View allAll Photos Tagged Solidity
The passageway to the laundry facilties and the boiler room is blocked by the collapsed roof, I didn't pass because I wasn't so sure about the solidity - Der Zugangsbereich zu Teilen der Wäscherei und dem Kesselhaus sind durch das eingestürzte Dach blockiert. Ein Weitergehen hielt ich nicht für sinnvoll
Old Winery; courtesy of Rhine House Collection
Napa County, CA
Listed: 08/17/2001
The Beringer Winery Historic District is a complex of buildings and structures consisting of a winery, residential buildings, winery support structures, a series of circulation routes, and a number of significant landscape elements that retains a high degree of integrity from its period of significance. At the height of Beringer activity at the site, the property looked remarkably like its present configuration. In fact, it appears to be one of the few Napa wineries that retains all four of the central site components present at most wineries: the winery building, support structures, and the crucial site circulation, as well as the residential structures and precincts. A comparison of an 1878 Lithograph of the property with Sanborn Maps from the years 1886, 1889, 1910, and 1944 give a strong indication of the appearance of the Beringer property as it developed during its period of significance.
The historical resources within the Beringer Winery Historic District are significant at the state level under National Register Criterion A in the area of California agriculture, specifically the statewide development of the viticultural industry during the nineteenth and twentieth centuries. Unlike early Southern California wineries which diminished in production and distribution as other agricultural uses became more lucrative in that area of the state, the Northern California wineries expanded from the mid nineteenth century until Prohibition. Significant as a continuously family-operated agricultural enterprise, the Beringer Winery differs from other early California wineries in that it remained family-run through Prohibition, Repeal, World War II, and the beginnings of the second wine boom of the 1960s. The Beringer family operated one of the "Big Four" family wineries in the Napa Valley and utilized innovative agricultural and business practices to achieve this status. Leaving Charles Krug's winery and establishing his own winery, Jacob Beringer erected a large, modern winery incorporating the latest technology. In the late 1870s, the St. Helena Star called the Beringer wine cellar "the most handsomely finished of any in the valley, and for solidity of build and completeness of appointments can have no superior anywhere." Similar to other wineries developing in Napa during the third quarter of the nineteenth century, the Beringer Winery site consisted of a residential precinct; a winery, distillery, and storage buildings located in an industrial precinct for wine production; as well as vineyards, orchards, and gardens. Elevating its significance within an agricultural context, the Beringer Winery Historic District is one of the few California wineries remaining that fully illustrates the relationship of the industrial wine making precinct to the more residential components of the winery site linked by extant circulation routes. In conjunction with establishing modern wine making practices, the Beringer winery produced large quantities of wine and distributed products across the country, including an outlet in New York.
One district contributor, the Rhine House, is currently listed on the National Register of Historic Places under Criterion C, architecture. The Rhine House, built on the property in the 1880s as Frederick Beringer's residence, is representative of the work of a significant local architect, Albert Schroepfer; it is a good example of the use of local stone; and possesses distinctive characteristics including a remarkable collection of stained glass. Additionally, the Beringer Brothers Winery building is a California State Historical Landmark.
This is an early work by Caravaggio, who sought above all to convey the reality and solidity of the surrounding world. We can already see the elements of the artist's style which were to have such a widespread influence on other artists. The figure of a young boy dressed in a white shirt stands out clearly against the dark background. The sharp sidelighting and the falling shadows give the objects an almost tangible volume and weight. Caravaggio was interested in the uniqueness of the surrounding world, and there are markedly individual features not only in the youth's face but also in the objects which make up the still life: the damaged pear, the crack in the lute, the crumpled pages of the music. The melody written on those pages is that of a then fashionable song by Jacques Arcadelt, "You know that I love you". Love as the theme of this work is also indicated by other objects. For instance, the cracked lute was a metaphor for the love that fails, as in Tennyson's Idylls of the King: "It is the little rift within the lute, That by and by will make the music mute" (Merlin and Vivien).
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.
Re-done.
In the first I had closely followed a tutorial. In this I have tried to keep the colour and solidity of the photo.
