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A gentle stroll through the wide open space's.
To gather our thought's in this wonderful land, Oh and don't forget to take the camera with you.
Gotten so good at hiding it / Even he does not admit it / That glittering flash in his eyes / Makes it look like he might be alright / If the blues are you hunter / Then you will come face to face / With that darkness and desolation / And the endless depression / But you are not helpless (Songs: Ohia)
© Deutsch-Französischer Garten, Saarbrücken, 2016, Florian Fritsch
Indefinite spaces S, 1963, Francisco Sobrino.
Sobrino left Spain for Buenos Aires in 1949, where he came into contact with the artists of the group Arte Concreto-Invención. He then moved to Paris in 1958, where he became one of the founding members of the Groupe de Recherche d’Art Visuel (GRAV) in 1960. This is also when he started making sculptures out of simple geometric forms, cut from tinted transparent plastic sheets and arranged in regular structures. The effects of combination and layering deliberately make it difficult to determine the position of each shape in space and in relation to each other.
The little sailor takes a bath!
Skippy envisioned his universe with the help of the following inspiring creations:
HAIKEI's "Save Room for My Love" Skybox, which is available at Kustom9!
Apple Fall's Victoria Bathroom Collection, including the Victoria Clawfoot Tub, Apothecary Cabinet, and Violet Glass Bottles!
All available at The Liaison Collaborative.
Little Branch's Maple Forest, which is also available at The Liaison Collaborative!
Evermore's Sailor Beret, which is available at The Epiphany!
The little man was also inspired by the following:
Apple Fall's Georgian Gothic Fireplace, Stepladder Table, and Model Ships!
Zerkalo's Evelin's Bathroom Towels, and Moscow Nights Rug!
Fancy Decor's Dutch Ship Scene Painting, and Model Ship!
O.M.E.N's Captain Hook Ship!
Sari-Sari's Paper Mache Peter Pan Ship!
David Heather's Model Sailboat!
Soy's Towels!
Second Space's Boy's Bucket of Things Bathroom Clutter!
HAIKEI's Lazy Sunday Chair and Shirt!
8f8's Primavera in Toscana Laundry Basket!
Stay clean!
And keep shining bright, my friends!
The art museum Ståhl Collection, Norrköping, Östergötland, Sweden
Ståhl Collection is a private initiative where art collector Mikael Ståhl presents parts of his extraordinary collection of contemporary art, which he has collected since the early 1980s. Totalling some 500 works, the collection consists mainly of paintings and sculptures from the late 1950s to today.
Artists represented in the collection include renowned Swedish names such as Cajsa von Zeipel, Nathalie Djurberg and Elis Eriksson, as well as prominent internationals such as Louise Bourgeois, Georg Baselitz, Tracey Emin, Erwin Wurm and Ai WeiWei, to mention just a few. One of the foremost collections in Scandinavia, Ståhl Collection has already aroused interest far outside Norrköping’s city limits.
The exhibition features some 170 artworks from the collection, in 12 different rooms. Many of these are very large and heavy pieces, which will remain, to form a permanent part of the exhibition. Others will be removed, to make way for other exciting works and temporary exhibitions.
The Ståhl Collection is on display in Yllefabriken (the Wool Factory), an impressive historic building in central Norrköping. The space’s raw, industrial feel and light, airy interiors enhance the experience of the art. The exhibition is located on the two bottom storeys, with a floor area of approximately 1,900 square metres.
My father, Hamilton Martins, in 1969, to the side of two pictures painted by him for a braziliam coffee brand making reference to the space's conquest. :¬)
(screencaps and text via SpaceX)
SpaceX /Axiom Space’s Ax-1 mission to the International Space Station from historic Launch Complex 39A (LC-39A) at NASA’s Kennedy Space Center in Florida.
This was be the fifth flight for this Falcon 9 first stage booster. The Dragon spacecraft supporting this mission previously flew the Demo-2 and Crew-2 missions.
Axiom Space’s Ax-1 mission is the first all-private human spaceflight mission to the International Space Station. The Ax-1 crew will participate in educational outreach and conduct innovative research experiments while on the orbiting laboratory.
"Drink it down, boys, for the black of space is cold. Drink it down, boys, for it's always better to live hard and die young than live not and die old."
―A spacer's toast
Oh look, Lego.
A 2” brass Cogwheel
Made at the plant of “Cogswell's Cogs”
Maybe next week we can do “Spacely's Space Sprockets”
Mississippi River, one of the longest rivers in North America, is featured in this multi-temporal radar image captured by the Copernicus Sentinel-1 mission.
The Mississippi River is one of the world’s major river systems in size, habitat diversity and biological productivity. The river flows 3766 km from its source at Lake Itasca through the centre of the continental United States to the Gulf of Mexico.
The area pictured here shows where the Mississippi straddles the states of Louisiana and Mississippi. The image combines three radar acquisitions from the Sentinel-1 mission taken 12 days apart to show changes in crop and land conditions over time. Bright colours in the image come from changes on the ground that have occurred between acquisitions.
Water bodies, including the Mississippi River, visible in the far right, and Catahoula Lake, in the far left, appear black as water surfaces reflect the radar signal away from the satellite. If we take a closer look, we can see cargo ships travelling along the Mississippi. Ships from 7 April 2022 appear in red, those from 19 April appear in green, and those from 1 May appear in blue.
White areas in the image indicate the various types of vegetation that surrounds the river, including the Kisatchie National Forest – the only national forest in Louisiana. The Mississippi is a classic example of a meandering alluvial river with its loops and curls along its path leaving behind meander scars, cutoffs and free-standing ‘oxbow lakes’.
The Mississippi River Basin is home to a variety of agricultural activity. Nutrient-rich soil from sediment deposits through the floodplain supports cropland close to the river and its tributaries. Rectangular fields in the image are cultivated land. The farming of cotton and soybean make up a significant portion of the areas economic production.
Sentinel-1A was the first satellite to be launched for Copernicus – the Earth observation component of the European Union’s space programme. Looking ahead, the upcoming Sentinel-1C satellite scheduled to lift off on ESA’s Vega-C rocket from Europe’s Spaceport in French Guiana in the first half of 2023, will continue the critical task of delivering key radar imagery for a wide range of services, applications and science.
The satellite is now at Thales Alenia Space’s Cannes plant on the French Riviera after it successfully completed all integration tests this summer in Rome, Italy. It will now undergo a final series of tests in Cannes, including radiofrequency performance checks in the facility’s anechoic chamber.
