Applied some Silver Efex to one of the squirrel shots.

Noble Jones applied for a lease for 500 acres (2.0 km2) on the south side of the Isle of Hope in 1736 (the Trustees didn't approve the lease until 1745) and began building a fortified house overlooking the Skidaway Narrows. The house was constructed between 1739 and 1745 using wood and tabby, a crude type of concrete made from oyster shells and lime. The fortress consisted of 8-foot (2.4 m) high walls with bastions at each of its four corners. The fort house was 1.5 stories and had five rooms. Oglethorpe allotted Jones' fort a 12-man marine garrison and a scout boat with which to patrol the river. From Wikipedia

City ​​Park

(more pictures you can see by clicking on the link at the end of the side!)

Photo: Vienna City Park plan - Flower - Lake

City Park Plan - Flower - Lake Ltd. © Vienna - specific

The Viennese City Park stretches from the park ring in the first district of Vienna up to the Haymarket in the third district of Vienna and is a of both tourists and local citizens well-visited park in Vienna. Its area is 65,000 m².

History

Yet in the Biedermeier the Water Glacis was a popular entertainment venue before the Karolinenstadttor (city gate). As part of the by the demolition of the city wall happened remodeling in the Ringstrasse, the project of a public park has been promoted on that site by the then Mayor of Vienna, Andreas Zelinka. This park was designed in the style of English gardens by the landscape painter Josef Selleny, the plannings were carried out by the city gardener Rudolf Siebeck. On 21th August 1862 the city park was opened as the first public park in Vienna.

Vienna River flows through the city park

The Wien River flows through the city park, Vienna © concrete

"Wien" (Vienna River) in the city park

On the right bank of the river Wien (Wienfluss) was 1863 the so-called children's park, today mainly characterized by paved playgrounds and sports facilities, which over the Karoline bridge (Karolinenbrücke) (since 1918 Stadtparkbrücke), built in 1857, with the on the left bank situated town park is connected.

In the years 1903-1907 was in the parking area after the regulation a by Friedrich Ohmann and Josef Hackhofer planned Vienna river engineering structure with the river gate, pavilions and river banks built, which is one of the sights in the park.

In earlier times visitors of the park for the stay in placed chairs had to pay fees that were collected by the chair women (the so-called Sesselweiber).

Attractions in the park

Kursalon

The Kursalon

The water Glacis was a spa pavilion in which healing waters for drinking cures were served. To that affect, in the years 1865 to 1867 for the city park also the Kursalon was built according to plans of Johann Garben. This historicist imposing home in the style of the Italian Renaissanceg is located at the John street (Johannesgasse) and has a large terrace in the park:

After the opening on 8th May 1867 were originally forbidden pleasures. As this concept was not adopted, yet on 15th October in 1868 was taking place the first concert of Johann Strauss (son) whereupon became the Kursalon a popular dance and concert venue in particular at the time of the Strauss brothers. Today, the Kursalon after a renovation phase is again venue for balls, concerts, clubbings and conferences and houses a café-restaurant.

Photo: Johann Strauss monument in the city park; © RM

Monuments

With the gilded bronze statue of Johann Strauss (son) stands in the city park one of the best known and most frequently photographed monuments in Vienna. It was on 26th June 1921 unveiled and is framed of a marble relief by Edmund Hellmer. The gilding was removed in 1935 and in 1991 applied again. Other monuments there are, for example, of Franz Schubert, Franz Lehar and Robert Stolz and Hans Makart, the City Park is in monuments and sculptures the richest park in Vienna.

The dairy (Meierei)

The former milk bar was built as part of the Wienflußverbauung (Vienna river engineering structure) according to plans by Friedrich Ohmann and Josef Hackhofer from 1901 until 1903. After suffering heavy damages during the Second World War the building was extended in the reconstruction. Today is in the dairy after another annex a restaurant.

Planting

The planting of the city park is characterized by a great diversity of species and is, as possible, focused on a year-round flowering. Through an avenue to the ring road noise and exhaust gases are filtered. Some trees are protected, such as a ginkgo, a crown of thorns (Honeylocust, Christusdorn), cottonwood tree and Caucasian wingnut.

www.wien-konkret.at/sehenswuerdigkeiten/stadtpark/

In Arashi Shibori, dye is resisted from entering fabric wherever the fabric is bound tightly together. In this case, the fabric was wrapped around PVC pipe and tied tightly with string and bunched up. It was then allowed to soak in soda ash. Dye was applied.

