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The beloved and blessed Prophet (May Peace and blessing of Allah be upon him) said, "A household that has dates does not feel hunger". (Mishkat Sharif)
Wedding save the dates pictures
www.wedding.jabezphotography.com/Blog/Wedding-Save-The-Da... wedding save the dates photos
Al Ain Oasis is the largest oasis in the city of Al Ain, within the Emirate of Abu Dhabi, United Arab Emirates.
It is located north of the Al Mutawa'a district and east of the Al Jhali district. The main central district of Al Ain is to the north, with the Oman border to the northwest.
Adjacent to the oasis are the Al Ain National Museum to the east and the Al Ain Palace Museum to the west. To south is the Al Ain Sports Club. To the southwest are the Al Ain Etisalat Building and the Oasis Hospital.
The oasis is known for its underground irrigation system "falaj" which brings water from boreholes to water farms and palm trees. The falaj irrigation is an ancient system dating back thousands of years and is used widely in Oman, UAE, China, Iran and other countries.
Al Ain has seven oases; the smallest is Al Jahili Oasis. The rest are Qattara, Al Mutaredh, Al Jimi, Al Muaiji, and Hili.
Although most of the 2004 romantic comedy "50 First Dates" (top) was filmed in Hawaii, the scene that takes place at the Callahan Institute for Brain Injurys was shot at L.A. County's Cabrillo Beach in San Pedro.
The Cabrillo Beach Bathhouse was built in 1932 and is the last standing example of the bathhouses that used to line Southern California's shoreline. After falling into disrepair over the years, it was closed, fully remodeled, and reopened in 2002.
This location was also used as the chapel for the 1997 thriller "Face/Off".
Although most of the 2004 romantic comedy "50 First Dates" was filmed in Hawaii, the scene that takes place at the Callahan Institute for Brain Injurys was shot at L.A. County's Cabrillo Beach in San Pedro.
The Cabrillo Beach Bathhouse was built in 1932 and is the last standing example of the bathhouses that used to line Southern California's shoreline. After falling into disrepair over the years, it was closed, fully remodeled, and reopened in 2002.
This is the enclosed balcony which is adjacent to the second floor ballroom.
This location was also used as the chapel for the 1997 thriller "Face/Off".
Abydos dates back to the dawn of Ancient Egyptian civilisation when it was established as the cult centre of the god of the Netherworld Osiris and the burial site for a number of the earliest kings. en.wikipedia.org/wiki/Abydos,_Egypt
Over the centuries several temples were constructed at the site on the edge of the desert, the Great Osiris Temple being at the heart of the god's cult but little remains of this structure. What visitors come to Abydos to see today are the far more substantial remains of the New Kingdom temples built by Seti I and his son Ramesses II.
Some distance to the north of the Temple of Seti I lies the much smaller temple of his son Ramesses II (who decided to add his own temple in addition to finishing his father's). This is much less well preserved than the main temple, with the walls only standing up to around three metres high, but much of the relief decoration of these lower courses remains, and much of the vivid colouring is beautifully preserved.
The temple is reached by exiting the main temple at the rear where the Osireon sits and turning right, walking a short distance across desert. An armed escort led the way for us, which was also helpful as the low-lying ruins are hidden from view by sand dunes until one is almost upon them.
A caretaker unlocked the gates and left us free to wander inside and enjoy the remaining relief decoration. Many of the scenes are tragically incomplete, with the upper parts (often including the heads of larger figures and further scenes above) missing, but what remains gives a good impression of the former richness of this smaller temple, and the surviving colour is extraordinarily rich. Most of this is concentrated in the sequence of chambers towards the rear of the temple.
Abydos is one of Egypt's most important sites, both historically and artistically and will richly reward the visitor.
Date palm. Morning. Dates. (I must say - thank you very much, Scott Kelby for your book - "The Digital Photography"! )
The Postcard
A Frith's Series postcard bearing an image that is a glossy real photograph.
Stony Stratford
Stony Stratford is a constituent town of Milton Keynes, Buckinghamshire. Historically it was a market town on the important route from London to Chester (Watling Street, now the A5). The town borders Northamptonshire, and is separated from it (and Old Stratford) by the River Great Ouse.
History of Stony Stratford
Since at least Roman times, there has been a settlement at the ford of Watling Street over the Great Ouse. The town's market charter dates from 1194 and its status as a town from 1215.
The town name 'Stratford' is Anglo-Saxon in origin, and means 'Ford on a Roman Road'. The Roman road in this sense is Watling Street that runs through the middle of the town. The ford is the crossing of the River Ouse. The prefix 'Stony' refers to the stones on the bed of the ford, differentiating the town from nearby Fenny Stratford.
The Stony Stratford Hoard
In 1789, at Windmill Field near Stony Stratford, an urn was uncovered which contained three fibulae and two headdresses. Known as the Stony Stratford Hoard, it also contained around thirty fragments of silver plaques which were decorated with images of the Roman gods Mars, Apollo and Victory.
There were also inscriptions to Jupiter and Vulcan, leading to theories that this was a votive hoard at a Roman temple. The hoard is now kept at the British Museum.
Stony Stratford Market
There has been a market in Stony Stratford since 1194 (by charter of King Richard I). Until the early 1900's, livestock marts were still held in the market square, but in more recent times the square has become a car park, apart from a monthly farmers' market in one corner.
The weekly market has moved to Timor Court, and of course no longer deals in livestock. Stony Stratford formally became a town when it received letters patent from King John in 1215.
The Eleanor Cross
Stony Stratford was the location where, in 1290, an Eleanor cross was built in memory of the recently-deceased Queen Eleanor of Castile, as her funeral cortège had stopped overnight in the town en route to London. The cross was destroyed during the English Civil War.
The Rose and Crown
The former Rose and Crown Inn at Stony Stratford was reputedly where, in 1483, the boy-king Edward V stayed the night before he was taken to London to become one of the Princes in the Tower.
