View allAll Photos Tagged Solidity
Taking ten water filled ziploc bags, one iPod with headphones, and some tanning eye covers - within this event I attempted to tap into the memories and visions that devour me on a day to day basis. Water inside the bags are meant to in a way separate my mind from my body - they make me aware of my body while allowing for a more distinct separation within my mind - and stream of thought - from the physical body I inhabit. The noise (music) is meant to subdue the outside world and its calamity, and allow for a smoother transition into a certain state of mind - while still creating a manufactured space of noise in my control. I continiously kept my voice going for thirteen minutes in hopes things would arise. This event took place within the solidity of a bedroom - no viewers - to allow for inhibitions to be let go - but has the potential to envelop and take place with an active audience. But the solitude of my mind - and thus my body - was initially and strategically executed within a bedroom where solitude is sought - without an audience.
www.alexanderhpuckett.com/Pages/COnversationwithlygiaclar...
Wymondham Pron. Win-dum Abbey.
when the central crossing tower became unsafe in the late 14th century and had to be taken down, the Priory rebuilt it to the west of the crossing, actually within the nave. This is the east tower that you see today, now a shell. In turn, the parish extended the church further west, demolishing the two west towers and replacing them with the massive structure you see today. It really is huge; although it is not as tall as the church tower at Cromer, its solidity lends it a vastness not sensed there.
east tower: looking up When the new east tower was built, the western face of it cut off the nave from the chancel, creating two separate spaces. When the west tower was built, it blocked off the former west window between the old towers. Because of this, Wymondham is the only medieval parish church in Norfolk, and one of the few in England, that has no window at either end.
"http://www.norfolkchurches.co.uk/wymondham/wymondhamcofe.htm"
Blythe size stand made of painted acrylic resin.
Inspired by 1987 theatrical play 'La Nit' by the Catalan company Els Comediants, it shows a crescent moon with the main craters and other landforms such as Mare Tranquillitatis or Mare Serenitatis. In the background, a bunch of random stars and on the edge, a total moon eclipse sequence. And it glows in the dark!
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.
Blythe model by Horseonthemoor.
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.
A dragonfly. A black zuni bear. Joy and lightness of being, beauty for its own sake, set upon solidity and wisdom, age and strength and solitude.
Located diagonally opposite the City of London’s Guildhall entrance at the corner of Milk Street and Gresham Street, 20 Gresham Street marks a significant transformation in the redevelopment of the area. The building marks this important corner by extending its curvilinear roof form to the ground.
The building’s vertical roof façade extends along Gresham Street at ground and first floor levels, forming the entrance lobby façade. Two revolving doors mark the transition from a bustling city street into a quiet interior environment. The doors are placed on the apex of the corner to introduce a degree of solidity, framing the view into the entrance and revealing back-painted burgundy coloured glass panels that are repeated on the journey through the building. Inside, a double-height cathedral-like entrance space is lined with a sculpted travertine wall and a monumental reception desk, creating an environment that is more reminiscent of an art gallery than an office lobby.
An atrium is located behind the central core and extends from the third floor to the roof. Its balconies animate the area and its base can be occupied as office space. External pre-cast composite columns form part of the external elevation. Upon entering the first and second floors, the benefits of these forms are evident. 30,000-square-foot floor plates have only seven internal columns and 18-meter spans, accentuating the sense of unimpeded space and allowing for flexible floor plates to support multi-tenancy occupation.
Insubstantial, untouchable, lacking any kind of solidity, London fog still inspired many writers and artists from the 1840s to the 1950s. Dr Christine L Corton tells the story as seen through the eyes of Charles Dickens, Robert Louis Stevenson, Henry James, Joseph Conrad, James McNeill Whistler, Claude Monet, and many lesser-known writers and artists.
Big tools must be assembled with a big ratchet. I like the solidity of this thing. Just the golden clamp that goes around the Porter Cable 7518 Router is 2" tall, and all solid aluminum.
The film of evening light made the red earth lucent, so that its dimensions were deepened, so that a stone, a post, a building, had greater depth, and more solidity than in any daytime light;
--John Steinbeck, The Grapes of Wrath
This looks especially nice on black, btw.
Insubstantial, untouchable, lacking any kind of solidity, London fog still inspired many writers and artists from the 1840s to the 1950s. Dr Christine L Corton tells the story as seen through the eyes of Charles Dickens, Robert Louis Stevenson, Henry James, Joseph Conrad, James McNeill Whistler, Claude Monet, and many lesser-known writers and artists.
