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As a few have already guessed right, the little crank on the base has a purpose. The turning reveals an unique clockwork function in each castles.
I tried to inspire the motions by the animations in the Game of Thrones show intro, but kept it very simple to blend in with the castle design. Functionality is not one of my strengths so it was quite a challenge, but an interesting one.
List of all castles:
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I hope you like my series as much as I liked building it.
Your feedback was already overwhelming, so I'm motivated to work on a sequel for the next year. Stay tuned!
A dial on Rotel RX-303, a vintage receiver/amplifier.
Shot for Macro Mondays circles theme.
I realize i shot a different detail of this device for the last theme but I cant help myself. I love old tech and this one in particular. We have shared tunes together for 40 years.
Not my usual image, simply an opportunity to experiment with the Leica Q3's unusual macro function. My inexperience meant I didn't get in close enough with the one shot that had 'zing' so had to do a massive crop. Still, I learnt it does work.
hey, ernie, what's up?
I was just thinking: isn't it odd how when you study something the thing changes?
yeah, the observer effect. like Trump winning.
no man, that's worse. it's quantum weirdness.
yeah, much worse.
you said it.
Paranaguá means "big round sea" in the Tupi-Guarani language, a reference to the wide bay that affords the city optimal conditions to function as an important port. The village was originally founded somewhere around 1550 on the island of Cotinga, and later expanded onto the mainland.
It is Paraná's oldest city.
Paranaguá preserves many of the oldest colonial remnants in Paraná.
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awards count: www.cameralenscompare.com/photoAwardsCounterDetails.aspx?...
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Before a concrete foundation can be poured, the forms must be set up to contain the liquid concrete, right? Stacked and ready.
It's back to school in Chicago and many other American cities in Chicago and, as the quote taken from Scottish Author Jenni Fagan and her novel, The Panopticon, suggests, the brain is very powerful. We must remember to exercise it to the fullest extent and teach it to learn not just facts about the world, Math, Humanities, and Science, but to have empathy for all people in the world and to read carefully, knowing that "alternative facts" are actually code words for lies and that climate change is a very real thing....we must teach the brain and the heart at the same time about social justice and love for all people, including immigrants and refugees..I'd rather my tax dollars going to the needy than to Trump's golfing. That's what being a good American and also a good human being means.We must also show compassion for all students regardless of race, class, citizenship, or gender identity. These are the ways we teach the brain and the heart to function like a human so that we teach our children well.
**All photos are copyrighted. Please don't use without permission**
great cars show creativity in every detail and bring beauty to every needed item...
image copyright SB ImageWorks
Callie goes to the vet every six months for a check up and blood test to see how her kidneys are functioning and how well the medicine is handling her hyperthyroidism. Last week she had a new blood test and her scores were stable, which is very good news. She also gained a little bit of weight which is amusing since her sisters are on a diet.
She is now 17 1/2 years old and doing fairly well considering.
Ever since moving to a new apartment, she has been acting much more healthy and courageous. She often sits alongside of me on the couch, which she very rarely did in the other apartment. Pearl and Sundae are also being kinder to her, which has improved her mood.
The Grand Palace in Bangkok, Thailand consists of a complex of buildings in the central area of the city. Some of the buildings date to 1782, The complex was, until 1925 the home to the King of Siam (later Thailand). It is still used for some official functions and is one of the most popular tourist attractions in Bangkok. It hosts over eight million people a year and it seemed that many of them were there on the Saturday we visited. I tried to get photos without the many people and I hope my images give you a bit of the flavour of this beautiful complex. There is lots of gold and lots of ornate details.
A co-worker and I were having a conversation today about form vs. function in architectural design. Often times the two don't go hand in hand, but in the case of the Guggenheim Museum in NYC they work in harmony together.
Visually, the building exterior and interior are stunning. It has a monochrome palette but with plenty of layers, lines, and vantage points it's perfect for black and white photography. The design also checks off the boxes as it relates to function. Visitors can start their journey from the bottom or the top via elevator, then all they have to do is wind their way down/up and around a continuous gentle slope and enjoy the art. The glass dome at the top lets in plenty of natural light and it's open concept allows you see into other spaces and follow the flow of people.
