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This is my first video show on flickr. You can read more about it in my blog here
I know the slide show is fast little bit but this is due to flickr limitation on the duration of any video uploaded here.
Emotional Expressions , JOy and Gaiety Seen During CTM - Chennai Trail Marathon Held on 07th sep 2014 in chennai
A facial expression results from one or more motions or positions of the muscles of the face. These movements convey the emotional state of the individual to observers. Facial expressions are a form of nonverbal communication.
Humans can adopt a facial expression as a voluntary action. However, because expressions are closely tied to emotion, they are more often involuntary. It can be nearly impossible to avoid expressions for certain emotions, even when it would be strongly desirable to do so.
What do you think he's expressing?
Scan of a photo of Mom and Krista overlooking Niagara Falls in 1970. They both have expressions that seem to indicate disgust - perhaps Dad made a bad joke...
Grand Central Terminal is one of America's finest examples of the Beaux-Arts style. The monumental, sober classical vocabulary of the building is enlivened by rich sculptural detail of a Baroque exuberance. Not only in style, but in siting and plan, Grand Central is the quintessence of Beaux-Arts design principals.
Beaux-Arts principles emphasize the expression of a building's function through its design. In discussing Grand Central, Whitney Warren proclaimed "Modern cities have no portals or arches of triumph. The real gateways are the railroad stations."18 The exterior of Grand Central expresses this function, for the facades of the building closely resemble ancient triumphal arches, the gateways to Imperial Roman cities.
The allusion is most direct on the main entrance facade. Above the podium crested by the first story, three, great round-arched windows are enframed by engaged fluted columns upon a high stylobate. These Roman Doric columns visually support the cornice and attic story above. Even the depth of a triumphal arch Is suggested, since the east and west facades of the building are recessed at the corners. The triumphal arches at east and west project forward slightly, reiterating the 42nd Street facade motif on a slightly reduced scale.
The main facade of Grand Central is crowned by the justifiably famous sculptural group created by the French artist Jules Alexis Coutan. The. sculpture, a "tribute to commerce depicts a triumphant Mercury, god of commerce and travel, flanked by a reclining Hercules, the hero famed for physical strength and moral courage, and Minerva, goddess of wisdom and patroness of artists and artisans. The huge group - roughly 50 feet tail - is perfectly scaled to the monumental facade and plays an integral part in the architectural composition, functioning as the dramatic climax to the whole.
Few buildings in New York enjoy a more impressive, setting than does. Grand Central. From Park Avenue, south of Grand Central, one approaches the triumphal facade, enframed by the buildings along the Avenue, and visible from nearly a mile away. The architects, by raising the building on the podium created by the elevated driveways, enhanced Grand Central's visibility and intensified the dramatic focus. Although the site of Grand Central was determined by purely practical considerations, (the location of the railroad trackage), it nevertheless has much in common with the sitings of Beaux-Arts buildings in Paris, which frequently are placed at the termination of the. city's grand boulevards.
Planning and spatial organization, are central to Beaux-Arts theory. The. interiors of Grand Central, designed by the associated firms of Warren & Wetmore and Reed & Stem, are a paradigmatic expression of these concerns, displaying the order and clarity, the amplitude and grandeur which was the goal of the Beaux-Arts approach. The plan of Grand Central, hailed as "a model of coherence and clarity," is symmetrically disposed with a series of axially aligned, major spaces - the Waiting Room and Concourses - connected, by passageways and ramps. These ramps, unlike stairways, enhance the sense of easy progress and transition, and also facilitate-circulation.
On entering Grand Central, one senses the directionalized quality of the plan - a Beaux-Arts concern. Movement forward and gradually downward toward the actual train track platforms is suggested by the axiality of the plan, while lateral ancillary spaces contribute a sense of spatial flow and freedom, harmoniously balancing the dominant forward impetus. In addition, the plan of Grand Central allows not only for ease of circulation within the building itself, but also for easy entrance and exit. The terminal functions as a center of transfer - "a great reciprocating engine for pumping a huge flow of pedestrian traffic. " The noted architectural historian Carroll Meeks has termed this plan "a brilliant design" and continued "no better station of its size has ever been built."
The. interior of Grand Central relies not only on its planning for its impressiveness, but also on what the architectural critic Lewis Mum-ford has characterized as "its major quality.... space - generously and even nobly handled."" Beaux-Arts design attains much of its magnificence through monumental scaling and few interiors better illustrate this principle. At Grand Central, the Associated Architects handled the ancillary spaces monumentally end thus these spaces serve an an appropriate and essential introduction to the Main Concourse, the climax of the entire composition.
The Main Concourse, "breathtakingly grand," and in the opinion of the eminent architectural historian, Henry-Russell Hitchcock, "one of the grandest spaces the early 20th century ever enclosed" has captured the affection and admiration of generations of travelers.
Aside from the fineness of the plan and the grandness of the spaces of Grand Central's Beaux-Arts interiors, the architectural, detailing is of exceptional quality. Ornate, yet boldly scaled In keeping with the monumentality of the overall conception, it demonstrates a sensitive understanding of the use of classically inspired forms. As has been noted earlier, Whitney Warren, who had studied at the Ecole des Beaux-Arts Is very likely -to have been the principal designer of this fine detail, which Is exuberant yet dignified. The rich materials employed, marble and bronze most notably, have been skillfully and painstakingly crafted in the finest Beaux-Aits tradition. All of these elements - plan, space, and detail - combine to create one of America's great Beaux-Arts interiors.
