View allAll Photos Tagged Versatile
The PBY Catalina is a seaplane used primarily for maritime patrol and search and rescue operations during World War II. It was one of the most widely used seaplanes of its time, known for its long range and ability to land on water. The Catalina played a crucial role in anti-submarine warfare, convoy escort missions, and reconnaissance missions throughout the war. Its durable construction and versatility made it a valuable asset in both military and civilian roles.
I wanted to show these two tops next to each other to demonstrate how versatile this block is. These are both made with the very same block (a bit of difference in the size of the strips) but with different goals in mind. The one on the left, although color controlled, doesn't use value in the kaleidoscope wedges or the block corners, so it's really hard to see a circle, you more see the individual blocks. The one on the right has no color control, but uses value to bring out the circle design and the blocks blend together. Fun to play around with the same block :)
I love these little bird stamps... they're so fun and versatile - and I love coloring them :) Coloring with Copics, poinsettias are Jolee's and border punch is Martha Stewart
kamikaze DADA knit
freeform crochet fusion
glossy (lana grossa) art yarn
combined with
ultra chunky qualities
asymmetric design with MM yo-yo front fastening
might be used as a coat
lagenlook style
versatile fun garment
for all seasons
but only for the creative
& the brave soals
***UPDATE*** Polly nabbed this McCobb stool for her new work space, . Thanks!
You would be hard pressed to NOT be able to find a spot for this American classic.
Manchmal stricke ich gerne
ums Eck
oder gleich um mehrere Ecken
& drehe Pirouetten
in Koralle
Mocca
Elfenbein
auch wenn mein toy piano
gerade in schlechter Laune ist
wearable art
versatile
asymmetric
joyful
geometrical
& mit Augenzwinkern
In the primary level of wheelset's suspension are used the flexicoil suspension springs acting on both sides of the axlebox. Through the additional horizontal guidance link arms connecting the axlebox with the bogie frame are applied the longitudinal tractive and brake forces. In the seconary level is used an air spring.
Versatile rail motor car АМ140 was used as the base for the АМ-140-01 ПК (АМ140ПК), new rail motor car of higher comfort www.flickr.com/photos/cetus13/54475933087/in/dateposted/
Both rail motor cars of АМ140 family are produced by Sinara-Transport Machines Holding (part of the Sinara Group) on the Sverdlovsk Track Repair and Mechanical Plant (ОАО "Свердловский путевой ремонтно-механический завод "Ремпутьмаш", код 1598).
Speed, 140 km/h
Twin diesel generator 540kW,
electric transmission
Number of drive/brake axles 4/4
60% limited quantities- only marketplace
Versatile Outfit:
Very special outfit, body with a spectacular belt that surrounds all your torso and short jacket, can be used together or separately, in eight different textures. easy color change hud, do not hesitate to try it
Jacket: Belleza, Slink, Maitreya
Body: Belleza, Slink, Maitreya
1 Huds
I created this jacket for all armpits whose plight is a sweaty existence when faced with adverse conditions (such as workouts!). I drafted a pattern and went to the sewing machine to create this sporty little jacket. The arms are removable and the garment becomes a zip-up vest.
My amazing model is very flexible as seen here. Photography by Thimblescratch (as usual).
If you like what you see, check out my profile or website.
In the primary level of wheelset's suspension are used the flexicoil suspension springs acting on both sides of the axlebox. Through the additional horizontal guidance link arms connecting the axlebox with the bogie frame are applied the longitudinal tractive and brake forces. In the seconary level is used an air spring.
Versatile rail motor car АМ140 was used as the base for the АМ-140-01 ПК (АМ140ПК), new rail motor car of higher comfort www.flickr.com/photos/cetus13/54475933087/in/dateposted/
Both rail motor cars of АМ140 family are produced by Sinara-Transport Machines Holding (part of the Sinara Group) on the Sverdlovsk Track Repair and Mechanical Plant (ОАО "Свердловский путевой ремонтно-механический завод "Ремпутьмаш", код 1598).
Speed, 140 km/h
Twin diesel generator 540kW,
electric transmission
Number of drive/brake axles 4/4
Expired Kodak Max Versatility 400 35mm film shot in a Canon 1000fn SLR camera with an EF 50mm f1.8 lens
Overlooking the train tracks on Dewsbury Road, Beeston, Leeds (UK)
Art numérique abstrait 30 x 45 cm disponible sur mon site officiel - Abstract digital art 45 x 30 cm avalaible on my official website : emart-emmanuellebaudry.e-monsite.com/album-photos/2019-08...
D-100 Versatile 4x4 Tractor - Manitoba Agricultural Museum - Austin Manitoba Canada
Versatile is a Canadian brand of agricultural equipment that has produced augers, swathers and combine harvester. In the 1970s, it was an independent operation, founded by Peter Pakosh and Roy Robinson, that had 70% of the 4WD tractor market.
chaos freeform
seamless
tunica dress
asymetric silhouette
intuitive knitting
speed crochet
multi versatile
wearable underwater sculpture
upside-down
flipped
inside-out
asymetric sleeve
serving as a collar
or hood as well
for the playful insane
who enjoy to surprise themselves
borderless
ignoring all limitations
& conventions
El Grito, 1895, litografía
Das Geschrei, Lithografie
The Scream, lithograph
Edvard Munch es uno de los grandes protagonistas de la modernidad - su pintura y las artes gráficas son algunos de los momentos más memorables del arte de la vuelta del siglo. Con aproximadamente 120 de las obras más importantes del artista noruego, muestra la Albertina unos iconos de su arte, entre ellos El grito, Madonna, el Beso y la Melancolía. Del mismo modo, la exposición dar un idea del enfoque gráfica experimental de Munch. La vida y obra del artista, acompañado de las crisis existenciales y fracturas, y al mismo tiempo determinado por la mayor consecuencia, ilustran su intenso compromiso con la soledad, el amor y la muerte. Como precursor y pionero del expresionismo, el describe enérgicamente y implacablemente la fugacidad y la desaparición de la persona en la era de la industrialización.
