View allAll Photos Tagged Solidity
A deleted Cartier-Bresson picture. Could anyone believe that?
Note: This picture was submitted to the deleteme pool without any mention to the original author. After a dozen or so "great" comments its was revealed.
This whole experience shows several things. You are welcome to take your own conclusions. After all, art is some kind of mirror.
A painter best-known for peasant genre scenes rendered in a Neoclassical style, Emile Auguste Hublin was born and raised in Angers, the historic capital of the northwestern French province of Anjou. In the late 1840s or early 1850s, he moved to Paris, where he trained with François Edouard Picot, a student of Jacques-Louis David. (Picot also taught Alexandre Cabanel, Jean-Jacques Henner, and Isidore Pils.)
Hublin depicted his rural subjects in regional attire often revealing signs of wear. He thus demonstrated his accord with the Realism of Courbet and Millet. At the same time, he gave his figures the solidity of Classical sculpture, ennobling and preserving them for posterity before their world became obsolete.
Francesco Francia born Raibolini but known as il Francia (Zola Predosa or Bologna, c. 1447-1449 - Bologna, January 5, 1517) - Vision of Saint Augustine (c. 1508)- oil on panel 52 x 168.8cm. - National Gallery of Bologna.
Pervenuto dalla chiesa agostiniana di Santa Maria della Misericordia, rappresenta a destra Sant'Agostino che ha la visione della Madonna che allatta e di Gesù sulla croce.
Si tratta di un piccolo gioiello di perfezione formale per il sapiente ritmo compositivo con cui sono uniti i due episodi, per bellezza del limpido paesaggio, per lo smalto dei colori e la saldezza volumetrica delle figure, ognuna caratterizzata da un gesto vivace.
Came from the Augustinian church of Santa Maria della Misericordia, represents the right St. Augustine who has a vision of the Madonna breastfeeding and Jesus on the cross.
It is a small jewel of formal perfection for the wise rhythm of composition with which the two episodes are united, for the beauty of the clear landscape, for the glaze of the colors and the volumetric solidity of the figures, each characterized by a lively gesture.
In my series “Golden Rocks”, I invite you to explore the subtle, intimate beauty of nature, where the raw material of the rocks rises majestically in contrast to the softness of the sky, light and sea.
Through my images, I've sought to capture the delicate harmony between the solidity of the golden rocks and the lightness of the nuances that surround them. Each shot reveals a dialogue between rough textures and peaceful reflections, a silent dance between earth and sky.
“Golden Rocks” offers a soothing contemplation, inviting us to appreciate the richness of detail and the serenity of these landscapes shaped by time.
There's a stunning nativity scene currently on display at St. Patrick's Cathedral in New York City and I was determined to get over and see it for myself before Christmas arrived. It's worth the effort.
Traditionally called a "presepe," it was created by Francesco Artese, the first Italian artisan to have a presepe displayed in St. Peter's Square, Rome in 2012, during the pontificate of Benedict XVI, as an expression of artistic excellence of both religious and Italian cultural tradition.
The presepe portrays the landscape of Basilicata, Italy as part of the universe where Jesus was born.
The figurines are a little over 10" high, made of terracotta and dressed in the typical costumes of the Basilicata region of the 1930's.
The architecture is made of polystyrene covered by a layer of resin stucco with elements of metal, wood and terracotta.
If you're interested, here's some more about this beautiful handcrafted scene from the brochure I picked up while visiting...
"The portrayal of the Nativity concentrates on the tenderness that the Madonna has toward her child as she gently caresses his face, while an equally tender St. Joseph watches over his family. These three characters are carved in one block to symbolize the solidity of their family and at the same time the common destiny that awaits them. This is not an image of royalty but of the profound simplicity and humility that are the expression of the typical rural life.
In this Presepe, the presence of an emigrants’ family is particularly important as it brings to mind the many Italians who decided to emigrate to the United States in the last century. It also symbolizes the suffering of living abroad, far from the motherland, and the hopes and dreams of many men and women worldwide who are forced to leave their native countries.
The background of the Nativity is the Crypt of the Original Sin, the oldest example of rupestrian art in Southern Italy. Because of its theological and artistic importance, as well as its mural paintings, it has been defined as the "Sistine Chapel" of rock-hewn churches. Maestro Artese has reproduced some of the extraordinary frescoes of the Crypt showing the Creation and the Original Sin, as well as those in the three apses with the triarchies of the Apostles, the Archangels and the veneration of the Virgin Mary.
The farming world of Southern Italy opens its doors to the Holy Family of Nazareth so that the entire town seems to become a dwelling for them. The scenery is of unique beauty, light effects show the starry night and the sunny day. The visitor is invited to live a day in the enchanted atmosphere of long ago and discover the ongoing Mystery."
Summer Painting Project 2021.
Acrylic on Canvas. 12" x 12".
The very best thing that came out of Lockdown for me was returning to painting after a 15 year hiatus. I started back at it in the Summer of 2020 and continued on with it in '21. I can only paint outdoors for a variety of reasons so this work is my "summer project". With a lot more time on my hands it was easy to jump outside on my balcony "studio", fitted with a giant drop sheet, some newspaper and plastic covered patio tables, and get right to it.
Most of the paintings shown here were done with at least one form of metallic paint - gold, silver and copper. Metallic greens, blues and purples also made their presences felt as well. These paints are ridiculously difficult to photograph. Silver goes white, gold just looks like flat yellow and copper comes out on camera as either orange or brown, depending what colour it's next to on the canvas. So these photographs are proxies, at best, representatives of the original source. They're close, but not the same as seeing the pieces in person.
Using metallic paints give the paintings an extra jolt and delight that sends them out of the realm of 'paint' in a sense - a definite goal I have in mind for these pieces. Another way of undermining 'safe' readings is to fashion them all on either perfect circles or on squares tilted "on the diamond", as I call it. Both undermine the traditional sense of solidity, gravity and earth-bound familiarity of rectilinear formats. While being unavoidable 'windows' into an imaginary world, they are also distinct objects existing in 3 dimensions as well. So the mind can toggle between object and metaphor, hopefully sometimes so quickly that they take on both aspects simultaneously.
This is another way of achieving my underlying artistic intent to provide each piece with more than one way of viewing it. Literally as you move around these pieces, because of the metallic paint sometimes reflecting fully and other times 'falling back' into the rest of the paints, you get different views appearing and disappearing. Hanging on a wall, as the daylight and evening lights change, slowly, so do the paintings. This gives voice, again, to my conviction that there is no single way to view anything. Nothing is singularly aspected.
So these paintings are morphing organisms that respond to what's happening in their light-universe and to how they're viewed by human eyes.
It's too bad none of these can be relayed in photographic form. Some come close. But these photographs, then, are petrified representatives of the living variations of their 'in-person' nature.
***** I want to thank Paul Ewing, Bramdass, Miranda Murray and Bill Smith for their continuous support and encouragement to get these things posted to Flickr.
- RSW
___________________________________________________
© 2021, Richard S Warner. All Rights Reserved. This image may not be used or copied or posted to another website in any form whatsoever without express permission of the creator of this work.
A UNESCO site.
From Wikipedia:
The Cathedral of Cusco or Cathedral Basilica of the Virgin of the Assumption is the main temple of the city of Cusco, in Peru and houses the headquarters of the Archdiocese of Cusco. The Cathedral Basilica of Cusco, together with the Triunfo temple make up the Cathedral Complex, it is located in the northeast sector of the current Plaza de Armas of Cusco. In the place that, during the Inca period, was occupied by both the Suntor Wassi (lit. "Government House") and the Kisoarkancha or Palace of the Inca Viracocha. The complex occupies an area of 3,920 square meters and is the most important religious monument in the Historic Center of Cusco.
