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Use a ShARK to create custom layers, wraps, and other components for building canes at a smaller scale.
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Various dots grabbed today as follows:
Main:
Caught South of Gatwick at 41,000 feet, Singapore Airlines Cargo Boeing 747-412F(SCD) 9V-SFP slips by as SIA7973 on her way from LA to Brussels
Top left:
Air Malta's Airbus A320-251N 9H-NEB climbing through 21,000 feet as AMC7101 on route Luqa from Heathrow
Top right:
UAE9962 aka Emirates Sky Cargo Boeing 777-F1H A6-EFK trails East over Sussex at 37,000 feet all the way from Houston, Texas towards her Belgian, destination of Maastricht
And lastly, seen streaking across Sussex at 35,000 feet was Belgian Air Component's Dassault Falcon 7X call-sign 'BAF76' aka OO-LUM, one of two civilian examples leased for their 'white fleet' use. This one was out of St. Mawgan and presumably still crew training and on her way back to Belgium. See:
www.aviation24.be/military-aircraft/belgian-air-component...
276A1760, 276A763, 276A764 & 276A766
The green toenail of the statue, the names in gold, the Belgian blue stone and the liberation photo: the pieces of a puzzle of historic reality, now long gone.
Copyright © 2021 by Craig Paup. All rights reserved.
Any use, printed or digital, in whole or edited, requires my written permission.
Componente del Grupo "Avant Garde Dance", que con el espectáculo de variedades "The Silver Tree" nos cautivaron en el Festival Internacional de Teatro y Artes de Calle de Valladolid (2010).
Components for a 54 Sqn SEPECAT Jaguar GR.1, including 2 Turbomeca Adour Mark 104 engines, are prepared ready for painting.
“Cuatro Torres Business Area” (CTBA). Antigua Ciudad Deportiva del Real Madrid. Paseo de la Castellana. Los componentes más recientes de la Skyline de Madrid
El parque empresarial “Cuatro Torres Business Area” (CTBA) se edifica sobre los terrenos de la antigua Ciudad Deportiva del Real Madrid al extremo norte del paseo de la Castellana, conformado por cuatro rascacielos, los edificios más altos de España. El conjunto comprende un anillo de circulación subterráneo que da servicio a aparcamientos y plantas bajo rasante de cada uno de los edificios. Proyectado en 2002-2003, la construcción se inició en 2004 y la urbanización se culmina en 2009 con la inclusión de algunas interesantes esculturas como la Menina de Manolo Valdés entre las torres CajaMadrid y Sacyr Vallehermoso.
En este recinto se situará además el Centro Internacional de Convenciones de Madrid con un auditorio principal con capacidad para 3.500 personas, según proyecto del equipo formado por Emilio Tuñón y Luis Moreno Mansilla ganadores del concurso convocado en 2007. El edificio propuesto se conforma mediante un círculo erigido verticalmente que se presenta como un disco solar delante de las dos torres centrales.
El Conjunto es fruto de la operación urbanística llevada a cabo por el Real Madrid Club de Fútbol, siendo presidente el empresario Florentino Pérez, por lo que algunos han dado a las torres el nombre de cada uno de los jugadores “galácticos” que fichó el citado presidente como consecuencia de la operación: Figo, Ronaldo, Zidane y Beckham.
Torre CajaMadrid (inicialmente Torre Repsol)
Arquitecto: Norman Foster & Partners
Estructura: Halvorson & Partners - Gilsanz Murray Steficek LLP. Instalaciones: Aguilera Ingenieros. Responsables del proyecto de construcción José Ramón Burgos Morcillo y Pedro González Lejarriaga
Es el edificio más alto de España, con 45 plantas y 250 metros de altura. Proyecto: 2003. Edificado entre 2004 y 2009. La estructura está compuesta por un entramado de acero, que permite una planta rectangular de oficinas, soportado por dos grandes núcleos de hormigón, que encierran los elementos de comunicación vertical y de servicio, que se unen en el remate superior mediante un elemento tipo puente. La fachada se cubre de vidrio en la zona de oficinas y de placas de acero inoxidable en los núcleos de hormigón. Las plantas de oficinas se agrupan en tres cuerpos prismáticos intercalados entre los dos núcleos verticales que los sustentan, conformando una geometría que da su característica imagen al edificio.
Una vez iniciada la construcción, Repsol decidió cambiar la ubicación de su futura sede por lo que el edificio en obras fue adquirido por Caja Madrid con el fin de convertirlo en su sede principal en 2009
Torre Sacyr Vallehermoso (Hotel Eurostars Madrid Tower)
Arquitectos: Carlos Rubio Carvajal y Enrique Álvarez-Sala Walter (R&AS).
Estructura: MC2, Julio Martínez Calzón y Miguel Gómez Navarro. Instalaciones: UTE Aguilera-Úrculo.
Proyectada en 2003, promovida por el Grupo SYV, se construye entre 2004 y 2008, con una altura de 236 metros y 52 plantas
Los autores conciben el edificio a partir del análisis de geometrías rigurosas, capaces de albergar diferentes usos aportando la flexibilidad necesaria. Se configura mediante la superposición de un centro de congresos, un hotel de gran lujo, que ocupa los dos tercios inferiores, y unas oficinas en alquiler, sobre las 17 plantas superiores.
Su planta se genera mediante un triángulo equilátero cuyos lados son curvos, tres arcos que envuelven a tres cilindros situados en posición triangular, optimizando la longitud de la fachada en relación con la superficie construida. Tres pliegues verticales dividen el edificio en gajos, haciéndolo más esbelto e introduciendo luz y ventilación en el núcleo central. Las fachadas, compuestas de una doble piel formada por escamas de vidrio y aluminio que ofrecen una resistencia mínima al viento, presentan una imagen singular dentro del Conjunto, con su tonalidad oscura.
Torre de Cristal
Arquitecto: César Pelli.
Colaboradores: Íñigo Ortiz y Enrique León.
Promovido por la compañía aseguradora Mutua Madrileña, es el edificio más alto de España, junto a la Torre Caja Madrid, con una altura de 250 metros distribuidos en 52 plantas. Proyectada por el arquitecto de origen argentino afincado en New York Cesar Pelli en 2003, se edifica entre 2004 y 2009. Las plantas varían a lo largo de la altura, generando cuatro planos con biseles oblicuos, que confieren a las fachadas del edificio, formadas por muros cortina de vidrio, la apariencia de un cristal tallado, rematado por un plano inclinado bajo el que se conforma un jardín cubierto de invierno. Un gran bloque de cristal transparente, cuyas caras captan la luz “como si fuera un diamante tallado”. La variedad de los ángulos que delimitan cada uno de las caras da vida y movimiento a la torre a través de la diferente intensidad de luz que éstas reflejen durante el día. Su destino es el de oficinas de alquiler. Uno de los atractivos del edificio, que finalmente no autorizó el Ayuntamiento, era una especie de faro situado en su parte más alta, destinado a iluminar el invernadero, que haría visible el rascacielos desde varios puntos de la ciudad.
Torre Espacio
Arquitecto Henry N. Cobb de la firma Pei Cobb Freed & Partners, fundada por Ieoh Ming Pei. Colaborador: José Bruguera.
