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The reflection of sun off snow quite literally hurt my eyes, so I did not spend a lot of time in Yokote before hopping on the Ou Line.
***UPDATE***When someone comes by amped up with a passion for stealer design--a healthy appetite for MCM, well gosh, that sends gets me into rare form, and Jonathan and I hit it off from the jump, the moment go. This one is going to a very appreciative person.
Ok. A bold statement from a guy absolutely never afraid to speak his mind. Find one exact example of this sectional available (or previously available, at any point ever) anywhere in the country in this configuration. One of the most insane MCM sectional I have ever seen. For those very reasons, I love this sofa. All day long. ALL DAY.
Not so young but fit. This guy is standing on Orchard road in Singapore selling these strings with balls.
Visit my online store for more handmade accesories and gifts for special one;
ttps://www.etsy.com/shop/HAREMDESIGN
Hidden away behind the suburban facades of Hall Green lies a little known gem, St Peter's is one of the most outstanding modern churches in the Midlands and can be found by venturing down a quiet lane that leads between the houses off one of Hall Green's busier roads. Its presence is announced over the rooftops by the slender concrete tower with a striking lattice window and a circular cap at its summit.
The church was opened in 1964 to replace a more modest predecessor and makes a striking architectural statement. Approaching it from the lane reveals an intriguingly formed building with an octagonal nave at its heart, similarly finished in precast concrete and capped by a pleasingly green copper roof. Below is a brick ambulatory that surrounds the nave and from which a substantial chapel and the main sanctuary also erupt, both marked by large expanses of dalle de verre glazing, as are the twelve windows in the upper part of the nave itself. These were what I'd really come to see, but the unusual architecture itself is a reward for meandering this way.
Entry is via the doorway at the base of the tall and slender west tower, and initially there is a sense of subdued light until one becomes accustomed to the level and can then fully appreciate the dazzling richness of the glass. All around the octagonal nave is a series of strikingly non-figurative windows inspired by Middle Eastern prayer-mats, each design different and evoking other times and places in their symbolism of the act of prayer itself, but doing so in a modern idiom. At the east end our eyes are drawn to the largest window in the church situated behind the altar, which is again a work of dalle de verre glass mosaic, but is a figurative composition depicting Christ's call to St Peter. The austerity of the architecture sets the windows off very well.
The windows are rare works (outside his native Alsace) by the artist Tristan Ruhlmann and their style is unlike any dalle de verre glass I've seen elsewhere. Ruhlmann used his own technical wizardry to expand the graphic quality of this otherwise limited medium for pictorial subject matter (dalle de verre windows normally consist of roughly hewn chunks of glass set in concrete, which limits their narrative capacity). In order to work in a more illustrative style, Ruhlmann incorporates pieces of flat glass as well, only using then set on their edges to create lines of coloured light with which he 'draws' *(some are heat distorted to create curves). This is likely a unique use of the medium in England, and deserves to be better known as a highly complex and imaginitive response to the material which remain without imitators.
On the south side is the lady chapel which culminates in another large Ruhlmann window, this time depicting the Nativity across three lights. The chapel is otherwise flooded with light from its remaining clear glazed windows, and is a pleasant place to sit and contemplate Ruhlmann's work.
The church isn't normally open outside of services but is well worth seeing if one can make arrangements to visit. I am hugely hugely indebted to the church's vicar, Reverend Martin Stephenson who kindly agreed to open the church for me after I'd phoned the parish office and spent some time showing me his archive of photos of Ruhlmann's work in France (all of which was previously unknown to me and quite a revelation!). He clearly understands what a special church he has and what a unique individual Tristan Ruhlmann was and I am very grateful for the time he gave me to explore the church and share his passion for its glass.
It was a visit I'll never forget and a church I could easily lose myself in for a lot longer (the acoustics are 'interesting' in there too, quite an echo to every word and movement, I wonder what it is like to sing in there?). Frustratingly my camera was having 'issues' that day, but at least I have a reasonable set of images to show for my visit.
Jacket: St. John, Thrifted
Blouse: Forever 21
Ring (Right hand): c/o Katz Jewelry
Ring (Left hand): Antique
Satchel: Michael Kors
Denim Leggings: Old Navy
Pumps: Enzo Angiolini via Nordstrom
Bird's-eye view of a business block with residential streets and mountains in the
background.
