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Was bored at the departure area at Changi Ariport in Singapore so decided to take out the camera and do some abstract shots :D
Title: "That Place Between"
Media: Aquatint, Etching & Gocco Print
Artist: Jade Lees-Pavey
Somerville, Victoria, AUSTRALIA.
Built between 1836 and 1842, this Neoclassical and Mediterranean Revival style church was designed by Hiram Bingham to serve as the primary royal church for the Kingdom of Hawaii. The building, built of approximately 14,000 1000-pound coral blocks quarried from a reef on the south coast of Oahu, was started during the reign of King Kamehameha II (1819-1824) and finished during the reign of Kamehameha III (1825-1854). Affiliated with the United Church of Christ, the congregation was founded by Hiram Bingham I, a Christian missionary from Connecticut whom introduced christianity to the Hawaiian Islands in 1820, initially worshipping in a large grass-covered structure that was constructed according to Native Hawaiian traditions, and could apparently hold up to 4000 people. As the Kingdom of Hawaii grew wealthier and more connected to the outside world, the construction of the present church was intended to give the kingdom its own equivalent to Westminster Abbey, where coronation ceremonies and other important royal religious ceremonies could take place, as well as a place for the royal family and chiefs to attend weekly church services. The church was the site where Kings Kamehameha III, Kamehameha IV, Kamehameha V and Kalakaua all swore their oaths of office to the Hawaiian Constitution, as well as baptism of various members of the royal family, even those who worshipped other denominations. The church is a relatively simple rectangular structure clad in rusticated coral stone, featuring an upper row of arched six-over-six double-hung windows and a lower row of rectangular six-over-six windows, a tower at the peak of the roof at the center of the front facade, which originally featured a tall pyramidal steeple and wooden Gothic Revival-style belfry surrounded by a balustrade, which was later removed and replaced with the present stone belfry with arched vents and a crenellated parapet, large clocks on all four faces of the tower, an arched main entry door flanked by two smaller arched entry doors and four doric pilasters, and a rear entrance flanked by two large arched windows. The building sits next to the historic Kawaiahaʻo Cemetery, which includes the mausoleum of King Lunalilo, which sits in front of the church, and the Mission Cemetery, which sits behind the church. The church was later somewhat supplanted by the Cathedral Church of Saint Andrew in the 1870s, which serves as an Episcopal or Anglican Cathedral, as most of the Hawaiian Royal Family were affiliated with the Church of England rather than the United Church of Christ, though ceremonies continued to occur at the church after the construction of the cathedral. The church was also the location where Queen Liliʻuokalani’s body laid in state following her death in 1917, prior to her funeral at ‘Iolani Palace. The church was designated as a National Historic Landmark in 1962, and was listed on the National Register of Historic Places in 1966.
Part of German World War II fortifications at Skippernesodden at Sørøya/Soroya in Finnmark, Northern Norway.
Informal portrait of blonde haired Inga with a cigarette in-between shoots
Studio Shoot all rights reserved copyright Najm Clayton
Built between 1922 and 1924, the Gothic Revival-style red brick St. John Catholic Church was designed by St. Louis-based firm Ludewig & Dreisoerner for the St. John Catholic Church congregation, the third-oldest catholic congregation in Covington, formed in 1854 and originally located at the corner of Worth Street and Leonard Street in Lewisburg. The site was purchased by the congregation in 1908 following the slumping of the hillside under the previous church, which made it structurally unsound. In 1913-1914, the adjacent Colonial Revival and Gothic Revival-style building that now houses the Prince of Peace Catholic School, originally the St. John Parochial School, was constructed on Pike Street to house the congregation, including a large auditorium with seating for 600 on the first floor, which temporarily housed church services, classrooms, a pastor's apartment, and rooms for the nuns of the parish convent. In 1922, the rectory was built to the rear of the school in the Flemish Revival style, and features a jerkinhead (clipped gable) roof, two one-story bay windows flanking the central entry, and a gable parapet with a large finial that announces the extensively trimmed door below. Following a successful fundraising campaign, ground was broken for the current church on Pike Street next to the school in 1922, and it was completed and dedicated in 1924. The church measures 64 feet wide by 163 feet long, with a 163-foot-tall steeple that rises high over Pike Street. The exterior of the church features more restrained ornament and trim crafted from limestone, which incorporates many gothic motifs and sculptural elements, and an irregularly-shaped base with several wings housing smaller rooms surrounding the base of the church. Inside the church, there is a carved wooden ceiling, hand-carved marble altars from Italy, frescoes painted by local artist Nino L. Passalacqua in 1960, and many stained glass windows crafted by Dr. Oidtmann of Linnich, Germany. During the early-to-mid-20th Century, as the suburbs to the south and west of the parish continued to grow, it initially saw an increase in attendance, being slowed when St. Agnes Parish was split off and constructed in Fort Wright in 1930. In the 1960s, the parish began to see a decline in attendance at both the church and school, as Catholics left the surrounding neighborhood and moved to the suburbs, leading to the consolidation in 1986 of St. John School with St. Ann School in Botany Hills, Mother of God School in Mutter Gottes, and the St. Boniface School and St. James School in nearby Ludlow, Kentucky, forming the Prince of Peace School, staffed by the Sisters of Notre Dame, whom had ran the St. John School from its inception, as well as teachers who were not nuns. As the demographics of the area continued to shift, St. Ann Church in nearby Botany Hills ceased operating as a parish, and became a mission church of St. John in 1999. The St. John Catholic Parish buildings are contributing structures in the Lewisburg Historic District, listed on the National Register of Historic Places in 1993.