Colaborador en la dirección de las obras: Reid Fenwick Asociados, de Madrid. Estructura: MC2. Instalaciones: R. Úrculo Ingenieros Consultores.
Proyectada en 2003, promovida por la Inmobiliaria Espacio S.L, se construye entre 2004 y 2008, con una altura de 236 metros y 57 plantas sobre el nivel del suelo. La fachada está formada por un muro cortina de vidrio. Las plantas, varían de forma y dimensiones a lo largo de su altura, pasando del cuadrado en la base, hasta alcanzar la forma de un ojo abierto, es decir dos arcos de circunferencia secantes, en su culminación; dando al edificio una fisonomía exterior muy variable, desde un prisma a una botella, dependiendo del punto de vista. Las aristas son curvas y las fachadas no son planas, por lo que hubo que dotar de un especial diseño a los soportes de hormigón. Alberga, entre otras, oficinas de empresas pertenecientes al grupo promotor como la Inmobiliaria Espacio o la constructora OHL, y algunas embajadas. Cuenta con dos áreas de descanso de ocho metros de altura situadas en las plantas 18 y 33. Su sistema de climatización está compuesto por el "Techo Frío" emisor y la “fachada activa” de doble capa con movimiento de aire interior.
Durante su construcción, en septiembre de 2006 se declaró un incendio entre la planta 40 y 42, la última en construcción en ese momento, pero no afectó a su estructura.
The action of the Helvara rifle is totally unlike other bolt action rifles. The action is locked by a locking block dropping into recesses in the receiver; when the bolt carrier is pulled back, a wedge pulls the locking block up and out of these recesses. The trigger is a two-stage design which wraps around the sear.
See also:
Almost every single component of the Flavel mansion seen here came from a carpenter's shop.
It would be a colossal job to build a precise replica of this building today even with our power tools.
In 1885 carpenters did have access to a variety of treadle tools, particularly saws and scroll saws. One wonders how much effort it would have taken to cut the many scrollwork designs seen here. The operators of treadle saws must have developed powerful muscles in one leg and, quite possibly, repetitive motion injuries.
However, a power tool was of little use unless the carpenter knew how to apply it to achieve the desired result. The crisp, repeating, and symmetrical designs have little or no margin for error.
I wish I knew how many carpenters were employed in creating the fancy wooden trim for the Flavel mansion, and how the carpentry shop was organized and managed. I hope for their sake that the carpenters had a fair amount of variety in their work. Imagine being the person responsible for every turned ornamental ball finial on the entire mansion!
Now that I think of it, I wonder where the carpentry shop was located. There was ample room for one on the ample lot. If that is where it was, I wonder whether any archaeological remains still exist that would be worth investigating.
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Flavel House History
The Flavel House Museum was the home of Captain George Flavel (1823-1893), one of Astoria’s most influential citizens in the late 1800s. Captain Flavel was a noted bar pilot on the Columbia River and a prominent businessman.
His Queen Anne style house was designed by German-born architect Carl W. Leick and was completed in the spring of 1886 as his retirement home.
The Captain lived here for seven years with his wife Mary Christina Boelling (1839-1928) and his two grown daughters, Nellie and Katie. The couple’s son, George Conrad Flavel, never lived in his parent’s new residence as he was already married and living in a house of his own.
The house remained in the family until 1934 when George and Mary’s great-granddaughter, Patricia Jean Flavel, gave the property to the city as a memorial to her family.
In 1936 there was talk of tearing the house down and establishing an outdoor community park on the property. However, the city had financial difficulties and decided to return the property to Patricia Flavel. That same year the residence and grounds were deeded to Clatsop County with the understanding that both would be kept in good repair and used for public purposes.
From 1937 through World War II, the Public Health Department, the Red Cross, and the local Welfare Commission all had offices in the house.
In 1951, there was once again the talk of tearing the house down, this time to make way for a parking lot for the County Courthouse.
Concerned citizens organized to save the home, and the Flavel House was made into a local history museum managed by the Clatsop County Historical Society while still under the ownership of the County.
Eventually, the County transferred full ownership of the property to the Historical Society.
About the Interior
The Flavel House is approximately 11,600 square feet and consists of two and a half stories, a single story rear kitchen, a four-story tower, and a full basement.
The interior woodwork around the doors, windows, and stair-cases are Eastlake-influenced in design. The Douglas Fir doors, moldings, and wainscoting were faux wood-grained by a master craftsman to look like exotic hardwoods such as mahogany and burl rosewood. The wood likely came from a mill in Portland or San Francisco and was shipped to Astoria by steamer.
Six fireplaces grace the home and feature different imported tiles from around the world, elaborate hand-carved mantels, and a patterned metal firebox designed to burn coal.
The fourteen-foot high ceilings on the first floor and the twelve-foot high ceilings on the second floor are embellished with plaster medallions and plaster crown moldings.
The house was very modern with wall-to-wall carpet-ing, gaslighting, indoor plumbing, and a central heating system.
The First Floor is comprised of the public rooms such as the grand entrance hall, the formal parlor, the music room (the scene of musical recitals by the Flavel daughters), the library (the heart of the house), the dining room, and the conservatory. The butler’s pantry, the kitchen, and the mudroom make up the housekeeping area.
The Second Floor features the main bathroom, five bedchambers, and a small room used as a sewing room or storage room.
The Attic Floor is a large, unfinished area with two small plain bedrooms used by the Flavel’s domestic help.
The tower gave the Captain a broad view of Astoria and the Columbia River to keep an eye on the local ship traffic.
The Basement of the house originally had a dirt floor and contained a large wood-burning furnace.
About the Exterior
The Flavel House rests on park-like grounds covering an entire city block. It has been listed on the National Register of Historic Places since 1951.
The Queen Anne architectural style, popular from 1880 to 1910, can be seen in the house’s steeply pitched roof, patterned shingles, and cut-away bay windows.
Other characteristics of the Queen Anne style are the octagonal-shaped tower, the one-story wrap-around porch, and its asymmetrical facade.
Decorative elements of the Stick and Italianate styles are also apparent in the vertical stickwork, the bracketed eaves, and the hooded moldings above the windows and doors.
Outlining the roof and verandas of the house is the original wrought-iron cresting.
About the Carriage House
The Carriage House was built on the south-west corner of the property in 1887. It served as the place where the family kept their carriage, sleigh, and small buggies.
It also had three temporary holding stalls for their horses, a tack room, and a hayloft upstairs.
In the mid-1890s, the Carriage House was home to the family’s hired caretaker, Alex Murray.
In time, automobiles, including the Flavel’s Studebaker sedan, found a home in the Carriage House, and the family’s driver kept a room upstairs.
Today the Carriage House functions as the Visitor Center, museum store, and exhibit hall for the Flavel House Museum and the administrative offices of the Clatsop County Historical Society.
George Square is the earliest, as well as the largest of the Georgian squares of Edinburgh, having been begun about 1766 and completed about 1785.
Numbers 55-60 George Square designed by the architect James Brown in 1766 and built from 1774-1779 is an important surviving component of the square. George Square was the earliest and most ambitious scheme of unified town planning attempted in Edinburgh to date. The classical details of the doorpieces and regulated style of windows give the terrace coherence although there is considerable variation in the materials used in construction and in the height of the terraces. The concept of terraces with individual houses designed for occupation by one family was relatively new in Edinburgh where tenement living had been the norm and proved an immediate success with the aristocracy and leading citizens. This part of the square is little altered externally and while there have been a number successive occupants and uses, there are many surviving 18th century interior features. The terrace is also still an important element in the streetscape and the post-war university campus, which was expanded here from 1960 onward.
