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The Tennessee Theater/Burwell Building is a building complex of three inter-related components under single ownership: the Tennessee Theater, a 1928 presentation of a "Moorish Movie Palace" style theater; the Burwell Building (originally built as the Knoxville Banking and Trust Company Building), a ten story plus mezzanine & basement Second Renaissance Revival office building; and two very small commercial structures sandwiched between a portion of the theater & office building. Located on what has been described for many years as the 100% corner of Downtown Knoxville, the Burwell Building/Tennessee Theater has been a landmark structure since the construction of each portion of the complex. The complex is significant architecturally both for the design of the theater and the office building. The office building, built primarily in 1907, was the tallest building in Downtown Knoxville at the time of its construction, and is both the only building built in Knoxville by the architectural firm of Richards, McCarty, and Bulford (of Columbus, Ohio) and also the only remaining building in this particular mode of Second Renaissance Revival in Knoxville. The theater, built in 1928, is the only movie palace ever built in Knoxville, and is one of only four remaining in the entire state of Tennessee. Designed by the firm of Graven and Mayger of Chicago, Illinois (who were originally with the premier movie palace architects Rapp and Rapp), the theater is also unusual for movie palace architecture due to the oval shape of the auditorium, resulting in a very shallow house for its size. Both the theater and office building were built by the George A. Fuller Construction Company of New York, NY.
On April 1, 1982, the Tennessee Theater/Burwell Building was added to the National Register of Historic Places (NRHP) for its architecture and history in Knoxville, Tennessee. All the information above (and a lot more) was found on the original documents submitted for listing consideration and can be viewed here: npgallery.nps.gov/NRHP/AssetDetail/afbb2593-bb92-4e8b-82f...
Three bracketed photos were taken with a handheld Nikon D7200 and combined with Photomatix Pro to create this HDR image. Additional adjustments were made in Photoshop CS6.
"For I know the plans I have for you", declares the LORD, "plans to prosper you and not to harm you, plans to give you hope and a future." ~Jeremiah 29:11
The best way to view my photostream is through Flickriver with the following link: www.flickriver.com/photos/photojourney57/
In a vertical climb at RIAT 2018 is the Belgique F16AM "Dark Falcon" with the new wonderful scheme and also a new display pilot at the helm.
Los Angeles, CA '19
J. Paul Getty Museum
Buried by Vesuvius Exhibition, on loan from the Museo Archeologico Nazionale, Naples
Villa dei Papiri, Herculaneum, 1st Century BC-1st Century AD
“Say what you mean & mean what you say. Don’t be afraid to stand firm on the decisions that you make. Trust yourself, Believe in your instincts. Do what works best for YOU.”
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+ Components Details +
♦️ Body: ToddleeDoo – Baby Fitted Body
♦️ Head:ToddleeDoo – Bento Head
♦️ Skin:BF.FACE CHICAGO 500 ( Purchased Body applier Separate: BF. BODY CHUBBY-BB) Available in 4 Complexions Don’t forget to Try demo.
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+Apparel Details +
♦️ Outfit: :Papaya: AVOCADO FunSet ( Single: 1 Sweatshirt – 1 Shorts – 3 Strings – 5 Metals // Fatpack: 10 Sweatshirts – 10 Shorts – 3 Strings – 5 Metals)
♦️Socks: {m} – simple socks fatpack // Unrigged {20 Colors Included}
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+Decor Details +
♦️ {m} milk n’ cookies – Fatpack { 2 RARES – milk carton pillows
(w/ 4 custom bento poses) // 1 RARE – holdable cookie plush w/ hud
to change expressions/chip colors // All 5 idividual holdable cookie plushies
3 decor rugs (1Li) } — Direct Link -> 🍪
♦️ *AR* Andares – Bookshelf
♦️ *AR* Andares – Crib Bag
La misión jesuítica de San Ignacio Miní se fundó en 1610 por los Padres José Cataldino y Simón Masseta en la rivera izquierda del río Paranápanema con el objetivo de evangelizar a los nativos guaraníes. En 1696 después de algunos asientos provisionales, se establece donde hoy se aprecian los valiosos restos de sus ruinas jesuíticas, en una pequeña reserva fiscal, rodeada por el trazado urbano de la moderna ciudad de San Ignacio, en la provincia argentina de Misiones.
