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Chihuly Garden and Glass is an exhibit in the Seattle Center directly next to the Space Needle, showcasing the studio glass of Dale Chihuly. It opened in May 2012 at the former site of the defunct Fun Forest amusement park.[1][2]
The project features three primary components: the Garden, the Glasshouse, and the Interior Exhibits, with significant secondary spaces including a 90-seat café with additional outdoor dining, a 50-seat multi-use theater and lecture space, retail and lobby spaces, and extensive public site enhancements beyond the Garden.[3] The 100-foot-long installation inside of the Glasshouse is one of Chihuly's largest suspended sculptures.[4] Designed with the help of architect Owen Richards, the facility was awarded LEED silver certification from the USGBC.[5]
Note: I always enjoy his glasswork. This time we had a chance to visit such, I'd say I've seen 80% of his collection at the garden in two exhibitions held at NY Botanic Gardens in 2006 and 2017. However, tt was a very delightful visit of such, to say the least. Our hotel was right across street from the "MoPoP", the Space Needle Center & Chihuly Garden & Glass. So, I got more time to photography to my heart content :-))
LinkTree // Instagram: @views4corners
A lovely glass sculpture I saw while wandering through a museum. Glasswork is an amazing talent to have in order to produce something so beautiful. I can only imagine the amount of tools and imagination needed to sculpt such a fragile decor.
Notre Dame's north transept wall, consisting of a rose window surmounting 18 lancet windows, was built ca. 1250-1260 while Jean de Chelles was architect, most of the original 13th C. glasswork is still intact, filtering light into a rainbow of blues, reds, greens, browns and yellows..
Seeing a Flickr friend posted one of the artist's work in 2014, which reminded me such taken in 2006. Well, in 2013, my computer crashed and I didn't have the back-up drive.....I thought I lost all my photos, luckily my son was able to retrieve most of them back. He could've done more, but, he just got a baby who kept him very busy, so that he didn't keep trying to look for some photos I lost in my old computer. Good thing I got this shot on Flickr. NOW, I'm reposting it to share. :-)
See the previous upload for its description. View "L"
Taken @ the Heard Museum, Phoenix, AZ, a-must visit when you visiting there.
"Dans les profondeurs de l'hiver, j'ai enfin appris qu'il y avait en moi un été invincible."
Albert Camus
"In the depths of winter, I finally learned that there was an invincible summer within me."
At the confluence of the Rhône and Saône, the museum is situated at the heart of a monumental structure, conceived by Coop Himmelb(l)au – the only project completed in France by this Austrian agency known for its architecture of the deconstructivist school.
An architecture based on confluences
When glass Crystal met stainless steel Cloud, the architecture of the musée des Confluences was born, inspired by the two converging bodies of water at its feet. Beneath its 33 metres of glasswork, the Crystal functions as an urban space: a space devoted to where the general public comes in and to the circulation of visitors, a place of encounter and exchange. Over an area of 1,900 square metres, bathed in external daylight, the visitors prepare themselves to visit the museum. At its centre, the Gravity Well, an architectural tour de force, carries the whole of the structure and swirls as if caught between the two rivers. The visitor is then invited on a journey through the Cloud, constructed as a large vessel of approximately 11,000 square metres which, under its stainless steel cover, contains the treasures of the museum: the rooms dedicated to its permanent and temporary exhibits. When we finally reach the roof, we enjoy an unrivalled view of Lyon and its river confluence. The whole is carried by a platform accessible to the general public: a place to stroll around a pool of water shining against stainless steel, arousing curiosity in a landscape of ramps and inclined planes which lead it to the garden: 24,400 square meters of green spaces and paths to the point where the rivers meet.
Eden-like, a still pool with a deeply mirrored surface, bird sounds and a gentle, tropical breeze, clouds drifting across the deep blue dome that covers all, and joyous color erupting in masterfully crafted spheres that seem less and less incongruous with each passing moment. Yes, they do belong here.
niijima floats, 2014. glasswork by dale chihuly
littletinperson
Femme regardant une oeuvre du souffleur de verre Dale Chihuly au Musée des beaux-arts de Montréal
Woman admiring Dale Chihuly's glassworks at the Montreal Musée des beaux-arts.