Since 1972 the temple has been part of the Monumental Zone of Cusco declared as a Historical Monument of Peru. Also, in 1983, being part of the historic center of the city of Cusco, it is part of the central zone declared by UNESCO as World Heritage Site.
Between the years 1560 and 1664 the Cathedral Basilica of this city was built. Its construction was entrusted to Juan Miguel de Veramendi in 1560, who was replaced one year later by Juan Correa who worked until 1564. This was followed by Juan Rodríguez de Rivera, Juan Cárdenas, Juan Toledano and Bartolomé Carrión. However, when Viceroy Francisco de Toledo arrived in Cusco between 1570 and 1572, the construction of the cathedral was stopped. In 1615, Miguel Gutiérrez Sencio, an architect who followed Vitruvius and Giacomo Barozzi, and an admirer of the sober and pure style (Herrerian style) established by Juan de Herrera in El Escorial Monastery, took over the direction of the work, along with Francisco Becerra. Under their direction, the Cathedral of Cuzco was completed in 1654.
The 1650 earthquake caused little damage to the cathedral except for the collapse of the ribbed vault. This earthquake motivated the change of the planes of the facade in its upper part and the suppression of the third body in the towers, which is why there is too much volume in the body, leaving the towers short, giving the appearance of solidity to the building.
The premiere mass of the cathedral was on August 15, 1654 and its definitive consecration was on August 19, 1668 by the thirteenth bishop of Cusco Bernardo de Isaguirre Reyes.
The construction material was stone from nearby areas and red granite blocks were also reused from the fortress known as Sacsayhuamán.
It was recognized as a Basilica of the Catholic Church on February 8, 1928. The construction, with three naves, stands on a hall-type floor plan. A surprising detail is the fusion between the order of the capitals and friezes and the type of roof used: the ribbed vault, characteristic of the Gothic. This gives rise to a surprising amalgamation of styles, frequent in the Baroque style of Latin America. The famous image of the Lord of the Earthquakes is venerated in the cathedral.
This cathedral, with a Renaissance façade and Baroque, late-Gothic and Plateresque interiors, has one of the most outstanding examples of colonial gold work. Equally important are its carved wooden altars.
Cloud car based on a model found a rebrickable with structural modifications to improve its solidity.
And a first pilot attempt.
I could still improve the canopy part.
(adj.) *Fragile
1. easily broken or damaged or destroyed
2. vulnerably delicate
3. lacking solidity or strength and liable to break
Fragile Focus, Montreal Botanical Garden, Montreal, Quebec, Canada.
PixProverb:
"The flowers of all our tomorrows are in the seeds of today."
-Chinese proverb
One of the concrete columns (piloti) supporting Fellows Court, a block of flats in Hackney. Built in 1963
In my series “Golden Rocks”, I invite you to explore the subtle, intimate beauty of nature, where the raw material of the rocks rises majestically in contrast to the softness of the sky, light and sea.
Through my images, I've sought to capture the delicate harmony between the solidity of the golden rocks and the lightness of the nuances that surround them. Each shot reveals a dialogue between rough textures and peaceful reflections, a silent dance between earth and sky.
“Golden Rocks” offers a soothing contemplation, inviting us to appreciate the richness of detail and the serenity of these landscapes shaped by time.
Old City Hall, Richmond, VA, is a U.S. National Historic Landmark (NRHP Ref# 69000327) and is located adjacent to Capitol Square on Shockoe Hill facing Broad St. Completed in 1894 from designs by Elijah E. Myers, this was Richmond's first major post-Civil War structure. A prime example of the High Victorian Gothic style, it is noted for the solidity, roughhewn quality and the variety of ornamental gables, dormers, and finials, with a tall corner clock tower. It served as Richmond's city hall until the 1970s, when a new City Hall was constructed diagonally across the Broad St. en.wikipedia.org/wiki/Old_City_Hall_(Richmond,_Virginia); tps.cr.nps.gov/nhl/detail.cfm?ResourceId=871&Resource...
Mejor pincha aquí para ver en grande sobre negro.
Better click here to view this large on black.
© Derechos de Autor. Esta fotografía no podra usarse sin mi consentimiento escrito.
© All rights reserved, don´t use this image without my permission.
Canon 450D + CANON 24-105 4L IS USM, @55mm, 4 sec, f/22, ISO 100
Tripod, Date 30/04/2010 21:26
GANADORA en Concurso Fotografico Semanal del Grupo VIVO POR LA FOTOGRAFIA (Semana 31 año 2010)
Quisiera dedicar esta foto a mi hermano Jesús, que hoy es su cumpleaños. Espero te guste esta foto de la torre del pueblo.
Por otro lado, hoy es un gran día ya que España juega por primera vez la final del mundial de fútbol.
Torre Campanario; Declarada Bien de Interés Cultural en 2003. Es lo único que resta de la anterior fábrica gótica-mudéjar del templo (siglo XIV). Situada a los pies del templo, destaca su solidez y estructura defensiva sobre todo en su último cuerpo, que queda rematado por matacanes. Tal vez esa funcionalidad defensiva fue lo que le salvó de la piqueta destructiva. De planta octogonal y construida en estilo gótico en el siglo XIV, está fechada en 1375, al mismo tiempo que el rey de Aragón optaba por reconstruir las murallas de la ciudad que habian sido destruidas por el rey castellano. Por su interior corre una escalera de caracol. Tiene una altura de 38 metros y un total de 152 escalones.
Consta de cuatro cuerpo separados por impostas. El cuarto aloja el cuerpo de campanas y sobre el mismo queda la terraza protegida por una linea de matacanes.
El cuerpo de campanas se abre al exterior por un vano de arco medio punto, uno por lado. El resto de los tres cuerpos restantes inferiores destacan por la ausencia de vanos. Por su estructura y solidez tal vez pudiera haber formado parte del conjunto defensivo murado de la ciudad.
Las campanas llevan por nombres: Ángeles (1881), Rosario (gótica), Maria de los Ángeles (1691) y Valera (1881).
La entrada a la torre se realiza por una puerta situada en el interior de la iglesia, a sus pies.
Junto a la nave de la epistola, encontramos un capilla, que en realidad es una iglesia independiente sólamente que unida a la iglesia parroquial. Es la antigua parroquia de San Martín y Santa Catalina de Alejandria y hoy capilla de la Inmaculada Concepción. Tiene entrada por el interior de la iglesia y puerta al exterior.
English:
WINNER in the week CONTEST in group VIVO POR LA FOTOGRAFIA
(31th week of 2010)
I would like to dedicate this picture to my brother Jesús on his birthday.
Also, today for the first time "La Roja" plays the final of FIFA World Cup
Tower Belfry; Declared Well of Cultural Interest in 2003. It is the unique thing that remains of the previous Gothic - Mudejar factory of the temple (14th century). Placed to the feet of the temple, stands out your solidity and defensive structure especially in your last body, which remains finished off for Matacanes. Maybe this defensive functionality was what it her saved from the destructive pickax. Of floor octogonal and constructed in Gothic style in the 14th century, it is dated in 1375, at the same time as the king of Aragon was choosing to reconstruct the walls of the city that habian been destroyed by the Castilian king. For your interior it traverses a stairs of snail. It has a height of 38 meters and a whole of 152 steps.
