Museums and Galleries - Installing Exhibitions
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Installation of one of three giant bottles by Roger Rigorth. “Water Core” is in the wetlands of Cheng long, Taiwan. Environmental art project curated by Jane Ingram Allen, www.artproject4wetland.wordpress.com April 27, 2015.
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Diplacodes haematodes est une espèce de libellules que l'on trouve dans toute l'Australie (à l'exception de la Tasmanie), au Timor, en Nouvelle-Guinée, au Vanuatu et en Nouvelle-Calédonie. Elle est localement commune dans les habitats exposés à un chaud soleil ou près des rivières, des ruisseaux, des étangs et des lacs. Elle préfère souvent s'installer sur des pierres chaudes, plutôt que sur des brindilles ou des feuilles et elle est très prudente.
C'est une espèce de libellule spectaculaire, bien que de petite taille. Le mâle est rouge vif, la femelle jaune ocre. Les femelles ont un peu de jaune à l'extrémité des ailes, alors que les mâles ont ces couleurs à la racine des ailes.
Piazza della signoria Firenze, omaggiata da un'installazione, proiezione immagini sul palazzo Generali.
I composed this photograph during a recent photography trip in Canada's Banff National Park. It captures a portion of a Wildlife Corridor across the Trans-Canada Highway.
When the Trans-Canada Highway in Banff National Park was upgraded from two lanes to four, steps were required to curb the high rate of wildlife-vehicle collisions on the highway. Transportation planners and scientists developed a two-fold solution: Install electrified fencing on both sides of the twinned highway to keep large animals from accessing the highway right-of-way, while constructing wildlife underpasses and overpasses to connect vital habitats and help sustain healthy wildlife populations by allowing animals to cross under or over the highway.
With a total of 44 wildlife crossing structures (six overpasses and 38 underpasses), and 82 km of electrified highway fencing, Banff National Park has the most wildlife crossing structures and highway enclosure fencing in a single location on the planet.
It took up to five years for some wary species, like grizzly bears, to start using wildlife crossing structures; however, most species are now using them to safely cross the Trans-Canada Highway. Since fencing and crossing structures were first constructed, wildlife-vehicle collisions have dropped by more than 80%.
Rando VTT "La Naborienne" à Saint-Avold
Entre centrale à gaz et autres installations industrielles, le paysage est moins bucolique que ce que le nom de l'endroit pouvait laisser espérer...
part of installation at exhibition "Now, the future of the past", In Liemers Museum, Zevenaar (NL) 2018
Installation of a new Antenna Tower in Edmond, Oklahoma. These guys are installing bolts to a new section that was just added.
CAPTRAIN 61581, Roeschwoog (ligne Lauterbourg - Strasbourg), 20 Août 2024.
Du 10 au 30 Août 2024, la "Rheintalbahn" est coupée dans les deux sens de circulation à hauteur de Rastatt, pour cause de travaux au niveau du futur tunnel en cours de construction. Durant cette période, des détournements sont organisés par plusieurs itinéraires et pays, afin d'écouler le trafic voyageurs, et surtout de marchandises, de cet axe ferroviaire figurant parmi les plus chargés d'Europe Occidentale.
Une partie du trafic de marchandises se voit ainsi déviée par Wörth, et la ligne non-électrifiée permettant de rejoindre la France par le point frontalier de Lauterbourg, puis la région de Strasbourg, Kehl et enfin Offenburg. Durant toute la période, des navettes sont organisées avec des BB75100 de la SNCF et G1206 de CAPTRAIN, dépêchées sur place pour l'occasion. Au total, ce sont près de 400 trains qui transiteront par cet itinéraire alternatif en trois semaines.
Beaucoup plus discrètes que les Prima, les G1206 de CAPTRAIN ne seront apparus que rarement en ligne durant la période des détournements. Le 20 Août, le 61581 assure un aller-retour entre Offenburg et Wörth, et est vu ici lors du trajet retour vers le sud, acheminant une Vectron aux couleurs du loueur Railpool, et une rame bloc de conteneurs GTS. L'ensemble franchit ici les installations de Roeschwoog, situé à l'intersection entre la ligne Lauterbourg - Strasbourg, et l'ancienne ligne Haguenau - Rastatt, abandonnée depuis de nombreuses années déjà. De cette dernière, seuls subsistent de nos jours quelques kilomètres de voies, depuis le village de Roeschwoog jusqu'à l'usine Roquette implantée sur la commune de Beinheim, et dont la voie disparait sur la droite sur la photo.
