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Music aficionados always have strong opinions on Tchaikovsky. Love him or hate him, you gotta feel for the frustration here in this draft of his Symphony no. 6.
The actual dress will be ivory with a brighter red sash and will have 2 sleeves ;) Also it will probably be a tiny bit less see-through.
The 2nd Classic-Castle Online Draft is over, and here is my picks!
I took: (listed in order, first pick to last)
#1 – 21 Dark Orange Plant Leaves 6 x 5
#2 – 32 Light Bluish Gray Tile 1 x 2 with Groove
#3 - 40 Light Bluish Gray Support 1 x 1 x 6 Solid Pillar
#4 - 6 Light Flesh Minifig, Head Dual Sided Female Eyelashes and Thin Brown Eyebrows, Cheek Lines, Smile / Determined Pattern - Stud Recessed
#5 - 12Light Bluish Gray Body Microfig Plain Complete
#6 - 32 Tan Slope 45 2 x 1
#7 – 8 Light Flesh Minifig, Head Dual Sided LotR Gimli Bushy Brown Eyebrows, Stern / Grimacing Pattern - Stud Recessed
#8 - 28 Reddish Brown Plate 1 x 3
#9 - 16 White Brick 1 x 4
#10 - 24 Black Plate, Modified 1 x 2 with Handle on Side - Closed Ends
#11 - 16 Tan Plate, Modified 1 x 2 with Handle on Side - Free Ends
#12 - 8 Red Plate 2 x 3
Trading: (list above is after trading)
Traded 2 microfigs, 2 Arwen heads, 8 2x2 brown plates, 28 1x3 brown plates to Lil_Curt for 2 Arwen assemblys.
Traded 2 microfigs to BiggerJim for 20 dark brown 1x2x1 slopes.
Traded 3 Dark Orange Leaves to AK_Brickster for 1 Arwen hair.
Changed my name to O'Simard and having a pint O Caffreys to celebrate the end of a great day all around.. Cheers to my Flickr buddies..
draft on board. You are allowed to use this image on your website. If you do, please link back to my site as the source: creditscoregeek.com/
Example: Photo by Credit Score Geek
Thank you!
Mike Cohen
A fine day down at Aberdeen Harbour Scotland today 11th March 2019 .
Grampian Devotion .
Dimensions
LOA 50.70 metres
LBP 40.40 metres
Breadth Moulded 13.00 metres
Draft Loaded / Depth 4.3 metres / 6.0 metres
Tonnage
GRT 1130 Tonnes
NRT 398 Tonnes
DWT 690 Tonnes
Capacities/Cranes
Fuel Oil (MGO) / Connection 300 m³
Fresh Water / Connection 150 m³
Bllast Water Approx 350 m³
Oil Based Mud / Connection N/A
Brine / Connection N/A
DMA (Base Fluid) / Connection N/A
Dry Bulk(s) / Connection N/A
Deck Area Approx 120 m² (Steel Deck)
Deck Loading 3 Tonnes per metre²
Deck Crane # 1 Heila 1.5T @ 15 Metres (3t @ 10m)
Winch Option - Buoy Recovery System fitted
Wire Reel N/A
Deck Tuggers N/A
Engines/Thrusters/Aux
Main Engine(s) MAK 6M20 (2133 BHP)
Propeller(s) 1 x CPP
Bow Thruster(s) HRP Azimuth @ 500BHP
Stern Thruster(s) N/A
Rudder Systems / Type Fishtail HP Rudder
Aux Engines 2 x Cat @ 547kW per unit
Shaft PTO’s 1 x PTO from Main Engine
Emergency Generators 1 x Emer Genset @ 365 kW
Control Systems/Dynamic Positioning
Control Positions Fwd, Aft, Port & Stbd
Full Manual Control Fwd & Aft consoles
Integrated Joystick Control Coverteam Joystick System
Joystick Control Aft, Port and Starboard consoles
Dynamic Positioning System N/A
Fan Beam Laser N/A
DGPS # 1 N/A
DGPS # 2 N/A
Hydro Acoustic Pos Ref # 1 N/A
Hydro Acoustic Pos Ref # 2 N/A
Vertical Taut Wire N/A
Rescue/Emergency Response Equipment
Daughter Craft Davit # 1 NED DECK MARINE Heave Compensated
Daughter Craft Delta Phantom 10.25 metre (Diesel)
