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The Golden Gate Bridge's north tower rises majestically through the twilight, its International Orange paint glowing warmly under artificial lighting while the deep blue hour sky provides dramatic backdrop. Photographed from the rocky shoreline near Fort Point on the San Francisco side, this perspective captures the bridge at its most atmospheric—that fleeting moment when day surrenders to night and the iconic structure transforms into a beacon of light.
The bridge's distinctive Art Deco tower stands tall against Marin Headlands silhouetted in the distance, its steel lattice framework illuminated by powerful lights mounted at the base and along the span. The red aviation warning light at the tower's peak blinks as a safety measure for aircraft, while the decorative lighting traces the suspension cables and vertical supports. This lighting design, implemented in the 1980s, ensures the bridge remains visible and photogenic after dark while honoring its status as one of the world's most recognizable structures.
Fort Point area facilities cluster at the tower's base—the historic fortification, visitor amenities, and access roads all bathed in warm artificial light that creates a glowing pool against the darkening landscape. The juxtaposition of military history and engineering marvel is evident here, where a Civil War-era brick fort sits in the shadow of the 1937 suspension bridge that chief engineer Joseph Strauss designed to span directly over it rather than requiring its demolition.
The rocky foreground typical of San Francisco's rugged coastline frames the composition, while the calm bay waters reflect the bridge's illumination. Marin County's hills rise across the strait, their dark forms punctuated by scattered lights from Sausalito and other North Bay communities. The atmospheric conditions—likely some fog or marine layer evident in the soft focus of distant hills—create that quintessential Golden Gate Bridge aesthetic where the structure emerges from and disappears into California's coastal weather.
The deep blue twilight sky shows perfect timing for this type of photography. Too early and the artificial lights wouldn't register dramatically; too late and the sky would be completely black, losing the color gradation that provides context and mood. This blue hour window—perhaps fifteen minutes when the light balance is just right—requires planning and patience but yields images that capture the bridge's romantic, almost ethereal quality that has made it a global icon.
Lab2014 students presented their final design explorations for Benjamin Bratton's Critical Frameworks section, "2 or 3 Things I Know About The Stack" at The California Institute for Telecommunications and Information Technology (Calit2) at UCSD. The group visited an immersive 3-D projection "CAVE", a 4K digital theater and the nanotech cleanrooms on campus, as well as The Salk Institute for Biological Studies.
"Mad Max"
-5250x7000 (Windowed Borderless Gaming Hotsampling)
-Duncan Harris' CE Table (FOV, aspect ratio)
-In-game Photomode
Die Geburtsstadt von Hermann Hesse mit ihren wunderschönen Fachwerkhäusern - The native town of Hermann Hesse with its wonderful framework houses.
Tucked beneath the Transamerica Pyramid, this wall reads like a visual index to a way of thinking. Books, photographs, furniture, graphics, landscapes—each square holds its own, yet the grid binds everything into a single, legible system. Nothing is ornamental. Everything is intentional.
At first glance, it feels almost playful: saturated color blocks, familiar chair forms, pastoral scenes from the Eames Ranch, fragments of process and personality. Stay longer and the discipline reveals itself. The grid enforces equality. A molded plywood sculpture carries the same visual weight as a paperback cover or a black-and-white portrait. Ideas, not objects, are the organizing principle.
This is design culture presented without nostalgia. The wall doesn’t romanticize midcentury modernism so much as explain it—how curiosity moved freely between furniture, filmmaking, architecture, publishing, and education. The transitions are seamless because the method was consistent: observe carefully, reduce intelligently, communicate clearly.
Photographically, the composition rewards restraint. Even light keeps the whites honest and the colors dense but controlled. The concrete edges of the gallery and the faint industrial texture of the floor anchor the image in San Francisco—modernism lived inside a city that values systems as much as spectacle. At thumbnail size, the image reads as pure geometry and color. Up close, it becomes a map of relationships.
Seen here, the Eames legacy isn’t a style. It’s a framework—one that still fits comfortably beneath a building that has always believed structure can also be humane.