Arriving at Grand Central, many passengers of an earlier time, had just descended from trains such as the Yankee Clipper, the Wolverine, the Empire State Express, and the Twentieth Century limited, names which today evoke the romance and excitement of train, level. That romance and excitement still echo within the Main Concourse, the. Waiting Room and the halls of Grand Central. It is these architecturally and historically significant interiors which the Commission designates an Interior Landmark.
The main entrance to Grand Central is located on 42nd Street, directly under thts viaduct which leads from Park Avenue to the elevated driveways. One first enters a short, segmentally-arched passageway with a ramped floor. Simply, but handsomely detailed, the passageway has segmentally-arched shop windows along its side wails, two fine glass and bronze chandeliers. a sober classical cornice, and most notably, a decorated tympanum above the doors leading in the Waiting Room, This consists of a marble panel adorned with a bronze relief of garlands with a central cad uceus, the- attribute of Mercury. The panel bears the inscription "To all those with head heart, and hand/Toiled in the construction of this monument to the public, service/This is inscribed. Above, is a clockface enframed by paired cornucopias in relief.
This relatively narrow, Iow~ceilinged entry opens onto the vast Waiting Room, precursor of the splendour of the Main Concourse, and in its own right, a room of extraordinary power and beauty. The Waiting Room is a hugs rectangle - 65 feet by 205 feet - divided into five monumental bays, lit by enormous windows and splendid chandeliers. Above a dado of light beige Botticino marble., the walls are faced with simulated Caen stone. This facing, used throughout Grand Central, is a fine example of such "Counterfeiting," a tribute to the craftsmen who so successfully imitated the"fine-grained, high-priced limestone of the Caen quarries in France, Tliis Caen facing is "set" in broad and narrow alternating courses.
The south wall of the Waiting Room contains five large windows, three broad ones, separated by two narrower. All are screened with handsome, heavy brona?grilles, the borders of which contain acanthus foliate panels. Between the windows broad, smooth pilasters project slightly from the wall and arc crowned by simple, leafy capitals. Beneath the windows to each side of the central entry are ornate marble enframed doorways surmounted by triangular pediments containing shells and oak branches, supported by consoles with acanthus leaf reliefs.
The north wall, similar to the south, contains five great windows with bronze grilles, through which one glimpses the Main Concourse. The walls resemble monumental piers, and effect enhanced by the broad pilasters which adorn them. Set into the pilasters are handsome bronze ventilation grilles of a type seen throughout the Terminal. The skilled craftsmanship and the richness of materials which characterize Grand Central as a whole, extend to all such details. Other examples include the bronze, classically ornamented letter boxes, the handsome marble drinking fountains, and the metal train indicator signs at the platform entrances.
The end wall of the Waiting Room are mirror images of one another, with large Caen -faced panels enframed by narrow floral borders, beneath which are the handsome marble entries to the Men's Room (at the wast) and the former Ladies' Room (at the east). Above the doors are clocks surrounded by garland reliefs set upon lintels carried on consoles. The corners of the room are rounded, and each contains a smooth pilaster which conforms to the curve.
The ceiling is richly adorned and painted to resemble bronze. It contains five bays, each with a central. "Caen" panel lavishly enframed with foliate console brackets and classically detailed mouldings. From a central rosette in each bay is suspended an imposing three tiered bronze and gilt-bronze chandelier,
Many of the original mahogany benches are still In place. A few have been removed and one can now clearly see the indentation in the marble paving of the floor where millions of travelers' feet have rested.
Leaving the Waiting Roojq, one descends along a ramp which bisects the south gallery-like section of the Main Concourse. This ramp is flanked by ticket booths, constructed of marble and bronze.
Beyond, is the Main Concourse which Carl Condit has called "the classic- work of interior space in American architecture,This vast chamber, of wall-merited world fame, billows upward to a height of 125 feet, and stretches to a breadth of 120 feet and a length of 375 feet. Although much larger than the Waiting Room, it too is divided into five bays which here attain a rarely equalled grandeur. The Main Concourse is essentially a. great barrel vaulted hall with galleried aisles to the north and south, separated from the main space by monumental piers carrying a strong, imposing bracketed entablature. Within the galleries are huge square-headed windows, while at the east and west ends of the Concourse are three round-arched windows echoing in their arrangement the triumphal arch, ot gates to the city motif of the exterior.
The upper walls and piers of the Concourse are sheathed in simulated Caen stone, while below, at "passenger level" marble predominates, not only because of its richness, but also because of its durability. The ticket windows ranged in two banks along the south wall of the Concourse are constructed of Italian Botticino marble with handsome Doric pilasters enframing each window. All the windows have numbered glass and bronze light fixtures, illuminated only when the window ir- in service. At the center of the vast Tennessee marble floor is a circular information desk., with marble counters enclosing a cylindrical bronze cote which connects this desk with the corresponding structure in the Lower Concourse beneath. The Main Concourse desk is topped by a handsome four-faced, bronze clock.
To arrive by train and enter the Main Concourse of Grand Central Terminal is an appropriate and impressive introduction to America's largest and most cosmopolitan city. The vast scale, the richness and beauty of the architectural detail and materials, and the fine planning of Grand Central's interiors, are considered truly exceptional. Until the construction of the Grand Central complex, no railroad station in the world had so completely fulfilled the needs of the traveler Grand Central, and most especially its interiors, is one of the city's most treasured buildings, valued not only for its beauty, but also for the vitality it imparts to the mid town area. The Terminal is a survivor in an age of planned obsolescence. Its symbolic power as an emblem of Manhattan makes it a landmark in the fullest sense of the word.
- From the 1980 NYCLPC Landmark Designation Report
This texture caught my eye and i looked for a way to incorporate in an image. I hope I was successful. (c) 2012
~Textura N°54 Adormecida~
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