La exposición presenta el proyecto central de su extensa obra: el friso de la vida. Esto incluye representaciones de etapas versátiles de la vida: desde la fertilidad y la fecundación, el embrión, el árbol de la vida, desde la infancia y la adolescencia a través de la atracción, el beso, la asociación hasta el destacamento, la desesperación, al grito, a la vejez y la muerte surgieron numerosos temas. Munch en su argumento desarrolló ilustraciones altamente simbólicas del amor, la tristeza, la melancolía y la muerte; crea en temas como la fertilidad diversas variaciones llenas de máxima intensidad. Hoy, obras del friso de la vida como El grito, Madonna o El beso están consideradas iconos de la modernidad.
Los objetos expuestos en la exposición proceden de la más importante colección privada internacional de grabados de Edvard Munch. Esta extraordinaria colección incluye numerosas series de obras y variaciones de litografías, aguafuertes y xilografías, ilustrando el genio gráfico de Munch. Dos tercios de esta colección - alrededor de 120 piezas únicas de alta calidad - se proporcionan a la Albertina generosamente para esta presentación única.
Edvard Munch is one of the greatest protagonists of modernity - his painting and graphic arts are among the absolute highlights of the art of the turn of the century. With approximately 120 of the most important works of the Norwegian artist, shows the Albertina icons of his art, including The Scream, Madonna, The Kiss and Melancholy. Similarly, the exhibition gives insight into Munch's experimental printmaking approaches. Life and work of the artist, accompanied by existential crises and fractures, and at the same time determined by the highest consequence, illustrate his intense engagement with the loneliness, love and death. As a forerunner and pioneer of Expressionism, he incisively and relentlessly describes the transience and the disappearance of the individual in the age of industrialization.
The exhibition presents the central project of his extensive work: the Frieze of Life. This includes representations of versatile stages of life: from the fertility and fertilization, the embryo, the tree of life, from childhood and adolescence through the attraction, the kiss, the association up to the detachment, despair, on the cry, old age and death numerous themes have emerged. Munch in his argument develops symbol-charged illustrations of love, sorrow, melancholy and death; creates on topics such as fertility diverse variations full of utmost intensity. Today, works from the Frieze of Life, like The Scream, Madonna or The Kiss are considered icons of modernity.
The exhibits in the exhibition stem from the most important international private collection of prints of Edvard Munch. This extraordinary collection includes numerous outstanding series of works and variations of lithographs, etchings and woodcuts, illustrating the printmaking genius of Munch. Two thirds of this collection - around 120 high quality unique items - have been generously provided to the Albertina for this unique presentation.
Edvard Munch ist einer der großen Protagonisten der Moderne – seine Malerei und Grafik zählen zu den absoluten Höhepunkten der Kunst der Jahrhundertwende. Mit rund 120 der bedeutendsten Werke des norwegischen Künstlers zeigt die Albertina Ikonen seiner Kunst, darunter Der Schrei, Madonna, Der Kuss und Melancholie. Gleichsam gibt die Ausstellung Einblick in Munchs experimentelle druckgrafische Ansätze. Leben und Werk des Künstlers, von existentiellen Krisen und Brüchen begleitet und zugleich von höchster Konsequenz bestimmt, illustrieren seine intensive Auseinandersetzung mit der Einsamkeit, der Liebe und dem Tod. Als Vorläufer und Wegbereiter des Expressionismus beschreibt er eindringlich und schonungslos die Vergänglichkeit und das Verschwinden des Individuums im Zeitalter der Industrialisierung.
Die Ausstellung präsentiert das zentrale Projekt seines umfangreichen Werks: den Lebensfries. Dieser umfasst Darstellungen vielseitiger Lebensabschnitte: Von der Fruchtbarkeit und der Befruchtung, dem Embryo, dem Lebensbaum, von der Kindheit und Jugend über die Anziehung, den Kuss, die Vereinigung bis hin zur Loslösung, Verzweiflung, zum Schrei, zum Alter und zum Tod sind zahlreiche Motive entstanden. Munch entwickelt in seiner Auseinandersetzung symbolgeladene Illustrationen von Liebe, Leid, Melancholie und Tod; schafft zu Themen wie der Fruchtbarkeit vielfältige Variationen voll größter Intensität. Heute gelten Werke aus dem Lebensfries wie Der Schrei, Madonna oder Der Kuss als Ikonen der Moderne.
