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Yarn Details:
Amelie, a cobweb lace weight yarn, made from 50% suri baby alpaca, 30% extra fine merino, 20% silk. 1300 yards (1200m) per 100g.
Colour Description:
Intense semi solid; violet, cobalt
A day spent at Hook Norton Brewery watching Commander, a Clydesdale horse go about his business delivering beer to the local pub. Organised by David Williams of Timeline Events.
The Midewin National Tallgrass Prairie is the largest island in the archipelago of protected areas that collectively comprise the Chicago Wilderness. It includes full array of species and natural processes typical of tallgrass prairies in the region, including the reintroduction of bison.
Turning back the clock from a landscape dominated by rusting munitions factories and abandoned ammunitions bunkers into a 20,283 acre pristine tallgrass prairie makes the Midewin a compelling vision for landscape scale restoration.
(USDA Forest Service photo by Preston Keres)
I love how you can always see the train car behind you turning. If this photo wasn't so blurry, that is...
When container ships are ready to leave the port, they go down to the widest part of the channel and the tugs turn them around. Takes about five minutes, which is pretty impressive considering just how *big* these things are.
Built in 1956 and expanded in 1959, this Usonian-style Modern house was designed by Frank Lloyd Wright for E. Clarke Arnold, an attorney, and his wife, Julia Arnold. The house was initially a V-shaped house consisting of the west and south wings, with the north wing being added in 1959 to provide additional bedrooms to house the growing Arnold family, and was begun shortly after Wright’s death, turning the V-shaped house into a Y-shaped house. The design of the wing was initially drafted up by Wright, but was completed by Taliesin fellow and Wright apprentice John H. "Jack" Howe, whom drafted up the final design for the addition. The house, like many Usonian houses, is low-slung with a layout based on geometric modules, in this case, parallelograms with 4-foot sides, and is arranged into a living room and carport wing and bedroom wings that intersect at a bathroom, utility, chimney, and kitchen core in the center of the Y-shaped house. The house originally featured three bedrooms, with two additional bedrooms being added in 1959. Like several other Usonian homes, the house utilizes slab-on-grade construction, with the heating system consisting of a series of steam pipes embedded into the ground under the slab.
The low-slung one-story house features a low-pitch gabled roof on the original section with a low-slope roof on the addition, which cantilevers with eaves over the walls on most sides of the house, and cantilevers as a partial shade structure on the rear facade of the house over a terrace, with the fascia and eaves being clad in wood. The house features limestone walls and a limestone chimney in the center of the house, with small windows on the facades facing Dix Street, and larger walls facing the rear yard, which also features a terrace along the living room, and a screened-in porch on the rear facade of the addition. The house features a carport at one end of the living room wing with a roofline that extends out from the rest of the house, a tool shed integrated into the rear wall of the carport, and a front entrance at the intersection of the original house and the addition. Inside, the house features ochre yellow concrete floors rather than the more typical Usonian cherokee red floors, vaulted ceilings, stone and wood walls, wooden roof beams, a built-in sofa and bookshelf in the living room along the inside of the front wall, angled walls based on the parallelogram grid of the house, and closets with wooden doors.
The house was listed on the National Register of Historic Places in 2007. The house remains in use as a private residence, and maintains most of its original significant details both inside and out. The house is an excellent example of a late Usonian house, but no longer looks over farmland to the west, as a more modern subdivision was built behind the house, with large houses now sitting in the line of sight between the rear terrace and surrounding farmland it was designed to overlook. Despite this, the rest of the house’s context remains largely intact from its period of significance.
just finished flying low & fast up a river, unfortunately all the shots from over the rapids are blurry.
Screenshot of 'Turning Away Toward: a dance of introduction' - a dynamic animation created for remixworx.net and Anorectic Avatars. See the animation here: www.runran.net/remix_runran/?p=2082
Farmers turning coffee on drying beds. Photo by Ben Corey-Moran
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photo ©2015 Thanksgiving Coffee Company
Performance by Dance I, Period 5 & Choreography by Amanda Sandifer; BHS Dance Program Spring Concert, March 2013, Burbank, California