Shoe Goo has been applied to the toes and heels of my Lowa hiking shoes to prolong their life. Walking on the abrasive sandstone of Moab wears them down. The shoes are taped to pieces of wood to keep them from falling over while the "glue" dries. The stuff grips rubber soles like crazy! A tube like this costs about five dollars.

I have used Shoe Goo to:

1. Cover the bottom of bamboo hiking sticks, which protects the ends from abrasion and chipping

2. Attach strips of Velcro hook-and-loop fasteners to heavy nylon pack cloth (sewing would have been too rough for our sewing machine)

3. Glue a thin wooden strip to the bottom of the flexible flap of a plastic dog door (which had become deformed from use and did not close properly). The strip eliminated the deformation. Shoe Goo worked better on that flexible plastic than did Liquid Nails or Pliobond contact cement.

Wikipedia tells you more about adhesives than you need to know.

Museum for Applied Art

Frankfurt am Main, Germany / Richard Meier & Partners Architects LLP / 1979 - 1985

The Frankfurt Museum for Applied Art (Museum für Angewandte Kunst Frankfurt), one of the most important international museums of its kind, was founded in 1877. The current collections embrace 5,000 years of the history of different cultures and include European handcrafts from the 12th to the 21st century, design, book art, graphics, Islamic art, as well as art and handcrafts from East Asia. The works are distinguished by unique aesthetics and technically masterful use of material. Light flows through the spacious rooms of the modern Richard Meier building, which invites visitors to interact and communicate. The rooms constantly reveal new perspectives on historical exhibits and modern spatial structure. Numerous special exhibitions use the dialogue with the architecture to create surprising presentations and reflect the multifaceted contents of the collection between tradition and the avant-garde. Meier’s world-famous museum building was completed in 1985. The architecture integrates the classic villa of the museum, in which the proportions of a middle-class summerhouse serve as the standard for the three connected white cubes of the new building. In order to put the villa in the spotlight in respect to content, it is to be invigorated by a new concept for its interior, which should make it a new meeting point in Frankfurt’s cultural life.

The character of the surrounding environment had a decisive impact on the form of this building, not only in terms of the topography but also in respect of the local doppel villa topology. Designed as a part of a new cultural district on the banks of the river Main – the Museumsufer – this arts museum was a transitional work in that it was part of the conversion of a residential quarter to public-institutional use. The accommodation of the program within the available site enabled the remainder of the area to be treated as a park, open to the surrounding community. Articulated pathways and vistas enabled the site to be reorganized in such a way as to overcome the barrier formed by the villas lining the Main River. The skewed organization of the plan was based on two intersecting geometries, on an orthogonal grid deriving from the Villa Metzler and on a discrepant second grid taken from the alignment of the river. The Villa Metzler is incorporated into the new composition by being inscribed into an open quadrant of its 16 square orthogonal grid. This initial grid was then overlaid by a second grid of exactly the same size, but rotated 3.5 degrees to correspond with the embankment. The superimposition of these two networks generates the formal order of the work throughout. The Villa Metzler’s basic dimensions and the proportions of the villa’s windows became the basis of the square metal panel module and fenestration of the new building. The general organization of the museum space gives the work a didactic character, with the visitor proceeding counter clockwise through a prescribed series of spaces, outlining the history of European decorative art. Specific openings are framed in various ways so as to sustain a sense of discovery through different apertures, while always permitting the objects themselves to relate to the scale of their immediate environment.

Sixteen year old Graham Kohler from the Northern California Chapter of the Red Cross found out about the LDC through his involvement with volunteer connections. He applied for and got a position as a LDC intern. “The thing I like most about coming to LDC is the people I meet. I am making so many new friends and I know I will keep in touch with them.” Graham explained that he is a competitive person. He enjoys the friendly competition between the 9 squads at LDC. He also loves being in such a tranquil environment. “Being in the mountains is an environmental change that refreshes me as a person. It’s nice to get away from your phone, friends and family for a while. I’m in a place where nothing matters so I can focus on what I am learning.” Graham plans on keeping in touch with the friends he has made at LDC and wants to apply for the Youth Action Campaign that is coming out in March.

American Red Cross Story Producers | Albert & Virginia Becker

Classes have begun in NAIT’s new Centre for Applied Technology (CAT) at Main Campus, one of the largest post-secondary buildings in the country.

CAT will accommodate thousands of students daily in the School of Health and Life Sciences, the JR Shaw School of Business and the School of Applied Sciences and Technology. The five-storey building includes technologically-advanced laboratories and simulation rooms.

