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4 BED • 3 BATH • 4 CAR • RUMPUS • THEARTRE • LIVING • 474sqm
This dwelling has been specially created to harmonize with acreage real estate. Its spacious design supplies you with sizeable bedrooms.
Impressive features include its significant designer kitchen and ample separately zoned living areas.
Specific consideration is provided to precisely how this design fits right into a non-urban panorama and correlates to its environment.
82/365ish
“Tea tempers the spirit and harmonizes the mind; dispels lassitude and relieves fatigue, awakens thought and prevents drowsiness”
Lu Yu
tea...oh i could wax lyrical about a cuppa, a brew, cup o'char, chai, te...i was brought up a tea drinker but have been a coffee drinker for many years...recently i had an almost damascene convertion to tea again....english breakfast tea for preference but i'll run to any fair traded organic tea if pushed.
PHILADELPHIA - FEBRUARY 8, 2018
More than a million fans lined the streets of Philadelphia for the Eagles Parade, celebrating the team's historic first Super Bowl victory.
Dressed in assorted shades of green, throwback jerseys– repping past eras– and creative couture, the fans were as super as the team they came to honor.
A mix of races, religions, ethnicities, sizes, shapes, ages and income levels, stood side-by-side, cheering, hugging and harmonizing on the team's fight song: "Fly Eagles Fly on the road to victory...."
photos: © roger barone/TALK MEDIA NEWS
The First Plus Europe Conference was held at ‘Casa Llotja’ of the Barcelona Chamber of Commerce on February 2nd, 2013. The topics discussed at the conference were: European Governance, Financial Convergence, Fiscal Harmonization.
Juergen Hildebrandt, 79 GHz project coordinator, of BOSCH GmbH
Harmonized 79 GHz frequency band sought for automotive radars
Affordable in-vehicle radars for road safety and efficient transport systems
ITU/R.Farrell
Built between 1937 and 1959, the Organic Modern-style Taliesin West was designed by Frank Lloyd Wright and constructed by his apprentices to serve as the winter home of Wright and his Taliesin Fellowship. The complex, which consists of many buildings, began as a set of temporary, tent-like structures in the late 1930s, before evolving into more permanent buildings over the course of the 1940s, reflecting the ever-experimenting nature of the Taliesin Fellowship and Frank Lloyd Wright, something also seen at the original Taliesin in Wisconsin. Wright developed an architecture at Taliesin West that reflected the surrounding desert environment, with long, low stone buildings featuring long and narrow expanses of glass, shed roofs, stone walls, and timber framing, with rooflines that reflected the surrounding mountains, small areas of non-desert plantings, and buildings that were, alternatively, reminiscent of tent pavilions and stone caves. The complex is clustered around the main building, with much of the site remaining an undisturbed natural desert landscape, an increasingly rare feature of the greater Phoenix Area, which was already beginning to disappear during Wright’s lifetime. The site is home to rocks with petroglyphs created by the indigenous Hohokam people, along with remnants of their habitation of the site prior to their migration out of the region during a period of climate change, which was accompanied by severe flooding that damaged their irrigation canal infrastructure, in the 14th and 15th Centuries. The buildings surround various courts, gardens, and natural areas, and many incorporate Chinese sculptures near their entrances, collected by Frank Lloyd Wright due to his lifelong fascination with East Asian art.
The buildings consist of a main building, with a stone vault at its northwest corner. Built in 1937 as the first structure at Taliesin West, the cave-like stone vault meant to protect drawings created by Wright and the Taliesin Fellowship in the event of a fire, influenced by the fires that had previously destroyed Taliesin in Wisconsin. From this initial structure extends, to the southeast, a drafting studio with a canvas roof, large roof beams, ribbon windows, stone walls, and a wooden pergola on its northern flank, which contained the main drafting studio of the Taliesin Fellowship, and has a large entrance terrace on its south facade, with steps leading down to the pool and the prow at the southwest corner of the complex. To the east of the drafting studio is the kitchen, which features an exterior bell tower that would signal members of the Taliesin Fellowship to come to the dining room for meals, and dining room, which served as a large communal space for the Taliesin Fellowship and Wright. These public and communal spaces sit west of a breezeway that connects the northern patio with the sunset terrace on the south side of the complex. On the southwest side of sunset terrace is the Garden Room, a large living room utilized by both the Taliesin Fellowship members, as well as Wright’s family, as a gathering space, which encloses a small walled garden and, along with the breezeway, marks the transition between the more communal, public spaces at the western end of the main building with the more private rooms to the east. The eastern portion of the main building contains bedrooms and bathrooms for the Wright family, and a weaving studio utilized by Olgivanna to create textiles, with a ventilation tower, the tallest section of the complex, being located on the north side of this wing.