Astounding! Gracious custom built single family home in Chicago's East Village. All brick residence offers elegant finishes with coffered ceilings and crown molding and perfectly selected stones and tiling. Comfortable rooms including massive master suite with a spa-like bath. This is a home that will not disappoint, especially the attached garage or decks atop the home and garage. Call Tom McCarey to arrange private showing at 773.848.9241. Delightful custom built single family in Chicago's East Village. What sets this home apart? Its profound solidity of construction, made of all brick with limestone accents, the detail within with coffered ceilings and crown molding, and the degree of detail with perfectly chosen stones and mosaic tiling in the baths. The home features three outdoor areas that include decks atop the home and garage and a balcony off the home's great room. Another unique and unexpected plus is an attached two-car garage. Arrange private showings with Tom McCarey of The Real Estate Lounge Chicago at 773.848.9241.
Brighton & Hove Albion forward Leandro Trossard's first-half goal was cancelled out by Newcastle United's Isaac Hayden as the two sides played out a 1-1 draw at the Amex Stadium on Saturday (Nov 6) that extended the visitors' winless start to the season.
The draw kept Brighton in sixth place in the Premier League table with 17 points from 11 games. Newcastle are second from bottom on five points.
After a dull start, the game came to life in the 22nd minute when Trossard was brought down by Ciaran Clark and awarded a penalty following a lengthy VAR check. The Belgium international stepped up himself to blast the spot-kick past Karl Darlow.
Brighton dominated the ball as Newcastle failed to create any openings, registering no shots on target in the first half.
"I wanted a win. Another VAR decision against us... I'm not disputing that but I'm talking about the reaction of the players. We have had some difficult moments this season but the group is together," said Newcastle caretaker manager Graeme Jones.
Newcastle had Eddie Howe, who is reportedly close to becoming their new permanent head coach, watching on with Jones saying that the team were in the middle of a process and had shown improvement.
"In my time in the last couple of weeks it has been a process. You have to start with solidity, which we did against Chelsea and today we were more on the front foot. You can't go from the Tottenham game where we were wide open to playing like Barcelona," added Jones.
Trossard came close to adding a second immediately after the restart but his low drive was kept out by Darlow before Newcastle equalised in the 66th minute through midfielder Hayden, who volleyed home from close range.
"Up to the goal we had really good control... we did our best to keep them quiet and their goal changed the complexion of the game. It is near impossible to control a Premier League game for 90 minutes. A point is good," said Brighton boss Graham Potter.
Brighton ended the game with 10 men and centre half Lewis Dunk in goal after keeper Robert Sanchez was sent off for fouling Callum Wilson just outside the area with the striker clear on goal.
"It looked like Callum Wilson was through, it wasn't the best action from us, but you have to credit Newcastle who came here with a plan," added Potter.
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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.
Napa County, CA
Listed: 08/17/2001
The Beringer Winery Historic District is a complex of buildings and structures consisting of a winery, residential buildings, winery support structures, a series of circulation routes, and a number of significant landscape elements that retains a high degree of integrity from its period of significance. At the height of Beringer activity at the site, the property looked remarkably like its present configuration. In fact, it appears to be one of the few Napa wineries that retains all four of the central site components present at most wineries: the winery building, support structures, and the crucial site circulation, as well as the residential structures and precincts. A comparison of an 1878 Lithograph of the property with Sanborn Maps from the years 1886, 1889, 1910, and 1944 give a strong indication of the appearance of the Beringer property as it developed during its period of significance.
The historical resources within the Beringer Winery Historic District are significant at the state level under National Register Criterion A in the area of California agriculture, specifically the statewide development of the viticultural industry during the nineteenth and twentieth centuries. Unlike early Southern California wineries which diminished in production and distribution as other agricultural uses became more lucrative in that area of the state, the Northern California wineries expanded from the mid nineteenth century until Prohibition. Significant as a continuously family-operated agricultural enterprise, the Beringer Winery differs from other early California wineries in that it remained family-run through Prohibition, Repeal, World War II, and the beginnings of the second wine boom of the 1960s. The Beringer family operated one of the "Big Four" family wineries in the Napa Valley and utilized innovative agricultural and business practices to achieve this status. Leaving Charles Krug's winery and establishing his own winery, Jacob Beringer erected a large, modern winery incorporating the latest technology. In the late 1870s, the St. Helena Star called the Beringer wine cellar "the most handsomely finished of any in the valley, and for solidity of build and completeness of appointments can have no superior anywhere." Similar to other wineries developing in Napa during the third quarter of the nineteenth century, the Beringer Winery site consisted of a residential precinct; a winery, distillery, and storage buildings located in an industrial precinct for wine production; as well as vineyards, orchards, and gardens. Elevating its significance within an agricultural context, the Beringer Winery Historic District is one of the few California wineries remaining that fully illustrates the relationship of the industrial wine making precinct to the more residential components of the winery site linked by extant circulation routes. In conjunction with establishing modern wine making practices, the Beringer winery produced large quantities of wine and distributed products across the country, including an outlet in New York.
