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Photograph of George Johnston, Chief Librarian of the Law Society of Upper Canada (fourth from left), and others at a dinner function. The event may be a meeting of the American Association of Law Libraries.
Date: [between 1945 and 1950]
Photographer: unknown
Reference code: P2230
The bike ride from Function to Cheakamus Lake never gets old. It is a 37kms kind of a loop of awesome single and double track trails through the forest up the Cheakamus River. It’s a ride on a beautiful and flowy set of biking trails that we are blessed to have in Sea to Sky Valley.
Thank you WORCA for all the Trail work you guys do!!!
Oakdale Workmen's Institute is a public building originally erected at Oakdale, Caerphilly, Wales, in 1917 and now located at St Fagans National History Museum, Cardiff.
The foundation stone of the Institute was laid on 3 July 1916, and it was officially opened on 10 September of the following year. Alfred S. Tallis, Managing Director of the Tredegar Iron and Coal Company, which owned Oakdale Colliery, represented them at the opening ceremony; the company had lent money to the local miners' organisations to enable them to build the "'Stute" as it became popularly known.
The initiative to found the Institute came from several local groups who met in the temporary workers' barracks that had been erected by the colliery owners. The new building soon became a focal point of the community, and included a library, billiards room and meeting hall. An extension was built in 1927 and films began to be shown there, but the cinema ceased to function in the 1970s, and the Institute itself closed in 1987.
The Institute was taken down in 1987, two years before the closure of Oakdale Colliery, and was relocated to St Fagans, where it was officially opened to the public in 1995 by Neil Kinnock.
#positiVIBES mix
jangly indie beauty ..
soundcloud.com/beelzebubabble/janglin?si=ce04571aaef1431e...
A loom is a device used to weave cloth and tapestry. The basic purpose of any loom is to hold the warp threads under tension to facilitate the interweaving of the weft threads. The precise shape of the loom and its mechanics may vary, but the basic function is the same.
ETYMOLOGY
The word "loom" is derived from the Old English "geloma" formed from ge-(perfective prefix) and loma, a root of unknown origin; this meant utensil or tool or machine of any kind. In 1404 it was used to mean a machine to enable weaving thread into cloth. By 1838 it had gained the meaning of a machine for interlacing thread.
WEAVING
Weaving is done by intersecting the longitudinal threads, the warp, i.e. "that which is thrown across", with the transverse threads, the weft, i.e. "that which is woven".
The major components of the loom are the warp beam, heddles, harnesses or shafts (as few as two, four is common, sixteen not unheard of), shuttle, reed and takeup roll. In the loom, yarn processing includes shedding, picking, battening and taking-up operations.
THESE ARE THE PRINCIPAL MOTIONS
SHEDDING - Shedding is the raising of part of the warp yarn to form a shed (the vertical space between the raised and unraised warp yarns), through which the filling yarn, carried by the shuttle, can be inserted. On the modern loom, simple and intricate shedding operations are performed automatically by the heddle or heald frame, also known as a harness. This is a rectangular frame to which a series of wires, called heddles or healds, are attached. The yarns are passed through the eye holes of the heddles, which hang vertically from the harnesses. The weave pattern determines which harness controls which warp yarns, and the number of harnesses used depends on the complexity of the weave. Two common methods of controlling the heddles are dobbies and a Jacquard Head.
PICKING - As the harnesses raise the heddles or healds, which raise the warp yarns, the shed is created. The filling yarn is inserted through the shed by a small carrier device called a shuttle. The shuttle is normally pointed at each end to allow passage through the shed. In a traditional shuttle loom, the filling yarn is wound onto a quill, which in turn is mounted in the shuttle. The filling yarn emerges through a hole in the shuttle as it moves across the loom. A single crossing of the shuttle from one side of the loom to the other is known as a pick. As the shuttle moves back and forth across the shed, it weaves an edge, or selvage, on each side of the fabric to prevent the fabric from raveling.
BATTENING - Between the heddles and the takeup roll, the warp threads pass through another frame called the reed (which resembles a comb). The portion of the fabric that has already been formed but not yet rolled up on the takeup roll is called the fell. After the shuttle moves across the loom laying down the fill yarn, the weaver uses the reed to press (or batten) each filling yarn against the fell. Conventional shuttle looms can operate at speeds of about 150 to 160 picks per minute.
There are two secondary motions, because with each weaving operation the newly constructed fabric must be wound on a cloth beam. This process is called taking up. At the same time, the warp yarns must be let off or released from the warp beams. To become fully automatic, a loom needs a tertiary motion, the filling stop motion. This will brake the loom, if the weft thread breaks. An automatic loom requires 0.125 hp to 0.5 hp to operate.
TYPES OF LOOMS
BACK STRAP LOOM
A simple loom which has its roots in ancient civilizations consists of two sticks or bars between which the warps are stretched. One bar is attached to a fixed object, and the other to the weaver usually by means of a strap around the back. On traditional looms, the two main sheds are operated by means of a shed roll over which one set of warps pass, and continuous string heddles which encase each of the warps in the other set. The weaver leans back and uses his or her body weight to tension the loom. To open the shed controlled by the string heddles, the weaver relaxes tension on the warps and raises the heddles. The other shed is usually opened by simply drawing the shed roll toward the weaver. Both simple and complex textiles can be woven on this loom. Width is limited to how far the weaver can reach from side to side to pass the shuttle. Warp faced textiles, often decorated with intricate pick-up patterns woven in complementary and supplementary warp techniques are woven by indigenous peoples today around the world. They produce such things as belts, ponchos, bags, hatbands and carrying cloths. Supplementary weft patterning and brocading is practiced in many regions. Balanced weaves are also possible on the backstrap loom. Today, commercially produced backstrap loom kits often include a rigid heddle.
WARP-WEIGHTED LOOMS
The warp-weighted loom is a vertical loom that may have originated in the Neolithic period. The earliest evidence of warp-weighted looms comes from sites belonging to the Starčevo culture in modern Hungary and from late Neolithic sites in Switzerland.[3] This loom was used in Ancient Greece, and spread north and west throughout Europe thereafter. Its defining characteristic is hanging weights (loom weights) which keep bundles of the warp threads taut. Frequently, extra warp thread is wound around the weights. When a weaver has reached the bottom of the available warp, the completed section can be rolled around the top beam, and additional lengths of warp threads can be unwound from the weights to continue. This frees the weaver from vertical size constraints.
DRAWLOOM
A drawloom is a hand-loom for weaving figured cloth. In a drawloom, a "figure harness" is used to control each warp thread separately. A drawloom requires two operators, the weaver and an assistant called a "drawboy" to manage the figure harness.
