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Miscalculations at the power desk necessitated some GN-colored assistance for the Builder west of Wenatchee.
This store was originally a Builders Square store. Home Depot took over after Builders Square liquidated.
This shopping center in Dearborn, Michigan was built by the Kmart Corporation to house the variety of brands they had in the early 1990s. Few if any of these "Kmart Corp. shopping centers" were built outside of Detroit or Chicago. This particular shopping center was built to look slightly more upscale than the others, maybe because it was built five miles from the first Kmart store, less than 20 miles from Kmart's Headquarters at the time, and literally across the street from Ford's Headquarters complex.
This shopping center was originally opened with Builders Square, Pace, Super Kmart Center, Office Max, Sports Authority, Service Merchandise (the only place not owned by Kmart when it opened), and Borders Books & Music. In the 1990s Kmart sold most pace stores to Sam's Club (including this one), split off Builders Square (which later liquidated), then sold Office Max, Sports Authority, and Borders (which also has liquidated).
After Builders Square liquidated a Home Depot opened in its place. Super Kmart closed in 2003 and later became a Walmart. Sam's Club also closed then became Garden Ridge (since rebranded "at home"). The Borders store sits vacant as of early 2015. The Service Merchandise store is now Value City Furniture. Office Max and Sports Authority still remain in the shopping center.
It is neat to take into consideration that the whole shopping center was built by one retail company and it actually feels much more expansive in person rather that just seeing it through pictures. It is also important to note that in the more than 20 years this shopping center has been built not one retail store has modified its exterior in any notable way besides Walmart bricking in Super Kmart's cafe windows and auto center. I guess this shopping center was built in a fairly timeless design.
Fairlane North Shopping Center, Mercury Drive and Ford Road, Dearborn, Michigan
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#Build_quest team is titled as the #Best Hunters Hill Builders in the Australian building industry. We are a team of #professional_builders and #renovators in #Sydney who are #dedicated to offer best in class building services to people at #affordable prices. Call now for details.
The eastbound Empire Builder gets a chance to stretch its legs coming out of Hastings and accelerating along the straight stretch towards Prairie Island along the River Subdivision.
The Empire Builder rolls through the Minnesota Commercial yard area in Saint Paul down six and a half hours from hot weather speed restrictions and track maintenance west of Williston. So, it's an afternoon visit to the Twin Cities in stead of early morning.
Mr. Sylte a well known builder of Tugboats and other boats as well Seen here in front of the tractor tug NUMAS WARRIOR back a few years ago, @ SYLTE shipyard British Columbia Canada.
Não é o castelo de areia a coisa mais importante na brincadeira da criança. O mais importante é a imagem de um castelo de areia que a criança tem na cabeça antes de começar a construir o castelo. Por que outra razão você acha que ela destrói com as mãos o castelo que acabou de construir?
Jostein Gaarder
This young builder pondered for a good 30 seconds before he carefully place piece of driftwood in his hand. A future architect at work?? Purposely shot low with a Meyer Optik Orestor 100mm @ ISO100 1/4000 f16 from about 16' feet away.
Thursday, February 11, 2010
I really wanted to name this photo "Cloister Cluster." Unfortunately, it's not a monastery. Bummer.
At my grandfather's suggestion, I paid another visit to Memorial Presbyterian Church to speak with a docent, Sam Gay, who is an amateur photographer. He has taken some beautiful photos of the church's stained glass windows and agreed to share them with me. I enjoyed perusing through them as I listened to him answer a steady flow of questions from tourists as they explored the building. The most common requests pertained to the closest restroom and the wooden kneelers scattered amongst the pews. Mr. Gay referred to the kneelers as "foot rests" -- and he wasn't joking! The builders provided the kneelers as they had done for the Catholic churches in the area. However, Presbyterians do not kneel. But they certainly don't like to waste things! So the kneelers became foot rests.
The sky was absolutely gorgeous when I left, and it was perfect for a shot that I had scouted out last week and vowed to retake with optimal sunlight during non-drabby weather. Here's the southwest view of Memorial Presbyterian Church, framed by palm trees. You might recognize a few things from my photos last Friday -- Henry Flagler's mausoleum to the left, and the rose window above the south entrance to the right. The church was designed by architects John Carrere (1858 – 1911) and Thomas Hastings (1860 – 1929). Incidentally, the Carrère and Hastings firm was also commissioned to build the New York Public Library, the Manhattan Bridge and its approaches, and the House and Senate office buildings in Washington DC.