Built around 450 bc in local travertine, which has taken on a golden hue. horizontal lines are slightly convex and the corner columns are elliptical rather than circular. These technical features make it of great proportions and a feeling of solidity. Perhaps the temple was dedicated to Hera of Argos.
I have a deep love for trains and railways. Close up of the rails from one of my other photo's - brightly illuminated by the early morning sun.
This photo is paired with the song "Trust Me" by The Fray. There is something reassuring about the solidity and presence of these rails.
Per Mark Jenkins in The Washington Post September 4, 2020:
Jean Kim’s 'Sun Burst' sculpture is far from traditional.
Like most of her creations, it’s made primarily from prefabricated metal downspouts. This time, they’re arranged in a tight circle, and each is painted a single bright color and bent at the top.
The result is bright, playful and contemporary, while retaining the solidity that characterizes pre-modern sculpture. 'Sun Burst' suggests motion without moving.
DSC4498
billboard 2
by Kate V Robertson
Various locations throughout the city.
Edinburgh-born and Glasgow-based visual artist Kate V Robertson will create a disparate collection of external 2D works, installed on walls throughout the city. More substantial than fly-posters yet more subtle than propaganda – the works form a kind of invisible graffiti, which does not shout its message but whispers to those who tune in.
With an echo of futility, this work plays with the conventions of both mainstream public communication and subcultural underground interaction, to produce a mute and dysfunctional dialogue, which is either happened upon by the observant passerby or sought out by the inquisitive art festival spectator.
Formally inspired by the shapes and visual landscape of the existing environment, the works are too abstracted to communicate a lucid message, yet are too deliberate to be random or accidental. The solidity of the forms betrays the temporality of the gestures, and the camouflage of the materials to their backdrop renders the works almost invisible, undermining the language of advertising and highlighting the question of intent of the author.
What does it mean to be fluent in a language of public address but not have anything to say? Does the emptying of an explicit message result in a poetic void? Or will the works literally fade into their in-significance?
The exact locations will be announced at the start of the festival.
ZEN MAGNETS - Neodymium Magnetic Balls (@~1631) - Stegosaurus;
Contest Entry for: 58: Unlimited Zen Dinosaurs;
www.zenmagnets.com/blog/58-zen-dinosaurs/
Video: youtu.be/Nt-WRZBeu9s
I approached this by creating a core center blueprint to define the overall shape/proportions of the Head, rounded Body, and Tail shape silhouette using coupled layering. Next I build layers outward (on both sides) to provide the 3D body volume. From those layers, grew the front and rear legs, which continued the outward layering. The top plate radiators (normally split apart and staggered, but not feasible for this scale since they would have been too thick) were created using triangle to diamond shapes of varying sizes (tiny, small, medium, large). The quadruple spiked tail finished off this iconic herbivore dino. The completed build is completely solid and heavy.
The challenging aspects with this build include: how to generate a 3D look building outward, how to create the legs strong enough to support the body, how to get the rounded body profile layer by layer, how to balance & prevent the head and tail from tipping, and how to create and arrange the plates. Coupled magnetic fields across multi-stacked layers proved difficult to maintain alignments at times. Solidity density amplified the field attraction, especially when adding new single-layer components, causing strong attraction and/or deflection to target area affecting magnet positioning.
en.wikipedia.org/wiki/Stegosaurus
Build Component Breakdown:
===========================================================
(@952)= Core Center head,body,tail(top-bottom = 2x(10+20+26+32+40+48+8+58+10+74+52+20+9+28+8+20+10 -> (1+2x4+1)+(1+2x9+1)+(1+2x12+1)+(1+2x15+1)+(1+2x19+1)+((1+2x23+1)+(1+2x3+1))+((1+2x31+1)+(1+2x4+1))+(1+2x36+1)+(1+2x25+1)+(1+2x9+1))+((2x4+1)+(1+2x16+1)+(1+2x3+1))+(1+2x6+1)+(1+2x4+1));
(@456)= 1st outer layer = 2x(3+8+11+14+17+(22+3)+(27+4)+35+35+(4+14)+13+18);
(@252)= 2nd outer layer = 2x(5+8+11+13+15+16+16+15+13+14);
(@080)= 2nd rear leg layer = 2x(3+4+5+4+6+5+4+3+3+3);
(@070)= 2nd front leg layer = 2x(2+3+(6x4)+3+3);
(@082)= 3rd rear leg layer = 2x(3+4+5+5+5+4+3+(3x2));
(@020)= 3rd front leg layer = 2x(2+3+3+3+(4x2)+1);
(@068)= Large plate - 4x(4x(9-ball triangle)-(1x2 mount point));
(@048)= Medium plate - 2x(4x(6 triangle));
(@032)= Small plate - 2x(2x(6 triangle)+4);
(@006)= Tiny plate - 2x3 triangle;
(@027)= Tail - 4x(4+1 spikes)+(6+1 tip);
================================================================
~1631 Total (approximate due to fine tuning and changing on fly)
Albi Cathedral is one of the most unique, awe-inspiring churches ever concieved, quite simply one of the wonders of the medieval world.