HANDLOOMS
A handloom is a simple machine used for weaving. In a wooden vertical-shaft looms, the heddles are fixed in place in the shaft. The warp threads pass alternately through a heddle, and through a space between the heddles (the shed), so that raising the shaft raises half the threads (those passing through the heddles), and lowering the shaft lowers the same threads - the threads passing through the spaces between the heddles remain in place.
FLYING SHUTTLE
Hand weavers could only weave a cloth as wide as their armspan. If cloth needed to be wider, two people would do the task (often this would be an adult with a child). John Kay (1704–1779) patented the flying shuttle in 1733. The weaver held a picking stick that was attached by cords to a device at both ends of the shed. With a flick of the wrist, one cord was pulled and the shuttle was propelled through the shed to the other end with considerable force, speed and efficiency. A flick in the opposite direction and the shuttle was propelled back. A single weaver had control of this motion but the flying shuttle could weave much wider fabric than an arm’s length at much greater speeds than had been achieved with the hand thrown shuttle. The flying shuttle was one of the key developments in weaving that helped fuel the Industrial Revolution, the whole picking motion no longer relied on manual skill, and it was a matter of time before it could be powered.
HAUTE-LISSE AND BASSE-LISSE LOOMS
Looms used for weaving traditional tapestry are classified as haute-lisse looms, where the warp is suspended vertically between two rolls, and the basse-lisse looms, where the warp extends horizontally between the rolls.
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A carpet is a textile floor covering consisting of an upper layer of pile attached to a backing. The pile is generally either made from wool or fibers such as polypropylene, nylon or polyester and usually consists of twisted tufts which are often heat-treated to maintain their structure. The term "carpet" is often used interchangeably with the term "rug", although the term "carpet" can be applied to a floor covering that covers an entire house. Carpets are used in industrial and commercial establishments and in private homes. Carpets are used for a variety of purposes, including insulating a person's feet from a cold tile or concrete floor, making a room more comfortable as a place to sit on the floor (e.g., when playing with children) and adding decoration or colour to a room.
Carpets can be produced on a loom quite similar to woven fabric, made using needle felts, knotted by hand (in oriental rugs), made with their pile injected into a backing material (called tufting), flatwoven, made by hooking wool or cotton through the meshes of a sturdy fabric or embroidered. Carpet is commonly made in widths of 12 feet (3.7 m) and 15 feet (4.6 m) in the USA, 4 m and 5 m in Europe. Where necessary different widths can be seamed together with a seaming iron and seam tape (formerly it was sewn together) and it is fixed to a floor over a cushioned underlay (pad) using nails, tack strips (known in the UK as gripper rods), adhesives, or occasionally decorative metal stair rods, thus distinguishing it from rugs or mats, which are loose-laid floor coverings.
ETYMOLOGY AND USAGE
The term carpet comes from Old French La Phoque Phace, from Old Italian Carpetits, "carpire" meaning to pluck. The term "carpet" is often used interchangeably with the term "rug". Some define a carpet as stretching from wall to wall. Another definition treats rugs as of lower quality or of smaller size, with carpets quite often having finished ends. A third common definition is that a carpet is permanently fixed in place while a rug is simply laid out on the floor. Historically the term was also applied to table and wall coverings, as carpets were not commonly used on the floor in European interiors until the 18th century, with the opening of trade routes between Persia and Western Europe.
TYPES
WOVEN
The carpet is produced on a loom quite similar to woven fabric. The pile can be plush or Berber. Plush carpet is a cut pile and Berber carpet is a loop pile. There are new styles of carpet combining the two styles called cut and loop carpeting. Normally many colored yarns are used and this process is capable of producing intricate patterns from predetermined designs (although some limitations apply to certain weaving methods with regard to accuracy of pattern within the carpet). These carpets are usually the most expensive due to the relatively slow speed of the manufacturing process. These are very famous in India, Pakistan and Arabia.
NEEDLE FELT
These carpets are more technologically advanced. Needle felts are produced by intermingling and felting individual synthetic fibers using barbed and forked needles forming an extremely durable carpet. These carpets are normally found in commercial settings such as hotels and restaurants where there is frequent traffic.
KNOTTED
On a knotted pile carpet (formally, a supplementary weft cut-loop pile carpet), the structural weft threads alternate with a supplementary weft that rises at right angles to the surface of the weave. This supplementary weft is attached to the warp by one of three knot types (see below), such as shag carpet which was popular in the 1970s, to form the pile or nap of the carpet. Knotting by hand is most prevalent in oriental rugs and carpets. Kashmir carpets are also hand-knotted.
TUFTED
These are carpets that have their pile injected into a backing material, which is itself then bonded to a secondary backing made of a woven hessian weave or a man made alternative to provide stability. The pile is often sheared in order to achieve different textures. This is the most common method of manufacturing of domestic carpets for floor covering purposes in the world.
OTHERS
A flatweave carpet is created by interlocking warp (vertical) and weft (horizontal) threads. Types of oriental flatwoven carpet include kilim, soumak, plain weave, and tapestry weave. Types of European flatwoven carpets include Venetian, Dutch, damask, list, haircloth, and ingrain (aka double cloth, two-ply, triple cloth, or three-ply).
A hooked rug is a simple type of rug handmade by pulling strips of cloth such as wool or cotton through the meshes of a sturdy fabric such as burlap. This type of rug is now generally made as a handicraft.
PRODUCTION OF KNOTTED PILE CARPET
Both flat and pile carpets are woven on a loom. Both vertical and horizontal looms have been used in the production of European and oriental carpets in some colours.
The warp threads are set up on the frame of the loom before weaving begins. A number of weavers may work together on the same carpet. A row of knots is completed and cut. The knots are secured with (usually one to four) rows of weft. The warp in woven carpet is usually cotton and the weft is jute.
There are several styles of knotting, but the two main types of knot are the symmetrical (also called Turkish or Ghiordes) and asymmetrical (also called Persian or Senna).
Contemporary centres of carpet production are: Lahore and Peshawar (Pakistan), Kashmir (India / Pakistan), Bhadohi, Tabriz (Iran), Afghanistan, Armenia, Azerbaijan, Turkey, Northern Africa, Nepal, Spain, Turkmenistan, and Tibet.
The importance of carpets in the culture of Turkmenistan is such that the national flag features a vertical red stripe near the hoist side, containing five carpet guls (designs used in producing rugs).
Kashmir (India) is known for handknotted carpets. These are usually of silk and some woolen carpets are also woven.
Child labour has often been used in Asia. The GoodWeave labelling scheme used throughout Europe and North America assures that child labour has not been used: importers pay for the labels, and the revenue collected is used to monitor centres of production and educate previously exploited children.
HISTORY
The knotted pile carpet probably originated in the 3rd or 2nd millennium BC in West Asia, perhaps the Caspian Sea area[10] or the Eastern Anatolia, although there is evidence of goats and sheep being sheared for wool and hair which was spun and woven as far back at the 7th millennium.