The importance of George Square lies in its pioneering design in the Scottish context. In England squares of houses had been built since the Great Fire of London, the first one to have a garden at its centre dating from the 1680s, while squares governed by sets of rules followed in the 1720s. Thereafter squares increased in number and scale both in England and Ireland and became an important feature of Georgian town planning from the mid-18th century to early 19th century across Britain. Some small scale projects such as Brown Square also designed by James Brown and John Adam's Adam Square (both now demolished) had been built in the early 1760s in Edinburgh but George Square represents a milestone in the development of planning in Edinburgh because of its size and the coherence of its design.
The conception of James Brown's George Square probably predates James Craig's New Town plan by a number of months. The Town Council of Edinburgh resolved to set up a subcommittee to develop the New Town project and to advertise a competition for a plan in January 1766. In May of that year competition entries were received and the results became known in August. However by comparison, James Brown had acquired the lands on which George Square is built in 1761 and the first occupant had moved into the square during 1766. The scheme must have been proposed some time before and therefore George Square is significant because of its early date as well as the concept of its design and the scale of the project.
It has generally been assumed that during the course of development of George Square the use of rubble walls with whin pinnings gave way to more regular coursing and droved ashlar suggesting that building began at the north end of this terrace and moved southwards. In fact, this is not borne out by studying the dates at which the buildings were occupied. In this terrace, at number 60 the walls are of rubble with pinnings. It was first occupied in 1774. Number 29 on the west side of the square, James Brown's own house, which is of dressed ashlar, was built and occupied by 1770, thus predating number 60 by four years. Therefore there must have been an element of choice by the client: the early buildings are not all of rubble and later ones of dressed ashlar.
The individual houses in George Square generally followed the standard Georgian pattern developed in London in the early 18th century, and used extensively by the older John Wood in Bath in the 1750s, three bays wide with the entrance door to one side. This pattern was to become the norm in houses in the New Town – for example in George Street, Heriot Row and Charlotte Square. It is possible that the pattern was introduced by James Brown into Scotland. The earliest houses built in the New Town – Thistle Court is thought to be the earliest or the houses in St Andrew Square which followed in the 1770s- do not use the three bay pattern and it is only slightly later that this was generally adopted. This adds to the significance of the surviving houses in George Square.
George Square was also a pioneer in the concept of a central semi-private garden area as opposed to many earlier British and Continental examples which had communal areas suitable for public gatherings and entertainments. James Brown clearly intended the gardens to be ornamental pleasure grounds, which were to be kept 'in good order and in an ornate manner' as indicated in his rules. It was not until 1813 that animals were removed from the railed off central area and gardens established. That year the proprietors organised for the Commissioners of George Square District to employ a person to prepare a plan and estimate the expense of laying out the ground after which John Hay, gardener, was employed to carry out the improvements. Robert Kirkwood's map of 1817 shows planting around the edges and around a central circular feature with paths leading to the four sides of the square.
Numbers 55-60 George Square have been altered at various different times and several have been connected internally to enable horizontal circulation. However some fine late 18th century details are still in place as well as some added in the 19th century. The interior details of numbers 57 and 58 (originally one large house but subdivided in the 1820s) are particularly noteworthy and include a fine 18th century staircase with iron balusters and timber rail, some good surviving 18th timberwork including dadoes in the public rooms and door and window architraves.
James Brown (1729-1807) was the second son of a William Brown of Lindsaylands, a Commissioner of Supply. James Brown's older brother was George Brown, an army officer, who became the laird of Elliston and Lindsaylands on his father's death in 1757 and was Receiver-General of Excise in Scotland. The square was named after him. As the son of a landed gentleman, James Brown may have had a scholarly rather than a practicaltraining. After developing Brown Square in the early 1760s, he purchased the lands of Ross House in 1761 and drew up plans for George Square and the surrounding area. Brown developed the areas around George Square in the 1780s and was involved in various projects such as the Riding School and the development of South Bridge. He was clearly held in considerable esteem by the city fathers as he was one of the trustees engaged to ensure that the Act of Parliament for building South Bridge and the wide range of improvements connected with this were carried out.
[Historic Environment Scotland]
The London County Council owned and operated tramways were amongst the largest component system that made up the capital city's extensive tram system. The LCCT had its origins in the 1899 purchase of the first of the horse operated tramways that the Council were allowed to acquire and operate under its powers and those of the 1870 Tramways Act. Others followed and in 1903 the first conversion to electric operation, that would in time encompass the whole network, took place. London, for various reasons, saw much of the central area lines operated on the conduit system - however in outer suburbs, where the tramways made a real impact, the more standard overhead electrification system prevailed.
The LCCT had much joint and inter-running with the numerous other operators that made up the patchwork quilt of London's tramways map. These included other council systems, some of which the LCCT operated, as well as the systems that came under the ownership of the Underground group. In 1933 all were merged together in London Transport and one the new organisation's earliest decisions was to replace trams with trolleybuses.
The time tables are listed as "North of Thames" and "South of Thames" showing the largely divided network the LCC operated that was determined by both the river - few London bridges carried tramway traffic - and the attitude of certain key local authorities, most notably the Cities of London and Westminster who would not allow street tramway operation. There was one central 'link' and interestingly this timetable guide notes the closure, for reconstruction, of the Kingsway Subway. Opened in 1906 and constructed along the lines of the 'new' Kingsway that was constructed under the auspices of the Council, this had only operated single deck trams on routes 33 and 35. Upon reopening it would allow the passage of the double deck fleet. The notes states "Pullman Services" - this simply denotes the refurbished fleet of cars that the LCC was slowly introducing and that did not include catering services as on railways!
The timetable shows first and last cars and a basic frequency. Oddly the LCC did not show running or journey times - this would feature on the post-1933 versions of the map and guide issued by London Transport. It shows the LCCT routes and the through running on to the lines of various other operators both company and municipal such as the MET, LUT, Croydon and West Ham.
This gate is the only remaining component of the so called Notre-Dame d'Ivry which was founded by Earl Roger d'Ivry, a cup-bearer of William the Conqueror, in 1071. The gate was built at the end of the 12th century.
www.mondes-normands.caen.fr/france/patrimoine_architectur...
Cette photo a joué à / This photo played the game
Si vous voulez participer, inscrivez-vous dans le groupe / If you wish to play please join the group
Episodul III
Aventura noastră prin Polonia și țările baltice continuă. Pornim de dimineață din Varșovia, în formulă completă după ce și cei sosiți cu avionul ni se alătură, urmând ca până la sfârșitul zilei să ajungem la Riga. Cerul este senin ca și în zilele precedente, temperatura aerului optimă, toate condițiile pentru o călătorie plăcută. Mergem pe autostradă, peisajul care îl vedem este același, terenuri agricole, pajiști, ferme izolate, lacuri, păduri de pini sau mesteceni.