Although contemporary with the great gothic cathedrals of Northern France, this largely 13th century structure is radically different, being constructed almost entirely of brick and built like a mighty fortress; mostly unadorned walls rise uninterrupted from the ground like sheer cliff-faces of brick. The simplicity of the design gives it an almost modern appearance, and the massive scale gives it a quite overpowering presence.
The cathedral's powerful fortified appearance is largely down to two factors, the shape of the building is consistent with local forms of gothic churches in southern France and northern Spain, whilst the fortified solidity can be associated with the supression of the Cathars in this area during the Albigensian Crusades, the building serving a lesson in strength and permanence as a warning to any rebellious locals.
The plain exterior was relieved in the more stable climate of the 16th century by the huge flamboyant porch on the south side of the nave, more like an enormous spikey canopy open on three sides. It remains the main entrance to the cathedral, the base of the enormous tower being so massively constructed as to leave no room for a traditional west entrance.
On entering this vast edifice one's senses are overwhelmed yet again, this time by the profusion of decoration in the cavernous interior. The walls and ceilings are entirely covered by frescoes dating from the early 16th century (mostly in Renaissance style, much of it colourful geometric patterns. The most memorable sections are the earliest frescoes at the west end from an enormous Last Judgement; the central section was sadly removed in the 18th century but the extensive and graphic depiction of the torments of Hell remains.
In addition this cathedral is rare in preserving it's 'jube' or choir screen), a late medieval masterpiece of decoration and sculpture which extends into a lavishly sculpted choir enclosure adorned with a riot of angels and saints.
All in all this unforgettable cathedral is a monument that defies description alone and bombards the senses!
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.
Shankar Balan
BANGALORE
The Bolero combines great value for money, with toughness, solidity, tough looks and aggressive
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.
1316 Broad Street. Designed by architect W. T. Whiteway and built in 1892 for Simeon Duck, businessman; intermittent MLA, 1871 to 1890; BC Minister of Finance, 1885-86.
"This handsome Victorian building is a testament to the entrepreneurship of its original owner. Initially built as the home of Duck's Carriage Works, and also used as retail outlets, entertainment venues, and early meeting rooms for the Knights of Pythias. This building is representative of the multi-functionality of Victoria's commercial district in the late nineteenth century. Bold decoration and architectural solidity make Duck's Block a dominant presence within Broad Street's narrow streetscape." [City of Victoria Planning Department]
An HDR from 3 jpgs, converted to black and white. I think it captures the grey solidity of the Old Town.
This is a combination of the Avenger Super Clamp and the Zacuto Zicromount. The Zaffer allows users to attach 15mm rods or Zamerican arms to mount monitors, lights, hard drives, etc. It’s able to clamp onto a variety of gear including tripod legs and handles, with Zacuto quick-release.
Avenger Super Clamp Specifications:
-High performance aluminum
-Clamping system achieved via a metal knob ensuring extra solidity
-Clamp Range: .51"-2.1" (round tube): 2.1"
-Load Capacity: 33 lbs
-Material: Aluminum
-Weight: 0.99 lbs
Zicromount Specifications:
-Includes a 1/4 20" screw
-Has a 15mm hole to mount an articulating arm or 15mm rod end to give you quick release action
ZEN MAGNETS - Neodymium Magnetic Balls (@~1631) - Stegosaurus;
Contest Entry for: 58: Unlimited Zen Dinosaurs;
www.zenmagnets.com/blog/58-zen-dinosaurs/
Video: youtu.be/Nt-WRZBeu9s
I approached this by creating a core center blueprint to define the overall shape/proportions of the Head, rounded Body, and Tail shape silhouette using coupled layering. Next I build layers outward (on both sides) to provide the 3D body volume. From those layers, grew the front and rear legs, which continued the outward layering. The top plate radiators (normally split apart and staggered, but not feasible for this scale since they would have been too thick) were created using triangle to diamond shapes of varying sizes (tiny, small, medium, large). The quadruple spiked tail finished off this iconic herbivore dino. The completed build is completely solid and heavy.
