View allAll Photos Tagged harmonizer
In the quiet I stand within the ancient golden cage, the silks around me shimmering in hues of teal and gold. The delicate fabrics cling to my skin like whispered secrets, each fold a memory of performances past. As I prepare for my next spectacle, my heart flutters with anticipation and the thrill of impending magic.
Tonight, I am not merely a dancer but a conjurer of emotions, a storyteller whose body weaves tales of longing and liberation. The cage, a paradox of confinement and freedom, has been my stage and my sanctuary. I trace my fingertips along the bars, feeling their history and the promise of future enchantments. The air is alive with the murmurs of the crowd and the soft rustle of the silks, harmonizing with the beat of my heart.
Every performance is a dance with destiny, a flirtation with danger and delight. I imagine the crowd’s awe as I spiral upward, defying gravity and expectation. The cage becomes my universe, each movement a rebellion against the mundane, a celebration of the strength and vulnerability woven into every fiber of my being.
In these fleeting moments before the performance, I am both mortal and myth, a bridge between the tangible and the fantastical. My mind is a whirl of dreams, and as the music begins to swell, I surrender to the rhythm. Tonight, my dance will be a luminous saga, a timeless ode to freedom and passion, etched in the annals of magic and desire. With each graceful step, I will weave a spell of wonder and liberation, inviting every onlooker to believe in the power of transformation. I am unstoppable.
Sun breaks though illuminating the Going to the Sun Highway in Glacier National Park on a rainy, August afternoon. Completed in 1932, the spectacular, 50 mile long Going-to-the-Sun Road bisects the park east to west. The paved two-lane highway spans the width of Glacier National Park and crosses the Continental Divide at 6,646-foot-high Logan Pass. It passes large glacial lakes and cedar forests in the lower valleys; canyons and cliffs; culminating at the windswept alpine tundra atop the pass. Scenic viewpoints and pullouts line the road offering dramatic views and photo opportunities. One thing I found interesting is that the view from the road varies depending on the direction you are traveling. I drove both ways a few of times and see different things each time.
The road is nationally significant for its design and monumental engineering accomplishments. The original roadbed, bridges, tunnels, culverts, retaining walls, and guard walls were built in the “NPS Rustic” style. Individually, these structures are often significant examples of period engineering and design philosophy; collectively, they comprise a vital, integral component of the road’s unique character. Most of these structures were designed to harmonize with the roadway setting by using native materials and by blending with landforms as much as possible.The Going-To-The-Sun Road is a National Historic Landmark, is included in the National Register of Historic Places and is a National Historic Civil Engineering Landmark.
Modern architecture captivates with its sleek lines, innovative materials, and minimalist designs, harmonizing form and function.
It emphasizes open spaces, natural light, and sustainable practices, creating elegant structures that blend seamlessly with their surroundings while pushing creative boundaries.
In the past few days, an intriguing idea struck me. What if each week I came up with a different theme? This notion seemed both exciting and promising, offering a fresh perspective and a constant source of novelty. I imagined diving into a new world every seven days, exploring diverse themes.
photo rights reserved by Ben
The stone sculptures in Sno, a small village in the Kazbegi region of Georgia, are part of a remarkable art project in the Caucasus. These sculptures consist of impressive stone artworks depicting giant faces, often with a melancholic or mysterious expression. They were created by local artist Merab Piranishvili, who is renowned for his unique ability to bring faces and emotions to life in natural stone. Working primarily with local stones, he carves expressive facial features that tell stories about life, the soul, and the deep connection with nature. The sculptures symbolize the ancient wisdom of the mountain dwellers and the spirit of the past. The faces sometimes appear sad or contemplative, reflecting both the challenges and the beauty of life in the Caucasus. Fully integrated into the surrounding landscape, the sculptures stand among the mountains, hills, and rugged grasslands, blending seamlessly with their natural environment. This is what makes Piranishvili’s work so unique: he respects the natural shapes of the stones and subtly adds human characteristics without compromising their raw, natural beauty. Piranishvili often works directly in the field, selecting local stones and carving them with a hammer and chisel. He carefully considers the natural form of each stone, adapting his designs to create a result that looks organic and harmonizes with the surrounding environment.
Alexandre Kazbegi (1848–1893) was a famous Georgian writer and one of the most important literary figures of the 19th century. He was born in Stepantsminda (now known as Kazbegi), a picturesque village in the Caucasus Mountains. His work often reflected the life, culture, and struggles of the people of this mountainous region. Kazbegi came from a noble family, but felt a strong connection with the common people of the mountains, such as shepherds and peasants. He studied in Tbilisi and later in Moscow, where he immersed himself in literature and philosophy. Eventually, he returned to his native region. In order to understand the simple life of the mountain people, he chose to work as a shepherd for a while. This experience formed the basis for his literary works. Kazbegi's stories often revolved around justice, struggle against oppression, and the freedom of the mountains. He portrayed the rugged, free spirit of the people of the Caucasus and their strong connection with nature. His works are imbued with heroic figures and tragic conflicts, which made them beloved by readers in Georgia. Alexandre Kazbegi is considered a cultural icon in Georgia. His works helped to strengthen Georgian national identity. In short, Alexandre Kazbegi was not only a writer, but also a voice of the mountains and a symbol of Georgian spirit and fighting spirit.
De stenen sculpturen in Sno, een klein dorpje in de Kazbegi-regio van Georgië, maken deel uit van een bijzonder kunstproject in de Kaukasus. Deze sculpturen bestaan uit indrukwekkende kunstwerken van gigantische gezichten, die vaak een melancholische of mysterieuze uitstraling hebben. Ze zijn gecreëerd door de lokale kunstenaar Merab Piranishvili, die bekendstaat om zijn unieke vaardigheid om gezichten en emoties tot leven te brengen in natuursteen. Hij werkt voornamelijk met lokale stenen en geeft ze expressieve gezichtsuitdrukkingen die verhalen vertellen over het leven in de bergen en de rijke Georgische cultuur. Een van de prominente figuren die in Sno wordt geëerd, is Alexandre Kazbegi 1848–1893, een beroemde Georgische schrijver en een belangrijke literaire figuur van de 19e eeuw. Geboren in Stepantsminda (nu Kazbegi), een dorp in de bergen van de Kaukasus, weerspiegelde zijn werk het leven, de cultuur en de strijd van de bergbewoners. Hoewel hij uit een adellijke familie kwam, voelde hij zich sterk verbonden met gewone mensen zoals herders en boeren. Kazbegi studeerde in Tbilisi en Moskou, maar keerde uiteindelijk terug naar zijn geboortestreek, waar hij als herder werkte om hun leven beter te begrijpen. Zijn verhalen gaan vaak over gerechtigheid, strijd tegen onderdrukking en de vrijheid van de bergen. Hij portretteerde de ruige, vrije geest van de Kaukasische bevolking en hun diepe verbondenheid met de natuur. Kazbegi’s werken, vol heroïsche figuren en tragische conflicten, versterkten de Georgische nationale identiteit en maakten hem tot een cultureel icoon. Tot op de dag van vandaag wordt hij herinnerd als de stem van de bergen en een symbool van de Georgische geest en strijdlust.
I ask all of my Flickr friends to join me in spreading works about love, compassion, working together and just general positive works please!
Hate leaves ugly scars; love leaves beautiful ones.
Mignon McLaughlin
I have decided to stick with love. Hate is too great a burden to bear.
Martin Luther King Jr.
Hate is easy. Love takes courage.
Anon
Hatred paralyzes life; love releases it. Hatred confuses life; love harmonizes it. Hatred darkens life; love illuminates it.
Martin Luther King Jr.
By its very nature, hate destroys and tears down; by its very nature, love creates and builds up.
Martin Luther King Jr.