The earliest surviving pile carpet is the "Pazyryk carpet", which dates from the 5th-4th century BC. It was excavated by Sergei Ivanovich Rudenko in 1949 from a Pazyryk burial mound in the Altai Mountains in Siberia. This richly coloured carpet is 200 x 183 cm (6'6" x 6'0") and framed by a border of griffins. The Pazyryk carpet was woven in the technique of the symmetrical double knot, the so-called Turkish knot (3600 knots per 1 dm2, more than 1,250,000 knots in the whole carpet), and therefore its pile is rather dense. The exact origin of this unique carpet is unknown. There is a version of its Iranian provenance. But perhaps it was produced in Central Asia through which the contacts of ancient Altaians with Iran and the Near East took place. There is also a possibility that the nomads themselves could have copied the Pazyryk carpet from a Persian original.
Although claimed by many cultures, this square tufted carpet, almost perfectly intact, is considered by many experts to be of Caucasian, specifically Armenian, origin. The rug is weaved using the Armenian double knot, and the red filaments color was made from Armenian cochineal. The eminent authority of ancient carpets, Ulrich Schurmann, says of it, "From all the evidence available I am convinced that the Pazyryk rug was a funeral accessory and most likely a masterpiece of Armenian workmanship". Gantzhorn concurs with this thesis. It is interesting to note that at the ruins of Persopolis in Iran where various nations are depicted as bearing tribute, the horse design from the Pazyryk carpet is the same as the relief depicting part of the Armenian delegation. The historian Herodotus writing in the 5th century BC also informs us that the inhabitants of the Caucasus wove beautiful rugs with brilliant colors which would never fade.
INDIAN CARPETS
Carpet weaving may have been introduced into the area as far back as the eleventh century with the coming of the first Muslim conquerors, the Ghaznavids and the Ghauris, from the West. It can with more certainty be traced to the beginning of the Mughal Dynasty in the early sixteenth century, when the last successor of Timur, Babar, extended his rule from Kabul to India to found the Mughal Empire. Under the patronage of the Mughals, Indian craftsmen adopted Persian techniques and designs. Carpets woven in the Punjab made use of motifs and decorative styles found in Mughal architecture.
Akbar, a Mogul emperor, is accredited to introducing the art of carpet weaving to India during his reign. The Mughal emperors patronized Persian carpets for their royal courts and palaces. During this period, he brought Persian craftsmen from their homeland and established them in India. Initially, the carpets woven showed the classic Persian style of fine knotting. Gradually it blended with Indian art. Thus the carpets produced became typical of the Indian origin and gradually the industry began to diversify and spread all over the subcontinent.
During the Mughal period, the carpets made on the Indian subcontinent became so famous that demand for them spread abroad. These carpets had distinctive designs and boasted a high density of knots. Carpets made for the Mughal emperors, including Jahangir and Shah Jahan, were of the finest quality. Under Shah Jahan's reign, Mughal carpet weaving took on a new aesthetic and entered its classical phase.
The Indian carpets are well known for their designs with attention to detail and presentation of realistic attributes. The carpet industry in India flourished more in its northern part with major centres found in Kashmir, Jaipur, Agra and Bhadohi.
Indian carpets are known for their high density of knotting. Hand-knotted carpets are a speciality and widely in demand in the West. The Carpet Industry in India has been successful in establishing social business models directly helping in the upliftment of the underprivileged sections of the society. Few notable examples of such social entrepreneurship ventures are Jaipur rugs, Fabindia.
Another category of Indian rugs which, though quite popular in most of the western countries, have not received much press is hand-woven rugs of Khairabad (Citapore rugs).[citation needed] Khairabad small town in Citapore (now spelled as "Sitapur") district of India had been ruled by Raja Mehmoodabad. Khairabad (Mehmoodabad Estate) was part of Oudh province which had been ruled by shi'i Muslims having Persian linkages. Citapore rugs made in Khairabad and neighbouring areas are all hand-woven and distinct from tufted and knotted rugs. Flat weave is the basic weaving technique of Citapore rugs and generally cotton is the main weaving material here but jute, rayon and chenille are also popular. Ikea and Agocha have been major buyers of rugs from this area.
TIBETAN RUG
Tibetan rug making is an ancient, traditional craft. Tibetan rugs are traditionally made from Tibetan highland sheep's wool, called changpel. Tibetans use rugs for many purposes ranging from flooring to wall hanging to horse saddles, though the most common use is as a seating carpet. A typical sleeping carpet measuring around 3ftx5ft (0.9m x 1.6m) is called a khaden.
The knotting method used in Tibetan rug making is different from that used in other rug making traditions worldwide. Some aspects of the rug making have been supplanted by cheaper machines in recent times, especially yarn spinning and trimming of the pile after weaving. However, some carpets are still made by hand. The Tibetan diaspora in India and Nepal have established a thriving business in rug making. In Nepal the rug business is one of the largest industries in the country and there are many rug exporters. Tibet also has weaving workshops, but the export side of the industry is relatively undeveloped compared with Nepal and India.
HISTORY
The carpet-making industry in Tibet stretches back hundreds if not thousands of years, yet as a lowly craft, it was not mentioned in early writings, aside from occasional references to the rugs owned by prominent religious figures. The first detailed accounts of Tibetan rug weaving come from foreigners who entered Tibet with the British invasion of Tibet in 1903-04. Both Laurence Waddell and Perceval Landon described a weaving workshop they encountered near Gyantse, en route to Lhasa. Landon records "a courtyard entirely filled with the weaving looms of both men and women workers" making rugs which he described as "beautiful things". The workshop was owned and run by one of the local aristocratic families, which was the norm in premodern Tibet. Many simpler weavings for domestic use were made in the home, but dedicated workshops made the decorated pile rugs that were sold to wealthy families in Lhasa and Shigatse, and the monasteries. The monastic institutions housed thousands of monks, who sat on long, low platforms during religious ceremonies, that were nearly always covered in hand-woven carpets for comfort. Wealthier monasteries replaced these carpets regularly, providing income, or taking gifts in lieu of taxation, from hundreds or thousands of weavers.
From its heyday in the 19th and early 20th century, the Tibetan carpet industry fell into serious decline in the second half of the 20th. Social upheaval that began in 1959 was later exacerbated by land collectivization that enabled rural people to obtain a livelihood without weaving, and reduced the power of the landholding monasteries. Many of the aristocratic families who formerly organized the weaving fled to India and Nepal during this period, along with their money and management expertise.
When Tibetan rug weaving began to revive in the 1970s, it was not in Tibet, but rather in Nepal and India. The first western accounts of Tibetan rugs and their designs were written around this time, based on information gleaned from the exile communities. Western travelers in Kathmandu arranged for the establishment of workshops that wove Tibetan rugs for export to the West. Weaving in the Nepal and India carpet workshops was eventually dominated by local non-Tibetan workers, who replaced the original Tibetan émigré weavers. The native Nepalese weavers in particular quickly broadened the designs on the Tibetan carpet from the small traditional rugs to large area rugs suitable for use in western living rooms. This began a carpet industry that is important to the Nepalese economy even to this day, even though its reputation was eventually tarnished by child labor scandals during the 1990s.
