its chairs, tables
and chaise-longue models. Manufactured with teak wood slats on a die-cast aluminium
frame, the products of the teak collection are resistant over time and pleasant
to the touch. Suitable for outdoor areas, they add solidity and attention to detail
to the outdoor collections.
La collezione teak restituisce nei progetti di sedute, con e senza braccioli, lettini e tavoli
l’anima materica e formale della panchina setes. Realizzati con doghe di legno teak su
struttura in pressofusione di alluminio, i pezzi della collezione teak sono resistenti nel
tempo e piacevoli al tatto. Adatti agli spazi aperti dei giardini, aggiungono solidità
e cura dei dettagli al paesaggio outdoor.