One district contributor, the Rhine House, is currently listed on the National Register of Historic Places under Criterion C, architecture. The Rhine House, built on the property in the 1880s as Frederick Beringer's residence, is representative of the work of a significant local architect, Albert Schroepfer; it is a good example of the use of local stone; and possesses distinctive characteristics including a remarkable collection of stained glass. Additionally, the Beringer Brothers Winery building is a California State Historical Landmark.
Want to know what a Viking Cathedral would look like? Well, here you go. St Magnus Cathedral in Kirkwall (the kirk in its name, indeed), built in the 12th century under the rule of Earl Rögnvald (later canonised - not in the slightest bit saintly that I can tell).
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.
Great Bedwyn, Wiltshire
St.Mary
A cruciform church of C12-C13, outside a preaching cross, with some remaining detail. of particular note is the nave with its fine capitals, which even though over restored, still have a shapely grandeur and solidity that makes them and the church worthy of special attention. The chancel is long with lancet windows, the whole feel of the place is grand and well proportioned.The monument is of John Seymour brother of Jane Seymour Queen of Henry VII. The heraldic glass was brought from Wolfhall by Georgina wife of the 5th Marquess of Ailesbury in 1905 from Wolf Hall at Burbage.
Yesterday's Tomorrow Today!
That time the aliens came to mid-century Edmonton and built their futuristic pods in the north-east corner of downtown.
On this drab grey day the vertical windows of the high-rise towers reflect the dark clouds near the horizon, while the quirky angles of city hall and the arena allow them to reflect a bright patch that appeared high in the sky.
When I first spotted this phenomenon the reflections were much brighter as I hurriedly grabbed camera and tripod, but by the time I got set up it was already beginning to fade (being old is great, until you have to move fast). In hindsight, this subdued version is closer to the equivalent of what I saw and felt; subtle is always more heartfelt than dazzle.
Being only one stop down from the zoom's long-end maximum of f/5.6 caused vignetting in the corners, adding a vintage feel. With so much sky the meter suggested an exposure that would render the backlit buildings quite dark; I further reduced the exposure by just over one stop.
Horizontal lines in an image can add a quality of stability or solidity, while stronger verticals can add vibrancy or nervous energy. To this latter end I compressed the photo horizontally by 10% to accentuate the verticals and impart an edgy, twitchy feel, with limited success. If Stantec Tower appears skinnier than usual, that's why.
Taken at 2:39pm, May 5 2024.
P.S. If 'Dark City' sounds familiar, it is also the name of a 1950 crime melodrama starring Lizabeth Scott and Charleton Heston, but stolen by supporting players and future Dragnet partners Jack Webb and Harry Morgan.
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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.
The High Court of Australia, designed by architect James and Nicholas and completed in 1980, is a prominent example of Brutalist architecture. The building is characterized by bold geometric forms, with its massive concrete structure and large, angular volumes dominating the site. Its use of raw concrete and sharp lines emphasizes a sense of solidity and permanence, aligning with the Brutalist emphasis on functional design and a stark, utilitarian aesthetic.
The building’s design prioritizes function, with large, open spaces to accommodate the needs of the judiciary. Its geometric configuration, while imposing, ensures that the court's operations are central to the design, with clear divisions between public and private areas. The architectural language of the High Court reflects Brutalism’s commitment to raw materiality and practicality, providing an efficient, no-frills environment for the country’s highest legal institution.
Metropolitan - Foster and Partners
The site of the Metropolitan office development is at the northern edge of Pilsudski Square, one of Warsaw’s most important public spaces and home to the Tomb of the Unknown Soldier and national ceremonial events. Formerly Victory Square, the large space was bordered by the seventeenth-century Saski Palace and the Baroque Brühl Palace, however both were destroyed during the war. The new building completes the missing edge of the square, providing a modern counterpart to neighbouring historic buildings, while sympathetically echoing their height, massing and materials.