Body consists of four separated by fascias. The room lodges the body of bells and on the same one the terrace protected by a line stays of matacanes.
The body of bells opens itself on the outside for the vain one of average arch point, one for side. The rest of three remaining low bodies stand out for the absence of vain. For your structure and solidity maybe murado of the city could have formed a part of the defensive set.
The bells go for names: Ángeles (1881), Rosario (Gothic), Maria de los Ángeles (1691) and Valera (1881).
The entry to the tower is realized by a door placed inside the church, to your feet.
Close to the ship of the epistle, we find a capilla, which actually is an independent church only that joined the parochial church. She is the former parish of St Martin and Holy Catalina of Alexandria and today chapel of the Immaculate Concepcion. It has entered the interior of the church and door on the outside.
🇫🇷 L'équilibriste
Sous les arbres en pleine effervescence de feuilles, il arrive de faire des rencontres qui pointent devant les yeux comme une petite surprise. C'est une chenille suspendue des hauteurs par un fil, dont la solidité nous laisse dubitatif, mais auquel la chenille confie sa vie (Il lui faut en effet effectuer un autre stade de sa vie près du sol). Lorsqu'une brise se faufile entre les troncs, la chenille se laisse balancer comme un trapéziste, et attend l'équilibre pour continuer sa lente descente. Il y a là, dans toutes les forêts de France, notamment dans les 🌳chênaies à charmes🌳,d'innombrables petits exploits, tout en humilité, et qui laisseraient muets d'admiration bon nombre de nos acrobates.
🌿🌿🌿🌿🌿 🌿🌿🌿🌿🌿
en ️The balancing act
Under the trees, when the leaves are in full bloom, it's not unusual to come across a little surprise. It's a caterpillar suspended from the heights by a thread, whose solidity leaves us dubious, but to which the caterpillar entrusts its life (it must indeed carry out another stage of its life close to the ground). When a breeze blows between the trunks, the caterpillar swings like a trapeze artist, waiting for the balance to continue its slow descent. In all the forests of France, particularly in the 🌳hornbeam forests🌳, there are countless humble little feats that would leave many of our acrobats speechless with admiration.
Milieu naturel, écosystème : 🌳 Chênaie à charmes 🌳
Natural environment, ecosystem: 🌳 hornbeam forest🌳
Lieu / Location : Espace Naturel Sensible du Moulin d'Ors / Chateaufort / Essonne / France
web site : pascalechevest.com
I captured this modern facade as a visual score. The interplay of shadow and light creates a hypnotic pattern that transforms concrete into zebra waves, challenging our perception of solidity.
Post #055
ilCoColi Outfit
Head: Genus - Classic Face W001 @Mainstore
Body: Legacy Mesh Body @Mainstore
Outfit:
Dress - ilCoColi - Ellie Dress @Mainstore for the Saturday Sale
Hair:
Bob - Tram - J0513b @Mainstore
Accessories:
Nails - Rosary - Solidity Nails @Mainstore
Flower Crown - Zenith - Summer Flower Crown (Pink) @Marketplace
Necklace - NOVEMBER - Diamond Butterfly Necklace @Mainstore
Rings - FLAUNT - Generation Rings @Mainstore
Tantissimi auguri di buon 2024 a tutti! Che sia come il cemento armato, in grado di prendere la forma che voi desiderate ma allo stesso tempo capace di darvi solidità, specialmente se rinforzato da ottimi progetti. E grazie a tutti per il costante supporto, l'entusiasmo e la gentilezza. Ad maiora!
__
Best wishes for a happy 2024 to everyone! May it be like reinforced concrete, that you can give it the shape you desire but at the same time granting you solidity, especially if reinforced with excellent projects. And thank you all for your constant support, enthusiasm and kindness. Ad maiora!
Elemento modificato · 31 m
adj. *Monumental:
1. imposing in size or bulk or solidity
2. of outstanding significance
3. relating or belonging to or serving as a monument
Monumental Eiffel Tower, Paris, France (2002 Archives)
Statistics:
Date of birth: March 31, 1889
Age: 116 years
Composition: 18,038 pieces, 2,500,000 rivets
Weight: 10,100 tons
Height: 324m
Visitors up to 2005: 222.904.612
Number of steps: 1665
PixQuote:
"Photographs may be more memorable than moving images because they are a neat slice of time, not a flow. Each still photograph is a privileged moment, turned into a slim object that one can keep and look at again."
-Susan Sontag
PixNote:
Digital painting from an original picture which was captured from the Arc de Triomphe rooftop.
Post #054
CRAVIN Outfit
Head: Genus - Classic Face W001 @Mainstore
Body: Legacy Mesh Body @Mainstore
Outfit:
Bodysuit - *New* Cravin - Tommy Bodysuit @Tres Chic
Harness - *New* Cravin - Tommy Harness @Tres Chic
Hair:
Ponytail - *New* Punklist/Glamocracy - Trisha Hairstyle @Mainstore
Accessories:
Nails - Rosary - Solidity Nails @Mainstore
Glasses - *New* LIFONTI - Alya Shades @Dubai
In my series “Golden Rocks”, I invite you to explore the subtle, intimate beauty of nature, where the raw material of the rocks rises majestically in contrast to the softness of the sky, light and sea.
Through my images, I've sought to capture the delicate harmony between the solidity of the golden rocks and the lightness of the nuances that surround them. Each shot reveals a dialogue between rough textures and peaceful reflections, a silent dance between earth and sky.
“Golden Rocks” offers a soothing contemplation, inviting us to appreciate the richness of detail and the serenity of these landscapes shaped by time.
Russische degelijkheid met hier en daar wat roest.
Lviv / Львів, Oekraïne
Russian solidity with some rust here and there.
Lviv / Львів, Ukraine
Kenteken / License plate: 5150OHA.
Campanile di Giotto: 84.7 metres tall and approximately 15 metres in breadth, it is the most eloquent example of 14th century Gothic architecture in Florence, combining a strong vertical thrust with the principle of sound solidity, its corner buttresses rising the full length of the tower to the projecting terrace at the top.
Yesterday I went to visit the tree under which we spread my mothers ashes and made a self portrait.
I have written a blog post about why this photograph came to be made, you can find it here -
creative-skin.blogspot.co.uk/2013/02/the-solidity-of-livi...
Image copyright www.robhudsonland.co.uk/
Commentary.
Old and new boats,
Old and new buildings.
Father Thames.
The elegance and solidity of
English Baroque St. Paul’s Cathedral,
Sir Christopher Wren’s great Masterpiece.
By contrast:
the Walkie-Talkie,
the Cheese-Grater, Leadenhall Building,
H.S.B.C. headquarters,
the Scalpel and
22, Bishopsgate (the tallest building, in-shot).
Intriguing by their quirkiness,
but by comparison with the 17th. and 18th. Century
Neo-Classical buildings,
just variations on a Lego-build,
with steel-girders, glass and a concrete foundation.
At least, that is merely my personal, somewhat acerbic view.
Bridges and more bridges,
Waterloo and Blackfriars, in view.
Nevertheless, such an amazing city.
Leaves me overwhelmed
and slightly in awe.
But that is good!
Today we continue our visit of the abbey of Daoulas, not very far from the city of Brest in Brittany.
If we are to believe the legends, an early monastery was founded in this place around 550, but was subsequently destroyed during a Viking raid, as were so many other establishments. It was not rebuilt, and no traces of it were ever found y archæologists.
The abbey we see today is a fine Romanesque compound founded in 1173 by Guyomarch IV of Léon, who installed a group of Augustinian regular canons. The abbey church was consecrated in 1232.
