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Clojure eXchange 2016, Thursday, 1st - Friday, 2nd December at CodeNode, London. skillsmatter.com/conferences/7430-clojure-exchange-2016 Images copyright www.edtelling.com
The Artist's Garden in Giverny - 1900
Artist: Claude Monet (French, 1840–1926)
Encompassing close to 2,000 objects, the Gallery’s collection of European art comprises paintings, sculpture, textiles, and a small but distinguished group of decorative arts, spanning the 9th through the 19th centuries. The painting collection is panoramic in range, with particular strength in Italian art of the early Renaissance. Featuring one of the largest and finest groups of 13th- and 14th-century Tuscan paintings in the world, it also contains a significant number of 15th-century Sienese paintings and such acknowledged masterworks as Gentile da Fabriano’s Virgin and Child (ca. 1424–25), Antonio Pollaiuolo’s Hercules and Deianira (ca. 1475–80), and Pontormo’s Madonna del Libro (ca. 1545–46).
The early Italian holdings are complemented by Northern Renaissance art, including Hieronymus Bosch’s Allegory of Intemperance (ca. 1495–1500) and Hans Holbein’s Hanseatic Merchant (1538), along with 17th-century Dutch landscapes and portraiture, highlighted by Frans Hals’s De Heer Bodolphe and Mevrouw Bodolphe and a select group of paintings and oil sketches by Peter Paul Rubens and Anthony van Dyck. Nineteenth-century works include important paintings by Eugène Delacroix and Jean-Léon Gérôme, strong groups of paintings by Jean-Baptiste-Camille Corot, Claude Monet, Edgar Degas, Édouard Vuillard, and Paul Cézanne, as well as Édouard Manet’s Young Woman Reclining in Spanish Costume (1862–63) and Vincent van Gogh’s seminal Night Café (1888).
artgallery.yale.edu/research-and-learning/curatorial-area...
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Yale University Art Gallery is the oldest college art museum in America. The Gallery’s encyclopedic holdings of more than 250,000 objects range from ancient times to the present day and represent civilizations from around the globe. Spanning a block and a half of the city of New Haven, Connecticut, the Gallery comprises three architecturally distinct buildings, including a masterpiece of modern architecture from 1953 designed by Louis Kahn through which visitors enter. The museum is free and open to the public.
www.archdaily.com/83110/ad-classics-yale-university-art-g...
Yale University’s School of Architecture was in the midst of pedagogical upheaval when Louis Kahn joined the faculty in 1947. With skyscraper architect George Howe as dean and modernists like Kahn, Philip Johnson, and Josef Albers as lecturers, the post-war years at Yale trended away from the school’s Beaux-Arts lineage towards the avant-garde. And so, when the consolidation of the university’s art, architecture, and art history departments in 1950 demanded a new building, a modernist structure was the natural choice to concretize an instructional and stylistic departure from historicism. Completed in 1953, Louis Kahn’s Yale University Art Gallery building would provide flexible gallery, classroom, and office space for the changing school; at the same time, Kahn’s first significant commission signaled a breakthrough in his own architectural career—a career now among the most celebrated of the second half of the twentieth century.
The university clearly articulated a program for the new gallery and design center (as it was then called): Kahn was to create open lofts that could convert easily from classroom to gallery space and vice versa. Kahn’s early plans responded to the university’s wishes by centralizing a core service area—home to the stairwell, bathrooms, and utility shafts—in order to open up uninterrupted space on either side of the core. Critics have interpreted this scheme as a means of differentiating “service” and “served” space, a dichotomy that Kahn would express often later in his career. As Alexander Purves, Yale School of Architecture alumnus and faculty member, writes of the gallery, “This kind of plan clearly distinguishes between those spaces that ... house the building's major functions and those that are subordinated to the major spaces but are necessary to support them.” As such, the spaces of the gallery dedicated to art exhibition and instruction are placed atop a functional hierarchy, above the building’s utilitarian realms; still, in refusing to hide—and indeed, centralizing—the less glamorous functions of the building, Kahn acknowledged all levels of the hierarchy as necessary to his building’s vitality.
