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Huws Gray Alliance
Caernarforn Town 0
Holyhead Hotspur 0
atten 350
Beauty & The Beast
To be honest it wasnt a great game, even the locals apologised to me. There was no need because I had thoroughly enjoyed my time for many reasons. Chances were at a premium and even the new signing “The Beast” chances were limited. The real enjoyment was found meeting the people and learning what the Club is really all about.This was no Disney film as today i had seen with my own eyes 'The Beast' but more importantly 'The Beauty'.
The first football club in Caernarfon, known as Caernarvon Athletic, was formed in September 1876 and played at various grounds before moving to the Oval in 1888. On 30 October 1886, Caernarfon was the first team from north west Wales to enter the FA Cup and lost 10–1 away to Stoke City. Five years later, however, that particular club went out of existence but, in 1894, several former players began a new team called Caernarvon Ironopolis. That club competed in the North Wales Coast League, winning the championship on two occasions and reaching the semi-final of the Welsh Cup in 1900 and again in 1902. Unfortunately, following a dispute with the league, Ironopolis folded in 1903. The demise of the club resulted in some of the players forming the Caernarvon Colts while others affiliated to the Caernarvon RWF (Royal Welsh Fusiliers), both clubs playing at the Oval.
In 1906, the clubs amalgamated to form Caernarvon United and in 1909 the new club won both the Welsh and North Wales Amateur Cups. After the Great War, the demobbed United players formed a new club (Caernarvon Athletic) which, until 1921, played in the North Wales Coast League and thereafter the Welsh National League Division Two (West), with mixed fortune. In 1926, however, a limited company was formed and a full-time manager and professional team engaged. The club met with immediate success, winning the Welsh National League Division One championship in 1926–27, ahead of Bangor City and Rhyl, and repeating the feat in 1929–30 having been pipped to the title by Connah's Quay & Shotton 12 months earlier. Caernarvon Athletic are still remembered for their FA Cup run in 1929 when they defeated Darlington before going out to Bournemouth in a second round replay, the first game at the Oval attracting a crowd of some 9,000. In 1930, however, the club went into liquidation but two years later a re-formed team won the Welsh Combination before quitting over problems in using the Oval.
It's never quiet at The Oval as in 2010 they came uncomfortably close to folding completely. The tipping point came when they were served a suspension notice from the Welsh Alliance League. But for the determination of a group of supporters and a newly formed committee they somehow were able to fulfill the remaining fixtures.
The following season forward steps were made albeit baby steps. A better financial position and better results on the pitch lead to a serious attempt at gaining promotion to the second tier of the Welsh Pyramid. The last part of the jigsaw was the right type of Team Manager to lead them at a critical time in the club's renaissance. The 2012/3 season was a treble winning season on the pitch. But really it was a 'world cup' winning season off the pitch as the club had finallyregained its dignity and pride and then some.
The day started with a brisk walk along the beach at Rhos-on-Sea in the crisp winter sunshine and well earned Full English Breakfast washed down with delicious brewed coffee. My day came to an end watching another game Llandudno Albion v Llandudno Athletic. A feircely contested local derby one might presume ..... final score was 17-1. As the evening chill had set in and the score was standing at 13-1, i decided that the home win was now secure and it was an appropriate moment to vacate the premisis. A perfect start to the day and an enjoyable finale but it was what was in the middle that will live longer in the memory. Oval stays are enjoyable days !
Formed some five million years ago by molten lava rapidly cooling as it flowed along the old Coliban River valley, Trentham Falls plunges 32 metres over basalt columns onto the quartz gravel below.
RAPUCALUSON x 中村眞弥子 ふたり展
"いろ かたち みる まとう"
cafe・gallery MODESTE
192-0063 東京都八王子市元横山町 3-5-4-101
Tel : 042-686-0758
開催日: 2015年6月30日(火)-7月5日(日)
営業時間 : 10:30-18:30
(初日 13:00-18:30・最終日 10:30-17:00)
○在廊日
RAPUCALUSON 7月5日13:00-
中村眞弥子 6月30日・7月5日13:00- , 7月1,2日14:00-
○うちわのワークショップ
染め紙をコラージュし 美しく涼しい
うちわをつくります。
参加費 : 2000円
日時 : 7月5日13時より随時
・・・・・・・・・・・・・・・・・・・・・・・・・・
RAPUCALUSON x Mayako Nakamura
Colour Form View Dress
at cafe・gallery MODESTE / Hachioji, Tokyo
2015.06.30-07.05
・・・・・・・・・・・・・・・・・・・・・・・・・・
RAPUCALUSON
Mayako Nakamura
cafe・gallery MODESTE
The houses of York and Lancaster were two rival branches of the Royal House of Plantagenet. They fought for the throne of England from 1455 until 1487 and the wars ended when Henry Tudor of Lancaster defeated Richard III of York. The badge of Lancaster was the red rose and the badge of York was the white rose. Henry of Lancaster married Elizabeth of York and the red and white roses were combined to form the Tudor Rose.