I enjoyed the art that was featured during our visit, but I appreciated the structure they were housed in even more because of it's form and function.
My father did not major in nonsense on our farm. As I grew up, he only bought two cars during my 18 years at home. As a young teenager, I wanted him to buy a flashy car so I could use it for girl transportation but ever the level-headed one, my dad bought an used sedate 1950 Buick. Whenever I expressed disappointment when I needed it, he would point me in the direction of an old pickup that he used every day and suggested that as an alternative. I learned in my only Art & Architecture course in college that he was into function not form.
Hydroelectric Power Station and Renewable Sources Information Centre The unique Art Nouveau building designed by the architect F. Sander in 1910 – 1912, which today is still a functioning and used technical monument, is the site of the newly opened information centre, which focuses on renewable energy sources. The exposition leads via a projection room onto the first floor where you can try out various models of facilities producing alternative energy or compete in knowledge games. The exposition displays the real historical Kaplan and Pelton turbines and a functional model for a safely whipping up a tornado.
- Porsche 911 GT3 RS -
Don't tell my boss but skipped work the other day to snag this silver RS! @zainsyedphoto
Never one for its looks, the Fairey Gannet AEW.3 served for 18yrs with 849Sqn of the Royal Navy's Fleet Air Arm, from 1960 until 1978,
“The more storage you have, the more stuff you accumulate. It’s better to minimums the size for a better function. ”
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+ Components Details +
♦️ Body: ToddleeDoo – Baby Fitted Body
♦️ Head: ToddleeDoo – Bento Head #Opal
♦️Skin: {Pity Party} – Cece Skin (BOM) / 10 Tones
————-————-————-——— —-————-———-————-———-
+More Details +
♦️Hat: [ VERSOV ] OXFORDOV_Classic Cap// 53 colors/materials customization hud, . Resizer and stretch script on touch, deletable on menu.
♦️Pacifier: [Starries] Web Pacifier – Bento/Classic V1.3
♦️ Top: [P] Idris Top His /OLD ITEM/
♦️Pants: [ VERSOV ] CARGOV PANTS – 8 separately versions , and 43 exclusive colors on FATPACK only ( Hud to fully customize your Pants / Family now can match with their kids because is compatible with: BELLEZA M / MAITREYA / SIGNATURE GIANNI / LEGACY M&F / TD Baby / Bebe Youth)
♦️ Shoes: .Tippy.Tap. Babee FirstSteps Shoes – Fox Edition
♦️ Poke: SEmotion Libellune Poke Mate Companion XL / Common: 13 – Rare: 3 – Special: 1 /⭐SPECIAL: 20 Pulls in a row.
♦️ Boxes: illuZion – Box Pile 1
♦️ Rug: FLite.- Decor // x11s Rug – CapNGown
Seen by the way... - Happy New Year, dear Flickr friends! /
Unterwegs gesehen... - Frohes neues Jahr, liebe Flickr-Freunde!
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Please do not place advertising, images or comment code on my Flickr pages. It disturbs other users while reading.
Unfortunately, due to lack of time, I cannot respond appropriately to the otherwise very appreciated comments. Therefore, the comment function is currently deactivated.
/
Wegen Zeitmangel kann ich leider nicht angemessen auf die sonst sehr geschätzten Kommentare reagieren. Aus diesem Grund ist die Kommentarfunktion momentan deaktiviert.
Water bodies hold separate elections, levy taxes and function independently from other government bodies. Their function is basically unchanged even currently. As such, they are the oldest democratic institution in the country. The necessary co-operation between all ranks in maintaining polder integrity also gave its name to the Dutch version of third way politics - the Polder Model.
The Kinderdijk Windmills in the Netherlands are an UNESCO World Heritage Site.
a vieille charité is a former almshouse, now functioning as a museum and cultural centre, situated in the heart of the old Panier quarter of Marseille in the south of France. Constructed between 1671 and 1749 in the Baroque style to the designs of the architect Pierre Puget, it comprises four ranges of arcaded galleries in three storeys surrounding a space with a central chapel surmounted by an ovoid dome.
