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Evening Dal Bhat - served around 5pm so we could get into bed and get warm.
For trip description see: trekkingmakalu.blogspot.com
3/4/21: USF BSB at Stanford at Klein Field at Sunken Diamond in Palo Alto, CA. Image by Chris M. Leung for USF Dons Baseball
JOINT BASE ELMENDORF-RICHARDSON, Alaska -- Paratroopers of 84th Engineer Support Company, 6th Engineer Battalion, case their unit guidon Jan 23, 2012, at Buckner Physical Fitness Center to mark the company's impending nine-month deployment to Afghanistan in support of Regional Command-South. (U.S. Air Force photo/David Bedard)
Base Glasgow Low Carbon Conference, 13/11/2012:
Ken Livingstone at Base Glasgow - the low carbon city conference at Glasgow's Royal Concert Hall.
Photography from: Colin Hattersley Photography - colinhattersley@btinternet.com - www.colinhattersley.com - 07974 957 388
ALL PHOTOS WERE TAKEN BY ME/TODAS AS FOTOGRAFIAS FORAM TIRADAS POR MIM
89 – PHOTOS OF NUDITY IN MY DATABASE/FOTOS “O NÚ” NA MINHA BASE DE DADOS: 33/57
AUTHOR/AUTOR:
MUNCH, EDVARD (1863-1944)
NAME OF WORK/NOME DO TRABALHO:
PUBERTY
TECNIQUES/TÉCNICAS:
OIL ON CANVAS/ÓLEO SOBRE TELA
YEAR/ANO:
1894
DIMENSIONS/DIMENSÕES:
151,5X110CM
COUNTRY/PAÍS:
NORGE/NOREG/NORWAY/NORUEGA
CITY/CIDADE:
OSLO
WHERE I TOOK THE PHOTO/ONDE TIREI A FOTO:
NASJONALMUSEET/NATIONAL MUSEUM OF NORWAY/MUSEU NACIONAL DA NORUEGA
THE YEAR WHEN I TOOK THE PHOTO/ANO QUE TIREI A FOTO:
2023
LINK INFO OF THE AUTHOR/LIGAÇÃO PARA O AUTOR:
www.ebiografia.com/edvard_munch/
LINK THE WORK/LIGAÇÃO PARA O TRABALHO:
en.wikipedia.org/wiki/Puberty_(Munch)
LINK TO THE MUSEUM OR OTHER PLACE/LIGAÇÃO PARA O MUSEU OU OUTRO LUGAR:
LINK INFO ABOUT THE PHOTOGRAPHED/INFORMAÇÃO SOBRE O FOTOGRAFADO:
SEM DADOS
ALREADY WORKED IN / JÁ TRABALHEI EM:
1 – GENERAL COUNT OF WORKS PRESENT IN THE DATABASE/CONTAGEM GERAL DOS TRABALHOS PRESENTES NA BASE DE DADOS – WORKING IN PROGRESS/A SER TRABALHADO
2 – SELF-PORTRAIT PHOTOGRAPHS OF PAINTERS/FOTOS DE AUTORRETRATOS DE PINTORES: 38 WORKS/TRABALHOS.
3 – PAINTERS AND PATRONS OF THE ARTS PHOTOGRAPHS/FOTOS DE PINTORES E PATRONOS DE ARTE: 36 WORKS/TRABALHOS.
4 – PORTRAITS OF THE EUROPEAN ARISTOCRACY. NOBILITY AND ROYALTY/FOTOS DA ARISTOCRACIA, NOBREZA E REALEZA EUROPEIA: 169 WORKS/TRABALHOS.
5 – PORTRAITS OF IDENTIFIED PEOPLE/RETRATOS DE PESSOAS IDENTIFICADAS: 46 WORKS/TRABALHOS
6 – FIGURATIVE ART/ARTE FIGURATIVA: 39 WORKS/TRABALHOS.
7 – PEOPLE’S MISCELLANEOUS PROFESSIONS/PROFISSÕES DIVERSAS: 16 WORKS/TRABALHOS.