În jurul prânzului intrăm în Lituania. Lituania este o țară mică, 65 de mii de km2, puțin peste 3 milioane de locuitori, membră a Uniunii Europene. De-a lungul secolelor această mică țară a avut perioade de glorie, în evul mediu fiind un stat mare și puternic cuprinzând un teritoriu foarte întins din Polonia, Rusia, Belarus, Ucraina, de azi, dar și perioade de decădere. În secolul trecut a fost și stat independent, dar și republică sovietică în componența URSS. Trebuie să reținem că Lituania a fost primul stat baltic din URSS în care a renăscut foarte puternic sentimentul național și prima republică sovietică care și-a declarat independența față de URSS, în 11 martie 1990.
După amiază ajungem în Kaunas, al doilea oraș ca mărime al Lituaniei după capitala Vilnius. În perioada interbelică când Lituania a fost stat independent dar o parte din teritoriul său de azi, regiunea Vilnius, a făcut parte din Polonia, Kaunas a fost capitala Lituaniei. Orașul are un centru istoric bine păstrat. Parcurgem acest centru, intrăm în biserici, fotografiem. Turiști foarte puțini. După prezentarea făcută de ghidă și trecerea în revistă a principalelor obiective turistice ne dispersăm pe la restaurantele și terasele din zonă pentru a servi masa de prânz. La revenirea la autocar o parte dintre noi merge pe cheiul râului Nemunas care curge leneș prin oraș. Revenim la autocar și mergem mai departe.
Târziu după amiază părăsim Lituania și intrăm în Letonia. Despre Letonia câteva date istorice și geografice într-un episod viitor la revenirea în această țară. Din punct de vedere al reliefului și această țară este o câmpie întinsă. Păduri, terenuri agricole, ferme agricole și gospodării izolate populează peisajul. O doamnă din grup se întreba mereu, în toate cele trei state baltice, unde sunt oamenii deoarece mai peste tot pe unde treceam nu prea erau localități compacte ci doar gospodării și ferme izolate iar pe cei care locuiau în ele nu-i vedeam.
Seara, pe întunecate, ajungem în Riga, capitala Letoniei. Vedem luminile orașului, traversăm Daugava, fluviul care curge prin oraș și care vine din Rusia și imediat după Riga se varsă în Marea Baltică, admirăm podurile frumos luminate, aceste lumini se oglindesc foarte frumos pe apă și fac un spectacol feeric. Ajungem la hotel, unul mai modest, și ne cazăm.
A doua zi dimineața la prima oră suntem în centrul vechi al Rigăi, destul de pustiu la acea oră, și începem vizita. Riga este un oraș captivant în partea lui istorică prin clădirile cu o arhitectură deosebită, străzi, străduțe, piețe, piațete cu un aer retro. Riga a făcut parte din Liga Hanseatică iar asta și-a pus o amprentă definitivă asupra orașului. Orașul are foarte multe clădiri construite în stilul Art Nouveau ceea ce face ca mulți să compare Riga cu Parisul. Vedem câteva din clădirile emblematice din Riga: Castelul, Catedrala, Casa cu pisici, Monumentul Libertății, Opera Națională și altele. Riga are pe malurile Daugavei un loc de promenadă foarte frumos, atăt pe malul drept, înspre orașul vechi cât și pe malul stâng, înspre orașul nou. Riga văzută de pe malul stâng, de unde vezi toate turnurile din orașul vechi oglindindu-se în Daugava, este foarte spectaculoasă. Tot de aici se vede foarte bine turnul Academiei de Științe, o clădire stalinistă de genul celor despre care vorbeam în episodul trecut. În depărtare se vede și Turnul Televiziunii, construcție care amintește prin silueta sa de celebrul Turn Eiffel din Paris. Pe malul stâng este o clădire nouă, modernă, care adăpostește Biblioteca Națională. Trecerea de pe un mal pe altul în zona centrală a capitalei letone se face pe două poduri monumentale, unul mai vechi, clasic și unul mai nou, modern. Înainte de prânz terminăm scurta dar densa noastră vizită în Riga și mergem mai departe.
Continuăm drumul prin Letonia iar la granița dintre Letonia și Estonia facem un popas pentru a servi masa de prânz.
După intrarea în Estonia peisajul nu se schimbă. Avem parte de o zi superbă cu o lumină specială. Estonia, a treia țară baltică vizitată, este o țară mică 45 de mii de km2, 1,3 milioane de locuitori, membră a Uniunii Europene, fostă republică sovietică după al doilea război mondial pînă în 1991. Ocupația sovietică a lăsat răni adânci și urme de neșters în istoria recentă a țării. Lunga istorie a Estoniei este una zbuciumată, teritoriul său fiind râvnit mereu de alții.
După amiază ajungem în Tallinn. După intrarea în oraș o bună porțiune din drum este printr-un un cartier de case. Case în general mici, unifamiliale, unele chiar modeste pentru o capitală, cu o mică curte în jurul casei în rest foarte mulți copaci care dau aspectul unei păduri iar casele abia se văd. Un loc plin de farmec și în care cei care trăiesc se simt cu adevărat în mijlocul naturii. Ajungem în zona centrală a capitalei. Imediat după coborârea din autocar suntem surprinși într-un mod foarte plăcut de o paradă cu foarte multe mașini de epocă. Putem să le admirăm și fotografiem în voie deoarece se învârt de multe ori prin zonă. Începem vizita prin Tallinn în orașul de sus, din Piața Castelului. Castelul Toompea este azi sediul Parlamentului și Guvernului eston. În balconul din față al clădirii se produceau cântăreți locali și o mulțime de admiratori îi urmărea și îi aplauda. Suntem în orașul de sus care se găsește pe o colină care domină capitala. La fel ca Riga și orașul Tallinn a făcut parte din Liga Hanseatică. Intrăm pentru câteva minute în Catedrala Alexandru Nevski aflată în Piața Castelului. O biserică ortodoxă cu arhitectură tipic rusească cu turlele în formă de turban și cruci aurite. A fost neglijată de regimul sovietic ateu și restaurată după căștigarea independenței Estoniei, la începutul anilor 90. În Estonia minoritatea rusă este semnificativă. Continuăm vizita prin orașul de sus. Vedem dinafară și dinăuntru biserica Sf Maria. Cam peste tot pe unde am călătorit prin Europa bisericile de regulă se vizitează fără taxă de intrare. Aici am plătit 1 euro. Ne oprim într-un punct de belvedere de unde admirăm și fotografiem Tallinnul. Un mozaic de ziduri în culori deschise și acoperișuri roșii, multe turnuri și turle care depășesc clădirile din jur și ies în evidență. În plan îndepărtat se vede Marea Baltică cu care ne vom întâlni în ziua următoare. Coborăm pe piciorul scurt în orașul de jos. Orașul de jos și orașul de sus sunt legate prin două drumuri, unul se cheamă piciorul scurt iar unul piciorul lung. Unii glumesc pe seama asta și spun că Tallinnul ar fi șchiop. Nu este deloc șchiop. Este un oraș foarte sănătos și plin de viață. Mai ales în sezonul turistic. O piață medievală, Piața Primăriei, din care radiază străzi în toate direcțiile, este elementul central al locului. Piața este plină pe toate laturile de restaurante și terase. Ne împrăștiem având timp liber la dispoziție. Continuăm vizita, intrăm prin magazine pentru cumpărături, ne oprim la terase să bem o bere sau să servim masa. Toți cei din grup sunt cucerițí de farmecul și aspectul orașului Tallinn. Ne regrupăm și ajungem la autocar iar apoi la hotel. Un hotel aflat la vreo zece km de centrul orașului, într-un pâlc de pădure, cu camere mari, în care vom dormi două nopți.