More HP5 pushed to 800 in microphen, pushing to 1600 next keep your eyes peeled!
Chinon CE-4s
Ricoh 50mm f/2 + Vivitar MC 28mm f/2.8
Ilford HP5+ rated @ 640 dev'd @ 800
Microphen 1+1 @ 22°C 12m 30s
Rajdanga Naba Uday Sangha
Durga Puja - the ceremonial worship of the supremely radiant mother goddess, is one of the most important festivals, is celebrated every year in the month of October with much gaiety and grandeur in India and abroad, especially in Bengal, where the ten-armed goddess riding the lion and killing the Buffalo-Demon (Mahishasura) is worshiped with great passion and devotion. In Durga, the Gods bestowed their powers to co-create a beautiful goddess with ten arms, each carrying their most lethal weapon. The tableau of Durga also features her four children - Kartikeya, Ganesha, Saraswati and Lakshmi.
The huge temporary canopies - held by a framework of bamboo poles and draped with colourful fabric - that house the icons are called 'pandals'. Modern pandals in Kolkata are innovative, artistic and decorative at the same time, offering a visual spectacle for the numerous visitors who go 'pandal-hopping' during the four days of Durga Puja.
Experience Durga Puja in Kolkata........ An Experience of A Lifetime! September 30-October 4, 2014
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Liverpool ONE is a shopping, residential and leisure complex in Liverpool, England.
The project, previously known as The Paradise Project, involved the redevelopment of 42 acres (170,000 m²) of underutilised land in Liverpool city centre. It is a retail led development, anchored by department stores Debenhams and John Lewis, with additional elements including leisure facilities (anchored by a 14-screen Odeon cinema and 36-hole adventure golfcentre), apartments, offices, public open space and transport improvements. The completion of Liverpool ONE has significantly boosted the local economy as well as lifted Liverpool into the top five most popular retail destinations in the UK. Liverpool ONE is the largest open air shopping centre in the United Kingdom and the 5th largest overall. Each store was created by a different architect, therefore leading to quite stark differences between some buildings, this is one way in which Liverpool ONE differentiates itself from other shopping centres.
The majority of the development was opened in phases on 29 May 2008 and 1 October 2008, during Liverpool's year as European Capital of Culture, whilst the final residential units opened in early 2009. The cost of construction associated with the project was £500 million, with a total investment value of £920 million.
Background
In the summer of 1998, Healey & Baker's Development Team, which is now owned by Cushman & Wakefield, were appointed by Liverpool City Council to conduct a retail study of the Liverpool City Centre for the replacement Unitary Development Plan. The purpose of the study was to enable the Council to identify ways of protecting and improving the City Centre and also to find out why the City Centre was perceived as unattractive to new high quality retailers. Cushman & Wakefield's study revealed that Liverpool's reputation as a regional shopping centre was under serious threat, however the study underlined that a feasible scheme and redevelopment site existed within the heart of the city.
Cushman & Wakefield recommended a radical City Centre re-development of over 42 acres (170,000 m2), which would represent the largest city centre development in Europe since the post-war reconstruction.
In April 1999, Liverpool City Council passed a resolution for comprehensive redevelopment of the Paradise Street Area, which consisted of the area bound by Strand Street, the Combined Courts Centre, Lord Street, Church Street, Hanover Street and Liver Street. The area contained Chavasse Park, the Paradise Street Bus Station and NCP Car Park, Quiggins, the Moat House Hotel, Canning Place Fire Station and BBC Radio Merseyside. There were also large areas of wasteland, some used as car parks.
In March 2000, after a series of technical workshops, Liverpool City Council selected the Duke of Westminster's Grosvenor Group as developer. The Development Agreement between the council and Grosvenor was signed in January 2003.
As a result of the technical workshops, it became apparent to Cushman & Wakefield that whilst the boundary of the PSDA was appropriate, the boundary needed to be extended and more clearly defined. Cushman & Wakefield proposed that two Mixed Use Extension Areas be identified to the West and East of the PSDA, including the sites of Chavasse Park/ Canning Place, together with an area across Hanover Street extending into Rope Walks.