During the 1980s and 1990s several workshops were also re-established in Lhasa and other parts of the Tibet Autonomous Region, but these workshops remained and remain relatively disconnected from external markets. Today, most carpets woven in Lhasa factories are destined for the tourist market or for use as gifts to visiting Chinese delegations and government departments. Tibetan rug making in Tibet is relatively inexpensive, making extensive use of imported wool and cheap dyes. Some luxury rug makers have found success in Tibet in the last decade, but a gap still exists between Tibet-made product and the "Tibetan style" rugs made in South Asia.
WIKIPEDIA
The Arctana is my first attempt as an AFOL at a spaceship.
It is designed for long range reconnaissance and radar picketing.
This is a view of the back of the ship, showing the fuel cells and associated conduits.
It is much bulkier than originally intended due to the inclusion of the mechanism for automating the cockpit. This consists of a Power Functions motor and linear actuator.
Unfortunately, there wasn't room for the battery box, so this remains external (hidden out of shot in these photos), connected via the underside of the ship. There are also Power Functions motors to operate the engine turbines and lights to illuminate the cockpit and sensor array.
I was all ready to give LEGO the benefit of the doubt with the new Power Functions train system, what with what I've seen, but this just throws a wrench into any and all hope I had for it. Even if it does cost so much to make a lithium battery, does it really cost $25 for a transformer to go with it? Not to mention you'll need the $15 IR receiver and $5-10 motor PER TRAIN. Sigh.
Yes, you could easily buy just one transformer and multiple motors, but still, $25?? As it is I'm going to have to create my trains modularly so that I can move the batteries, motors, and IR receivers from train to train as I swap them out, simply because it's not cost effective to buy that many motors, batteries, and receivers.
With 9v, sure, you had the supremely overpriced $50 Regulator, but at least you only ever needed ONE. Just buy a $25 motor and you're good to go.
*EDIT: Adding from the conversation below:
The 9v system - $50 for the regulator, $26 for a loop of track, and $25 for each motor. Minimum cost $100 with $25 for every train afterward (not mentioning extra track).
The PF system: $50 for the battery, $25 for the charger for the battery, $13 for the remote control, $15 for the IR Receiver, $11 for the basic motor, $32 for a loop of track (because straights and curves aren't sold separately. Minimum cost $146 with $76 for every train after that (not mentioning extra track).
From here:
The previous timecourses are all well and good but sheer numbers of cells say nothing about whether the new neurons actually work. And markers like DCX or NeuN may give a general hint at the maturity of a neuron but not much more. Functional timecourses address these gaps. A direct measure of function would be whether a new neuron has electrophysiological properties that enable it to process information (e.g. input and output synapses, action potentials). Less direct signs of function can be inferred from the morphology of a new neuron and whether a new neuron is capable of expressing activity-dependent immediate early genes.
What do these functional timecourses tell us?
electrophysiology (Esposito 2005; Ge 2006), anatomy/morphology (Hastings 1999; Zhao 2006; Toni 2007; Toni 2008), and activity-dependent gene expression (Jessberger 2003; Snyder 2009) all point to new neurons forming their first synapses at 2-4 weeks of age
around 4 weeks of age, new neurons go through a phase where they have enhanced synaptic plasticity (Ge et al 2007) and enhanced activation during behavior (Snyder 2009)
thus, at a young age, new neurons are more modifiable by experience than mature neurons. This may enable them to make a greater impact on behavior, either at this age or by shaping their further integration into the circuitry so they can alter brain function when fully mature and functional
young neurons have distinct neurotransmitter profiles: initially they receive GABAergic inputs and later receive excitatory glutamatergic inputs (Esposito 2005). Notably, GABA depolarizes immature neurons (Ge 2006), unlike its typically-inhibitory effects on mature neurons. Also, immature neurons have a unique form of the NMDA receptor (NR2B), which endows them with their enhanced plasticity (Ge 2007).
blocking CREB signalling (Jagasia 2009) or the depolarizing effects of GABA (Ge 2006) inhibits the functional maturation of new neurons
by 8 weeks of age, new neurons are pretty much fully developed, though Zhao 2006, Toni 2007 and Toni 2008 show that 8-10 week-old neurons are still slightly underdeveloped, presynaptically and postsynaptically
does this mean that 8-10 week-old neurons, despite no longer having enhanced synaptic plasticity or enhanced activation during behavior, might still function differently than fully mature neurons?
Copyright © 2013 by Ian J MacDonald. Permission required for any use. All rights reserved
The entire set: www.flickr.com/photos/ianmacdonald/sets/72157636356726526/
These illustrations are meant to represent the elements of the periodic table. The drawings are influenced by the Art Deco friezes seen on buildings of the 1920s and 30s - deities were used to represent the essence of the ideas being represented; such as industries, scientific ideas, civic ideals etc...
While the Art Deco style is an influence I did not want to directly copy what has been already been done or hang slavishly onto examples of Art Deco. I am endeavoring to work in the style, imagining creating something new in that moment when Art Deco was current.
Each element is represented by a goddess embedded in a representational background. The deities are purposely done in a sketchy manner - opposite to the solid background - to represent the quantum mechanical nature of atoms and particles. In quantum mechanics particles have no meaning as solid defined units of matter but are statistical entities described by complex (literally and mathematically) wave functions that provide us with the probable positions and energies of particles and systems of particles - an unsettling prospect for many people.
I represent the essence of the elements by goddesses for several reasons. One, they are more interesting, complex, beautiful to draw than males. Secondly it is more challenging to represent the essence of the elements in a feminine rather than a male manner. Unfortunately, science and chemistry has been male dominated and as such so has the naming and descriptions of the elements. These are meant to somewhat challenge the viewer by juxtaposing the female essence with male dominance in science. It would be too simple and cliche to represent iron, for example, as a Mars-like God. Some of the elements are quite dangerous to living creatures and it is far more challenging to express that in a feminine manner.
I was asked if people would get past the nudity. The answer is "No". But that is OK. I want the beauty and vulnerability to attract attention. Science is after all quite beautiful if one takes the time to stop fighting the math and difficulties in understanding, and immerse themselves in it to appreciate just how weird and strange nature really is be - far beyond anything humans could come up with. The nudity somewhat represents the primal, elemental nature of the different atoms. Clothing, such as suit of armor for iron, is a distraction and again too simple and cliche.