Die Exponate der Ausstellung stammen aus der bedeutendsten internationalen Privatsammlung von Druckgrafiken Edvard Munchs. Diese außerordentliche Kollektion beinhaltet zahlreiche hervorragende Werkreihen und Varianten von Lithografien, Radierungen und Holzschnitten, die das druckgrafische Genie Munchs veranschaulichen. Zwei Drittel dieser Sammlung - rund 120 hochqualitative Unikate - werden der Albertina großzügigerweise für diese einzigartige Präsentation zur Verfügung gestellt.
www.norwegen.or.at/News_and_events/Veranstaltungen/2015--...
The Albertina
The architectural history of the Palais
(Pictures you can see by clicking on the link at the end of page!)
Image: The oldest photographic view of the newly designed Palais Archduke Albrecht, 1869
"It is my will that the expansion of the inner city of Vienna with regard to a suitable connection of the same with the suburbs as soon as possible is tackled and at this on Regulirung (regulation) and beautifying of my Residence and Imperial Capital is taken into account. To this end I grant the withdrawal of the ramparts and fortifications of the inner city and the trenches around the same".
This decree of Emperor Franz Joseph I, published on 25 December 1857 in the Wiener Zeitung, formed the basis for the largest the surface concerning and architecturally most significant transformation of the Viennese cityscape. Involving several renowned domestic and foreign architects a "master plan" took form, which included the construction of a boulevard instead of the ramparts between the inner city and its radially upstream suburbs. In the 50-years during implementation phase, an impressive architectural ensemble developed, consisting of imperial and private representational buildings, public administration and cultural buildings, churches and barracks, marking the era under the term "ring-street style". Already in the first year tithe decided a senior member of the Austrian imperial family to decorate the facades of his palace according to the new design principles, and thus certified the aristocratic claim that this also "historicism" said style on the part of the imperial house was attributed.
Image: The Old Albertina after 1920
It was the palace of Archduke Albrecht (1817-1895), the Senior of the Habsburg Family Council, who as Field Marshal held the overall command over the Austro-Hungarian army. The building was incorporated into the imperial residence of the Hofburg complex, forming the south-west corner and extending eleven meters above street level on the so-called Augustinerbastei.
The close proximity of the palace to the imperial residence corresponded not only with Emperor Franz Joseph I and Archduke Albert with a close familial relationship between the owner of the palace and the monarch. Even the former inhabitants were always in close relationship to the imperial family, whether by birth or marriage. An exception here again proves the rule: Don Emanuel Teles da Silva Conde Tarouca (1696-1771), for which Maria Theresa in 1744 the palace had built, was just a close friend and advisor of the monarch. Silva Tarouca underpins the rule with a second exception, because he belonged to the administrative services as Generalhofbaudirektor (general court architect) and President of the Austrian-Dutch administration, while all other him subsequent owners were highest ranking military.
In the annals of Austrian history, especially those of military history, they either went into as commander of the Imperial Army, or the Austrian, later kk Army. In chronological order, this applies to Duke Carl Alexander of Lorraine, the brother-of-law of Maria Theresa, as Imperial Marshal, her son-in-law Duke Albert of Saxe-Teschen, also field marshal, whos adopted son, Archduke Charles of Austria, the last imperial field marshal and only Generalissimo of Austria, his son Archduke Albrecht of Austria as Feldmarschalil and army Supreme commander, and most recently his nephew Archduke Friedrich of Austria, who held as field marshal from 1914 to 1916 the command of the Austro-Hungarian troops. Despite their military profession, all five generals conceived themselves as patrons of the arts and promoted large sums of money to build large collections, the construction of magnificent buildings and cultural life. Charles Alexander of Lorraine promoted as governor of the Austrian Netherlands from 1741 to 1780 the Academy of Fine Arts, the Théâtre de Ja Monnaie and the companies Bourgeois Concert and Concert Noble, he founded the Academie royale et imperial des Sciences et des Lettres, opened the Bibliotheque Royal for the population and supported artistic talents with high scholarships. World fame got his porcelain collection, which however had to be sold by Emperor Joseph II to pay off his debts. Duke Albert began in 1776 according to the concept of conte Durazzo to set up an encyclopedic collection of prints, which forms the core of the world-famous "Albertina" today.
Image : Duke Albert and Archduchess Marie Christine show in family cercle the from Italy brought along art, 1776. Frederick Henry Füger.
1816 declared to Fideikommiss and thus in future indivisible, inalienable and inseparable, the collection 1822 passed into the possession of Archduke Carl, who, like his descendants, it broadened. Under him, the collection was introduced together with the sumptuously equipped palace on the Augustinerbastei in the so-called "Carl Ludwig'schen fideicommissum in 1826, by which the building and the in it kept collection fused into an indissoluble unity. At this time had from the Palais Tarouca by structural expansion or acquisition a veritable Residenz palace evolved. Duke Albert of Saxe-Teschen was first in 1800 the third floor of the adjacent Augustinian convent wing adapted to house his collection and he had after 1802 by his Belgian architect Louis de Montoyer at the suburban side built a magnificent extension, called the wing of staterooms, it was equipped in the style of Louis XVI. Only two decades later, Archduke Carl the entire palace newly set up. According to scetches of the architect Joseph Kornhäusel the 1822-1825 retreaded premises presented themselves in the Empire style. The interior of the palace testified from now in an impressive way the high rank and the prominent position of its owner. Under Archduke Albrecht the outer appearance also should meet the requirements. He had the facade of the palace in the style of historicism orchestrated and added to the Palais front against the suburbs an offshore covered access. Inside, he limited himself, apart from the redesign of the Rococo room in the manner of the second Blondel style, to the retention of the paternal stock. Archduke Friedrich's plans for an expansion of the palace were omitted, however, because of the outbreak of the First World War so that his contribution to the state rooms, especially, consists in the layout of the Spanish apartment, which he in 1895 for his sister, the Queen of Spain Maria Christina, had set up as a permanent residence.