This is definitely one of my favorite photos I've taken so far this year. I'm sure this angle has been photographed many times before, but the most common shots depict the church from the south or southeast. The alignment of the south entrance facade, the spire, the dome, and the mausoleum is geometrically fascinating! Check it out large & on black.
While camping at the KOA in Wisconsin Dells, WI we always do our best to shoot the Empire Builder and our visit in August of 2000 was no different. Number 7 is accelerating after its stop in town with a pair of P42's leading an F40, all in Phase III paint.
For Chief's video, go here:
www.flickr.com/photos/24947693@N04/9564780687/
August 11, 2000.
Scanned from a 35mm print.
The Assumption of the Blessed Virgin, Ufford, Suffolk
Upper Ufford is a pleasant place, and known well enough in Suffolk. Pretty much an extension northwards of Woodbridge and Melton, it is a prosperous community, convenient without being suburban. Ufford Park Hotel is an enjoyable venue in to attend professional courses and conferences, and the former St Audrey's mental hospital grounds across the road are now picturesque with luxury flats and houses. And I am told that the Ufford Park golf course is good, too, for those who like that kind of thing.
But as I say, that Ufford is really just an extension of Melton. In fact, there is another Ufford. It is in the valley below, more than a mile away along narrow lanes and set in deep countryside beside the Deben, sits Lower Ufford. To reach it, you follow ways so rarely used that grass grows up the middle. You pass old Melton church, redundant since the 19th century, but still in use for occasional exhibitions and performances, and once home to the seven sacrament font that is now in the plain 19th century building up in the main village. Eventually, the lane widens, and you come into the single street of a pretty, tiny hamlet, the church tower hidden from you by old cottages and houses. In one direction, the lane to Bromeswell takes you past Lower Ufford's delicious little pub, the White Lion. A stalwart survivor among fast disappearing English country pubs, the beer still comes out of barrels and the bar is like a kitchen. I cannot think that a visit to Ufford should be undertaken without at least a pint there. And, at the other end of the street, set back in a close between cottages, sits the Assumption, its 14th century tower facing the street, a classic Suffolk moment.
The dedication was once that of hundreds of East Anglian churches, transformed to 'St Mary' by the Reformation and centuries of disuse before the 19th century revival, but revived both here and at Haughley near Stowmarket. In late medieval times, it coincided with the height of the harvest, and in those days East Anglia was Our Lady's Dowry, intensely Catholic, intimately Marian.
The Assumption was almost certainly not the original dedication of this church. There was a church here for centuries before the late middle ages, and although there are no traces of any pre-Conquest building, the apse of an early-Norman church has been discovered under the floor of the north side of the chancel. The current chancel has a late Norman doorway, although it has been substantially rebuilt since, and in any case the great glories of Ufford are all 15th century. Perhaps the most dramatic is the porch, one of Suffolk's best, covered in flushwork and intriguing carvings.
Ufford's graveyard is beautiful; wild and ancient. I wandered around for a while, spotting the curious blue crucifix to the east of the church, and reading old gravestones. One, to an early 19th century gardener at Ufford Hall, has his gardening equipment carved at the top. The church is secretive, hidden on all sides by venerable trees, difficult to photograph but lovely anyway. I stopped to look at it from the unfamiliar north-east; the Victorian schoolroom, now a vestry, juts out like a small cottage. I walked back around to the south side, where the gorgeous porch is like a small palace against the body of the church. I knew the church would be open, because it is every day. And then, through the porch, and down into the north aisle, into the cool, dim, creamy light.
On the afternoon of Wednesday, 21st August 1644, Ufford had a famous visitor, a man who entered the church in exactly the same way, a man who recorded the events of that day in his journal. There were several differences between his visit and the one that I was making, one of them crucial; he found the church locked. He was the Commissioner to the Earl of Manchester for the Imposition in the Eastern Association of the Parliamentary Ordinance for the Demolishing of Monuments of Idolatry, and his name was William Dowsing.