To the east of the main building are various cottages and residences for the Taliesin Fellowship, as well as Sun Cottage, the former residence of Iovanna Wright, the daughter of Olgivanna and Frank Lloyd Wright, which are simpler versions of the main building, and remain private living quarters today, not open to visitors taking tours of the complex. At the southeast corner of these structures is the cave-like Kiva, originally constructed to serve as a theater for the Taliesin Fellowship, which features stone walls and a rooftop terrace, and is connected to the main building via a covered walkway. At the northern end of the original complex is Frank Lloyd Wright’s office, which is extremely similar to the drafting studio, but at a smaller scale, and features the same ribbon windows, canvas roof with large beams, and stone walls seen on the drafting studio. To the north of the office is the Cabaret Theatre, built in 1950, which replaced the Kiva as a performance space and meeting space for the Taliesin Fellowship, and consists of a long, low cave-like structure built of stone and concrete that is embedded into the surrounding landscape. On the east side of the theater is the music pavilion, originally built in 1957, which was destroyed by fire and rebuilt in 1963 according to the original plans, and rivals the main building in size. West of these structures is the Visitor’s Center and Maintenance Building, which was built in the early 2000s to allow for additional visitor capacity at Taliesin West. Following the design of the rest of the complex, the visitor center harmonizes with the rest of Taliesin West, feeling like a natural extension of the buildings constructed with oversight by Wright.
Taliesin West was listed on the National Register of Historic Places in 1974, and was designated a National Historic Landmark in 1982. The structure is also part of The 20th-Century Architecture of Frank Lloyd Wright UNESCO World Heritage Site, listed in 2019. Taliesin West is the final resting place of the remains of Frank Lloyd Wright and Olgivanna Wright, which, controversially, led to the exhumation of Frank Lloyd Wright from Unity Chapel Cemetery in Spring Green, Wisconsin following Olgivanna’s death in 1985. The complex remained in use by the Taliesin Fellowship until it became The School of Architecture in 1986, which remained in operation seasonally at both Taliesin and Taliesin West until moving its operations to another location in Scottsdale in 2020. Taliesin West today is owned and operated by the Frank Lloyd Wright Foundation, which continues conservation work on the buildings, including reconstruction of various wings that were built quickly with low-quality materials, ensuring that the buildings continue to stand and remain open to visitors in perpetuity.
#Dress $17.99 #Style #Work #Party #Cocktail 👉 t.co/qWimYmQ3Go #iheartawards #bestfanarmy #harmonizers #win pic.twitter.com/oNOg3WKQix
— progress (@1bestcellphone) April 3, 2016
Over 45 years ago America harmonized their way to the top of the charts on the strength of their signature song “A Horse With No Name.” This Grammy winning light folk-rock band from London became a musical sensation with an impressive string of hits including “Ventura Highway,” “Tin Man,” “Lonely People,” “Sister Golden Hair,” and “You Can Do Magic.” Christopher Cross’ smoothly sophisticated ballads helped define adult contemporary radio in the 1980s. His well-recognized hits include “Ride Like the Wind,” “Never Be the Same,” “Say You’ll Be Mine,” “Think of Laura,” and “Arthur’s Theme,” along with his Grammy winning Song of the Year, “Sailing.”
Over 45 years ago America harmonized their way to the top of the charts on the strength of their signature song “A Horse With No Name.” This Grammy winning light folk-rock band from London became a musical sensation with an impressive string of hits including “Ventura Highway,” “Tin Man,” “Lonely People,” “Sister Golden Hair,” and “You Can Do Magic.” Christopher Cross’ smoothly sophisticated ballads helped define adult contemporary radio in the 1980s. His well-recognized hits include “Ride Like the Wind,” “Never Be the Same,” “Say You’ll Be Mine,” “Think of Laura,” and “Arthur’s Theme,” along with his Grammy winning Song of the Year, “Sailing.”
Over 45 years ago America harmonized their way to the top of the charts on the strength of their signature song “A Horse With No Name.” This Grammy winning light folk-rock band from London became a musical sensation with an impressive string of hits including “Ventura Highway,” “Tin Man,” “Lonely People,” “Sister Golden Hair,” and “You Can Do Magic.” Christopher Cross’ smoothly sophisticated ballads helped define adult contemporary radio in the 1980s. His well-recognized hits include “Ride Like the Wind,” “Never Be the Same,” “Say You’ll Be Mine,” “Think of Laura,” and “Arthur’s Theme,” along with his Grammy winning Song of the Year, “Sailing.”