Thurso, over the other side of the bay, taken between stored fishing gear.
Scrabster Harbour, Caithness, Scotland.
MUNICH/GERMANY - JUNE 22: Franziska Deecke (DLD) holding a large hublot watch for a lottery on the stage during the DLDsummer15 Conference at the Allianz Auditorium on June 22, 2015 in Munich, Germany. DLDsummer took place for the very first time focusing on the interface between technology, health and lifestyle through digitalization (Photo: picture alliance for DLD/Robert Schlesinger)
Built between 1879 and 1882, this American Florentine Revival-style building was the former royal palace for the Kingdom of Hawaii, designed by Thomas J. Baker, Charles J. Wall, and Isaac Moore for King David Kalākaua. The palace was the home of the monarchs of the Kingdom of Hawaii between 1882 and 1893, the executive building of the provisional government and Republic of Hawaii from 1893 until 1898, the capitol building of the Territory of Hawaii from 1898 until 1959, and the capitol building of the State of Hawaii from 1959 until 1969. During its time as a territorial and state capitol, the building was altered and renovated, removing or neglecting several original features, enclosing parts of the lanais that encircle the building’s exterior, adding additional office space outside of the building’s original footprint, and replacing some of the original windows with french doors. The building replaced an earlier ‘Iolani Palace, a western-style structure with elements reminiscent of the Greek Revival style and Creole cottages in the United States, which stood on the same site, and was built in 1844-45. The earlier palace was an aliʻi, which featured no sleeping quarters, but included a dining room, throne room, and a reception room, being only about ⅓ the size of the present building. The previous building had similarities to the present structure, including a raised lanai wrapping around the entire structure, with a hipped roof, a doric colonnade, large windows, and separate homes on the grounds where the royal family lived and slept. By 1874, when King David Kalākaua ascended to power, the original palace, built of wood was in poor condition, and in 1879, the building was demolished and construction began on the present palace. Inspired by knowledge of European royal palaces and architecture, the palace features four corner towers and towers on the front and rear facades, which all feature mansard roofs topped with cornices and cresting, arched double-hung windows, quoins, decorative relief panels, circular medallions on the arched and circular roof dormers, and flagpoles atop each mansard roof. Between the towers and on the second and third floors of the front and rear towers are lanais on the first and second floors of each side of the building, with staircases to the entrances on the front and rear at the foot of the towers, corinthian columns supporting arches, decorative balustrades, iron railings on the second floor, large windows and door openings with decorative trim surrounds, decorative tile floors, decorative ceilings, a cornice above, and a decorative railing wrapping the base of the building’s large low-slope and hipped roof. Underneath the lanais and enclosed spaces of the second and third floors of the palace is the basement, which is surrounded by a light well, with access provided to exterior entrances on the sides of the building via staircases. Inside, the palace has a layout with large rooms on either side of a central hallway on the first and second floors, which are linked via a large grand staircase, with the first floor hallway known as the Grand Hall. On one side of the Grand Hall is the throne room, taking up the entirety of this part of the first floor, with a dressing room behind the thrones, while on the other side of the Grand Hall is the Blue Room, a reception hall, and the State Dining Room, with a bathroom, and butler’s pantry between the State Dining Room and the Grand Hall. On the second floor, the hallway features a ceiling with two decorative medallions on either side of a central stained glass dome, with the room where Queen Liliʻuokalani was imprisoned for 9 months following the second of the Wilcox rebellions in 1895 sitting on the ocean-facing side of this end of the building, with a restroom and closet between this room and the Queen’s Bedroom. All bedrooms on this floor are linked via diagonal hallways to the second floor rooms in the corner towers, which are utilized as small sitting rooms. On the opposite side of the hallway is the King’s Bedroom, King’s Office, and Music Room, as well as an additional bathroom. In the basement, the building is split by two hallways that intersect at the base of the basement stairs, running between the