Right behind the tree - The building of the Brotherhood of Blackheads is one of the most iconic buildings of Old Riga (Vecrīga). The tallest building is St. Peter's Church is a Lutheran church in Riga.
In June 2010, the Spruce Summer Garden Festival was held in Riga. The festival was dedicated to the 500th anniversary of the Christian tradition of installing a decorated Christmas tree.
Variously decorated Christmas trees were installed in four districts of the Old Riga. They stood until the beginning of New 2011.
Canon PowerShot G10
Taken on July, 2010
Riga, Latvia
surname Effinger
in der mitte , middle; Tablett Vassoio tray
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why beer?
i love
my grandfather (( Moritz EFFINGER) was professionell beer brewer
and EFFINGER BEER til 1966, as i know !
dbythelake.blogspot.com/2007/01/relax-and-enjoy-effingers...
.de
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Warum Bier?
ich mag es!
Mein Großvater ((Moritz EFFINGER) war Bierbrau Meister.
Amerikanisches Effinger Bier war etwa bis 1966 zu haben:
EFFINGER BEER erhalten!
thanks Mike Effinger
Brauerei Gäule (Pferde) mit Effinger Biere
www.co.sauk.wi.us/dept/arts/_gallery/_images/baraboo1.jpg
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www.facebook.com/Effinger-Beer-99008282356/posts?ref=page...
Ferdinand Effinger, Sr., a German immigrant, founded the family brewing business in Baraboo, Sauk County, Wisconsin in 1885. One of about 300 small breweries in Wisconsin when founded in the late nineteenth century, the Effinger Brewing Company was one of only 19 small breweries in the state in 1966, when the firm ceased brewing due to declining sales.
The original brewery complex, erected in 1885, housed Effinger's family and a saloon in addition to beer-making facilities. Eleven years later, Effinger was one of the earliest brewers in the state to begin producing bottled beer.
In 1911 Effinger reorganized the firm as a corporation owned by family members. In 1913-1914 the brewery was remodeled and expanded, providing space for new cellars, keg washrooms, and a mechanical refrigeration system.
With the advent of Prohibition in 1920, the company began producing root beer and near-beer. In 1921 the firm successfully converted to ice cream making and sales. Ten years later, the firm sold its ice cream business to the Borden Company and began reconverting the plant for beer production, which began in 1933. The firm continued its expansion program through 1948 when a new brewery building was completed and new bottling equipment was installed.
Throughout its 81-year existence, the Effinger Brewing Company remained a family-owned and managed business. The sons and grandsons of the founder served as corporate officers and as managers of the brewery. After the death of the founder in 1945, Ferdinand Effinger, Jr., became the firm's president and brewmaster, positions he occupied until the firm went out of business. Frederick J. Effinger, a grandson of the founder, served as secretary-treasurer and director (plant manager) from 1945 to 1966.
Installed in 2014, the Denver Botanic Garden's 14 foot tall Chihuly sculpture "Colorado" has 1,017 hand-blown glass pieces. The sculpture was named for, and inspired by, our beautiful Colorado sunsets.
© Web-Betty: digital heart, analog soul
Artwork installed in the Salton Sea, Bombay Beach, Ca. Just when you thought it was safe to get into the water . . . .
La réserve naturelle domaniale d'Orti est localisée en Ardenne centrale, dans la vallée du ruisseau de Laval, à proximité de sa confluence avec l'Ourthe occidentale, au sud du village de Lavacherie, sur le territoire communal de Sainte-Ode. L'essentiel de ses quelque 6,5 hectares est occupé par une mosaïque de mégaphorbiaies et de prairies humides acidophiles à reine des prés (Filipendula ulmaria), jonc à tépales aigus (Juncus acutiflorus), comaret (Comarum palustre), succise des prés (Succisa pratensis), bistorte (Persicaria bistorta), valériane officinale (Valeriana officinalis), lysimaque commune (Lysimachia vulgaris) et bien d'autres plantes encore. Des massifs arbustifs se sont progressivement installés suite à l'abandon du site comme pré de fauche. Il s'agit souvent de saussaies marécageuses à saule à oreillettes (Salix aurita) là où le sol est le plus gorgé d'eau. A d'autres endroits, une jeune forêt feuillue évolue librement, notamment sous l'aspect d'une aulnaie-frênaie le long du cours d'eau. Un étang mésotrophe complète la palette d'habitats présents sur cette belle zone humide. Ce fond de vallée est fréquenté par une faune particulièrement remarquable, assez comparable à ce qu'on observe dans les autres sites encore bien préservés de la région. Une autre zone protégée, la ZHIB d'Orti, s'étale sur près de 4 ha juste à l'est, sur la rive opposée du ruisseau de Laval. Cette réserve domaniale est inscrite en presque totalité au réseau Natura 2000 dans le site BE34031 "Bassin moyen de l'Ourthe occidentale". Elle est aussi entièrement englobée dans les limites du Parc Naturel des Deux Ourthes.