He was taken there by his uncle Richard, Duke of Gloucester, who soon became King Richard III. Edward had been returning from Ludlow Castle in the Welsh Marches to London to claim his crown on the death of his father, Edward IV, when he was met in Stony Stratford by his uncle, who later deposed him. The inn is now a private house, but a plaque on the front wall gives a disputed account of the event, asserting that Edward was murdered in the Tower of London.
Catherine of Aragon
Catherine of Aragon rode from London to address her troops assembling here for the Battle of Flodden, and went on to stay at Woburn Abbey in September 1513.
Fire
The town has twice become almost completely consumed by fire, the first time in 1736 and the second in 1742. The only building to escape the second fire was the tower of the chapel of ease of St Mary Magdalen.
Stony Stratford as a Way-stop
Since at least the 15th. century, Stony Stratford has been an important stop on the road to Ireland via Chester, becoming quite rich on the proceeds in the 16th. century.
In the stage coach era of the 17th. and early 18th. centuries, it was a major resting place and exchange point with the east/west route, with coaching inns being built to accommodate coach travellers. Traffic on Watling Street and the consequent wear and tear to it was such as to necessitate England's first turnpike trust, from Hockliffe to Stony Stratford, in 1707.
In the early 19th. century, over thirty mail coaches and stagecoaches a day stopped here. That traffic came to an abrupt end in 1838 when the London to Birmingham Railway was opened at Wolverton – ironically, just three years after the bridge over the Ouse had been rebuilt. Wolverton railway works provided an important source of employment in the town, with the Wolverton and Stony Stratford Tramway being built to serve the workers.
With the arrival of the motor car, the town's position on the original A5 road made it again an important stopping point for travellers.
Cock and Bull Story
Due to the juxtaposition of two hotels in the centre of town, The Cock and The Bull, (both originally coaching inns), it is claimed locally that the common phrase 'A Cock and Bull Story' originated here.
Stony Stratford in Film
Scenes from the 1987 cult film 'Withnail and I' were filmed in Stony Stratford. Cox and Robinsons chemist is the 'Penrith Tea Rooms' where Withnail demands "The finest wines known to humanity." The Crown pub became the 'King Henry pub' in the film. Both premises are on Market Square.
Destination of The Postcard
The postcard was posted in Wolverton, Milton Keynes on Friday the 11th. September 1964 to:
Mr. Mathews,
39, Church Road,
Southall,
Middlesex.
The message on the divided back of the card was as follows:
"Dear Mr. & Mrs. Mathews,
Having a nice time, weather
good. Will be back at Southall
Monday.
Will be in H. P. H. 8 o'clock.
All the best, Arthur."
Arthur is perhaps referring to the Hamborough Public House in the Broadway, Southall. Don't try and have a drink there today - it was was burnt down on Friday the 3rd. July 1981 during the first day of the Southall riots.
The Beatles
So what else happened on the day that Arthur posted the card?
Well, on the 11th. September 1964, the Beatles performed for the first time in the "Deep South" of America when they played a concert in Jacksonville, Florida at the Gator Bowl stadium as part of their 1964 North American tour.
When the concert had originally been booked, the stadium had separate sections for whites and blacks (and "Eastern Meadow-Golds" (Asians) were not allowed).
The group conditioned their appearance on being able to perform before a desegregated audience.
The Diada
Also on that day, in Barcelona, the Diada was celebrated for the first time since the end of the Spanish Civil War and the beginning of the dictatorship of Francisco Franco in Spain.
About 3,000 Catalan-speaking residents defied a ban against advocating Catalan nationalism. The Diada Nacional de Catalunya memorialises the day in 1714 when Catalonia lost its independence.
The protest was broken up, and seven of its organisers were arrested and given heavy fines.
The Kinks
Also on the 11th. September 1964, the Number One chart hit record in the UK was 'You Really Got Me' by the Kinks.
Apex Festival 2014 Show Dates: 10-11th May
Thanks to our sponsors and supporters:
Cool Flo Lifestyle Clothing , VolksWorld, Ultra VW , Hayburner , AirMighty , Air Monkeys , Camper and Bus , T4 T5 Magazine , VW Heritage, Prolific Graphics , Just Kampers , Lydden Hill Race Circuit , Retro Drift Challenge , SEMSEC , Madmaxim Artwork , Thingamies Beetles , Perftec , RNJ Motorsport , Forge Motorsport , Vintage Speed , Bears Performance Transmissions , Kleers , Dave Warren Images , South Coast Automotive Photography, Julian Hunt .net , Rubber Duck Does Photography , Lite Steer , Royal County Auto Supply , VWDRC , VW Clubs Unite , Back to 89, CNWL , SantaPod Raceway, Kent Vw Festival , Grill 'n Chill , Prept , Retro Rides Gathering , Bug Jam , Big Bang , GTI Festival , Club GTi , VW Action , Ace Cafe , Barndoor Campout , Production GTi Championship , Formula Vee , 750 Motorclub , and every one who attended the shows - you know who you are!
This is not a static show! The Lydden Hill Race Circuit in Kent, UK ( Just 10mins from the Dover International Ferry & Tunnel Ports - ideal for our European visitors! ) will once again be the fantastic venue for the events and entertainment over the weekend, where YOU can be part of the on track spectacle!
The race circuit is the focal point for the weekends activities with circuit racing, drifting, exhibition features, demo cars from all over Europe, and plenty of trackday sessions where YOU can take your vehicle (whatever it may be!) out on the track for some safe, fast fun. There will be the hugely popular Circuit Parade laps for everyone to join in, where you can literally take your ride and passengers out on the track for some fantastic photo opportunities circumnavigating the track which you have just seen the race cars tearing up the tarmac!
Fancy a race pace passenger ride? Many of the demo cars and drift cars will be offering sessions where you can have a thrilling ride around the circuit - albeit fast laps in a racer or sideways antics in a drift car!
There is plenty to keep you occupied all day and evening, with a big Show n Shine arena, Car displays and features, BMX displays, an open paddock to explore, and of course the popular Drive-in Movie which kicks off the Saturday nite entertainment with the insane Silent Disco to party in!
Catering will be by independents for all you ‘foodies’ who like great quality grub, ranging from artisan organic foods, Wood Fired Pizza's, Charcoal Hog Roast, themed outlets in retro vehicles… delicious is the word!