Thank you for your kind visit. Have a wonderful and beautiful day! ❤️ ❤️❤️
chacun dans son propre monde. et ils s'harmonisent bien quand même. :))
each one in his own world, and yet they harmonize well. :)
Modern architecture captivates with its sleek lines, innovative materials, and minimalist designs, harmonizing form and function.
It emphasizes open spaces, natural light, and sustainable practices, creating elegant structures that blend seamlessly with their surroundings while pushing creative boundaries.
In the past few days, an intriguing idea struck me. What if each week I came up with a different theme? This notion seemed both exciting and promising, offering a fresh perspective and a constant source of novelty. I imagined diving into a new world every seven days, exploring diverse themes.
Probably the last one for this week...
Have a happy weekend you all 👍
Modern architecture captivates with its sleek lines, innovative materials, and minimalist designs, harmonizing form and function.
It emphasizes open spaces, natural light, and sustainable practices, creating elegant structures that blend seamlessly with their surroundings while pushing creative boundaries.
In the past few days, an intriguing idea struck me. What if each week I came up with a different theme? This notion seemed both exciting and promising, offering a fresh perspective and a constant source of novelty. I imagined diving into a new world every seven days, exploring diverse themes.
They had inherited his spirit—the spirit which demands that the thoughts in the mind should harmonize with the words on the lips when we sing in choir (ut mens nostra concordet voci nostrae) 12 and that we should all be, in reality, what we are supposed to be (semper meminisse debet [abbas] quod dicitur, et nomen majoris factis implere): 13 that conduct should be in accordance with our profession. For St. Benedict passes a strict sentence upon those who call themselves monks but lead a worldly life and “lie to God by their tonsure.” 14 Hoc sit quod dicitur [let it be what it is called]. 15 These are the watchwords of our fathers: truth, simplicity in all things, unity as opposed to duplicity: our behavior, our name, our profession, all should be reducible to one and the same thing.
-The Spirit of Simplicity, Jean-Baptiste Chautard OSCO, Translated by Thomas Merton
Late at night, the facades of the beautiful old town houses around the Münsterhof in the middle of the city of Zurich are reflected in the surface of the fountain, which is a work of art in itself.
The blue facade of the Zunfthaus zur Waag, whose blue harmonizes with the golden yellow of the fountain, is prominently displayed.
Thanks for your criticism and as always, favs, likes and comments are gratefully appreciated!
We spent a lovely Saturday afternoon picking 8 pounds of plump blueberries in a wonderful U-Pick farm called Jensen Blueberries. It is all certified organic and you can bring your dog! They have a huge Bloodhound who comes to greet everybody. There are sooooo many berries ... I might have to return and get more! It is a miraculously grounding and harmonizing activity to be doing. It just makes you feel good!
I offered Blanca some berries (and the owners don't mind if you or your dog sample plenty) ... but she didn't even want to try a single one!
As I stepped cautiously into the embrace of the dark forest, the towering trees loomed overhead like ancient sentinels, their gnarled branches intertwining to form a natural cathedral. The air was thick with the earthy scent of damp soil and moss, while a gentle mist rolled in, swirling around my feet and cloaking the surroundings in an ethereal haze. The soft rustle of leaves whispered secrets as I ventured deeper, each footfall accompanied by the subtle echo of calming music that seemed to flow from the shadows, harmonizing with the forest's pulse. Hidden creatures watched me with curious eyes, while the distant howl of wolves punctuated the serene atmosphere, reminding me of the wild mystery that thrived here. In this enchanting realm, nature unfolded its beauty, captivating my senses and inviting me to lose myself in its depths and giving me the inner peace that helped me shut off from the busy world.
CK's Dark Forest Is a beautiful place to go, explore or just relax and listen to the sounds of nature, from the birds in the trees, to the wolves howling, this sim really takes your breath away!
Part of Part of the Nature Collective.
TNC Social Media Info:
Discord • Facebook • Instagram • Primfeed • SL Group • Website
Beyond exited to Show you Noni. This Wedding Collections is by hand one of Most Flowery details i created so far. This Collections offer a Set of Flowers Bouquet bento . A range of Colorful Cakes & Fulbright Wall Candle decor to harmonized any Decorations . This set is going to be featured FaMESHed August 1th. I hope you like this collections iv made for you ♥♥♥
Ein stilles Entrée in Sopron, eingefangen in Schwarz-Weiß, als wäre es ein eingefrorener Moment im Dialog der Zeiten. Die klassische Fassadengliederung, das Rundbogenportal und die verwitterte Tür erzählen von einer Epoche, in der Architektur nicht nur funktional, sondern auch Ausdruck von gesellschaftlicher Stellung war.
Doch die Gegenwart mischt sich unaufdringlich ein – in Form zweier moderner Pflanzkübel mit Olivenbäumchen, die symmetrisch die Stufen flankieren. Sie stehen wie stille Zeugen einer heutigen Ästhetik, die bewusst auf Reduktion, Klarheit und Symbolkraft setzt. Der Kontrast zwischen dem gealterten Mauerwerk und den minimalistischen Formen der Behälter erzählt von Wandel – nicht als Bruch, sondern als Überlagerung.
Der Blick durch die offene Tür führt weiter, tiefer, in einen weiteren Hofraum. Dieses Bild im Bild eröffnet nicht nur räumliche, sondern auch zeitliche Tiefe – ein stiller Verweis auf das Fortbestehen städtischer Räume und ihre Fähigkeit, Geschichte in sich aufzunehmen, zu speichern und neu zu interpretieren.
Englisch
A quiet entrance in Sopron, captured in black and white, as if time itself has paused for a moment. The neoclassical façade, with its arched doorway and weathered wooden door, speaks of an era when architecture conveyed more than function – it conveyed identity, status, and permanence.
Yet the present asserts itself gently: two modern planters, minimal and geometric, stand symmetrically at the top of the steps. Their design belongs to a different time – a contemporary language of form that contrasts yet harmonizes with the aged stone. Together, they illustrate urban change not as rupture, but as quiet layering.
Through the open door, we glimpse a second courtyard – a frame within a frame, revealing depth in space and in time. The composition invites reflection: on what cities carry, what they forget, and what they silently preserve beneath their surfaces.
I said it's enough
I begged and I ran in circles
I climbed to the sun
And fell in a concrete jungle
I said it's done
You never know if you'll get what you wish for
I climbed to the sun
And I fell, I fell in a concrete jungle
The coyotes cry
And the sirens pass and harmonize
Fires starting every day and night
Burn around us while we're trapped inside
Wouldn't it be nice
To play the game without a crooked die
In a world where you don't have to hide?
You don't have to live in a disguise
Le bâtiment Richard Meier, d'un blanc éclatant, se dresse au cœur de la nature environnante. Que les visiteurs se réjouissent : là où l'art et le nouveau bâtiment du musée s'harmonisent, ils seront les gagnants. Ici, pas de compétition pour occuper la vedette, mais un lieu empreint d'art, un lieu qui révèle sa vraie nature et offre un écrin aux œuvres de l'artiste-mécène du musée ainsi qu'à l'art contemporain.
« Mon architecture ouverte et transparente crée des transitions fluides entre l'intérieur et l'extérieur et reflète le même lien avec la nature que celui exprimé dans les œuvres de Hans Arp. »
En tant que l'un des plus grands architectes de musées internationaux, Richard Meier se réfère dans son architecture aux principes du modernisme classique, un style qui a connu son apogée au début du XXe siècle. Cette époque a également façonné l'œuvre du duo d'artistes Hans Arp et Sophie Taeuber-Arp. Le bâtiment de Meier est baigné de lumière et semble emmener les visiteurs hors de leur quotidien. Ici, les œuvres trouvent un espace propice à leur épanouissement.