Components of nature !
Yalova Harbor - Turkey 2009
for better quality
www.yousifalhomoudi.com/?gallery_category=tourism#!pretty...[pp_gal]/17/
flickriver.com/photos/javier1949/popular-interesting/
“La Vela”. Ciudad BBVA. Un nuevo icono en la ciudad de Madrid
Calle Sauceda 28, c/v a C. Azul c/v C. Abetal Las Tablas Madrid
Arquitectos Herzog & de Meuron Architekten: Jacques Herzog y Pierre de Meuron. Diseño interior y diseño arquitectónico: Herzog & de Meuron (Arquitecto Core&Shell), SOM (Arquitectura interior). Colaboradores: Ortiz León Arquitectos. Concurso 2007, proyecto 2007-13, ejecución: fase 1: 2011-13, Finalización fase 2: 2015
BBVA (Banco Bilbao Vizcaya Argentaria) convocó a finales del año 2007 un Concurso Internacional de Ideas para la realización de su nueva sede en Madrid. Para la selección de los concursantes, la entidad financiera buscó a equipos de arquitectura de prestigio, con experiencia en diseño de proyectos para grandes corporaciones y comprometidos con la eficiencia económica, energética y medioambiental. Además de los ganadores, Herzog & De Meuron, participaron Zaha Hadid, Cesar Pelli-Ortiz & León, Estudio Lamela y Rafael de la Hoz. La nueva sede se sitúa en la periferia norte de Madrid, dentro del nuevo desarrollo denominado Las Tablas, junto a la a la Autovía A-1, rodeado de oficinas, edificios comerciales y residenciales; convirtiéndose en la primera imagen de la Ciudad de Madrid desde su acceso por el Norte, una nueva puerta de Europa. Cuando el banco adquirió el solar, una supermanzana que englobaba ocho parcelas con sus vías perimetrales, se encontraban en construcción cuatro edificios de oficinas, por lo que gran parte de ellos debía ser incorporada en el nuevo desarrollo.
Se trata de un complejo, con una superficie total construida de 252.000 m² de los que 114.000 m² se destinan a oficinas y servicios, para 6.000 puestos de trabajo y 3.000 plazas de aparcamiento, compuesto por siete edificios horizontales de tres alturas en cuyo centro se sitúa una plaza circular de 100 metros de diámetro en la que se erige el edificio principal, una torre elíptica irregular "La Vela". Cada uno de los siete edificios horizontales recibe el nombre de un continente, de norte a sur Oceanía, Asia, África, Europa, América del Sur, América del Norte y, al Oeste de la Plaza, Antártida. Las calles que los separan tienen por nombre el de los mares y océanos que unen los continentes, siendo éstas las calles Pacífico, Índico, Mediterráneo, Atlántico y Caribe. El edificio más emblemático es “La Vela”, denominación ganadora del concurso de ideas organizado por BBVA entre sus empleados para bautizar la torre. Se trata de un edificio de 93 metros de altura y 19 pisos, con 82 metros de diámetro y tan solo 16 m de ancho.
Los arquitectos autores del proyecto describen su propuesta:
Se trata de un “territorio sin cualidades”, un lugar desértico. Proponemos crear un jardín artificial, un oasis, generado desde dentro hacia fuera. Un lugar donde el medio natural y los edificios estén en equilibrio y funcionen como una pequeña ciudad. Una estructura lineal, compuesta por edificios de tres alturas, pequeñas calles y jardines, se despliega sobre el emplazamiento como una alfombra adaptándose a la topografía -que tiene una pendiente considerable -. En analogía a un jardín árabe, se genera un microclima fresco y húmedo. Cada puesto de trabajo dispone de una “vista verde”. Elegimos "internalizar" el complejo, para diseñarlo de forma única en torno a las necesidades internas de BBVA, dado que el entorno no tenían mucha identidad, simplemente no había mucho con lo que relacionarse. La disposición de poca altura, fomenta la comunicación: en lugar de tomar los ascensores, la gente camina por las escaleras que fomenten el intercambio informal; la transparencia visual maximizada da a todos una vista y genera un sentido de comunidad; mientras que las relativamente pequeñas unidades permiten a los empleados identificarse con su grupo de trabajo en particular.
En una zona interior de la manzana la alfombra se recorta siguiendo una forma casi circular y se posa en vertical. El resultado es una Plaza y una delgada Torre en forma de disco, como si esta masa se inclina hacia arriba para marcar el símbolo BBVA en el horizonte de Madrid. Plaza y Torre anclan el conjunto, proporcionando orientación. La entrada principal y varios servicios comunes del campus se conectan alrededor de la Plaza, en la que se plantan árboles que proveen sombra y una laguna que humidifica el aire y actúa, a su vez, como depósito de agua. Tanto los edificios como los jardines y las calles asumen el principio lineal. Cada área se distingue a través de árboles específicos, plantaciones de densidad y forma variable, que contribuyen a crear un carácter individual en el marco global de la alfombra. En contraste con las oficinas de baja altura, la torre ofrece otro tipo de espacio de trabajo, con vistas a la ciudad y a la sierra madrileña.
Tanto el sitio y la escala del desarrollo nos enfrentan al reto de encontrar una solución radical que elegimos para crear un oasis que mira hacia interior, no al anónimo paisaje urbano en el que se sitúa. Un lugar que establece un equilibrio entre lo natural y lo construido y que asume las funciones de ambos como un pequeña ciudad y un gran jardín.
Los edificios existentes se alteran para empatizar con las nuevas estructuras y crear oficinas y jardines lineales de escala similar. Se cortan o rellenan para ser integrados en el "tejido" en general.
La arquitectura muestra su estructura, un diseño que expresa una fuerte influencia de las condiciones ambientales. Largos y estrechos jardines interiores y calles, columnas de hormigón y losas en voladizo diseñadas para dar sombra y evitar la excesiva exposición al sol, lo que reduce la demanda de aire acondicionado. El acristalamiento en toda la altura de la planta ofrece buenas condiciones de luz diurna en las oficinas con el fin de reducir al mínimo la iluminación artificial. A lo largo de la periferia del complejo desarrollamos brise-soleil situados entre las losas de piso, diseñados de forma que se cortan en la parte inferior en un ángulo a fin de proporcionar más vista y la luz natural, donde se necesita menos protección, convirtiéndose en un elemento figurativo que varía en la dirección y tamaño de acuerdo con el ángulo de los rayos solares. El terreno en pendiente y los brise-soleil ayudan a conformar la fachada.