If you haven’t been to Lydden Hill before, you are in for a visual and aural treat! There are spectacular views of the entire circuit from virtually everywhere in the venue. You have the chance to park around the perimeter of the track itself too, so not to miss a moment of the action!
We're proud to present a truly family friendly event, yes that includes well behaved family dogs too, which are welcomed to the event! (The typical pet etiquette rules apply). the vast majority of kids activities are 100% FREE all weekend - families love fact that the kids zone is ideally placed so you can keep one eye on the kids and the other on all the action.. so it's smiles all round! This year we will have even more FREE fun activities and welcome distractions for our young guests.
Abydos dates back to the dawn of Ancient Egyptian civilisation when it was established as the cult centre of the god of the Netherworld Osiris and the burial site for a number of the earliest kings. en.wikipedia.org/wiki/Abydos,_Egypt
Over the centuries several temples were constructed at the site on the edge of the desert, the Great Osiris Temple being at the heart of the god's cult but little remains of this structure. What visitors come to Abydos to see today are the far more substantial remains of the New Kingdom temples built by Seti I and his son Ramesses II.
The Temple of Seti I is the glory of Abydos, an impressive complex that originally comprised two large forecourts with towering pylons followed by a succession of pillared halls and chapels beyond. Today the forecourts and pylons are so ruined that only their lower parts remain, but beyond this the heart of the temple remains almost intact, and its many chambers, walls and pillars bear some of the very finest relief decoration in all of Egypt.
The interior is somewhat gloomy and takes a while to adjust to after the glare of the sun outside. The roof is largely a modern restoration in order to protect the ancient colouring that remains on much of the carving and admits little natural light. initially the decoration the visitor encounters in the first hypostyle hall is of a standard type, sunken relief from the reign of Ramesses II who fiinished his father's temple after the latter's death. It is only when one progresses into the second hypostyle halls and the group of chapels and chambers beyond that the fame of the art of Abydos becomes clear.
The relief sculpture of Seti I's reign are without parallel in the New Kingdom, the pinnacle of artistic achievement in the surviving temples of Egypt. The figures are all in raised (rather than the easier sunken) relief and the carving is of such delicacy that one can only assume that Seti must have placed great emphasis on the quality of the decoration he commissioned during his fifteen year reign (evidence of this can be seen in other projects commissioned by the king, but none more so than his temple at Abydos). The survival of much of the ancient colouring in many areas simply adds to the magic, with some scenes in pristine condition. Luckily the sort of vandalism that afflicted many temples during the post-Pharaonic period was only confined to one or two rooms and most decoration remains intact.
At the rear of the second hypostyle halls is a sequence of seven chapels dedicated to six major deities along with the pharaoh himself. Beyond these lie further sumptuously decorated rooms connected to various rituals of Osiris.
To the rear of the temple is a wing with further chambers accessed via a corridor inscribed with the famous Abydos 'King's List', which bears the cartouches of all the Pharaohs up to Seti's reign (with a few notable omissions). The corridor also leads out to a separate structure behind the temple known as the Osireon, a sunken monolithic chamber erected as a cenotaph to the god Osiris.
Some distance to the north of the Temple of Seti I lies the much smaller temple of his son Ramesses II (who decided to add his own temple in addition to finishing his father's). This is much less well preserved, with the walls only standing up to around three metres high, but much of the relief decoration of these lower courses remains, and much of the vivid colouring is beautifully preserved.
Abydos is one of Egypt's most important sites, both historically and artistically and will richly reward the visitor.
For me, to see this dates tree bearing fruit is worth a thousand miles journey.
The Souk in Old Tripoli
Diana F+ / Fomapan 100
A visit to Hampton Court Castle Gardens & Parkland on the August Bank Holiday Monday.
The main events on this Bank Holiday were Jousting & Birds of Prey.
A look at the castle. It dates to the 15th century (and is a century older than the other Hampton Court in London).
It has been beside the River Lugg for 600 years. Built by Sir Rowland Lenthall on land that was a gift from King Henry IV.
The Lenthall's stayed here for 300 years. In the 19th century it was bought by Richard Arkwright. His descendants lived here until 1912.
In the 20th century it went through various owners until the American millionaire Robert Van Kampen bought it in the 1990s. It was sold again after his death.
The castle is a Grade I listed building.
Hampton Court, Hope under Dinmore
HOPE UNDER DINMORE CP A 417 (south side)
SO 55 SW
5/62 Hampton Court
11.6.59
I
House. Circa 1427-36 for Sir Roland Lenthall (who had a licence to
crenellate in 1434). Altered early C18 by Colen Campbell for Lord Coningsby
and remodelled and restored in the early C19 by Sir Jeffrey Wyatville for
Richard Arkwright. Sandstone rubble with ashlar dressings, lead and plain
tiled roofs behind embattled parapets with groups of C19 circular stacks.
Quadrangular plan representing the original C15 layout the main surviving
parts of which include the gatehouse, the chapel and the porch. The early
C18 alterations included the remodelling of the south front and additions
to the south-east and south-west. The C19 remodelling included the partial
refenestration of the structure, the heightening of the main ground floor
rooms to the south and east and numerous additions. Two and three storeys
with cellar and chamfered plinth. North entrance front: main part of 1:3:1:3:1
bays composed of large central rectangular gatehouse with flanking three-bay
ranges terminating in small square towers. Gatehouse: three levels rising
above rest of building with machicolated parapet on moulded corbelling. Two
centred arched gateway beneath a square head with quatrefoil tracery in the
spandrels, moulded jambs and a hoodmould with head stops. The reveals are
grooved for a portcullis and the double doors are original and have nail-
studded battens on square framing with a wicket in each fold. The archway
is flanked by cruciform loopholes. Above is a C19 archway with a four-centred
head, incorporating both upper levels and having a 4-light mullioned window to
each level sub-divided by a stone panel with a shield relief frieze. The lower
window interrupts a string course. In the left side of the gatehouse is
ground floor cruciform loophole and a cusped lancet beneath a square head with
a hoodmould on the upper levels. To the right side is a similar window at the
intermediate level and a bartizan tower in the angle containing a staircase and
having three loopholes. The south side of the gatehouse has an original tall
niche with canopied head and vaulted soffit and within, above the ground floor,
is a two-bay quadripartite stone rib vault with foliated bosses. The flanking
three-bay ranges: the bays adjacent to the gatehouse are carried up higher than
the rest of the ranges to form small square towers. The left range is of two
storeys divided by a string course. There are buttresses with offsets
articulating the bays and flanking two ground floor windows. There are three
first floor windows and a further window on the second floor of the tower.