Daoulas features the only Romanesque cloister remaining in Brittany.
In this view of the nave, you can see how simple timber roofing (instead of heavy stone vaults) allowed for a lighter structure overall with thin piles, high arcades and large windows that did not compromise the solidity of the side walls.
Le Vieux Pont de Mostar fut construit en 1565 par l’architecte Mimar Hayreddin, élève de l’architecte ottoman Sinan. Il est constitué d'une seule arche en dos-d'âne de 27 m de portée, 4 m de largeur et 29 m de longueur. Il domine la Neretva d’une hauteur de 29 mètres.
La conception en dos-d’âne de ce pont lui confère une grande solidité, si bien qu'il a résisté pendant des siècles à tous les conflits, sauf le dernier. Pendant la guerre de Bosnie-Herzégovine, en 1993, les Croates et Bosniaques s’affrontèrent pendant un peu moins d’un an à Mostar. Le pont fut détruit par les forces croates du HVO le 9 novembre 1993 pour interrompre les passages bosniaques.
Il a été reconstruit sous l’égide de l'UNESCO et de la TIKA.
The Old Bridge of Mostar was built in 1565 by the architect Mimar Hayreddin, a pupil of the Ottoman architect Sinan. It consists of a single arch in the back of a donkey, 27 m long, 4 m wide and 29 m long. It dominates the Neretva from a height of 29 meters.
The donkey-back design of this bridge gives it great solidity, so that it has resisted for centuries to all conflicts, except the last one. During the War in Bosnia and Herzegovina in 1993, the Croats and Bosniaks fought for just under a year in Mostar. The bridge was destroyed by Croatian HVO forces on 9 November 1993 to interrupt Bosnian crossings.
It was rebuilt under the auspices of UNESCO and TIKA
Goliath. visually explores the theme of scale, emphasizing the contrast between the immense size of urban architecture and the relative smallness of individual human experience within these spaces. It is a study in contrasts: solidity and void, opacity and transparency, enormity and minutiae. Goliath. ultimately raises questions about the individual's place in the architectural colossus of the urban landscape.
From this side, the squat solidity of the late 15th / early 16th rectangular keep is easily identifiable. The keep measures 41 feet long by 28 feet 9 inches broad and is four stories high. The height to the top of the gabled roof is about 47 feet.
The Brewery at No.5 Central Park Avenue is in the centre of the Sydney Innovation and Technology Precinct. The largest in Australia, it will be home to tech giants and leading start-ups who will be joining some of Sydney’s best universities and hospitals.
As the vision of the innovation and technology precinct evolves, The Brewery will provide a key hub for knowledge work. The six floors of commercial workspace will be complemented by incredible ground floor of retail and hospitality.
CHIPPENDALE, AUSTRALIA
•Architects: TZANNES
•Area: 26400 m²
Text description provided by the architects. This project integrates the plant equipment for a tri-generation plant with the historic Carlton and United Brewery building on the fringe of the
Sydney CBD. The Brewery precinct, which dates from the early twentieth century, is located in the centre of this six hectare site, now known as Central Park.
It is the largest group of retained heritage buildings on site and will provide the most direct representation of the Brewery which existed on the site until 2005. The built form of the project needed to provide a memorable expression of this important new technology within the urban context while also meeting the demanding technical requirements of the cooling towers and enhancing the heritage significance of the buildings.
We developed an innovative formal solution to this problem where the
form of the new work arose from the integration of complex profile of the existing roofline with the organic regular form of the plant equipment within. The transparency of the mesh was minimised, enhancing the solidity of the form while providing permeability for the cooling towers which need large volumes of air intake. This form was wrapped in custom made zinc mesh sheets, like fabric draped over a curved frame.
Fittingly, the new plant room hovers over the former Old Boiler House, the original power station for the site which operated in various formats until it was decommissioned in the 1980s. The original inverted pyramid coal hoppers are retained in situ within the new zinc clad enclosure and informed the volume of the base of the structure. We have extended the detailing tradition of buildings on this site. The detailing generally was intended to be direct, utilitarian and industrial this can be seen in the close up details of the steel.
Within the building supporting the cooling towers, steel bolts and plate connections for the new steel work are clearly expressed as these will be visible in the final iteration of the adaptive re-use of the building. The new slab housing the cooling towers is supported by industrial scaled steel portal frames - the beam of the portal frame is 1.2m deep and spans over twenty metres.
For the lover of old stones and anyone interested in their rich, multi-secular history, wonderful discoveries sometimes come under the most mundane appearances...
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.
I enjoy shots like this, showing the motion and fluidity of the ocean waves as they meet the solidity of the rocks. The dichotomy is kinda cool in my opinion. This is another summertime shot from the Oregon coast near Yachats.
El Puente de Isabel II, conocido popularmente como Puente de Triana, es un puente situado en Sevilla (Andalucía, España). Une el centro de la ciudad con el barrio de Triana, cruzando el río Guadalquivir. Sustituyó en el siglo XIX a un viejo puente de barcas que existía en su lugar, constituyendo el puente de hierro más antiguo conservado en España. Su construcción finalizó en 1852, bajo el reinado de Isabel II, motivo por el que ostenta dicho nombre.
En marzo de 1844 Bernadet y Steinacher presentaron al Ayuntamiento sevillano tres propuestas de puentes: de piedra, colgado de alambres y de hierro colado con dos pilastras centrales. Explicaron las características y ventajas de cada modelo a la Comisión de Puente del Municipio y mencionaron también la experiencia adquirida por los franceses con el Puente de Austerlitz de París y el Puente del Carrousel de la misma ciudad. En abril de 1844 la Comisión dio su aprobación a la edificación del puente con arcos de hierro y dos pilares en el río, por su solidez y belleza. El puente costaría 12 millones de reales, que se pagarían durante 25 años.
El diseño escogido era análogo al del Puente de los Santos Padres o Puente del Carrousel sobre el río Sena, que había sido ejecutado en 1834 por el ingeniero francés Polonceau. El puente parisino fue demolido a comienzos del siglo XX y sustituido por uno de hormigón. El Puente de Triana sería más grande que el francés, ya que la anchura del Sena en aquel lugar era solamente dos tercios de la del Guadalquivir a su paso por Sevilla.
El Ayuntamiento había solicitado al Estado el derecho de imponer un pontazgo (tasa para pasar por el puente) durante diez años para financiar el puente. En abril de 1844 el Ayuntamiento recibió la autorización para instaurar dicho pontazgo. No obstante, en noviembre el ayuntamiento solicitó una autorización para sustituir el pontazgo por dos portazgos (tasa por pasar por una determinada zona). La autorización le fue concedida. Los portazgos se pagaban en El Tardón y en el Patrocinio. El dinero recaudado iría para pagar la construcción del puente, pero, mientras esta construcción no empezase, se destinarían los fondos a la Diputación Provincial para costear la carretera de Huelva.
El puente fue declarado Monumento Histórico Nacional el 13 de abril de 1976.
es.wikipedia.org/wiki/Puente_de_Isabel_II
The Isabel II Bridge, popularly known as the Triana Bridge, is a bridge located in Seville (Andalusia, Spain). It connects the city centre with the Triana district, crossing the Guadalquivir River. It replaced in the 19th century an old boat bridge that existed in its place, making it the oldest preserved iron bridge in Spain. Its construction was completed in 1852, during the reign of Isabel II, which is why it bears this name.