The dazzling white Richard Meier Building stands out in the heart of the surrounding nature. Visitors can rejoice: wherever art and the new museum building harmonize, they will be the winners. Here, there's no competition for the spotlight, but a place imbued with art, a place that reveals its true nature and provides a showcase for the works of the museum's artist-patron as well as contemporary art.
"My open and transparent architecture creates seamless transitions between indoors and outdoors and reflects the same connection with nature expressed in the works of Hans Arp."
As one of the greatest international museum architects, Richard Meier refers in his architecture to the principles of classical modernism, a style that reached its peak in the early 20th century. This era also shaped the work of the artist duo Hans Arp and Sophie Taeuber-Arp. Meier's building is bathed in light and seems to transport visitors away from their everyday lives. Here, the works find a space conducive to their development.
This plane is an original WW1 machine that dates from 1917.
The gun-aiming apparatus can clearly be seen in this shot.
The pilot looks down the Aldis tube (same manufacturer as the Aldis signalling lamp) which is a non-magnifying scope, and lines up the bead (that metal point sticking upwards), the circular rings and the target, beyond. When they are all in line, he pulls the wire to fire the gun, mounted above the top wing. Bound to get a hit every time! Presumably, the gun and sights are harmonized a set distance ahead - maybe 50 yards or so.
This aircraft is owned by the Shuttleworth Collection and seen here displaying at its Old Warden base.
Primarily a drummer, his hands are always in motion. He's also a gifted multi instrumentalist, (keyboards, guitar, bass, harmonica etc.) as well as sings and harmonizes while playing drums.
Le facteur Christian Müller et le sculpteur Jan van Logteren, tous deux d'Amsterdam, ont construit l'instrument entre 1735 et 1738. Avec ses 60 jeux et ses imposantes tours abritant les jeux de 32' de la pédale, cet orgue fut, pendant plusieurs années, le plus grand instrument du monde. Händel, Mozart et Mendelssohn font partie des célèbres visiteurs qui vinrent jouer cet instrument.
Plusieurs modifications ont été apportées à l'instrument au cours des 19e et 20e siècles selon les goûts du jour. Le but de la restauration majeure de 1959-1961 par la firme Marcussen & Son était de restorer l'instrument aussi près que possible de l'original. Au cours des années 1987 à 2000, la firme Flentrop Orgelnouw a travaillé sur l'harmonisation de l'instrument.
The organbuilder Christian Müller and the sculptor Jan van Logteren, both from Amsterdam, built the instrument between 1735 and 1738. With its 60 stops and its imposing towers housing the 32' stops of the pedal, this organ was, during several years, the largest instrument in the world. Händel, Mozart and Mendelssohn are among the famous visitors who came to play this instrument.
Several modifications were made to the instrument during the 19th and 20th centuries according to the tastes of the day. The aim of the major restoration of 1959-1961 by the firm of Marcussen & Son was to restore the instrument as close to the original as possible. During the years 1987 to 2000, the firm Flentrop Orgelnouw worked on the harmonization of the instrument.
Le bâtiment Richard Meier, d'un blanc éclatant, se dresse au cœur de la nature environnante. Que les visiteurs se réjouissent : là où l'art et le nouveau bâtiment du musée s'harmonisent, ils seront les gagnants. Ici, pas de compétition pour occuper la vedette, mais un lieu empreint d'art, un lieu qui révèle sa vraie nature et offre un écrin aux œuvres de l'artiste-mécène du musée ainsi qu'à l'art contemporain.
« Mon architecture ouverte et transparente crée des transitions fluides entre l'intérieur et l'extérieur et reflète le même lien avec la nature que celui exprimé dans les œuvres de Hans Arp. »
En tant que l'un des plus grands architectes de musées internationaux, Richard Meier se réfère dans son architecture aux principes du modernisme classique, un style qui a connu son apogée au début du XXe siècle. Cette époque a également façonné l'œuvre du duo d'artistes Hans Arp et Sophie Taeuber-Arp. Le bâtiment de Meier est baigné de lumière et semble emmener les visiteurs hors de leur quotidien. Ici, les œuvres trouvent un espace propice à leur épanouissement.
The dazzling white Richard Meier Building stands out in the heart of the surrounding nature. Visitors can rejoice: wherever art and the new museum building harmonize, they will be the winners. Here, there's no competition for the spotlight, but a place imbued with art, a place that reveals its true nature and provides a showcase for the works of the museum's artist-patron as well as contemporary art.
"My open and transparent architecture creates seamless transitions between indoors and outdoors and reflects the same connection with nature expressed in the works of Hans Arp."
As one of the greatest international museum architects, Richard Meier refers in his architecture to the principles of classical modernism, a style that reached its peak in the early 20th century. This era also shaped the work of the artist duo Hans Arp and Sophie Taeuber-Arp. Meier's building is bathed in light and seems to transport visitors away from their everyday lives. Here, the works find a space conducive to their development.
Lungta (Windhorse) are prayer flags made in five cardinal
colours of yellow, green, red, white and blue, symbolizing the
five elements of earth, water, fire, air and earth respectively.
The silent prayers are blessings spoken on the breath of nature. Just as a drop of water can permeate the ocean,
prayers dissolved in the wind extend to fill all of space, quietly harmonizes the environment.
Outer Level: Mythical Creature
On the outer level, the lungta is a mythical Tibetan creature from pre-Buddhist times that combines the speed of the wind and the strength of the horse to carry prayers from earth to the heavens.
Inner Level: Positive Qualities
Lungta is associated with positive energy or ‘life force’ and with ‘good luck’. It is both the subduer of evil and the vehicle of enlightenment.
The lungta symbol is often depicted on prayer flags, which are flown to generate merit and increase one's life force. Lungta prayer flags typically display a tiger, a snow lion, a garuda, and a dragon, (the four dignities) with a lungta in the center. Certain lungta prayers also refer to these four symbols.
The tiger, snow lion, garuda, and dragon are ancient symbols of the qualities of lungta that originate with pre-Buddhist Tibetan and Chinese astrological traditions. Generally, they symbolize the fearlessness and resilience of lungta. (See Shambhala: The Path of the Warrior.)
My late parents used to sing this song while Dad strummed his guitar when I was a child. They would harmonize their voices and it sounded so beautiful to me. They met in high school and were lifelong soulmates.
"Down by the Old Mill Stream
where I first met you
With your eyes of blue, dressed in gingham too
It was there I knew that you loved me true
You were sixteen, My village queen,
By the Old Mill Stream"
photo rights reserved by Ben
The stone sculptures in Sno, a small village in the Kazbegi region of Georgia, are part of a remarkable art project in the Caucasus. These sculptures consist of impressive stone artworks depicting giant faces, often with a melancholic or mysterious expression. They were created by local artist Merab Piranishvili, who is renowned for his unique ability to bring faces and emotions to life in natural stone. Working primarily with local stones, he carves expressive facial features that tell stories about life, the soul, and the deep connection with nature. The sculptures symbolize the ancient wisdom of the mountain dwellers and the spirit of the past. The faces sometimes appear sad or contemplative, reflecting both the challenges and the beauty of life in the Caucasus. Fully integrated into the surrounding landscape, the sculptures stand among the mountains, hills, and rugged grasslands, blending seamlessly with their natural environment. This is what makes Piranishvili’s work so unique: he respects the natural shapes of the stones and subtly adds human characteristics without compromising their raw, natural beauty. Piranishvili often works directly in the field, selecting local stones and carving them with a hammer and chisel. He carefully considers the natural form of each stone, adapting his designs to create a result that looks organic and harmonizes with the surrounding environment.