The tower terminating this range to the left is of two levels with a string
course and has a window on both levels. All windows are cusped lancets with
square heads and hoodmoulds with head stops. The right range, is of three
storeys with a continuous hoodmould to the ground floor windows. There are
two 2-light windows with square head on each floor. The heightened bay adjacent
to the gatehouse has a cusped lancet (similarly detailed to those in the left
range) on each floor. The square tower terminating the range to the right is
of two levels divided by a string course and has a similar lancet on the second
level. The chapel adjoins the east end of the north front. It has a gabled
roof with an east end plain parapet and finial and side parapets pierced with
a trefoil frieze (probably a C19 alteration). It has a continous four-bay
nave and chancel. At the east end are diagonal buttresses with offsets ter-
minating in tall pinnacles. There is a 5-light east window and three 3-light
north windows , all with pointed heads and hoodmoulds. There is also a blocked
window to the south-east. The east, south and west front retain no medieval
features being largley refaced and C19 windows inserted. On the south side
of the courtyard is the C15 porch. Square plan. Two storeys with machicolated
parapet and diagonal corner buttresses with offsets. There is a four-centred
archway with a hoodmould and a C19 doorway, similarly arched, with traceried
infill between the two archways. There is an original 4-light window above
with a sill string. The quadripartite vaulted cloisters built around the
courtyard are C19 additions. Adjoining the west elevation of the house is a
service range also of quadrangular plan and of one and two storeys, similarly
detailed to the main building. This service range has a long north-west wing
incorporating the former stables and servants' quarters. This is largely C19
and since altered. However, the stables are probably of C16 origin; they are
of rubble with ashlar dressings with a machine tiled roof and gable-end parapets
with round finials. Five bays aligned north/south with projecting central
wing on east side. Single storey and attic. Main east elevation: the central
gable end has a blocked opening on each floor level and a right side door. The
flanking bays are articulated by narrow buttresses and have large lunette windows,
two with doorways beneath. Interior: main house has an early C18 open well stair-
case west of the gatehouse with a scrolled wrought iron balustrade and moulded
handrail. East of the gatehouse is an early C18 marble fireplace with fluted
columns and a coat of arms. The chapel retains part of its C15 ribbed ceiling
which is elaborately moulded and painted with ornately carved bosses and there
is some original stained glass in the north windows. According to a letter of
Vanbrugh's, Talman may have made some plans for the remodelling of Hampton
Court and the illustration in Campbell's Vitruvius Britannicus, Vol II, 1717,
might represent Talman's scheme for a medievalised symmetrical facade. Early
C18 illustrations by Kip and Knyff and later C18 and early C19 illustrations,
for example that by Neale of 1826, suggest the building may have a further
complicated architectural history. (RCHM Herefs III, p 68-70; BoE, p 141-2).
Listing NGR: SO5204552392
This text is a legacy record and has not been updated since the building was originally listed. Details of the building may have changed in the intervening time. You should not rely on this listing as an accurate description of the building.
Source: English Heritage
Listed building text is © Crown Copyright. Reproduced under licence.
courtyard
sculpture
By George Webb Sculptures
Although most of the 2004 romantic comedy "50 First Dates" was filmed in Hawaii, the scene that takes place at the Callahan Institute for Brain Injurys was shot at L.A. County's Cabrillo Beach in San Pedro.
The Cabrillo Beach Bathhouse was built in 1932 and is the last standing example of the bathhouses that used to line Southern California's shoreline. After falling into disrepair over the years, it was closed, fully remodeled, and reopened in 2002.
This is the second floor ballroom.
This location was also used as the chapel for the 1997 thriller "Face/Off".
200 grams margarine.(melted)
1 teaspoon baking powder.
vanilla.
75 m"l orange juice.
50 m"l oil.
420 grams flour.
Filling:
450 grams dates spread.
100 grams hazelnuts.
2 tablespoons sugar.
mix all ingredients in a bowel. Work to a dough, then knead lightly. Divide to 4 balls and chill for at least 1 hour.
Roll out each ball to a 3 mm rectangle .Spread the filling and roll up.
Cut before baking.
180 C.
Upper Mercer Flint & Upper Mercer Limestone in the Pennsylvanian of Ohio, USA.
The Pottsville Group is a Pennsylvanian-aged cyclothemic succession containing nonmarine shales, marine shales, siltstones, sandstones, coals, marine limestones, and chert ("flint"). The lower Pottsville dates to the late Early Pennsylvanian. The upper part dates to the early Middle Pennsylvanian. The Lower-Middle Pennsylvanian boundary is apparently somewhere near the Boggs Member (?).
The Upper Mercer Flint is a moderately laterally persistent chert horizon in the Pottsville Group. It is often black-colored but can be dark bluish to bluish-black colored as well (the latter colors are referred to as "Nellie Blue Flint"). Upper Mercer Flint has whitish-colored fossils and fossil fragments that include fusulinid foraminifera, crinoid ossicles, and other Late Paleozoic normal marine fossils. Apparent phylloidal algae can also be present as squiggly lines.
This chert horizon is actually a chertified fossiliferous limestone. Non-chertified limestone is frequently present, although often minor in volume. Limestone usually occurs along the outside portions of chert masses, but also in relatively small patches within the chert.
In places, the Upper Mercer Flint/Limestone horizon is missing, usually removed by paleoerosion.
American Indians sometimes used Upper Mercer Flint to make arrowheads and spear points and knife blades. "Flint Ridge Flint" (= Vanport Flint) was the most desirable source rock for these objects, but other chert horizons also attracted attention.