building’s service areas, including the kitchen, as well as administrative offices for the Kingdom of Hawaii, with most of the space now mostly housing exhibits and display cases. The interior of the building features extensive detailing and decoration that was restored after the building ceased being utilized as the State Capitol in 1969, including grand carved and reproduction staircases and balusters, decorative plaster ceilings with medallions, decorative crown moulding, carved wood doors and trim, wood floors, bathrooms with built-in water closets, sinks, bathtubs, and showers, period appropriate light fixtures, as well as period and reproduction furnishings and pieces of art that were in the building during the Kingdom of Hawaii period. The palace was designated as a National Historic Landmark in 1962, and was listed on the National Register of Historic Places in 1966. Following the completion of the Hawaii State capitol in 1969, a 9-year restoration program was carried out on the palace, with the palace opening in 1978 as a museum, run by the nonprofit organization Friends of ʻIolani Palace, that preserves the structure and tells the story of the Hawaiian Royal family who once resided and ruled from the palace, as well as allowing for visitors to admire the beautiful restored and preserved details of the interior and exterior of the building. On January 17, 1993, a vigil was held on the grounds of the palace, commemorating the 100th anniversary of the overthrow of the Kingdom of Hawaii by a group consisting of primarily white American businessmen, deposing the monarchy that had ruled the kingdom from 1795 until 1893. The grounds of the palace features restored landscaping intended to show what the palace looked like at the time of its completion, and the relocated ‘Iolani Barracks that once stood on the present site of the present state capitol, which now sits to the northeast of the main palace. The building is the only former royal Palace in the United States, and sits in the middle of park-like grounds surrounded by state, federal, and local government buildings in the heart of Downtown Honolulu.
LOYALTY BETWEEN MEN
The stones word weighs equal the seven steel swords, but look how that person walking is carries the weight of the world on the back, for this stones sword is lightweight, forged in the fire of the sword center world. The stone sword was forged in the fire of the world center world. If Warrior have faith the sword is light and launch fire.
But master this person walks every day very tired, as this person will have the strength to lift the sword.
Do not judge by what you see, because what moves us is faith and hope, God sent his angels to help all who are burdened and this warrior have great faith this person will be invincible.
- TECHNICAL ART PROVISIONAL / LAYOUT :
.FREE HAND DRAWING
.NO INSTRUMENTS
.ONLY TRACES(LINE)
.MATERIAL = PENCIL 05mmPENCIL 07mm AND PAPER
.GRAPHITE
. PAPER SIZE 8 1/2 inch X 12 inch
. TEMPLATE TRANSPARENT SHEET BACK
. DIGITAL FINISH BLEACHING
. TOTAL EXECUTION TIME = 5 HOURS
>>> WHO HAVE ONE FRIEND HAS THE STRENGTH OF A ARMY <<<
۩۞۩<♫< ☼Contact :FERNANDO PEREIRA COSTA JUNIOR fernandopcjunior@msn.com e fernandoelgato2000@yahoo.com.br .☼<♫<۩۞۩
Don't use this image on websites,blogs or other media, without my explicit permission.
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1. "Between the Years" or "The Shaman has to wait for the new Year ...", 2. "Between the Years" or "The Shaman has to wait for the new Year ...", 3. "Between the Years" or "The Shaman has to wait for the new Year ...", 4. "Between the Years" or "The Shaman has to wait for the new Year ..."
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|| View On Black || "Central Relatedness"or "RedPixel" or "Tat Tvam Asi" or "Αα" ||
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Each year is a new book ... a new beginning ... the pages of the book are still unwritten ... each blank page is a new beginning ... at the end of the year 2011 ... all sides will be described ... let us write a good book! It is a magical book! It is our life !!
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Between Pottuvil and Arugam Bay towards the sea side there is a small temple called Muhudu Maha Viharaya. This temple was also used to be known as Samudra Maha Vihara. The location marks the place at which Vihara Maha Devi set foot in the Ruhuna Kingdom. The temple site has three statues; the central statue is of the Buddha with the other two probably from the royal family.
The temple is believed to have been built in the 5th century A.D during the reign of King Dhathusena. A popular belief is that the two figures worshipping the Buddha are King Kavantissa and his Queen Vihara Maha Devi.