In the seventeenth century the repression of beggars was conducted with great brutality in France. Guards called Chasse-gueux ("beggar-hunters") had the task of rounding up beggars: non-residents among them were expelled from Marseille, and natives of Marseille were shut up in prison. Often the crowd would take the side of the beggars during such arrests.
The almshouses served as workhouses for the beggars. Children were found jobs as domestic servants, cabin boys or apprentices with seamstresses or bakers. As time passed the work of la Vielle Charité grew, the number of inmates increasing from 850 in 1736 to 1059 in 1760. As the imprisonment of the poor became less acceptable, the numbers decreased to 250 in 1781.
© All Rights Reserved. Please do not use this image on websites, blogs or other media without my prior permission.
España - Ciudad Real - Viso del Marqués - Palacio del Marqués de Santa Cruz
***
ENGLISH:
It was built at the end of the 16th century by Álvaro de Bazán, first Marquis of Santa Cruz. It is currently the headquarters of the General Archive of the Navy.
It is one of the two palaces built by this sailor, knight of the Order of Santiago, captain of the Ocean Sea and admiral of the Spanish Navy. It is located next to the church of Nuestra Señora de la Asunción, and since 1948 it has been rented by its owners, the Marquises of Santa Cruz, to the Spanish Navy, who first used it as a Museum of the Spanish Navy and later expanded its functions by also establishing the General Archive of the Navy.
The building was frequented by the first marquis thanks to its location, halfway between Madrid, where the Court was, and Seville, whose port he often went to as the Spanish Navy was anchored there, of which he was admiral during the reign of Philip II.
The palace was nearly destroyed by the Austrian troops of Edward Hamilton during the War of the Spanish Succession at the beginning of the 18th century, but was saved by the actions of the Marquis's chaplain, the poet Carlos de Praves, thanks to whom we can admire it today. It suffered some damage due to the Lisbon earthquake in 1755, which collapsed the ceiling of the hall of honour, where the great fresco depicting the Battle of Lepanto had been painted, and toppled the four corner towers, which the chronicles of Philip II described as magnificent.
In it we can find maritime objects from the period. A figurehead belonging to a ship commanded by the Marquis is noteworthy. During the War of Independence, the French razed it, and by the time the Civil War came it had served as a granary, school, stable, prison and hospital, until in 1948 and at the request of Julio Guillén Tato, director of the Naval Museum, Mrs. Casilda de Silva Fdez. de Henestrosa, descendant of Álvaro de Bazán, rented it to the Navy for 90 years as a museum-archive, which is its current function. Also, in the adjoining parish church there is a 4m long stuffed crocodile attached to one of the vaults, which was offered by the Marquis as a votive offering upon his return from one of his voyages.
Between March and April 1823, King Ferdinand VII spent the night there, after leaving Madrid for Seville, before the entry of the French contingent called the Hundred Thousand Sons of Saint Louis, about whose stay Ferdinand VII did not write a word in his travel diary. The palace was declared a National Monument in 1931 and was restored from 1948 by the Navy under the direction of Admiral Guillén.
The palace was built between 1564 and 1586 with subsequent modifications. It is a square-shaped building in the Renaissance style, built around a Renaissance atrium with a recumbent tomb. The walls and ceilings are covered with frescoes with two themes: mythological scenes on the one hand and naval battles and Italian cities related to the military career of the Marquis and his family on the other. The frescoes are by Italian Mannerist painters, the Péroli family. Upon seeing them, Philip II commissioned them to do work for El Escorial and the Alcázar of Toledo.
For its construction, the Marquis hired a team of architects, painters and decorators who worked on the building from 1564 to 1586. For some, the design of the building was due to the Italian Giovanni Battista Castello, known as the Bergamasco, who later worked in El Escorial; for others, it was designed, at least in its original plan, by Enrique Egas el Mozo.