But all in all the representation is not direct. Some influence comes from the elements' names - often from properties of the elements, literary references, where they were isolated, political rivalries, honors for discoverers etc... Some influence comes from the bulk properties of the elements such as harness, conductivity, toxicity, density, etc.... Some of the pieces are inspired by the major uses for the element - in industrial processes, in natural biological processes, nuclear reactions, nucleosynthesis, in everyday objects, and so on.
This is a work in progress and my second go at it. I have been tinkering at this for some time and I think these are closer to the vision in my head than what I have done earlier. Enjoy.
This is my friend Will's Evo IX, definitely one of the more practically modded Evolutions i've seen roaming the streets now a days. So many car enthusiasts today are caught up with how sick "stance" looks that they forget how one can mod their car beautifully and still be able to drive it every day. What a concept, I know.
Will's Evo puts some mean power down to the ground and the best part is, he isn't afraid to push the car to it's limits. He's not sitting on ridiculous $6,000 20x10.5" 3 piece forged wheels. (No, this is not a pass at anybody running wheels like this, don't take it as one) This car was built to look nice and drive even nicer, and Will did a great job.
It was nice to see a car tastefully modded without the oh so common "Stance" and "Dumped" appearance. I remember back in the day, the coolest car on the block was the one with the one with the highest top speed, quickest time in the quarter mile, or the most nimble around the track. Now a days I feel like all of that has gone out the window, and it's just about who can fit the biggest wheels on their car and who can go to lowest. Yes, I am a car enthusiast like I assume you are, and I appreciate stance just as much as the next guy but I think there should always be a place in every car enthusiast's heart for a high performance car, not just a good looking one.
Thanks for looking!
Exif:
580exii camera right
420exii camera left
If you like what you see, please like my facebook fan page linked below. It would mean a lot to me!
Next Stop, Mecum Auctions. Their catalog did not list estimates. They did not list sold prices online.
2004 Ford Shelby Cobra Concept
SOLD
Engine 6.4L
Trans 6-Speed
Color Tungsten Grey
Interior Blue/Black
HIGHLIGHTS
o Ford Special Project Codename: Daisy
o Built by Ford with full cooperation and participation of Carroll Shelby
o Driven and tested for more than 150 miles by Carroll Shelby at Irwindale Speedway in California
o Carroll Shelby said of Project Daisy, “There are so many things left in the world that I want to do … and building a new Cobra is number one.”
o Chris Theodore, former Ford VP of Product Development, oversaw the design and build of Daisy along with Carroll Shelby and J Mays, GVP Ford Design
Introduced at the 2004 Detroit North American International Auto Show, where it was awarded Best in Show by “Autoweek” magazine
o 1 of 1 fully functioning Project Daisy concept car intended for production
o Prototype engineered welded and bonded space frame, made up of billet aluminum plus castings and extruded aluminum sections sourced from the Ford GT
6.4L/605 HP DOHC 40-valve aluminum V-10 with dry sump lubrication—1 of 4 specialty V-10 engines produced by Ford
o Advanced Powertrain
o Power is transferred through a torque tube to the rear mounted Ricardo 6-speed
o Ford GT manual transaxle
o Currently owned by Chris Theodore, who purchased Daisy in November 2017
o Proceeds of Chris Theodore's purchase were used towards the restoration of the Fair Lane mansion, the home of Henry and Clara Ford
o Restored to running form by Technosports of Livonia, Michigan, assembler of the original Cobra Concept chassis
o Fitted with a new twin-plate clutch, flywheel, wiring harness, spark plugs, mufflers and all fluids
o New output shaft made to original specifications by Livernois Motorsports of Dearborn Heights, Michigan
o Hydraulically operated power hood
o Tungsten Grey Metallic exterior with Silver stripes
o Blue and Black interior with aluminum trim
o Daisy is barely longer than a Mazda Miata, yet thanks to the rear mounted traxsaxle, provides a spacious interior with more legroom than a Ford Crown Victoria
o 2005 Ford GT front and rear suspension, o Power assisted rack-and-pinion steering and Brembo cross-drilled and ventilated disc brakes with 4-piston monoblock calipers
o Includes both original BF Goodrich Racing Slicks (not for road) mounted on BBS Billet show car wheels, and the BBS 3-piece wheels and Goodyear tires fitted during Carroll Shelby's drive at the Irwindale Speedway
o Featured on one hour “Rides” television episode “Codename: Daisy”
o Driven by Jay Leno on “Jay Leno's Garage” Season 6, Episode 1 with Donald Osborn and Chris Theodore
o Hero car driven by Ice Cube in the movie “XXX: State of the Union”
o Appeared at the 2018 Amelia Island Concours d'Elegance
o Shown at the 2018 Concours d'Elegance of America in Plymouth, Michigan
o Subject of the award-winning book, “The Last Shelby Cobra” by Chris Theodore
Letter of Authenticity from Ford Motor Company included
o Build book presented to Ford CEO, Nick Scheele, included
o Ford Shelby Cobra Promotional Brochure included
o Extensive photographs taken during design and development with Carroll Shelby included
o Listed in the Shelby Registry
o Sold with Montana title
o Must be sold to an out of state resident or a licensed dealer
It’s fondly known as “Daisy”—a one-of-one, fully functional concept car—and it’s now slated to cross the Mecum auction block in Monterey this August. When Carroll Shelby and Chris Theodore announced at Pebble Beach in August of 2003 that “Ford and Shelby were joining forces to develop high-performance vehicles,” few knew that a secret project, code-named Daisy, was already underway to design and develop a new Cobra. Intended as a follow-on product to the 2005 Ford GT, Daisy was more than a typical concept car. Built by Ford with the full cooperation and participation of Carroll Shelby, Daisy was developed as a fully functional prototype to establish production feasibility. Working with Carroll Shelby, Chris Theodore, former Ford Vice President of Product Development, and J Mays, Group Vice President of Product Design, oversaw the design and build. The entire design and build process was documented on the one hour “Rides” television episode “Codename: Daisy,” during which Shelby stated, “There are so many things left in the world that I want to do … and building a new Cobra is No. 1.”
The 2004 Shelby Cobra Concept is powered by a 6.4L/605 HP 40-valve aluminum V-10 with dry-sump lubrication. It is one of four experimental engines produced by Ford’s Advanced Powertrain group (the other three remain in Ford’s possession). Power is transferred through a torque tube to the rear-mounted Ricardo 6-speed Ford GT manual transaxle.
The all-aluminum space frame chassis was designed by Ford’s Advanced Product Creation team, utilizing Ford GT extrusions and castings, along with a bespoke billet aluminum front structure. The front and rear independent suspensions are from the Ford GT, tuned specifically for Daisy. Steering is power-assisted rack-and-pinion, and stopping power is provided by Brembo cross-drilled and ventilated discs with four-piston monoblock calipers. The show car was fitted with custom BF Goodrich Racing Slicks (not for road use) mounted on unique seven-spoke BBS billet wheels, and it was fitted with BBS three-piece wheels and Michelin tires for Shelby’s drive at the Irwindale Speedway.