The real life intrigues, battles, tortures and cruelties were every bit as gory as those depicted in the Game of Thrones which was inspired by the Wars of the Roses.
The White Rose of York is Alba Semi-plena and the Red Rose of Lancaster is the Apothecaries Rose and has been grown since 1260. The Tudor Rose is a striped sport of Rosa Mundi - Rosa gallica versicolor. All three are ancient medieval roses and still in cultivation. These are from forty year old plants in my garden.
¥052. enduser. form without function. 2x12" vinyl lp. hymen records
vinyl version of ¥750.
discogs:
www.discogs.com/Enduser-Form-Without-Function/release/717612
The one thing constant about the ever-changing urban landscape is the cranes at the construction sites.
I was born in Hong Kong, but I went to the US for college (university) in 1995, and after graduation I moved to New York and have been living there ever since. But in 2012, I moved back to Hong Kong to start my own company. And I definitely notice the change.
Most of the newer architecture in Hong Kong is built upon landfill, so in many ways the Victoria Harbour just got smaller. It seems that even the Star Ferry ride as a result is shorter. Could that possibly be?
Pictured is a set of cranes seen outside the International Finance Centre (IFC). It seems that they are building even more structures over there but exactly what is unclear.
# SML Data
+ Date: 2013-04-24T16:29:43+0800
+ Dimensions: 3648 x 5472
+ Exposure: 1/800 sec at f/8.0
+ Focal Length: 105 mm
+ ISO: 100
+ Flash: Did not fire
+ Camera: Canon EOS 6D
+ Lens: Canon EF 100-400mm f/4.5-5.6L IS USM
+ GPS: 22°17'7" N 114°9'36" E
+ Location: 香港中環龍和道 Lung Wo Road, Central, Hong Kong
+ Workflow: Lightroom 4
+ Serial: SML.20130424.6D.02643.BW
+ Series: 形 Forms, 建造 Construction
“/||\” / 香港建造之形 Hong Kong Construction Forms / SML.20130424.6D.02643.BW
/ #建造 #Construction #形 #Forms #SMLForms #黑白 #BW #SMLBW #CreativeCommons #CCBY #SMLPhotography #SMLUniverse #SMLProjects
/ #中國 #中国 #China #香港 #HongKong #攝影 #摄影 #photography #城市 #Urban #FormFollowsFunction #Cranes #Lines
It's that time of year again. I dislike taxes as much as any other person, but they're really not hard to do. And in a strange sort of way, It's a way to remind myself that I should feel grateful for what I have and what I can contribute.
Disfruta del queso en todo su esplendor. La mejor mesa de quesos que te puedes encontrar, en múltiples formas, texturas y sabores, y siempre con el arte, la pasión y el espectáculo de #LaMesadeLaAntigua #QuesoconArte
Toda carta debe asemejarse a un tipo de insecto, así la semiótica siempre olerá a sueño y las palabras se deformaran hasta quedar en estado larvario esperando la fecundación del aparato lingual. Esta carta que le escribo quiero que tenga la forma de una abeja tras el acto de enterrar su aguijón en el muslo de una hembra, tras perder sus intestinos y que sus últimas convulsiones dirijan mi mano para escribir una filosofía mecánica sobre la hoja en blanco. Esta noche las estrellas se convierten en abejas asesinas y se lanzan en picada sobre mi masa encefálica, siento el jugo de su veneno caer por mis fosas nasales y en mis tímpanos repican una y otra vez los aullidos de un feto.
