View allAll Photos Tagged interiour
modernised Trans-Alfa ВМЗ-5298-01 "Avangard" trolleybuses has extended autonomous work, air conditioning, automatic firefighting system, communication complex GLONASS/GPS, refreshed interiour with new USB 3.0-connectors for charging, Wi-Fi, LED lighting, video surveillance system and onboard navigation.
In 1994 the Vologda Mechanical Plant (Вологодский механический завод, ВМЗ; VMZ) was transformed into a joint stock company which decided to work in the field of transport engineering and to produce trolleybuses. In 1996 was established the assembly of trolleybuses Škoda 14TrM. In 1997 the trolleybus model VMZ-170 (ВМЗ-170) with increased reliability and electrical safety was developed and put into mass production. In 1999 the next model was presented, VMZ-263, with new body design, comfortable passenger compartment and driver's cabin. In 2000 the first Russian low-floor model VMZ-375 "Leader" (model 5298) was presented. Then the company started development and production of buses. Thus, the first model 5278 of the large class bus designed for urban and suburban transportation was produced. From 2008 to 2011 the enterprise produced city and suburban buses based on KamAZ chassis under the Olimp brand.
In 2001 production of trolleybuses was separated into an independent enterprise JSC Trans-Alfa. In 2002 the first Russian low-floor trolleybus Trans-Alfa 5298-01 Avangard (updated VVZ-375, model 5298 Leader) was declared the winner of the contest "100 Best Products of Russia". In 2003 the company's first articulated trolleybus - model 6215 - was put into production, then in 2006 its low-floor version 62151.
Since 2013 the financial problems of the plant, which is on the verge of bankruptcy, began. Nevertheless, the production continues. The Trans-Alfa trolleybuses can be found everywhere in Russia and in some foreign countries.
"What is most beautiful in virile men is something feminine; what is most beautiful in feminine women is something masculine". [Susan Sontag]
A beautiful song - Paolo Conte - Blue Tangos
have the best day, you all :-)
(inspired by a visit to the Science Center Medical Technology
The secrets of ancient sea
Jälle Jüri kujundatud näitus
Auch diese Ausstellung hat mein Bruder gestaltet
Mariendom in Velbert Neviges
de.wikipedia.org/wiki/Nevigeser_Wallfahrtsdom
Anfang Oktober konnte ich einen Termin in Velbert mit einem Abstecher zum Mariendom in Neviges kombinieren. Aus architektonischer Sicht stand dieses Gebäude schon länger auf meiner Liste. Insgesamt fand ich das ganze Ensemble spannend. Es steht deutlich für seine bauliche Epoche. Ich hatte mir den Dom allerdings größer vorgestellt. Jedenfalls wirkte er auch mich nicht so dominant und erdrückend auf die Umgebung, wie ich ursprünglich angenommen hatte.
Als ich vor Ort war, fand gerade ein Gottesdienst statt. Um diesen nicht zu stören, habe ich auf eine Besichtigung von innen verzichtet.
Alle Fotos sind mit der M10 und dem 50er Summicron entstanden. Man kann also auch mit 50mm Architektur fotografieren ;-)
Last October I had a chance to visit the Mareindom in Verlbert Neviges. I was interrested to see this piece of brutalism architecture in real. Too me it appeared smaller than I expected. There was a service going on, so I could not visit the interiour of the church.
The Cathedral of the Dormition (Успенский Собор) is the mother church of Muscovite Russia. The church stands on the Cathedral Square at the Moscow Kremlin and was built in 1475–1479 by the Italian architect Aristotele Fioravanti.
In the 14th century, Metropolitan Peter persuaded Ivan I that he should build a cathedral to the Holy Virgin in Moscow like the Cathedral of the Dormition in the capital city Vladimir. Construction of the cathedral began on August 4, 1326. In the following year, Moscow became the capital of the Vladimir-Suzdal principality, and later of all Rus.
By the end of the 15th century the old cathedral had become dilapidated, and in 1472 the Pskov architects Kryvtsov and Myshkin began construction of a new cathedral. Two years later, the building was nearing completion when it suddenly collapsed because of an earthquake, an extremely rare event in Moscow.
Ivan III then invited Aristotele Fioravanti, a celebrated architect and engineer from Bologna, Italy, to come to Moscow and entrusted him with the task of building the cathedral from scratch in the traditions of Russian architecture. The cathedral in Vladimir was once again taken as a model for the building, and so Fioravanti travelled to Vladimir in order to study Russian methods of building. He designed a light and spacious masterpiece that combined the spirit of the Renaissance with Russian traditions.
The foundation for the new cathedral was laid in 1475, and in 1479 the new cathedral was consecrated by Metropolitan Geronty. The interiour was painted with frescoes and adorned with many holy images, including Theotokos of Vladimir and the Blachernitissa.