La fachada, de altísimo aislamiento térmico y acústico -doble vidrio, cámara de gas inerte,...- está conformada por lamas diseñadas por simulación energética para optimizar la entrada de luz natural, evitando la insolación directa pero permitiendo las vistas hacia el exterior. Los ensayos realizados reflejan que los sistemas de climatización necesitan dos horas menos de consumo diario en comparación con otro edificio sin estos elementos. Se trata de piezas fijas cuya orientación va en función del soleamiento y cambia en cada fachada, realizadas en acero, recubiertas de poliéster, reforzadas con fibra de carbono y lacadas en blanco. Tiene una componente de diseño que se basa en la escala humana, la figura de una persona levantada y sentada, las dos posturas que un trabajador tiene en la zona de oficinas, de ahí su equilibrio. Hay varios anchos de lamas para conseguir un superficie relativamente fluida de cara al exterior. Las lamas de una única altura se colocan en toda la fachada y las lamas dobles en todos los puntos de acceso o en las zonas de conexión. Debido a su colocación existe una superficie acristalada de 49.000 m² que permitiendo que el 90 % del interior tenga luz natural con un gran ahorro energético.
La cubierta se ha tratado como la quinta fachada del complejo, se ha realizado una zonificación por colores, con superficies ajardinadas y agrupando las instalaciones.
Los edificios de oficinas tienen siempre 3 plantas, baja más dos, pero debido a la topografía del solar, los forjados se van adaptando para que siempre se creen plantas con vistas al exterior. En las oficinas desaparecen por completo los despachos cerrados, nadie en el banco salvo el consejo tendrá despacho. Para ellos se crean tres estándares de puestos modulares para que pueda ser muy flexible la ubicación de los mismos. Existen zonas de reunión informal, siendo un elemento de modulación.
La Vela tiene 16 metros de ancho por una longitud de largo que varía, ya que la curvatura hace que la planta tenga diferente longitud en cada nivel. La planta que más longitud tiene es 82 metros. Este volumen se eleva 19 plantas sobre rasante y 3 bajo rasante. Tiene una altura de 93 m desde la plaza. El cerramiento tiene la misma solución que el resto del complejo, teniendo menos conductividad térmica con un sistema de panel de perfilería de aluminio extrusionado, compuesto por montantes. El alzado de la vela se utiliza a distintas escalas en todo el proyecto, es un símbolo. Parece que es un ovoide, pero es una geometría distinta con 36 radios de curvatura diferentes. La orientación del volumen es norte-sur, por ello al tener un cerramiento de vidrio se plantea en lado sur unos voladizos de 1,40 m para que la incidencia solar en ningún momento sea un problema en el interior. El revestimiento de exterior de la curvatura es de placas de acero inoxidable con un tratamiento para que no produzcan deslumbramientos.
El complejo de BBVA está diseñado para la obtención de la máxima distinción del certificado de sostenibilidad: el Leed de Oro. Uno de los sistemas más innovadores es el de refrigeración y calefacción, centenares de sondas detectan las necesidades de temperatura de cada estancia, miden el número de personas que hay en cada espacio y si no hay nadie, se apaga la refrigeración y la luz. Además hay un punto de reciclaje en cada lugar de trabajo y un número muy reducido de impresoras para tender al ahorro de papel. El agua de lluvia se recoge en las azoteas y la de las acequias y los inodoros es 100% reaprovechada.
Herzog & de Meuron Architekten
www.herzogdemeuron.com/index.html
www.elcroquis.es/Shop/Issue/Details/43?ptID=2
“La Vela”. Ciudad BBVA
www.herzogdemeuron.com/index/projects/complete-works/301-...
www.metalocus.es/content/es/blog/nueva-sede-de-bbva-madri...
www.plataformaarquitectura.cl/cl/02-16791/nueva-sede-para...
www.domusaureaproyectos.com/15-noticias/19-nueva-sede-del...
Here are the six pieces used in C6 mechs (in case you hadn't already figured it out).
More importantly, however, is the XML needed to create a Wanted List on BrickLink. The list is for 20 of each of the pieces in new condition in Light Bluish Gray (Also called Medium Stone Grey by Lego). Once you import the list you can adjust the colors and quantities, etc. to your liking.
Here is the XML in a text doc. Just open the file, copy all the text and paste it into the Upload section of the "Add Item" tab, in your Wanted List on BrickLink.
If anyone needs more detailed instructions, let me know and I'll post them (I know it's not a very intuitive system).
Edit: I should mention that this is part of the C6 System for building Lego mechs for the game MFØ, just in case you ended up here randomly.
Splits easily and demonstrates orange main component (close double itself, K2 class, 3,18m) and fainter but hotter bluish (B8 class, 5,8m) companion.
Sorry for oblong stars :|
Aquisition time: 19.10.2013 around 22:00-23:00 MSK (UTC+4)
Equipment:
Canon EOS 60D (unmodded) running Magic Lantern firmware override on Celestron OMNI XLT 150 mm Newtonian riding on Celestron CG-4 equatorial mount with motor.
Aperture 150 mm
Focal length 750 mm
Tv = 30 seconds
Av = f/5
ISO 800
Exposures: 5 (plus 10 dark frames and 10 offset frames plus 4 fake flat-field frames).
Processing: Images were converted to 16-bit TIFFs in Canon DPP and outputs were fed to DSS. Flatfields were made from four randomly picked exposure by appliyng Gausian Blur (250 pixels radius) and adjusting histogramm to achieve 70% fill.
Colours were balanced (almost successfully) in DSS and final touches were made in Photoshop.
It's air show season once more, afternoons spent either baking in the blazing sun or freezing in the rain and wind cursing the light in either instance.
RAF Cosford was the venue this time, with a packed programme celebrating the RAF's centenary and a packed airfield as the promise of a hot sunny day meant a sell out crowd.
Here the Belgian Air Component displayed their F16
Imaginative Components.
Courtisans importants erratiques mécontents satiristes ballades flagrantes circulation,
puritanical scriptores vertiginous impetus periculosum devoravit,
Begrenzung Ernten finanziell empfindlich erstaunlich wiederholt imaginären unorthodoxen,
gwrthfesurau ddiwygio pregethwyr pryderus i'r amlwg,
признал, охватывающий гедонизма пророческие окружающие мощные критики,
paesaggi discorsive evoca metafore rigogliosamente morti,
ανθρώπινες συνειδητοποιήσεις ρητορική έμφαση διευκολύνει συρρίκνωση αποφάσεις εντάσσονται,
încălcări hrănit restrâns mituri poezie evocări fără precedent colectate,
diskou transparan progrès unpersuasive monak allusion pale,
stále nejisté verze náboženské sonety sympatického rýmované překlady dluhopisy,
צורות עוינות חדשנות קיצונית ביקורת מניפולטיבית נאבקות תהילים טקסים,
Molann militancy monarchical láidre traidisiúnta mhúineadh gníomhaíochta Dhiaga,
vicissitudes grunsemdir sameina miskunnarlaus hnjóðs berjast gegn flókinn accentual pathos,
spegling policies belastningar investera kulturella lingvistiska invånare aristokrati struktur,
信用をアクセント破壊根本人間味中世の伝統.
Steve.D.Hammond.
Tin toy made in Japan
Power: Friction
Size: 6 1/2" (17 cm) length
On July 8, 1959 the first of three North American X-15s, an experimental, high-altitude rocket-powered craft, dropped from under a B-52 wing on its initial flight. This X-15 began a groundbreaking series of flights into the next decade, exceeding six times the speed of sound and soaring into space.