8 – SCULPTORS/ESCULTORES: 9 WORKS/TRABALHOS.
9 – POETS/POETAS: 8 WORKS/TRABALHOS.
10 – PHILOSOPHERS/FILÓSOFOS: 3 WORKS/TRABALHOS
11 – WRITERS/ESCRITORES: 10 WORKS/TRABALHOS
12 – LAW AND JUSTICE/LEI E JUSTIÇA: 1 WORK/TRABALHO.
13 – TRADERS AND MERCHANTS/COMERCIANTES E TRABALHADORES: 5 WORKS/TRABALHOS.
14 – ENGRAVOURS/GRAVADORES: 1 WORK/TRABALHO
15 – EDUCATION/ENSINO: 4 WORKS/TRABALHOS.
16 – WORLD OF ARTS/MUNDO DAS ARTES: 3 WORKS/TRABALHOS.
17 – WORLD OF MUSIC/MUNDO DA MÚSICA: 9 WORKS/TRABALHOS.
18 – WORLD OF POLITICS/MUNDO DA POLíTICA: 14 WORKS/TRABALHOS.
19 – WORLD OF ACTING/MUNDO DA REPRESENTAÇÃO: 9 WORKS/TRABALHOS.
20 – FAMILY PORTRAITS/RETRATOS DE FAMILIA: 17 WORKS/TRABALHOS.
21 – AGE OF INNOCENCE/FOTOS DA IDADE DA INOCÊNICA: 51 WORKS/TRABALHOS
22 – PHOTOS OF YOUTH/FOTOS DA JUVENTUDE: 14 WORKS/TRABALHOS.
23 – PHOTOS OF ADULT AGE/FOTOS DA IDADE ADULTA: 7 WORKS/TRABALHOS.
24 – PHOTOS OF ELDERLY PEOPLE/FOTOS DA 3ª E 4ª IDADE: 17 WORKS/TRABALHOS
25 – PHOTOS OF THE END OF LIFE/ FOTOS DO FIM DE VIDA: 30 WORKS/TRABALHOS
26 – PHOTOS OF ANNIVERSARIES/FOTOS DE ANIVERSÁRIOS: 1 WORK/TRABALHO.
27 – PHOTOS OF BAPTISMS/FOTOS DE BAPTISMOS: 0 WORKS/TRABALHOS
28 – PHOTOS OF WEDDINGS/FOTOS DE CASAMENTOS: 5 WORKS/TRABALHOS
29 – PHOTOS OF HONEYMOONS/FOTOS DE LUAS-DE-MEL: 1 WORK/TRABALHO
30 – PHOTOS OF VARIOUS PARTIES/FOTOS DE FESTAS DIVERSAS: 2 WORKS/TRABALHOS.
31 – PHOTOS OF THE STATES OF THE SOUL/FOTOS DOS ESTADOS DA ALMA: 16 WORKS/TRABALHOS.