Dowsing was a kind of 17th century political commissar, travelling the eastern counties and enforcing government legislation. He was checking that local officials had carried out what they were meant to do, and that they believed in what they were doing. In effect, he was getting them to work and think in the new ways that the central government required. It wasn't really a witch hunt, although God knows such things did exist in abundance at that time. It was more as if an arm of the state extended and worked its fingers into even the tiniest and most remote parishes. Anyone working in the public sector in Britain in the early years of the 21st century will have come across people like Dowsing.
As a part of his job, Dowsing was an iconoclast, charged with ensuring that idolatrous images were excised from the churches of the region. He is a man blamed for a lot. In fact, virtually all the Catholic imagery in English churches had been destroyed by the Anglican reformers almost a hundred years before Dowsing came along. All that survived was that which was difficult to destroy - angels in the roofs, gable crosses, and the like - and that which was inconvenient to replace - primarily, stained glass. Otherwise, in the late 1540s the statues had been burnt, the bench ends smashed, the wallpaintings whitewashed, the roods hauled down and the fonts plastered over. I have lost count of the times I have been told by churchwardens, or read in church guides, that the hatchet job on the bench ends or the font in their church was the work of 'William Dowsing' or 'Oliver Cromwell'. In fact, this destruction was from a century earlier than William Dowsing. Sometimes, I have even been told this at churches which Dowsing demonstrably did not visit.
Dowsing's main targets included stained glass, which the pragmatic Anglican reformers had left alone because of the expense of replacing it, and crosses and angels, and chancel steps. We can deduce from Dowsing's journal which medieval imagery had survived for him to see, and that which had already been hidden - not, I hasten to add, because people wanted to 'save' Catholic images, but rather because this was an expedient way of getting rid of them. So, for example, Dowsing visited three churches during his progress through Suffolk which today have seven sacrament fonts, but Dowsing does not mention a single one of them in his journal; they had all been plastered over long ago.
In fact, Dowsing was not worried so much about medieval survivals. What concerned him more was overturning the reforms put in place by the ritualist Archbishop Laud in the 1630s. Laud had tried to restore the sacramental nature of the Church, primarily by putting the altar back in the chancel and building it up on raised steps. Laud had since been beheaded thanks to puritan popular opinion, but the evidence of his wickedness still filled the parish churches of England. The single order that Dowsing gave during his progress more than any other was that chancel steps should be levelled.
The 21st of August was a hot day, and Dowsing had much work to do. He had already visited the two Trimley churches, as well as Brightwell and Levington, that morning, and he had plans to reach Baylham on the other side of Ipswich before nightfall. Much to his frustration, he was delayed at Ufford for two hours by a dispute between the church wardens over whether or not to allow him access.
The thing was, he had been here before. Eight months earlier, as part of a routine visit, he had destroyed some Catholic images that were in stained glass, and prayer clauses in brass inscriptions, but had trusted the churchwardens to deal with a multitude of other sins, images that were beyond his reach without a ladder, or which would be too time-consuming. This was common practice - after all, the churchwardens of Suffolk were generally equally as puritan as Dowsing. It was assumed that people in such a position were supporters of the New Puritan project, especially in East Anglia. Dowsing rarely revisited churches. But, for some reason, he felt he had to come back here to make sure that his orders had been carried out.
Why was this? In retrospect, we can see that Ufford was one of less than half a dozen churches where the churchwardens were uncooperative. Elsewhere, at hundreds of other churches, the wardens welcomed Dowsing with open arms. And Dowsing only visited churches in the first place if it was thought there might be a problem, parishes with notorious 'scandalous ministers' - which is to say, theological liberals. Richard Lovekin, the Rector of Ufford, had been turned out of his living the previous year, although he survived to return when the Church of England was restored in 1660. But that was in the future. Something about his January visit told Dowsing that he needed to come back to Ufford.
Standing in the nave of the Assumption today, you can still see something that Dowsing saw, something which he must have seen in January, but which he doesn't mention until his second visit, in the entry in his journal for August 21st, which appears to be written in a passion. This is Ufford's most famous treasure, the great 15th century font cover.
It rises, six metres high, magnificent and stately, into the clerestory, enormous in its scale and presence. In all England, only the font cover at Southwold is taller. The cover is telescopic, and crocketting and arcading dances around it like waterfalls and forests. There are tiny niches, filled today with 19th century statues. At the top is a gilt pelican, plucking its breast.