This image is also featured on the Earth from Space video programme.
Credits: contains modified Copernicus Sentinel data (2022), processed by ESA, CC BY-SA 3.0 IGO
(screencaps and text via SpaceX)
SpaceX /Axiom Space’s Ax-1 mission to the International Space Station from historic Launch Complex 39A (LC-39A) at NASA’s Kennedy Space Center in Florida.
This was be the fifth flight for this Falcon 9 first stage booster. The Dragon spacecraft supporting this mission previously flew the Demo-2 and Crew-2 missions.
Axiom Space’s Ax-1 mission is the first all-private human spaceflight mission to the International Space Station. The Ax-1 crew will participate in educational outreach and conduct innovative research experiments while on the orbiting laboratory.
In spites of Space’s repeated exhortations to “MAKES IT SAUCIER!” Yumbodia turns outs to beh evens yummiers thans expecteds.
Orbital ATK’s Antares first stage with the new engines is rolled from NASA Wallops Flight Facility’s Horizontal Integration Facility to Virginia Space’s Mid-Atlantic Regional Spaceport Pad-0A on May 12, 2016, in preparation for the upcoming stage test in the next few weeks. The team will continue to work meticulously as they begin final integration and check outs on the pad and several readiness reviews prior to the test. The window for the stage test will be over multiple days to ensure technical and weather conditions are acceptable.
Credit: NASA's Wallops Flight Facility/Allison Stancil
NASA Goddard Space Flight Center enables NASA’s mission through four scientific endeavors: Earth Science, Heliophysics, Solar System Exploration, and Astrophysics. Goddard plays a leading role in NASA’s accomplishments by contributing compelling scientific knowledge to advance the Agency’s mission.
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I've always wanted to see a shuttle launch in person, ever since I saw the STS-1 launch on TV in elementary school. Nina, who is also a space dork buff, and I have been trying to get to a launch for over a year now. Every time, one or the other of us ends up on travel, or they scrub the launch, or other obligations of some sort get in the way.
Finally, this afternoon, sitting on a sweltering causeway overlooking the Banana River and with the launch pad at a distance of only six miles, I got to see the space shuttle Atlantis roar off the pad with a brilliant orange flame and incredible sound. Video renderings of this don't come close to doing it justice.
ESA astronaut Alexander Gerst visited Thales Alenia Space in Turin recently to test out and provide feedback on accommodations for the next human outpost in space, the lunar Gateway.
As the name implies, the Gateway will be located within the Moon’s orbit and is being built by Thales Alenia Space on behalf of ESA. Among its components is the International Habitation Module or I-Hab.
As crew quarters are designed with humans in mind, Alex both toured the mock-up and stepped into the crew quarter simulator to provide some experienced feedback. After two missions to the International Space Station – Blue Dot (2014) and Horizons (2018) – totalling 362 days in space, Alex is no stranger to living in special conditions.
Using virtual gear, Alex experienced an immersive environment representing the interior of I-Hab, as if he were present on the lunar Gateway in orbit around the Moon. What did he think?
Overall, the feedback was positive. Alex provided some recommendations that will help Thales Alenia Space’s design team improve the next iterations.
Alex and fellow ESA astronaut Luca Parmitano similarly assisted this process in 2021, but due to Covid-19 restrictions were only able to do so remotely.
Involving astronauts in the module design process allows engineers to capitalise on the astronauts’ experience aboard the International Space Station. Their feedback will guide upcoming design phases, to support a user-centered approach.
“Exciting to see and work on the future of lunar exploration,” said Alex. “The Gateway will be different to the International Space Station but an evolution of over two decades of living and working in low-Earth orbit. Next destination: lunar orbit.”
I-Hab is a major part of the Gateway, and together with the communications and refuelling module ESPRIT and ESA’s service module for the lunar spacecraft Orion, Europe is proving to be a vital partner in the Artemis programme and humankind’s return to the Moon.
Last July, the Webb telescope released its very first image: the deepest and sharpest image ever seen. Zooming in on the data, scientists found 3 young, distant galaxies similar to rare, small galaxies called “green peas” in our cosmic backyard. Because the light has traveled so far to get to us, we’re seeing these 3 galaxies as they were up to 13.1 billion years ago.
Specifically, the galactic trio share chemical characteristics — oxygen, hydrogen, and neon signatures — with “green pea” galaxies. (“Green peas” resembled green dots in their discovery images.) Due to their similarities, researchers may be able to study nearby “green peas” in detail to learn more about distant early galaxies.
While Webb’s infrared vision is incredibly sensitive, in this case Webb had some help from space’s “magnifying glass.” The effect of gravitational lensing meant that the mass of the galaxy cluster in Webb’s image actually magnified these tiny, distant galaxies by up to 10 times.
The farthest of the 3 galaxies contains only 2% the oxygen found in a galaxy like ours. This suggests the galaxy is extremely young, as it contains very few heavy elements (like oxygen) recycled from earlier stars.
Learn more: www.nasa.gov/feature/goddard/2023/nasa-s-webb-telescope-r...
Credits: NASA, ESA, CSA, and STScI
Image description: A cropped view of Webb’s very first image released, taken of galaxy cluster SMACS 0723. The background is black, with thousands of orange and white galaxies scattered across the view. This image highlights three tiny red galaxies, each placed in a small white inset box. Two are found in the top right, and one is towards the upper left. The inset boxes are all above a very bright star with 8 long diffraction spikes, seen in the bottom left quadrant.
Space's answer to Elvis comes in the form of Zeke Fetton, the wild and extremely successful half brother to Penelope Quago. Zeke is an Argo known for being a heartthrob as much as a musician, and has been romantically linked to Xircantium Nynntu, Ula Ng, and most currently, Leilani Yn Yn. Now that's a cowboy who reaches for the stars!
Makeup by Pavla Vrablova
Blazer and trousers by Cho:lo
I photographed this at the Bouquet to Arts at the de Young Museum in San Francisco. The exhibit pairs Bay Area designers and florists with selected artworks - modern, traditional, eclectic - already on display in the museum galleries. This is R-Space's floral interpretation of Mel Ramos' painting of “Superman”. It was by far my favorite and is my shot for the costumes scavenger hunt. This is also my shot for the week for The Big Five Two.