The building extends to the perimeter of the site to establish an appropriate presence on the square, while an open public space, 50 metres wide at its heart, maintains pedestrian routes through the site. The drum-like space provides the social focus of the scheme and is lined with cafes and restaurants. At its centre is a dramatic water feature, surrounded by a ring of mature trees. The circular motif continues with a ring of light, cantilevered from the first floor of the building, which provides illumination for evening al fresco dining, and a gently glowing halo of light around the top of the building.
Above the ground level shops and restaurants there are five storeys of flexible office accommodation, grouped in three separate, yet connected buildings. Below, the underground parking level provides space for 400 cars. The glazed façades 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. Transforming the building’s appearance from solid to transparent according to the viewer’s perspective, the fins give the façade a rich texture appropriate to the significance of the Metropolitan’s setting.
Castelvecchio Bridge
The Castel Vecchio Bridge (Italian: Ponte di Castel Vecchio) or Scaliger Bridge (Italian: Ponte Scaligero) is a fortified bridge in Verona, northern Italy, over the Adige River. The segmental arch bridge featured the world's largest span at the time of its construction (48.70 m).
History
It was built (most likely in 1354-1356) by Cangrande II della Scala, to grant him a safe way of escape from the annexed eponymous castle in the event of a rebellion of the population against his tyrannic rule. The solidity of the construction allowed it to resist untouched until, in the late 18th century, the French troops destroyed the tower on the left bank (although it probably dated from the occupation of Verona by the Visconti or the Republic of Venice).
The bridge was however totally destroyed, along with the Ponte Pietra, by the retreating German troops on April 24, 1945. A faithful reconstruction begun in 1949 and was finished in 1951, with the exception of the left tower.
Architecture
The bridge is in red brick in the upper part, as are all landmarks in Verona from the Scaliger era, and in white marble in the lower one. It includes three spans of decreasing length starting from pentagonal towers. The largest span, measuring 48.70 m, meant that the bridge featured at the time of its construction the world's largest bridge arch (the others measure 29.15 and 24.11 meters). The two pylons are 12.10 x 19.40 and 6.30 x 17.30 meters respectively.
The bridge has a total length of 120 m.
Legends
According to a legend, Cangrande awarded the designer of the bridge, Guglielmo Bevilacqua, with a sword which had belonged to Saint Martin.
Another legend tells that the designer presented himself at the inauguration riding a horse, ready to flee away in case the bridge had crumbled down.
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.
Deep within the solidity
of massive rocks, when sliced,
are revealed the delicate and
powerful intervening forces
that congealed in this eon for us to see.
Tribute to Leonardo da Vinci's 10 attributes of sight : Darkness, light, solidity, colour, form, position, distance, nearness, motion and rest.
I used 2 balls of yarn called Baby Econo in Seashore multi print, I love this yarn 'cause he has a lot of pretty color like blue, green, white and pink with a little wire of shining tread that adds a glittering style. So, it's really particular and a little bit expensive too, but It worth it! The front of the dress is embellished with two delicious flowers overlapped done with the same material. I think they add a touch of glamour like the ruffle in the bottom of the skirt and the ruffles around the armholes. The yarn is a sport light one and that give enough solidity and enough lightness that it's perfect during spring and fall seasons! Plus, it's completely machine washable and dryable at low settings and that's a blessing with little one's!
This dress fits a girl around 6-12 moths. It's completely handmade and took me 5 hours to realize, following some pattern find on magazine.
The hat fits 15 inch noggin and has a pretty flower sewed on a side and so the bib.
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.
Measures
Height: 7.5 inch / 19 cm.
Diameter: 4.7 inch / 12 cm.
Weight: 12 ounces / 350 g. aprox.
Anita and I were transfixed by the waves breaking over the pillars. She shot this video to try to convey their power -- and the solidity of the pillars.
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.
The largest and most magnificent of the chantry chapels is that erected on the north side of the sanctuary in 1430 by Isabella le Despenser (d.1439) in honour of her first husband Richard Beauchamp, Earl of Worcester (d.1422). She then married a second Richard Beauchamp (later buuired in his famous chapel in Warwick) and thus became Countess of Warwick. The splendid fan-vaulted chantry is thus known either as the Warwick or Beauchamp chapel and is a gloriously ornate piece of Perpendicular architecture.
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.
Mike Edelman creates fantastic metal sculpture. A photograph doesn’t capture its presence, but in person it has really cool feel. It’s like he has taken this hard, heavy material and wrought from it something almost airy, and yet the material never loses its sense of solidity and permanence. It’s deeply satisfying.