Sno is located near the breathtaking Stepantsminda area and the imposing Mount Kazbegi. The stone sculptures are a hidden gem in this region, attracting an increasing number of art enthusiasts and travelers. The site exudes a serene, almost meditative atmosphere—perfect for those seeking something unique off the beaten path. If you ever find yourself near Kazbegi, these sculptures are well worth a visit. They offer a truly unique experience where art and nature come together in perfect harmony.
De stenen sculpturen in Sno, een klein dorpje in de Kazbegi-regio van Georgië, maken deel uit van een bijzonder kunstproject in de Kaukasus. De sculpturen bestaan uit indrukwekkende stenen kunstwerken van gigantische gezichten, die vaak een melancholische of mysterieuze uitstraling hebben. Ze zijn gecreëerd door de lokale kunstenaar Merab Piranishvili, die bekendstaat om zijn unieke vaardigheid om gezichten en emoties tot leven te brengen in natuursteen. Hij werkt voornamelijk met lokale stenen en geeft ze expressieve gezichtsuitdrukkingen die verhalen vertellen over het leven, de ziel en de diepe verbondenheid met de natuur. De sculpturen symboliseren de oude wijsheid van de bergbewoners en de geest van het verleden. De gezichten tonen soms een droevige of reflectieve uitdrukking, wat de uitdagingen én de schoonheid van het leven in de Kaukasus weerspiegelt. De beelden zijn volledig geïntegreerd in het omringende landschap: ze staan tussen de bergen, heuvels en het ruige grasland, waardoor ze naadloos opgaan in hun natuurlijke omgeving. Dit maakt het werk van Piranishvili zo uniek: hij respecteert de oorspronkelijke vormen van de stenen en voegt subtiel menselijke kenmerken toe, zonder hun ruwe, natuurlijke schoonheid aan te tasten. Sno ligt vlakbij het adembenemende berggebied Stepantsminda en de imposante Kazbegi-berg. De stenen sculpturen zijn een verborgen juweel in deze regio en trekken steeds meer kunstliefhebbers en reizigers aan. De plek straalt een rustige, bijna meditatieve sfeer uit, ideaal voor wie op zoek is naar iets unieks buiten de gebaande paden. Piranishvili werkt meestal direct in het veld, waarbij hij natuursteen uit de regio selecteert en met hamer en beitel bewerkt. Hij houdt rekening met de oorspronkelijke vormen van de steen en past zijn ontwerpen hierop aan, zodat het eindresultaat natuurlijk oogt en harmonieert met de omgeving. Als je ooit in de buurt van Kazbegi bent, mag je deze sculpturen zeker niet missen. Ze bieden een bijzondere ervaring waarin kunst en natuur op een unieke manier samensmelten!
Magnetite for Smile on Saturday
It is one of just a few minerals that are attracted to a common magnet. It is a black, opaque, submetallic to metallic mineral with a Mohs hardness between 5 and 6.5. It is often found in the form of isometric crystals. It is the most strongly magnetic mineral found in nature.
Not good IN our body, but useful on the skin for harmonizing, balancing, pain relief ...
-----------------------
PS: Mi scuso con gli amici e i visitatori, ma sono costretta a venirvi a trovare solo un po' per volta ...
------------------------
Sorry, to me is very difficult to visit people that always only leave a fav without commenting...
Do not use any of my images on websites, blogs or other media without my explicit written permission.
All rights reserved - Copyright © fotomie2009 - Nora Caracci
The Bremen Parliament building, the *Bremische Bürgerschaft*, stands with quiet dignity on the market square, its modern lines contrasting yet harmonizing with the city’s historic heart. It feels like a house of voices — where the spirit of Bremen’s citizens and centuries of democracy still echo through its glass and stone......
Excerpt from historicplaces.ca:
Description of Historic Place
The Navy Hall stands alone in a carefully manicured park setting just below Fort George National Historic Site. Designed with clear, clean lines, it is a low, rectangular, stone-clad structure with a hipped-roof clad in copper, and with a symmetrical organization of its windows and entry points. The designation is confined to the footprint of the building.
Heritage Value
The Navy Hall is a Recognized Federal Heritage Building because of its historical associations, and its architectural and environmental values.
Historical Value:
The Navy Hall is a very good example of a building associated with the beginnings of the heritage movement in the first half of the 20th century. It illustrates changing approaches to the management of important historic buildings over time. In particular, it illustrates the role of aesthetics in conservation in the 1930s. Originally a commissariat storehouse, regular troops, the militia and also the Boy Scouts used the building, built in 1815. In the 1930s, the building was taken over by the Niagara Parks Commission.
Architectural Value:
The Navy Hall is valued for its good aesthetic design. The exterior fabric of the structure, the stone cladding, the copper clad roof, and the enhanced symmetry of the fenestration are features of the 1930s intervention. These features, clearly of a later era and philosophy, reflect the classical revival tastes of the period and the design idiom of the Niagara Parks Commission. Good functional design is evidenced in the placement of doors and windows, and in the spatial arrangement and planning of the interior.
Environmental Value:
The Navy Hall reinforces the landscaped parkway that runs along the Niagara lakefront and is a familiar landmark to residents and to visitors.
Character-Defining Elements
The character-defining elements of the Navy Hall should be respected.
Its good aesthetic, good functional design and good quality materials and craftsmanship, for example:
-the simple, rectangular massing.
-the low-pitched hipped roof, the copper roof cladding, and the symmetrically placed chimneys.
-the stone cladding of the exterior walls, the small multi-paned windows and large entrances.
-the interior spatial arrangement of the principal rooms.
The manner in which the Navy Hall reinforces the landscaped setting and is a familiar landmark, as evidenced by:
-its simple design and materials that harmonize with the landscaped parkway consisting of well-maintained lawns and walks, all introduced as part of the Niagara Park Commission’s parkway landscaping in the 1930s.
-its visibility and recognition by those frequenting the parkway and the National Historic Site.
A stone train from Hanson quarry in Jamesville crawls up the grade at Onativia on 22 August 1998. With Lenny at the throttle, the two big Alco products - ex-CP M636 No. 4743, leased from GVT, and NYSW's own C430 No. 3006, make an impressive sound as they harmonize in Run 8 with their heavy loads.
Is not this a true autumn day? Just the still melancholy that I love—that makes life and nature harmonize."
~George Elliot~
ANSH 121 # 14 "Harmony of colors"
123 Pictures in 2023 #12 "Biscuits (Cookies)
These are some shortbread Valentines Day cookies I got at the grocery store (made in the store's main bakery in San Antonio). The pink icing harmonizes with the red and white winter motif of the plate (actually a Christmas snack plate we've had for years).
Interesting Fact: The Brown Thrasher can sing “internal duets” with itself. In the final trilling phrase of its three-part song, it sings pairs of notes simultaneously, one in each branch of its voice box. The two parts harmonize with each other.
Modern architecture captivates with its sleek lines, innovative materials, and minimalist designs, harmonizing form and function.
It emphasizes open spaces, natural light, and sustainable practices, creating elegant structures that blend seamlessly with their surroundings while pushing creative boundaries.
In the past few days, an intriguing idea struck me. What if each week I came up with a different theme? This notion seemed both exciting and promising, offering a fresh perspective and a constant source of novelty. I imagined diving into a new world every seven days, exploring diverse themes.
Parlamentsgebäude, in the Museumsquartier district of Vienna in Austria.
It is where the two houses of the Austrian Parliament conduct their sessions. The building is located on the Ringstraße boulevard, near Hofburg Palace and the Palace of Justice. It was built to house the two chambers of the Imperial Council (Reichsrat), the bicameral legislature of the Cisleithanian (Austrian) part of the Austro-Hungarian Empire. Since its construction, the Parliament Building has been the seat of these two houses, and their successors—the National Council (Nationalrat) and the Federal Council (Bundesrat)—of the Austrian legislature.