HCS
11/52
Texture courtesy of lesbrumes www.flickr.com/photos/lesbrumes/
Happy international Moon day! Today marks the annual celebration of the Apollo 11 lunar landing on 20 July, in 1969. More than fifty years later, during the Artemis I mission on 28 November 2022, this image was captured by a camera placed on the tip of one of the European Service Module’s four solar array wings, part of the Orion spacecraft.
The frame shows the Orion spacecraft on the left with one solar wing extending from the European Service Module to the right, dividing Earth (above) and the Moon. The cones on the European Service Module are the thrusters for the engines the spacecraft has for propulsion. The smaller cones on the side, in groups of four are part of the reaction control system used to orient the spacecraft, and the larger ones facing the camera grouped by two are the auxiliary thrusters.
Artemis I is the first in a series of missions to propel humankind forward to the Moon and beyond. The Artemis programme aims to establish permanent stations and outposts in orbit around our natural satellite. During the Artemis I test flight, the Orion spacecraft flew without astronauts. NASA provided the rocket and the crew capsule and ESA the European Service Module – Orion's 'powerhouse’.
The test flight allowed mission control at NASA’s Johnson Space Center to get a feel for the spacecraft and push it to the limits of its capabilities. To everyone's delight Orion exceeded all expectations. For the European experts who worked on the European Service Module, the mission was even more rewarding due to the live view of the commands provided by the cameras on board.
The primary purpose of the cameras was self-observation: to monitor the spacecraft on its two-week mission around the Moon. “As engineers we are lucky to have the livestream and high-quality photos, as they are rare, most satellites don’t take selfies,” says Thales Alenia Space’s Lorenzo Andrioli, “To see those images of Orion flying by the Moon and to think you have touched those components is a very special feeling.”
Orion was equipped with 16 strategically placed cameras across its structure, with one at the end of each of the four solar array wings. The wing cameras were especially versatile. The solar arrays were designed to swivel, pivot and rotate to capture as much sunlight as possible. During the test flight, they could also be repositioned to capture better views of the Moon. On occasion, the entire spacecraft was rotated to get extraordinary shots.
The European Service Module played a crucial role in enabling these photos. It consumed less fuel while also generating more electricity than required for the mission. The surplus of energy allowed for the repositioning of the spacecraft and solar wings.
Each operation in space requires close coordination between the spacecraft systems: electrical power, propulsion, thermal and data handling. Changing one parameter has immediate effects on the others, for example moving the solar panels would change the amount of electricity generated, and adjusting the spacecraft may necessitate the thermal team's preparation of heaters to maintain optimal operating temperatures.
With this resounding success, all is set for Artemis II which will see four astronauts orbit the Moon and return to Earth. NASA’s commander Reid Wiseman, pilot Victor Glover and mission specialist Christina Koch, together with Canadian Space Agency astronaut Jeremy Hansen will embark on this exciting mission in 2024.
Credits: NASA
I WOULD LIKE TO THANK, THOSE IGNORANT PEOPLE IN IZZY HIDE WHO WERE THERE FROM 4:30AM AND FAILED TO MOVE AND PLACED BAGS AND PACKING UP BOXES IN SPACE'S WHEN I TRIED TO GET DOWN THE STAIRS, IF IT WASN'T FOR THEM I WOULDN'T HAVE GOT THIS CRAP SHOT, SEEN FROM NORTH LAGOON, FLEW FROM THE NORTH, LANDED FOR A FEW SECOND THEN MADE IT'S WAY NORTH AGAIN, NEVER MADE IT TO IZZY HIDE. SO UP YOURS. DISABLED PEOPLE HAVE RIGHT TOO.
I chose to bring some softness to this picture and hope that the focus does not alter what I tried to show in regards to Neto's fantastic creativity.
Ernesto Neto began exhibiting in Scotland in 1988 and has had solo exhibitions abroad since 1995. He represented with Vik Muniz their country in 2001 Venice Biennale, his installations were featured in Brazil's national pavilion and in the international group exhibition at the Arsenale.
Neto's work has been described as "beyond abstract minimalism". His installations are large, soft, biomorphic sculptures that fill an exhibition space that viewers can touch, poke, and walk on or through. They are made of white, stretchy material -- amorphous forms stuffed with Styrofoam pellets or, on occasion, aromatic spices. In some installations, he has also used this material to create translucent scrims that transform the space's walls and floor. His sculptures can be regarded as expression of traditional abstract form, but in their interaction with the viewer, they work on another level as well.
More abstract creations on : www.flickr.com/photos/lumenscript/albums/7215767639320121...
This was formerly a disused power station situated in the heart of London, later to become the Tate Modern, which displays the national collection of international modern art.
Trivia: The architect, Sir Giles Gilbert Scott, who designed this massive building also designed the much bigger, now disused Battersea Power Station AND was also the genius behind the ubiquitous red telephone boxes all over central London. Fact.
ESA’s exoplanet-characterising Cheops satellite being prepared for electromagnetic compatibility testing inside the Maxwell chamber at ESTEC, the Agency’s technical heart in Noordwijk, the Netherlands.
Once the chamber’s main door is sealed, Maxwell’s 12 m-high metal walls form a ‘Faraday Cage’, blocking electromagnetic signals from outside. The ‘anechoic’ foam pyramids covering its interior absorb internal signals – as well as sound – to prevent any reflection, mimicking the infinite void of space.
Once switched on Cheops was illuminated with a two-way radio beam. The satellite was then rotated and tilted through various angles to detect any potentially harmful electromagnetic ‘cross-talk’ that might occur between its subsystems. Testing also ruled out any radio emissions arising from the satellite that might interfere with its launcher during its rise to orbit.
ESA’s Cheops satellite will measure the sizes of known exoplanets by detecting tiny fluctuations in the light of their parent stars. Cheops, or ‘CHaracterising ExOPlanet Satellite’, combines a state-of-the-art scientific performance with a compact design – 1.5 m by 1.4 m by 1.5 m in size, it weighs in at about 300 kg fully fuelled – allowing it to be flown as a secondary passenger on a Soyuz launcher inside its ASAP-S adapter.
Last month, once its ESTEC test campaign was complete, Cheops left ESTEC for Airbus Defence & Space’s facility in Madrid to undergo further evaluation, including testing of its solar arrays, a ‘leak check’ of its propulsion module and a fit-check with its launcher adapter.
Once all tests are done, the satellite is planned for launch next year from Europe’s Spaceport in French Guiana.