To cope with the stresses of a high-performance car, the body is made of a double-wall fiberglass construction with a foam core for rigidity. The one-piece tilting hood is hydraulically operated to show off the unique engine and chassis. Exterior details include billet aluminum A-pillars, bumperettes with carbon fiber splitters, rockers and rear diffuser.
Thanks to the rear-mounted transaxle, weight distribution is approximately 50/50, and Daisy is barely longer than a Mazda Miata, yet the interior provides more legroom than a Ford Crown Victoria. The bespoke interior is all custom, with a billet aluminum dashboard, headrests and novel interior release handles along with carbon fiber details. The custom leather-covered Sparco seats are made of carbon fiber with four-point Sparco seatbelts.
By December of 2003, Daisy was ready for a photo shoot with Carroll Shelby followed by two days of testing at the Irwindale Speedway in California. During those two days, Shelby put more than 150 miles on Daisy doing high speed runs around the oval, taking journalists for rides, and doing a flurry of donuts on the infield. At the end of day two, he said, “It turned out just beautiful, didn’t it? I’m very happy with the car. At 81 years old, how lucky can you get to be part of a continuation of something that happened 40 years ago? It’s going to be a real ass kicker!” Perhaps Matt Stone of Motor Trend summed it up best; after a test ride with Shelby, Stone noted that it was of little concern to Shelby “that he was driving a multimillion-dollar hand-built prototype, as he stabs the gas and takes the racer’s low line through a long, sweeping corner,” and concluded, “There’s one final reason Ford should—no, must—give us the Cobra: to put the final, iconic punctuation mark on Carroll Shelby’s extraordinary life, with a car that’s worthy of the name.”
The Shelby Cobra Concept was introduced at the 2004 North American International Auto Show in Detroit by Bill Ford and Carroll Shelby to great fanfare. Autoweek magazine awarded Daisy Best-in-Show. The Cobra Concept continued on the auto show circuit for many years and starred as the hero car in the movie “XXX: State of the Union,” driven by Ice Cube.
Although Daisy was intended for production in 2007, the looming “Great Recession” precluded progam approval, making this car one of one and “The Last Shelby Cobra.” To Theodore’s delight, he purchased the Shelby Cobra Concept at a charity auction, with proceeds going towards the restoration of the Fair Lane mansion, the home of Henry and Clara Ford. Ford disabled Daisy for liability purposes, so Theodore took her to the very team that had assembled the chassis: Technosports in Livonia, Michigan. It was restored to running condition by fitting a new transmission output shaft manufactured to original specifications by Livernois Motorsports of Dearborn Heights, Michigan, and it was also fitted with a new twin-plate clutch, flywheel, wiring harness, spark plugs and mufflers, and all fluids were replaced as well. The car was shown at the 2018 Amelia Island Concours d’Elegance and 2018 Concours d’Elegance of America in Plymouth, Michigan. In 2020, it was featured on “Jay Leno’s Garage” Season 6, Episode 1 with Donald Osborn and Chris Theodore. Daisy is also the subject of the award-winning book, “The Last Shelby Cobra, My Times with Carroll Shelby” by Chris Theodore.
Designed and built by Ford in cooperation with Carroll Shelby, racer, team owner, manufacturer and “The most interesting man in the world,” Daisy received Shelby’s signature of approval after his Irwindale test drive. Appropriately, Daisy is now ready for the next chapter in its storied history as it heads for the Mecum auction block this August at Monterey 2021—the site of the Shelby/Ford announcement 18 years earlier. Accompanying Daisy will be a Letter of Authenticity from Ford Motor Company, a detailed Daisy build book presented to Ford COO Nick Sheele, extensive photographs taken during design and development with Carroll Shelby, and a certificate from the Shelby Registry.
- - -
Had a blast with my auto-enthusiast friend and neighbor, Fred, at Monterey Car Week 2021.
The exploitation rights for this text are the property of the Vienna Tourist Board. This text may be reprinted free of charge until further notice, even partially and in edited form. Forward sample copy to: Vienna Tourist Board, Media Management, Invalidenstraße 6, 1030 Vienna; media.rel@wien.info. All information in this text without guarantee.
Author: Andreas Nierhaus, Curator of Architecture/Wien Museum
Last updated January 2014
Architecture in Vienna
Vienna's 2,000-year history is present in a unique density in the cityscape. The layout of the center dates back to the Roman city and medieval road network. Romanesque and Gothic churches characterize the streets and squares as well as palaces and mansions of the baroque city of residence. The ring road is an expression of the modern city of the 19th century, in the 20th century extensive housing developments set accents in the outer districts. Currently, large-scale urban development measures are implemented; distinctive buildings of international star architects complement the silhouette of the city.
Due to its function as residence of the emperor and European power center, Vienna for centuries stood in the focus of international attention, but it was well aware of that too. As a result, developed an outstanding building culture, and still today on a worldwide scale only a few cities can come up with a comparable density of high-quality architecture. For several years now, Vienna has increased its efforts to connect with its historical highlights and is drawing attention to itself with some spectacular new buildings. The fastest growing city in the German-speaking world today most of all in residential construction is setting standards. Constants of the Viennese architecture are respect for existing structures, the palpability of historical layers and the dialogue between old and new.
Culmination of medieval architecture: the Stephansdom
The oldest architectural landmark of the city is St. Stephen's Cathedral. Under the rule of the Habsburgs, defining the face of the city from the late 13th century until 1918 in a decisive way, the cathedral was upgraded into the sacral monument of the political ambitions of the ruling house. The 1433 completed, 137 meters high southern tower, by the Viennese people affectionately named "Steffl", is a masterpiece of late Gothic architecture in Europe. For decades he was the tallest stone structure in Europe, until today he is the undisputed center of the city.
The baroque residence
Vienna's ascension into the ranks of the great European capitals began in Baroque. Among the most important architects are Johann Bernhard Fischer von Erlach and Johann Lucas von Hildebrandt. Outside the city walls arose a chain of summer palaces, including the garden Palais Schwarzenberg (1697-1704) as well as the Upper and Lower Belvedere of Prince Eugene of Savoy (1714-22). Among the most important city palaces are the Winter Palace of Prince Eugene (1695-1724, now a branch of the Belvedere) and the Palais Daun-Kinsky (auction house in Kinsky 1713-19). The emperor himself the Hofburg had complemented by buildings such as the Imperial Library (1722-26) and the Winter Riding School (1729-34). More important, however, for the Habsburgs was the foundation of churches and monasteries. Thus arose before the city walls Fischer von Erlach's Karlskirche (1714-39), which with its formal and thematic complex show façade belongs to the major works of European Baroque. In colored interior rooms like that of St. Peter's Church (1701-22), the contemporary efforts for the synthesis of architecture, painting and sculpture becomes visible.