The original and the preset applied

See more at in the group

Paint applied, including dry painting to create shades and a weathered effect.

Picture saved with settings applied.

A Joyous Rite of Passage, Spring 2009 Applied Human Sciences Graduation. CSU Photography: 02004_00646

Capilano University hosts the 2019 Convocation Ceremonies for the Faculty of Fine & Applied Arts on Monday, June 3, 2019. The ceremony featured a student address from Malibu Taetz and a performance and address by Honorary Degree Recipient Sarah McLachlan.

Menlo School students show off their designs, models and prototypes during Maker Faire. Photo by Pete Zivkov.

H. Haloshyna

Omaggio a Picasso (la poltrona rossa)

Acrilyc on canvas

CORSO DI DISEGNO E PITTURA

miminadecorazioni.blogspot.it/

m.facebook.com/MiminaDecorazioni

Christopher Falcone (MPP ’14), Matthew Papadapoluos (MPP ’13), Erin Sullivan (MPP ’14), and Jessica Teng (MPP ’14) appeared in front of the House Commerce Committee to testify on House Bill (HB) 4996 which would allow equity crowdfunding in Michigan. The students have been working on this issue as part of their Applied Policy Seminar, taught by Professor Elisabeth Gerber. Their project has focused on the possibility of using crowdfunding to spur economic development in Michigan.

The history of the Austrian Museum of Applied Art/Contemporary Art

1863 / After many years of efforts by Rudolf Eitelberger decides emperor Franz Joseph I on 7 March on the initiative of his uncle archduke Rainer, following the model of the in 1852 founded South Kensington Museum (now the Victoria and Albert Museum, London) the establishment of the "k.u.k. Austrian Museum for Art and Industry" and appoints Rudolf von Eitelberger, the first professor of art history at the University of Vienna director. The museum should be serving as a specimen collection for artists, industrialists, and public and as a training and education center for designers and craftsmen.

1864/ on 12th of May, opened the museum - provisionally in premises of the ball house next to the Vienna Hofburg, the architect Heinrich von Ferstel for museum purposes had adapted. First exhibited objects are loans and donations from the imperial collections, monasteries, private property and from the k.u.k. Polytechnic in Vienna. Reproductions, masters and plaster casts are standing value-neutral next originals.

1865-1897 / The Museum of Art and Industry publishes the journal Communications of Imperial (k.u.k.) Austrian Museum for Art and Industry .

1866 / Due to the lack of space in the ballroom the erection of an own museum building is accelerated. A first project of Rudolf von Eitelberger and Heinrich von Ferstel provides the integration of the museum in the project of imperial museums in front of the Hofburg Imperial Forum. Only after the failure of this project, the site of the former Exerzierfelds (parade ground) of the defense barracks before Stubentor the museum here is assigned, next to the newly created city park at the still being under development Rind Road.

1867 / Theoretical and practical training are combined with the establishment of the School of Applied Arts. This will initially be housed in the old gun factory, Währinger street 11-13/Schwarzspanier street 17, Vienna 9.

1868 / With the construction of the building at Stubenring is started as soon as it is approved by emperor Franz Joseph I. the second draft of Heinrich Ferstel.

1871 / The opening of the building at Stubering takes place after three years of construction, 15 November. Designed according to plans by Heinrich von Ferstel in the Renaissance style, it is the first built museum building at the Ring. Objects from now on could be placed permanently and arranged according to main materials. / / The School of Arts and Crafts (Kunstgewerbeschule) moves into the house at Stubenring. / / Opening of Austrian arts and crafts exhibition.

1873 / Vienna World Exhibition. / / The Museum of Art and Industry and the Vienna School of Arts and Crafts are exhibiting together at Stubenring. / / Rudolf von Eitelberger organizes in the framework of the World Exhibition the worldwide first international art scientific congress in Vienna, thus emphasizing the orientation of the Museum on teaching and research. / / During the World Exhibition major purchases for the museum from funds of the Ministry are made, eg 60 pages of Indo-Persian Journal Mughal manuscript Hamzanama.

1877 / decision on the establishment of taxes for the award of Hoftiteln (court titels). With the collected amounts the local art industry can be promoted. / / The new building of the School of Arts and Crafts, adjoining the museum, Stubenring 3, also designed by Heinrich von Ferstel, is opened.

1878 / participation of the Museum of Art and Industry as well as of the School of Arts and Crafts at the Paris World Exhibition.