ESA–G. Porter
Last July, the Webb telescope released its very first image: the deepest and sharpest image ever seen. Zooming in on the data, scientists found 3 young, distant galaxies similar to rare, small galaxies called “green peas” in our cosmic backyard. Because the light has traveled so far to get to us, we’re seeing these 3 galaxies as they were up to 13.1 billion years ago.
Specifically, the galactic trio share chemical characteristics — oxygen, hydrogen, and neon signatures — with “green pea” galaxies. (“Green peas” resembled green dots in their discovery images.) Due to their similarities, researchers may be able to study nearby “green peas” in detail to learn more about distant early galaxies.
While Webb’s infrared vision is incredibly sensitive, in this case Webb had some help from space’s “magnifying glass.” The effect of gravitational lensing meant that the mass of the galaxy cluster in Webb’s image actually magnified these tiny, distant galaxies by up to 10 times.
The farthest of the 3 galaxies contains only 2% the oxygen found in a galaxy like ours. This suggests the galaxy is extremely young, as it contains very few heavy elements (like oxygen) recycled from earlier stars.
Learn more: www.nasa.gov/feature/goddard/2023/nasa-s-webb-telescope-r...
Credits: NASA, ESA, CSA, and STScI
Image description: This graphic highlights three young, distant galaxies. Most of the graphic is taken up by a cropped view of Webb’s image of galaxy cluster SMACS 0723. The image shows thousands of orange and white galaxies, mixed in with stars both large and small, against the darkness of space. There are three small white inset boxes on top of the image, with two clustered towards the right and one towards the left. Zoomed-in versions of the inset boxes, which can be found above, below and to the side of their tiny counterparts, show off the galaxies in greater detail. They galaxies in question are within a green circle. The spotlighted galaxies resemble red streaks or blobs, surrounded by white specks. The background of the graphic is black. The graphic is titled "Early "peas" discovered behind SMACS 0723."
The Twin Jet-Bike can cover both air and ground easily, with it's wheels becoming hover pods with just a couple clicks of the hinges and a turntable. (When entering space's vacuum or unfriendly atmosphere's Eris dons a airtight helmet, as there is no cockpit canopy.)
Last July, the Webb telescope released its very first image: the deepest and sharpest image ever seen. Zooming in on the data, scientists found 3 young, distant galaxies similar to rare, small galaxies called “green peas” in our cosmic backyard. Because the light has traveled so far to get to us, we’re seeing these 3 galaxies as they were up to 13.1 billion years ago.
Specifically, the galactic trio share chemical characteristics — oxygen, hydrogen, and neon signatures — with “green pea” galaxies. (“Green peas” resembled green dots in their discovery images.) Due to their similarities, researchers may be able to study nearby “green peas” in detail to learn more about distant early galaxies.
While Webb’s infrared vision is incredibly sensitive, in this case Webb had some help from space’s “magnifying glass.” The effect of gravitational lensing meant that the mass of the galaxy cluster in Webb’s image actually magnified these tiny, distant galaxies by up to 10 times.
The farthest of the 3 galaxies contains only 2% the oxygen found in a galaxy like ours. This suggests the galaxy is extremely young, as it contains very few heavy elements (like oxygen) recycled from earlier stars.
Learn more: www.nasa.gov/feature/goddard/2023/nasa-s-webb-telescope-r...
Credits: NASA, ESA, CSA, and STScI
Image description: This graphic highlights three young, distant galaxies. Most of the graphic is taken up by a cropped view of Webb’s image of galaxy cluster SMACS 0723. The image shows thousands of orange and white galaxies, mixed in with stars both large and small, against the darkness of space. There are three small white inset boxes on top of the image, with two clustered towards the right and one towards the left. Zoomed-in versions of the inset boxes, which can be found above, below and to the side of their tiny counterparts, show off the galaxies in greater detail. The spotlighted galaxies resemble red streaks or blobs, surrounded by white specks. The background of the graphic is black.
Despites mores Aristotle quotes thans you cans shakes a ridings crops at Ms. So Saucy was nots satisfies withs Space’s man-horsie game.
Last July, the Webb telescope released its very first image: the deepest and sharpest image ever seen. Zooming in on the data, scientists found 3 young, distant galaxies similar to rare, small galaxies called “green peas” in our cosmic backyard. Because the light has traveled so far to get to us, we’re seeing these 3 galaxies as they were up to 13.1 billion years ago.
Specifically, the galactic trio share chemical characteristics — oxygen, hydrogen, and neon signatures — with “green pea” galaxies. (“Green peas” resembled green dots in their discovery images.) Due to their similarities, researchers may be able to study nearby “green peas” in detail to learn more about distant early galaxies.
While Webb’s infrared vision is incredibly sensitive, in this case Webb had some help from space’s “magnifying glass.” The effect of gravitational lensing meant that the mass of the galaxy cluster in Webb’s image actually magnified these tiny, distant galaxies by up to 10 times.
The farthest of the 3 galaxies contains only 2% the oxygen found in a galaxy like ours. This suggests the galaxy is extremely young, as it contains very few heavy elements (like oxygen) recycled from earlier stars. Learn more: www.nasa.gov/feature/goddard/2023/nasa-s-webb-telescope-r...
In this image: The James Webb Space Telescope’s Near-Infrared Spectrograph captured the chemical fingerprints of selected galaxies behind SMACS 0723, including three faint, distant objects. When corrected for the wavelength stretch caused by the expansion of space over billions of years, the spectra of these galaxies (shown in red) exhibit features emitted by oxygen, hydrogen, and neon that show a stunning resemblance to those seen from so-called green pea galaxies found nearby (in green). Additionally, the Webb observations made it possible to measure the amount of oxygen in these cosmic dawn galaxies for the first time. The spectral lines have been stretched vertically in order to clarify these relationships.
Credit: NASA’s Goddard Space Flight Center/Rhoads et al. 2023
Image description: Two different sets of spectral data, comparing the chemical fingerprints of green pea galaxies with young, distant galaxies observed by the Webb telescope. On the top is the green pea galaxies data, shown in two squiggly horizontal lines of bright green, and below that is the Webb data, shown in three lines of red. The data sets share remarkably similar line patterns representing the elemental signatures of oxygen, neon, and hydrogen. From left to right, both data sets generally start off with a high frequency of peaks and dips, which gradually taper out into just occasional peaks by the end.