32 – PHOTOS OF POVERTY/FOTOS DE POBREZA: 3 WORKS/TRABALHOS
33 – PHOTOS OF FAMINE/FOTOS DA FOME: 2 WORK/WORKS
34 – PHOTOS OF MILITARY ART: WARS AND BATTLES IN LAND/FOTOS DE ARTE MILITAR: GUERRAS E BATALHAS: 10 WORKS/TRABALHOS
35 – PHOTOS OF MILITARY ART: MILITARY/FOTOS DE ARTE MILITAR: MILITARES: 4 WORKS/TRABALHOS
36 – PHOTOS OF CONSPIRACIES, PRISIONERS AND REBELLIONS/FOTOS DE CONSPIRAÇÕES, PRISIONEIROS E REBELIÕES: 5 WORKS/TRABALHOS
37 – PHOTOS OF NAVAL BATTLES/FOTOS DE BATALHAS NAVAIS: 4 WORKS/TRABALHOS
38 – PHOTOS OF NAVAL FLEETS, GALLEONS AND LARGE SHIPS/FOTOS DE FROTAS NAVAIS, GALEÕES E NAVIOS DE GRANDES DIMENSÕES: 13 WORKS/TRABALHOS
39 – PHOTOS OF MEDIUM AND SMALL BOATS/FOTOS DE BARCOS DE MÉDIA E PEQUENA DIMENSÕES: 10 WORKS/TRABALHOS
40 – PHOTOS OF FISHERMEN/FOTOS DE PESCADORES: 11 WORKS/TRABALHOS
41 – PHOTOS OF PEOPLE/FOTOS DE PESSOAS EM BARCOS: 5 WORKS/TRABALHOS
42 – PHOTOS OF SAILORS AND NAVAL EXPLORERS/FOTOS DE NAVEGADORES E EXPLORADORES: 7 WORKS/TRABALHOS
43 – PHOTOS OF WRECKS/FOTOS DE NAUFRÁGIOS: 10 WORKS/TRABALHOS
44 – PHOTOS OF STORMS AND FLOODS/FOTOS DE TEMPESTADES E CHEIAS: 1 WORK/TRABALHO
45 – PHOTOS OF ALLEGORIES/FOTOS DE ALEGORIAS: 34 WORKS/TRABALHOS.
46 – PHOTOS OF MITOLOGY/FOTOS DE MITOLOGIA: 80 WORKS/TRABALHOS
47 – PHOTOS OF STILL-FIFE/FOTOS DE NATUREZA-MORTA: 20 WORKS/TRABALHOS
48 – PHOTOS WITH ANIMALS/FOTOS COM ANIMAIS: 16 WORKS/TRABALHOS
49 – PHOTOS WITH LAND HUNTING SCENES/FOTOS COM CENAS DE CAÇA EM TERRA: 6 WORKS/TRABALHOS
50 – PHOTOS WITH SEA HUNTING SCENES/FOTOS COM CENAS DE CAÇA NO MAR: 0 WORKS/TRABALHOS
51 – PHOTOS WITH PANORAMIC LANDSCAPES/FOTOS COM PAISAGENS PANORÂMICAS: 13 WORKS/TRABALHOS
52 – PHOTOS WITH PLAIN LANDSCAPES/FOTOS COM PAISAGENS DE PLANICIES: 2 WORKS/TRABALHOS
53 – PHOTOS WITH MOUNTAINOUS LANDSCAPES/FOTOS COM PAISAGENS DE MONTANHA: 3 WORKS/TRABALHOS
54 – PHOTOS WITH COASTAL LANDSCAPES IN MY DATABASE/FOTOS COM PAISAGENS COSTEIRAS: 15 WORKS/TRABALHOS
55 – PHOTOS WITH CREEKS, STREAMS AND RIVERS/FOTOS COM RIACHOS, RIBEIRAS E RIOS: 7 WORKS/TRABALHOS
56 – PHOTOS WITH PUDDLES AND SWAMPS/FOTOS COM CHARCOS E PANTANOS: 2 WORKS/TRABALHOS
57 – PHOTOS WITH LAGOONS, LAKES AND PONDS/FOTOS COM LAGOAS E LAGOS: 2 WORKS/TRABALHOS
58 – PHOTOS WITH WATERFALLS/FOTOS COM CATARATAS: 9 WORKS/TRABALHOS
59 – PHOTOS WITH FORESTRY LANDSCAPES/FOTOS COM PAISAGENS FLORESTAIS 12 WORKS/TRABALHOS
60 – PHOTOS WITH FLOWERS AND GARDENS/FOTOS COM FLORES E JARDINS: 18 WORKS/TRABALHOS
61 – PHOTOS WITH DESERTS AND SAVANNAS/FOTOS COM DESERTOS E SAVANAS: 1 WORKS/TRABALHOS
62 – PHOTOS WITH FROZEN AND SNOWY LANDSCAPES/FOTOS COM PAISAGENS GÉLIDAS E COM NEVE: 2 WORKS/TRABALHOS