1884 / founding of the Vienna Arts and Crafts Association with seat in the museum. Many well-known companies and workshops (led by J. & L. Lobmeyr), personalities and professors of the School of Arts and Crafts join the Arts and Crafts Association. Undertaking of this association is to further develop all creative and executive powers the arts and craft since the 1860s has obtained. For this reason are organized various times changing, open to the public exhibitions at the Imperial Austrian Museum for Art and Industry. The exhibits can also be purchased. These new, generously carried out exhibitions give the club the necessary national and international resonance.

1885 / After the death of Rudolf von Eitelberger, Jacob von Falke, his longtime deputy, is appointed manager. Falke plans all collection areas al well as publications to develop newly and systematically. With his popular publications he influences significantly the interior design style of the historicism in Vienna.

1888 / The Empress Maria Theresa exhibition revives the contemporary discussion with the high Baroque in the history of art and in applied arts in particular.

1895 / end of directorate of Jacob von Falke. Bruno Bucher, longtime curator of the Museum of metal, ceramic and glass, and since 1885 deputy director, is appointed director.

1896 / The Vienna Congress exhibition launches the confrontation with the Empire and Biedermeier style, the sources of inspiration of Viennese Modernism.

1897 / end of the directorate of Bruno Bucher. Arthur von Scala, director of the Imperial Oriental Museum in Vienna since its founding in 1875 (renamed Imperial Austrian Trade Museum 1887), takes over the management of the Museum of Art and Industry. / / Scala wins Otto Wagner, Felician of Myrbach, Koloman Moser, Josef Hoffmann and Alfred Roller to work at the museum and School of Arts and Crafts. / / The style of the Secession is crucial for the Arts and Crafts School. Scala propagates the example of the Arts and Crafts Movement and makes appropriate acquisitions for the museum's collection.

1898 / Due to differences between Scala and the Arts and Crafts Association, which sees its influence on the Museum wane, archduke Rainer puts down his function as protector. / / New statutes are written.

1898-1921 / The Museum magazine Art and Crafts replaces the Mittheilungen (Communications) and soon gaines international reputation.

1900 / The administration of Museum and Arts and Crafts School is disconnected.

1904 / The Exhibition of Old Vienna porcelain, the to this day most comprehensive presentation on this topic, brings with the by the Museum in 1867 definitely taken over estate of the "k.u.k. Aerarial Porcelain Manufactory" (Vienna Porcelain Manufactory) important pieces of collectors from all parts of the Habsburg monarchy together.

1907 / The Museum of Art and Industry takes over the majority of the inventories of the Imperial Austrian Trade Museum, including the by Arthur von Scala founded Asia collection and the extensive East Asian collection of Heinrich von Siebold .

1908 / Integration of the Museum of Art and Industry in the Imperial and Royal Ministry of Public Works.

1909 / separation of Museum and Arts and Crafts School, the latter remains subordinated to the Ministry of Culture and Education. / / After three years of construction, the according to plans of Ludwig Baumann extension building of the museum (now Weiskirchnerstraße 3, Wien 1) is opened. The museum thereby receives rooms for special and permanent exhibitions. / / Arthur von Scala retires, Eduard Leisching follows him as director. / / Revision of the statutes.

1909 / Archduke Carl exhibition. For the centenary of the Battle of Aspern. / / The Biedermeier style is discussed in exhibitions and art and arts and crafts.

1914 / Exhibition of works by the Austrian Art Industry from 1850 to 1914, a competitive exhibition that highlights, among other things, the role model of the museum for arts and crafts in the fifty years of its existence.

1919 / After the founding of the First Republic it comes to assignments of former imperial possession to the museum, for example, of oriental carpets that are shown in an exhibition in 1920. The Museum now has one of the finest collections of oriental carpets worldwide.

1920 / As part of the reform of museums of the First Republic, the collection areas are delimited. The Antiquities Collection of the Museum of Art and Industry is given away to the Museum of Art History.

1922 / The exhibition of glasses of classicism, the Empire and Biedermeier time offers with precious objects from the museum and private collections an overview of the art of glassmaking from the former Austro-Hungarian Empire. / / Biedermeier glass serves as a model for contemporary glass production and designs, such as of Josef Hoffmann.

1922 / affiliation of the museal inventory of the royal table and silver collection to the museum. Until the institutional separation the former imperial household and table decoration is co-managed by the Museum of Art and Industry and is inventoried for the first time by Richard Ernst.

1925 / After the end of the directorate of Eduard Leisching, Hermann Trenkwald is appointed director.