The challenging aspects with this build include: how to generate a 3D look building outward, how to create the legs strong enough to support the body, how to get the rounded body profile layer by layer, how to balance & prevent the head and tail from tipping, and how to create and arrange the plates. Coupled magnetic fields across multi-stacked layers proved difficult to maintain alignments at times. Solidity density amplified the field attraction, especially when adding new single-layer components, causing strong attraction and/or deflection to target area affecting magnet positioning.
en.wikipedia.org/wiki/Stegosaurus
Build Component Breakdown:
===========================================================
(@952)= Core Center head,body,tail(top-bottom = 2x(10+20+26+32+40+48+8+58+10+74+52+20+9+28+8+20+10 -> (1+2x4+1)+(1+2x9+1)+(1+2x12+1)+(1+2x15+1)+(1+2x19+1)+((1+2x23+1)+(1+2x3+1))+((1+2x31+1)+(1+2x4+1))+(1+2x36+1)+(1+2x25+1)+(1+2x9+1))+((2x4+1)+(1+2x16+1)+(1+2x3+1))+(1+2x6+1)+(1+2x4+1));
(@456)= 1st outer layer = 2x(3+8+11+14+17+(22+3)+(27+4)+35+35+(4+14)+13+18);
(@252)= 2nd outer layer = 2x(5+8+11+13+15+16+16+15+13+14);
(@080)= 2nd rear leg layer = 2x(3+4+5+4+6+5+4+3+3+3);
(@070)= 2nd front leg layer = 2x(2+3+(6x4)+3+3);
(@082)= 3rd rear leg layer = 2x(3+4+5+5+5+4+3+(3x2));
(@020)= 3rd front leg layer = 2x(2+3+3+3+(4x2)+1);
(@068)= Large plate - 4x(4x(9-ball triangle)-(1x2 mount point));
(@048)= Medium plate - 2x(4x(6 triangle));
(@032)= Small plate - 2x(2x(6 triangle)+4);
(@006)= Tiny plate - 2x3 triangle;
(@027)= Tail - 4x(4+1 spikes)+(6+1 tip);
================================================================
~1631 Total (approximate due to fine tuning and changing on fly)
i like the contrast of the movement in the foreground and the solidity of the ancient purple kata tjuta behind
Holy Trinity Church, Tattershall, Lincolnshire c. 1470-90 is described by Simon Jenkins as "production line Perpendicular" and I confess that I've never seen a perpendicular church with so much glass that moved me so little.
Items of note are the stone 'pulpitum' or screen dividing the nave from the chancel and what remains of the C15th glass after much of it was removed elsewhere.
Shankar Balan
BANGALORE
The Bolero combines great value for money, with toughness, solidity, tough looks and aggressive
Carefully cropped the shutter shadow from the upper right hand corner; I used the reflection in the foreground to draw attention as the focus rather than the bridge. I am hoping to form a layered channel from the lower right to the upper left, culminating in the gap straight ahead. This is a pattern of accelerating triangulations multiplying and moving in the river's flow, carrying the power of the reflections of the light shining at first light emerging over the mountain ridges. Indeed the triangulations include the cantilevered triangular subunits in the bridge's siuperstructure.
It is a scene where we are part of great things that eyes cannot see and ears cannot hear. Because Martin and I have agreed to shoot by the leading of the Holy Spirit, these triangular structures resonate as the triangulation with Heaven itself. There is great power being released, and we are in this spot the Spirit has led us to, awaiting the power of the sunrise about to manifest in the deep canyon. Supernatural fire is about to manifest, and we are about to see it.