Daughter Craft Davit # 2 Option
Daughter Craft Option
Fast Rescue Craft Davit # 1 NED DECK MARINE Heave Compensated
Fast Rescue Craft 1 x Avon SR 6.4 15 Man (Petrol)
Dacon Scoop Fitted
Dacon Rescue Crane Heila Telescopic Boom crane 1.5t@15m
Cosalt Rescue Basket Fitted & Launched from aft deck
Jason Cradles Frames Fitted
Winch Area Located on Aft Main Deck
Emergency Towing Capability Towing Hook Fitted
Dispersant Tanks 2 x 5 Tonne Tanks below Main Deck
Dispersant Spray Booms Fully outfitted Port & Starboard
Searchlights 4 x IBAK Kiel Fwd, Port, Stbd & Aft
Navigation/Communication Equipment
Radar(s) (Fwd) Furuno 2817 ARPA Furuno 2837 ARPA
Radar Rptr (Aft) Hatteland
ECDIS Microplot ECDIS
PLB System N/A
DGPS(s) Furuno DGPS 90
Gyro(s) Anschutz S22 Gyro
Autopilot Anschutz NP 60
Magnetic Comp Gillie 2000
Echo Sounder FE 700 ES
Digital Depth Recorder FE 720
Navtex Furuno NX 700 Navtex
Sat Comms Inmarsat C Felcon, Fleet 77 CapSat (A3)
MF/HF Radio Furuno FS 2570 C (A3)
UHF 3 x UHF Units
VHF (Fwd) FM8800 GMDSS VHF, ICOM ICM 401E
VHF (Aft) FM8800 GMDSS VHF, ICOM ICM 401E
Helo Radio ICOM IC A110
AIS Jotrun AIS TR 2500
VHF Direction Finder Taiyo TDL 1550
Doppler Log Furuno DS 80
SSAS Furuno Felcom
Portable VHF 3 x Jotrun GMDSS
Portable VHF 6 x ENTEL HT 640 VHF
Portable UHF 3 x ENTEL HT 880 UHF
Portable UHF 2 x Kenwood UHF
Sonic Helmets 4 x Sonic Helmets Mk 10
Smartpatch Phone ICOM PS1
Crew Facilities
Crew Cabins 15 Man Single Berth cabins c/w en suite facilites
Recreation & Leisure 1 Messroom, 2 Lounges
Leisure 1x Sauna, 1x Gym, 1x Ship's Office
HVAC Drafting and Drawings of Architectural Outsourcing Services India offers construction plan drawings, Equipment piping dimensions and layout plan drawings, HVAC duct design, Duct sizing and layout plan drawings, Diagrams of all details, schematics, schedules and control, be your needs, AutoCad Drafting has all the resources to address your HVAC Drawing requirements.
Exhibitor David Hershey from Worriors Mark, Huntingdon County, setting his draft horse, Champ in position to be judged.
The Demonchild's first time on a horse, and the horse happened to be a 18.2 hands, 1843 lbs Percheron! (huge draft horse, like the Budweiser Clydesdales) To put this in perspective, I'm 5 feet 6 inches tall, 170 cm, and I shot this looking up at him.
Please visit and like Pasture Pals Equine Rescue's Facebook Page for more information on this horse or any of the other horses, miniature horses and donkeys!
This photograph is not allowed to be reproduced or used by anyone without my written permission. If used, you must link back to this page and make sure I am properly credited. After all, this is my work, not yours.
© Chelsie Sosebee
More commercialization has seen a rapid increase in the business. Contracts are an important part in a business since it structures the working of the business with parties at large. It becomes very important to take care of all the nuances of the contract and it is highly recommended to take the help of professionals for drafting. Read more: bit.ly/3bGTPND
Designed by me and mum, carpentry by my uncle
Made of 1/4" glass, 3/4" Narra Ply, 2 lights and some type of knobs my uncle found.
This is actually a combination of all the drafting tables I've seen around SDA and PSID, plus a couple I've seen online.