The architecture is perceived as typically Spanish, without Italian arches, with smooth walls and square towers at the corners, influenced by the austerity of El Escorial and the Alcázar of Toledo, within the harmonious relationships characteristic of the Renaissance. The central space is occupied by a porticoed courtyard that, together with the staircase, forms a typically mannerist ensemble understood as an elegant and courtly style that goes beyond the merely architectural framework.
***
ESPAÑOL:
Fue construido a finales del siglo XVI por Álvaro de Bazán, primer marqués de Santa Cruz. Actualmente es la sede del Archivo General de la Marina.
Se trata de uno de los dos palacios construidos este marino, caballero de la Orden de Santiago, capitán del Mar Océano y almirante de la Marina española. Está situado al lado de la iglesia de Nuestra Señora de la Asunción, y desde el año 1948 es alquilado por parte de sus propietarios, los marqueses de Santa Cruz, a la Armada Española, quien primero lo destinó a Museo de la Marina Española y más tarde amplió sus funciones estableciendo también el Archivo General de la Marina.
El edificio era frecuentado por el primer marqués gracias a su ubicación, a medio camino entre Madrid, donde estaba la Corte, y Sevilla, a cuyo puerto acudía a menudo al mantener allí anclada la Armada Española, de la cual fue almirante durante el reinado de Felipe II.
El palacio estuvo a punto de ser destruido por las tropas austracistas de Edward Hamilton durante la Guerra de Sucesión Española a principios del siglo XVIII, salvándose por la actuación del capellán del marqués, el poeta Carlos de Praves, gracias a lo cual hoy podemos admirarlo. Sufrió algunos daños a causa del terremoto de Lisboa en 1755: el cual hundió el techo del salón de honor, donde se había pintado el gran fresco que representaba la batalla de Lepanto, y desmochó las cuatro torres de las esquinas, que las crónicas de Felipe II describían como magníficas.
En él podemos encontrar objetos marineros de la época. Llama la atención un mascarón de proa perteneciente a una nave que dirigió el marqués. Durante la Guerra de la Independencia, los franceses lo arrasaron, y para cuando llegó la Guerra Civil había servido de granero, colegio, establo, cárcel y hospital, hasta que en 1948 y a instancias de Julio Guillén Tato, director del Museo Naval, doña Casilda de Silva Fdez. de Henestrosa, descendiente de Álvaro de Bazán se lo rentó a la Armada por 90 años como museo-archivo, que es en la actualidad su función. Asimismo, en la iglesia parroquial aledaña hay un cocodrilo disecado de 4m de largo adosado a una de las bóvedas, que fue ofrecido por el marqués como exvoto al regreso de uno de sus viajes.
Entre marzo y abril de 1823, el rey Fernando VII pernoctó allí, tras abandonar Madrid rumbo a Sevilla, ante la entrada del contingente francés llamado los Cien Mil Hijos de San Luis, de cuya estancia Fernando VII no escribió ni una palabra en su diario del viaje. El palacio fue declarado Monumento Nacional en 1931 siendo restaurado a partir de 1948 por la Armada bajo la dirección del Almirante Guillén.
El palacio fue construido entre 1564 y 1586 con modificaciones posteriores, y se trata de un edificio de planta cuadrada y estilo renacentista articulado en torno a un atrio renacentista con una tumba yacente. Los muros y techos se hallan cubiertos de frescos de doble temática: por un lado, escenas mitológicas y, por otro, batallas navales y ciudades italianas relacionadas con la trayectoria militar del marqués y de sus familiares. Los frescos se deben a unos pintores manieristas italianos, los Péroli. Al verlos, Felipe II les encargaría trabajos para El Escorial y el Alcázar de Toledo.
Para su construcción, el marqués contrató a un equipo de arquitectos, pintores y decoradores que trabajaron en la obra desde 1564 hasta 1586. Para algunos, el diseño del edificio se debió al italiano Giovanni Battista Castello, conocido como el Bergamasco, que más tarde trabajó en El Escorial; para otros lo trazó, al menos en su plan original, Enrique Egas el Mozo.