The Government Office for the North West (GONW) agreed with Cushman & Wakefield that the Unitary Development Plan needed revisiting and the City Council was understandably reluctant given it had just completed the UDP Inquiry. The proposals were further attacked by a competing 60,000 sq ft (5,600 m2) scheme.
Following further consideration by Members, the revised PSDA Planning Framework incorporating the mixed use extension areas was issued for consultation in May 2000. The Council subsequently resolved to incorporate the PSDA Planning Framework into the emerging Unitary Development Plan. This necessitated a further public inquiry and consultation period. Three years later Cushman & Wakefield secured the Unitary Development Plan changes sought and defeated the opposition's appeal.
In December 2003, Grosvenor selected Laing O'Rourke as construction partner.
BDP designed the masterplan for Liverpool ONE which, in 2009, was nominated for the RIBA Stirling Prize. This is the first time a masterplan, rather than one particular building, has been nominated for the prize.
The 42 acre site was designed to consist of 1.4 million sq. feet of retail space, a 14-screen multiplex cinema and 230,000 sq. feet of restaurants, cafes and bars in addition to 600 new apartments, two hotels, offices, a five-acre park and a transport interchange. BDP integrated these features and linked the 40 new buildings designed by over 20 different architects.
Lab2014 students presented their final design explorations for Benjamin Bratton's Critical Frameworks section, "2 or 3 Things I Know About The Stack" at The California Institute for Telecommunications and Information Technology (Calit2) at UCSD. The group visited an immersive 3-D projection "CAVE", a 4K digital theater and the nanotech cleanrooms on campus, as well as The Salk Institute for Biological Studies.
Cargo de Laurent - a tool for a perfect skiman chamberyskiservice.wordpress.com/
Specification: trying salvaged material, build a useful bike, racks for 8 pairs of ski, keep crazy!
August 2014 marks the 40th anniversary of the construction of the CN Tower’s “working platform”.
For those who saw and experienced the construction of the tower, this working platform was one of the iconic fixtures of the tower from August 1974 through to August 1975 when it was finally dismantled and lowered to the ground. However, with it being covered over with safety nets and without any “public media relations” to explain what was going on with the tower’s construction, most Torontonians were perplexed or knowingly confused about what this “working platform” was used for. For myself, I always felt that it hid a portion of the tower which was actively under construction and would one day emerge from its cocoon to form a key aspect of the SkyPod. All of this, of course, was incorrect, and hence why this collage and explanation was created.
The “working platform” (as we will generally call it) had multiple purposes to the engineers of the CN Tower:
1) First and foremost, it would be used as a cradle to hold the 12 steel brackets which were to be hoisted from the ground level up to the 1120ft level of the tower.
2) Second, it contained the concrete wooden forms which encased the 12 steel brackets. The forms were mainly built on the ground and hoisted up to the 1120ft level along with the 12 steel brackets.
3) Third, once the temporary wooden floor of the working platform was completed in September 1974, it would be used as a base to pour the concrete floor of the outdoor observation level.
4) And fourth, after the concrete for the floor and brackets were poured, the working platform would be lowered 50ft to aid as a true “working platform” for construction people to access and work on the underside of the outdoor observation level (the “communication” levels 1 and 2, where the inflated, circular white radome can presently be seem).
As shown in a prior construction collage, the 12 brackets were raised from the ground level up to the 1120ft level between August 6 and 11 1974. The brackets were then connected to the tower, and leveled, using “dvidags” between August 17 and 30.
Thereafter, during August, the sections were connected together by the steelworkers via trusses (as seen in the upper left image of this collage). Long wood joists, then plywood, was laid down across the trusses to form the floor of the working platform.
Concrete was then poured into the wooden forms, and around the 12 huge steel beams, within and under the working platform (hidden behind the safety nets) to form the 12 triangle brackets seen today from below the SkyPod. Additional wooden forms were also installed to allow the creation of the walls of the poured-concrete “service tunnel” of level 1, ending on September 27. As a small historical note, the one & only person to die on the job was John Austin who was killed by a flying piece of plywood on the ground on October 2 during an unusually windy night.