63 – PHOTOS OF NORDIC LANDSCAPES/FOTOS COM PAISAGENS NÓRDICAS: 16 WORKS/TRABALHOS
64 – PHOTOS WITH DEEP SEA/FOTOS COM FUNDOS MARINHOS: 0 WORKS/TRABALHOS
65 – PHOTOS OF LANDSCAPES WITH BRIDGES/FOTOS COM PAISAGENS DE PONTES: 9 WORKS/TRABALHOS
66 – PHOTOS OF WATER CANALS IN MY DATABASE/FOTOS DE CANAIS NAVEGÁVEIS:
67 – PHOTOS OF THE FOUR SEASONS - SPRING IN/FOTOS DAS QUATRO ESTAÇÕES - PRIMAVERA: 2 WORKS/TRABALHOS
68 – PHOTOS OF THE FOUR SEASONS - SUMMER/FOTOS DAS QUATRO ESTAÇÕES - VERÃO: 6 WORKS/TRABALHOS
69 – PHOTOS OF THE FOUR SEASONS - AUTUMN/FOTOS DAS QUATRO ESTAÇÕES - OUTONO: 6 WORKS/TRABALHOS
70 – PHOTOS OF THE FOUR SEASONS - WINTER/FOTOS DAS QUATRO ESTAÇÕES - INVERNO: 5 WORKS/TRABALHOS
71 – PHOTOS OF SUNRISES/FOTOS DE NASCERES-DO-SOL: 0 WORKS/TRABALHOS
72 – PHOTOS OF MORNINGS/FOTOS DAS MANHÃS: 4 WORKS/TRABALHOS
73 – PHOTOS OF AFTERNOONS/FOTOS DAS TARDES: 0 WORKS/TRABALHOS
74 – PHOTOS OF SUNSETS/FOTOS DE PÔRES-DO-SOL: 4 WORKS/TRABALHOS
75 – PHOTOS OF THE NIGHTS IN MY DATABASE/FOTOS DA NOITE NA MINHA BASE DE DADOS: 8 WORKS/TRABALHOS
76 – PHOTOS OF THE RAINBOW AND SUN/FOTOS DA ARCO-ÍRIS E SOL: 2 WORKS/TRABALHOS
77 – PHOTOS OF THE RURAL WORLD – DAILY LIFE/FOTOS DO MUNDO RURAL – VIDA QUOTIDIANA: 21 WORKS/TRABALHOS
78 – PHOTOS OF THE RURAL WORLD – FARMS AND HOUSES/FOTOS DO MUNDO RURAL – VIDA CASAS E QUINTAS: 16 WORKS/TRABALHOS
79 – PHOTOS OF THE RURAL WORLD – RURAL PATHS IN/FOTOS DO MUNDO RURAL – CAMINHOS RURAIS: 6 WORKS/TRABALHOS
80 – PHOTOS OF THE RURAL WORLD – AGRICULTURE/FOTOS DO MUNDO RURAL – AGRICULTURA: 18 WORKS/TRABALHOS
81 – PHOTOS OF THE RURAL WORLD – CATTLE/FOTOS DO MUNDO RURAL – GADO: 6 WORKS/TRABALHOS
82 – PHOTOS OF THE RURAL AND URBAN WORLD – FOUNTAINS/FOTOS DO MUNDO RURAL – FONTES E FONTANÁRIOS: 3 WORKS/TRABALHOS
83 – PHOTOS OF THE RURAL AND URBAN WORLD – COMMERCE/FOTOS DO MUNDO RURAL – CENAS DE INTERIOR DE COMÉRCIO: 4 WORKS/TRABALHOS
84 – PHOTOS OF THE RURAL AND URBAN WORLD – IN DOOR SCENES/FOTOS DO MUNDO RURAL E URBANO – CENAS DE INTERIOR CASEIRAS: 13 WORKS/TRABALHOS
85 – PHOTOS OF THE RURAL AND URBAN WORLD – AT THE TABLE AND MEALS/FOTOS DO MUNDO RURAL E URBANO – CENAS À MESA E REFEIÇÕES: 5 WORKS/TRABALHOS
86 – PHOTOS OF THE RURAL AND URBAN WORLD – POPULAR FESTIVITIES/FOTOS DO MUNDO RURAL – FESTAS POPULARES: 2 WORKS/TRABALHOS
87 – PHOTOS OF THE URBAN WORLD – CITY STREETS/FOTOS DO MUNDO – CIDADES: 2 WORKS/TRABALHOS
88 – PHOTOS OF THE URBAN AND RURAL WORLD – WINDMILLS/FOTOS DO MUNDO URBANO E RURAL - MOINHOS: 2 WORKS/TRABALHOS
some different bleechers than the wave. they weren't really twisted. they just looked as it someone picked them up and put them down there. you know, if it weren't for the holes where they were stuck in the ground...