La arquitectura se percibe como típica española, sin las arquerías italianas, con paramentos lisos y torres cuadradas en las esquinas, influidos por la austeridad de El Escorial y el Alcázar de Toledo, dentro de las relaciones armónicas características del Renacimiento. El espacio central está ocupado por un patio porticado que junto con la escalera forma un conjunto típicamente manierista entendido como estilo elegante y cortesano que desborda el marco meramente arquitectónico.
España - Ciudad Real - Viso del Marqués - Palacio del Marqués de Santa Cruz
***
ENGLISH:
It was built at the end of the 16th century by Álvaro de Bazán, first Marquis of Santa Cruz. It is currently the headquarters of the General Archive of the Navy.
It is one of the two palaces built by this sailor, knight of the Order of Santiago, captain of the Ocean Sea and admiral of the Spanish Navy. It is located next to the church of Nuestra Señora de la Asunción, and since 1948 it has been rented by its owners, the Marquises of Santa Cruz, to the Spanish Navy, who first used it as a Museum of the Spanish Navy and later expanded its functions by also establishing the General Archive of the Navy.
The building was frequented by the first marquis thanks to its location, halfway between Madrid, where the Court was, and Seville, whose port he often went to as the Spanish Navy was anchored there, of which he was admiral during the reign of Philip II.
The palace was nearly destroyed by the Austrian troops of Edward Hamilton during the War of the Spanish Succession at the beginning of the 18th century, but was saved by the actions of the Marquis's chaplain, the poet Carlos de Praves, thanks to whom we can admire it today. It suffered some damage due to the Lisbon earthquake in 1755, which collapsed the ceiling of the hall of honour, where the great fresco depicting the Battle of Lepanto had been painted, and toppled the four corner towers, which the chronicles of Philip II described as magnificent.
In it we can find maritime objects from the period. A figurehead belonging to a ship commanded by the Marquis is noteworthy. During the War of Independence, the French razed it, and by the time the Civil War came it had served as a granary, school, stable, prison and hospital, until in 1948 and at the request of Julio Guillén Tato, director of the Naval Museum, Mrs. Casilda de Silva Fdez. de Henestrosa, descendant of Álvaro de Bazán, rented it to the Navy for 90 years as a museum-archive, which is its current function. Also, in the adjoining parish church there is a 4m long stuffed crocodile attached to one of the vaults, which was offered by the Marquis as a votive offering upon his return from one of his voyages.
Between March and April 1823, King Ferdinand VII spent the night there, after leaving Madrid for Seville, before the entry of the French contingent called the Hundred Thousand Sons of Saint Louis, about whose stay Ferdinand VII did not write a word in his travel diary. The palace was declared a National Monument in 1931 and was restored from 1948 by the Navy under the direction of Admiral Guillén.
The palace was built between 1564 and 1586 with subsequent modifications. It is a square-shaped building in the Renaissance style, built around a Renaissance atrium with a recumbent tomb. The walls and ceilings are covered with frescoes with two themes: mythological scenes on the one hand and naval battles and Italian cities related to the military career of the Marquis and his family on the other. The frescoes are by Italian Mannerist painters, the Péroli family. Upon seeing them, Philip II commissioned them to do work for El Escorial and the Alcázar of Toledo.
For its construction, the Marquis hired a team of architects, painters and decorators who worked on the building from 1564 to 1586. For some, the design of the building was due to the Italian Giovanni Battista Castello, known as the Bergamasco, who later worked in El Escorial; for others, it was designed, at least in its original plan, by Enrique Egas el Mozo.
The architecture is perceived as typically Spanish, without Italian arches, with smooth walls and square towers at the corners, influenced by the austerity of El Escorial and the Alcázar of Toledo, within the harmonious relationships characteristic of the Renaissance. The central space is occupied by a porticoed courtyard that, together with the staircase, forms a typically mannerist ensemble understood as an elegant and courtly style that goes beyond the merely architectural framework.
***
ESPAÑOL:
Fue construido a finales del siglo XVI por Álvaro de Bazán, primer marqués de Santa Cruz. Actualmente es la sede del Archivo General de la Marina.