There is a triangular rock protruding above the water line directly above the reflection of the mountain first light. The mountain's reflection then connects with the bridge's shadow withits ripples. The ripples transitions to the mid-ground expanding left and right. The rocks on both left and right shores parallel through the gray border at water level. The gap area of the river directly below the bridge gains unexpected depth through other compositional cues. The branch on the lower left points to the gap and has the green coloration that connects with the foliage behind the bridge. The yellow leaves on the tree under the bridge on the right shore has a curved bow reflection which encompasses the solidity of the rock face, as if the rocks were a giant forearm about to shoot an arrow right into the gap, linking with the yellow foliage straight ahead in the channel before the next curve in the background
The triangular rock in the foreground and the the triangular rock near the near shore are small elements than point to the yellow "bow."
The is no beach-like sand visible in the image other than the camera's position. That is because the wide-angle perspective minimizes their detail. There is a sandy area on the far side of the bridge but it is not evident. The establishes the primacy of the camera's position; the apex, as it were.
There is also a little plant extending from the lower left, contrasting strongly with the dark water and pointing into the gap. Thus the various details in the composition all support the flow into the gap...a peaceful scene that will eventually become roaring rapids.
The implication is that we are being commissioned to carry this heavenly download back to Bakersfield and multiply its blessings and remove curses. The is a pivotal time in our lives and in the lives of those we are sent to serve....we have become the favored vessel of Father God....an awesome anointing and assignment!
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.
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.
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.
Height: 7.5 inch / 19 cm.
Diameter: 4.7 inch / 12 cm.
Weight can vary: 0.9 pounds / 400 g.
Ethereum is a decentralized network built on the same technology as Bitcoin, the blockchain. The project was first introduced on 30 July 2015 by a young programmer Vitalik Buterin who first proposed his project in late 2013.
The digital currency used on the Ethereum Network is called Ether. The payment system is based on blockchain and because it is a decentralized network where a consensus is present and the rules are followed by all the participants. All the transactions are verified and recorded on the blocks by the miners. While mining cryptocurrency you solve complex mathematical puzzles, this process is called proof-of-work, after the problem is solved the data is stored in the Ethereum distributed ledged and send to all the nodes in the network to update their blockchain copy.
This project is taking the blockchain and the idea of Bitcoin to the next level. This network, Ethereum network, besides the payment system capabilities, it got its own coding language, Solidity. These features are important because people can build decentralized apps on top of the Ethereum network, cutting the third parties from the apps.
Wallets
To trade Ether or use the apps on the network you need a wallet where you will store your funds and make transactions. The wallet is made from a public key (used to receive funds) and a private key (this key is used to access your wallet). mitsuzi.xyz/rdc/others/ethereum-digital-future/865/
The Mesh Collection
Sku: BGF08AU101
14K Gold-filled
Length: 6 1/5 inches
This unique bow link mesh bracelet feels soft and luxurious. It has a wonderful and unexpected strength and solidity to it. Smooth and slinky, it feels great against your skin. I created the mesh by twisting gold-filled wire into bow shaped links, and formed and cut with a jewelers saw round rings to connect them.
This bracelet measures 6 1/2" to 8" If you require a different size please send me a conversation and specify the size you desire. For bracelet sizing information: www.etsy.com/shop_policy.php?user_id=8579644
Contact me for pricing and shipping options.
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.
The Coronation of the Virgin with Saints Joseph and Francis.
About 1605
Giulio Cesare Procaccini
Italian, Bologna 1474-Milan 1625
Oil on panel
Saints Joseph and Francis bear witness as the Madonna is crowned Queen of Heaven by God the Father, the Son, and the Holy Spirit. For such an ambitious composition, the panel is unusually small. Procaccini's figures, compressed into this narrow space, are characterized by extravagant draperies adn jewel-toned colors, which enhance their celestial aura. The solidity of forms and the hard edges of the fabric suggest that this work originates from the time when the artist was transitioning from sculpture to painting.
This is a combination of the Avenger Super Clamp and the Zacuto Zicromount. The Zaffer allows users to attach 15mm rods or Zamerican arms to mount monitors, lights, hard drives, etc. It’s able to clamp onto a variety of gear including tripod legs and handles, with Zacuto quick-release.