Stratigraphy: Upper Mercer Flint (chertified Upper Mercer Limestone), upper Pottsville Group, Atokan Stage, lower Middle Pennsylvanian
Locality: creek cut on the northern side of Symmes Creek, just upstream from the North Forth/North Branch-Symmes Creek confluence & just upstream from the Mollies Rock Road bridge, Madison Township, northern Muskingum County, eastern Ohio, USA
Exhibition Dates: January 30 - February 16, 2018
Reception: Tuesday, January 30, 2018 5:00-7:00pm
Gallery hours are 10am - 5pm each day.
Ceramics Program, Office for the Arts at Harvard
224 Western Ave, Allston, Massachusetts 02134
This exhibition features ceramics in experimental architectural applications made by students from the Harvard Graduate School of Design during the Fall 2017 course, Material Systems: Digital Design and Fabrication.
Harvard University Graduate School of Design Material Processes and Systems Group (MaP+S)
with support from ASCER Tile of Spain
Led by: Professor Martin Bechthold and Jose Luis García del Castillo y López
Assisted by: Ngoc Doan, Saurabh Mhatre, Chien-Min Lu, Zach Seibold and Diana Yan
in collaboration with Harvard Ceramics Program
Consultants:
Kathy King, Director of Education
Geoff Booras, Instructional Ceramics Technician
Assisted by: Mark Burns, Artist In Residence; Casey Zeng, Ceramics Program Staff; Natalie Andrew, Independent Artist
Exhibition curated by Chien-Min Lu and Jose Luis García del Castillo y López.
Featuring the work of Harvard Graduate School of Design Students:
Sulaiman Alothman
Nicole Bakker
Andrew Bako
Kenner Carmody
Jiawen Chen
Olga Geletina
Margaret George
Iain Gordon
Jin Guo
Maitao Guo
Mia Guo
Nicolas Hogan
Ching Che Huang
Anqi Huo
Hyeonji Im
Aurora Jensen
Meng Jiang
Mari Jo
Francisco Jung
Haeyoung Kim
Yonghwan Kim
Ao Li
Xinyun Li
Lubin Liu
Marcus Mello
Nathalie Mitchell
Peter Osborne
Xiaobi Pan
Nathan Peters
Sejung Song
Ziwei Song
Alexandru Vilcu
Na Wang
Math Whittaker
Diana Yan
HyeJi Yang
Evelyn Zeng
Jianing Zhang
Xin Zheng
The translation between architectural design and the subsequent actualization process is mediated by various tools and techniques that allow design teams, fabricators and installers to engage the materiality of architecture. Over the past decade advances in material development have been catalyzed by increasingly robust implementations of digital design and fabrication techniques that have empowered designers through digital modeling, simulation, and the increasingly digital augmentation of all physical processes. Creative applications of material related technologies have produced new forms of expression in architecture, triggered a debate on digital ornament, and continue to advance the performative aspects of buildings. Yet we are only at the beginning of a new age of digital materiality…
The exhibition positions material systems as combinations of design technologies with material processing and manipulation environments. Material systems are positioned as central to a research based design enquiry that capitalizes on opportunities that emerge when craft-based knowledge is synthesized with CNC-machines, robotic technologies, additive manufacturing and material science. This year’s course will focus on ceramic systems and includes a collaboration with the Harvard Ceramics Program in Allston (consultant: Kathy King). The course builds on years of collaborative research by the Material Processes and Systems (MaP+S) group at the GSD. Ceramics is the first ever material created by mankind – it is omnipresent in the craft-studio as well as in high-volume manufacturing environments. Pleasing to the touch and easily manipulated by hand, it can just as easily be subject to digital technologies and robotic approaches. While ceramic-specific aspects of material design and manipulation will be taught emphasis is on understanding ceramics as a microcosm of material research that offers insights which transfer to work with almost any material used in architecture.
The course is supported by a grant from ASCER Tile of Spain. A selection of project will also be shown at the 2018 CEVISAMA in Valencia, Spain.
www.gsd.harvard.edu/course/material-systems-digital-desig....
طار هذا الكيس البلاستيكي من أسفل سيارة أمامنا ليعلق بنافذة سيارتنا لمسافة طويلة، لم نتمكن من التوقف لسحبه وعندما وصلنا لمنطقة الميناء يبدو أنه سقط من الإعياء!
لا بد أن نقلل من استخدامنا للأكياس البلاستيكية، يمكن التسوق بأكياس يعاد استخدامها مرات ومرات
St Chad's at Pattingham dates back to the 12th century (as witnessed by the two bay north arcade) but was mostly rebuilt in the following centuries and owes much of its present appearance to a thorough makeover by G.G.Scott who added the commanding spire to the ancient tower.
The nave is uncommonly short and wide for a church of this size, with an extra aisle on the north side (another Victorian addition). There are many windows by Burlison & Grylls (much of it suffering serious paint-loss), a couple more by Kempe and some fetching postwar glass by Powell's in the east lancets.
The church is usually kept open and welcoming to visitors.
This Daguerreotype dates from around 1842, the damaged case has the Beard's Photographic Instutute, London and Liverpool.
Richard Beard opened the London Studio followed by the Liverpool Studio in 1841.
The clouds were typical of the studios work and the image would be colored while still wet.
The subject looks to be military, and has his arm in a sling, not sure if prussian, cossack or hussar.
The hallmark for the siver plate is christophr (French), the case is uploaded in a second image, Beard's studio at 34 Church Street Liverpool opened in late 1842 or 1843 under the management of James F. Foard, Richard Beard was declared bankrupt in 1849, other studio's were opened and franchised, so the likely window for this image is 1842-1845
Any help in identifying the uniform would be great, I know the prussian's were training out armies in the 1840's.
Is he army or it was Queen Victoria coming to the throne, could he be an artic explorer with a little frost bite?
He would be quite wealthy as the image would have cost about £1, a weeks wages was about half of that.
David
Ceramics Program, Office for the Arts at Harvard
224 Western Ave, Allston, Massachusetts 02134
Reception: Tuesday, January 30, 2018 5:00-7:00pm
Exhibition Dates: January 30 - February 16, 2018
Gallery hours are 10am - 5pm each day.