Celebro esta madrugada porque por fin esta noche es mía, y me adueño del silencio para reventar mi memoria sobre todas las superficies, edificando coágulos de historias y una autopsia a la imaginación. He llegado a la conclusión que la cama debe estar solitaria y las sabanas frías para poder crear y anclar mis huesos a lo inmaterial. Me alejo esta noche de todas las formas femeninas, del régimen lineal de las operaciones matemáticas y macroeconómicas, desafiando mi estatismo de hombre a que diseñe alguna maniobra del alma. Quiero ver la leche derramada por la mañana, quiero sentir que nuevamente brota en mi cuerpo la sangre neolítica, que mi apéndice reviva y vuelva a realizar una fotosíntesis nocturna, que mis amígalas extirpadas vuelvan a crecer como piñatas de sueños, que mis células troncales se conviertan en soles y dialoguen como niños lobos sobre la melena de mis pulmones, quiero volver a tener antojos, a desvelarme como antes, a acumular hojas bajo la cama, y que la espuma brote sobre mis labios, quiero sentir la depresión y la pena ulcera de ver morir un poema, quiero volver a sentir la soledad sentada sobre mis hombros. Quiero caer nuevamente en la maldición de la noche. Invoco en esta carta su espíritu de escritor para que se aloje en mis uñas y levante mi espíritu Acalambrado en el mar, invoco el terremoto de Chillán para que levante mis costillas dormidas, invoco a todos los seres extintos y las teorías inoperantes eliminas del saber, invoco el espíritu de los suicidas para que limpien mi boca con servilletas blancas y llenen mi vaso de líquido, Invoco la última y única conversación que tuvimos en su casa para tentar la yugular de las jirafas y la sed de los caballos.
This specimen is about 9" long and seen at a vendor from Madagascar at the Tucson Rock and Gem Show 2012. The label of this large pile of rocks says "Astimaliti" but I can find no reference online to the term. The best I can figure is that the specimens are a form of concretion that form around a central "seed", from sand, gypsum, mud or shale.
Chia seeds form a mucilagenous layer around themselves when soaked in water, which helps them stick to everything. I used a bit too much water (like 2-3x too much), and when I tried to soak some up later with a paper towel - which is futile, as the gelatin they form traps the water - it came back covered in seeds that were really difficult to remove. Here, the light from my monitor is making the floating seeds glow.
Early Life forms
Gent Jazz, Garden Stage - 20-Jul-2024
Vita Pauwels - Guitars
Frederik Leroux - Guitars
Casper Van De Velde - Drums
Laurens Dierickx - Hammond
© Photography Patrick Van Vlerken 2024
A collection of photographs taken on the 22nd November 1987 at the Surfest '87 event held at Newcastle Beach, Australia.
Surfest '87 was also known as "The BHP Steel International" and ran from 14th-22nd 1987.
The images were shot by Chris Patterson for Hannan Photography, who were engaged to record the event by Peach Advertising on behalf of the Surfest sponsors B.H.P. (The Broken Hill Proprietary Company Ltd).
The images were scanned from the original 35 mm colour negatives, at 3200 dpi using an Epson Perfection V700 Scanner. They comprised sheets labeled under the original numbering sequence of CN7560. (CN=Colour Negative) One sheet comprises black and white negatives.
The original negatives are held in Cultural Collections at the Auchmuty Library, University of Newcastle (Australia).
You are welcome to use the images for study and personal research purposes. Please acknowledge as "Courtesy of the Hannan Photography Archive, University of Newcastle (Australia)" For commercial requests you must obtain permission by contacting Cultural Collections.
If you are the subject of the images, or know the subject of the images, and have cultural or other reservations about the images being displayed on this website and would like to discuss this with us please contact Cultural Collections.
If you have any further information on the photographs, please leave a comment.
These images are provided free of charge to the global community thanks to the generosity of the donors (Don McCririck of Hannan Photography) and the Vera Deacon Regional History Fund. If you wish to donate to the Vera Deacon Fund please download a form here: dl.dropboxusercontent.com/u/21528529/veradeaconform.jpg
Chassis BHL-112
The Geo Lister Company was formed by George Lister in the late 1890s. Geo Lister formed a partnership with Charles Flatters and Harry Branch, creating a general engineering, blacksmith and wrought ironwork shop. When the partners retired and his sons Alfred and Horace joined the business, the company's name was changed to 'Geo. Lister & Sons' in 1919. In 1930, Horace became sole proprietor after the untimely death of his brother Alfred, and then their father.
Horace's sons Raymond and Brian later became directors in the company, ascending to joint Managing Directorship in 1954. Brian had an interest in racing and one of his first races was in a Morgan 4/4 sports. Later, he built a Cooper-MG sports car with help from Lister apprentice Edwin 'Dick' Barton. This was followed by the Tojeiro-JAP named the Asteroid.
Brian Lister met a one-handed individual named Archie Scott Brown who would later prove his abilities as a world-class racing driver. When the duo met Don Moore, a local motor engineer, the ingredients were formed for what would become a successful series of Lister sports-racing cars. During the 1950s , their cars would be a dominant force in the 'free-Formula' British sports car category and in Sports Car Club of America national Championship competition. The legendary 'Knobbly' Lister-Jaguars and Lister-Chevrolets are a few of the memorable names that raced during the 1958 and 1959 SCCA series.