Within the open spaces enabled by the central core, Kahn played with the concept of a space frame. He and longtime collaborator Anne Tyng had been inspired by the geometric forms of Buckminster Fuller, whom Tyng studied under at the University of Pennsylvania and with whom Kahn had corresponded while teaching at Yale. It was with Fuller’s iconic geometric structures in mind that Kahn and Tyng created the most innovative element of the Yale Art Gallery: the concrete tetrahedral slab ceiling. Henry A. Pfisterer, the building’s structural engineer, explains the arrangement: "a continuous plane element was fastened to the apices of open-base, hollow, equilateral tetrahedrons, joined at the vertices of the triangles in the lower plane.” In practice, the system of three-dimensional tetrahedrons was strong enough to support open studio space—unencumbered by columns—while the multi-angular forms invited installation of gallery panels in times of conversion.
Though Kahn’s structural experimentation in the Yale Art Gallery was cutting-edge, his careful attention to light and shadow evidences his ever-present interest in the religious architecture of the past. Working closely with the construction team, Kahn and Pfisterer devised a system to run electrical ducts inside the tetrahedrons, allowing light to diffuse from the hollow forms. The soft, ambient light emitted evokes that of a cathedral; Kahn’s gallery, then, takes subtle inspiration from the nineteenth-century neo-Gothic gallery it adjoins.
Of the triangulated, concrete slab ceiling, Kahn said “it is beautiful and it serves as an electric plug." ] This principle—that a building’s elements can be both sculptural and structural—is carried into other areas of the gallery. The central stairwell, for example, occupies a hollow, unfinished concrete cylinder; in its shape and utilitarianism, the stairwell suggests the similarly functional agricultural silo. On the ceiling of the stairwell, however, an ornamental concrete triangle is surrounded at its circumference by a ring of windows that conjures a more elevated relic of architectural history: the Hagia Sophia. Enclosed within the cylinder, terrazzo stairs form triangles that mimic both the gallery’s ceiling and the triangular form above. In asserting that the stairs “are designed so people will want to use them,” Kahn hoped visitors and students would engage with the building, whose form he often described in anthropomorphic terms: “living” in its adaptability and “breathing” in its complex ventilation system (also encased in the concrete tetrahedrons).
Given the structural and aesthetic triumphs of Kahn’s ceiling and stair, writing on the Yale Art Gallery tends to focus on the building’s elegant interior rather than its facade. But the care with which Kahn treats the gallery space extends outside as well; glass on the west and north faces of the building and meticulously laid, windowless brick on the south allow carefully calculated amounts of light to enter.
Recalling the European practice, Kahn presents a formal facade on York Street—the building’s western frontage—and a garden facade facing neighboring Weir Hall’s courtyard.
His respect for tradition is nevertheless articulated in modernist language.
Despite their visual refinement, the materials used in the gallery’s glass curtain walls proved almost immediately impractical. The windows captured condensation and marred Kahn’s readable facade. A restoration undertaken in 2006 by Ennead Architects (then Polshek Partnership) used modern materials to replace the windows and integrate updated climate control. The project also reversed extensive attempts made in the sixties to cover the windows, walls, and silo staircase with plaster partitions. The precise restoration of the building set a high standard for preservation of American modernism—a young but vital field—while establishing the contentiously modern building on Yale’s revivalist campus as worth saving.
Even with a pristinely restored facade, Kahn’s interior still triumphs. Ultimately, it is a building for its users—those visitors who, today, view art under carefully crafted light and those students who, in the fifties, began their architectural education in Kahn’s space. Purves, who spent countless hours in the fourth-floor drafting room as an undergraduate, maintains that a student working in the space “can see Kahn struggling a bit and can identify with that struggle.” Architecture critic Paul Goldberger, who studied at Yale a decade after Kahn’s gallery was completed, offers a similar evaluation of the building—one echoed by many students who frequented the space: “its beauty does not emerge at first glance but comes only after time spent within it.”