The concrete floor of the outdoor observation level was poured in pie-shaped wedges throughout October 1974, using the working platform as the horizontal forms for the concrete pours. This can be seen in the lower-left image of the collage.
As an aspect of the tower’s construction that may have been overlooked by most or all Torontonians, the working platform was dislodged from its poured concrete (after a week of hitting the forms with sledge hammers!) and lowered 50ft where it remained until August 1975 (as shown in the lower right image of the collage). This important phase of the tower’s construction was not well documented in the media nor newspapers of the day so it was easily overlooked in the history books. The lowering occurred between Nov 2 and 8 1974. The platform was first lowered 20ft where it was used to pour the floor of level 1 then lowered another 30ft to clear the brackets (which were 45ft vertical).
The lower right image of the collage is an excellent photo of all of the work explained above. In the lower portion of the image, the “working platform” was all temporary and would be dismantled in 1975. The upper portion of the image remains as part of the SkyPod today. The floor is where the outdoor observation level is today. Under the floor are levels 1 and 2 where the communication dishes are presently shrouded in a white circular radome. The 12 concrete brackets were created by the wooden forms which remained within the working platform.
Once this critical and important phase of the tower was completed in November 1974, the “real work” could begin on erecting the steel framework of the SkyPod by CANRON.
This photo + the traction engines was created by what i think is a technique which i think i have discovered.I have seen no other explanation as to how i have done this.It is done in Adobe ACR and takes seconds to create.On some Photo's,especially where there are people it creates a psuedo 3d HDR effect.
De Immigrant is an authentic Dutch windmill built in the Netherlands specifically for the city of Fulton. It sets on a berm along the flood control dike for the Mississippi River. Fulton's Dutch windmill is a "beltmolen." In Dutch, "belt" means mound of dirt and "molen" means mill. De Immigrant, like most beltmolens, has an entrance at ground level. Fulton's Wellcome center is housed there.
This windmill was designed, manufactured, and partially assembled in the Netherlands then disassambled, and transported to Fulton via ship, rail, and truck. Two craftsmen from the Netherlands journeyed to Fulton to reassemble the mill, the job lasted nearly 10 months. The bricks were salvaged from a building in the Netherlands that was 120 years old. The brick at the base of the mill are from a Dutch building that was 150 years old.
The 35 foot tall base is constructed of solid wooden beams made from bilinga wood, a heavy, dence,durabls wood from Africa. Eight bilinga beams, each weighing one ton, provide the octagon shaped framework for the mill The framework is secured with wooden pegs. The base unit alone weighs fifty tons.
The 25 ton cap sits on top of the octagon base; it contains the sails, the shaft for the sails, the brake wheel and the brake. The break wheel is located in the cap and has many large wooden cogs (teeth). As the wind moves the sails, the brake wheel rotates causing the the other interior shafts and gears to move. Sheep fat is used to lubricate the wooden beams on which the cap turns while beeswax is used to lubricate the brake wheel cogs.
The 90 foot tall windmill is a fully operational mill. The entire cap can turn and the sails operate by wind power. Though fund raising efforts, grinding stones were added and officially dedicated on May5, 2001.
The grinding stones are 55 inches in diameter. The bed and runner stones weight 2000 pounds and 2650 pounds respectively. They are made of blue basalt, a hard. volcanic rock, quarried in Germany.
For more info chamber@cityoffulton.us or
On tour with Andre Govia , Rusty Photography , Martin Wildlund , AndreasS, ill-padrino , rotweiss and photoportee
“What an ugly blocky building… it looks like a garage from the street, there is almost no furniture inside… How could these Tugendhats live in such a house? And why do so many people like it?”