Chandra Mahal is one of the oldest buildings in the City Palace complex. It has seven floors, a number considered auspicious by Rajput rulers. The first two floors consist of the Sukh Niwas (the house of pleasure), followed by the Rang Mahal (alternatively called Shobha Niwas) with coloured glasswork, then Chhavi Niwas with its blue and white decorations. The last two floors are the Shri Niwas, and Mukut Mandir which is literally the crowning pavilion of this palace. The Mukut Mandir, with a bangaldar roof, has the royal standard of Jaipur hoisted at all times, as well as a quarter flag (underscoring the Sawai in the title) when the Maharaja is in residence.
There is an anecdote narrated about the 'one and quarter flag', which is the insignia flag of the Maharajas of Jaipur. Emperor Aurangzeb who attended the wedding of Jai Singh, shook hands with the young groom and wished him well on his marriage. On this occasion, Jai Singh made an irreverent remark to the Emperor stating that the way he had shaken hands with him made it incumbent on the Emperor to protect him (Jai Singh) and his kingdom. Aurangzeb, instead of responding in indignation at the quip, felt pleased and conferred on the young Jai Singh the title of 'Sawai', which means "one and a quarter". Since then the Maharajas have pre-fixed their names with this title. During residence there, they also fly a one and a quarter size flag atop their buildings and palaces.
A unique architecture
At the confluence of the Rhône and Saône, the museum is situated at the heart of a monumental structure, conceived by Coop Himmelb(l)au – the only project completed in France by this Austrian agency known for its architecture of the deconstructivist school.
An architecture based on confluences
When glass Crystal met stainless steel Cloud, the architecture of the musée des Confluences was born, inspired by the two converging bodies of water at its feet. Beneath its 33 metres of glasswork, the Crystal functions as an urban space: a space devoted to where the general public comes in and to the circulation of visitors, a place of encounter and exchange. Over an area of 1,900 square metres, bathed in external daylight, the visitors prepare themselves to visit the museum. At its centre, the Gravity Well, an architectural tour de force, carries the whole of the structure and swirls as if caught between the two rivers. The visitor is then invited on a journey through the Cloud, constructed as a large vessel of approximately 11,000 square metres which, under its stainless steel cover, contains the treasures of the museum: the rooms dedicated to its permanent and temporary exhibits. When we finally reach the roof, we enjoy an unrivalled view of Lyon and its river confluence. The whole is carried by a platform accessible to the general public: a place to stroll around a pool of water shining against stainless steel, arousing curiosity in a landscape of ramps and inclined planes which lead it to the garden: 24,400 square meters of green spaces and paths to the point where the rivers meet.
Taken @Las Vegas, you might have seen some shots of such, wouldn't you think I'd have many different composition of it? haha
Leadlights, leaded lights or leaded windows are decorative windows made of small sections of glass supported in lead cames. The technique of creating windows using glass and lead came is discussed at came glasswork. The term leadlight could be used to describe all windows in which the glass is supported by lead.
Glasswork flowers. Shooting it in full frame, it looks like a kaleidoscope.
Red parts of this glass is 15mm.
Previous upload was taken a little later.
First sunrise of new time - 31st October 2021
It's ages since I dusted off my cameras and a long time since I painted a picture - things have changed for everyone and it is hard to get back to some kind of normality. I've had to get away from lethargy and health problems.
Since I met a fellow artist - a master in stained glasswork - I am now working on my first stained glass window under his expert guidance. I never realised it was such hard and difficult work with so many layers of preparation and construction but my project is slowly taking shape.
I'll post some templates later.
Création réalisée sur ma table de travail à la maison avec une boule de verre et une photo d'une verrière de l'artiste Mario Merola que j'ai prise il y a quelques années. La verrière se situe dans une station de métro de Montréal. Datée de 1978, cette œuvre compte plus de 15 000 pièces et 800 couleurs différentes.