Digital Collection:
North Carolina Postcards
Publisher:
Somers & Co. 5 & 10 Cent Store
Date:
1912
Location:
Mount Airy (N.C.); Surry County (N.C.);
Collection in Repository
Durwood Barbour Collection of North Carolina Postcards (P077); collection guide available
online at www.lib.unc.edu/ncc/pcoll/77barbour/77barbour.html
48x36 in.
Oil & oil stick on gallery canvas
Visit my website at ajeffries101958.wix.com/atjart#
and my Facebook page at www.facebook.com/#!/pages/Alan-Taylor-Jeffries-Art/166608...
To purchase original please contact ajeffries101958@yahoo.com
Thanks for taking the time to look at my work.
More images of this great celebration will be added HERE.
Also in CANDIDS and STREET SHOTS.
More footwear to be found HERE.
Nowhere is there such an intersection of cultures as in New York City. As an immigrant who has lived in New York for over 10 years, traveling among the five boroughs using public transportation is still fascinating and exciting; being in this city can feel like visiting another country. People celebrate the customs and holidays of their country by wearing folk costumes on the street. Awnings with messages in entirely unfamiliar alphabets are completely common. Many of them advertise goods catering to specific nationalities and cultures, especially foods that were brought here or requested by immigrants living in neighborhoods like Brighton Beach, Jackson Heights, or Flushing. The packaging of these products is a form of art that tells stories and helps remind people that their culture is alive. In this way, immigrants in New York City can prevent the fading of identification with their native culture.
Blender is my ongoing project in which I investigate the diverse immigrant cultures in New York City. The project includes photos of the packaging of food products from various neighborhoods with a large immigrant influence accompanied by texts (short stories as well as notes on the history, culture, and trivia relating to immigrant-heavy areas), interactive performance, and a website. I’m showing photos and presenting short texts on the New York City neighborhoods where the photographed food products can be found. The look of these food packages often has an old-fashioned feel: bright, saturated colors and outmoded designs that are rare in both Japan, where I’m from, and America, where I now live. Through this project I hope to show that art can transcend time and language even through the simplest imagery found on a candy wrapper. Blender is a lens into New York's immigrant communities and cultures.
Product: Milk Chocolate, Product of Czech Republic
Store: Pol Bridge, 7218 3rd Ave, Brooklyn, NY
Neighborhood: Bay Ridge, Brooklyn
Suit store on the Bilderdijk using masks in their window display. You are seeing this with more and more clothes stores.
If you're going to participate in a protest march, I wholly encourage wearing a fishnet bodysuit. You'll garner plenty of attention for your cause.
They may have a...
Our Daily Challenge - July 30, 2016 - "Passion"
... for Modeling, but Fashion Sense? Not so much.
Daily Dog Challenge 1735. "Mixed"
Today's Post (Fashion Statement) : www.bzdogs.com/2016/07/fashion-statement.html
Stop on by Zachary and Henry's blog: bzdogs.com - The Secret Life of the Suburban Dog
156/365: I always like to stop to look at graffiti, I might just go photograph more of it this week. Well I'm too tired to function after a long day, I think I'll hibernate and reply tomorrow folks. Thank you for the comments and favourites yesterday, seeing the feedback really motivates me to keep trying to shoot film.
+++ DISCLAIMER +++
Nothing you see here is real, even though the conversion or the presented background story might be based historical facts. BEWARE!
In the period immediately after the Second World War the world found itself with hundreds of thousands of surplus aircraft and just as many surplus aviators. Most aircraft would meet the salvage blade and the smelter’s fiery furnace. Most pilots would return to civilian life, the bulk of them never to fly again.
With the plethora of military aircraft languishing in desert lots awaiting a certain fate, some of those disenfranchised aviators and aircraft designers would look to new growing markets for salvation. One of these emerging markets was the new-found requirement for fast and capable business transport aircraft for executives looking to link business interests across the vast distances of the nation. With few purpose-built business aircraft available for executives, medium bombers became the drug of choice for high flying big shots—fast, powerful and, with the right interior appointments, a visual statement of their success and power.
In early variants like the Executive, On Mark simply removed military equipment and replaced them with fairings and civil avionics, sealed the bomb bay doors, soundproofed the cabin, and added additional cabin windows. Later models had special wing spars designed to give more interior room, pressurization and equipment from bigger surplus aircraft such as DC-6 brakes and flat glass cockpit windows. It was an elegant mashing together of equipment, but it was not a true business aircraft.
In the Sixties, Jet Craft Ltd. of Las Vegas, Nevada, went for a different interpretation of the same topic: The company had purchased a number of former Royal Australian Air Force Vampire trainers and RCAF single-seaters, which were to be converted to a new design for a business aircraft called 'Mystery Jet', offering 4-8-seats.