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.
Rhine House
Napa County, CA
Listed: 08/17/2001
The Beringer Winery Historic District is a complex of buildings and structures consisting of a winery, residential buildings, winery support structures, a series of circulation routes, and a number of significant landscape elements that retains a high degree of integrity from its period of significance. At the height of Beringer activity at the site, the property looked remarkably like its present configuration. In fact, it appears to be one of the few Napa wineries that retains all four of the central site components present at most wineries: the winery building, support structures, and the crucial site circulation, as well as the residential structures and precincts. A comparison of an 1878 Lithograph of the property with Sanborn Maps from the years 1886, 1889, 1910, and 1944 give a strong indication of the appearance of the Beringer property as it developed during its period of significance.
The historical resources within the Beringer Winery Historic District are significant at the state level under National Register Criterion A in the area of California agriculture, specifically the statewide development of the viticultural industry during the nineteenth and twentieth centuries. Unlike early Southern California wineries which diminished in production and distribution as other agricultural uses became more lucrative in that area of the state, the Northern California wineries expanded from the mid nineteenth century until Prohibition. Significant as a continuously family-operated agricultural enterprise, the Beringer Winery differs from other early California wineries in that it remained family-run through Prohibition, Repeal, World War II, and the beginnings of the second wine boom of the 1960s. The Beringer family operated one of the "Big Four" family wineries in the Napa Valley and utilized innovative agricultural and business practices to achieve this status. Leaving Charles Krug's winery and establishing his own winery, Jacob Beringer erected a large, modern winery incorporating the latest technology. In the late 1870s, the St. Helena Star called the Beringer wine cellar "the most handsomely finished of any in the valley, and for solidity of build and completeness of appointments can have no superior anywhere." Similar to other wineries developing in Napa during the third quarter of the nineteenth century, the Beringer Winery site consisted of a residential precinct; a winery, distillery, and storage buildings located in an industrial precinct for wine production; as well as vineyards, orchards, and gardens. Elevating its significance within an agricultural context, the Beringer Winery Historic District is one of the few California wineries remaining that fully illustrates the relationship of the industrial wine making precinct to the more residential components of the winery site linked by extant circulation routes. In conjunction with establishing modern wine making practices, the Beringer winery produced large quantities of wine and distributed products across the country, including an outlet in New York.
One district contributor, the Rhine House, is currently listed on the National Register of Historic Places under Criterion C, architecture. The Rhine House, built on the property in the 1880s as Frederick Beringer's residence, is representative of the work of a significant local architect, Albert Schroepfer; it is a good example of the use of local stone; and possesses distinctive characteristics including a remarkable collection of stained glass. Additionally, the Beringer Brothers Winery building is a California State Historical Landmark.
1893. Painted for the Chicago International Exhibition.
Dorman Museum, Middlesbrough.
The World’s Columbian Exposition of 1893 was the first world’s fair held in Chicago. Carving out some 600 acres of Frederick Law Olmsted’s Jackson Park, the exposition was a major milestone. Congress awarded Chicago the opportunity to host the fair over the other candidate cities of New York, Washington D.C. and St. Louis, Missouri. More than 150,000 people passed through the grounds each day during its six-month run, making it larger than all of the U.S. world’s fairs that preceded it.
The fair built awareness among visitors that Chicago was taking its place as the “second city” after New York. Locals, too, were proud of the enormous progress and growth that were achieved in the two decades following the Great Chicago Fire of 1871. So momentous was the fair that it is represented as a star on the Chicago flag.
How did the 1893 World’s Columbian Exposition impact the architecture of Chicago? Most directly, the fair promoted the rapid urbanization of the South Side. New corridors of development grew along the lake and the new elevated “L” train line (today’s CTA Green Line) and new housing blocks were built for the fair’s workers. Entertainment venues and hotels sprung up in nearby Hyde Park and Woodlawn too, some of which would evolve into major resort destinations through the mid-20th century.
THE WHITE CITY
The site of the exposition itself gained the nickname the “White City” due to the appearance of its massive white buildings. The White City showcased chief architect Daniel Burnham’s ideas for a “City Beautiful” movement. While the fair’s buildings were not designed to be permanent structures, their architects used the grandeur and romance of Beaux-Arts classicism to legitimize the architecture of the pavilions and evoke solidity in this young city. Burnham and Edward H. Bennett’s 1909 Plan of Chicago was a culmination of lessons learned at the fair. The plan offered Chicago a blueprint for growth and influenced city planning around the world.