Parts can be disassembled. (The door to the room's small and the windows have grills so my uncle just figured that this was a nice touch to the design-- makes it portable!)
Dragon Ball
Daizenshuu 04 World Guide - JP -
04/10/1995
169 pags
1500 円
Original Scans by "kamisama explorer"
Web collection
provided by:
I attended a Threshers Weekend in Pontiac Illinois over Labor Day weekend. Part of the activity was a Draft Horse pull. These mighty animals have a grace and elegance to them that words cannot even begin to describe. This is but a sampling of the shots I took.....
Architectural Drafting
Front row L to R: High School medalists—Silver-Emily Do, Lockport Township High School (Ill.); Gold-Evalynn Sanford, Camden County High School (Ga.); Bronze-Emily Wildfeuer, Blackstone Valley RVTHS (Mass.). Back row L to R: College/Postsecondary medalists—Silver-Oscar Avina-Rodriguez, Wake Technical Community College (N.C.); Gold-Nathan Jurgens, University of Arkansas Community College at Morrillton (Ark.); and Bronze-Shayne Hoffman, North Dakota State College of Science (N.D.).
May 12, 2019 - Frank Lloyd Wright Home and Studio located at 951 Chicago Ave., Oak Park, IL.
"In 1889 Wright completed the construction of a small two-story residence in Oak Park on the Western edges of Chicago. The building was the first over which Wright exerted complete artistic control. Designed as a home for his family, the Oak Park residence was a site of experimentation for the young architect during the twenty-year period he lived there. Wright revised the design of the building multiple times, continually refining ideas that would shape his work for decades to come.
The semi-rural village of Oak Park, where Wright built his home, offered a retreat from the hurried pace of city life. Named “Saint’s Rest” for its abundance of churches, Oak Park was originally settled in the 1830s by pioneering East Coast families. In its early years farming was the principal business of the village, however its proximity to Chicago soon attracted professional men and their families. Along its unpaved dirt streets sheltered by mature oaks and elms, prosperous families erected elaborate homes. Beyond the borders of the village farmland and open prairie stretched as far as the eye could see.
The Oak Park Home was the product of the nineteenth century culture from which Wright emerged. For its design, Wright drew upon many inspirational sources prevalent in the waning years of the nineteenth century. From his family background in Unitarianism Wright absorbed the ideas of the Transcendentalists, Ralph Waldo Emerson and Henry David Thoreau, who encouraged an honest life inspired by nature. The English Arts and Crafts movement, which promoted craftsmanship, simplicity and integrity in art, architecture and design, provided a powerful impetus to Wright’s principles. The household art movement, a distinct movement in middle-class home decoration, informed Wright’s earliest interiors. It aimed, as the name implies, to bring art into the home, and was primarily disseminated through books and articles written by tastemakers who believed that the home interior could exert moral influences upon its inhabitants. These various sources were tempered by the lessons and practices Wright learned under his mentors, Joseph Lyman Silsbee and Louis Sullivan.
For the exterior of his home, Wright adapted the picturesque Shingle style, fashionable for the vacation homes of wealthy East Coast families and favored by his previous employer, Silsbee. The stamp of Sullivan’s influence is apparent in the simplification and abstraction of the building and its plan. In contrast to what Wright described as “candle-snuffer roofs, turnip domes [and] corkscrew spires” of the surrounding houses, his home’s façade is defined by bold geometric shapes—a substantial triangular gable set upon a rectangular base, polygonal window bays, and the circular wall of the wide veranda.
Despite its modest scale, the interior of the home is an early indication of Wright’s desire to liberate space. On the ground floor Wright created a suite of rooms arranged around a central hearth and inglenook, a common feature of the Shingle style. The rooms flow together, connected by wide, open doorways hung with portieres that can be drawn for privacy. To compensate for the modest scale of the house, and to create an inspiring environment for his family, Wright incorporated artwork and objects that brought warmth and richness to the interiors. Unique furniture, Oriental rugs, potted palms, statues, paintings and Japanese prints filled the rooms, infusing them with a sense of the foreign, the exotic and the antique.