The national nature reserve of Orti is located in the central Ardennes, in the valley of the Laval stream, near its confluence with the western Ourthe, south of the village of Lavacherie, in the municipal territory of Sainte-Ode. Most of its approximately 6.5 hectares is occupied by a mosaic of megaphorbiaia and acidophilous wet meadows with meadowsweet (Filipendula ulmaria), sharp-tepaled rush (Juncus acutiflorus), comaret (Comarum palustre), meadow succise ( Succisa pratensis), bistort (Persicaria bistorta), valerian (Valeriana officinalis), common loosestrife (Lysimachia vulgaris) and many other plants. Shrub beds have gradually settled in following the abandonment of the site as a mowing meadow. It is often swamp sassai with auricle willow (Salix aurita) where the soil is most waterlogged. In other places, a young deciduous forest evolves freely, notably in the aspect of an alder-ash forest along the watercourse. A mesotrophic pond completes the range of habitats present in this beautiful wetland. This valley bottom is frequented by a particularly remarkable fauna, quite comparable to what can be observed in the other still well-preserved sites in the region. Another protected area, the ZHIB d'Orti, extends over almost 4 ha just to the east, on the opposite bank of the Laval stream. This state reserve is almost entirely included in the Natura 2000 network in the BE34031 site "Middle basin of the western Ourthe". It is also entirely encompassed within the limits of the Deux Ourthes Natural Park.
Bristol Harbour is the harbour in the city of Bristol, England. The harbour covers an area of 70 acres (28.3 ha). It has existed since the 13th century but was developed into its current form in the early 19th century by installing lock gates on a tidal stretch of the River Avon in the centre of the city and providing a tidal by-pass for the river. It is often called the Floating Harbour as the water level remains constant and it is not affected by the state of the tide on the river.
Una splendida opera (a mio giudizio) collocata nel cortile di accesso alla villa. Sembra una scena teatrale con le quinte costituite dal colonnato del cortile. Anche le discutibili riparazioni del muro diventano involontariamente parte dell'installazione.
La cité antique de Rhodes est née en 408 av. J.-C.. Son célèbre plan en damier fut réalisé par Hippodamos de Milet.
Pendant les guerres des diadoques, elle résista à un siège fameux par Démétrios Poliorcète en 305 av. J.-C., qu'elle commémora par l'édification du célèbre Colosse de Rhodes, détruit par un tremblement de terre en 226 av. J.-C.
Après l'expulsion des croisés de Terre sainte (1291), l'Ordre s'installe à Chypre avant de conquérir l'île de Rhodes. La ville devint le siège de l'ordre de Saint-Jean de Jérusalem durant plus de deux siècles, jusqu'en 1522. L'Ordre ceint la ville des impressionnants remparts que l'on peut toujours voir.
L'ensemble de l'enceinte fortifiée fait 800m sur 1000m pour un périmètre de 4km², permit de résister à des sièges importants dont celui du Sultan d'Égypte en 1444 et de Mehmet II en 1480. Conservé et entretenu par les Turcs après le xve siècle et restauré au xxe siècle, cet ensemble forme une des plus grandes places fortes médiévales d'Europe.
... for me at least!
A month in which I rebuilt my laptop so it could handle the latest version of Photoshop. And the rest of the month I have been beginning to learn it!
So this is the first attempt at creating my usual monthly collage. I have tried to keep the pattern quite similar, though I haven't yet installed all my fonts, or learnt all I need.
It meant I spent quite some time looking through the archives, and finding shots I'd forgotten. I think I'll continue that and see what else I can find.
It has been a month of constant rain following Storm Babet with Aberdeenshire badly hit. So not the time to go walking and shooting outdoors ... more indoor subjects were the focus of my lenses.