1926 / The exhibition Gothic in Austria gives a first comprehensive overview of the Austrian panel painting and of arts and crafts of the 12th to 16th Century.

1927 / August Schestag succeeds Hermann Trenkwald as director.

1930 / The Werkbund (artists' organization) Exhibition Vienna, a first comprehensive presentation of the Austrian Werkbund, takes place on the occasion of the meeting of the Deutscher (German) Werkbund in Austria, it is organized by Josef Hoffmann in collaboration with Oskar Strnad, Josef Frank, Ernst Lichtblau and Clemens Holzmeister.

1931 / August Schestag concludes his directorate.

1932 / Richard Ernst is new director.

1936 and 1940 / In exchange with the Kunsthistorisches Museum (Museum of Art History), the museum at Stubenring gives away part of the sculptures and takes over arts and crafts inventories of the collection Albert Figdor and the Kunsthistorisches Museum.

1937 / The Collection of the Museum of Art and Industry is newly set up by Richard Ernst according to periods. / / Oskar Kokoschka exhibition on the 50th birthday of the artist.

1938 / After the "Anschluss" (annexation) of Austria by Nazi Germany, the museum is renamed into "National Museum of Arts and Crafts in Vienna".

1939-1945 / The museums are taking over numerous confiscated private collections. The collection of the "State Museum of Arts and Crafts in Vienna" in this way also is enlarged.

1945 / Partial destruction of the museum building by impact of war. / / War losses on collection objects, even in the places of rescue of objects.

1946 / The return of the outsourced objects of art begins. A portion of the during the Nazi time expropriated objects is returned in the following years.

1947 / The "State Museum of Arts and Crafts in Vienna" is renamed into "Austrian Museum of Applied Arts".

1948 / The "Cathedral and Metropolitan Church of St. Stephen" organizes the exhibition The St. Stephen's Cathedral in the Museum of Applied Arts. History, monuments, reconstruction.

1949 / The Museum is reopened after repair of the war damages.

1950 / As last exhibition under director Richard Ernst takes place Great art from Austria's monasteries (Middle Ages).

1951 / Ignaz Schlosser is appointed manager.

1952 / The exhibition Social home decor, designed by Franz Schuster, makes the development of social housing in Vienna again the topic of the Museum of Applied Arts.

1955 / The comprehensive archive of the Wiener Werkstätte (workshop) is acquired.

1955-1985 / The Museum publishes the periodical ancient and modern art .

1956 / Exhibition New Form from Denmark, modern design from Scandinavia becomes topic of the museum and model.

1957 / On the occasion of the exhibition Venini Murano glass, the first presentation of Venini glass in Austria, there are significant purchases and donations for the collection of glass.

1958 / End of the directorate of Ignaz Schlosser

1959 / Viktor Griesmaier is appointed as new director.

1960 / Exhibition Artistic creation and mass production of Gustavsberg, Sweden. Role model of Swedish design for the Austrian art and crafts.

1963 / For the first time in Europe, in the context of a comprehensive exhibition art treasures from Iran are shown.

1964 / The exhibition Vienna around 1900 (organised by the Cultural Department of the City of Vienna) presents for the frist time after the Second World War, inter alia, arts and crafts of Art Nouveau. / / It is started with the systematic work off of the archive of the Wiener Werkstätte. / / On the occasion of the founding anniversary offers the exhibition 100 years Austrian Museum of Applied Arts using examples of historicism insights into the collection.

1965 / The Geymüllerschlössel (small castle) is as a branch of the Museum angegliedert (annexed). Simultaneously with the building came the important collection of Franz Sobek - old Viennese clocks, made between 1760 and the second half of the 19th Century - and furniture from the years 1800 to 1840 in the possession of the MAK.

1966 / In the exhibition Selection 66 selected items of modern Austrian interior designers (male and female ones) are brought together.

1967 / The Exhibition The Wiener Werkstätte. Modern Arts and Crafts from 1903 to 1932 is founding the boom that continues until today of Austria's most important design project in the 20th Century.

1968 / To Viktor Griesmaier follows Wilhelm Mrazek as director.

1969 / The exhibition Sitting 69 shows at the international modernism oriented positions of Austrian designers, inter alia by Hans Hollein.

1974 / For the first time outside of China Archaeological Finds of the People's Republic of China are shown in a traveling exhibition in the so-called Western world.

1979 / Gerhart Egger is appointed director.

1980 / The exhibition New Living. Viennese interior design 1918-1938 provides the first comprehensive presentation of the spatial art in Vienna during the interwar period.