Dowsing describes the font cover as glorious... like a pope's triple crown... but this is just anti-Catholic innuendo. The word glorious in the 17th century meant about the same as the word 'pretentious' means to us now - Dowsing was scoffing. But there was no reason for him to be offended by it. The Anglicans had destroyed all the statues in the niches a century before, and all that remained was the pelican at the top, pecking its breast to feed its chicks. Dowsing would have known that this was a Catholic image of the Sacrifice of the Mass, and would have disapproved. But he did not order the font cover to be destroyed. After all, the rest of the cover was harmless enough, apart from being a waste of good firewood, and the awkwardness of the Ufford churchwardens seems to have put him off following through. He never went back.
Certainly, there can have been no theological reason for the churchwardens to protect their font cover. I like to think that they looked after it simply because they knew it to be beautiful, and that they also knew it had been constructed by ordinary workmen of their parish two hundred years before, under the direction of some European master designer. They protected it because of local pride, and amen to that. The contemporary font beneath is of a type more familiar in Norfolk than Suffolk, with quatrefoils alternating with shields, and heads beneath the bowl.
While the font cover is extraordinary, and of national importance, it is one of just several medieval survivals in the nave of the Assumption. All around it are 15th century benches, with superbly characterful and imaginative images on their ends. The best is the bench with St Margaret and St Catherine on it. This was recently on display at the Victoria and Albert Museum as part of the Gothic exhibition. Other bench end figures include a long haired, haloed woman seated on a throne, which may well be a representation of the Mother of God Enthroned, and another which may be the Coronation of the Queen of Heaven. There is also a praying woman in a butterfly headdress, once one of a pair, and a man wearing what appears to be a bowler hat, although I expect it is a helmet of some kind. His beard is magnificent. There are also a number of finely carved animals.
High up in the chancel arch is an unusual survival, the crocketted rood beam that once supported the crucifix, flanked by the grieving Mary and John, with perhaps a tympanum behind depicting the last judgement. These are now all gone, of course, as is the rood loft that once stood in front of the beam and allowed access to it. But below, the dado of the screen survives, with twelve panels. Figures survive on the south side. They have not worn well. They are six female Saints: St Agnes, St Cecilia, St Agatha, St Faith, St Bridget and, uniquely in England, St Florence. Curiously, the head of this last has been, in recent years, surrounded by stars, in imitation of the later Our Lady of the Immaculate Conception. Presumably this was done in a fit of Anglo-catholic enthusiasm about a century ago.
The arrangement is similar to the south side of the screen at Westhall, and it may even be that the artist was the same. While there is no liturgical reason for having the female Saints on one side and, presumably, male Saints on the other, a similar arrangement exists on several Norfolk screens in the Dereham area.
Much of the character of the church today comes from it embracing, in the early years of the 20th century, Anglo-catholicism in full flood. As at Great Ryburgh in Norfolk, patronage ensured that this work was carried out to the very highest specification under the eye of the young Ninian Comper. Comper is an enthusiast's enthusiast, but I think he is at his best on a small scale like here and Ryburgh. His is the extraordinary war memorial window in the south aisle chapel, dedicated to St Leonard. It depicts Christ carrying his cross on the via dolorosa, but he is aided by a soldier in WWI uniform and, behind him, a sailor. The use of blues is very striking, as is the grain on the wood of the cross which, incidentally, can also be seen to the same effect on Comper's reredos at Ryburgh.
Comper's other major window here is on the north side of the nave. This is a depiction of the Annunciation, although it is the figures above which are most extraordinary. They are two of the Ancient Greek sibyls, Erythrea and Cumana, who are associated with the foretelling of Christ. At the top is a stunning Holy Trinity in the East Anglian style. There are angels at the bottom, and all in all this window shows Comper at the height of his powers.
Stepping into the chancel, there is older glass - or, at least, what at first sight appears to be. Certainly, there are some curious roundels which are probably continental 17th century work, ironically from about the same time that Dowsing was here. They were probably acquired by collectors in the 19th century, and installed here by Victorians. The image of a woman seated among goats is curious, as though she might represent the season of spring or be an allegory of fertility, but she is usually identified as St Agnes. It is a pity this roundel has been spoiled by dripping cement or plaster. Another roundel depicts St Sebastian shot with arrows, and a third St Anthony praying to a cross in the desert. However, the images in 'medieval' glass in the east window are entirely modern, though done so well you might not know. A clue, of course, is that the main figures, St Mary Salome with the infants St James and St John on the left, and St Anne with the infant Virgin on the right, are wholly un-East Anglian in style. In fact, they are 19th century copies by Clayton & Bell of images at All Souls College, Oxford, installed here in the 1970s. I also think that the images of heads below may be modern, but the angel below St Anne is 15th century, and obviously East Anglian, as is St Stephen to the north.