The foundation stone was laid in 1874; the building was completed in 1883. The architect responsible for its Greek Revival style was Theophil Hansen. He designed the building holistically, aiming to have each element harmonizing with all the others. He was therefore also responsible for the interior decoration, such as statues, paintings, furniture, chandeliers, and numerous other elements. Hansen was honored by Emperor Franz Joseph with the title of Freiherr (Baron) after its completion. Following heavy damage and destruction in World War II, most of the interior has been restored to its original splendour.
The parliament building covers over 13,500 square meters, making it one of the largest structures on Ringstraße. It contains over one hundred rooms, the most important of which are the Chambers of the National Council, the Federal Council, and the former Imperial House of Representatives (Abgeordnetenhaus). The building also includes committee rooms, libraries, lobbies, dining rooms, bars and gymnasiums. One of the building's most famous features is the Pallas Athena fountain in front of the main entrance, built by Carl Kundmann after plans from Hansen, from 1898 to 1902 and it is a notable Viennese tourist attraction.
The Parliament Building is the site of important state ceremonies, most notably the swearing-in ceremony of the President of Austria and the state speech on National Day each October 26. The building is closely associated with the two parliamentary bodies, as is shown by the use of the term Hohes Haus as a metonym for "Parliament". Parliamentary offices spill over into nearby buildings, such as the Palais Epstein.
Information Source:
Dare to Shine – The Nomi Bodysuit by Enchantress
The moment I slip into the Nomi Bodysuit, I transform. The way this high-shine latex caresses my body, molding every curve, is pure temptation. The sleek, liquid finish reflects the light with every move—an irresistible dance of allure and attitude.
This isn’t just a bodysuit—it’s a statement. With daring cutouts sculpting my silhouette, I decide exactly how to own the night. And the best part? The fully customizable HUD lets me mix and match 30 stunning colors separately for the bodysuit, sleeves, and boots to complement my accessories perfectly. Tonight, I indulge in lustrous lavender, a hypnotic shade that harmonizes effortlessly with my wide-brimmed hat and intricate jewelry. Every detail, every shimmer, is curated—elevating the look from merely stunning to completely unforgettable.
Designed for the perfect fit, the Nomi Outfit is compatible with Maitreya (Petite), Legacy (Perky), Reborn, Waifu, Kupra (Kups), Khara, and GenX (Classic & Curvy). Whether I slip into it for a night of seduction or pair it with statement accessories for high-fashion drama, I command attention with every step.
Tonight, I don’t just dress. I captivate.
Taxi to Mainstore: maps.secondlife.com/secondlife/LeLa%20Island/48/141/2232
Peppermint Patty breathes in the adventure. The air crackles with an almost palpable energy, a constant hum of anticipation and movement.
"Oboy, oboy," she thinks. "I've got to get a window seat. I've just got to!"
Visually, the Paprihaven train station is a kaleidoscope of activity. The platforms themselves are stages upon which streams of people pass by, the jumble of their conversations a flow of individual stories converging and diverging.
"Hmmm... but I also need to check out the passengers. I want to sit next to someone looks interesting and talkative. No sleepers or sourpusses!"
The vast arching ceilings add to the ambiance of something momentous. They lend natural and artificial light along with the electronic departure and arrival boards. Each flickering change of venue promises the lure and lore of travel.
"Okay, gotta keep my ticket ready and accessible for the collector."
Vendors at newsstands and coffee shops add splashes of color, their displays of magazines, snacks, and steaming cups of coffee a beacon for weary travelers.
"Did I remember my sandwiches? Yes! One peanut butter, jelly, and banana, and one cheese and baloney."
And of course, the trains themselves are monumental presences – sleek, powerful machines of steel and glass, their windows reflecting the bustling scene around them.
"This train is my favorite type. I love their seats!"
The soundscape of a busy train station is equally rich and complex, a cacophony that somehow harmonizes into an urban symphony. The most dominant sound is the constant murmur of human voices, a low thrum of conversations in countless languages, punctuated by bursts of laughter or the occasional shouted farewell.
"Everyone is dressed so nice. I guess blue was the memo. That lady even has one blue stocking. Ah, well. Never let AI dress you."
This is layered with the rattle and roll of luggage wheels on the tiled floors, a rhythmic percussion that underscores the flow of people. From the tracks, there's the distant, echoing rumble of an approaching train, growing steadily louder until it culminates in a powerful whoosh as it pulls into the station. The hiss of air brakes is a sharp, characteristic sound, followed by the metallic groan of the doors opening and closing.
Over it all, the disembodied voice of the station announcer cuts through the din, a calm, authoritative presence relaying vital information about platforms and delays, often accompanied by the distinctive chime or melodic jingle that precedes each announcement. The occasional toot of a train horn adds a deeper, more resonant note to this intricate sound tapestry.
"Did I put my favorite mixtape in my cassette player? Did I remember my headphones?"
Together, the sights and sounds create an atmosphere of constant motion and fleeting connections, a place where journeys begin and end, and the pulse of travel life beats strong.
"It's going to be a great day!"
Yes, just 'a day'. You see, Peppermint Patty loves train travel so much, she saves up her allowance to ride the train around Paprihaven. She will disembark at the Eastern Woods and enjoy a lunch and a few hours of relaxation at one of the parks there. Then get back on the next train and complete the circuit.
•────────────────•°•❀•°•────────────────•
A year of the shows and performers of the Bijou Planks Theater.
Peanuts Collection
50 Years Celebration
Peppermint Patty
1998, Flambro
Flambro is another of our favorite brands for the Peanuts license. We had an account with them when we had our collectibles store and Flambro never failed to delight with their colorful and innovative designs.
This series, celebrating the 50th anniversary of Peanuts (Which occured in 2000), features nine figurines, each of them incredibly cute, such as Peppermint Patty here.
Conditions de prises de vues très diificiles dans cette cathédrale, peu de lumière.
L’orgue de la cathédrale Saint-Bertrand de Comminges possède l’un des plus beaux buffets Renaissance conservé à ce jour et classé Monument Historique depuis 1840. Commandé par Jean de Mauléon, évêque du Comminges, il fut réalisé après l’achèvement des stalles du chœur en 1551.
Comme les stalles, ce buffet serait l’œuvre de Nicolas Bachelier, architecte et sculpteur français (1487 – 1556) à qui l’on doit, entre autre, le célèbre Hôtel d’Assézat à Toulouse.
Le nom du facteur et la composition d’origine de l’instrument nous sont inconnus. Il subira de nombreux avatars au cours des siècles et, en 1793, les tuyaux de montre seront fondus et l’instrument abandonné.
De l’instrument Renaissance enfermé dans ce buffet, il ne reste rien. Pour imaginer en quoi pouvait consister l’instrument commandé par Jean de Mauléon, évêque du Comminges, on en est réduit à formuler des hypothèses, en se référant d’une part à la composition connue d’orgues de cette époque, à la structure du buffet, et d’autre part, à la littérature pour clavier éditée autour des années 1550. Les parties les plus anciennes (2 sommiers de grand orgue de 48 notes et deux petits sommiers de pédale, plus quelques jeux anciens, bourdons et flûtes) remontent aux XVIIe et XVIIIe siècles.
Bernard Raupp, facteur d’orgues à Mirande, a retrouvé des dessins sur des soupapes des sommiers de grand orgue, qui peuvent être attribués à Jean-François Lépine. Le reste résulte des reconstructions successives menées au cours des siècles suivants.
En 1896, les frères Magen reconstruisent l’orgue et livrent un instrument à 2 claviers et pédale.