Es la más completa de todas las misiones jesuíticas conservadas en, lo que es hoy, la Provincia de Misiones. El monumento está totalmente cercado y resguardado. Estos restos han sido reconstruidos durante el período 1940-1950.
Prácticamente todo el conjunto urbano estuvo construido en roca arenisca rosada y en menor medida en roca itacurú. Los trabajos de restauración que se ejecutaron en el sitio permiten que podamos apreciar con exactitud lo que fuera la trama urbana de la reducción jesuítica. El templo, la residencia o colegio, los talleres y las viviendas indígenas pueden ser apreciadas en todos sus aspectos funcionales, lográndose una idea acabada de lo que implicaba la vida cotidiana en una reducción jesuítica.
La fachada del templo, los portales de los accesos laterales al templo y el pórtico de la sacristía constituyen obras únicas del barroco misionero-guaraní. Se trata de componentes, junto con la residencia o colegio con sus pisos y corredores y escalinatas originales, que distinguen a San Ignacio Miní y la hacen única en el contexto de los demás conjuntos jesuíticos.
WAJAX Industrial Components on Riverside Drive in Mountjoy Township in the City of Timmins Northeastern Ontario Canada
UK Pavilion at Milan Expo 2015, by Wolfgang Buttress, Tristan Simmonds and BDP architectural studio (2015).
"The 50 tonne hive structure offers you a glimpse into the life of a bee colony. Measuring 14 metres the cuboid lattice structure is inspired by the form of a honeycomb. The aluminium hive has over 169 000 individual structural components and was assembled in 32 horizontal layers. Entering the hive you will be surrounded by pulses and buzzes, together with the glow of 891 LED lights, each of which are linked to the movements of bees in a real hive located in the UK" (source: www.ukpavilion2015.com/uk-pavilion/).
An idea inspired by Codey K.'s excellent BrickArms mods.
All components use a 1/16" pin and socket system and are held by friction.
The AK receiver has 5 holes to accommodate a butt stock, fore stock, mag, and two holes for scopes.
Proto parts have been injected, and parts will be available to hold and configure at BrickFair VA. See Codey for further details at the show.
An idea inspired by Codey K.'s excellent BrickArms mods.
All components use a 1/16" pin and socket system and are held by friction.
The M4 receiver has 5 holes to accommodate a butt stock, fore stock, mag, and two holes for scopes.
Proto parts have been injected, and parts will be available to hold and configure at BrickFair VA. See Codey for further details at the show.
NHI NH-90 RN-05 of the Belgian Air Component's 18 Squadron based at Beauvechain on static display at RIAT 2015.
Euphorbia robbiae fluorescing red and white under UV. Under normal light it is yellowy green. The red is actually due to the infra red component in my imperfect UV source.
109/365
Two or more forces , Velocities or other vectors acting in different directions which are together equivalent to a given vector
"He resolved the motion into horizontal and vertical components "
“An outbreak of a pandemic disease.”
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+ Components Details +
♦️Shape: Kidorable – Lean Bento Shape – Youth / BABY FACE
♦️Body:Bebe – Youth Fitted Mesh Body (For 5-12 years look)
♦️Head: GENUS Project- Genus Head – Baby Face
♦️Skin:Bf. Face BAILEE 500 ( Purchased Body Applier Separate: BF Body Slim – Bebe) Available in Tones 300-600 Don’t forget to Try demo.
♦️Hair: Unorthodox– Afriloc Hair (with option to dye the tips / Rigged and unrigged versions)
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+Apparel Details +
♦️Outfit:{Feral Youth}– Chino Roll-Ups Collection – Daydream
( Roll - Ups Outfit comes with an extra pair not attached to wear Separately-Alone / Tshirt from the Chinos Outfit can't be worn alone. / Sporty Stripes Texture change Sneaks and texture change Socks - Earthy Stripes & Pastel Stripes / Tshirt Hud: Earthy Basics - Earthy Soft Stripes - Graphics 1 - Graphics 2 - Cammo - Heart Sleeves - Pastel Soft Stripes - Pastel - Rainbow Special / Pant Hud: Lights - Darks)
On picture:
TShirt & Roll-Ups (Graphics 1 - Pandemic Top / Dark - Navy Blue Pants) / Sneaks & Socks
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+Decor Details +
♦️ Chairs & Blanket: Breaux Willow - Darling Chair & Rugs (2 Color chairs: Pink & White
Each come with a HUD for 7 styles of blanket or no blanket -
7 Floor Throw options!) - Pretty by Flair
♦️ Panda: SEmotion Libellune - Panda Bear #6 - Arcade Event
English Electric Canberra tail and engines on the ground, showing the components that powered the iconic post-war jet bomber.