1981 / Herbert Fux follows Gerhart Egger as director.

1984 / Ludwig Neustift is appointed interim director. / / Exhibition Achille Castiglioni: designer. First exhibition of the Italian designer in Austria

1986 / Peter Noever is appointed director and starts with the building up of the collection contemporary art.

1987 / Josef Hoffmann. Ornament between hope and crime is the first comprehensive exhibition on the work of the architect and designer.

1989-1993 / General renovation of the old buildings and construction of a two-storey underground storeroom and a connecting tract. A generous deposit for the collection and additional exhibit spaces arise.

1989 / Exhibition Carlo Scarpa. The other city, the first comprehensive exhibition on the work of the architect outside Italy.

1990 / exhibition Hidden impressions. Japonisme in Vienna 1870-1930, first exhibition on the theme of the Japanese influence on the Viennese Modernism.

1991 / exhibition Donald Judd Architecture, first major presentation of the artist in Austria.

1992 / Magdalena Jetelová domestication of a pyramid (installation in the MAK portico).

1993 / The permanent collection is newly put up, interventions of internationally recognized artists (Barbara Bloom, Eichinger oder Knechtl, Günther Förg, GANGART, Franz Graf, Jenny Holzer, Donald Judd, Peter Noever, Manfred Wakolbinger and Heimo Zobernig) update the prospects, in the sense of "Tradition and Experiment". The halls on Stubenring accommodate furthermore the study collection and the temporary exhibitions of contemporary artists reserved gallery. The building in the Weiskirchner street is dedicated to changing exhibitions. / / The opening exhibition Vito Acconci. The City Inside Us shows a room installation by New York artist.

1994 / The Gefechtsturm (defence tower) Arenbergpark becomes branch of the MAK. / / Start of the cooperation MAK/MUAR - Schusev State Museum of Architecture Moscow. / / Ilya Kabakov: The Red Wagon (installation on MAK terrace plateau).

1995 / The MAK founds the branch of MAK Center for Art and Architecture in Los Angeles, in the Schindler House and at the Mackey Apartments, MAK Artists and Architects-in-Residence Program starts in October 1995. / / Exhibition Sergei Bugaev Africa: Krimania.

1996 / For the exhibition Philip Johnson: Turning Point designs the American doyen of architectural designing the sculpture "Viennese Trio", which is located since 1998 at the Franz-Josefs-Kai/Schottenring.

1998 / The for the exhibition James Turrell. The other Horizon designed Skyspace today stands in the garden of MAK Expositur Geymüllerschlössel. / / Overcoming the utility. Dagobert Peche and the Wiener Werkstätte, the first comprehensive biography of the work of the designer of Wiener Werkstätte after the Second World War.

1999 / Due to the Restitution Act and the Provenance Research from now on numerous during the Nazi time confiscated objects are returned.

2000 / Outsourcing of Federal Museums, transformation of the museum into a "scientific institution under public law". / / The exhibition Art and Industry. The beginnings of the Austrian Museum of Applied Arts in Vienna is dealing with the founding history of the house and the collection.

2001 / In the course of the exhibition Franz West: No Mercy, for which the sculptor and installation artist developed his hitherto most extensive work, the "Four lemurs heads" are placed at the bridge Stubenbrücke, located next to the MAK. / / Dennis Hopper: A System of Moments.

2001-2002 / The CAT Project - Contemporary Art Tower after New York, Los Angeles, Moscow and Berlin is presented in Vienna.

2002 / Exhibition Nodes. symmetrical-asymmetrical. The historical Oriental Carpets of the MAK presents the extensive rug collection.

2003 / Exhibition Zaha Hadid. Architecture. / / For the anniversary of the artist workshop, takes place the exhibition The Price of Beauty. 100 years Wiener Werkstätte. / / Richard Artschwager: The Hydraulic Door Check. Sculpture, painting, drawing.

2004 / James Turrell's MAKlite is since November 2004 permanently on the facade of the building installed. / / Exhibition Peter Eisenmann. Barefoot on White-Hot Walls, large-scaled architectural installation on the work of the influential American architect and theorist.

2005 / Atelier Van Lieshout: The Disciplinator / / The exhibition Ukiyo-e Reloaded presents for the first time the collection of Japanese woodblock prints of the MAK on a large scale.

2006 / Since the beginning of the year, the birthplace of Josef Hoffmann in Brtnice of the Moravian Gallery in Brno and the MAK Vienna as a joint branch is run and presents annually special exhibitions. / / The exhibition The Price of Beauty. The Wiener Werkstätte and the Stoclet House brings the objects of the Wiener Werkstätte to Brussels. / / Exhibition Jenny Holzer: XX.