En 1970, Robert Chauvin restaure les sommiers du Grand Orgue, puis sous la direction de Pierre Lacroix, la reconstruction de l’instrument actuel est confiée à Jean-Pierre Swiderski et réalisée en plusieurs tranches, de 1975 à 1981. À l’exception de 218 tuyaux du XVIIe siècle et de 243 tuyaux de Magen, la tuyauterie est entièrement neuve. Réalisée à la demande, elle a été harmonisée par Jean-Pierre Swiderski pour les jeux de fonds et Georges Lhôte pour les jeux d’anches. L’instrument conserve encore deux sommiers de 14 jeux au Grand Orgue et deux sommiers 4 jeux à la pédale remontant au XVIIe siècle.
Depuis 1974, la commune de Saint-Bertrand-de-Comminges, propriétaire, a délégué ses pouvoirs à l’Association des Amis de l’Orgue de Saint-Bertrand-de-Comminges, en vue de la restauration et de l’entretien de l’instrument.
Very difficult shooting conditions in this cathedral, little light.
The organ of the Saint-Bertrand de Comminges cathedral has one of the most beautiful Renaissance cases preserved to date and classified as a Historic Monument since 1840. Commissioned by Jean de Mauléon, bishop of Comminges, it was made after the completion of the stalls of the choir in 1551.
Like the stalls, this buffet would be the work of Nicolas Bachelier, French architect and sculptor (1487 – 1556) to whom we owe, among other things, the famous Hôtel d’Assézat in Toulouse.
The name of the maker and the original composition of the instrument are unknown to us. It will undergo many avatars over the centuries and, in 1793, the watch stems will be melted down and the instrument abandoned.
Of the Renaissance instrument enclosed in this case, nothing remains. To imagine what the instrument ordered by Jean de Mauléon, bishop of Comminges, could consist of, one is reduced to formulating hypotheses, by referring on the one hand to the known composition of organs of this period, to the structure of the buffet, and on the other hand, to keyboard literature published around the 1550s. in the 17th and 18th centuries.
Bernard Raupp, organ builder in Mirande, found drawings on the valves of the windchests of the great organ, which can be attributed to Jean-François Lépine. The rest is the result of successive reconstructions carried out over the following centuries.
In 1896, the Magen brothers rebuilt the organ and delivered an instrument with 2 keyboards and pedal.
In 1970, Robert Chauvin restored the windchests of the Grand Orgue, then under the direction of Pierre Lacroix, the reconstruction of the current instrument was entrusted to Jean-Pierre Swiderski and carried out in several stages, from 1975 to 1981. With the exception of 218 pipes from the 17th century and 243 pipes from Magen, the pipework is completely new. Produced on demand, it was harmonized by Jean-Pierre Swiderski for the back stops and Georges Lhôte for the reed stops. The instrument still retains two 14-stop windchests in the Grand Orgue and two 4-stop pedal windchests dating back to the 17th century.
Since 1974, the municipality of Saint-Bertrand-de-Comminges, owner, has delegated its powers to the Association of Friends of the Organ of Saint-Bertrand-de-Comminges, with a view to the restoration and maintenance of the tool.
Seen while walking in our Botanic Gardens which are full of azaleas flowering. I guess the guy in the red skirt was harmonizing with the colours? Maybe?? Or maybe red and blue can hold hands in NZ?
Created for Abstractartangel77 for her birthday ( Oct 9 ) with enormous gratitude for all that she has done for me here on Flickr in this past year ! Happy Birthday, Sandy !!!!!!
When I first arrived in New York in June 2019, I stumbled across one of the most beautiful and character-filled enclaves that I have ever seen by taking the wrong set of steps off of 42nd street, on my way, I had hoped, to First Avenue. Up I went and I came across a breathtaking oasis of old, classic, New York beauty. I stopped dead in my tracks and my mouth dropped.
Tudor City is a small 'pocket' neighbourhood in Midtown, on the east side, across from the UN ( that's it peeking through the trees near the centre of the image ). It absolutely EXUDES the classic New York of film and literature. You could imagine a young Paul Simon sitting in it's tree-filled park, playing guitar and writing a song there. Maybe his friend Art sitting next to him, harmonizing, before anyone knew who they were ... I was so stunned by Tudor City's beauty and my good fortune for having taken the wrong steps that lead me to it.
I came back a few days later to spend some time in there, to sit quietly in the beautifully landscaped park and just absorb this miracle of New York. I took quite a few photographs, both Pano and "straight". This is a blend of one main shot, as is my wont, and 2 ancillary pieces for border and overlay use.
Images shot on June 12, 2019.
___________________________________________________
Music Link: "For Emily, Whenever I May Find Her" - Simon & Garfunkel, from their album "Parsley, Sage, Rosemary & Thyme"
www.youtube.com/watch?v=WaWrdwP1YH0
___________________________________________________
© 2019, Richard S Warner ( Visionheart ). All rights reserved. This image may not be used in any form here or elsewhere without express, written permission.
Is not this a true autumn day? Just the still melancholy that I love — that makes life and nature harmonize. The birds are consulting about their migrations, the trees are putting on the hectic or the pallid hues of decay, and begin to strew the ground, that one’s very footsteps may not disturb the repose of earth and air, while they give us a scent that is a pefect anodyne to the restless spirit. Delicious autumn! My very soul is wedded to it, and if I were a bird I would fly about the earth seeking the successive autumns. ~George Eliot, letter to Miss Lewis, 1st October 1841
Le bâtiment Richard Meier, d'un blanc éclatant, se dresse au cœur de la nature environnante. Que les visiteurs se réjouissent : là où l'art et le nouveau bâtiment du musée s'harmonisent, ils seront les gagnants. Ici, pas de compétition pour occuper la vedette, mais un lieu empreint d'art, un lieu qui révèle sa vraie nature et offre un écrin aux œuvres de l'artiste-mécène du musée ainsi qu'à l'art contemporain.
« Mon architecture ouverte et transparente crée des transitions fluides entre l'intérieur et l'extérieur et reflète le même lien avec la nature que celui exprimé dans les œuvres de Hans Arp. »
En tant que l'un des plus grands architectes de musées internationaux, Richard Meier se réfère dans son architecture aux principes du modernisme classique, un style qui a connu son apogée au début du XXe siècle. Cette époque a également façonné l'œuvre du duo d'artistes Hans Arp et Sophie Taeuber-Arp. Le bâtiment de Meier est baigné de lumière et semble emmener les visiteurs hors de leur quotidien. Ici, les œuvres trouvent un espace propice à leur épanouissement.
The dazzling white Richard Meier Building stands out in the heart of the surrounding nature. Visitors can rejoice: wherever art and the new museum building harmonize, they will be the winners. Here, there's no competition for the spotlight, but a place imbued with art, a place that reveals its true nature and provides a showcase for the works of the museum's artist-patron as well as contemporary art.
"My open and transparent architecture creates seamless transitions between indoors and outdoors and reflects the same connection with nature expressed in the works of Hans Arp."
As one of the greatest international museum architects, Richard Meier refers in his architecture to the principles of classical modernism, a style that reached its peak in the early 20th century. This era also shaped the work of the artist duo Hans Arp and Sophie Taeuber-Arp. Meier's building is bathed in light and seems to transport visitors away from their everyday lives. Here, the works find a space conducive to their development.
Conditions de prises de vues très diificiles dans cette cathédrale, peu de lumière.
L’orgue de la cathédrale Saint-Bertrand de Comminges possède l’un des plus beaux buffets Renaissance conservé à ce jour et classé Monument Historique depuis 1840. Commandé par Jean de Mauléon, évêque du Comminges, il fut réalisé après l’achèvement des stalles du chœur en 1551.
Comme les stalles, ce buffet serait l’œuvre de Nicolas Bachelier, architecte et sculpteur français (1487 – 1556) à qui l’on doit, entre autre, le célèbre Hôtel d’Assézat à Toulouse.