This exhibition features ceramics in experimental architectural applications made by students from the Harvard Graduate School of Design during the Fall 2017 course, Material Systems: Digital Design and Fabrication.
Harvard University Graduate School of Design Material Processes and Systems Group (MaP+S)
with support from ASCER Tile of Spain
Led by: Professor Martin Bechthold and Jose Luis García del Castillo y López
Assisted by: Ngoc Doan, Saurabh Mhatre, Chien-Min Lu, Zach Seibold and Diana Yan
in collaboration with Harvard Ceramics Program
Consultants:
Kathy King, Director of Education
Geoff Booras, Instructional Ceramics Technician
Assisted by: Mark Burns, Artist In Residence; Casey Zeng, Ceramics Program Staff; Natalie Andrew, Independent Artist
Exhibition curated by Chien-Min Lu and Jose Luis García del Castillo y López.
Featuring the work of Harvard Graduate School of Design Students:
Sulaiman Alothman
Nicole Bakker
Andrew Bako
Kenner Carmody
Jiawen Chen
Olga Geletina
Margaret George
Iain Gordon
Jin Guo
Maitao Guo
Mia Guo
Nicolas Hogan
Ching Che Huang
Anqi Huo
Hyeonji Im
Aurora Jensen
Meng Jiang
Mari Jo
Francisco Jung
Haeyoung Kim
Yonghwan Kim
Ao Li
Xinyun Li
Lubin Liu
Marcus Mello
Nathalie Mitchell
Peter Osborne
Xiaobi Pan
Nathan Peters
Sejung Song
Ziwei Song
Alexandru Vilcu
Na Wang
Math Whittaker
Diana Yan
HyeJi Yang
Evelyn Zeng
Jianing Zhang
Xin Zheng
The translation between architectural design and the subsequent actualization process is mediated by various tools and techniques that allow design teams, fabricators and installers to engage the materiality of architecture. Over the past decade advances in material development have been catalyzed by increasingly robust implementations of digital design and fabrication techniques that have empowered designers through digital modeling, simulation, and the increasingly digital augmentation of all physical processes. Creative applications of material related technologies have produced new forms of expression in architecture, triggered a debate on digital ornament, and continue to advance the performative aspects of buildings. Yet we are only at the beginning of a new age of digital materiality…
The exhibition positions material systems as combinations of design technologies with material processing and manipulation environments. Material systems are positioned as central to a research based design enquiry that capitalizes on opportunities that emerge when craft-based knowledge is synthesized with CNC-machines, robotic technologies, additive manufacturing and material science. This year’s course will focus on ceramic systems and includes a collaboration with the Harvard Ceramics Program in Allston (consultant: Kathy King). The course builds on years of collaborative research by the Material Processes and Systems (MaP+S) group at the GSD. Ceramics is the first ever material created by mankind – it is omnipresent in the craft-studio as well as in high-volume manufacturing environments. Pleasing to the touch and easily manipulated by hand, it can just as easily be subject to digital technologies and robotic approaches. While ceramic-specific aspects of material design and manipulation will be taught emphasis is on understanding ceramics as a microcosm of material research that offers insights which transfer to work with almost any material used in architecture.
The course is supported by a grant from ASCER Tile of Spain. A selection of project will also be shown at the 2018 CEVISAMA in Valencia, Spain.
Kenilworth dates from Norman to Tudor times and this gateway tower was added in 1570 by Robert Dudley, Earl of Leicester, ready for entertaining Queen Elizabeth in 1575. I would have guessed this to be older, but I understand it is acknowledged to be anachronistic in its style, presumably to conform to the existing buildings. How sad that in 1649, parliamentarians ordered the castle to be destroyed in order to prevent it being used as a royalist stronghold.
Abydos dates back to the dawn of Ancient Egyptian civilisation when it was established as the cult centre of the god of the Netherworld Osiris and the burial site for a number of the earliest kings. en.wikipedia.org/wiki/Abydos,_Egypt
Over the centuries several temples were constructed at the site on the edge of the desert, the Great Osiris Temple being at the heart of the god's cult but little remains of this structure. What visitors come to Abydos to see today are the far more substantial remains of the New Kingdom temples built by Seti I and his son Ramesses II.
Some distance to the north of the Temple of Seti I lies the much smaller temple of his son Ramesses II (who decided to add his own temple in addition to finishing his father's). This is much less well preserved than the main temple, with the walls only standing up to around three metres high, but much of the relief decoration of these lower courses remains, and much of the vivid colouring is beautifully preserved.
The temple is reached by exiting the main temple at the rear where the Osireon sits and turning right, walking a short distance across desert. An armed escort led the way for us, which was also helpful as the low-lying ruins are hidden from view by sand dunes until one is almost upon them.
A caretaker unlocked the gates and left us free to wander inside and enjoy the remaining relief decoration. Many of the scenes are tragically incomplete, with the upper parts (often including the heads of larger figures and further scenes above) missing, but what remains gives a good impression of the former richness of this smaller temple, and the surviving colour is extraordinarily rich. Most of this is concentrated in the sequence of chambers towards the rear of the temple.
Abydos is one of Egypt's most important sites, both historically and artistically and will richly reward the visitor.
The ancient site of Tanis lies in the north east of Egypt's Delta region and dates back to the 19th Dynasty, later becoming the seat of power for later pharaohs during the 21st and 22nd Dynasties.
Many of the monuments here are inscribed for Ramesses II but are believed to have been transferred at a later date from his former capital 'Pi-Ramesses', modern Qantir, (one of the nearby villages we travelled through en route here) where little remains today. The cities in the Delta were built along the many branches of the Nile that bisect this region, but with the silting up of some branches over time such settlements became vulnerable and were abandoned, as happened at Pi-Ramesses and later its replacement Tanis in turn.
The site today is located near the modern village of San el Hagar and the surviving ruins largely consist of isolated inscribed blocks, scattered obelisk and architectural fragments and pieces of large scale sculptures. It is nonetheless an impressive spectacle and a great site to explore, the almost caramel colour of the stone and desert adds much to the atmosphere.