«The TARDIS is a fictional time machine and spacecraft in the British science fiction television programme Doctor Who. The name is an acronym of Time And Relative Dimension (or Dimensions) In Space.»
[full disclosure, I had to look it up on Wikipedia, I'm so lame]
On a t-shirt (thanks Scarlett Veith)
Package delivered 📦
As part of NASA’s efforts to expand commercial resupply in low Earth orbit, Sierra Space’s uncrewed spaceplane arrived at NASA’s Kennedy Space Center in Florida ahead of its first flight to the International Space Station.
The Dream Chaser spaceplane, named Tenacity, arrived at Kennedy on May 18 inside a climate-controlled transportation container from NASA’s Neil Armstrong Test Facility in Sandusky, Ohio, and joined its companion Shooting Star cargo module, which arrived on May 11.
Teams at Kennedy moved Dream Chaser Tenacity to the high bay inside the Space Systems Processing Facility, where it will undergo final testing and prelaunch processing ahead of its launch scheduled for later this year.
SpaceX's Falcon 9 rocket delivered Thales Alenia Space's TurkmenÄlem52E/MonacoSat satellite to a geosynchronous transfer orbit on April 27, 2015 from Space Launch Complex 40 at Cape Canaveral Air Force Station, Florida. The satellite was deployed approximately 32 minutes after liftoff.
SpaceX's Falcon 9 rocket delivered Thales Alenia Space's TurkmenÄlem52E/MonacoSat satellite to a geosynchronous transfer orbit on April 27, 2015 from Space Launch Complex 40 at Cape Canaveral Air Force Station, Florida. The satellite was deployed approximately 32 minutes after liftoff.
SpaceX's Falcon 9 rocket delivered Thales Alenia Space's TurkmenÄlem52E/MonacoSat satellite to a geosynchronous transfer orbit on April 27, 2015 from Space Launch Complex 40 at Cape Canaveral Air Force Station, Florida. The satellite was deployed approximately 32 minutes after liftoff.
SpaceX's Falcon 9 rocket delivered Thales Alenia Space's TurkmenÄlem52E/MonacoSat satellite to a geosynchronous transfer orbit on April 27, 2015 from Space Launch Complex 40 at Cape Canaveral Air Force Station, Florida. The satellite was deployed approximately 32 minutes after liftoff.
The Galaxy Troopers Power Armor fights known space´s most powerful menaces to peace and security. When missions in unknown sectors puts them in touch with new civilizations, first a peaceful contact should be attempted. If this is not possible, one must report the new threat. The helmet with control sensors replaces the manual controls, and its powerful weapons have electromagnetic clamps that allow for a fast draw.
Built in 1903-1905, this Prairie-style mansion was designed by Frank Lloyd Wright for Larkin Company executive Darwin D. Martin, whom built the house as a way to bring his family, which had been scattered in various parts of the United States when his mother had died early in his childhood. The house was the culmination of immense personal wealth and professional success that Martin had enjoyed in his life despite his difficult childhood, starting as a soap seller in New York City, being hired by the Larkin Company in 1878, before moving to Buffalo and becoming the single office assistant to John D. Larkin in 1880, and in 1890, replaced Elbert Hubbard, who was a person that Martin immensely admired, as the Corporate Secretary of the Larkin Company. When the Larkin Company was seeking a designer for a major new office building for the company at the turn of the 20th Century, Martin, whom had witnessed Wright’s work in Chicago and Oak Park, wished to hire the architect as the designer of the new building, but needed to convince the skeptical John D. Larkin and other executives at the company of Wright’s suitability for the project. As a result, Martin decided to have Wright design his family estate. Darwin D. Martin became such a close friend of Wright that he commissioned the family’s summer house, Graycliff, located south of Buffalo on the shores of Lake Erie, to be designed by Wright in 1926, and spearheaded the effort to assist Wright with his finances when his personal residence, Taliesin, was threatened with foreclosure in 1927.
The main house is made up of four structures, those being the house itself, which sits at the prominent southeast corner of the property closest to the intersection of Summit Avenue and Jewett Parkway of any structure on the site, the pergola, which is a long, linear covered porch structure that runs northwards from the center of the house, the conservatory, which sits at the north end of the pergola and features a statue of the Winged Victory of Samothrace, which is visible from the front entrance to the house down the long visual axis created by the pergola, and the carriage house, which sits immediately west of the conservatory and behind the west wing of the house, enclosing the rear of the house’s main garden.
On the grounds of the mansion are two other houses, those being the Barton House, built at the northeast corner of the property along Summit Avenue to house Darwin D. Martin’s sister, Delta Martin Barton, and her husband, George F. Barton, which was the first structure to be built on the property and very visually similar to the main house, using the same type of bricks and incorporating many smaller versions of features found on the main house, and the Gardener’s cottage, built in 1909 to house gardeners who maintained the grounds of the property, which is the smallest and plainest of the three houses, which is sandwiched into a narrow strip of the property between two other houses, fronting Woodward Avenue to the west.
The main house features a buff roman brick exterior with raked horizontal mortar joints and filled in vertical joints, giving the masonry the appearance of being made of a series of solid horizontal bands with recessed joints, accentuating the horizontal emphasis of the house’s design and creating texture with shadows. The roof is hipped with wide overhanging eaves, with the gutters draining into downspouts that drop water into drain basins atop various one-story pillars at the corners of the house, with the roof having a T-shaped footprint above the second floor and three separate sections above the first floor, which wrap around the second floor to the south, west, and north, with the roof soaring above a porte-cochere to the west of the house, as well as a separate roof suspended above a porch to the east. The house’s roof is supported by pillars that sit near, but not at the corners of the building, with windows wrapping the corners. The windows are framed by stone sills and wooden trim, with some windows featuring stone lintels. The front door is obscured inside a recessed porch on the front facade, with the tile walkway to the door turning 90 degrees upon its approach to the doorway, a quite common feature of many of Wright’s houses at the time. The house is surrounded by a series of low brick walls with stone bases and stone caps, with sculptural decorative stone planters atop the pillars at the ends of many of these walls, with some of the planters containing carefully chosen decorative vegetation, and others serving as semi-hidden drainage basins for the adjacent one-story roofs.