The Longmont Sugar Mill. One of Colorado's top abandoned locations. One of the closest locations you will find in Colorado that compares to the monstrous factories that lay abandoned out east. After almost running into the owners in the north building nearly two years ago, I had been itching to get back and try to hack the northern building again. That day finally came. After a tricky infiltration(many cars driving by, workers operating equipment nearby and people walking around outside of adjacent buildings), my crew and I finally made it in. And this time, we were the only ones on location. Such an amazing trip. This has become my all time favorite location.
Richmans Enginehouse was constructed between 1867 and 1869 using stone from Moonta Beach. Designed by engineer Frederick May and built under his supervision, the enginehouse featured a concealed roof surrounded by a parapet. It housed a 32-inch Cornish beam engine which was taken out of service in 1917 and the enginehouse and surrounding buildings were salvaged in 1925.
LOYALTY BETWEEN MEN
YOU'RE NOT AS STRONG AS SPEECH NOR WEAK AS YOU THINK, THE CRYSTAL IS FRAGILE AS LIFE BUT >>>FAITH <<< WILL TRANSFORM THE MORE HARD THAN STEEL ,THAT WIELD THE TRANSPARENT CRYSTAL SWORD HAS COMMITTED WITH THE TRUTH.
MASTER WHO MAN OR WOMAN THAT HAS THE HIGHEST LEVEL OF JUSTICE TO HAVE THE CRYSTAL SWORD?
EVERYONE THAT WANT TO KEEP THE DREAM ALIVE , THE DREAM OF GIVE YOUR LIFE AND HIS WILL TO GOD .
...LIGHT FROM FIREFIRE THAT NOT BURN
- TECHNICAL ART PROVISIONAL / LAYOUT :
.FREE HAND DRAWING
.NO INSTRUMENTS
.ONLY TRACES(LINE)
.MATERIAL = PENCIL 05mmPENCIL 07mm AND PAPER
.GRAPHITE
. PAPER SIZE 8 1/2 inch X 12 inch
. TEMPLATE TRANSPARENT SHEET BACK
. DIGITAL FINISH BLEACHING
. TOTAL EXECUTION TIME = 5 HOURS
///LOVE IS A FIRE THAT BURNS WITHOUT BEING SEEN,
IT'S THE WOUND THAT PAIN AND DOES NOT FEEL,
IT'S A CONTENTMENT DISCONTENTED,
IT'S THE PAIN THAT MADDENS WITHOUT HURTING ///
۩۞۩<♫< ☼Contact : fernandopcjunior@msn.com e fernando.costa.jr@terra.com.br .☼<♫<۩۞۩
Many thanks to you ALL for the views, faves and comments you make on my shots it is very appreciated.
Between The Lights by Will Lawson 1906.
A selection of Lawson's poetry originally published in 'The Bulletin', 'Sydney Mail' and other journals.
This copy signed by Lawson on title page and has a later dedication to Bertha Lawson from Eric Lawson on the end paper.
Limited edition No 115. Published by Ferguson & Hicks, Wellington, New Zealand. Cloth boards 115 pages 21cm x 14cm.
Taken and originally posted in June 2013.
People basking in Gothenburg's afternoon sun between two lion statues. Taken from a streetcar approaching Brunnsparken.
Disclaimer: The photo albums in this Flickr account are not intended to be collections of my best hand-picked images. Such images are included but the vast majority of images, 4800 and counting, commingled amongst the few gallery-worthy images, are snapshots, bad shots and missed shots (the bad shots containing some element of the composition that strikes my fancy despite its flaws thus saving it from the Recycle Bin and the missed shots being those photos where the exposure and/or DoF were not completely appropriate). There is trip documentation and there are pure experiments (including multiple treatments of the same scene such as different angles, different post processing, different times of day, sunrise/sunset progressions, zoom progressions, etc.). This account is basically a secondary backup location with convenient captioning, titling & EXIF capabilities.
Between Kaoloack and Tambacounda: Local villages rotate their market days - today it was the turn of Seco / Secou
QuoteoftheDay 'Only spirituality can create a perfect balance between your body, soul and mind.' - His Holiness Younus AlGohar
Built between 1959 and 1962, this Modern Futurist and Googie building was designed by Eero Saarinen and Associates for Trans World Airlines to serve as a Flight Center, or Terminal headhouse, for their passenger services at John F. Kennedy International Airport in New York City. The building is an example of thin shell construction, with a parabolic and curved sculptural concrete roof and concrete columns, with many surfaces of the building's structure and exterior being tapered or curved. The building also appears to take inspiration from natural forms, with the roofs appearing like the wings of a bird or bat taking flight. The building served as a passenger terminal from 1962 until 2001, when it was closed.