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canon ae-1 program +
canon fd 50mm f1.8 s.c. +
fujifilm superia 200 (expired - 1 year)
no post processing or cropping, just as scanned.
taken at program(auto) mode.
makinenin fonksiyonlarını test etmek amacıyla hızlıca çektiğim fotoğraflardan biri.
herhangi bir oynama veya kırpma yok, tarayıcıdan ne çıktıysa o.
program(otomatik) modunda çekildi.
One of my first product and packaging gigs.
Natureland Products, Pureiän Springs - Cranberry flavor soda. Very nice drink, unlike typical North American soda varieties, it's not too sweet.
Photo By Kent Kallberg from kallbergstudios.com
Haskell eXchange, Thursday, 6th - Friday, 7th October 2016 at CodeNode, London, Images copyright www.edtelling.com
The United States Army Band “Pershing’s Own” hosted a Multi-Functional fitness completion for Senior Enlisted, (E-8 thru E-9) of the Military District of Washington at Joint Base Myer-Henderson Hall Fitness Center Mar. 28, 2017. The competition consisted of 3 timed events. 1. 5:00 of Buprees and Planks, 2. 3 Rounds of 100 meter Partner Carry to 30 reps of partner Medicine Ball Sit ups 20 or 14lbs, to 20 reps of Sandbag to shoulder lifts 45 or 25lbs, and finally 3. 15:00 of the 400 meter sandbag run to 10 reps of overhead medicine ball toss and catch 20lbs to 10 reps alternating overhead lunges 25 or 45lbs plates. The goal of the fitness competition was to increase esprit de corps and to have movements that are quick to learn for those new to Multi-Functional Fitness. (U.S. Army photos by Staff Sgt. Austin L. Thomas)
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The role of an interior designer involves the planning, designing, and execution of interior spaces to create functional, aesthetically pleasing, and comfortable environments. Interior designers work closely with clients to understand their needs, preferences, and budgetary constraints in order to develop designs that align with their vision.
Here are some key aspects of an interior designer's role:
Space Planning: Interior designers analyze and evaluate the available space to determine the most efficient and effective layout. They consider factors such as traffic flow, functionality, and zoning requirements to optimize the use of space.
Concept Development: Based on the client's requirements, interior designers develop a design concept that captures the desired look and feel of the space. This includes selecting color schemes, materials, furniture, lighting, and other design elements.
Detailed Drawings: Interior designers create detailed drawings and specifications, such as floor plans, elevations, and 3D renderings, to communicate their design ideas to clients, contractors, and other professionals involved in the project.
Material and Finishes Selection: Interior designers research and select appropriate materials, finishes, furnishings, and fixtures that align with the design concept and meet the client's functional and aesthetic requirements. They consider factors such as durability, sustainability, and budget.
Collaboration with Professionals: Interior designers often collaborate with architects, contractors, and other professionals to ensure that the design intent is properly executed. They coordinate and communicate with these stakeholders throughout the project to ensure a seamless implementation of the design.
Project Management: Interior designers oversee the project from start to finish, managing timelines, budgets, and resources. They coordinate with vendors, contractors, and suppliers to ensure timely delivery of materials and successful execution of the design plan.
Styling and Decoration: In addition to the overall design, interior designers also focus on the finer details of styling and decoration. They select and arrange accessories, artwork, and other decorative elements to enhance the overall aesthetic appeal of the space.
Overall, the role of an interior designer is to create functional, visually appealing, and harmonious interior spaces that meet the needs and preferences of their clients while adhering to budgetary and regulatory constraints.
Why A's DS is not broken any more.
(The sesame seed is only for scale and is not a functional component)
This is the back of a purse I decoupaged for a facebook friend. I did different textures in places, such as over the budha, with the mod podge.
Apparently totally functional, it looks like they took the battery with them, in China as well these are the most expensive parts to replace and people take them inside to charge while they're at work. Seems like with this bike you might as well carry the whole thing with you if you're going to bother with the battery.