In March 1844, Bernadet and Steinacher presented three proposals for bridges to the Seville City Council: stone, hanging from wires and cast iron with two central pillars. They explained the characteristics and advantages of each model to the Municipal Bridge Commission and also mentioned the experience acquired by the French with the Austerlitz Bridge in Paris and the Carrousel Bridge in the same city. In April 1844, the Commission gave its approval to the construction of the bridge with iron arches and two pillars in the river, because of its solidity and beauty. The bridge was to cost 12 million reales, to be paid over 25 years.
The design chosen was similar to that of the Bridge of the Holy Fathers or Carrousel Bridge over the River Seine, which had been built in 1834 by the French engineer Polonceau. The Parisian bridge was demolished at the beginning of the 20th century and replaced by a concrete bridge. The Triana Bridge was to be larger than the French bridge, as the width of the Seine at that point was only two-thirds that of the Guadalquivir as it passed through Seville.
The City Council had asked the State for the right to impose a pontazgo (tax to pass over the bridge) for ten years to finance the bridge. In April 1844, the City Council received authorisation to establish the pontazgo. However, in November, the Town Council requested authorisation to replace the pontazgo with two portazgos (a fee for passing through a certain area). The authorisation was granted. The portages were paid at El Tardón and El Patrocinio. The money collected was to be used to pay for the construction of the bridge, but as long as this construction did not begin, the funds were to go to the Provincial Council to pay for the road to Huelva.
The bridge was declared a National Historic Monument on 13 April 1976.
Translated with www.DeepL.com/Translator (free version)
The Puente de Isabel II, Puente de Triana or Triana Bridge, is a metal arch bridge in Seville, Spain, that connects the Triana neighbourhood with the centre of the city. It crosses the Canal de Alfonso XIII, one of the arms of the River Guadalquivir that isolate Triana as an almost-island.
It was built during the reign of Isabella II of Spain and completed in 1852 as the first solid bridge in Seville, replacing an earlier floating bridge consisting of boats (a pontoon bridge). First built by the Moors in the 12th century, the pontoon bridge managed to exist for seven centuries due to later repairs.
en.wikipedia.org/wiki/Puente_de_Isabel_II
El Puente de Isabel II, Puente de Triana o Puente de Triana, es un puente de arco metálico en Sevilla, España, que conecta el barrio de Triana con el centro de la ciudad. Atraviesa el Canal de Alfonso XIII, uno de los brazos del río Guadalquivir que aíslan a Triana como una casi isla.
Se construyó durante el reinado de Isabel II de España y se terminó en 1852 como el primer puente sólido de Sevilla, sustituyendo a un puente flotante anterior formado por barcos (un puente de pontones). Construido por primera vez por los moros en el siglo XII, el puente de pontones logró existir durante siete siglos gracias a reparaciones posteriores.
Traducción realizada con la versión gratuita del traductor www.DeepL.com/Translator
Arup Associates concept for the form of the bridge was driven by a desire to have a simple and iconic form that respected the existing master plan for the Quay and ensured that full advantage was taken of the prominent location of the bridge within the city. Arup Associates had to achieve a considerable change in level from the Williams Quay to the western end of the bridge to clear the navigation channel required for ferries.
The curved form of the bridge deck was the solution that allowed Arup Associates to create the extended ramps required to clear the navigation channel and achieve entry points to the bridge that were critical for legible access and integration with the master plan. Having achieved these geometric challenges, Arup Associates now had to engineer a solution. Arup Associates target was to compliment the S form of the bridge deck with arch forms that would reinforce the experience of movement through the structure and across the bridge.
The bridge deck is constantly changing in height and always curving in plan – the arches needed to enhance this experience. Arup Associates worked closely from the outset with engineers using analysis software to show how efficiencies could be made in arch geometry relative to the bridge deck geometry. Arup Associates wanted the drama of the leaning arches, we also wanted the arches to optimized in their cross sectional form to the structural work they are doing. Arup Associates also worked closely with our wind engineers to ensure that vibration and vortex shedding issues were overcome. Arup Associates wanted transparency to the balustrades, yet some level of solidity was initially required to overcome wind impacts which could generate vibrations within the bridge structure.
Another area of design which defined the form of the arches was the lighting concept. Arup Associates wanted the illumination of the arches to be visible from both sides – from the city and from across the river. To achieve this Arup Associates generated a 5 sided cross section, so that at the apex of the arch two faces are visible in elevation and can be illuminated from a single line of uplighters to the edge of the deck. The result is everything Arup Associates sort to achieve in terms of simple and pure structural forms, complimented by a rationalised modular architecture to the fascia finishes, balustrading and timber decking. This was only possible through the use of shared modelling, with both architects and engineers using Rhino + Grasshopper scripts to control the geometry definition – scripts that were shared on a daily basis to ensure that structural analysis kept pace with architectural geometry
This recent body of textiles and sculptures continues Connet’s twenty-year fascination with the process of the dye-resist technique of mokume shibori. Connet's sculptures are motivated by the three-dimensional potential of the tension, density and compression inherent in the shibori process. Copper fabric is stitched and pulled into billowing volumes that are then electroplated, accumulating surface deposit and structural rigidity on the exposed edges. The sculptures exploit extremes — translucency and solidity, movement and stasis.
Vincenzo Foppa (Brescia, 1427 circa - 1515 circa) - Madonna of the Book (1460-1468) Tempera technique on panel size 37,5×29,6 cm - Pinacoteca del Castello sforzesco, Milano
L'opera era probabilmente destinata alla devozione privata. La Madonna e il Bambino benedicente si affacciano con illusionismo oltre una cornice dorata, lungo la quale corre un'iscrizione che riproduce l'incipit di un'orazione attribuita a Sisto IV in onore dell'Immacolata Concezione, un tema allora assai dibattuto.
Le figure sono caratterizzate da una solidità scultorea, che rimanda alle opere padovane, ma anche ai modi fiamminghi per via della morbida sfumatura del chiaroscuro. Il manto della Vergine presenta un panneggio sbalzato che rimanda alla scuola ferrarese, così come l'elemento decorativo del filo di corallo rosso appeso contro un cielo cristallino.
Il nome del dipinto deriva dal libro che Maria tiene in mano davanti al Bambino e che sembra venire da essa letto: si tratta di un richiamo alle Sacre Scritture, le cui tristi profezie sul martirio del figlio sembrano far riflettere la Vergine e le danno quell'espressione pensosa e malinconica. La mano di Maria che sporge oltre la cornice mostra qualche incertezza nello scorcio, che la fa apparire più piccola anziché più grande.
The work was probably intended for private devotion. The Madonna and the Blessing Child appear with illusionism beyond a gilded frame, along which runs an inscription that reproduces the incipit of an oration attributed to Sixtus IV in honor of the Immaculate Conception, a subject that was much debated at the time.
The figures are characterized by a sculptural solidity, which recalls the works of Padua, but also Flemish ways because of the soft shading of chiaroscuro. The Virgin's mantle has embossed drapery that recalls the Ferrara school, as does the decorative element of the red coral thread hanging against a crystalline sky.
The name of the painting derives from the book that Mary holds in her hand in front of the Child and that seems to be read by her: it is a reference to the Holy Scriptures, whose sad prophecies about the martyrdom of her son seem to make the Virgin reflect and give her that thoughtful and melancholic expression. Mary's hand protruding beyond the frame shows some uncertainty in the foreshortening, which makes her appear smaller rather than larger.