2007/2008 / Exhibition Coop Himmelb(l)au. Beyond the Blue, is the hitherto largest and most comprehensive museal presentation of the global team of architects.

2008 / The 1936 according to plans of Rudolph M. Schindler built Fitzpatrick-Leland House, a generous gift from Russ Leland to the MAK Center LA, becomes with the aid of a promotion that granted the Bureau of Educational and Cultural Affairs of the U.S. Department the MAK Center, center of the MAK UFI project - MAK Urban Future Initiative. / / Julian Opie: Recent Works / / The exhibition Recollecting. Looting and Restitution examines the status of efforts to restitute expropriated objects from Jewish property from museums in Vienna.

2009 / The permanent exhibition Josef Hoffmann: Inspiration is in the Josef Hoffmann Museum, Brtnice opened. / / Exhibition Anish Kapoor. Shooting into the Corner / / The museum sees itself as a promoter of Cultural Interchange and discusses in the exhibition Global:lab Art as a message. Asia and Europe 1500-1700 the intercultural as well as the intercontinental cultural exchange based on objects from the MAK and from international collections.

2011 / After Peter Noever's resignation, Martina Kandeler-Fritsch takes over temporarily the management. / /

Since 1 September Christoph Thun-Hohenstein is director of the MAK and declares "change through applied art" as the new theme of the museum.

2012 / With future-oriented examples of mobility, health, education, communication, work and leisure, shows the exhibition MADE4YOU. Designing for Change, the new commitment to positive change in our society through applied art. // Exhibition series MAK DESIGN SALON opens the MAK branch Geymüllerschlössel for contemporary design positions.

2012/2013 / opening of the newly designed MAK Collection Vienna 1900. Design / Decorative Arts from 1890 to 1938 in two stages as a prelude to the gradual transformation of the permanent collection under director Christoph Thun-Hohenstein

2013 / SIGNS, CAUGHT IN WONDER. Looking for Istanbul today shows a unique, current snapshot of contemporary art production in the context of Istanbul. // The potential of East Asian countries as catalysts for a socially and ecologically oriented, visionary architecture explores the architecture exhibition EASTERN PROMISES. Contemporary Architecture and production of space in East Asia. // With a focus on the field of furniture design NOMADIC FURNITURE 3.0. examines new living without bounds? the between subculture and mainstream to locate "do-it-yourself" (DIY) movement for the first time in a historical context.

2014 / Anniversary year 150 years MAK // opening of the permanent exhibition of the MAK Asia. China - Japan - Korea // Opening of the MAK permanent exhibition rugs // As central anniversary project opens the dynamic MAK DESIGN LABORATORY (redesign of the MAK Study Collection) exactly on the 150th anniversary of the museum on May 12, 2014 // Other major projects for the anniversary: ROLE MODELS. MAK 150 years: from arts and crafts to design // // HOLLEIN WAYS OF MODERN AGE. Josef Hoffmann, Adolf Loos and the consequences.

www.mak.at/das_mak/geschichte

I dreamed about a human being is is part of a project exploring the use of artificial intelligence as applied to photography by using online open source code and data.

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Having seen a Photoshopped color version of this photograph (located here on Flickr), my instructor in a March 2009 street photography class suggested that I convert it to black-and-white to accentuate the vertical shapes of the fence behind the runner.

I've done so here, using Apple's Aperture program, and with a yellow filter applied to the initial image. I think the result is interesting, and I'll try to keep an open mind for a while before deciding whether I like it better than the color version. However, if you have strong opinions one way or the other, I'd enjoy hearing it; leave me Flickr-mail or email me at ed at yourdon dot com

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I was walking south along the bridle path that circumnavigates the reservoir in Central Park; and the view here is basically south, with the CitiCorp building and varous other New York City skyscrapers in the background. The reservoir is enclosed by a fence (presumably to keep people from falling in, or jumping in to swim, or perhaps even attempting to fish), and there's a jogging trail that runs along the fence; so scenes like this are pretty common.

I hadn't taken the sun into account when I took this picture; during this season, it's pretty far south, and for whatever reason, it left the runner in pretty dark shadow. I tweaked it a bit, and hopefully didn't distort the background too badly. I also replaced the grayish-white hazy sky with a bluish gradient fill ...