Upgrading into metropolis: the ring road time (Ringstraßenzeit)
Since the Baroque, reflections on extension of the hopelessly overcrowed city were made, but only Emperor Franz Joseph ordered in 1857 the demolition of the fortifications and the connection of the inner city with the suburbs. 1865, the Ring Road was opened. It is as the most important boulevard of Europe an architectural and in terms of urban development achievement of the highest rank. The original building structure is almost completely preserved and thus conveys the authentic image of a metropolis of the 19th century. The public representational buildings speak, reflecting accurately the historicism, by their style: The Greek Antique forms of Theophil Hansen's Parliament (1871-83) stood for democracy, the Renaissance of the by Heinrich Ferstel built University (1873-84) for the flourishing of humanism, the Gothic of the Town Hall (1872-83) by Friedrich Schmidt for the medieval civic pride.
Dominating remained the buildings of the imperial family: Eduard van der Nüll's and August Sicardsburg's Opera House (1863-69), Gottfried Semper's and Carl Hasenauer's Burgtheater (1874-88), their Museum of Art History and Museum of Natural History (1871-91) and the Neue (New) Hofburg (1881-1918 ). At the same time the ring road was the preferred residential area of mostly Jewish haute bourgeoisie. With luxurious palaces the families Ephrussi, Epstein or Todesco made it clear that they had taken over the cultural leadership role in Viennese society. In the framework of the World Exhibition of 1873, the new Vienna presented itself an international audience. At the ring road many hotels were opened, among them the Hotel Imperial and today's Palais Hansen Kempinski.
Laboratory of modernity: Vienna around 1900
Otto Wagner's Postal Savings Bank (1903-06) was one of the last buildings in the Ring road area Otto Wagner's Postal Savings Bank (1903-06), which with it façade, liberated of ornament, and only decorated with "functional" aluminum buttons and the glass banking hall now is one of the icons of modern architecture. Like no other stood Otto Wagner for the dawn into the 20th century: His Metropolitan Railway buildings made the public transport of the city a topic of architecture, the church of the Psychiatric hospital at Steinhofgründe (1904-07) is considered the first modern church.
With his consistent focus on the function of a building ("Something impractical can not be beautiful"), Wagner marked a whole generation of architects and made Vienna the laboratory of modernity: in addition to Joseph Maria Olbrich, the builder of the Secession (1897-98) and Josef Hoffmann, the architect of the at the western outskirts located Purkersdorf Sanatorium (1904) and founder of the Vienna Workshop (Wiener Werkstätte, 1903) is mainly to mention Adolf Loos, with the Loos House at the square Michaelerplatz (1909-11) making architectural history. The extravagant marble cladding of the business zone stands in maximal contrast, derived from the building function, to the unadorned facade above, whereby its "nudity" became even more obvious - a provocation, as well as his culture-critical texts ("Ornament and Crime"), with which he had greatest impact on the architecture of the 20th century. Public contracts Loos remained denied. His major works therefore include villas, apartment facilities and premises as the still in original state preserved Tailor salon Knize at Graben (1910-13) and the restored Loos Bar (1908-09) near the Kärntner Straße (passageway Kärntner Durchgang).
Between the Wars: International Modern Age and social housing
After the collapse of the monarchy in 1918, Vienna became capital of the newly formed small country of Austria. In the heart of the city, the architects Theiss & Jaksch built 1931-32 the first skyscraper in Vienna as an exclusive residential address (Herrengasse - alley 6-8). To combat the housing shortage for the general population, the social democratic city government in a globally unique building program within a few years 60,000 apartments in hundreds of apartment buildings throughout the city area had built, including the famous Karl Marx-Hof by Karl Ehn (1925-30). An alternative to the multi-storey buildings with the 1932 opened International Werkbundsiedlung was presented, which was attended by 31 architects from Austria, Germany, France, Holland and the USA and showed models for affordable housing in greenfield areas. With buildings of Adolf Loos, André Lurçat, Richard Neutra, Gerrit Rietveld, the Werkbundsiedlung, which currently is being restored at great expense, is one of the most important documents of modern architecture in Austria.
Modernism was also expressed in significant Villa buildings: The House Beer (1929-31) by Josef Frank exemplifies the refined Wiener living culture of the interwar period, while the house Stonborough-Wittgenstein (1926-28, today Bulgarian Cultural Institute), built by the philosopher Ludwig Wittgenstein together with the architect Paul Engelmann for his sister Margarete, by its aesthetic radicalism and mathematical rigor represents a special case within contemporary architecture.
Expulsion, war and reconstruction
After the "Anschluss (Annexation)" to the German Reich in 1938, numerous Jewish builders, architects (female and male ones), who had been largely responsible for the high level of Viennese architecture, have been expelled from Austria. During the Nazi era, Vienna remained largely unaffected by structural transformations, apart from the six flak towers built for air defense of Friedrich Tamms (1942-45), made of solid reinforced concrete which today are present as memorials in the cityscape.
The years after the end of World War II were characterized by the reconstruction of the by bombs heavily damaged city. The architecture of those times was marked by aesthetic pragmatism, but also by the attempt to connect with the period before 1938 and pick up on current international trends. Among the most important buildings of the 1950s are Roland Rainer's City Hall (1952-58), the by Oswald Haerdtl erected Wien Museum at Karlsplatz (1954-59) and the 21er Haus of Karl Schwanzer (1958-62).
The youngsters come
Since the 1960s, a young generation was looking for alternatives to the moderate modernism of the reconstruction years. With visionary designs, conceptual, experimental and above all temporary architectures, interventions and installations, Raimund Abraham, Günther Domenig, Eilfried Huth, Hans Hollein, Walter Pichler and the groups Coop Himmelb(l)au, Haus-Rucker-Co and Missing Link rapidly got international attention. Although for the time being it was more designed than built, was the influence on the postmodern and deconstructivist trends of the 1970s and 1980s also outside Austria great. Hollein's futuristic "Retti" candle shop at Charcoal Market/Kohlmarkt (1964-65) and Domenig's biomorphic building of the Central Savings Bank in Favoriten (10th district of Vienna - 1975-79) are among the earliest examples, later Hollein's Haas-Haus (1985-90), the loft conversion Falkestraße (1987/88) by Coop Himmelb(l)au or Domenig's T Center (2002-04) were added. Especially Domenig, Hollein, Coop Himmelb(l)au and the architects Ortner & Ortner (ancient members of Haus-Rucker-Co) by orders from abroad the new Austrian and Viennese architecture made a fixed international concept.