A new company was formed by Brian Lister, dubbed 'Brian Lister (Light Engineering) Ltd' with the purpose of building racing cars. They utilized engines and various components from MG, Bristol, Chevrolet, Jaguar and Maserati vehicles during the 1950s. The most famous of their creations was the Knobbly. In total, there were no more than 17 original cars constructed in 1958. Following Scott Brown's fatal accident at Spa, Belgium, in May of 1958, Brian Lister closed his car manufacturing business.
In 1990, four special 'Centenary Edition' Lister-Jaguar 'Knobbly' cars were created to honor the centenary year of Geo. Lister & Sons Ltd. They were made to the same standard as the original. The final products were marketed by Lawrence Pearce in England.
Monastère roman Sant Pere ; commune de Casserres, comarque d'Osona, province de Barcelona, Catalogne, Espagne
Ancien monastère bénédictin, datant du XIème siècle, situé à l'intérieur d'un méandre prononcé de la rivière Ter, sur la commune des Masies de Roda.
Le monument se dresse à l'extrémité Nord d'une longue péninsule d'un méandre du Ter sur la roche nue et légèrement en pente; il occupe toute la largeur de la plate-forme, ayant son abside presque suspendue au-dessus de la falaise. De l'autre côté, une partie des dépendances monastiques (à moitié en ruines) se trouve portée par un soutènement arqué qui gagne du terrain sur la roche. La gradation de lignes des corps d'édifices subsistants, fondue en un ensemble de pierre noircie par le temps d'où émerge la tour du clocher, ne donne pas la saisissante impression de grandeur que produit l'intérieur de l'église avec son écrasante masse de pierre incurvée en arcs et en voûtes à une hauteur peu habituelle dans des édifices similaires. Et ceci malgré l'amputation, moyennant un mur, d'un des collatéraux. Cette amputation, réalisée après le tremblement de terre de 1427, réduisit la surface interne, impossible à conserver alors, puisque l'on ne pouvait plus refaire la voûte effondrée. (A l'heure actuelle, la voûte du collatéral Nord a été reconstituée et ce dernier "ré-ouvert")
La basilique de Cassérres se développe sur une surface presque carrée, divisée par deux piliers cruciformes massifs recevant les deux grands arcs de séparation des nefs, et servant d'appui aux formerets qui divisent ces nefs par leur milieu. Les énormes voûtes en berceau s'alignent parallèlement à celles des collatéraux, un peu moins élevées que celle de la nef centrale, afin de constituer un ensemble massif sous les deux versants simples de la couverture. Le sol s'élève vers le chevet et disparaît aux trois marches qui nivellent le sol du sanctuaire où se trouvaient les autels dédiés à saint Pierre, sainte Marie et saint Jean. Ce sanctuaire est constitué par les absidioles précédées de l'arc qui perce le mur du fond à la fermeture des collatéraux, et par un formeret qui prolonge la voûte de la nef principale sur un espace rectangulaire précédant la grande abside.
La structure de l'ensemble se développe en suivant strictement le plan établi, sans une interruption dans les murs, sans une concession à des fragmentations visuelles, rigide dans la sévérité des formes, qui comptent pour tout effet sur les incurvations des voûtes et des absides. La rusticité des blocs employés dans la construction, réalisée en pierre de taille, fait place à une plus grande perfection dans les parties hautes où la régularité des douelles des arcs semble conditionner l'usage d'une grosseur déterminée dans les parements des murs, alors que sur les piliers la diversité des tailles est évidente.
La faible lumière est tamisée par les trois fenêtres de la grande abside et par celles ouvertes respectivement dans chaque absidiole, de chaque côté du sanctuaire et dans chacun des murs latéraux, à proximité du transept, et aussi par les deux fenêtres du mur occidental correspondant au fond des collatéraux. Toutes ces fenêtres sont à double ébrasement à l'exception de la simple et longue fente avec douelles, pratiquée au milieu de la façade et des petits œils de bœuf circulaires perforant le mur au-dessus des absides. Outre l'entrée du cloître au milieu du mur du Midi, et celle du cimetière dans le mur opposé, il faut signaler la porte d'accès se détachant sur la façade avec son linteau en bois surmonté d'un arc en douelles qui offre la saillie externe d'une petite corniche.
Vu de l'extérieur, l'édifice forme une masse énorme aux murs absolument lisses sur le corps des trois nefs. Seul l'extérieur du chevet présente des saillies; sur chaque côté du corps qui précède la grande abside ainsi que sur les absidioles, elles sont formées par deux groupes de trois arcatures séparés par une lésène, mais sur l'abside centrale les arcatures se réduisent à deux et encadrent les fenêtres aveugles qui se développent sous une simple corniche formée d'un rang de dents de scie.