Jet Craft worked with stellar British conversion experts Aviation Traders to do the structural design work. Aviation Traders Limited (ATL) was a war-surplus aircraft and spares trader formed in 1947. In 1949, it began maintaining aircraft used by some of Britain’s contemporary independent airlines on the Berlin Airlift. In the early 1950s, it branched out into aircraft conversions and manufacturing.
Aviation Traders worked on the drawings and the structural mock-ups. A full-scale mock-up of the Mystery Jet languished at Southend airport for a decade, trying to lure owners and operators into buying it. And this actually happened: about twenty former Vampire airframes were converted into Mystery Jet business aircraft, tailored to the customers' needs and desires.
The Mystery Jet was just what it looked like: a former De Havilland Vampire with a new, roomy nose section grafted onto it. The cabin was pressurized, and was available in two different lengths (130 and 160 inches long, with two or three rows of seats and reflected in the aircraft's title) and several window and door options - the most exotic option being the "Landaulet" cabin which featured a panoramic roof/window installation over the rear pair of seats (or, alternatively, a two-seat bench).
The original Goblin engine was retained, CG was retained due to the fact that the new cabin was, despite being considerably longer than the Vampire's nose, the biggest version being more than 8 feet longer. The new front section was much lighter, though, e. g. through the loss of the heavy cannons and their armament, as well as some more military avionics. The loss of fuel capacity through the enlarged cabin was compensated through fixed wing tip tanks, so that range was on par with the former military jet, just top speed and ceiling were slightly inferior.
Anyway, prices were steep and from the United States more modern and economical offerings ruled the market. Maintaining a former military jet was also a costly business, so, consequently, after a slight buzz (more of a hum, actually) in the early Seventies, the Mystery Jet and Jet Craft of Las Vegas, also fuelled by some dubious business practices by the company's owner, disappeared. Even further developments of the original concept, e .g. with a wide body for up to 14 passengers and two engines, would not save the Mystery Jet from failure.
General characteristics:
Crew: 1 pilot plus 5-7 passengers
Length (Mystery Jet 160): 38 ft 5 in (11.73 m)
Wingspan incl. tip tanks: 39 ft 7 1/2 in (12.09 m)
Height: 8 ft 10 in (2.69 m)
Wing area: 262 ft² (24.34 m²)
Empty weight: 7,283 lb (3,304 kg)
Max. take-off weight: 12,390 lb (5,620 kg)
Powerplant:
1× de Havilland Goblin 3 centrifugal turbojet, rated at 3,350 lbf (14.90 kN)
Performance:
Maximum speed: 516 mph (832 km/h)
Cruising speed: 400 mph (644 km/h)
Range: 1,220 mi (1,960 km)
Service ceiling: 37,700 ft (11,500 m)
Armament:
None
The kit and its assembly:
The first finished work in 2017 is a different kind of whif, one of the few civilian models in my collection. This conversion looks sick, but ,as weird as it may seem, the Business-Jet-From-Vintage-Vampires idea was real. For more information, and the source from where some of the backgound story was gathered, please check:
www.vintagewings.ca/VintageNews/Stories/tabid/116/article...
Anyway, my build is just a personal interpretation of the original concept, not a true model of the Mystery Jet. In fact, this was limited through the donor parts for this kitbash.
The rear end was the smaller problem: Airfix offers a very good Vampire T.11 trainer with excellent detail and fit - the passenger cabin was the bigger challenge. Finding "something" that would fit in shape and especialsl size was not easy - my first choice was a nose section from a vintage 1:100 Antonow An-24 from VEB Plasticart (still much too wide, though), and the best solution came as an accidental find in a local model kit shop where I found a heavily discounted MPM Focke Wulf Fw 189 B-0 trainer.
The reason: the kit was complete, but the bag holding the sprues must have been heated immensely during the packaging process: the main sprues were horrible warped - except for some single parts including the canopies and the sprue with the cabin! Height wind width were perfect, only the boxy shape caused some headaches. But I guess I would not find anything better...
That said, the transplantation mess started. I never built any of the two donor kits before, so I carefully tried to find the best place where to cut the Vampire's nose - I ended up with a staggered solution right in front of the wing root air intakes.
The Fw 189's cabin was bit more tricky, because I had to get rid of the original wing roots and wanted to use as much space as possible, up to the rear bulkhead and together with the rear cabin window. The idea was to blend the Fw 189's roof line into the Vampire's engine section, while keeping the original air intake ducts, so that the overall arrangement would look plausible.