The building's exterior is dominated by a thin shell concrete roof with parabolic curves, which is divided by ribs into four segments, with the larger, symmetrical north and south segments tapering towards the tallest points of the exterior walls, and soar over angled glass curtain walls underneath. At the ends of the four ribs are Y-shaped concrete columns that curve outwards towards the top and bottom, distributing the weight of the roof structure directly to the foundation. The east and west segments of the roof are smaller, with the west roof angling downwards and forming a canopy over the front entrance with a funnel-shaped sculptural concrete scupper that empties rainwater into a low grate over a drain on the west side of the driveway in front of the building, and the east roof angling slightly upwards, originally providing sweeping views of the tarmac and airfield beyond. The exterior walls of the building beneath the sculptural roof consist of glass curtain walls, with the western exterior wall sitting to the east of the columns and the eastern exterior wall being partially comprised of the eastern columns, with the curtain wall located in the openings between the columns. To the east and west of the taller central section are two half crescent-shaped wings with low-slope roofs, with a curved wall, integrated concrete canopy, tall walls at the ends, and regularly-spaced door openings. To the rear, two concrete tubes with elliptical profiles formerly linked the headhouse to the original concourses, and today link the historic building to the new Terminal 5 and Hotel Towers.
Inside, the building features a great hall with a central mezzanine, and features curved concrete walls and columns, complex staircases, aluminum railings, ticket counters in the two halls to either side of the front entrance, a clock at the center of the ceiling, and skylights below the ribs of the roof. The space features penny tile floors, concrete walls and built-in furniture, red carpeting, and opalescent glass signage. On the west side of the great hall, near the entrance, is a curved concrete counter in front of a large signboard housed in a sculptural concrete and metal shell that once displayed departing and arriving flights. On the north and south sides of this space are former ticket counters and baggage drops, which sit below a vaulted ceiling, with linear light fixtures suspended between curved sculptural concrete piers that terminate some ways below the ceiling. To the east of the entrance is a staircase with minimalist aluminum railings, beyond which is a cantilevered concrete bridge, with balconies and spaces with low ceilings to either side, off which are several shops, restrooms, and telephone booths. On the east side of the bridge is a large sunken lounge with red carpet and concrete benches with red upholstered cushions, surrounded by low concrete walls that feature red-cushioned benches on either side, sitting below a metal analog signboard mounted to the inside of the curtain wall. To the north and south of the lounge are the entrances to the concrete tubes that once provided access to the concourses, which are elliptical in shape, with red carpeted floors and white walls and a white ceiling. On the mezzanine are several former lounges and a restaurant, which feature historic mid-20th Century finishes and fixtures.
The complex includes two contemporary hotel towers, the Saarinen and Hughes wings, which were designed carefully to harmonize with the original building and match its character. The two wings feature concrete end walls, curved Miesian glass curtain walls, and interiors with red carpeting, wooden paneling, brass fittings and fixtures, and white walls and ceilings. The only substantial modification to the structure's significant interior spaces was the puncturing of the two concrete tubes to provide access to these towers. The former terminal also features several service areas that were not previously open to visitors, which today house a massive fitness center, a cavernous underground conference center, and various meeting rooms and ballrooms, with all of these spaces, except the fitness center, being redesigned to match the mid-20th Century modern aesthetics of the rest of the building, with new fixtures, furnishings, and finishes that are inspired directly by the time period in which the building was built, and are nearly seamless in appearance with the rest of the building.
The fantastic building was designated a New York City Landmark in 1994, and was listed on the National Register of Historic Places in 2005. Between 2005 and 2008, the new Terminal 5, occupied by JetBlue, was built, which wraps the structure to the east, and was designed by Gensler, and was carefully placed so as to avoid altering or damaging the character-defining features of the historic terminal. Between 2016 and 2019, the building was rehabilitated in an adaptive reuse project that converted it into the TWA Hotel, which was carried out under the direction of Beyer Blinder Belle, Lubrano Ciavarra Architects, Stonehill Taylor, INC Architecture and Design, as well as the Port Authority of New York and New Jersey and MCR/Morse Development. The hotel features 512 guest rooms, large event spaces, a rooftop pool at the top of the Hughes Wing, a large basement fitness center, and a Lockheed Constellation L-1649A "Connie" on a paved courtyard to the east of the building, which houses a cocktail lounge. The hotel is heavily themed around the 1960s, and was very carefully designed to preserve the character of this iconic landmark.