Picture: The "audience room" after the restoration: Picture: The "balcony room" around 1990
The era of stately representation with handing down their cultural values found its most obvious visualization inside the palace through the design and features of the staterooms. On one hand, by the use of the finest materials and the purchase of masterfully manufactured pieces of equipment, such as on the other hand by the permanent reuse of older equipment parts. This period lasted until 1919, when Archduke Friedrich was expropriated by the newly founded Republic of Austria. With the republicanization of the collection and the building first of all finished the tradition that the owner's name was synonymous with the building name:
After Palais Tarouca or tarokkisches house it was called Lorraine House, afterwards Duke Albert Palais and Palais Archduke Carl. Due to the new construction of an adjacently located administration building it received in 1865 the prefix "Upper" and was referred to as Upper Palais Archduke Albrecht and Upper Palais Archduke Frederick. For the state a special reference to the Habsburg past was certainly politically no longer opportune, which is why was decided to name the building according to the in it kept collection "Albertina".
Picture: The "Wedgwood Cabinet" after the restoration: Picture: the "Wedgwood Cabinet" in the Palais Archduke Friedrich, 1905
This name derives from the term "La Collection Albertina" which had been used by the gallery Inspector Maurice von Thausing in 1870 in the Gazette des Beaux-Arts for the former graphics collection of Duke Albert. For this reason, it was the first time since the foundation of the palace that the name of the collection had become synonymous with the room shell. Room shell, hence, because the Republic of Austria Archduke Friedrich had allowed to take along all the movable goods from the palace in his Hungarian exile: crystal chandeliers, curtains and carpets as well as sculptures, vases and clocks. Particularly stressed should be the exquisite furniture, which stems of three facilities phases: the Louis XVI furnitures of Duke Albert, which had been manufactured on the basis of fraternal relations between his wife Archduchess Marie Christine and the French Queen Marie Antoinette after 1780 in the French Hofmanufakturen, also the on behalf of Archduke Charles 1822-1825 in the Vienna Porcelain Manufactory by Joseph Danhauser produced Empire furnitures and thirdly additions of the same style of Archduke Friedrich, which this about 1900 at Portois & Ffix as well as at Friedrich Otto Schmidt had commissioned.
The "swept clean" building got due to the strained financial situation after the First World War initially only a makeshift facility. However, since until 1999 no revision of the emergency equipment took place, but differently designed, primarily the utilitarianism committed office furnitures complementarily had been added, the equipment of the former state rooms presented itself at the end of the 20th century as an inhomogeneous administrative mingle-mangle of insignificant parts, where, however, dwelt a certain quaint charm. From the magnificent state rooms had evolved depots, storage rooms, a library, a study hall and several officed.
Image: The Albertina Graphic Arts Collection and the Philipphof after the American bombing of 12 März 1945.
Image: The palace after the demolition of the entrance facade, 1948-52
Worse it hit the outer appearance of the palace, because in times of continued anti-Habsburg sentiment after the Second World War and inspired by an intolerant destruction will, it came by pickaxe to a ministerial erasure of history. In contrast to the graphic collection possessed the richly decorated facades with the conspicuous insignia of the former owner an object-immanent reference to the Habsburg past and thus exhibited the monarchial traditions and values of the era of Francis Joseph significantly. As part of the remedial measures after a bomb damage, in 1948 the aristocratic, by Archduke Albert initiated, historicist facade structuring along with all decorations was cut off, many facade figures demolished and the Hapsburg crest emblems plunged to the ground. Since in addition the old ramp also had been cancelled and the main entrance of the bastion level had been moved down to the second basement storey at street level, ended the presence of the old Archduke's palace after more than 200 years. At the reopening of the "Albertina Graphic Collection" in 1952, the former Hapsburg Palais of splendour presented itself as one of his identity robbed, formally trivial, soulless room shell, whose successful republicanization an oversized and also unproportional eagle above the new main entrance to the Augustinian road symbolized. The emocratic throw of monuments had wiped out the Hapsburg palace from the urban appeareance, whereby in the perception only existed a nondescript, nameless and ahistorical building that henceforth served the lodging and presentation of world-famous graphic collection of the Albertina. The condition was not changed by the decision to the refurbishment because there were only planned collection specific extensions, but no restoration of the palace.
Image: The palace after the Second World War with simplified facades, the rudiment of the Danubiusbrunnens (well) and the new staircase up to the Augustinerbastei
This paradigm shift corresponded to a blatant reversal of the historical circumstances, as the travel guides and travel books for kk Residence and imperial capital of Vienna dedicated itself primarily with the magnificent, aristocratic palace on the Augustinerbastei with the sumptuously fitted out reception rooms and mentioned the collection kept there - if at all - only in passing. Only with the repositioning of the Albertina in 2000 under the direction of Klaus Albrecht Schröder, the palace was within the meaning and in fulfillment of the Fideikommiss of Archduke Charles in 1826 again met with the high regard, from which could result a further inseparable bond between the magnificent mansions and the world-famous collection. In view of the knowing about politically motivated errors and omissions of the past, the facades should get back their noble, historicist designing, the staterooms regain their glamorous, prestigious appearance and culturally unique equippment be repurchased. From this presumption, eventually grew the full commitment to revise the history of redemption and the return of the stately palace in the public consciousness.