Did I do alright? Credit if used please, and also read the notes on the as well.
pastie.org/pastes/1711273/text
Oh yeah, and credit to lighthawk for the shape of the can.
Ford Escort RS 1600 Mk.II (1974-78) Engine 1593cc S4 OC
Registration Number VEH 423 S (Stoke-on-Trent)
FORD of BRITAIN SET
www.flickr.com/photos/45676495@N05/sets/72157623665118181...
The squarer-styled Mark II was unveiled in January 1975, with production from December 1974. Unlike the first Escort (which was developed by Ford of Britain), the second generation was developed jointly between the UK and Ford of Germany. Codenamed Brenda during development. it used the same mechanical components, floorpan and core structure as the Mark I. with the revised under body of the later Mark 1. The base, and Popular trim models provided entry level options, the L and GL trim models were the mainstream models, the Ghia the luxury model, while the Sport, Mexico, RS1600 and RS2000 models formed the performance market.
Diolch am 93,267,165 o olygfeydd anhygoel, mae pob un yn cael ei werthfawrogi'n fawr.
Thanks for 93,267,165 amazing views, every one is greatly appreciated.
Shot 24.04.2022 at the Sandbach Festival of Transport 159-047
This is the stripped down model without accessories.
This photo was taken by a Kowa/SIX medium format film camera with a KOWA 1:3.5/55mm lens using Kodak Portra 800 film, the negative scanned by an Epson Perfection V600 and digitally rendered with Photoshop.
Portrait of a Jie girl (South Sudan).
HUMANKIND, my premium, limited-edition, museum-quality standard book featuring over 200 large-format photos is available here: www.robertopazziphoto.com/#book
The Jie (or Jiye) are an ethnic group residing in the Eastern Equatoria.
They speak a dialect of the Toposa language and are primarily agro-pastoralists, combining cattle herding with agriculture.
For them, dance holds cultural significance, reflecting their pastoral lifestyle and community values. Traditional dances serve as a means of communication, storytelling, and celebration.
Through their dances, the Jie express communal unity, celebrate significant life events, and reinforce social bonds within their community.
These performances are not only artistic expressions but also vital components of their cultural heritage, ensuring the transmission of traditions and values across generations.
Website: www.robertopazziphoto.com/
Instagram: www.instagram.com/roberto_pazzi_photo/
Hui vaig a parlar-vos dels components i d'informació sobre aquest producte.
Aquest producte s'utilitza per a lliberar mecanismes oxidats, lubrica i protegeix contra la corrosió...
El WD-40 es una marca comercial d'olis multiusos.
Aquest producte esta compost per hidrocarburs, en un 25% per diòxid de carboni (abans s'utilitzaba gas de petroli liquid),pero aquest s'ha eliminat perque era molt més inflamable. En un 50% trobem Stoddard Solvent açó també es denomina gasolina blanca.
Esta gasolina blanca és un disolvent estragut del petroli.
Espere que amb aquesta informació hageu aprés més.
Fig. 51 (p. 134) - A representation of the art of dying in Savonarola’s book ‘Predica dell’arte del bene morire’ (Firenze, 1504). The two-division of life and death is superimposed on a four-division of heaven and earth.
Pp. 267 - 268 in: Vision of Four Notions - Marten Kuilman (unpublished). 'Visions of Four Notions' is the second book of a quadrilogue by Marten Kuilman. The book deals primarily with the theoretical aspects of quadralectic thinking. It was completed in November 2001:
The introduction of das Geviert (the four-fold), in the later works of Martin Heidegger (Vorträge und Aufsätze, 1954), pointed to the interplay of heaven and earth, the holy and the mortal. He saw these four entities as the main constituencies in the creation of space and Being. His visualisation of the four-fold, as a meeting place for man and nature, is a strong reminder to the picture of the ‘art of dying’ in Girolamo Savonarola’s book ‘Predica dell’arte del bene morire’ (see p. 134; fig. 51). This symmetrical woodcut – shaped at the Pivotal Point of the European cultural history (Chapter 6.1; fig. 66; p. 188) – has exactly the components, which Heidegger saw as the ‘world’ (das bauende Hervorbringen).