Avenger Super Clamp Specifications:
-High performance aluminum
-Clamping system achieved via a metal knob ensuring extra solidity
-Clamp Range: .51"-2.1" (round tube): 2.1"
-Load Capacity: 33 lbs
-Material: Aluminum
-Weight: 0.99 lbs
Zicromount Specifications:
-Includes a 1/4 20" screw
-Has a 15mm hole to mount an articulating arm or 15mm rod end to give you quick release action
Facing the intersection of a city street is a large Classical-style building. It's entrance is dominated by a row of steps as wide as the building itself, leading to a portico supported by ten large pillars. The perfectly-proportioned building in light-coloured stone is surmounted by a flag on a pole rising from the building's centre. To the right of the photo a bare winter tree's branches provide a pattern of nature against the solidity of human construction.
Disclaimer: Sorry to go all Catholic on whoever is otherwise inclined... lol (this piece is a little personal)
I recall how lost I felt when I first came to Australia on my own in 2007, first time on a plane and all. Everything was so foreign and I got quite depressed. But then I found one of the Catholic churches in Toowong and they were singing familiar hymns that I knew and loved, and all at once I felt right at home.
I tried to convey those feelings in this piece. The solidity and almost wooden look of the font represents the wood of the cross as well as the stability it carries for me. The heavy shadow and perspective shows the burden of my 'cross' (me having to leave my family) and how that is weighing me down.
The light literally represents the light of Christ holding back the shadows, and drawing away the negativity for me and my basking in the warmth of that light.
Er heh heh sorry again if that was a bit emo. XD
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In response to: www.flickr.com/photos/realce/3421082252/in/pool-mmds2200
Font: Home Remedy
Elements carried over: colours and semiotics
In the walnut finish the refinement and the elegance touch theirs highest point; the immediate feeling of warmth and solidity bring again the relax to the center of your universe.
Another one to scare your young kids with to get them to behave - not that I necessarily approve of using scare tactics to control children. I just merely observe that it is a historically tried and tested method ! )
I did this one a few days ago and got distracted with other things and forgot about it.
I like this one because when I move my head from off-centre of my laptop screen to centre, it appears that my face emerges from the darkness - kinda coming back to haunt me...
I wanted to aim for something that was deliberately low key to give that sense of 'did I see something or was it just my imagination?' to evoke those feelings that you get in very low light and feeling a bit insecure, when your mind starts to play tricks on you because it's robbed of any tangible visual information to work with.
I went for low illumination above and the lens set out-of-focus to remove the solidity of my face and create an ethereal softness...
Disclaimer: Sorry to go all Catholic on whoever is otherwise inclined... lol (this piece is a little personal)
I recall how lost I felt when I first came to Australia on my own in 2007, first time on a plane and all. Everything was so foreign and I got quite depressed. But then I found one of the Catholic churches in Toowong and they were singing familiar hymns that I knew and loved, and all at once I felt right at home.
I tried to convey those feelings in this piece. The solidity and almost wooden look of the font represents the wood of the cross as well as the stability it carries for me. The encroaching background and perspective shows the burden of my 'cross' (me having to leave my family) and how that is weighing me down, and the dove-shaped shadow of the cross cast by the light literally represents the light of Christ holding back the shadows, and sending my negativity soaring away and my basking in the warmth of that light.
Er heh heh sorry again if that was a bit emo. XD
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In response to: www.flickr.com/photos/realce/3421082252/in/pool-mmds2200
Font: Home Remedy
Elements carried over: colours and semiotics
fresh 12pt ATF Assorted Quads.
there's just nothing like the solidity and dimensional accuracy of foundry quads.
The 2014 Serpentine Pavilion by Smiljan Radić
A semi-translucent, cylindrical structure that resembled a shell and rested on large quarry stones, the 2014 Pavilion occupied 350 square metres of the Serpentine’s lawn...Designed as a flexible, multi-purpose social space, the Pavilion had a café sited inside.
[Serpentine Galleries]
The shell is made from fibreglass sheets 10mm thick, settled on 60 tonnes of rocks.
"I wanted to make it look like it came from the hands of a giant,..In the tradition of the English garden folly, it should be something that surprises the public and draws their attention, providing a spatial experience that you don't get every day."
Smiljan Radić
During the day, this rough-cast blob, which was made in Yorkshire, has the solidity of a pebble. But once inside, or when seen by night, it glows with a yellowish tinge, its fibrous surface giving it the look of shed skin. It is jagged and smeary, a texture offset by fine steel wires that hang a zigzagging lighting rail through the space, and an angular window, sharply sliced out to capture views of the lake beyond. It is a careful assembly of things that are both ragged and refined, contrasting roughly hewn with smoothly polished.
Oliver Wainwright, The Guardian