Many thanks to everyone who has visited my photostream and for the comments and faves.
All my collages are collected here: At a Glance
For my friend NatuurfotoRien/Rien in Holland, who loves corvids.
I had this odd notion that when I retire I would carve a totem pole, and so over the years, I learned more and more about northwest coast art, culture, and carving. One of the pieces I studied was this - a huge cedar sculpture carved by the great sculptor, Bill Reid, to whom the telling of this ancient story is credited.
Bill Reid was a Haida indian (Haida is their word for “human”). The Haida tribe lives in the Queen Charlotte Islands off the coast of northern Canada (below Alaska), in a special place they call Haida Gwaii. Bill is widely credited for reviving the arts of the northwest coast - he was an amazing sculptor. I am disappointed I will never meet him.
The northwest coast tribes have many gods - all animals. Raven is the Haida equivalent of “fox”. Tricky, playful, smart, inquisitive - these are all qualities of Raven, whose play and trickery created the stars in the sky, the sun, the ocean and man.
The man-size (literally) sculpture is inside the University of British Columbia museum in Vancouver, Canada. When it was installed, Bill had the children of Haida Gwaii come to the installation - each with bottles of sand from the beach at Haida Gwaii, so Raven, could be installed in his native soil.
Here is his telling of their genesis myth - one of the most sacred stories in Haida culture:
The Story of the Raven Creating Man by Bill Reid
The great flood which had covered the earth for so long had receded, and even the thin strip of sand now called Rose Spit, stretching north from Naikun village lay dry. The Raven had flown there to gorge himself on the delicacies left by the receding water, so for once he wasn't hungry. But his other appetites - lust, curiosity and the unquenchable itch to meddle and provoke things, to play tricks on the world and its creatures - these remained unsatisfied.
He had recently stolen the light from the old man who kept it hidden in a box in his house in the middle of the darkness, and had scattered it throughout the sky. The new light spattered the night with stars and waxed and wane in the shape of the moon. And it dazzled the day with a single bright shining which lit up the long beach that curved from the spit beneath Raven's feet westward as far as Tao Hill. Pretty as it was, it looked lifeless and so to the Raven quite boring. He gave a great sigh, crossed his wings behind his back and walked along the sand, his shiny head cocked, his sharp eyes and ears alert for any unusual sight or sound. Then taking to the air, he called petulantly out to the empty sky. To his delight, he heard an answering cry - or to describe it more closely, a muffled squeak.
At first he saw nothing, but as he scanned the beach again, a white flash caught his eye, and when he landed he found at his feet, buried in the sand, a gigantic clamshell. When he looked more closely still, he saw that the shell was full of little creatures cowering in terror of his enormous shadow.
Well, here was something to break the monotony of his day. But nothing was going to happen as long as the tiny things stayed in the shell, and they certainly weren't coming out in their present terrified state. So the Raven leaned his great head close to the shell, and with the smooth trickster's tongue that had got him into and out of so many misadventures during his troubled and troublesome existence, he coaxed and cajoled and coerced the little creatures to come out and play in his wonderful, shiny new world. As you know the Raven speaks in two voices, one harsh and strident, and the other, which he used now, a seductive bell-like croon which seems to come from the depths of the sea, or out of the cave where the winds are born. It is an irresistible sound, one of the loveliest sounds in the world. So it wasn't long before one and then another of the little shell-dwellers timidly emerged. Some of them immediately scurried back when they saw the immensity of the sea and the sky, and the overwhelming blackness of the Raven. But eventually curiosity overcame caution and all of them had crept or scrambled out. Very strange creatures they were: two-legged like the Raven, but there the resemblance ended. They had no glossy feathers, no thrusting beak. Their skin was pale, and they were naked except for the long black hair on their round, flat-featured heads. Instead of strong wings, they had thin stick-like appendages that waved, and fluttered constantly. They were the original Haidas, the first humans.
For a long time the Raven amused himself with his new playthings, watching them as they explored their much expanded-world. Sometimes they helped one another in their new discoveries. Just as often, they squabbled over some novelty they found on the beach. And the Raven taught them some clever tricks, at which they proved remarkably adept. But the Raven's attention span was brief, and he grew tired of his small companions. For one thing, they were all males. He had looked up and down the beach for female creatures, hoping to make the game more interesting, but females were nowhere to be found. He was about to shove the now tired, demanding and quite annoying little creatures back into their shell and forget about them when suddenly - as happens so often with the Raven - he had an idea.