The platinum colors of the trim, knobs and accents harmonize beautifully with the black finish, and greatly accentuate the contoured shape of the chest. Rich velvet lining on the inside of the eight drawers ensures the protection of your fine delicates and personal treasures, while both English and French dovetail joints stabilize the drawers, adding quality and style to your home.
44.00 in (Length)
52.50 in (Height)
23.25 in (Depth)
Whether placed in a bedroom, bathroom or foyer, this mirror brings a certain understated elegance to any room. The frame is delicately hand-carved out of the highest quality mahogany and painted in a gorgeous glossy finish.
37 IN W
1.25 IN D
42.5 IN H
Something harmonizes between the subject matter here for some reason...Don't ask me why..I guess probably the yellows and blues matching...?
New York, NY
Listed: 09/02/1987
The U.S. Courthouse at Foley Square (1932-1936) is architecturally and historically significant as one of the largest and most distinctive examples of the Federal architecture erected by the U.S. Treasury Department during the expanded public buildings programs of the 1930s. One of the last commissions executed by nationally prominent architect Cass Gilbert, the design of the courthouse embodies the restrained Neoclassicism that had become the preferred idom for federal buildings during the 1920s and also reflects a similar shift in Gilbert's work at the end of his long career, as more conservative designs replaces the more imaginative and richly decorated compositions (such as the U.S. Customs House at Bowling Green and the Woolworth Building) that had established his reputation several decades earlier. Gilbert's design for the Foley Square courthouse - particularly the monumental six-story base articulated by a Corinthian colonnade on the principal elevation (itself remarkably similar to McKim, Mead and White's General Post Office of 1914) - maintains its link to the public architecture of the earlier twentieth century and harmonizes instyle and scale with the buildings in the surrounding neighborhood. These include the New York County Courthouse (1926) and the Municipal Building (1912-14), both classical in inspiration, which flank the courthouse. At the time, the 31-story "modern" office tower component of the courthouse, believed to have been inspired by the form of the campanile in St. Mark's Square in Venice, reflects Gilbert's interest inland proficiency with steel frame skyscraper construction, as well as his concern with satisfying the practical needs of his clients within the limits of the site. One of the last Neoclasicial style office buildings erected in New York as well as one of the earliest skyscrapers built by the federal government, the U.S. Courthouse at Foley Square illustrates an important turning point in American architectural history.
The Foley Square Courthouse was designed by Cass Gilbert, one of the most prominent architects of his day. Gilbert (1850- 1934) was born in Zanesville, Ohio and began his architectural career as an apprentice in the office of Abraham Radcliff of St. Paul. In 1878, he enrolled in the Massachusetts Institute of Technology, where he spent a year studying architecture. In 1880, he spent several months travelling and studying in England, France and Italy before returning to New York and joining the prestigious firm of McKim, Mead and White as Stanford White's personal assistant.
The use of a skyscraper form for a federal "building was a significant departure from the accepted norm for federal architecture, which favored horizontal forms. Only in Boston had the skyscraper form appeared in federal rchitecture earlier, with the tower that was added to the U.S Custom House in 1915.
By the time the Foley Square federal courthouse was designed and constructed, however, modern forms and decoration had already significantly changed the appearance of much public and private architecture and were "beginning to influence federal architecture as well. Construction was "begun nearby on the Church Street F.O.B (designed "by Cross and Cross and Pennington, Lewis and Mills) only about a year after the Foley Square Courthouse, yet the Church street building features stylized forms and decoration that clearly reflect the influence of modernism.
The Foley Square Courthouse also clearly maintains its connection with earlier twentieth century monumental public architecture. The base of the building is remarkably similar to McKim, Mead and White's General Post Office, which was constructed between 1910 and 1914 as a companion piece to Penn Station. They each feature full width steps leading to a shallow portico supported by Corinthian columns and flanked by end bays with piers. Both buildings clearly illustrate the continued policy of the federal government to use classical forms in public architecture to express the democratic ideals of the nation. Gilbert's other "last work," the Supreme Court Building in Washington, B.C. also embodies these enduring principals.