This tin toy replica of an X-15 is a component in a 120-piece "American Airline Jetport Set" pictured in the 1960 Sears, Roebuck & Co. Christmas catalogue and sold into 1961. Its construction is simple: upper and lower halves joined with rolled edges, and a tail fin.
Industrial scrap, Trinity Terrace Birmingham.
Kodak Tri X 120 film
1/125 sec @ f16
Copyright Geoff Dowling: Alll rights reserved
Fujifilm GA645Zi Professional camera
Fé
Em toda a atividade humana, em todo o projeto que nós abraçamos, existe um componente fundamental que funcionará como um elo aumentando ou diminuindo drasticamente as nossas chances de sucesso. É a fé.
E pode também ser traduzida muitas vezes como um misto de raiva pela derrota, indignação com a queda e desejo e gana de vencer. É aquele sentimento que nos faz levantar de forma obstinada infinitas vezes quando nós caímos ou não conseguimos a vitória.
É fundamental este componente. Como alcançar uma vitória ou objetivo elevado, quando visceralmente não estamos envolvidos nele?
As coisas não acontecem mecanicamente.
Assim, o componente principal do sucesso de qualquer empreendimento tem sua raiz principal dentro de nós mesmos. É quando nos auto-afirmamos: eu posso, eu consigo, eu vou vencer. É a semente. Todo o resto que aparece depois está vinculado aquela semente que repousava escondida. Como a fé, que.está lá dentro do ânimo de cada um. Não podemos vê-la em si. Mas contemplamos depois todas as suas conseqüências..
Mas convém que a semente esteja plantada em solo fértil. Não esteja superficialmente enterrada. Não se sustente somente em motivos racionais, explicáveis.
Mas que haja vontade e sobretudo fé.
______________________________
Juarez A Motyzcka © All rights reserved
* Na foto minha sobrinha Júlia..
* Os dias têm sido curtos para mim. Não tenho conseguido tempo para estar por aqui.
Belgian Air Components F-16AM Fighting Falcon
FA-136
10th Tactical Wing
31st Squadron 'Tigers'
Kleine-Brogel Air Base, Belgium
This waterproof tablet is serious about entertainment. Hear every beat thanks to Hi-res audio, noise canceling technology and front stereo speakers. See every shade on the 8” (20.3 cm) screen bursting with Sony’s display technology. With an impressive rating, you won't ever have to worry about water or dust getting in the way of performance. This super-light, super-slim tablet is a true feat of engineering - crafted from the highest-quality materials with clean lines and a rounded aluminum frame.
Launched: 2014 November
Chipset: Qualcomm Snapdragon 801 (Quad-core 2,5 GHz)
Memory: 3 GB RAM, 16 GB internal storage, micro SDXC slot
Screen: 8-inch TFT LCD, 1200x1920, 283 dpi
Dimensions: 213.4 x 123.6 x 6.4 mm
Weight: 270 g
Photo: Thomas Ohlsson Photography
www.thomasohlsson.com | 500px | Facebook | Flickr | Instagram
More info about these bad boys on my blog:
cyclingwmd.blogspot.com/2009/02/introducing-vallie-compon...
Yo Kind Volks: Safely at home.
The weekend outing was a refreshing break from having a few people around, in our wee homeland. Immersing us in the bountiful masses of people on the frolic. The tag team, gay traffic in both directions, luxury campers spouting satellite T.V. antennas, cars weighted down with bikes not to mention the galaxy of bikers in blight, decorating the landscape. A pleasant look at a new Baltic area.
Since Heidi wanted to "break out" and test out the camping viability of "her" VW Tramper, I suggested a run to "Darss." I chose "Darss" because after ,what seems like too many polling English lessons concerning: "yur fav holiday place." One top fav was "Darss."
Actually, "Darss" is only one component of a peninsula that lies north of Rostock. Low lying ( everything is low lying here like underwear where the elastic as gone bad) but with incredibly very sandy beaches. No rocks and beachcombing is fairly meagre. No dead Whales rotting away, very tiny sea shells and sea-washed tiny rocks, some of interest.
For the uncircumcised the sand ekes under the foreskin. Much waving it about, in the clear Baltic to free the unwanted guests before the tiring walk back to the hopeful, jolly beer stand.
Interjection. In German a "peninsula" is called a "Halbinsel." Literally translated as a "half-island." Hence Spain is a, "Halbinsel."
The "Halbinsel," is composed of 3 areas. "Fishland, Darss and Zingst." To get there it is about a 3 hour howl from our place depending on the traffic jams. Friday we left late and arrived in the area at about 9 P.M. Getting dark as August wanes. Checked out a camping place that I rejected and drove back to a parking lot that I thought might do. "Love, Cheap and Free," are the words I adore.
In the dark missed some crucial signs. We made the bed and snuggled in.
At 6 A.M. awoken by a knock, knock on the Tramper door. It was a "Park Ranger!" In uniform! Not allowed to sleep in the parking lot. 20 Euro fine. But, the best thing was that it got us up.
I, working with our really old gas stove and wee water cooker made coffee and we gazed out upon the deserted parking lot. Something about an empty parking lot that desires one to comment.
I saw the machines in which one pays for this space. The signs, which in the dark warning of cause and effect, invisible, which I did not note, now clearly highlighted." No Camping Here." Two portable toilets adorned a corner next to the park info. A map kindly letting you know where you were at the moment. 2 other empty parked cars where, the Ranger guesses , people have slept on the beach. The Ranger informs us that this is also not allowed.
The parking lot is surrounded by quite an eclectic vegie mass. There is your birch, oak, vines and a myriad of underbrush doing back up strings.
There are birds. I thought I saw the Bird of Paradise. Quite dampish in the audience area if you viewed it as a hockey rink.
After my eclectic coffee, we did a walk through the forest heading to the beach. Quite a long walk but nice take on the surrounding vegetation. Typical Baltic. Great ferns.
Only at the early up at the 6 A.M. does one notices things like: the eager beavers. The mad biker. The insane jogger. Dog owners. And, two nude bathers that we noticed as we hit the beach. I picked them out right away.
The beach is very empty in the early morn. Heidi, If not know to all, is a water freak. Ancient frog genes me thinks. Must swim. Must, must swim.
The beach is a Greek ode to the god "Sand." Big time fine sand. Somewhere, in past times, as glaciers melted and grinded away and they really did a fine job of building up future human, fun times. Shrill kids and sand castles. Parents caught in a cork screw.
I remember that walking in the deep sand to the beach shore that I found it rather a chore. Wow, my memory is intact, it is quite a feat walking in sand. Laborious lifts of leg as we plowed our way to the Baltic shore. The abrasive between toe effect. Uncut toe nails full of ancient drift. I guess its fun for some.
Heidi can get pretty pouty and whining when close to water sources when I tend to slur such activities as bathing in search of the local historical museums that might engender new knowledge... which, in this case, somehow do not seem to exist. I gaze upon the flat calm Baltic noticing its lack of floating knowledge entrails. It is just water.
Heidi forgot her bathing togs. I said go nude. The 4 or so other people populating the beach this early morn seem to be preoccupied. Heidi does the plunge and I beach comb. As I said I didn't find my wale bones basically I was looking for large chunks of Amber. Picked up 3 tiny rocks for Heidi's Mum.