Note: the color version of this photo has been published twice, as of March 14, 2009: in a Feb 26, 2009 blog article titled "How to Intensify Your Running and Lose More Weight.." and in a blog article (allegedly published on May 21, 2006 - which is difficult to imagine, since I didn't take the picture until Nov 21, 2008) entitled "Burn Twice as Many Calories Running."

This B/W version of the photo was published in an Oct 14, 2009 blog titled "Egyedül vagy társasággal?" And it was published in an Apr 22, 2010 blog titled "Demand Justice For the Wrongfully Convicted Central Park Five." It was also published in a Jul 15, 2010 blog titled "Let AudioTechnica help you run longer..." And it was published in a Nov 22, 2010 Fresh Healthy Body blog titled " Any other good exercises to lose weight rather than running?"

Moving into 2011, the photo was published in a Jan 17, 2011 blog titled "Two Best Exercises to Lose Weight." It was also published in an Apr 1, 2011 blog titled "Sweet! Candy eaters surprisingly slimmer."

Moving into 2013, the photo was published in a Feb 24, 2013 blog titled "Why Do I Want To Run Startup?" It was also published in an undated (early Jun 2013) blog titled "ABNEHMEN: ES GIBT KEIN GEHEIMREZEPT."

Lane Robert Frazier

College of Applied Science and Technology

Agriculture

Bachelor's Degree

Background is 140# cold-pressed watercolor paper. I applied Broken China and Dusty Concord Distress Inks to this paper using a blending tool and foam. Then I used a mini-mister to spritz water droplets on top and immediately dried them with a heat tool.

Next, I applied Versamark watermark ink directly to the paper through an Artistcellar Stencil called Apparatus. Then I embossed the background with clear embossing powder - to create a resist from the holes in the stencil. Next, I applied Dusty Concord Distress Stain directly to the project - it fills up the areas where the stencil covered the background.

Sentiment from Hero Arts CL292 Celebrate All Day and stamped using a Tsukineko Memento Dew Drop in Grape Jelly. Used a Creative Memories corner rounder and adhered an American Crafts blue velvet ribbon. Purple gemstones from Dress It Up and Hero Arts.

More details on my blog, Gaal Creative, including link to stencil.

Thanks for looking! :-)

The 28th Annual Holiday Train Show, on display in the New York Botanical Garden's Enid A. Haupt Conservatory from November 17, 2018 to January 21, 2019, presents a winter wonderland twinkling lights and sixteen model trains, including the Union Pacific, New York Central, and Great Northern Railway, zipping along over bridges and on 1,000 feet of winding tracks past scaled replicas of New York landmarks made by award-winning designer Paul Busse and his team of landscape designers and botanical architects at Applied Imagination in Alexandria, Kentucky. Orange slices, cinnamon sticks, poppy pods, pine cones, twigs and other plant parts make a festive brew as the materials used to create the more than 140 architectural reproductions.

The New York Botanical Garden, spanning some 250 acres of Bronx Park, was founded in 1891 on part of the grounds of the Belmont Estate, formerly owned by the tobacco magnate Pierre Lorillard, after a fund-raising campaign led by Columbia University botanist Nathaniel Lord Britton, who was inspired to emulate the Royal Botanic Gardens in London. It contains 48 different gardens and plant collections.

I dreamed about a human being is is part of a project exploring the use of artificial intelligence as applied to photography by using online open source code and data.

More information at fransimo.info/?p=1100

ID:a9ea21f41d2c672836fd10fbc3e9e45d

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Rear shot of Go North East's 3803 (V803 EBR), Dennis Trident/East Lancs Lolyne, carrying its "Northern" branding while sporting a recently applied promotional advertisement for Go North East's recent "Simply Buy, Show & Go!" campaign, pictured on Front Street, Chester-le-Street, while working service X25 to Langley Park. 20/04/13

"Simply buy, show and go – your bus ticket straight to your mobile" (www.simplygo.com/m-ticket)

Buy tickets with our m-ticket app and turn your phone into your bus ticket. Just buy your ticket on our free m-ticket app, then just show your phone to the driver when you get on. Tickets are easy to buy and can be used straight away or saved for future trips.

Buying tickets with our free m-ticket app makes traveling with us easier and cheaper and gives you a more convenient way to buy your bus tickets, saving you time and money.

Your favourite ticket types are available and most are cheaper than those bought on the bus.

I dreamed about a human being is is part of a project exploring the use of artificial intelligence as applied to photography by using online open source code and data.

More information at fransimo.info/?p=1100

ID:338d8a144e3b0323ce33ca3408879cfd

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