Inside, the house features a foyer with a head-on view of the pergola and the conservatory to the north, simple but finely crafted wooden trim elements, the beautiful Wisteria Mosaic Fireplace between the foyer and dining room on the first floor that reflects light in different ways via various types of tile with different types of glazing, rough plaster painted a variety of colors, careful use of shadow to highlight certain elements while obscuring others, art glass windows featuring stained glass and clear glass panes in decorative patterns, wooden built ins and Frank Lloyd Wright-designed furnishings, a large kitchen with lots of white surfaces and wooden cabinets overlooking the garden, a living room with a vaulted ceiling and brick fireplace featuring an arched hearth opening, extensive use of expansion and compression via ceiling height to drive movement through the space, ventilation ducts that can be operated via decorative casement windows at the pillars ringing the various spaces of the house, wooden screens to obscure the staircase and second floor, custom light fixtures, art glass ceiling panels, and five large doors with art glass lights to the eastern porch on the first floor. The second floor of the house has multiple bedrooms with a variety of Frank Lloyd Wright built-in and freestanding furniture, wooden trim, and multiple bathrooms. The house is further decorated with Japanese art pieces procured by Wright in Japan, as well as being heavily inspired by traditional Japanese architecture, with usage of shadow and light to obscure and highlight different features, as well as the general form of the house, with the wide eaves providing ample shade to the interior during the summer months, while still allowing light to easily enter the space during the darker winter months.
To the north of the main house is an approximately 90-foot-long pergola with evenly spaced brick pillars framing the tile walkway, decorative wooden trim on the ceiling at each column, light fixtures at each column, and a glass transom and a door with large glass lights and a narrow frame providing a nearly unobstructed view of the interior of the conservatory at the north end of the pergola, focusing the attention of visitors upon their entrance to the house, as the conservatory and pergola form a continual visual axis from the foyer to the statue of the Winged Victory of Samothrace that stands in the northern end of the conservatory. This entire section of the house was rebuilt during its restoration, having been demolished in the 1960s after falling into disrepair. The pergola features a gabled roof that terminates at the bonnet roof around the perimeter of the conservatory to the north and at the first floor hipped roof of the house to the south.
The conservatory sits at the north end of the pergola, and has a latin cross footprint, with a glass skylight roof with a gabled section running north-south and a pyramidal hipped section at the crossing. The skylight terminates at a parapet that surrounds it on all sides, which features distinctive and decorative “birdhouses” at the north and south ends, apparently intended to house Blue Martins, but were not designed appropriately for the specific needs of the species, and have thus never been occupied. Two of the birdhouses survived the decay and demolition of the original conservatory in the 1960s, and were prominently displayed atop a wall in front of the house until the restoration of the complex in 2007. The interior of the conservatory features only a few concrete planters flanking the walkways and below the large Winged Victory of Samothrace that sits in the northern alcove of the space, with this apparently not having been what the Martin family had in mind, leading to the erection of a prefabricated conventional greenhouse made of metal and glass to the west of the Carriage House shortly after the house’s completion. The conservatory utilizes the same small tile on the floor as other areas of the house, with suspended wooden trim frames breaking up the large void of the space into smaller sections, supporting the space’s light fixtures and carefully framing the planters, fountain, and sculpture.
To the west of the conservatory is the two-story Carriage House, which features a simple pyramidal hipped roof with wide overhanging eaves, recessed corner pillars with central sections featuring wrap-around bands of windows on the second floor, a large carriage door in the center of the south facade, flanked by two smaller pillars and two small windows, and a one-story rear wing with a hipped roof. The interior presently houses a gift shop, but is set up like the original structure, demolished in the 1960s, would have been, with horse stables, red brick walls, a utility sink, and a simple staircase to the upper floor.
The house complex was home to the Martin family until 1937, when, owing to financial difficulties brought on by the loss of the family fortune during the 1929 Black Friday stock market crash and Darwin D. Martin’s death in 1935, the house had become too difficult for the family to maintain, with the family abandoning the house, allowing it to deteriorate. Additionally, Isabelle Reidpath Martin, Darwin’s widow, did not like the house’s interior shadows, which made it difficult for her to see. D.R. Martin, Darwin’s son, tried to donate the house to the City of Buffalo and the State University of New York system for use as a library, but neither entity accepted the offer, and the house remained empty until 1946, when it was taken by the city due to back taxes. In 1951, the house was purchased by the Roman Catholic Diocese of Buffalo, which intended to convert the house into a summer retreat for priests, similar to the contemporaneous sale of Graycliff by the Martin family to the Piarists, a Catholic order. However, the property languished until 1955, when it was sold to architect Sebastian Tauriello, whom worked hard to save the architecturally significant and by-then endangered property, hoping the house would avoid the fate that had befallen the Larkin Administration Building five years prior. The house was subdivided into three apartments, with the carriage house, pergola, and conservatory demolished and the rear yard sold, and two uninspired apartment buildings with slapped-on Colonial Revival-style trim known as Jewett Gardens Apartments, were built to the rear of the house. In 1967, the University at Buffalo purchased the house, utilizing it as the university president’s residence, with the Barton House and Gardener’s Cottage being parceled off, both converted to function as independent single-family houses. The university attempted to repair the damage from years of neglect and did some work to keep the house functioning, modernizing portions of the interior and returning several pieces of original furniture to the house. The house would exist in this condition for the next half-century.
In 1975, the house was listed on the National Register of Historic Places, and in 1986, was listed as a National Historic Landmark. In 1992, the nonprofit Martin House Restoration Corporation was founded with the goal of eventually restoring the historically and architecturally significant complex, and opening it as a museum. In 1994, the organization purchased the Barton House, and had the Martin House donated by the University of Buffalo in 2002. The restoration of both houses began under the direction of Hamilton Houston Lownie Architects shortly thereafter, and the Jewett Gardens Apartments were demolished upon the acquisition of the site by the nonprofit around the turn of the millennium. In 2006, the Gardener’s cottage was purchased from private ownership, and work began to rebuild the lost Pergola, Conservatory, and Carriage House, which were completed in 2007. Additional work to restore the house continued over the next decade, restoring the various interior spaces, with extensive work being put in to restore the kitchen and bedrooms. Finally, in 2017, the last part of the house was restored, being the beautiful Wisteria Mosaic Fireplace between the dining room and foyer, which had been extensively altered. An addition to the grounds, located on the former rear yard of an adjacent house, is the contemporary, sleek glass and steel-clad Eleanor & Wilson Greatbatch Pavilion Visitor Center, designed by Toshiko Mori, with a cantilevered roof that appears to float and tapers to thin edges, with glass walls on three sides, which houses the visitor information desk, ticket sales, presentation space, a timeline of the Martin House’s history, and restrooms. The restoration of the house marks one of the first full reconstructions of a demolished Frank Lloyd Wright structure, and is one of several significant works by the architect in Buffalo, including three designs that were built posthumously in the early 21st Century - the Fontana Boat House in Front Park, the Tydol Filling Station at the Buffalo Transportation Pierce Arrow Museum, and the Blue Sky Mausoleum at Forest Lawn Cemetery, which was designed for the Martin family in 1928, but not built until 2004.