There are many strange and foreboding places where the warming glow of a noon-day sun never touches. And being such places of eternal darkness, there, just beneath the surface of our perception, lies an atmosphere wherein lurk malign entities culled from the darkest corners of man’s souls throughout history, straining to be set loose upon the face of a dismal planet and prey on unsuspecting passers-by. There they bide their time in seething hatred of life, and living, and ALL that it stands for: that which they can no longer have—nor ever take, ‘cept in the cold, hard hours of the night when men’s fancies may give them cause to doubt the solidity of that which they otherwise call “reality”. Once sunken to the depths of this uncertain morass of darkness, men entertain other thoughts; certain ideas of deep and dreadful intent which each one assumes is his or her own secret shame as they huddle in unspoken horror that the rumors of a “hidden reality” may actually be true.
It is at times such as this that purchase is given for theses two disparate realms to cross; the one warm and bright—the other, cold, dark and as murky as the depths of the deepest unknown ocean, and just as frightening. Together, the laws of nature become blurred, uncertain. Shadows of dark, heavy, seldom glimpsed shapes lumber putrescent and just out of range or around strange corners with unnatural angles that we privately pray are not there.
I have arranged these into their own set for ease of access and to read in sequence.
Stopham, on the A283 between Fittleworth and Pulborough, is worth visiting for its bridge alone. The bridge is essentially the same as in Elizabethan times (with an elevated central span and a tarmac road being the main changes).
The current bridge, which is a Scheduled Ancient Monument, replaced an even earlier bridge which was made of wood, in 1423. The total length of the "new" bridge is 246 feet and it's a thing of great beauty and solidity.
These days traffic is taken across the river by means of a new new bridge, leaving the old new bridge avaiable for pedestrians to explore in safety.
Stopham Bridge crosses the River Arun, just north of its junction with the River Rother. There is a good pub next to the River called the White Hart. The pub has an attractive waterside garden
- See more at: www.westsussex.info/stopham.shtml#sthash.ZeRtZLbp.dpuf
Played around with this idea for a while before I got out my camera. I wanted to show the paper peeling away from the space behind to give the negative space solidity and mass. Set the shot up against black velvet to make it as dark as possible against the brightly lit lavender paper. Tried it with a B&W conversion, but I just love that bright magenta color too much!
El Puente de Isabel II, conocido popularmente como Puente de Triana, es un puente situado en Sevilla (Andalucía, España). Une el centro de la ciudad con el barrio de Triana, cruzando el río Guadalquivir. Sustituyó en el siglo XIX a un viejo puente de barcas que existía en su lugar, constituyendo el puente de hierro más antiguo conservado en España. Su construcción finalizó en 1852, bajo el reinado de Isabel II, motivo por el que ostenta dicho nombre.
En marzo de 1844 Bernadet y Steinacher presentaron al Ayuntamiento sevillano tres propuestas de puentes: de piedra, colgado de alambres y de hierro colado con dos pilastras centrales. Explicaron las características y ventajas de cada modelo a la Comisión de Puente del Municipio y mencionaron también la experiencia adquirida por los franceses con el Puente de Austerlitz de París y el Puente del Carrousel de la misma ciudad. En abril de 1844 la Comisión dio su aprobación a la edificación del puente con arcos de hierro y dos pilares en el río, por su solidez y belleza. El puente costaría 12 millones de reales, que se pagarían durante 25 años.
El diseño escogido era análogo al del Puente de los Santos Padres o Puente del Carrousel sobre el río Sena, que había sido ejecutado en 1834 por el ingeniero francés Polonceau. El puente parisino fue demolido a comienzos del siglo XX y sustituido por uno de hormigón. El Puente de Triana sería más grande que el francés, ya que la anchura del Sena en aquel lugar era solamente dos tercios de la del Guadalquivir a su paso por Sevilla.
El Ayuntamiento había solicitado al Estado el derecho de imponer un pontazgo (tasa para pasar por el puente) durante diez años para financiar el puente. En abril de 1844 el Ayuntamiento recibió la autorización para instaurar dicho pontazgo. No obstante, en noviembre el ayuntamiento solicitó una autorización para sustituir el pontazgo por dos portazgos (tasa por pasar por una determinada zona). La autorización le fue concedida. Los portazgos se pagaban en El Tardón y en el Patrocinio. El dinero recaudado iría para pagar la construcción del puente, pero, mientras esta construcción no empezase, se destinarían los fondos a la Diputación Provincial para costear la carretera de Huelva.
El puente fue declarado Monumento Histórico Nacional el 13 de abril de 1976.
es.wikipedia.org/wiki/Puente_de_Isabel_II
The Isabel II Bridge, popularly known as the Triana Bridge, is a bridge located in Seville (Andalusia, Spain). It connects the city centre with the Triana district, crossing the Guadalquivir River. It replaced in the 19th century an old boat bridge that existed in its place, making it the oldest preserved iron bridge in Spain. Its construction was completed in 1852, during the reign of Isabel II, which is why it bears this name.
In March 1844, Bernadet and Steinacher presented three proposals for bridges to the Seville City Council: stone, hanging from wires and cast iron with two central pillars. They explained the characteristics and advantages of each model to the Municipal Bridge Commission and also mentioned the experience acquired by the French with the Austerlitz Bridge in Paris and the Carrousel Bridge in the same city. In April 1844, the Commission gave its approval to the construction of the bridge with iron arches and two pillars in the river, because of its solidity and beauty. The bridge was to cost 12 million reales, to be paid over 25 years.
The design chosen was similar to that of the Bridge of the Holy Fathers or Carrousel Bridge over the River Seine, which had been built in 1834 by the French engineer Polonceau. The Parisian bridge was demolished at the beginning of the 20th century and replaced by a concrete bridge. The Triana Bridge was to be larger than the French bridge, as the width of the Seine at that point was only two-thirds that of the Guadalquivir as it passed through Seville.
The City Council had asked the State for the right to impose a pontazgo (tax to pass over the bridge) for ten years to finance the bridge. In April 1844, the City Council received authorisation to establish the pontazgo. However, in November, the Town Council requested authorisation to replace the pontazgo with two portazgos (a fee for passing through a certain area). The authorisation was granted. The portages were paid at El Tardón and El Patrocinio. The money collected was to be used to pay for the construction of the bridge, but as long as this construction did not begin, the funds were to go to the Provincial Council to pay for the road to Huelva.
The bridge was declared a National Historic Monument on 13 April 1976.
Translated with www.DeepL.com/Translator (free version)
The Puente de Isabel II, Puente de Triana or Triana Bridge, is a metal arch bridge in Seville, Spain, that connects the Triana neighbourhood with the centre of the city. It crosses the Canal de Alfonso XIII, one of the arms of the River Guadalquivir that isolate Triana as an almost-island.
It was built during the reign of Isabella II of Spain and completed in 1852 as the first solid bridge in Seville, replacing an earlier floating bridge consisting of boats (a pontoon bridge). First built by the Moors in the 12th century, the pontoon bridge managed to exist for seven centuries due to later repairs.
en.wikipedia.org/wiki/Puente_de_Isabel_II
El Puente de Isabel II, Puente de Triana o Puente de Triana, es un puente de arco metálico en Sevilla, España, que conecta el barrio de Triana con el centro de la ciudad. Atraviesa el Canal de Alfonso XIII, uno de los brazos del río Guadalquivir que aíslan a Triana como una casi isla.
Se construyó durante el reinado de Isabel II de España y se terminó en 1852 como el primer puente sólido de Sevilla, sustituyendo a un puente flotante anterior formado por barcos (un puente de pontones). Construido por primera vez por los moros en el siglo XII, el puente de pontones logró existir durante siete siglos gracias a reparaciones posteriores.