La tour carrée du clocher, érigée presque en même temps que l'église, fut adossée au mur méridional de cette dernière, dont on profita pour constituer une des faces de la tour. Le corps inférieur lisse qui dépasse en hauteur la nef latérale, est couvert d'une voûte en arc de cloître de plan octogonal avec trompes sur les angles, selon une solution adoptée dans la construction des coupoles. L'étage supérieur, moins élevé, est recouvert d'une simple voûte en arc de cloître sur plan carré, revêtue d'une toiture à quatre versants. Sur chaque face de la tour s'ouvrent deux fenêtres dans le parement du mur placé quelque peu en retrait, entre les piliers d'angle, réunis dans leur partie supérieure par une légère corniche appuyée sur des consoles.
Le cloître aux simples arcades comme les cloîtres monastiques du Canigou, de La Pobla et de La Portella, et couvert en bois, permet l'identification des profondes transformations que l'on devine aux arcs des angles et surtout à la colonne surmontée d'un simple chapiteau orné dans sa partie supérieure d'arcatures encadrant une tresse, qui se trouve engagée dans le pilier de renfort formant angle, en face de la porte de l'église.
(extrait de : "Catalogne romane 1 ; Edouard Junyent, Ed. Zodiaque, 2ème édition, Coll. Nuit des temps, pp. 101-110)
This series comes from the Texas A&M football game against the Nebraska Cornhuskers. The Aggies upset Nebraska 9-6 in Kyle Field and the students afterwards rushed the field.
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Serie di 4 stampe celebrative formato A4 in occasione dell'inaugurazione del nuovo spazio di UN ALTRO STUDIO, via Capodilucca a Bologna, progettate e composte con il carattere tipografico FORMA, interessante progetto della fine degli anni '60 finalizzato alla creazione di un carattere bastone moderno direttamente ispirato al dominante HELVETICA. Vennero coinvolti dalla fonderia Nebiolo di Torino, produttrice del carattere per mano di Aldo Novarese un nutrito team di designer consulenti fra cui lo stesso Bruno Munari. Tiratura limitata, stampa due colori (rosso fluo e blue reflex) su carta usomano lisciata da 300g. La trovate presso UN ALTRO STUDIO, via Capodilucca, Bologna oppure mail a info@anonimaimpressori.it. Progetto grafico Massimo Pastore / MEAT, stampa ANONIMA IMPRESSORI, Bologna.
The Whittlesea Heritage Study (Meredith Gould, 1991:
`This complex is the most substantial of the typical Separation buildings to survive. The farm comprises a weatherboard cottage with a series of brick and weatherboard additions, remnants of an early partly buried brick building - probably a dairy and several sheds from the twentieth century. Mature trees enhance the context for the structure. Although the farm complex does not survive from the heyday of Separation, the early weatherboard house appears from external inspection to be particularly intact, and to have the potential to describe the development of the
farm. Unfortunately access to the interior was not possible on the day arranged however external inspection reveals much of the significant information for the house.
The early hipped roof cottage appears to comprise 3 front rooms possibly with a skillion to the rear. The front door gives access to a parlour and rooms to each side are accessed from this room. The detailing to windows here indicates a probably late 1850s or early 1860s date. This three roomed building probably had a freestanding kitchen to the rear, possibly now incorporated into the attached wing or a kitchen in an attached skillion. This arrangement was more substantial than the usual two room first settlers establishment as seen at Bassett’s in Doreen (12.11) and indicates a property with greater resources. Additions have been added over a period of 20-30 years including an unusual brick addition to the front and several in timber. The building looks down the valley to the open plains below and the distant hills.
Immediately in front of the verandah is an intricate cottage garden layout formed with brick edging. Located as it is on a prominent knoll the house is a landmark for some considerable distance. This building is on of only four buildings which survive from the once extensive Separation settlement of over 70 houses. It is reasonably intact.
Separation represents the misguided optimism for close settlement of the Plenty Valley following the Gold Rush. The subdivision itself indicates the prominence of the Plenty River in the early development of the Melbourne area. Black Braes farm provides a clear picture of farming at the failed mid nineteenth century subdivision of Separation. It is historically significant at a
Regional level. Architecturally it is significant at the local level for the illustration of farm house accommodation within Whittlesea City in the late 1850s and 1860s Black Braes is an important part of the small heritage conservation area for Separation....'