Image: The restored suburb facade of the Palais Albertina suburb
The smoothed palace facades were returned to their original condition and present themselves today - with the exception of the not anymore reconstructed Attica figures - again with the historicist decoration and layout elements that Archduke Albrecht had given after the razing of the Augustinerbastei in 1865 in order. The neoclassical interiors, today called after the former inhabitants "Habsburg Staterooms", receiving a meticulous and detailed restoration taking place at the premises of originality and authenticity, got back their venerable and sumptuous appearance. From the world wide scattered historical pieces of equipment have been bought back 70 properties or could be returned through permanent loan to its original location, by which to the visitors is made experiencable again that atmosphere in 1919 the state rooms of the last Habsburg owner Archduke Frederick had owned. The for the first time in 80 years public accessible "Habsburg State Rooms" at the Palais Albertina enable now again as eloquent testimony to our Habsburg past and as a unique cultural heritage fundamental and essential insights into the Austrian cultural history. With the relocation of the main entrance to the level of the Augustinerbastei the recollection to this so valuable Austrian Cultural Heritage formally and functionally came to completion. The vision of the restoration and recovery of the grand palace was a pillar on which the new Albertina should arise again, the other embody the four large newly built exhibition halls, which allow for the first time in the history of the Albertina, to exhibit the collection throughout its encyclopedic breadh under optimal conservation conditions.
Image: The new entrance area of the Albertina
64 meter long shed roof. Hans Hollein.
The palace presents itself now in its appearance in the historicist style of the Ringstrassenära, almost as if nothing had happened in the meantime. But will the wheel of time should not, cannot and must not be turned back, so that the double standards of the "Albertina Palace" said museum - on the one hand Habsburg grandeur palaces and other modern museum for the arts of graphics - should be symbolized by a modern character: The in 2003 by Hans Hollein designed far into the Albertina square cantilevering, elegant floating flying roof. 64 meters long, it symbolizes in the form of a dynamic wedge the accelerated urban spatial connectivity and public access to the palace. It advertises the major changes in the interior as well as the huge underground extensions of the repositioned "Albertina".
Christian Benedictine
Art historian with research interests History of Architecture, building industry of the Hapsburgs, Hofburg and Zeremonialwissenschaft (ceremonial sciences). Since 1990 he works in the architecture collection of the Albertina. Since 2000 he supervises as director of the newly founded department "Staterooms" the restoration and furnishing of the state rooms and the restoration of the facades and explores the history of the palace and its inhabitants.
Taken for May's most versatile in the Compositionally Challanged Group.
Processed in Affinity Photo and sharpened with NIK Output Shapener
Ana’s versatile arsenal allows her to affect heroes all over the battlefield. Her Biotic Rifle rounds and Biotic Grenades heal allies and damage or impair enemies; her sidearm tranquilizes key targets, and Nano Boost gives one of her comrades a considerable increase in power.
Ana’s rifle shoots ...
The ifc complex at Central waterfront will be completed following the unveiling of Four Seasons Hotel and Four Seasons Place in September. The completion of ifc complex will further reinforce its image as a new landmark in Hong Kong, a commercial and an entertainment hub, and a sightseeing spot. Also, it will fuel the development of Central as a leisure destination alongside as a CBD.
ifc complex, of 4.7 million sq. ft., includes two office towers (39-storey One ifc, and 88-storey Two ifc), and soon, Hong Kong's first Four Seasons Hotel and luxury suite hotel Four Seasons Place, and the 800,000 sq ft-plus, 4-storey ifc mall. Two ifc is the tallest building in Hong Kong and the fourth tallest in the world.
Since their opening, One ifc and Two ifc have drawn in many leading multinational companies and financial institutions including the Hong Kong Monetary Authority. Now, approximately 15,000 office executives are working in these two office towers, which can be seen as a miniature of Central business district. The Four Seasons Hotel (399 premium guest rooms) and Four Seasons Place (519 serviced suite hotel managed by Four Seasons Hotels & Resorts) have also started their leasing campaign and are expected to be in service in September.
As part of the ifc complex, ifc mall is blessed by the proximity to the about-to-open Four Seasons Hotel. The mall also benefits from the rebound retail market this year and the opening of Hong Kong Disneyland by mid September. Currently, the mall is fully leased out while the rental is hovering above HK$220 plus turnover rates.
The mall houses a diverse tenant mix of more than 100 international brands, offering a fashion mecca, state-of-the-art beauty centre, delectable restaurants and eateries choices overlooking the harbour, and Hong Kong's most luxurious cinema Palace IFC. The tenant mix is particularly impressive which features not only the world's premium brands but also specialty stores with the 'first' concept. The latter includes 12 new brands and over 50 of the city's flagship and new concept stores. To name but a few, they include Lane Crawford's 80,000 sq ft-plus, new and the largest flagship store, the new concept store of the dignitaries-frequented Lei Garden Chinese restaurant, and Hong Kong's first global fashion guru ZARA.