Traducción realizada con la versión gratuita del traductor www.DeepL.com/Translator
Poem.
Like a military parade of trees,
Commercial Spruce, in bottle-green uniform,
stand to attention on the lower slopes, mile upon mile.
Golden Larch, like Red-Hot Pokers,
frame plantations in spectacular contrast,
acting as expendable fire-breaks in order to sustain the bulk of the forest.
Delicate fronds of the Silver Birch droop and waiver in the breeze.
Lower branches speckled by what seems countless golden doubloons “sparkle” with an iridescent glow.
Millions of leaves metamorphose into their Autumnal apparel.
The deeper, richer bronze of the bracken adds to this awesome, multi-coloured tapestry, but Broom and Gorse hang on to their now, flowerless, green foliage.
Blacks and greys of leafless bushes and the scaffolding of straight, deeply grooved pine-tree-trunks, gives an architectural solidity to the scene.
The richness of colour and texture is momentous, mesmeric and moving.
It is a joy to behold.
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.
Puente del Kursaal, Donostia, Guipúzcoa, España.
Puente de tramos rectos de hormigón armado, recubierto por piedra de Motrico y mármol rosa, con elementos decorativos de estilo modernista. Construido sobre grandes pilares, de donde arrancan las seis características farolas que contienen a esta obra su marcada personalidad.
A comienzos del siglo XX. El ayuntamiento apoya la construcción de un tercer puente sobre el Urumea "en el que se armonicen la solidez y la resistencia con la monumentalidad y belleza del conjunto".
El ingeniero Ribera presentó al Ayuntamiento una importante modificación: el puente de la Zurriola, proyecto inicialmente con arcos, será construido con tramos rectos.
El 14 de Agosto de 1921 numerosísimo público acudió a la inauguración.
El barandado metálico y los obeliscos que hacen de farolas son obra de Victor Arana. Las cuatro esfinges de bronce pertenecen a la reforma de 1993. Tienen 120 metros de largo como el puente de Santa catalina con el que mantiene cierta armonía de líneas y es algo mayor que el Puente de María Cristina, de 100 metros.
Años de realización: 1918-1921
Autor: J.E.RIBERA
Bridge of straight sections of reinforced concrete, covered by motric stone and pink marble, with decorative elements of modernist style. Built on large pillars, from which the six characteristic lanterns that contain this work its marked personality.
At the beginning of the 20th century. The city council supports the construction of a third bridge over the Urumea "in which solidity and resistance are harmonized with the monumentality and beauty of the whole".
Engineer Ribera presented the City Council with an important modification: the Zurriola bridge, initially with arches, will be built with straight sections.
On August 14, 1921, a large audience attended the inauguration.
The metal balustrade and the obelisks that act as lampposts are the work of Victor Arana. The four bronze sphinxes belong to the 1993 reform. They are 120 meters long, like the Santa Catalina bridge, with which it maintains a certain harmony of lines and is somewhat larger than the María Cristina Bridge, which is 100 meters long.
Years of realization: 1918-1921
Author: J.E.RIBERA
IN ENGLISH BELOW THE LINE
Sumeu un gegantí objectiu militar de reconeixement aeri de la Segona Guerra Mundial a la càmera de premsa de gran format més famosa de la historia i teniu això: la Speed Graphic + Kodak Aero-Ektar; també conegut com el combo David Burnett, pel seu creador.
La Graflex Pacemaker Speed Graphic de 4x5 polzades és el summum de la càmera de premsa de gran format des de els anys 40 fins a inicis dels 60. Ja les Speed Graphic anteriors (Pre-Anniversary, Anniversary) havien dominat en bona mesura els anys 30 i 40, sobretot als Estats Units. La versió Pacemaker del 1947 millora les qualitats del model Anniversary, sobretot en fermesa: es substitueix l'estructura de fusta per una de totalment metal·lica. És l'equivalent a un tanc en el món de la fotografía. Igualment millorà en certa mesura els moviments del objectiu, i es simplificà l'obturador de pla focal sense perdre capacitats. Amés, aviat si incorporà el sistema Graflok per a carregar portaplaques, magatzems de plaques o adaptadors de filmpacks i pel·licula format 120. Una càmera realment tot terreny.
El Aero Ektar fou fabricat durant la Segona Guerra Mundial, en diverses distancies focals fins a 12 polzades, essent la de 7 polzades (aquesta) la més usual. Fou encarregada i emprada gairebé en exclusiva per la USAAF durant la guerra mundial, tant en reconeixement aeri en avions com el Mustang o Spitfire com per a documentar els bombardejos amb el B-17, B-24 o B-29. Es tracta d'un objectiu de gran complexitat i molt car. Sembla que costava tant en dolars del 1944 com un cotxe! Posteriorment es varen vendre a preu de saldo, com acostumen a fer els exèrcits un cop acabada la guerra (però ara han tornat a pujar de preu, eh!!).
La gracia per al gran format és montar aquesta bestia (pesa molt!!) en una càmera Graflex Speed Graphic de 4x5 polzades, Què aporta? Be, el Aero Ektar proporciona uns desenfocs, un bokeh, sensacional ben obert a f2.5 o similar (tancat a f16 proporciona imatges correctes però avorrides. Fou el periodista David Burnett qui descobrí la fantàstica combinació entre el Aero Ektar i la Graflex Speed Graphic (que gracies al seu obturador de pla focal pot emprar lents sense obturador propi).
Aquest Aero Ektar el vaig comprar complet amb la seva càmera Kodak K24, del qual el vaig desmontar. Fou fabricat el 1944, com demostra el nº de serie començant en EE (44).
petapixel.com/2013/02/08/david-burnetts-speed-graphic-pho...
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Add a gigantic military recognition lens used in World War II to the most famous large format press camera in history and you have this: the Speed Graphic + Kodak Aero-Ektar; also known as the "David Burnett combo", by its creator.
The 4x5" Graflex Pacemaker Speed Graphic is the summum of the large-format press camera from the 40's to the beginning of the 60's. Previous Speed Graphic models (Pre-Anniversary, Anniversary) had already dominated the 30's and 40, especially in the United States. The Pacemaker version of 1947 improves the qualities of the Anniversary model, especially in solidity: the wood structure is replaced by a completely metallic one. It is the equivalent of a tank in the world of photography. It also improved to a certain extent the lens movements, and the focal plane shutter was simplified without losing capacities. Plus, soon it incorporated the Graflok back system to load plate holders, film magazines (Grafmatic) or filmpack and rollfilm adapters.
The Aero Ektar was manufactured during World War II, in several focal distances up to 12", being the 7" (this one) the most usual one. It was commissioned and used almost exclusively by the USAAF during World War II, both in airline reconnaissance roles on board the Mustang or Spitfire and to document bombings with the B-17, B-24 or B-29. It is a very complex and very expensive lens. It seems that it was as expenseive as a car in 1944 US dollars! Subsequently, they were sold at a bargain price, as the armies usually do after the war (but now prices have risen again!).
The notable point for large format photography is to mount this beast (it weighs a lot!) into a 4x5 Graflex Speed Graphic camera. What does it bring? Well, the Aero Ektar provides , a gorgeous bokeh, well open at f2.5 or similar (at f16 it just provides correct but boring images). David Burnett was the one who discovered the fantastic combination between an Aero Ektar and a Graflex Speed Graphic (Thanks to its focal plane shutter it can use lenses without its own shutter).