The result became a pretty long nose section - and at that time the tail booms were not fited yet, so I was not certain concerning overall proportions. The cabin's underside had to be improvised, and blending the boxy front end with a flat underside into the tubby, round Vampire fuselage caused some headaches. I also had to re-create the lower flank section with styrene sheet, because I had originally hoped that I could "push" the new cabin between the wing roots - but that space was occupied by the Goblin's inlet ducts.
Inside of the cabin, the original floor, bulkheads and dashboard were used, plus five bucket seats that come with the MPM kit. In order to hide the body work from the inside, side panels from 0.5mm styrene sheet were added in the cabin - with the benefit of additional stability, but also costing some space... Since the machine was built with closed cabin, a pilot was added - actually a bash of a WWII Matchbox pilot and a German officer from an ESCI tank kit. Looks pretty good and "professional". ;-)
Once the cabin was in place, lots of PSR followed and the tail booms could be fitted. To my relief, the longer nose did not look too unbalanced (and actually, design sketches for the original Mystery Jet suggest just this layout!) - but I decided to add wing tip tanks which would beef up wingspan and shift the visual mass slightly forward. They come from an 1:100 Tamiya Il-28, or better the "R" recce variant.
The only other big change concerned the nose wheel. While the OOB wheel and strut were used, the well is now located in front of the wheel and it would retract forwards, giving the nose a more balanced look - and the cabin arrangement made this change more plausible, too.
Another addition were three small porthole windows in the solid parts of the cabin flanks - one of them ending up in the middle of the cabin door on starboard, where a solid part of the canopy roof lent itself for a good place just behind the pilots' seats.
Painting and markings:
I cannot help it, but the thing looks like a design from a vintage Tintin or Yoko Tsuno comic! This was not planned or expected - and actually the paint scheme evolved step by step. I had no plan or clue what to apply - the real Mystery Jet mock-up in silver with blue trim looked sharp, but somehow I did not want blue. So I started with the interior (out of a necessity, as the fuselage had to be closed before any further work progress at some point) and settled for plushy, British colors: Cream (walls and roof) and Claret-Red (carpet and seats).
I tried to find something for the outside that would complement this choice of colors, and eventually settled on Ivory and White (upper and lower fuselage halves, respectively) with some deep red trim, plus pale grey wing surfaces. I even considered some thin golden trim lines, but I think this would have been too much?
The trim was created with decals tripes from generic sheet material, the black anti-glare panel was painted, though. As a color contrast I painted some of the upper canopy panels in translucent, light blue, and this looks very good.
The wings received a lightb treatment with thinned black ink, in order to emphasize the engravings. No post-shading was done, though, for a rather clean look.
Most markings were puzzled together; the registration G-AZRE actually belonged to a Vickers Vanguard (from the 1:144 Airfix kit), the large letters above and under the wings were created with single 45° letters (USAF style). Most stencils come from a Vampire trainer aftermarket sheet from Xtradecal, from the OOB sheet only the "No step" warnings on the wings were used.
Finally, the kit was sealed with a semi-matt coat of varnish, except for the anti-glare panel, which recived a matt coat. The three small windows received artificial panes made from Clearfix, after their rims had been painted black.
A messy project, and you better do not take a close look. But the overall elegance of this creation surprises me - the real Mystery Jet already looked sleek, and this model, despite a more blunt nose, confirms this impression. The colors work together well, too - and the thing has a dedicated retro feel about it. Tintin might be on board, as well as Elton John, both sharing a cigar on the rear seats... ;)
Back in my painting days, I used to like to take images from the newspapers and "edit" them into paintings, highlighting or distorting a particular feature for effect (the one on the right is an unfinished example). And now I have a Lego version of this one :)
Local Accession Number: 2012.AAP.43
Title: The bookman, a literary journal. April number now ready.
Creator/Contributor: Scotson-Clark, G. F. (George Frederick), 1872-1927 (artist)
Date issued: 1890-1920 (approximate)
Physical description: 1 print (poster) : color ; 40 x 27 cm.
Summary: An old man reads a book while studying a larger text.
Genre: Book & magazine posters; Prints
Subjects: Men
Notes: Title from item.
Date note: Date supplied by cataloger.
Statement of responsibility: Scotson-Clark.
Collection: American Art Posters 1890-1920
Location: Boston Public Library, Print Department
Rights: No known restrictions.