Today, the restored Darwin D. Martin House complex serves as a museum, allowing visitors to experience one of the largest Prairie-style complexes designed by Frank Lloyd Wright, faithfully restored to its circa 1907 appearance, giving visitors a sense of the genius and design philosophy of Wright.
If you click on the picture of the comments you'll find notes I've made about small changes I wished to make in the kitchen of apartment 44 right after it was...designed last year.
I was short of time though, as is usual the case when trying to manage a life betwen two countries.
In my effort to keep it very simple & airy as there is a direct visual contact with the space's living room, I had only placed one shelf at the right side of the cooking hood (as I call the extractor).
During my recent visit in Greece I managed to spare some time to make some slight changes, following the guidelines of my plans last year.
So now the shelf is adjusted on the same level with the hood and it makes a pair with one adjusted on the left side as seen right here
The result gives me now a sense of balance, while more space has been gained, by freeing the counter top, while the framed prints are not squezzed any more.
Small changes - big effects.
Almost everything seen here is from Ikea.
The "Keep calm & carry on print" is from Victoria's shop
The "Cupcake Love" from our shop
Explore #310 on 16.11.2010 Thank you : )
Built in 1903-1905, this Prairie-style mansion was designed by Frank Lloyd Wright for Larkin Company executive Darwin D. Martin, whom built the house as a way to bring his family, which had been scattered in various parts of the United States when his mother had died early in his childhood. The house was the culmination of immense personal wealth and professional success that Martin had enjoyed in his life despite his difficult childhood, starting as a soap seller in New York City, being hired by the Larkin Company in 1878, before moving to Buffalo and becoming the single office assistant to John D. Larkin in 1880, and in 1890, replaced Elbert Hubbard, who was a person that Martin immensely admired, as the Corporate Secretary of the Larkin Company. When the Larkin Company was seeking a designer for a major new office building for the company at the turn of the 20th Century, Martin, whom had witnessed Wright’s work in Chicago and Oak Park, wished to hire the architect as the designer of the new building, but needed to convince the skeptical John D. Larkin and other executives at the company of Wright’s suitability for the project. As a result, Martin decided to have Wright design his family estate. Darwin D. Martin became such a close friend of Wright that he commissioned the family’s summer house, Graycliff, located south of Buffalo on the shores of Lake Erie, to be designed by Wright in 1926, and spearheaded the effort to assist Wright with his finances when his personal residence, Taliesin, was threatened with foreclosure in 1927.
The main house is made up of four structures, those being the house itself, which sits at the prominent southeast corner of the property closest to the intersection of Summit Avenue and Jewett Parkway of any structure on the site, the pergola, which is a long, linear covered porch structure that runs northwards from the center of the house, the conservatory, which sits at the north end of the pergola and features a statue of the Winged Victory of Samothrace, which is visible from the front entrance to the house down the long visual axis created by the pergola, and the carriage house, which sits immediately west of the conservatory and behind the west wing of the house, enclosing the rear of the house’s main garden.
On the grounds of the mansion are two other houses, those being the Barton House, built at the northeast corner of the property along Summit Avenue to house Darwin D. Martin’s sister, Delta Martin Barton, and her husband, George F. Barton, which was the first structure to be built on the property and very visually similar to the main house, using the same type of bricks and incorporating many smaller versions of features found on the main house, and the Gardener’s cottage, built in 1909 to house gardeners who maintained the grounds of the property, which is the smallest and plainest of the three houses, which is sandwiched into a narrow strip of the property between two other houses, fronting Woodward Avenue to the west.
The main house features a buff roman brick exterior with raked horizontal mortar joints and filled in vertical joints, giving the masonry the appearance of being made of a series of solid horizontal bands with recessed joints, accentuating the horizontal emphasis of the house’s design and creating texture with shadows. The roof is hipped with wide overhanging eaves, with the gutters draining into downspouts that drop water into drain basins atop various one-story pillars at the corners of the house, with the roof having a T-shaped footprint above the second floor and three separate sections above the first floor, which wrap around the second floor to the south, west, and north, with the roof soaring above a porte-cochere to the west of the house, as well as a separate roof suspended above a porch to the east. The house’s roof is supported by pillars that sit near, but not at the corners of the building, with windows wrapping the corners. The windows are framed by stone sills and wooden trim, with some windows featuring stone lintels. The front door is obscured inside a recessed porch on the front facade, with the tile walkway to the door turning 90 degrees upon its approach to the doorway, a quite common feature of many of Wright’s houses at the time. The house is surrounded by a series of low brick walls with stone bases and stone caps, with sculptural decorative stone planters atop the pillars at the ends of many of these walls, with some of the planters containing carefully chosen decorative vegetation, and others serving as semi-hidden drainage basins for the adjacent one-story roofs.
Inside, the house features a foyer with a head-on view of the pergola and the conservatory to the north, simple but finely crafted wooden trim elements, the beautiful Wisteria Mosaic Fireplace between the foyer and dining room on the first floor that reflects light in different ways via various types of tile with different types of glazing, rough plaster painted a variety of colors, careful use of shadow to highlight certain elements while obscuring others, art glass windows featuring stained glass and clear glass panes in decorative patterns, wooden built ins and Frank Lloyd Wright-designed furnishings, a large kitchen with lots of white surfaces and wooden cabinets overlooking the garden, a living room with a vaulted ceiling and brick fireplace featuring an arched hearth opening, extensive use of expansion and compression via ceiling height to drive movement through the space, ventilation ducts that can be operated via decorative casement windows at the pillars ringing the various spaces of the house, wooden screens to obscure the staircase and second floor, custom light fixtures, art glass ceiling panels, and five large doors with art glass lights to the eastern porch on the first floor. The second floor of the house has multiple bedrooms with a variety of Frank Lloyd Wright built-in and freestanding furniture, wooden trim, and multiple bathrooms. The house is further decorated with Japanese art pieces procured by Wright in Japan, as well as being heavily inspired by traditional Japanese architecture, with usage of shadow and light to obscure and highlight different features, as well as the general form of the house, with the wide eaves providing ample shade to the interior during the summer months, while still allowing light to easily enter the space during the darker winter months.