The boundary between heaven and earth is right in the middle. The Death emphasizes the opposition by pointing his arms to the signs quasu (now written as quassu, an (Italian) adverb meaning ‘up here’ or ‘on high’) and quagiu (now quaggiu, translated as ‘down here’, on earth). The contrast between holy and mortal is envisaged in God and the angels, in the upper half, and Satan (as the fallen angel Lucifer) and the devils in the lower half. These two oppositional pairs (heaven-earth and holy-mortal) represent the basic qualities of any communication in place and time (or in their operational disguises as division and movement).
Heidegger’s Geviert has, although covered in a blanket of hard-to-under-stand terms (‘penetrating the thickets of Heidegger’s terminological jungle’), a strong analogy with Savonarola’s ‘art of dying’. Both renderings try to construct, despite a time gap of 450 years, a ‘life-monument’, which is able to surpass the black-and-white setting of life (and death). The composition of (four) quadrants gives room for a broader picture of reality-itself:
1. God sits in heaven, in a circle of clouds. The blessing figure, surrounded by nine angels (the muses?) amidst stars, is framed in a mandorla with four angels. This holy place bears all the characteristics of the First Quadrant, the invisible invisibility of the quadralectic mind.
2. The holy circle shines its light into a rather empty sky. Only two angels populate this part of the picture, floating on a cloud. Their gestures indicate an invitation to the mortals below. The symmetry of the figures is probably a reference to the First Division, in this case a two-division. They form, together with God in heaven, a trinity in quasu. The invisible visibility of the division-environment is characteristic for the Second Quadrant.
3. The dualism of Life and Death reaches its zenith in the world of the mortal. The richly dressed nobleman, with his purse strapped to his belt, has an encounter with Death. The man tries to plea his innocence, but death is merciless pointing to heaven. It is time to leave the quagui. Two devils are ready to assist the departure of this earth. They form, together with the mortal and the death, a curious quaternity in quagiu. The visible visibility of the Third Quadrant is a place of limitations.
4. The sad cry of victory by a troubled Lucifer, roaring in the half-circle of the earth, represents the opposite face (of power) in the lower quarter of the picture. Four devils surround the Devil, while he is crushing two unlucky mortals. It seems as if there is no mercy in this place of darkness. A comparison with the visible invisibility of the quadralectic Fourth Quadrant might be appropriate here, but it should be noted, that the emphasis is very much on the oppositional aspects.
Excerpt from artgalleryofburlington.com
Holding Space is an exhibition of over 1000 ceramic components exploring our multi-faceted relationship with space – both physically and philosophically. Hung from the ceiling, suspended on the wall and standing tall – raw, abstracted forms interact within the installation as an interface between our human and spatial experiences; the relationship between the lived and the abstract or conceptual. Holding Space uses multi-component sculptures to prompt visual explorations of Space as Emptiness; Space as a Conduit for communication; and Space as held Containment.
Excerpt from samanthadickie.com:
Holding Space
A solo exhibition at the Art Gallery of Burlington, Perry Gallery in Ontario, Canada, 2019/2020. The creation of this project was supported by a Visual Arts Grant from the BC Arts Council.
Space is where we live.
We cannot move without space. We cannot breathe without space.
We entangle ourselves with space and the space reshapes us.
Space is what we fill. Space is what we hold. Space is what we leave behind.
We are merged with the spaces around, between and inside of us.
My belief that our humanness is essentially rooted in relational dynamics provides the impetus behind using scale and multiples to create large-scale, multi-component groupings and immersive installations. As this attention to the relational is central to my work, dualities serve as a fulcrum for my practice and allow me to explore particular dyads such as subject/object, seen/unseen, individual/collective, viewer/viewed. Holding Space uses abstraction and expressionism to explore our multi-faceted relationship with space, both physically and philosophically.
This project considers notions of space with 3 assemblages:
STILL POINT
Space as Emptiness. This emptiness can either be experienced as a void, as nothingness, or it can be experienced as unbounded potential; the seed where everything that is new begins. Held in the palm of your hand or inhabiting everything that surrounds, this space holds energy, simultaneously minute and infinite. 1000+ porcelain components define the surface area of 7-foot diameter sphere, dissected in half. Each small component is hung individually with filament from the ceiling, creating a reflective and light buoyancy as the piece undulates in response to movement in the room.