Khort é um produto que serve para abrir embalagens em filme plástico, como sachês. Ele provê segurança na abertura do sachê assim como promove um conforto no consumo do lanche.
Study of a Male Nude Leaning
on a Staff - 1876
Artist: Julian Alden Weir (American, 1852–1919)
--------------------------------
Yale University has been collecting American art for more than 250 years. In 1832 it erected the first art museum on a college campus in North America, with the intention of housing John Trumbull’s paintings of the American Revolution—including his iconic painting The Declaration of Independence, July 4, 1776—and close to 100 of his portraits of Revolutionary and Early Republic worthies. Since then, the collection of the Yale University Art Gallery has grown to include celebrated works of art from virtually every period in American history. Encompassing works like an exquisite 18th-century watercolor-on-ivory memorial portrait of a bride, paintings of the towering grandeur of the American West in the 19th century, and jazz-influenced abstractions of the early 20th century, the Gallery’s collection reflects the diversity and artistic ambitions of the nation.
Superb examples from a “who’s who” of American painters and sculptors—including works by Benjamin West, John Singleton Copley, Ralph Earl, Albert Bierstadt, Hiram Powers, Frederic Church, Frederick Remington, Thomas Eakins, Winslow Homer, Augustus Saint-Gaudens, George Bellows, John Singer Sargent, Joseph Stella, Gerald Murphy, Eli Nadelman, Arthur Dove, Thomas Hart Benton, Edward Hopper, Alexander Calder, and Stuart Davis—bring the complex American story to life. Now these extraordinary works of art are in a new home—the elegantly restored galleries in Street Hall, the magnificent Ruskinian Gothic building designed in 1867 by Peter Bonnett Wight to be the first art school in America on a college campus. Rich in architectural detail and nobly proportioned, these breathtaking spaces allow the American collections to “breathe,” to present new visual alliances, and to create multiple artistic conversations. Under soaring skylights, the uniqueness of vision that generations of American artists brought to bear in the service of their art will be on full display.
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artgallery.yale.edu/collection?f%5B0%5D=on_view%3AOn%20vi...
The early years of the 20th century were characterized in the visual arts by a radical international reassessment of the relationship between vision and representation, as well as of the social and political role of artists in society at large. The extraordinary modern collection at the Yale University Art Gallery spans these years of dramatic change and features rich holdings in abstract painting by artists such as Pablo Picasso, Georges Braque, and Wassily Kandinsky, as well as in paintings and sculptures associated with German Expressionism, Russian Constructivism, De Stijl, Dada, and Surrealism. Many of these works came to Yale in the form of gifts and bequests from important American collections, including those of Molly and Walter Bareiss, B.S. 1940s; Stephen Carlton Clark, B.A. 1903; Mr. and Mrs. Paul Mellon, B.A. 1929; Katharine Ordway; and John Hay Whitney.
Art from 1920 to 1940 is strongly represented at the Gallery by the group of objects collected by the Société Anonyme, an artists’ organization founded by Katherine S. Dreier and Marcel Duchamp with Man Ray. This remarkable collection, which was transferred to Yale in 1941, comprises a rich array of paintings, drawings, prints, and sculptures by major 20th-century artists, including Marcel Duchamp, Constantin Brancusi, El Lissitzky, and Piet Mondrian, as well as lesser-known artists who made important contributions to the modernist movement.