Creation made on my work table at home with a glass ball and a photo of a stainless work by the artist Mario Merola that I took a few years ago. The glasswork is located in a Montreal metro station. Dated 1978, this work has more than 15,000 pieces and 800 different colors.
A unique architecture
At the confluence of the Rhône and Saône, the museum is situated at the heart of a monumental structure, conceived by Coop Himmelb(l)au – the only project completed in France by this Austrian agency known for its architecture of the deconstructivist school.
An architecture based on confluences
When glass Crystal met stainless steel Cloud, the architecture of the musée des Confluences was born, inspired by the two converging bodies of water at its feet. Beneath its 33 metres of glasswork, the Crystal functions as an urban space: a space devoted to where the general public comes in and to the circulation of visitors, a place of encounter and exchange. Over an area of 1,900 square metres, bathed in external daylight, the visitors prepare themselves to visit the museum. At its centre, the Gravity Well, an architectural tour de force, carries the whole of the structure and swirls as if caught between the two rivers. The visitor is then invited on a journey through the Cloud, constructed as a large vessel of approximately 11,000 square metres which, under its stainless steel cover, contains the treasures of the museum: the rooms dedicated to its permanent and temporary exhibits. When we finally reach the roof, we enjoy an unrivalled view of Lyon and its river confluence. The whole is carried by a platform accessible to the general public: a place to stroll around a pool of water shining against stainless steel, arousing curiosity in a landscape of ramps and inclined planes which lead it to the garden: 24,400 square meters of green spaces and paths to the point where the rivers meet.
So called due its rather unusual shape and markings: both reminiscent of Picasso's style. However it's official name is in Hawaiian: Humhumunukunukuāpua'a.
It is the official Fish of the State of Hawai'i.
Theme: "Fish"
Thank you for taking the time to view this photo, and for the faves and comments you make, thank you.
Moving on from Arras, we spent another night in Metz before driving onto Alsace. It was my first visit to Metz, and I was very impressed with the city. The city has a history going back 3,000 years . It sits at the confluence of the Moselle and the Seille rivers. Metz is the prefecture of the Moselle department and the seat of the parliament of the Grand Est region. It has some wonderful old buildings, an excellent Modern art museum, and an extraordinary cathedral which contains a vast array of stained glass . This is a shot of some of the medieval stained glass, but I also took some images of the modern glasswork by Chagall and Villon.
Metz Cathedral has the third-highest nave of cathedrals in France after the cathedrals of Amiens and Beauvais. It is nicknamed la Lanterne du Bon Dieu ("the Good Lord's lantern"), on account of its displaying the largest expanse of stained glass in the world, totalling 69,920 sq ft. The stained glass windows include works by Gothic and Renaissance master glassmakers Hermann von Münster, Theobald of Lixheim, and Valentin Bousch. Later artistic styles are represented by Charles-Laurent Maréchal, Roger Bissière, Villon, and Chagall.
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The white building, at right, is an old mill in disuse (built 1759). The place, located in Uppsala, harbours glasswork, handwork, and ironwork. It is also popular for secondhand and outdoors recreation activities all year round.../Ulva Kvarn i Uppsala. Kvarnen, fr. 1759, är nedlagt (vitt byggnad, t.h.), men Ulva utgör en uppskattad hantverksby och friluftsområde.../
Ulva Kvarn en Uppsala. Es un lugar con un antiguo molino en desuso (casa blanca, de 1759). El sitio alberga un centro artesanal y mercado de segunda mano, además de actividades de recreación al aire libre...(DSC_3089-2)
“Ice is nature’s glasswork, fragile and precise, reflecting a different kind of light.” – Viktor Ames
There are times I am reluctant to say goodbye to certain flowers. What better way to capture their beauty by freezing them in ice.