More complete are the tomb structures of the 21st & 22nd dynasties, the tomb of Shoshenq III being complete except for its roof and filled with reliefs and sarcophagi. The tomb of Psusennes I (along with Amenemope and Shoshenq II who were also interred there) is located nearby under a surviving section of the ruined plinth of the former temple of Amun, but the tombs themselves can only be glimpsed through openings. These tombs yielded intact treasures when they were investigated by Pierre Montet in 1940 and the contents are now on display in the Egyptian Museum in Cairo.
My first encounter with Tanis was of course via one of my favourite films, Raiders of the Lost Ark, in which it is the setting for the stunning 'Map Room' and 'Well of Souls' where the Ark of the Covenant is found in the film. Of course none of it was filmed here (or even in Egypt itself) but I was intrigued to see broken obelisks like the one that led Indiana Jones to the target! But the film's claim that the city had been lost up to that point is pure myth, it has been investigated frequently since the early 19th century.
Our trip to Tanis was slightly complicated by the security situation, it is quite remote and the closest we got to the trouble spots in the Sinai, thus we were held back at Tell Basta until an armed escort could accompany us. This didn't cause alarm, being something we had experienced already elsewhere, and a sign of how seriously Egypt takes the safety of its visitors. Nonetheless it was quite humbling having groups of guards making a special trip at short notice just for the two of us!
We didn't spend more than an hour on site here (despite having a very good local guide who was willing to show us more if we'd stayed) as it was getting late and we didn't want to keep our generous escorts waiting.
The church dates from around 1000 A.D., or possible a few years earlier, and still retains its tall Anglo-Saxon nave, although this was altered by the Normans. The early church was two storeys high, with round-headed windows on the ground floor, two of which survive, and four round windows on the upper level. Three of the latter survive high in the north wall. These windows were unglazed but in bad weather wooden shutters were used to close the lower ones The contemporary chancel has gone but when the present chancel was rebuilt in 1878 the remains of walls from a short square-ended chancel was discovered; its floor was about two feet below the present chancel floor. In the north aisle are areas of Saxon plaster above the Saxon window, while a Saxon string course runs along the wall, just below the roof of the aisle and above the tops of the later pointed arches. A piece of a late Saxon cross-shaft has been built into the wall at the north-west corner of the church, near the tower.
The aisles were added to the Saxon nave in the 12th century and access was originally through two low arched openings; the remains of one of these arches can be seen where it has cut away a corner of one of the round-headed windows. These Norman arches disappeared in 1812 when the present arcade was built. The Norman aisles had been widened in the 15th century, when the Norman south doorway was moved to its present position. Each aisle has a squint so that worshippers in the aisles had a view of the main altar. In the north aisle is a small piscina, which served an altar in that aisle, and the stairs to the rood loft. The south aisle had a large wooden gallery, built to hold an increasing congregation, that was also used to accommodate a day school in the 18th and early 19th centuries.
The Saxon chancel was replaced in the late 13th century, from which period the chancel arch dates, but the chancel was greatly rebuilt in 1879. The present choir stalls were made at this time from the 17th century Trusloe family oak pew that had stood in the chancel; Charles Truslow sent £25 or more from family members in the USA for this work to be done. On the south wall is a memorial to John Trusloe (died 1593), who held the manor of Avebury Trusloe from 1568. The oak chair here is also 17th century, while the communion rails are early 18th century.
Like many Wiltshire churches that of Avebury has a tower built in the 15th century. It is of three stages and has a south-east square to octagonal stair that rises above the crenellated parapet; the roofs and crenellations of the aisles were built at the same time. A new peal of six bells, installed in 1981, was cast by the Whitechapel Bell Foundry. The only surviving old bell is the tenor, cast in 1719 by Richard Phelps, who was born in Avebury and was master of the Whitechapel Bell Foundry from 1700 to 1738. After the new peal had replaced the old the old tenor was used to strike the hours for the church clock. In the tower the Royal Arms are those of George III, used before 1801, while the 13th or 14th century stone coffin is believed to be that of a prior from the adjacent Benedictine Priory.
One of the glories of this church is the 15th century rood loft, originally used to house the Great Rood, or large crucifix, the most revered object in the early church. In the top rail to the loft parapet are the original 17 sockets that held candles that were kept burning to light the Rood. The Rood would have been destroyed after the Reformation and the loft and screen were removed, probably following an order of 1561 from Elizabeth I. Normally the timber would have been reused but almost uniquely the Avebury church managed to hide and preserve their rood loft. The timbers were stacked against the east wall of the nave, above the chancel arch, and covered with a lath and plaster wall. This was a very risky business for all concerned but the secret was well kept and the timbers were not discovered until 1810. The rood loft was restored in the 1878 – 1884 renovations, and the loft parapet repainted with matching colours to those noted on the woodwork by the architect, Charles E. Ponting. A new panelled screen was provided below with paintings of the apostles, set against gilded fields, in the lower panels.
The tub font is possibly of Saxon origin but has detailed carving of the first quarter of the 12th century. It was apparently done by a local stonemason and probably shows Christ trampling on two dragons, representing evil and sin. However the figure holds a crosier and so has also been held to represent a bishop, although Professor George Zarnecki believes that the rustic sculptor misunderstood the picture that he was copying and added the crosier. The oak parish chest in the north aisle is dated 1634 and is probably contemporary with the oak chair and the Trusloe pew. The framework of the 19th century reredos was made by the village carpenter, also from the Trusloe pew, while the paintings are copies of ones in Florence that were made in Munich. Outside the fine lych gate was built by Messers Titcombe and Shipway of Avebury and designed by the architect, Charles Ponting of West Overton.
The church was dedicated to All Saints in the 13th century but the dedication was later changed to St. James. The parish registers from 1697 (baptisms), 1705 (marriages), and 1678 (burials), other than those in current use, are held in the Wiltshire & Swindon History Centre in Chippenham.