In 1895, to accommodate his growing family, Wright undertook his first major renovation of the Home. A new dining room and children’s playroom doubled the floor space. The design innovations pioneered by Wright at this time marked a significant development in the evolution of his style, bringing him closer to his ideal for the new American home.
The original dining room was converted into a study, and a new dining room replaced the former kitchen. The dining room is unified around a central oak table lit through a decorative panel above and with an alcove of leaded glass windows in patterns of conventionalized lotus flowers. The walls and ceiling are covered with honey-toned burlap; the floor and fireplace are lined with red terracotta tile.
The new dining room is a warm and intimate space to gather with family and friends. The Wrights entertained frequently, and were joined at their table by clients, artists, authors and international visitors. Such festive occasions, according to Wright’s son, John, gave the house the air of a “jolly carnival.”
The 1895 playroom on the second floor of the Home is one of the great spaces of Wright’s early career. Designed to inspire and nurture his six children, the room is a physical expression of Wright’s belief that, “For the same reason that we teach our children to speak the truth, or better still live the truth, their environment ought to be as truly beautiful as we are capable of making it.” Architectural details pioneered by Wright in this room would be developed and enhanced in numerous commissions throughout his career.
The high, barrel-vaulted ceiling rests on walls of Roman brick. At the center of the vault’s arc a skylight, shielded by wood grilles displaying stylized blossoms and seedpods, provides illumination. Striking cantilevered light fixtures of oak and glass, added after Wright’s 1905 trip to Japan, bathe the room in a warm ambient glow. On either side of the room, window bays of leaded glass with built-in window seats are at the height of the mature trees that surround the lot, placing Wright’s children in the leafy canopy of the trees outside.
Above the fireplace of Roman brick, a mural depicting the story of the Fisherman and the Genie from The Arabian Nights is painted on the plastered wall. An integral architectural feature within the room, the mural was designed by Wright and executed by his colleague, the artist Charles Corwin. It is a fascinating blend of decorative motifs; forms from exotic cultures—such as Egyptian winged scarabs—are combined with flat, geometric designs that echo the work of Wright’s international contemporaries, Charles Rennie Mackintosh and the Vienna Secessionists.
In 1898 Wright built a new Studio wing with funds secured through a commission with the Luxfer Prism Company. The Studio faced Chicago Avenue and was connected to his residence by a corridor. Clad in wood shingles and brick, the Studio exterior is consistent with the earlier home. However, the long, horizontal profile, a key feature of Wright’s mature Prairie buildings, sets it apart. Adjacent to the entrance, a stone plaque announces to the world, “Frank Lloyd Wright, Architect.” Decorative embellishments and figural sculptures set off the building’s artistic character and impressed arriving clients.
The reception hall serves as the entrance to the Studio. A waiting room for clients and a place for Wright to review architectural plans with contractors, this low-ceilinged space connects the main areas of the Studio—a library, a small office, and the dramatic two-story drafting room, the creative heart of the building.
The studio staff worked on drafting tables and stools designed by Wright in rooms decorated with eclectic displays of artwork and objects. Japanese prints, casts of classical sculptures, as well as models and drawings executed in the drafting room, filled the interiors of the Studio. In Wright’s home the integration of art and architecture served to nurture and intellectually sustain his family. In the Studio, these same elements served a further purpose, the marketing of Wright’s artistic identity to his clients and the public at large.
In September of 1909, Wright left America for Europe to work on the publication of a substantial monograph of his buildings and projects, the majority of which had been designed in his Oak Park Studio. The result was the Wasmuth Portfolio (Berlin, 1910), which introduced Wright's work to Europe and influenced a generation of international architects. Wright remained abroad for a year, returning to Oak Park in the fall of 1910. He immediately began plans for a new home and studio, Taliesin, which he would build in the verdant hills of Spring Green, Wisconsin. Wright’s Oak Park Studio closed in 1910, though Wright himself returned occasionally to meet with his wife Catherine who remained with the couple's youngest children at the Oak Park Home and Studio until 1918. The Home and Studio was the birthplace of Wright's vision for a new American architecture. Wright designed over 150 projects in his Oak Park Studio, establishing his legacy as a great and visionary architect.
Previous text from the following website: flwright.org/researchexplore/homeandstudio