Le nom du facteur et la composition d’origine de l’instrument nous sont inconnus. Il subira de nombreux avatars au cours des siècles et, en 1793, les tuyaux de montre seront fondus et l’instrument abandonné.
De l’instrument Renaissance enfermé dans ce buffet, il ne reste rien. Pour imaginer en quoi pouvait consister l’instrument commandé par Jean de Mauléon, évêque du Comminges, on en est réduit à formuler des hypothèses, en se référant d’une part à la composition connue d’orgues de cette époque, à la structure du buffet, et d’autre part, à la littérature pour clavier éditée autour des années 1550. Les parties les plus anciennes (2 sommiers de grand orgue de 48 notes et deux petits sommiers de pédale, plus quelques jeux anciens, bourdons et flûtes) remontent aux XVIIe et XVIIIe siècles.
Bernard Raupp, facteur d’orgues à Mirande, a retrouvé des dessins sur des soupapes des sommiers de grand orgue, qui peuvent être attribués à Jean-François Lépine. Le reste résulte des reconstructions successives menées au cours des siècles suivants.
En 1896, les frères Magen reconstruisent l’orgue et livrent un instrument à 2 claviers et pédale.
En 1970, Robert Chauvin restaure les sommiers du Grand Orgue, puis sous la direction de Pierre Lacroix, la reconstruction de l’instrument actuel est confiée à Jean-Pierre Swiderski et réalisée en plusieurs tranches, de 1975 à 1981. À l’exception de 218 tuyaux du XVIIe siècle et de 243 tuyaux de Magen, la tuyauterie est entièrement neuve. Réalisée à la demande, elle a été harmonisée par Jean-Pierre Swiderski pour les jeux de fonds et Georges Lhôte pour les jeux d’anches. L’instrument conserve encore deux sommiers de 14 jeux au Grand Orgue et deux sommiers 4 jeux à la pédale remontant au XVIIe siècle.
Depuis 1974, la commune de Saint-Bertrand-de-Comminges, propriétaire, a délégué ses pouvoirs à l’Association des Amis de l’Orgue de Saint-Bertrand-de-Comminges, en vue de la restauration et de l’entretien de l’instrument.
Very difficult shooting conditions in this cathedral, little light.
The organ of the Saint-Bertrand de Comminges cathedral has one of the most beautiful Renaissance cases preserved to date and classified as a Historic Monument since 1840. Commissioned by Jean de Mauléon, bishop of Comminges, it was made after the completion of the stalls of the choir in 1551.
Like the stalls, this buffet would be the work of Nicolas Bachelier, French architect and sculptor (1487 – 1556) to whom we owe, among other things, the famous Hôtel d’Assézat in Toulouse.
The name of the maker and the original composition of the instrument are unknown to us. It will undergo many avatars over the centuries and, in 1793, the watch stems will be melted down and the instrument abandoned.
Of the Renaissance instrument enclosed in this case, nothing remains. To imagine what the instrument ordered by Jean de Mauléon, bishop of Comminges, could consist of, one is reduced to formulating hypotheses, by referring on the one hand to the known composition of organs of this period, to the structure of the buffet, and on the other hand, to keyboard literature published around the 1550s. in the 17th and 18th centuries.
Bernard Raupp, organ builder in Mirande, found drawings on the valves of the windchests of the great organ, which can be attributed to Jean-François Lépine. The rest is the result of successive reconstructions carried out over the following centuries.
In 1896, the Magen brothers rebuilt the organ and delivered an instrument with 2 keyboards and pedal.
In 1970, Robert Chauvin restored the windchests of the Grand Orgue, then under the direction of Pierre Lacroix, the reconstruction of the current instrument was entrusted to Jean-Pierre Swiderski and carried out in several stages, from 1975 to 1981. With the exception of 218 pipes from the 17th century and 243 pipes from Magen, the pipework is completely new. Produced on demand, it was harmonized by Jean-Pierre Swiderski for the back stops and Georges Lhôte for the reed stops. The instrument still retains two 14-stop windchests in the Grand Orgue and two 4-stop pedal windchests dating back to the 17th century.
Since 1974, the municipality of Saint-Bertrand-de-Comminges, owner, has delegated its powers to the Association of Friends of the Organ of Saint-Bertrand-de-Comminges, with a view to the restoration and maintenance of the tool.
Photo of oil droplets from the oil & water macro abstract photography assignment captured via Minolta MD Macro Rokkor-X 100mm F/4 lens. Inside the creative halls of the 494 ∞ Labs. Early October 2020.
Exposure Time: 1/4 sec. * ISO Speed: ISO-100 * Aperture: F/8 * Bracketing: None * Color Temperature: 3500 K * Mood: Kodak Vision 2383 * Adaptor: 1:1 Extension Tube
Le bâtiment Richard Meier, d'un blanc éclatant, se dresse au cœur de la nature environnante. Que les visiteurs se réjouissent : là où l'art et le nouveau bâtiment du musée s'harmonisent, ils seront les gagnants. Ici, pas de compétition pour occuper la vedette, mais un lieu empreint d'art, un lieu qui révèle sa vraie nature et offre un écrin aux œuvres de l'artiste-mécène du musée ainsi qu'à l'art contemporain.
« Mon architecture ouverte et transparente crée des transitions fluides entre l'intérieur et l'extérieur et reflète le même lien avec la nature que celui exprimé dans les œuvres de Hans Arp. »
En tant que l'un des plus grands architectes de musées internationaux, Richard Meier se réfère dans son architecture aux principes du modernisme classique, un style qui a connu son apogée au début du XXe siècle. Cette époque a également façonné l'œuvre du duo d'artistes Hans Arp et Sophie Taeuber-Arp. Le bâtiment de Meier est baigné de lumière et semble emmener les visiteurs hors de leur quotidien. Ici, les œuvres trouvent un espace propice à leur épanouissement.
The dazzling white Richard Meier Building stands out in the heart of the surrounding nature. Visitors can rejoice: wherever art and the new museum building harmonize, they will be the winners. Here, there's no competition for the spotlight, but a place imbued with art, a place that reveals its true nature and provides a showcase for the works of the museum's artist-patron as well as contemporary art.
"My open and transparent architecture creates seamless transitions between indoors and outdoors and reflects the same connection with nature expressed in the works of Hans Arp."
As one of the greatest international museum architects, Richard Meier refers in his architecture to the principles of classical modernism, a style that reached its peak in the early 20th century. This era also shaped the work of the artist duo Hans Arp and Sophie Taeuber-Arp. Meier's building is bathed in light and seems to transport visitors away from their everyday lives. Here, the works find a space conducive to their development.
This image shows the famous Golden Pavilion, or Kinkaku-ji, located in Kyoto, Japan. The temple’s exterior is covered in brilliant gold leaf, and it sits peacefully beside a reflective pond, surrounded by meticulously manicured trees and traditional Japanese gardens. The architecture is a striking example of Muromachi period design, characterized by harmony with nature, elegance, and a balanced blend of simplicity and grandeur. The top two floors of the pavilion are entirely gilded, and a golden phoenix perches atop the roof, symbolizing rebirth and immortality.
Historically, Kinkaku-ji was originally built in the 14th century as a retirement villa for the shogun Ashikaga Yoshimitsu, and later converted into a Zen Buddhist temple. The current structure is a post-war reconstruction from 1955, as the original was tragically burned down in 1950. Despite this, Kinkaku-ji remains one of Japan's most iconic and visited landmarks, representing not only Kyoto's rich feudal history but also the resilience of Japanese cultural preservation.
Geographically, Kyoto is nestled in a valley surrounded by mountains in the Kansai region of Japan. Once the imperial capital for over a millennium, the city is now a major cultural hub known for its temples, shrines, traditional tea houses, and seasonal beauty—especially during cherry blossom season and autumn foliage. Kyoto's climate, with its distinct seasons, enhances the scenic splendor of landmarks like Kinkaku-ji, making them feel different and magical in each part of the year.