The Gallery is also widely known for its outstanding collection of American painting from after World War II. Highlights include Jackson Pollock’s Number 13A: Arabesque (1948) and Roy Lichtenstein’s Blam (1962), part of a larger gift of important postwar works donated to the Gallery by Richard Brown Baker, B.A. 1935. Recent gifts from Charles B. Benenson, B.A. 1933, and Thurston Twigg-Smith, B.E. 1942, have dramatically expanded the Collection with works by artists such as James Rosenquist, Ed Ruscha, and Wayne Thiebaud.
_______________________________________
Yale University Art Gallery is the oldest college art museum in America. The Gallery’s encyclopedic holdings of more than 250,000 objects range from ancient times to the present day and represent civilizations from around the globe. Spanning a block and a half of the city of New Haven, Connecticut, the Gallery comprises three architecturally distinct buildings, including a masterpiece of modern architecture from 1953 designed by Louis Kahn through which visitors enter. The museum is free and open to the public.
www.archdaily.com/83110/ad-classics-yale-university-art-g...
Yale University’s School of Architecture was in the midst of pedagogical upheaval when Louis Kahn joined the faculty in 1947. With skyscraper architect George Howe as dean and modernists like Kahn, Philip Johnson, and Josef Albers as lecturers, the post-war years at Yale trended away from the school’s Beaux-Arts lineage towards the avant-garde. And so, when the consolidation of the university’s art, architecture, and art history departments in 1950 demanded a new building, a modernist structure was the natural choice to concretize an instructional and stylistic departure from historicism. Completed in 1953, Louis Kahn’s Yale University Art Gallery building would provide flexible gallery, classroom, and office space for the changing school; at the same time, Kahn’s first significant commission signaled a breakthrough in his own architectural career—a career now among the most celebrated of the second half of the twentieth century.
The university clearly articulated a program for the new gallery and design center (as it was then called): Kahn was to create open lofts that could convert easily from classroom to gallery space and vice versa. Kahn’s early plans responded to the university’s wishes by centralizing a core service area—home to the stairwell, bathrooms, and utility shafts—in order to open up uninterrupted space on either side of the core. Critics have interpreted this scheme as a means of differentiating “service” and “served” space, a dichotomy that Kahn would express often later in his career. As Alexander Purves, Yale School of Architecture alumnus and faculty member, writes of the gallery, “This kind of plan clearly distinguishes between those spaces that ... house the building's major functions and those that are subordinated to the major spaces but are necessary to support them.” As such, the spaces of the gallery dedicated to art exhibition and instruction are placed atop a functional hierarchy, above the building’s utilitarian realms; still, in refusing to hide—and indeed, centralizing—the less glamorous functions of the building, Kahn acknowledged all levels of the hierarchy as necessary to his building’s vitality.
Within the open spaces enabled by the central core, Kahn played with the concept of a space frame. He and longtime collaborator Anne Tyng had been inspired by the geometric forms of Buckminster Fuller, whom Tyng studied under at the University of Pennsylvania and with whom Kahn had corresponded while teaching at Yale. It was with Fuller’s iconic geometric structures in mind that Kahn and Tyng created the most innovative element of the Yale Art Gallery: the concrete tetrahedral slab ceiling. Henry A. Pfisterer, the building’s structural engineer, explains the arrangement: "a continuous plane element was fastened to the apices of open-base, hollow, equilateral tetrahedrons, joined at the vertices of the triangles in the lower plane.” In practice, the system of three-dimensional tetrahedrons was strong enough to support open studio space—unencumbered by columns—while the multi-angular forms invited installation of gallery panels in times of conversion.
Though Kahn’s structural experimentation in the Yale Art Gallery was cutting-edge, his careful attention to light and shadow evidences his ever-present interest in the religious architecture of the past. Working closely with the construction team, Kahn and Pfisterer devised a system to run electrical ducts inside the tetrahedrons, allowing light to diffuse from the hollow forms. The soft, ambient light emitted evokes that of a cathedral; Kahn’s gallery, then, takes subtle inspiration from the nineteenth-century neo-Gothic gallery it adjoins.