To the north of the main house is an approximately 90-foot-long pergola with evenly spaced brick pillars framing the tile walkway, decorative wooden trim on the ceiling at each column, light fixtures at each column, and a glass transom and a door with large glass lights and a narrow frame providing a nearly unobstructed view of the interior of the conservatory at the north end of the pergola, focusing the attention of visitors upon their entrance to the house, as the conservatory and pergola form a continual visual axis from the foyer to the statue of the Winged Victory of Samothrace that stands in the northern end of the conservatory. This entire section of the house was rebuilt during its restoration, having been demolished in the 1960s after falling into disrepair. The pergola features a gabled roof that terminates at the bonnet roof around the perimeter of the conservatory to the north and at the first floor hipped roof of the house to the south.
The conservatory sits at the north end of the pergola, and has a latin cross footprint, with a glass skylight roof with a gabled section running north-south and a pyramidal hipped section at the crossing. The skylight terminates at a parapet that surrounds it on all sides, which features distinctive and decorative “birdhouses” at the north and south ends, apparently intended to house Blue Martins, but were not designed appropriately for the specific needs of the species, and have thus never been occupied. Two of the birdhouses survived the decay and demolition of the original conservatory in the 1960s, and were prominently displayed atop a wall in front of the house until the restoration of the complex in 2007. The interior of the conservatory features only a few concrete planters flanking the walkways and below the large Winged Victory of Samothrace that sits in the northern alcove of the space, with this apparently not having been what the Martin family had in mind, leading to the erection of a prefabricated conventional greenhouse made of metal and glass to the west of the Carriage House shortly after the house’s completion. The conservatory utilizes the same small tile on the floor as other areas of the house, with suspended wooden trim frames breaking up the large void of the space into smaller sections, supporting the space’s light fixtures and carefully framing the planters, fountain, and sculpture.
To the west of the conservatory is the two-story Carriage House, which features a simple pyramidal hipped roof with wide overhanging eaves, recessed corner pillars with central sections featuring wrap-around bands of windows on the second floor, a large carriage door in the center of the south facade, flanked by two smaller pillars and two small windows, and a one-story rear wing with a hipped roof. The interior presently houses a gift shop, but is set up like the original structure, demolished in the 1960s, would have been, with horse stables, red brick walls, a utility sink, and a simple staircase to the upper floor.
The house complex was home to the Martin family until 1937, when, owing to financial difficulties brought on by the loss of the family fortune during the 1929 Black Friday stock market crash and Darwin D. Martin’s death in 1935, the house had become too difficult for the family to maintain, with the family abandoning the house, allowing it to deteriorate. Additionally, Isabelle Reidpath Martin, Darwin’s widow, did not like the house’s interior shadows, which made it difficult for her to see. D.R. Martin, Darwin’s son, tried to donate the house to the City of Buffalo and the State University of New York system for use as a library, but neither entity accepted the offer, and the house remained empty until 1946, when it was taken by the city due to back taxes. In 1951, the house was purchased by the Roman Catholic Diocese of Buffalo, which intended to convert the house into a summer retreat for priests, similar to the contemporaneous sale of Graycliff by the Martin family to the Piarists, a Catholic order. However, the property languished until 1955, when it was sold to architect Sebastian Tauriello, whom worked hard to save the architecturally significant and by-then endangered property, hoping the house would avoid the fate that had befallen the Larkin Administration Building five years prior. The house was subdivided into three apartments, with the carriage house, pergola, and conservatory demolished and the rear yard sold, and two uninspired apartment buildings with slapped-on Colonial Revival-style trim known as Jewett Gardens Apartments, were built to the rear of the house. In 1967, the University at Buffalo purchased the house, utilizing it as the university president’s residence, with the Barton House and Gardener’s Cottage being parceled off, both converted to function as independent single-family houses. The university attempted to repair the damage from years of neglect and did some work to keep the house functioning, modernizing portions of the interior and returning several pieces of original furniture to the house. The house would exist in this condition for the next half-century.
In 1975, the house was listed on the National Register of Historic Places, and in 1986, was listed as a National Historic Landmark. In 1992, the nonprofit Martin House Restoration Corporation was founded with the goal of eventually restoring the historically and architecturally significant complex, and opening it as a museum. In 1994, the organization purchased the Barton House, and had the Martin House donated by the University of Buffalo in 2002. The restoration of both houses began under the direction of Hamilton Houston Lownie Architects shortly thereafter, and the Jewett Gardens Apartments were demolished upon the acquisition of the site by the nonprofit around the turn of the millennium. In 2006, the Gardener’s cottage was purchased from private ownership, and work began to rebuild the lost Pergola, Conservatory, and Carriage House, which were completed in 2007. Additional work to restore the house continued over the next decade, restoring the various interior spaces, with extensive work being put in to restore the kitchen and bedrooms. Finally, in 2017, the last part of the house was restored, being the beautiful Wisteria Mosaic Fireplace between the dining room and foyer, which had been extensively altered. An addition to the grounds, located on the former rear yard of an adjacent house, is the contemporary, sleek glass and steel-clad Eleanor & Wilson Greatbatch Pavilion Visitor Center, designed by Toshiko Mori, with a cantilevered roof that appears to float and tapers to thin edges, with glass walls on three sides, which houses the visitor information desk, ticket sales, presentation space, a timeline of the Martin House’s history, and restrooms. The restoration of the house marks one of the first full reconstructions of a demolished Frank Lloyd Wright structure, and is one of several significant works by the architect in Buffalo, including three designs that were built posthumously in the early 21st Century - the Fontana Boat House in Front Park, the Tydol Filling Station at the Buffalo Transportation Pierce Arrow Museum, and the Blue Sky Mausoleum at Forest Lawn Cemetery, which was designed for the Martin family in 1928, but not built until 2004.
Today, the restored Darwin D. Martin House complex serves as a museum, allowing visitors to experience one of the largest Prairie-style complexes designed by Frank Lloyd Wright, faithfully restored to its circa 1907 appearance, giving visitors a sense of the genius and design philosophy of Wright.