Over 45 years ago America harmonized their way to the top of the charts on the strength of their signature song “A Horse With No Name.” This Grammy winning light folk-rock band from London became a musical sensation with an impressive string of hits including “Ventura Highway,” “Tin Man,” “Lonely People,” “Sister Golden Hair,” and “You Can Do Magic.” Christopher Cross’ smoothly sophisticated ballads helped define adult contemporary radio in the 1980s. His well-recognized hits include “Ride Like the Wind,” “Never Be the Same,” “Say You’ll Be Mine,” “Think of Laura,” and “Arthur’s Theme,” along with his Grammy winning Song of the Year, “Sailing.”
she was one of the more beautiful dressed riders.... liked it because it harmonized so much with the horse
Post processing:Black brush to harmonize the background,then I deplaced the capsules on the left,and enlarged the picture,saturation.
Two lights:one on the left side and the other one on the right corner of the soft box.
Of course, it is. Right? Well, not exactly. As far as contemporary catchphrases go on the surface this one seems logical and reasonable, and can apparently justify a total disinterest in anything metaphysical. But if we scratch the surface we’ll find that although supposedly illuminating the path of objectivity, it's based on several covert biases as well as unproven, and in fact faulty, premises.
For example, it presumes that existence consists of matter only. That means the only real things are those that are quantifiable by our material senses, and specifically our eyes. Common sense of course reveals the obvious: there are countless examples of real things that we can’t see - the wind, time, and our own mind being few everyday examples. This theory also implies that of all our knowledge acquiring senses our eyes are the most reliable, and always give us trustworthy information. But our eyes do let us down now and then, don’t they?
Bhakti's wisdom reveals that our present eyes, and in fact all our material senses, are not our real senses, but are in fact limited and imperfect filters that cover our original non-material sensory apparatus. Effectively acting like rose-colored glasses, these temporary coverings taint our vision or perception, making us see things that aren’t there, and also preventing us from seeing things that are. In terms of gaining genuine knowledge, Bhakti yogis know that the ear is a much more effective sense than the eye. Why? Because if we can hear from a perfect source we can get perfect knowledge, and that perfect knowledge leads to perfect perception, perfect experience, and perfect pleasure.
This is why Bhakti Yoga begins with hearing from Krishna, the ultimate source of all energies. This non-material technology gradually uncovers our original sensory capacity by harmonizing our vision with the ultimate reality. The resultant perception is explained in the Bhagavad-Gita:
“The dedicated spiritual scientist, through the medium of perfect knowledge, sees with equal vision, an advanced transcendentalist, a cow, an elephant, a dog, and a degraded derelict.”
I aspire for that vision.
No idea what this structure, harmonizing with (and seemingly dug into) the badlands around it, might be. FINALLY found the spot in Google Maps, after many attempts. (Turns out my previous guess, based on terrain, was only off by a couple of km.) But I still don't know any more ...
Harmonized 79 GHz frequency band sought for automotive radars
Affordable in-vehicle radars for road safety and efficient transport systems
ITU/R.Farrell
The First Plus Europe Conference was held at ‘Casa Llotja’ of the Barcelona Chamber of Commerce on February 2nd, 2013. The topics discussed at the conference were: European Governance, Financial Convergence, Fiscal Harmonization.
Gun Camera Harmonizing Unit
Unit Harmonising
Ref nº 14A/1443
A[ir] [crown] M[ministry]
Serial nº 2324
W.M.C Ltd
Mirror unit used to harmonise the machine gun sights of a Spitfire with the gun camera. Belongs to Camera Type G.45 12 volts Ref. No. 14A/1389 (or 24 volts, ref nº 14A/1340). aMade by Williamson Mfg. Co. Ltd. London & Reading
© Dirk HR Spennemann 2010, All Rights Reserved
"Harmonize your life with our new singing bowls."
Shop on Princess St.
It was an attractive shop but I didn't hear the music.
The First Plus Europe Conference was held at ‘Casa Llotja’ of the Barcelona Chamber of Commerce on February 2nd, 2013. The topics discussed at the conference were: European Governance, Financial Convergence, Fiscal Harmonization.
On the third day of Navaratri, the Divine Mother manifests as Chandraghanta — a form of Durga who embodies tranquil strength, bravery, and the harmonizing power of grace under pressure. In Bhakti Marga, this day encourages devotees to awaken courage while maintaining inner serenity.
After Guru puja Rishi Pankajananda gave a short satsang on the qualities and the importance of remaining strong and moving forward through every challenge. This talk was followed by yagna, abhishek and concluded with prayers venerating the divine mother in this aspect. May her blessings lead us to develop unshakeable devotion to the Guru.
paramahamsavishwananda.com
bhaktimarga.org