He picked up the men, and in spite of their struggles and cries of fright he put them on his broad back, where they hid themselves among his feathers. Then the Raven spread his wings and flew to North Island. the tide was low, and the rocks, as he had expected, were covered with those large but soft-lipped molluscs known as red chitons. The Raven shook himself gently, and the men slid down his back to the sand. The he flew to the rock and with his strong beak pried a chiton from its surface.
Now, if any of you have ever examined the underside of a chiton, you may begin to understand what the Raven had in his libidinous, devious mind. He threw back his head and flung the chiton at the nearest of the men. His aim was as unerring as only a great magician's can be, and the chiton found its mark in the delicate groin of the startled, shell-born creature. There the chiton attached itself firmly. Then as sudden as spray hitting the rocks from a breaking wave, a shower of chitons broke over the wide-eyed humans, as each of the open-mouthed shellfish flew inexorably to its target.
Nothing quite like this had ever happened to the men. They had never dreamed of such a thing during their long stay in the clamshell. They were astounded, embarrassed, confused by a rush of new emotions and sensations. They shuffled and squirmed, uncertain whether it was pleasure or pain they were experiencing. They threw themselves down on the beach, where a great storm seemed to break over them, followed just as suddenly by a profound calm. One by one the chitons dropped off. The men staggered to their feet and headed slowly down the beach, followed by the raucous laughter of the Raven, echoing all the way to the great island to the north which we now call Prince of Wales.
That first troop of male humans soon disappeared behind the nearest headland, passing out of the games of the Raven and the story of humankind. Whether they found their way back to the shell, or lived out their lives elsewhere, or perished in the strange environment in which they found themselves, nobody remembers, and perhaps nobody cares. They had played their roles and gone their way.
Meanwhile the chitons had made their way back to the rock, where they attached themselves as before. But they too had been changed. As high tide followed low and the great storms of winter gave way to the softer rains and warm sun of spring, the chitons grew and grew, many times larger than their kind had ever been before. Their jointed shells seemed about to fly apart from the enormous pressure within them. And one day a huge wave swept over the rock, tore them from their footholds and carried them back to the beach. As the water receded and the warm sun dried the sand, a great stirring began among the chitons. From each emerged a brown skinned, black-haired human. This time there were both males and females among them, and the Raven could begin his greatest game: the one that still goes on.
They were no timid shell-dwellers these, but children of the wild coast, born between the sea and land, challenging the strength of the stormy North Pacific and wresting from it rich livelihood. Their descendants built on its beaches the strong, beautiful homes of the Haidas and embellished them with the powerful heraldic carvings that told of the legendary beginnings of great families, all the heros and heroines and the gallant beasts and monsters who shaped their world and their destinies. For many generations they grew and flourished, built and created, fought and destroyed, living according to the changing seasons and the unchanging rituals of their rich and complex lives.
It's nearly over now. Most of the villages are abandoned, and those which have not entirely vanished lie in ruins. The people who remain are changed. The sea has lost much of its richness, and great areas of land itself lie in waste. Perhaps it's time the Raven started looking for another clamshell.
The Spoiler Alert signs are faith-enhancing adjustments to New York City subway platforms, creating opportunities for trust in the city’s most important institution in the face of its overeager self-quantified broadcasts.
photo by Kristin Wardian
Attention all photographers! Moolto has installed a photoLIFE 3.0 photographic studio for you to use at no charge. This studio uses the best system available in Second Life and can be found at:
slurl.com/secondlife/Moolto Community Store/199/120/192
Psst, by the way, Moolto will be running photographic contests for both professional and amateur photographers alike in the near future. Keep logging onto Moolto for further details of this contest. Entering the contest will certainly increase your visibility, so you have nothing to lose and everything to gain by entering.
How do you use this studio equipment? It’s easy either grab a note card next to the studio in world or follow these instructions:
1) MAIN - FLOOR - LAYER - FILTER - FX1 - FX2 Texture Displays- Controls and sets the texture over the photoLIFE 3.0 Studio. The arrows scroll through the textures while touching the display screen sets the texture on the studio when the appropriate display is selected.