The grand Neo-Classical buildings of the White City—temples to industry and civilization—became templates for banks and public buildings across the country. They also influenced the designs of the museums that now stand on Chicago’s lakefront. The Museum of Science and Industry is housed in the former Palace of Fine Arts from the world’s fair. The Field Museum, which Burnham’s architecture firm helped plan, was the first occupant of the Palace of Fine Arts (in the 1920s, it moved to a different Neo-Classical building). The influence of the White City also extended to downtown, where the Art Institute of Chicago was built for the 1893 fair.
LEGACY OF THE FAIR
The millions of visitors who came to Chicago during the fair took home new ideas in commerce, industry, technology and entertainment. They crossed paths with others from around the world and walked away with a new perspective on Chicago. Travel writer James Fullarton Muirhead visited the fair from Scotland and later wrote: “Since 1893, Chicago ought never to be mentioned as ‘Porkopolis’ without a simultaneous reference to the fact that it was also the creator of the White City, with its Court of Honor, perhaps the most flawless and fairy-like creation, on a large scale, of man’s invention.”
Today, Chicago’s Beaux-Arts buildings serve as a reminder of the exposition. In fact, many Beaux-Arts buildings around the country owe their existence to the White City. A darker legacy lives on in the nonfiction book, The Devil in the White City. It follows Daniel Burnham’s work and the creation of the fair, as well as the actions of serial murderer Dr. H. H. Holmes. One of the fair’s most prolific physical legacies is the Ferris Wheel, which was invented in 1893 for the exposition’s amusements area on the Midway Plaisance. Thousands of “Chicago Wheels” now rise above cities around the world.
www.architecture.org/learn/resources/architecture-diction...
Rosary: Jaslin Bra & panties
Punklist: Ketti wig
Luxrebel: Get Into It Yuh V2 #2
Rosary: Solidity Nails
Foxcity: Neighbourhood backdrop
Breast cancer reshaped me - physically, emotionally. Looking across the water, toward the mountains, I think of embracing arms, a liquid heart, an expanse I have crossed, Yes, I have been reshaped, remade, hollowed and humbled. Now I turn to the gentle flow of water, the solidity of earth, touch the ground of being, and I go on.
It exudes civic pride and solidity, and yet it was the centre of much debate and controversy. It took several years to even choose a site, and it is sometimes known as "The Town Hall at the Wrong End of Town". The foundation stones were laid by King George V and Queen Mary in 1914. I think its position above the Mersey is excellent, but I am not a local so who am I to say? You can see the Mersey in this shot at bottom right.
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.
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
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.
Artist: Heinz Aeschlimann - Switzerland
Heinz Aeschlimann is a Swiss businessman who runs an asphalt company established by his father in 1936. Having served for several years in the Swiss army, Aeschlimann’s approach to both his business concerns and his artistic production is focused and directed, ensuring success on both fronts. Aeschlimann works largely in steel, concerned most with the properties of his materials to the point of letting this aspect of production guide design. His experience in paving construction and road and bridge technology has led him to experiment with a variety of industrial materials which, when used in an artistic context, lend a remarkable solidity of both design and product to his work.
The largest and most magnificent of the chantry chapels is that erected on the north side of the sanctuary in 1430 by Isabella le Despenser (d.1439) in honour of her first husband Richard Beauchamp, Earl of Worcester (d.1422). She then married a second Richard Beauchamp (later buuired in his famous chapel in Warwick) and thus became Countess of Warwick. The splendid fan-vaulted chantry is thus known either as the Warwick or Beauchamp chapel and is a gloriously ornate piece of Perpendicular architecture.
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.
Christian Ploderer, 2008
Una nuova serie di elementi illuminanti a soffitto e a parete del designer Christian Ploderer.
Il nome Brikett ad evocare la solidità di un corpo compatto, in due dimensioni, caratterizzato da un impiego polivalente e da un emissione luminosa d’accento (spotlight) piuttosto che diffusa (floodlight).
A new line of ceiling and wall lamps by designer Christian Ploderer.
The name "Brikett" recall the solidity of the compact body that keeps a versatile use and is characterized (in both the shorter and longer version) by an accent lighting (spot) or a diffused lighting (flood).