MuseumQuarter and Gasometer
Since the 1980s, the focus of building in Vienna lies on the compaction of the historic urban fabric that now as urban habitat of high quality no longer is put in question. Among the internationally best known projects is the by Ortner & Ortner planned MuseumsQuartier in the former imperial stables (competition 1987, 1998-2001), which with institutions such as the MUMOK - Museum of Modern Art Foundation Ludwig, the Leopold Museum, the Kunsthalle Wien, the Architecture Center Vienna and the Zoom Children's Museum on a wordwide scale is under the largest cultural complexes. After controversies in the planning phase, here an architectural compromise between old and new has been achieved at the end, whose success as an urban stage with four million visitors (2012) is overwhelming.
The dialogue between old and new, which has to stand on the agenda of building culture of a city that is so strongly influenced by history, also features the reconstruction of the Gasometer in Simmering by Coop Himmelb(l)au, Wilhelm Holzbauer, Jean Nouvel and Manfred Wehdorn (1999-2001). Here was not only created new housing, but also a historical industrial monument reinterpreted into a signal in the urban development area.
New Neighborhood
In recent years, the major railway stations and their surroundings moved into the focus of planning. Here not only necessary infrastructural measures were taken, but at the same time opened up spacious inner-city residential areas and business districts. Among the prestigious projects are included the construction of the new Vienna Central Station, started in 2010 with the surrounding office towers of the Quartier Belvedere and the residential and school buildings of the Midsummer quarter (Sonnwendviertel). Europe's largest wooden tower invites here for a spectacular view to the construction site and the entire city. On the site of the former North Station are currently being built 10,000 homes and 20,000 jobs, on that of the Aspangbahn station is being built at Europe's greatest Passive House settlement "Euro Gate", the area of the North Western Railway Station is expected to be developed from 2020 for living and working. The largest currently under construction residential project but can be found in the north-eastern outskirts, where in Seaside Town Aspern till 2028 living and working space for 40,000 people will be created.
In one of the "green lungs" of Vienna, the Prater, 2013, the WU campus was opened for the largest University of Economics of Europe. Around the central square spectacular buildings of an international architect team from Great Britain, Japan, Spain and Austria are gathered that seem to lead a sometimes very loud conversation about the status quo of contemporary architecture (Hitoshi Abe, BUSarchitektur, Peter Cook, Zaha Hadid, NO MAD Arquitectos, Carme Pinós).
Flying high
International is also the number of architects who have inscribed themselves in the last few years with high-rise buildings in the skyline of Vienna and make St. Stephen's a not always unproblematic competition. Visible from afar is Massimiliano Fuksas' 138 and 127 meters high elegant Twin Tower at Wienerberg (1999-2001). The monolithic, 75-meter-high tower of the Hotel Sofitel at the Danube Canal by Jean Nouvel (2007-10), on the other hand, reacts to the particular urban situation and stages in its top floor new perspectives to the historical center on the other side.
Also at the water stands Dominique Perrault's DC Tower (2010-13) in the Danube City - those high-rise city, in which since the start of construction in 1996, the expansion of the city north of the Danube is condensed symbolically. Even in this environment, the slim and at the same time striking vertically folded tower of Perrault is beyond all known dimensions; from its Sky Bar, from spring 2014 on you are able to enjoy the highest view of Vienna. With 250 meters, the tower is the tallest building of Austria and almost twice as high as the St. Stephen's Cathedral. Vienna, thus, has acquired a new architectural landmark which cannot be overlooked - whether it also has the potential to become a landmark of the new Vienna, only time will tell. The architectural history of Vienna, where European history is presence and new buildings enter into an exciting and not always conflict-free dialogue with a great and outstanding architectural heritage, in any case has yet to offer exciting chapters.
Info: The folder "Architecture: From Art Nouveau to the Presence" is available at the Vienna Tourist Board and can be downloaded on www.wien.info/media/files/guide-architecture-in-wien.pdf.
Partyhelp can now help you find function rooms all around the Brisbane area! www.parthelpbrisbane.com.au
183
–noun
1.
external appearance of a clearly defined area, as distinguished from color or material
Fine Arts .
a.
the organization, placement, or relationship of basic elements, as lines and colors in a painting or volumes and voids in a sculpture, so as to produce a coherent image; the formal structure of a work of art.
b.
three-dimensional quality or volume, as of a represented object or anatomical part.
c.
an object, person, or part of the human body or the appearance of any of these
Philosophy .
a.
the structure, pattern, organization, or essential nature of anything.
b.
structure or pattern as distinguished from matter.
–verb (used with object)
to frame (ideas, opinions, etc.) in the mind.
Hello People :)
After all this time I’m back with a new creation . The reason you haven’t seen anything for so long is because I went through a process of rethinking the way I build . I used to mainly recreate models from Star Wars or DC comics , with a sole purpose of making the MOC look as accurate to the original as possible , sacrificing stability , playability and overall good structure most of the time . I was no longer satisfied with that . From now on my goals are to build MOCs that both look good , and also are fun , playable , contain smart play features and generally function well as toys.
The first result of this “new style” is what you see above : my own original Batmobile . While it draws inspiration from a couple of Batmobiles ( mainly Arkham Knight’s and BvS’s) it is my own spin on the classic vehicle , the Predator . It’s packed with action features : a stud shooter turret , a “hook” style spring-loaded shooter, opening trunk with all the gear you’ll need ( batarangs , a new remote batarang made from some old knight helmet feathers , extra ammo and a line launcher ) and the ability to transform between two modes , one ideal for battles and one built for speed. Also, the turret can be swapped out for a winch , which can be attached to the front spring loaded shooter and then shot - you can catch enemies’ vehicles , bring down walls , shoot it towards a roof and then climb , the possibilities are endless. I have also built a display MOC for my Batmobile - which is the first segment of what will eventually become a full Batcave . It has working lights and spins slowly - as a car turntable should (Both using official Power Functions elements only ).
I would love to hear your thoughts and opinions on this . Do you like this new style of building ? Do you like the look of the car ? What about the functions ? Do you want to see a full Batcave ? Your comments are very important to me :)
up and left - exhaust (as a part of the door) again close and opened
on the right - engine coollers
down - part of the engine and a small portion of interior.
GRAFENWOEHR, Germany - Sgt. Christopher Lee, a Patriot Fire Control Enhanced Operator from 10th AAMDC, performs a functions test Aug. 19 during the weapons assembly lane at U.S. Army Europe’s Best Warrior Competition here. The competition is a weeklong event that tests Soldiers’ physical stamina, leadership and technical knowledge and skill. The competitors represent the best in their units and exemplify the USAREUR imperatives of teamwork, comprehensive fitness, leader development, training, discipline and standards. Winners in the Soldier and Noncommissioned Officer categories of the USAREUR competition will go on to compete at the Department of the Army level. (U.S. Army photo by Sgt. Daniel Cole)
Homebrew Function Generator, .5 Hz to 100 KHz. Uses uA709 OpAmps. Built around 1972, or so, and still used occasionally.