Photo living space 'Haus Tugendhat'
Here are 7 reasons why I like Haus Tugendhat:
1. A machine for living in
In 1930, Tugendhat villa was one of the first houses designed according to Le Corbusier’s insight “the house is a machine for living in”. It’s beautiful for how it serves its purpose, not for meaningless decorations. Actually, you won’t find any decorations inside, with the exception of a woman’s torso in the living room. And you won’t miss them at all, because when you build a house using materials such as onyx or Makassar ebony, you won’t need any paintings to please the eye. It’s okay to have your own apartment decorated with all these luck-bringing elephants and cute plates you’ll never use. But here, try to imagine what it’s like to live in a space that tries to be invisible. For all your life, it follows you as the modest companion, as a stage hosting your family dinners, your kids growing up, yourself growing old and finally, it becomes the silent place where you die. You may be uncomfortable with this idea. But then it’s your life what makes you uncomfortable, not the house.
2. Steel framework
The villa is supported by a steel framework, not by walls as usual – so the living room may be surrounded by glass walls from three sides. You can even pull the windows down to the floor; the open space then connects the living room with the garden. The steel pillars lead your eyes to the trees outside and the trees lead the sight further to Špilberk castle on the horizon. Look at Brno for a few minutes and you’ll start to believe that the house is flying above the city.
3. One space
Note that the dwelling space on the first floor lacks walls. The living room, dining room, library and office are connected together in one huge space of 280 square meters – that’s one and a half tennis court. They are divided just by an onyx wall and an ebony screen.
4. God is in the details
The onyx wall is so thin it shines at dusk, lit by rays of the setting sun. It looks as it’s burning inside.
5. Less is more
The building faces the garden, not the street. It’s luxurious, but it doesn’t scream “”Oh look at us, we are so rich!” It’s a big contrast to how people have been spending money on their houses for centuries.
6. Things are impossible until they're not
Tugendhat villa is fully air conditioned; both the floor and the windows are electrically heated. The 1928 project was neither “daring” nor “modern”. It was a pure Jewish “chutzpah”. It ignored all the bullshit about what was possible and what was not. Kaboom, here it is – in your face!
7. The story
The house has had a long, interesting and sad story. The Tugendhats lived there for only eight years. In 1938, they had to leave Czechoslovakia that was threatened by the Nazi Germany for Switzerland and they never came back. In the end of the World War II, the Romanian soldiers used the damaged building as a stable. Then it served as a gym for the nearby children’s hospital. Since the 1990s, the city of Brno has been promoting it as a tourist attraction and uses it for hosting special guests. In June 1992, the Czech and Slovak political leaders Václav Klaus and Vladimír Mečiar agreed on a peaceful division of Czechoslovakia in the house.
Schematically, the Mediterranean Sea comprises three main water masses (EEA and UNEP 1999): • the Modified Atlantic Water (MAW), found in the surface layer, with a thickness of 50–200 m and characterized by a salinity of 36,2 psu (practical salinity units) near Gibraltar to 38,6 psu in the Levantine basin; • the Levantine Intermediate Water (LIW), formed in the Levantine basin, lying in depth between 200 and 800 m, and characterized by temperatures of 13–15,5°C and salinity of 38,4–39,1 psu; • the Mediterranean Deep Water (MDW), formed in both the Western and Eastern basins. The Western Mediterranean Deep Water (WMDW) is characterized by a temperature of 12,7°C and a salinity of 38,4 psu, while the Eastern Mediterranean Deep Water (EMDW) is characterized by a temperature of 13,6°C and a salinity of 38,7 psu. Within the sea, the incoming Atlantic water is continuously modified by interactions with the atmosphere and mixing with older surface waters and with the waters underneath. All along its course, MAW is seasonally warmed or cooled, but overall its salt content increases and it becomes denser. In autumn, in the northern parts of both basins, MAW remains at the surface. In winter, cold and dry air masses induce marked evaporation and direct cooling of MAW, resulting in a dramatic increase in its density, which makes it sink. This sinking occurs in a series of specific zones, generally located in the northern parts of the basins, and is responsible for the formation of the deeper waters in the Mediterranean.
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This photo has been graciously provided to be used in the GRID-Arendal resources library by: GRID-Arendal