This particular Aero Ektar was bought assembled in its Kodak K24 camera. It was manufactured in 1944, as shown by the serial number code EE (44).
petapixel.com/2013/02/08/david-burnetts-speed-graphic-pho...
www.johndesq.nl/graflex/aeromemorandum.htm
emulsive.org/reviews/lens-love-shooting-the-kodak-aero-ek...
www.youtube.com/watch?v=i-J4lvQOHCo
www.flickr.com/photos/tags/kodak%20aero-ektar%20178mm%202.5/
Winter is well and truly upon us where I live in the US Midwest. The sims in SL are blanketed with snow and when it's fresh, snow is one of the most beautiful things on the planet.
My especial thanks to Nino Heartsdale for making a special edition of her Dhoom Machalay earrings on the fly, just for me. She is one of the kindest people on the grid. Thank you, Nino!
Olyvia is wearing:
;Moon Amore: Camelia Outfit / Camisole - MAITREYA
;Moon Amore: Camelia Outfit / Panty ADDON - MAITREYA
;Moon Amore: Camelia Outfit / Skirt ADDON-
Beloved Jewelry : Jewelled Scepter
POISON ROUGE Star kisses Crown - Silver
REIGN.- LUST THIGH HIGH BOOTS - (MAITREYA)
{Nena} Fishnet Tights v1 White/Tintable (Tattoo)
DOUX - Olivia Hairstyle [M]
/ HEAD / lel EvoX LILLY 3.1)
Maitreya Mesh Body - Lara V5.3
Rosary. Solidity __ Maitreya Medium
In creating this image, I sought to capture the very essence of a lighthouse in its most stripped-down environment. Using a long exposure technique allowed me to transform the water into a misty, almost surreal veil, creating a striking contrast with the unwavering solidity of the rocky jetty and lighthouse. This technical approach translates my philosophical vision of time: how certain structures stand resolute against the constant fluidity of the elements surrounding them. My deliberately minimalist composition, with its vast negative spaces and restricted color palette, expresses my need to create moments of visual silence in a world saturated with images. I waited for weather conditions where the boundary between sky and sea would become indistinct, reinforcing this impression of the lighthouse's isolation in an almost abstract environment. The green touch crowning the structure becomes the only vibrant point in the image, embodying the lighthouse's very purpose: to guide and orient in the grey immensity. Through this photograph, I invite the viewer into silent contemplation, to feel the tension between isolation and connection that these maritime structures symbolize. This work is part of my ongoing exploration of the dialogue between human architecture and natural environment, and how photography can reveal a temporal dimension imperceptible to the naked eye.
Post #054
CRAVIN Outfit
Head: Genus - Classic Face W001 @Mainstore
Body: Legacy Mesh Body @Mainstore
Outfit:
Bodysuit - *New* Cravin - Tommy Bodysuit @Tres Chic
Harness - *New* Cravin - Tommy Harness @Tres Chic
Hair:
Ponytail - *New* Punklist/Glamocracy - Trisha Hairstyle @Mainstore
Accessories:
Nails - Rosary - Solidity Nails @Mainstore
Glasses - *New* LIFONTI - Alya Shades @Dubai
My dear friends,
Today, 22nd September, is WORLD RHINO DAY. It is an opportunity for people all over the world to take a stand against rhino poaching and the illegal trade in rhino horn. It is all about spreading the word: Rhino horn has no medicinal value, despite the long held belief to the contrary, and is not a cure for cancer. However rhino horn is still sought after and mainly in the East. Rhinos are dying for nobody’s benefit – except that of the criminals involved in the poaching rings.
South Africa is custodian to over 80% of the world’s rhino. From 2000-2007 about 12 rhinos were poached each year in South Africa. Last year 333 were slaughtered. So far in 2011, about 300 rhinos have already been poached. Rhino poaching sees also sharp rise in other countries.
Extinction is not an option: Help Save Our Rhino!
Rhinos belong to all of us. Their survival is more threatened than ever before.
We need to raise awareness to fight the battle against their extinction.
Make your voice heard if you think that they are worth saving.
Some ideas to get involved:
1. Join one of the events today, e.g.
www.facebook.com/event.php?eid=224095080972284
www.facebook.com/event.php?eid=266471793371719
www.facebook.com/event.php?eid=163128317103866
2. Spare a thought for the almost 300 rhinos that have been viciously slaughtered for their horns in South Africa this year.
3. Make a poster (or several) and display today (or even longer). Put them up in your car windows, shop windows, schools, business - wherever they will be seen.
4. Communicate (e-mail, Facebook, twitter, blog, sms etc.) your objections to rhino being poached and spread the word that rhino horn has no medicinal value at all! The rhinos are dying for no good reason. Speak about it where- & whenever you contact people, again & again. People do not know (much) about it, particularly outside of Southern Africa.
5. There are lots of petitions online. Please sign & share them, at least the most important ones:
apps.facebook.com/petitions/6/moratorium-on-rhino-hunt-2011/
www.wildernessfoundation.co.za/index.php?option=com_proje... (PLEASE WATCH THE VIDEO ON THIS SITE & SIGN THE PETITION)
www.thepetitionsite.com/2/stop-legal-hunting-of-rhinos/
www.thepetitionsite.com/1/africa-geographics-stop-killing...
action.humanesociety.org/site/MessageViewer?em_id=24931.0...
6. Circulate this e-mail as widely as possible
7. If you are in South Africa:
Buy a “rhino” bag at your nearest Woolworths store. 10 Rand from the sale of every bag will go to the WWF for rhino conservation.
Get a MyPlanet card at any Woolworths store or online at www.myschool.co.za/schools/myvillage-myplanet .Choose EWT MyPlanet Rhino fund as your beneficiary. Every time you shop at Woolworths, or any of the partners, a percentage of your purchase will be donated to the fund at no cost to you.
8. Particularly if you are not in South Africa:
Inform your newspaper, radio station, local zoo, museum etc. – ask them to cover the rhino poaching crisis and to keep up with this issue
9. Take the rhino poaching crisis in the school. Here you find information resources for use by teacher/youth leaders: www.rhinos-irf.org/teachers/
10. Organise a fundraising event for rhino anti poaching. Some ideas: sponsored walk, bridge party, golf day, raffle, auction
11. If you want to donate money: Please be wary of potentially fraudulent fundraisers. Always look for a Non Profit Organisation (NPO) and Public Benefit Organisation (PBO) number, ask questions about how donations will be spent and what percentage of the donation goes towards actual conservation work.
Here you can find a selection of good organizations: www.facebook.com/notes/5050-community/these-are-a-selecti...
12. Stay informed, e.g. by checking the following websites:
and/or the different rhino pages on Facebook
13. If you want to help the rhinos on a spiritual level, here is a prayer by my wonderful friend Anna Breytenbach that humans can say and intentions we can hold:
“Rhinos are ancient and wise, and have a rightful place on earth. They survive in the wild through patience, silence and solidity. They are invisible to those who would harm them. Rhinos and their young have the space and human understanding they need to thrive. They are held in peace and love. May it be so.”
Please do not stop getting involved before the rhino poaching has been brought to a permanent end and a sustainable population of rhinos is established for the benefit of current & future generations.
THANK YOU. For the Love of Rhinos!
Christin
CHRISTIN KOTTHOFF
Diplom-Kauffrau
PR-Consultant|Conservationist
South Africa
e-mail: ckotthoff@gmail.com
Our lives begin to end the day we become silent about things that matter. Martin Luther King, Jr.
Please don't use any of my images on websites, blogs or other media without my explicit written permission. © All rights reserved