2)TPN - "Texture Panel" allow the photographer to scroll through 36 textures at a time. The TPN works for all 6 Texture selectors ( Backdrop, Floor, Layer, Filter, FX1, and FX2). You can also search each display for the textures you want to find. This revolutionizes the photography process and and saves a lot of time finding that perfect texture for your clients shot.
3)CPN - "Color Panel" allows the photographer to change the color on any of the lighting or Texture application areas. It has 120 colors to choose from and any combination of color applications with component selector buttons. Very useful.
4)Texture Bright Controller- The round white/purple button at the bottom of the Control Center, turns the prim face of the backdrop to full bright illiminating shadows.
5) Texture Tiler Controllers- The three buttons, near the floor of the display stand, tile the textures on the backdrop,floor, and layer face from 1-10.
6)Component Hide / Show Selector- The hide / show buttons on the Control Center - ?? - hides and shows all components of the photoLIFE studio system that could be a potential obstruction to the photographer.
7)Memory Module - MM24 - The MM24 Memory Module allows you to save up to 24 scenes to memory. It records 12 components into memory saving lighting colors, lighting power, UL heights, Textures, Colors , Pro Filter Information. You can save up to 24 scenes with 1 MM24 module. Buy other modules if you need more scenes. Unlimited capabilities.
8)Ambient Lighting Selector- The Ambient Light menu on the right display stand controls a 5 light ambient lighting system designed to give uniform lighting over the backdrop area. This menu gives full control over power with 4 intensities, and 9 colors to choose from.
9)Prop Rezzing System- Included in version 3.0 is a Prop Rezzer. Near the floor of the Control Center, you'll notice a button that says "Prop". Touching it gives you the prop menu. The arrows on each side of the prop button scrolls through the props installed. Included in version 3.0 is the photoLIFE Prop Setup Script. This allows you to install your own props into the studio.
10) Owner's Menu - The Little Red Button- Syncs and groups all desired photoLIFE components with the main studio for a veriety of applications and arrangements. (Only the studio owner can sync and group photoLIFE components).
11) Notecard Access- Notecard configuration limits who is eligible to use the studio. Settings allow ANYONE, GROUP, or LIST giving unlimited control over the studio access.
12) Backdrop Size Controller- The photoLIFE logo near the floor selects small, medium, or large for the backdrop size.
13) Security Menu - Once the ACCESS card is set , you can go into the security menu and change your security on all of your components with 1 click . Set to Owner Only , List , Group , or Anyone. You can even lock and unlock the studio.
14) Locator Menu - Calls the components into their default location according to the studio position. Great for finding that gazer again!
The main Moolto.com site:
Installers available in mainstore at the Appliers section !
Installer retextures the hands and feet along with body
SBM Installer, a service vessel for oil rigs at sea, seen in the large port of Las Palmas de Gran Canaria (Canary Islands). Taken early morning before sunrise.
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MINI-MONDES EN VOIE D'ILLUMINATION
Partie 2 : Le monde de la mare
Jardin des Plantes Paris
Muséum National d'Histoire Naturelle & China Light Festival
LA CONFECTION DES LANTERNES : Réalisée en Chine par une entreprise spécialisée, elle commence par l’assemblage de tiges de métal : les techniciens leur donnent la forme voulue et les soudent pour les assembler. On installe ensuite à l’intérieur une guirlande d’ampoules électriques. Puis le métal est recouvert de tissu (sorte de soie ou satin) que des ouvrières collent sur les structures métalliques, avec un pinceau, morceau par morceau. Les derniers détails des lanternes sont peints à la main, sur le tissu, soit au pistolet soit au pinceau pour les plus petits. Des techniciens chinois viennent en France pour s'occuper du montage et démontage. Quelques-uns restent sur place pour assurer la maintenance pendant toute la durée du Festival.
Because There’s a There, Here’s Just Fine
Acrylic, cedar, cigarette butts, eurocast, fertilizer, foam, found plastic, garbage from Denver parks, insulation, lichen, moss, organic material from Denver, sponge, steel 55 gallon drum, wood lumber.
Installation created for The Nature Of Things at the Biennial of the Americas 2010 in Denver, CO.
Créé au début du XVIIe siècle par Charles IV en tant que jardin d'herbes médicinales, le jardin a déménagé deux fois avant de s'installer en 1870 à son emplacement actuel.La grande serre (Palmhuset) a été inaugurée en 1874, le jardin, libre d'accès, est une oasis de verdure de 10 hectares en plein cœur de la ville.