(Information above directly from www.wiltshire.gov.uk)
Mukteshvara Temple (IAST: Mukteśvara; also spelt Mukteswar) is a 10th-century Hindu temple dedicated to Shiva located in Bhubaneswar, Odisha, India. The temple dates back to 950–975 CE and is a monument of importance in the study of the development of Hindu temples in Odisha. The stylistic development the Mukteswar marks the culmination of all earlier developments, and initiates a period of experiment which continues for an entire century, as seen in such temples as the Rajarani Temple and Lingaraj temple, both located in Bhubaneswar. It is one of the prominent tourist attractions of the city.
HISTORY
The Mukteshvara Temple is found to be the earliest work from the Somavamshi period. Most scholars believe the temple is the successor to Parashurameshvara Temple and built earlier to the Brahmeswara Temple (1060 CE). Percy Brown puts the date of construction of the temple to 950 CE. The presence of a torana, which is not part of any other temple in the region, makes this temple unique and some of the representations indicate the builders were starters of a new culture. K.C. Panigrahi places the temple to be built during 966 CE and postulates that the Somavamshi king Yayati I built the temple. He also associates the legend of Kirtivassa to this temple, but the postulation is not accepted as Kirtivasa is associated with Lingaraja, though both were built at the same time for the same deity, Shiva. There is no historic evidence to conclude that Yayati I built the temple.
ARCHITECTURE
This architecture is one of the basic reasons why Mukteshvara Temple is also known as the "Gem of Odisha architecture". The temple faces west and is constructed in a lower basement amidst a group of temples. The pyramidal roof to the jagamohana present in the temple was the first of its kind over the conventional two tier structure. The temple is a small one compared to other larger temples in Bhubaneswar. The temples is enclosed within an octagonal compound wall with elaborate carvings on it. It is believed that the experiment of newer pattern in the temple showed a mature phase compared to its predecessors and culminated the beginning of replication of similar pattern in the later temples in the city. The temple has a porch, called torana, which acts as the gateway to the octagonal compound. The temple has two structures namely, the vimana (structure above the sanctum) and a mukhasala, the leading hall, both of which are built on a raised platform. The temple is the earlies to be built in pithadeula type.
PORCH
The most important feature of the Mukteshvara Temple is the torana, or the arched gateway, dating back to about 900 CE and showing the influence of Buddhist architecture. The arched gateway has thick pillars that have strings of beads and other ornaments carved on statues of smiling women in languorous repose. The porch is a walled chamber with a low, massive roof and internal pillars. The combination of vertical and horizontal lines is skilfully arranged so as to give dignity of buildings of moderate height. This early astylar form of the temple is best illustrated in this temple. The gateway has sculptures that range from elaborate scrolls to pleasant female forms and figures of monkeys and peacocks. The front and back of the arch are similar in design.
VIMANA
The Vimana is square in plan and is built in a raised platform with pilasters in each facade. The shikara is small compared to other temples; it has four Natarajas on and four kirthimukhas on the four faces. The top portion of the shikara has the kalasa. The shikara is 10.5 metres tall, with every inch sculpted with decorative patterns, architectural patterns and sculpted figures. A new form of decoration called bho, possibly developed here, became a prominent feature in later Odishan temples. It is a highly ornate chaitya window crowned by masked demon head and dwarf figures.
SANCTUM
The sanctum is sculpted with beautiful damsels exhibiting feminine charms entwined with nagas and naginis. The sanctum is cubical from the inside with offset walls in the outside.
JAGAMOHANA
This distinctive 10th-century temple is one of the smallest and compact temples. The jagamohana is 35 m tall. It is decorated with intricate carvings by the Vishwakarma Moharana sculptors. The temple is regarded as a gem of Nagara architecture of Kalinga architecture. Except for the rectangular plan of its jaganmohana, it is the earliest example of what may be termed proper Odisha temple type; a vimana with a curvelinear spire and a jaganmohana with a stepped pyramidal roof. The temple's red sandstone is covered with exquisite carvings of lean sadhus or holy men and voluptuous women encrusted with jewels. The images of Ganga and Yamuna are carved next to Chanda and Prachanda. The torana is present in front of the jagamohana. The figure of Lakulisa, seated in bhumispara-mudra and holding a lakuta is present on the lintel of the jagamohana. The figures of Gajalakshmi, Rahu and Ketu are also sculpted in the structure. A small extension from the side roof of the jagamohana has the image of a lion sitting on its hind legs. The exterior walls of the structure are decorated with pilasters with nagas and naginis.
OTHERS
The doorway to the inner sanctum houses the image of Ketu with three hooded snakes, commonly regarded as the ninth planet in the Hindu mythology. There is a tank in the eastern side of the temple and a well in the south-western corner. A dip in the well is believed to cure infertility in women. There are other shrines within the temple complex with lingam inside, which were used as offering shrines. The doorway of the temple is orante. The temple is enclosed by a low compound wall that follows the contours of the temple. The temple has sculptures both inside and outside the structure. The compound walls leaves a very small passage separating the shrine.
RELIGIOUS SIGNIFICANCE
Mukteshvara means "Lord of Freedom". The temple is dedicated to Hindu god Shiva. There are a number of sculptures of skeletal ascetics in teaching or meditation poses. Some scholars correlate the role of the temple as a centre for Tantric initiation with the name Mukteshvara as a possible thesis. The outer face of the compound wall has niches of Hindu deities like Saraswathi, Ganesha and Lakulisha (the fifth century founder of the Pashupata sect of tantric Shaivism). The numerous images of Lakulisha are found in miniature forms within Chaitya arches, showing various mudras like yoga, Bhumispara and vyakyana wit yogapatta tied to their knees. They are accompanied by the images of the disciples. According to tradition, barren women give birth to sons if they take a dip in Madicha Kunda tank in the premises of the temple on the night before Ashokashtami car festival. On the evening, the water in the tank is sold to the public.
IN POPULAR CULTURE
The Department of Tourism of the state government organises a three-day yearly dance function called Mukteswar Dance Festival in the temple premises. This festival celebrates the features of Odissi, the classical dance form of Odisha. Popular Odissi dancers perform during the function, accompanied by instruments like mardal. The event is webcast in the state government portal.
WIKIPEDIA