High above, the ancient roofs with their sacred monograms are the ones that Dowsing saw, the ones that the 15th century builders gilt and painted to be beautiful to the glory of God - and, of course, to the glory of their patrons. Rich patronage survived the Reformation, and at the west end of the south aisle is the massive memorial to Sir Henry Wood, who died in 1671, eleven years after the end of the Commonwealth. It is monumental, the wreathed ox heads a severely classical motif. Wood, Mortlock tells us, was Treasurer to the Household of Queen Henrietta Maria.
There is so much to see in this wonderful church that, even visiting time and time again, there is always something new to see, or something old to see in a new way. It is, above all, a beautiful space, and although it no longer maintains its high Anglo-catholic worship tradition, it is is still kept in high liturgical style. It is at once a beautiful art object and a hallowed space, an organic touchstone, precious and powerful.
Four builders taking their lunch break at Southbank caught me trying to take a sneaky photo - and smiled for the camera!
Spot the real builders...Contractors construct a safety hoarding on a site in the centre of Cardiff,Wales,UK.
Lot of rust including the plate itself. Not bad for a 95 year old bridge. Currently used by NS, ex PRR Bridge.
Candid street shot.
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Builder's tea is an English colloquial term for a strong, milky tea with sugar. The tea takes its name from the inexpensive tea commonly drunk by construction workers taking a break. A builder's tea is typically brewed in a mug (as opposed to a teapot) with two or more teaspoons of sugar. The term has widespread use throughout both Ireland and the United Kingdom.
The history of tea is long and complex, spreading across multiple cultures over the span of thousands of years. Tea likely originated in southwest China during the Shang dynasty as a medicinal drink. An early credible record of tea drinking dates to the 3rd century AD, in a medical text written by Hua Tuo. Tea was first introduced to Portuguese priests and merchants in China during the 16th century. Drinking tea became popular in Britain during the 17th century. The British introduced tea production, as well as tea consumption, to India, in order to compete with the Chinese monopoly on tea.
The first record of tea in English came from a letter written by Richard Wickham, who ran an East India Company office in Japan, writing to a merchant in Macao requesting "the best sort of chaw" in 1615. Peter Mundy, a traveller and merchant who came across tea in Fujian in 1637, wrote, "chaa — only water with a kind of herb boyled in it ". In 1657, tea was listed as an item in the price list in a London coffee house, and the first advertisement for tea appear in 1658. On 25 September 1660 Samuel Pepys recorded in his diary: "I did send for a cup of tee (a China drink) of which I never had drank before." It is probable that early imports were smuggled via Amsterdam or through sailors arriving on eastern boats. The marriage of King Charles II in 1662 to the Portuguese princess Catherine of Braganza also brought the tea drinking habit to court. Official trade of tea began in 1664 with an import of only two pound two ounces for presentation to King Charles II, but grew to 24 million pounds a year by 1801.
MKU3A outing to Thames Path Greenwich 4 posts.
Thanks to the friendly builders for posing for photos...
Amescorp are the leading home builders in Sydney specialised in granny flats. Their highly experienced architects help construct versatile and modern granny flats at the best rates. For more, visit amescorp.com.au/
Snapped at 9.30am heading into Foxton on Sunday, 8 November, Ritchies 543, a 14/06/2008 Scania K114 IB6 with Kiwi Bus Builders C54F bodywork, is seen covering the 7002 IC service to Auckland for Ritchies No. 542 while it is in for refurbishment.
ift.tt/1uGTkJi: A builder looks down and waits for supplies at a bulding site in Tallinn, Estonia. - ift.tt/2strRyo //
PHLUG Mech Wars 2015 Entry;
Builder: Jawi Chupungco Molina
RR-X-09A (a.k.a. Hellixe)
Alliance: Rogue Raiders
ReFrame Size: Medium Frame
Effective Range: Mid-range to close combat
Classification: Support/Front Liner
Armaments: (2) QT-X721 (Twin Blades); (1) AR-0513 BioNeedler (Experimental Mid Ranged Support Assault Rifle)
Hellixe is piloted by a newly recruited arrogant but smart boy only known as "Roo", the origin of X-09A itself is unknown, Roo found it abandoned and unscathed inside a mysterious underground hangar east of the Marzan Empire while wondering around looking for resources, back when he was just a lone wolf and only armed with an old rustic ARMT stock unit.