Coupled with the ifc complex as Hong Kong's new landmark, the mall's unique tenant mix, together with its contemporary architectural in-mall designs and 1,800 ample parking space, have attracted the office executives in Central and those residing outside the district to spend their leisure time in Central. This new image of Central with versatile days and nights will be furthered enhanced upon the completion of ifc complex in September.
BOX DATE: 2010
MANUFACTURER: Mattel
MISSING ITEMS: 2 pairs shoes, neck pillow, suitcase, passport, skirt, dress
PERSONAL FUN FACT: I was DYING to know what these awesome pants went to, when I unearthed them from a $5 baggie of doll clothes that I purchased at my local flea market. This shirt looked so good with these pants, that I had a feeling that they went together. I also questioned if perhaps they came with a fashion gift pack of sorts. A long time ago, back in 2011, when I first started delving back into dolls, I never would have guessed that these pants were made for Barbies. They look more like the kind of quirky item that Kid Kore Katie would have come with (which is a compliment). Back then, I was very taken aback by Fashion Fever outfits and these more modern Fashionistas type gift sets. The clothes were not only unique looking, but shockingly versatile. I know that in many ways, certain Barbie items are lesser quality than what I grew up with in the 90s and early 2000s. But I have to say that these newer outfits have so much more personality and flavor than many of the sets that were out in stores when I was a kid! For some reason, the cat decal on the pants always looks like a unicorn to me from a distance. I think if these were unicorn pants, Colleen would have needed to use them right away (unicorns are her favorite animals, even though they are imaginary). The princess themed top is the perfect coordinating piece. I am also in love with this furry Barbie vest--it reminds me of a few of the other vests I have from this same time frame!
Stobist / CLS Info:
Pop-Up: Commander @ "__"
Group A: SB600 @ Manual 1/128th power, Snooted, Behind Clip
even a comfortable seat, by Joysline Pratt
she told me the story of the Andesite, an extrusive rock intermediate in composition between rhyolite and basalt. Andesite lava is of moderate viscosity and forms thick lava flows and domes. The word andesite is derived from the Andes Mountains in South America, where andesite is common. Andesite is the volcanic equivalent of diorite.
THE VERSATILITY OF THIS ESCAPE ARTIST, MAGICIAN, ILLUSIONIST, FORMER U.S.M.C. DRILL INSTRUCTOR 2X, RECRUITER FOR U.S.M.C., UNICYCLIST, JUGGLER, GYMNAST, MARATHON RUNNER, COMBAT INSTRUCTOR FOR NAVY SEALS, MARTIAL ARTS EXPERT IN A NUMBER OF ARTS, SURFER, DAREDEVIL, HANDGLIDER, FATHER OF FIVE CHILDREN, 6X WORLD RECORD HOLDER IN ESCAPOLOGY AND 46 MPH HANDSTAND ON SKATEBOARD TIED TO A MOTORCYCLE, TEACHER IN GYMNASTICS, MARTIAL ARTS, CIRCUS PERFORMER HIGH WIRE, PARACHUTIST, SPECIAL FORCES IN MARINES, FASTEST JAIL BREAK IN 22 SECONDS, FASTEST STRAITJACKET ESCAPE LESS THAN 7 SECONDS...IS UNMEASURABLE TO ANY OTHER ESCAPE ARTIST IN THE WORLD AND PERHAPS IN HISTORY. I HAVE SUPPLIED BUT A FEW PHOTOS THAT ARE LEFT FROM HOUDENNY'S EX-WIFE TAKING THEM AND PREVIOUS REPORTERS MISPLACING THEM DURING INTERVIEWS, WHICH IS A SHAME HAVING SO MANY YEARS LOST OF THIS MAN' TALENT.
www.ibmring362.org/WEAR2007.html
www.motiono.com/HOUDENNY/albums/177/
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Bought an awesome t-shirt style dress from New Look (<3) on Thursday, I'm just about learning how versatile it is. Here's how I wore it for a lazy day in today. To think that this skirt was in my "to sell" pile, all because it didn't fit me. Now it does!
Dress (as top), New Look (remixed)
Skirt, vintage (remixed)
Belt, H&M (remixed)
Tights, H&M (remixed)
Shoes, Topshop (remixed)
versatile ТЭ26 diesel-electric locomotive was presented by TransMashHolding on the biannual International railway fair "1520 "PRO//Motion.Expo"-2025 in St Peterburg. This model built by BMZ is the potent replacement of the old good M62 locomotives. It has improved 3875 h.p. (2850 kW) a/c diesel-generator 18-9ДГМ-02 by Kolomna locomotive works but the traction motors are still of the collector type.
Sold for £3,249,500 inc. premium
Fully restored by Works Service,1960 Aston Martin DB4GT 'Jet' Coupé Chassis no. 0201L Engine no. 370/0201/GT
Day 137 of my 365 day photo challenge.
A visit to the auction at the Aston Martin Works, Newport Pagnell, Buckinghamshire.