Lampade a parete a luce diffusa (floodlight) o d’accento (spotlight).
Corpo in estrusione di alluminio verniciato nei colori bianco o nero opachi.
Chiusura inferiore in cristallo serigrafato bianco o nero.
Wall lamp for diffused (flood) or accent (spot) lighting. Body lamp in matt white or black painted aluminium. White or black screen-painted crystal screen cover.
What a treat to go from frosty nights in our tent to the warmth and solidity of this historic log structure.
"In Untitled (Standing Figure) Matthew Monahan dissects the human form into a gelatinous coagulation of undulating lines. Using red ink to sanguine effect, Monahan’s drawing evolves with almost a comic horror as pink smudges, fluidy stains, and congealed puddles replicate gore with an indulgent splendour. The revulsion of Monahan’s figure, however, lies in its aberrant physiognomy. The entangled sticky mesh mutates the familiar into something barbaric and estranged as the solidity of muscle and bone is transformed into an oscillating glutinous mass".
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.
At first it seemed as if it might just be the morning coffee again, boiling over on the stove again and overflowing from the percolator with its usual loud, scalding, scolding, disapproving hiss; but then after I ran into the kitchen I was relieved to see that the brown stain on the white porcelain had taken the form of a "splash"--which is to say it had taken the form of a circle with fringed edges, meaning that it was actually only just another form of water setting its seal of approval on solids.
Do raindrops act any differently? I wondered as I turned down the flame--or do they too approve as they apply their pure, glueless, transparent stickers? Yes, I decided--even now as the morning coffee resumes its brewing, surely the dews are descending in all directions to award billions of blue ribbons of their own to everything firm; surely the sounds of rushing rivers flowing by are roars of applause for the solidity of terra firma; and surely the only reason why we do not regard the Oceans with all their thrashing waves as an unbearable daily threat, is that obviously they too closely resemble auditoriums full of crowds of people cheering and stamping feet....
The Awards of Water- Michael Benedikt
Juan Martínez Montañés was one of the greatest spanish sculptors of the first half of the seventeenth century. Based in Seville, he carved numerous wooden statues and reliefs that were painted and integrated into large altar screens called retablos (English: retables) for churches in his native region or to be shipped to the New World. His forte as an artist was the single figure, standing or seated, usually robust, naturally posed, and richly robed. Somewhat defensively, he gave his reason for this: "As for the appearance of the statues when they are seen away from their settings by those who do not understand or maliciously criticize them, we say that once they are in their places they will be very effective, and if they did not have so much drapery they would look very insignificant when they were put in compartments at a distance." [1]
To modern eyes, his works even when removed from their original contexts have a powerfully sculptural form; but it is important to remember how critical the original church setting was in the artist’s conception. The Museum’s statue of Saint John the Baptist, a rare work by the master in a collection outside Spain or South America, illustrates these points. A mature man with a powerful physique, he wears a short brown tunic cinched with a rope around the waist. A crimson robe patterned with foliage and cherub heads is draped over his shoulder and partially covers the rock formation on which he stands and leans. His left hand rests on the rock while his right reaches across his body to point. This gesture was certainly toward a missing Lamb of God on an altar in the monastery church for which Saint John was made or toward the top of a banderole with the message "Behold the Lamb of God" stuck in the ground by the saint’s left foot (where a hole exists) and rising to his left shoulder. The altar of Saint John the Baptist (1635 – 37) in the Convento de Santa Paula, Seville, gives an idea of how this might have appeared. [2] His strongly defined carved features include a thin, split goatee — the rest of his light beard and mustache are painted — a knot of hair over the forehead and long tousled locks, a creased forehead, and straight, subtly carved eyebrows. Made of Spanish cedar, the statue has held up relatively well over the centuries, although some fingers of the right hand have been recarved and the right arm rejoined. [3]
As a physical type, John the Baptist is like other statues of the saint carved by the artist. The one he made for the retablo of San Isidoro del Campo at Santiponce (after 1609) is generally similar in pose, though the raised foot of the Museum’s figure makes the saint’s gesture more emphatic, and its face is smoother and not quite as eloquent as here. [4] Closer to this one in its powerful presence and expressive face is the Saint John the Baptist in high relief on the retablo of the Convento de San Leandro, Seville (1622 – 23). [5] A dating of the Museum’s statue during the artist’s mature years seems to be borne out by these comparisons. Beatrice Proske assigned it to the 1620s or early 1630s. José Hernández Díaz preferred to date the figure to the first decade of the century, before the retablo of San Isidoro at Santiponce. [6] He viewed the Museum’s Saint John as a striking and characteristic work entirely by Martínez Montañés, but Proske thought she detected the intervention of another artist in the sculptor’s workshop and described it as in the style of Montañés.