Üstí nad Labem_Labe_Elbe_Větruše_Czechia
Ústí nad Labem (Czech pronunciation: [ˈuːsciː ˈnad labɛm] (About this soundlisten)), formerly known by its German name Aussig,[1] is the 7th-most populous city of the Czech Republic. It is the capital of its eponymous region and district. Ústí is situated in a mountainous district at the confluence of the Bílina and Elbe rivers. It is a major industrial center and, besides being an active river port, is an important railway junction.
Ústí nad Labem was mentioned as a trading centre as early as 993.[2] In the second half of the 13th century, King Otakar II of Bohemia invited German settlers into the country and granted them a German form of municipal incorporation, thereby founding the city proper.[2] In 1423, as King of Bohemia, Sigismund pledged the town to Elector Frederick I of Meißen, who occupied it with a Saxon garrison.[2] It was besieged by the Hussites in 1426: a German army of 70 000 was sent to its relief but the 25 000 besiegers defeated them amid great slaughter on 16 June; the next day, they stormed and razed the town.[2] It was left derelict for three years before rebuilding began in 1429.[2]
Ústí was again burned down in 1583 and was sacked by the Swedes in 1639 amid the Thirty Years' War.[1] It also suffered grievously during the Seven Years' War and was near the 1813 Battle of Kulm between France and the alliance of Austria, Prussia, and Russia during the Napoleonic Wars.[2] As late as 1830, its population was only 1400.[2]
As part of the Kingdom of Bohemia, it was eventually incorporated into Austria and heavily industrialized over the 19th century. After the Compromise of 1867, it headed the Aussig District, one of Austrian Bohemia's 94 District Commissions (Bezirkshauptmannschaften).[3] In the 1870s, with only 11 000 people, it was a major producer of woolen goods, linen, paper, ships, and chemicals and carried on a large trade in grain, fruit, mineral water, lumber, and coal.[1] By 1900, large-scale immigration had boosted the population to nearly 40 000, mostly German,[2] and added glassworking and stone to its trades.[2] The local river port became the busiest in the entire Austro-Hungarian Empire, surpassing even the seaport in Trieste.[citation needed]
The factories of Aussig—as it was then known—were an early center of the National Socialism ("Nazi") movement. The German Workers' Party in Austria (Deutsche Arbeiterpartei in Österreich) was founded on 15 November 1903 and later gave rise to the Sudeten German Party and Austrian National Socialism. Their books continued to be printed in Ústí even after the formation of Czechoslovakia in 1918. During the 1930 census, Ústí nad Labem was home to 43 793 residents: 32 878 considered German, 8 735 Czech or Slovak, 222 Jews, 16 Russians, and 11 Hungarians.[4] Ústí was ceded to Nazi Germany with the rest of the Sudetenland in October 1938 under the terms of the Munich Agreement. On New Year's Eve of that year, the Nazis burnt down the local synagogue; a meat factory was later raised in its place. The Jewish community in Ústí nad Labem was mostly exterminated over the course of World War II amid the Holocaust. In April 1945, the city was severely bombed by the Allies.[which?]
Under the terms of the Potsdam Conference and the Beneš decrees, the city was restored to Czechoslovakia and most of its German population expelled after Germany's defeat in World War II. In May 1948, the Communist government passed a new constitution declaring a people's republic. Communism continued until the 1989 fall of the Berlin Wall set off a series of events which are now known as the Velvet Revolution. Today, Ústí nad Labem is a major industrial city of the Czech Republic with substantial chemical, metallurgical, textile, food, and machine tool industries.
Lush greenery at Phipps Conservatory enhances Frabel's glasswork displays. These hands are a detail from the whimsical and "alien" Longfellow figures featured in the exhibit!
Tokyu Plaza Ginza is a large-scale commercial center, constructed in Ginza, a traditional commercial district of Tokyo. The external design resembles the faceted glass of the Edo era, acting as a “container of light” made of refined glasswork.
Architectural design:NIKKEN SEKKEI.
@Chihuly Garden & Glass, Seattle, WA
"Dale Chihuly (/tʃɪˈhuːli/) (born September 20, 1941) is an American glass artist and entrepreneur. He is best known in the field of blown glass, "moving it into the realm of large-scale sculpture".