Footnotes
Coachbuilt examples of the DB4/5/6 family of Aston Martins are extremely rare, making the unique Bertone-bodied car offered here all the more precious and desirable. '0201L' is the last DB4GT chassis completed in period (a further six 'Sanction II/III' DB4GT Zagatos were built in the late 1980s/early 1990s) and was first displayed on Bertone's stand at the 1961 Geneva Motor Show, which was followed by an appearance at Turin that same year. Its designer was none other than Giorgetto Giugiaro, one of the 20th Century's foremost automotive stylists and then only 22 years of age, who would go on to create some of the Italian coachbuilder's most memorable designs before leaving to join Carrozzeria Ghia. By the time he left Ghia to found Italdesign in 1968, Giugiaro had been responsible for such sublime creations as the Maserati Ghibli and De Tomaso Mangusta.
It was only appropriate that Aston Martin's top-of-the range and most expensive production model, the DB4GT, should have been selected for this very special project. As its nomenclature suggests, the DB4GT was a competition variant of the DB4 sports saloon. Launched at the London Motor Show in 1958, the Aston Martin DB4 had emphatically demonstrated that a British manufacturer could better the Italians at their own game when it came to constructing the ultimate Gran Turismo. Its specification included a completely new steel platform chassis with disc brakes all round, and a race-developed twin-cam six-cylinder 3.7-litre engine, all clothed in a perfectly proportioned aluminium body designed by Carrozzeria Touring of Milan. Overall, the DB4 was state-of-the-art for its time, a masterpiece of robust British engineering combined with exquisite Italian styling.
Engineered under the watchful eye of Harold Beech, the immensely strong platform-type chassis replaced the DB2/4's multi-tubular spaceframe, the latter being considered incompatible with Touring's Superleggera body construction that employed its own lightweight tubular structure to support the hand-formed aluminium-alloy body panels. The trailing-link independent front suspension of the DB2/4 gave way to unequal-length wishbones while at the rear the DB4 sported a live axle located by Watts linkage instead of its predecessor's Panhard rod.
The new car's competition potential had been recognised from the outset and the factory lost no time in developing a lightweight version suitable for racing, the resulting DB4GT debuting at the 1959 London Motor Show. The model had already been proven in competition earlier that year when the prototype driven by Stirling Moss ('DP/199') won its first race at Silverstone. Extensive modifications to the standard car took 5" out of the wheelbase and replaced the rear seats with a luggage platform on all but a small number of cars. Together with lighter, 18-gauge bodywork, these changes reduced the car's weight by around 200lb (91kg).
The GT used a tuned engine which, equipped with a twin-plug cylinder head and triple Weber 45DCOE carburettors, produced a claimed 302bhp at 6,000rpm, a useful increase over the standard car's claimed 240bhp. Maximum speed, of course, depended on overall gearing but 153mph was achieved during testing with a 0-60mph time of 6.1 seconds recorded. The DB4 was also one of the first cars to go from standstill to 100mph and then brake to a dead stop on under 20 seconds, a tribute, in part, to its up-rated Girling brakes as used on Aston Martin's sports racers of the era.
Viewed from the front, the GT was readily distinguishable by its faired-in headlamps with Perspex covers, a feature later made standard on the DB5 and DB6. The rear screen and quarter windows were Perspex on many examples; bumper over-riders were deleted and the wind-down windows were frame-less within the doors. Twin Monza quick-release competition fuel fillers were added atop the rear wings, leading to a large-capacity fuel tank mounted flat in the boot. GTs were fitted as standard with lightweight Borrani 42-spoke wire wheels with alloy rims and three-ear 'knock-offs'. Trimmed to full Aston Martin road car specification, the interior boasted fine Connolly leather upholstery and deep-pile Wilton carpeting, while the GT benefited from the addition of an oil temperature gauge to the standard complement.
The DB4GT offered a strong challenge to the prevailing Ferrari dominance in GT racing, with examples entered by the works and John Ogier's Essex Racing Stable enjoying numerous victories. Driven by the likes of Roy Salvadori, Stirling Moss, Jim Clark and Innes Ireland, the DB4GT earned its stripes every weekend on the racing circuit. In December 1959, at the Bahamas Speed Week, Stirling Moss won driving a standard customer DB4GT 'borrowed' by the works following the demise of Moss's intended DBR2! The DB4GT was indeed a true dual-purpose car, equally at ease on both the circuit and Grand Tour. Only 30 were produced in left-hand drive configuration.
Originally finished in light green with contrasting grey interior, the 'Jet', as it became known, was lavishly trimmed in the best Aston Martin tradition, contrasting with the less well appointed, though lighter, Zagatos. Reminiscent of some Bertone creations on Ferrari chassis, this svelte notchback coupé is unique among DB4GTs as the only example bodied in steel, and would surely have made more of an impact had its Geneva debut not coincided with that of the Jaguar E-Type. A case of unfortunate timing if ever there was one, not that Bertone could be blamed for that. Giugiaro would body only one other Aston Martin, the DB7 Vantage-based 'Twenty Twenty' concept car of 2001, while a few years later Bertone revived the original idea with its 'Jet 2' on the Vanquish V12 platform.
'0201L' is known to have spent some time in Beirut before relocating to the USA, remaining there for several years before being rediscovered by Aston Martin Chairman, Victor Gauntlett, in the 1980s and shipped back to the factory. Quoted in Classic & Sports Car magazine's May 2013 edition, Kingsley Riding-Felce, currently Managing Director Aston Martin Works, recalled: 'The car was in a pretty sad state. It had suffered an engine fire... The bonnet was badly burnt and rust had taken hold in the steel bodywork. Only the sills plus the front and rear aprons are aluminium. Everything else is steel so Bertone must have made tooling, which suggests that it was hoping for a production series.'