Documents connect the statue to the Sevillian Convento de la Nuestra Señora de la Concepción, which was suppressed in 1837. In a notice published in 1844 that inventoried the contents of the monastery church, Félix González de León described one of its retablos:
Under a big molded arch with pilasters supporting a cornice, on a high pedestal placed over the base of the retable itself stood the most beautiful figure of Saint John the Baptist ever made by the celebrated Martínez Montañés. One can hardly explain the beauties of the design and the treatment of draperies and body of this famous image, the honor of its author and its country. [7]
He further noted niches on either side of the statue decorated with pediments and angels and filled with paintings of stories about the saint. Relatively modest by the standards of the time, the retablo must have been somewhat like those in the Convento de Santa Paula, centered on the statue of the saint. Martínez Montañés’s resolutely straightforward image with pleasing partial side views would have been well suited to such a frame. The emphatic gesture was designed to be read from a distance, and as the sculptor himself explained, the voluminous drapery would give the figure weight and solidity in the midst of such splendid decorations. The sculptor’s father was an embroiderer in the city of Alcalá la Real, and the son’s taste for richly decorated textiles must have developed early in life. Traditionally, Spanish sculpture of this period was painted by specialists other than the carver. This figure’s relatively simple painted patterns and colors only enhance the power of the carving.
Footnotes
1. Quoted in Proske 1967, p. 4 (translated from López Martínez 1932, p. 238).
2. Proske 1967, pp. 125 – 27, figs. 193, 194.
3. U.S. Department of Agriculture, Madison, Wisconsin, letter of April 25, 1966, in the curatorial files of the Department of European Sculpture and Decorative Arts, Metropolitan Museum. The statue was cleaned by Christine Faltermeier and the right arm reset by Rudolph Colban in the summer of 1975.
4. Proske 1967, pp. 61 – 69, figs. 73, 76.
5. Ibid., pp. 93 – 95, figs. 108, 109, 131.
6. Hernández Díaz 1987, pp. 261, 264.
7. González de León 1844, vol. 1, pp. 228 – 29.
Spanish, Seville (ca. 1620-1630)
Polychromed wood with gilding
Metropolitan Museum of Art (63.40)
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.
Blythe size stand made of painted acrylic resin.
Inspired by the mexican Día de Muertos' skulls, this stand shows a big eyed and toothy one which has conveniently lost its jaw in order to fit on the shelf ;)
Because of the nature of the material used, it has a nice strong and compact presence and a stone-like solidity.
When a man wants to murder a tiger, he calls it sport; when the tiger wants to murder him, he calls it ferocity. The distinction between crime and justice is no greater.
George Bernard Shaw
Political language... is designed to make lies sound truthful and murder respectable, and to give an appearance of solidity to pure wind.
George Orwell
What is absurd and monstrous about war is that men who have no personal quarrel should be trained to murder one another in cold blood.
Aldous Huxley
Took the new (used) STF for a walk in the Botanic Garden. This purely manual lens was designed specifically to give excellent smoothly faded bokeh with no false detail (such as sharp edges on iris-shaped out of focus highlights) without compromising in-focus image quality. In the right circumstances this is claimed to give a better impression of three dimensional depth to an image.
This is unfamiliar photographic territory for me. I've been more of a documentary photographer usually going for widest depth of field. I've often used differential focus to isolate a subject by throwing background out of focus, but have paid little attention to the quality of the "bokeh". There is so much revoltingly ignorant & pretentious nonsense talked about "bokeh" that I've shied away from it in disgust. But it's not all nonsense. I do have the lens with the worst bokeh in the world, a Newtonian reflex mirror lens. That has a doughnut shaped aperture which produces sharp edged doughnuts of confusion instead of discs. Blurred lines become smeared doubled images. Not always obvious, but very nasty in the worst circumstances.
So I'm hoping to get some experimental tutoring in "bokeh" from this lens.
This duck certainly has an impressive spatially situated solidity!
Original: DSC01623X