Se trata de uno de los dos palacios construidos este marino, caballero de la Orden de Santiago, capitán del Mar Océano y almirante de la Marina española. Está situado al lado de la iglesia de Nuestra Señora de la Asunción, y desde el año 1948 es alquilado por parte de sus propietarios, los marqueses de Santa Cruz, a la Armada Española, quien primero lo destinó a Museo de la Marina Española y más tarde amplió sus funciones estableciendo también el Archivo General de la Marina.
El edificio era frecuentado por el primer marqués gracias a su ubicación, a medio camino entre Madrid, donde estaba la Corte, y Sevilla, a cuyo puerto acudía a menudo al mantener allí anclada la Armada Española, de la cual fue almirante durante el reinado de Felipe II.
El palacio estuvo a punto de ser destruido por las tropas austracistas de Edward Hamilton durante la Guerra de Sucesión Española a principios del siglo XVIII, salvándose por la actuación del capellán del marqués, el poeta Carlos de Praves, gracias a lo cual hoy podemos admirarlo. Sufrió algunos daños a causa del terremoto de Lisboa en 1755: el cual hundió el techo del salón de honor, donde se había pintado el gran fresco que representaba la batalla de Lepanto, y desmochó las cuatro torres de las esquinas, que las crónicas de Felipe II describían como magníficas.
En él podemos encontrar objetos marineros de la época. Llama la atención un mascarón de proa perteneciente a una nave que dirigió el marqués. Durante la Guerra de la Independencia, los franceses lo arrasaron, y para cuando llegó la Guerra Civil había servido de granero, colegio, establo, cárcel y hospital, hasta que en 1948 y a instancias de Julio Guillén Tato, director del Museo Naval, doña Casilda de Silva Fdez. de Henestrosa, descendiente de Álvaro de Bazán se lo rentó a la Armada por 90 años como museo-archivo, que es en la actualidad su función. Asimismo, en la iglesia parroquial aledaña hay un cocodrilo disecado de 4m de largo adosado a una de las bóvedas, que fue ofrecido por el marqués como exvoto al regreso de uno de sus viajes.
Entre marzo y abril de 1823, el rey Fernando VII pernoctó allí, tras abandonar Madrid rumbo a Sevilla, ante la entrada del contingente francés llamado los Cien Mil Hijos de San Luis, de cuya estancia Fernando VII no escribió ni una palabra en su diario del viaje. El palacio fue declarado Monumento Nacional en 1931 siendo restaurado a partir de 1948 por la Armada bajo la dirección del Almirante Guillén.
El palacio fue construido entre 1564 y 1586 con modificaciones posteriores, y se trata de un edificio de planta cuadrada y estilo renacentista articulado en torno a un atrio renacentista con una tumba yacente. Los muros y techos se hallan cubiertos de frescos de doble temática: por un lado, escenas mitológicas y, por otro, batallas navales y ciudades italianas relacionadas con la trayectoria militar del marqués y de sus familiares. Los frescos se deben a unos pintores manieristas italianos, los Péroli. Al verlos, Felipe II les encargaría trabajos para El Escorial y el Alcázar de Toledo.
Para su construcción, el marqués contrató a un equipo de arquitectos, pintores y decoradores que trabajaron en la obra desde 1564 hasta 1586. Para algunos, el diseño del edificio se debió al italiano Giovanni Battista Castello, conocido como el Bergamasco, que más tarde trabajó en El Escorial; para otros lo trazó, al menos en su plan original, Enrique Egas el Mozo.
La arquitectura se percibe como típica española, sin las arquerías italianas, con paramentos lisos y torres cuadradas en las esquinas, influidos por la austeridad de El Escorial y el Alcázar de Toledo, dentro de las relaciones armónicas características del Renacimiento. El espacio central está ocupado por un patio porticado que junto con la escalera forma un conjunto típicamente manierista entendido como estilo elegante y cortesano que desborda el marco meramente arquitectónico.
A video showing the function that I put into his staff.
Part of my entry to the Makuta Contest so far. It's turned out pretty well, but I would greatly appreciate any suggestions on how to make the textures a little more consistent. Also, do the legs and arms look better without all the gold armor? Thank You for your comments.