Its late owner, Hans-Peter Weidmann, bought '0201L' from Victor Gauntlett while the car was undergoing total restoration to concours condition at Newport Pagnell under Kinglsey's supervision. He recalled some of the problems for C&SC: 'It was a big job because we had to make new door skins and fabricate replacement bumpers out of brass. It was quite a challenge configuring them to the body and getting the clearances right, but we wanted to keep it as original as possible. The instruments had to be redone and searching out missing switchgear in Italy proved quite a task. The Jet was very well made and clearly built to be driven. The styling isn't very Aston Martin but we never tired of looking at it.'
The car has been regularly maintained by the factory since the rebuild's completion in 1988 and comes with a comprehensively illustrated album of photographs recording the restoration, together with Swiss registration papers.
Following its total restoration at Works Service, the 'Jet' went on to amass an enviable collection of concours d'élegance awards including 1st in the Italian Coachwork class at Pebble Beach (1989) and 'Best in Show' at Villa D'Este and RAID Basle (both in 2001). Bertone's 'Jet' is one of very few cars summoned back to Pebble Beach, reappearing there in 1997 as part a special tribute to Aston Martin. Further 1stin- class awards have been garnered at the Hurlingham Club, AMOC Silverstone, Bagatelle Paris, Düsseldorf, Schloss Schwetzingen and New York, the most recent being awarded at Het Loo in 2007 (the Trophies from these concours successes are offered with the Car).
In recent years Hans-Peter Weidmann spent more time driving this unique Gran Turismo as its maker intended. Interviewed by Octane magazine for a feature on the Aston Martin DB4 (November 2005 edition) he declared: 'It was intended to be a grand tourer and that's just what I use it for.' By that time he had driven some 35,000 miles in the car including a marathon trip from San Francisco to Vancouver, covering the 950 miles in one night! Only one fuel stop would have been necessary as the oversize (37-gallon/168-litre) tank all but fills the boot, making this a car with true continent-crossing
capability. Indeed, Octane found that, compared with the other DB4 variants, the steel-bodied Jet 'rides more smoothly, in keeping with its Continental image.'
The year 2013 marks Bonhams' 14th annual auction at Works Service and we are immensely proud to have been entrusted with the sale of this most important Aston Martin. The DB4GT 'Jet', most significantly, has the unique cachet of being a one-off design by Bertone, and also is uniquely entwined with Aston Martin Works Service, which undertook its concours restoration with no expense spared. Concluding the C&SC article, Kingsley Riding-Felce said: 'Hans-Peter wouldn't want the Jet to go into storage, and we hope that the new owner will take part in this year's centenary events.'
Offered for sale for the first time on almost 30 years, '0201L' embodies the precious assets of rarity, continuous history, versatile usability and superb running condition. Arguably the most desirable Aston Martin currently available, it is the perfect acquisition with which to celebrate the marque's centenary in 2013.
Should the vehicle remain in the UK, local import taxes of 5% will be applied to the purchase price.
£2,800,000 - 3,800,000
3,300,000 - 4,500,000
Concours d'elegance
Aston Martin DB4GT Bertone Jet
1989 Pebble Beach, 1st in Class Italian Coachwork
1991 London, Hurlingham Club, 1st in Class
1991 Silverstone, Aston Martin Owners Club -1st in Class and overall winner
1992 Paris, Bagatelle, 1st in Class
1997 Pebble Beach, Second Invitation
2001 Villa D'Este, 1st in Class and Best in Show
2001 Dusseldorf, 1st in Class and Best in Show
2001 Schloss, Schwetzingen, 1st in Class
2001 RAID, Basel, Best in Show
2005 New York, 1st in Class
2007 Pebble Beach, Third Invitation
2007 Holland, Het Loo, 1st in Class
Arriva Buses Wales 998 (CX11 EVG) is one of the divison's two Optare Versas powered by Mercedes-Benz, and is seen here at Mold Bus Station having terminated on service X44, for which it is branded.
This versatile vehicle is an epitome of recycling of scrapped materials. The front wheel, frame, handlebar, lights, dynamo, self starter, battery & luggage box are from motorcycles. The seat & rear wheels from a scooter. The pedals from a car. The gear shift from a lathe machine. The rear shock absorbers are partly from a car & partly a hammer press. All the blue frames are welded from window grilles. The wooden bed out of packing crates. The engine is a combo out of drive mechanisms from different shallow water pumps widely used in villages.
This versatile vehicle is used for transporting anything under the sun. Commonly seen loads comprise stacks of hay, earthen pots, goats, a bunch of villagers, gunny bags of vegetables, fruit baskets, milk cans ... you name it. Near No. 2 Bazaar, Kalyani, Nadia, WB, 13.3.11
This image was shot in Trinidad. The cameras the amazing Nikon D750 and and a Nikon D800 modified (by lifepixel.com) to capture infrared.
The Lenses were the equally amazing and versatile Nikkor 28-300mm (AKA "the Street sweeper), Nikkor 24-120mm Nano and the Nikkor 80-400mm Nano coated lenses.
This image was captured with my Nikkor 24-120mm and my modified D800 infrared camera.
Post processing was done with Capture NX-D (Raw processing) Photoshop CC 2014, onOne Perfect Suite and Nik Collection Software.
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