Culturally and gastronomically, Kyoto is revered for its refined and elegant cuisine, known as kaiseki. This multi-course meal emphasizes seasonal ingredients and artistic presentation. Visitors to the area can also enjoy specialties such as yudofu (boiled tofu), matcha (green tea) from nearby Uji, and traditional sweets called wagashi. Kyoto’s food scene harmonizes beautifully with its temples and gardens, offering not just nourishment but a deep sensory connection to the land and its long-standing traditions.
20191003_RX_02218
Conditions de prises de vues très diificiles dans cette cathédrale, peu de lumière.
L’orgue de la cathédrale Saint-Bertrand de Comminges possède l’un des plus beaux buffets Renaissance conservé à ce jour et classé Monument Historique depuis 1840. Commandé par Jean de Mauléon, évêque du Comminges, il fut réalisé après l’achèvement des stalles du chœur en 1551.
Comme les stalles, ce buffet serait l’œuvre de Nicolas Bachelier, architecte et sculpteur français (1487 – 1556) à qui l’on doit, entre autre, le célèbre Hôtel d’Assézat à Toulouse.
Le nom du facteur et la composition d’origine de l’instrument nous sont inconnus. Il subira de nombreux avatars au cours des siècles et, en 1793, les tuyaux de montre seront fondus et l’instrument abandonné.
De l’instrument Renaissance enfermé dans ce buffet, il ne reste rien. Pour imaginer en quoi pouvait consister l’instrument commandé par Jean de Mauléon, évêque du Comminges, on en est réduit à formuler des hypothèses, en se référant d’une part à la composition connue d’orgues de cette époque, à la structure du buffet, et d’autre part, à la littérature pour clavier éditée autour des années 1550. Les parties les plus anciennes (2 sommiers de grand orgue de 48 notes et deux petits sommiers de pédale, plus quelques jeux anciens, bourdons et flûtes) remontent aux XVIIe et XVIIIe siècles.
Bernard Raupp, facteur d’orgues à Mirande, a retrouvé des dessins sur des soupapes des sommiers de grand orgue, qui peuvent être attribués à Jean-François Lépine. Le reste résulte des reconstructions successives menées au cours des siècles suivants.
En 1896, les frères Magen reconstruisent l’orgue et livrent un instrument à 2 claviers et pédale.
En 1970, Robert Chauvin restaure les sommiers du Grand Orgue, puis sous la direction de Pierre Lacroix, la reconstruction de l’instrument actuel est confiée à Jean-Pierre Swiderski et réalisée en plusieurs tranches, de 1975 à 1981. À l’exception de 218 tuyaux du XVIIe siècle et de 243 tuyaux de Magen, la tuyauterie est entièrement neuve. Réalisée à la demande, elle a été harmonisée par Jean-Pierre Swiderski pour les jeux de fonds et Georges Lhôte pour les jeux d’anches. L’instrument conserve encore deux sommiers de 14 jeux au Grand Orgue et deux sommiers 4 jeux à la pédale remontant au XVIIe siècle.
Depuis 1974, la commune de Saint-Bertrand-de-Comminges, propriétaire, a délégué ses pouvoirs à l’Association des Amis de l’Orgue de Saint-Bertrand-de-Comminges, en vue de la restauration et de l’entretien de l’instrument.
Very difficult shooting conditions in this cathedral, little light.
The organ of the Saint-Bertrand de Comminges cathedral has one of the most beautiful Renaissance cases preserved to date and classified as a Historic Monument since 1840. Commissioned by Jean de Mauléon, bishop of Comminges, it was made after the completion of the stalls of the choir in 1551.
Like the stalls, this buffet would be the work of Nicolas Bachelier, French architect and sculptor (1487 – 1556) to whom we owe, among other things, the famous Hôtel d’Assézat in Toulouse.
The name of the maker and the original composition of the instrument are unknown to us. It will undergo many avatars over the centuries and, in 1793, the watch stems will be melted down and the instrument abandoned.
Of the Renaissance instrument enclosed in this case, nothing remains. To imagine what the instrument ordered by Jean de Mauléon, bishop of Comminges, could consist of, one is reduced to formulating hypotheses, by referring on the one hand to the known composition of organs of this period, to the structure of the buffet, and on the other hand, to keyboard literature published around the 1550s. in the 17th and 18th centuries.
Bernard Raupp, organ builder in Mirande, found drawings on the valves of the windchests of the great organ, which can be attributed to Jean-François Lépine. The rest is the result of successive reconstructions carried out over the following centuries.
In 1896, the Magen brothers rebuilt the organ and delivered an instrument with 2 keyboards and pedal.
In 1970, Robert Chauvin restored the windchests of the Grand Orgue, then under the direction of Pierre Lacroix, the reconstruction of the current instrument was entrusted to Jean-Pierre Swiderski and carried out in several stages, from 1975 to 1981. With the exception of 218 pipes from the 17th century and 243 pipes from Magen, the pipework is completely new. Produced on demand, it was harmonized by Jean-Pierre Swiderski for the back stops and Georges Lhôte for the reed stops. The instrument still retains two 14-stop windchests in the Grand Orgue and two 4-stop pedal windchests dating back to the 17th century.
Since 1974, the municipality of Saint-Bertrand-de-Comminges, owner, has delegated its powers to the Association of Friends of the Organ of Saint-Bertrand-de-Comminges, with a view to the restoration and maintenance of the tool.
Pocos lugares recrean tan perfectamente la simbiosis cultural hispánica como la mezquita de Córdoba, donde el gótico armoniza increíblemente con el arte hispanomusulmán.
Few places recreate so perfectly cultural simbiosis Hispanic as the mosque of Cordova, where the Gothic harmonizes incredibly with the "hispanomusulmán" art .
Esta foto tiene derechos de autor. Por favor, no la utilice sin mi conocimiento y autorización. Gracias.
Please don't use this image on websites, blogs or other media without my explicit permission. © All rights reservats. Thanks.
Diese Aufnahme eines ausgewachsenen Kormoran entstand am 7. Januar. Mir kommt das etwas früh vor für das Prachtkleid aber vielleicht ist das bei Kormoranen ja die normale Zeit dafür. Man sieht jedenfalls sehr schön die weissen Federn an Hinterkopf und am Hals, sowie den weißen Fleck vor dem Schenkel. Die bronzefarbenen Federn der Flügel harmonieren farblich sehr schön mit dem auf dem Wasser reflektierten Braun der Baumstämme im Wald hinter dem See. Der Kormoran saß relativ entspannt auf den Resten eines versunkenen Baumstammes weil er wußte, dass ich ihm auf seinem Inselchen nichts kann.... 😋
Tech. Detail: Die 1/60 Sekunde war freihand. Gerettet hat mich (mal wieder) die Bildstabilisierung des Objektivs.
Um das Bild besonders detailreich sehen zu können, drückt die Tasten l (kleines L) und F11. Beim vergrößern nur durch Anklicken gehen viele Details verloren.
This picture of an adult cormorant was taken on January 7th. It seems a bit early for the breeding plumage to me, but maybe that's the normal time for cormorants. You can see the white feathers on the back of the head and on the neck, as well as the white spot in front of the thigh. The bronze coloured feathers of the wings harmonize beautifully with the reflected brown of the tree trunks in the forest behind the lake. The cormorant sat relatively relaxed on the remains of a sunken tree trunk because he knew that I couldn't do anything to him on his little island....😋
To view this picture with the best resolution in full screen press the "l" (small L) and F11 keys. When enlarging the pic by just mouse clicking you lose quality. Enjoy!