Before leaving the facility he saw three Marzan thugs on a look out at the entrance of the facility. Roo frantically left alerting the thugs, Roo tried shaking them off , but they were too skilled for him and got him cornered, all he knows about the mech his controlling is its insanely quick but it can't fly and all he has are two malfunctioning blades, luckily a mercenary of the infamous group named Rogue Raiders was scouting the area and noticed the commotion, the mercenary took this opportunity to kill some Marzan Thugs and take its cores. After the messy fight the mercenary just took off without saying anything, Roo then followed him hoping that he could join them..
From there he trained with the best members of R.R. and he also renamed X-09A Justice to Hellixe to fit their identity.
As the newest recruit of the Rogue Raiders, Roo was given an experimental gun which fires small but very sharp needles that injects and releases a substance that weakens the armor making it vulnerable from attacks, matching it with the quickness of X-09A this experimental weapon is bound to be deadly.
Video demo: www.youtube.com/watch?v=_UFtz0tmZfo
"The Idea Box", which is an elaborate and interactive mystery box created for submission to LEGO Ideas, but sadly was rejected due to mixing too many LEGO themes. I also worked tirelessly to perfect this overall concept since last fall, and made several revisions. With that said, I want to conjure up the imagery of the whimsy and innovation from earlier days of LEGO-building before licensed themes and overly complicated sets became the norm.
On the surface, this blue box with multicolored outer design seems like a large LEGO brick, but actually unfolds into four small vignettes to pay tribute to the legendary LEGO Idea Book of 1990: oldinstructions.com/wp-content/uploads/2017/06/1990-260-1...
The aforementioned book was a publication containing numerous alternate instructions and photos to encourage young builders to think outside the box and use their LEGO pieces to make new creations different than the ones provided in model sets. As a kid in the '90s, I would stare at this book all day and dream about the elaborate creations I could build if I owned enough pieces, and it helped inspire me to be a photographer.
At the time of the 1990 book, there were only four dominant themes in the LEGO System: Space, Town, Castle, and Pirates. This era predated licensed themes like Star Wars or Marvel, and instead was focused on imagination rather than intellectual properties. The front and back of the book contained a blue background with multicolored shapes, and on the front cover there was a sculpture of a group of realistic humanoid LEGO minifigures representing the four themes: a spaceman, a pirate, a medieval knight, and two construction workers. Therefore, the minifigures in my Idea Box are a direct reference to the book's cover.
I began working on this in late 2022, but struggled with the original functionality of the box since I intended for the four side pieces to unfold and fold automatically with the use of a Technic gear train. Essentially I conceptualized and tested a mockup where a central column in the box contained rails, rack gears, and a gear train which rotated the four sides at fixed angles. In the basic tests, this function worked by pushing the central column down (similar to unfolding an umbrella – but upside-down), but when adding deadweight of the vignettes on each side, it created problems for the mechanism. The momentum from leverage of pushing down on the column caused the four sides to fall down rapidly, so to slow it down I added Technic friction pins – but sadly when pulling the column back up, the force was so strong that it ripped the column from the rails, or even jammed the gears. Pulling the four sides manually (with the central column still intact) also didn't work, as all four sides needed to be raised simultaneously, otherwise the central column and and rack gears would get dislodged.
After too many failed attempts, I scrapped the automatic mechanism and instead retooled the project to unfold manually by simply pulling the sides and central lid platform down. This ended up being the most efficient option. The only real design flaws in this project are how the sides are kind of heavy and bulky, and often times they bow out when reassembled back into the box form; this can be seen in closeup photos where the sides look partially open.
But he's not a builder, he's a pro photographer who'd been out in the dinghy photographing Cunard's "Queen Victoria" @ New Quay, adjacent to Liverpool's Pier Head