Of the triangulated, concrete slab ceiling, Kahn said “it is beautiful and it serves as an electric plug." ] This principle—that a building’s elements can be both sculptural and structural—is carried into other areas of the gallery. The central stairwell, for example, occupies a hollow, unfinished concrete cylinder; in its shape and utilitarianism, the stairwell suggests the similarly functional agricultural silo. On the ceiling of the stairwell, however, an ornamental concrete triangle is surrounded at its circumference by a ring of windows that conjures a more elevated relic of architectural history: the Hagia Sophia. Enclosed within the cylinder, terrazzo stairs form triangles that mimic both the gallery’s ceiling and the triangular form above. In asserting that the stairs “are designed so people will want to use them,” Kahn hoped visitors and students would engage with the building, whose form he often described in anthropomorphic terms: “living” in its adaptability and “breathing” in its complex ventilation system (also encased in the concrete tetrahedrons).
Given the structural and aesthetic triumphs of Kahn’s ceiling and stair, writing on the Yale Art Gallery tends to focus on the building’s elegant interior rather than its facade. But the care with which Kahn treats the gallery space extends outside as well; glass on the west and north faces of the building and meticulously laid, windowless brick on the south allow carefully calculated amounts of light to enter.
Recalling the European practice, Kahn presents a formal facade on York Street—the building’s western frontage—and a garden facade facing neighboring Weir Hall’s courtyard.
His respect for tradition is nevertheless articulated in modernist language.
Despite their visual refinement, the materials used in the gallery’s glass curtain walls proved almost immediately impractical. The windows captured condensation and marred Kahn’s readable facade. A restoration undertaken in 2006 by Ennead Architects (then Polshek Partnership) used modern materials to replace the windows and integrate updated climate control. The project also reversed extensive attempts made in the sixties to cover the windows, walls, and silo staircase with plaster partitions. The precise restoration of the building set a high standard for preservation of American modernism—a young but vital field—while establishing the contentiously modern building on Yale’s revivalist campus as worth saving.
Even with a pristinely restored facade, Kahn’s interior still triumphs. Ultimately, it is a building for its users—those visitors who, today, view art under carefully crafted light and those students who, in the fifties, began their architectural education in Kahn’s space. Purves, who spent countless hours in the fourth-floor drafting room as an undergraduate, maintains that a student working in the space “can see Kahn struggling a bit and can identify with that struggle.” Architecture critic Paul Goldberger, who studied at Yale a decade after Kahn’s gallery was completed, offers a similar evaluation of the building—one echoed by many students who frequented the space: “its beauty does not emerge at first glance but comes only after time spent within it.”
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Members of the Republic of Korea Air Transportation Working Group visited Travis AFB, Calif., as part of an annual conference to discuss transportation issues and capabilities between the United States and Korea, July 15-17, 2015. Members visited Airmen working at the base's aerial port, air traffic control tower and contingency response group, among others. (U.S. Air Force photo by Ken Wright)
I attempted to name Susie's car for her, based on the model (Spark LS).
I think she might've been willing to refer to it as "Sparky", but that might've just been her humoring me for the nonce.
One of many pictures of the Submarine Base Pearl Harbor Memorial Park and other historic sites on the Submarine Base Pearl Harbor. They were shot on the 29th Sep. 2019. It is uploaded here in high resolution!
Cady Coleman (at podium and on screens), Former Astronaut, speaks during the the event Uplifting Women in STEM: An astronaut-led panel to highlight the contributions of women and girls in science, and the importance of ensuring that they are safe from gender-based violence and gender discrimination. The event is held on the occasion of the Tenth International Day of Women and Girls in Science and was co-organized by the Permanent Mission of Poland, Rise, and the Spotlight Initiative.
UN Photo/Loey Felipe
11 February 2025
New York, United States of America
Photo # UN71085994