The "Amber" number is that this long coast line way up to Lithuania, Estonia et al was a "gold" mine for said product. Traded from this area long and far. Medieval time treasure. Still mined. Another story.
Heidi does the long swim. The satisfaction on her face will be long remembered. Now at peace after trudging back through the fine, as gold sand, we walk that firm forest path back to the Tramper.
We slowly head out from our "fined" camping place and join the holiday traffic flow. We are off to "Zingst." A camping place we know nothing about. Something on our poor, elderly map.
Actually, before that, we stop off a tourist shopping mall in the in between. Contains a gas station that it is bumper to bumper with in coming and out going. Plus a small mall like thing that tends to give a Canadian shine to it all.
In this Zeitgeist, I enjoy watching the multitudes herding their kids about trying to avoid unavoidable indulges.
Actually on the stop over Heidi bought me a pair of jeans for 30 euro...brand..."Tom Dooley's"...plus 3 T-shirts for 15 Euro. Must assume imported from the abused.
Ah, the new camping place. Long time ago camping was basically a un-fineable outing. Some Off. Some illicit. Pee unencumbered. This is a camping place that might called a 4 star. We secured a large space for the Tramper. Cost only 33.60 euro for our nightly stay.
There was some tenting space for the triers. We didn't deign to look.
Our spot, nicely located mind, was ad midst a plethora of every luscious mobile camper found on the current market. I can't say what was rented or owned, but, in any case, the fumes of good income fumed.
The facilities. Grand passions! Shitters, a plenty for early morn ejections. Fresh water. Two restaurants. Great store with all needs. Newspapers in German, on hand.
In the this grand setting we put the "Tramper" to its test.
Basically putting up the tent that clicks into its hind legs. I found it could have been larger especially when the table and two chairs are mounted and sitting with red wine glasses in hand. My red glass hand seemed to hang a little outdoors.
Other than that that, it needs more thought on nightly air flows. A bit stifling after the 4 hour sexual endurance race. Some sectors of the Tramper seem to implode causing claustrophobic feelings. More on the engineering.
After we set up it was back to the "new" beach. The "new" beach, just across the road, is also a sand number. Movies come to mind. "March OF The French Foreign Legion Through The Drifting Sahara Sands To Rescue The Omar Of Sand From The Wicked Berbers Of Yor."
Heidi bathed away while I couldn't find one interesting item from the ancient sands. As the day waxed on the beach filled. Nice weather. Now I was involved in the masses. If "full" is a useable word I would say the beach was "fucking full."
Of course, the beach runs forever. From here to the Polish border and, if you forget borders, all the way into Russia that Baltic beach flows.
Basically checked out people in passing. My take. Lots of fat. Paunches amongst males over 40 quite noticeable. I tried my best to suck it in. Some women beggar description. Okay, who wants to flagellate everyday?
I tried to note the number of sunglass wearers. The women who caught my fancy. Especially, where female bums explode through light, summer wear when it becomes acute as they labor through the Sahara. Love to give a hand.
Or, just watching the parents having a blast with their kids. Conflicts and resolutions.
We were located next to the dog beach. Really. So watched the dogs do their thing. Lots of dogs having fun, I thought.
After Heidi swum her swum back to the campsite. Training thighs across the sand again.
Camping place had two restaurants. We dined well. Drank that wine and drifted off.
Next day, I was up and at em. Coffee and hard boiled eggs. We realize we must get new outdoor camping equipment.
Heidi insists back to the beach. French Foreign Legion feeling again. Almost amongst the first where Heidi again swum her swum. I just stood in it. Not bad water temp. What Olympic am I training for?
A stop at a village on homeward leg titled as an early art commune aka 1896. Actually not much to be seen but it rained and we dined on shrimp and a sauce out of bananas and Hollandaise sauce.
Then off through the Sunday,rampaging traffic homeward. It rain hard in some areas. Especially, when Heidi insisted on a coffee break at an Autobahn stop. Automated Cappuccinos. That is when you really get see another roadside attraction.
The run back to the far away parked Tramper was wet.
Post Scrotum. Besides myself this was a real German trip. Not a foreigner in situ.
Felt odd, on the Mediterrean North not to see one who had not lost their color pigment.
Tomorrow. Heidi brings her class here for a short visit. Coffee, no pig, clean takes and all.
Luv.
Using a bread baking machine: put in the ingredients wheat, water and yeast and a few hours later you have an excellent, tasty Pain St. Honoré.
Copyright © 2022 by Craig Paup. All rights reserved.
Any use, printed or digital, in whole or edited, requires my written permission.
// Lightweight chainring – Made in Germany //
more info: 8bar-bikes.com/shop/cranksets/8bar-x-kappstein-chainring/
Photo: Stefan Haehnel / www.recentlie.com/
This is an early prototype of Stackduino.
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This is a focus stacking controller for the macro setup: www.flickr.com/photos/reallysmall/5649044078/in/photostream.
It uses an arduino, an easydriver and some optocouplers to move a camera a designated distance, take a photo and then repeat the process a chosen number of times until enough image slices have been taken to compile into a stack.
The design is a combination of:
- The Arduino Uno based Stackduino wiring diagram: www.flickr.com/photos/reallysmall/8270022807/
- The Hackduino guide:
www.instructables.com/id/Perfboard-Hackduino-Arduino-comp...
The project uses this perfboard:
www.ebay.co.uk/itm/200703298675
The 5v and ground rails threaded throughout the board help keep wiring reasonably tidy.
Challenge for the group: "Get Pushed" Round 3.
Challenger: Ray (thisisray).
Challenge: "There are three components to my challenge to you:
- You must shoot something baked -- cake, cupcakes, bread (it can be either purchased or something you've made). I'm looking for texture;
- You must use your macro lens but the image you submit has to contain the entire subject; and
- The subject must contain some component of ambient light and shadow -- you can't use a flash."
Response: Well, the lady in the bakery department said this was called a "Chocolate Cream Horn." I'm pretty sure it was baked at some point, but I was really drawn to the different textures that it had. (The strawberry was already on there when I bought it).
Finding the best composition was tricky with my macro lens especially with the limited area that I had to work with in the house, but I think this was the best composition/lighting combo of all my attempts, especially with the challenge to keep the entire baked good in the shot. Normally I probably would have given up after 20 or 30 attempts if I had a shot that was "okay" (I had over 100 for this challenge - well above my norm - I usually don't have that kind of patience), but I perservered with several different shots and angles to find the best one. After all, this was a challenge by Ray, and he's got such a great photostream, I had to try to get something at least 1/10th as good.
As far as lighting, since my house doesn't have any optimal angles for natural light, and the sun was setting when I got home, I used a shop light with a 500 watt halogen bulb as my "ambient" lighting, with a piece of white tissue paper held in front of it to diffuse the light and create the softer shadows. No flash was used.
Tweaked some of the colors in Lightroom and slight rotation/crop. Minor touchups and added text in Photoshop Elements.
This was probably plan "Q" as far as all my ideas. I had so many other ideas, but textures weren't quite what I was hoping for when I was browsing the bakery or I couldn't figure out how to do a decent backdrop/setting without spending too much money. If I can find something specific that I was looking for around the house, I may very well try this again before Round 3 is over.
Overall, there are some things I like about this shot, and some things that I probably could have done differently. I will say this, though - I have some new admiration for those who do food photography.