In 1547 the coronation of the first Russian Tsar, Ivan the Terrible, took place in this cathedral. From 1721 it was the scene of the coronation of the Russian emperors. The ritual installation of metropolitans and patriarchs of the Russian Orthodox Church also took place in this cathedral, and their tombs are to be found here. The patriarchate was abolished by Peter the Great and only restored after February Revolution of 1917.
On November 21, 1917 the cathedral was the setting for the installation of Tikhon (Belavin), the Moscow metropolitan, as patriarch. Subsequently he was canonized. After the transfer of the Bolshevik government to Moscow, services in the Kremlin cathedrals were prohibited. It was only with Lenin's special permission that the final Easter service was held in 1918. The final moments of this Easter service was the subject of an unfinished painting by Pavel Korin entitled Farewell to Rus.
There is a legend that in the winter of 1941, when the Nazis had already reached the threshold of Moscow, Joseph Stalin secretly ordered a service to be held in the Dormition Cathedral to pray for the country's salvation from the invading Germans. In 1990 the Dormition Cathedral was returned to the church, although a large museum still operates within it.
On the left side of The Cathedral of the Dormition stands Church of the Deposition of the Robe and to the right Church of the Twelve Apostles.
HDR made from three handheld shots, AEB -2, 0 +2. Equipment: Canon EOS 500D and EF-S10-22mm f/3.5-4.5 USM. Processed with Photomatix Pro 4.0, Photoshop Elements 7.0, Topaz Adjust 4 and Noise Ninja.
Please don't use my photos without my permission!
It was a magical morning in Iceland's southern interiour. The sun was casting its first filtered rays on the mountains, the setting moon was a perfect eyecatcher, and the dark but glowing colours of dawn were simply breathtaking! I always feel the same euphoria again when I look at this pic, which turned out to be my favorite photo of the night.
Scan of Fuji Velvia 50, gnd-filter.
Please don't use this image on websites, blogs or other media without my explicit permission. © All rights reserved. Kerstin Langenberger 2009 .
More:
www.sandbox-photos.com/archives/6011
Processed with my "Sundried Film" Photoshop-Action, which is available here:
www.sandbox-store.com/?product=sundried-film
Canon EOS 5D Mark II, Walimex 35mm 1.4
shed hall wall at Neue Räume, Zurich (exhibition of modern interiour architecture). Back lit glass wall at night.
model: Viola
I want to say thank's to Federico Bellini for this space in his beautiful blog!
federicobellini.blogspot.com/2007/12/giovann-battista-dac...
Just couple of posts earlier when I told you that the Finnish summer is warm and lovely, it happened that the weather got a bit rainy and cold here – which means it's also a perfect time to take Aura to local art museum Sara Hildén. For this summer there is an interesting exhibition of Australian sculptor Ron Mueck, who is known for his hyper realistic sculptures and is guaranteed to stir up reaction in any viewer. As most of them are about everyday life and therefore relatively easy to approach I thought this might also be suitable exhibition also for the four year olds, and so I decided to take Aura there with me. As I wanted to see her reaction as pure as it could be and without any presumptions of 'art', I didn't reveal anything to her beforehand. I just said 'let's make a trip to art museum and see what's in there'.
Going into art museum with a kid means that one needs to proceed with her pace, and because of that I really didn't get a chance to read up on texts or focus on the tv-document that was there to watch. But from what I saw there, I found Mueck's sculptures to be some kind of post-modern versions of what people traditionally mean by statues. Whereas classic statues often illustrate historical characters, events and achievements, Mueck's hyper realistic sculptures are inspired by mundane stuff like woman with shopping bags, bored pensioners at beach - or a head of a sleeping man, which makes them almost like pop-art or something. There was also a giant 5 meters long newborn baby with a wrinkly face, umbilical cord and some blood over its body. This was definitely the one sculpture that evoke Aura's interest, and we spent long time investigating its details.
All in all, it was a delightful experience, thought I have to say I found Mueck's sculptures, while technically masterful, a bit thin on an intellectual level. Don't get me wrong, I'm not suggesting that art should be loaded with theoretical societal discussions or it should comment some aspect of our culture in a critical self-reflective way. But there's an adult inside me who kinds of expect something like that at the art museum, and while I was this very thing something interesting happened to that adult. Aura was investigating sculptures and while I got ready to take some pictures, she suddenly gave me this funny pose which looks almost like a parody of self-important adults in an art museum. To be honest, she's checking if the sculpture has any nasal hairs inside his nose – yes there is, as it should be with a hyper realistic sculpture. This sort of innocence somehow reminded me that we really don't need to take things of art so seriously – why not just enjoy how it feels, instead of reminding ourselves that 'art needs to serve some higher cause' or theorize it with something else. And even if that adult inside of me could come up with some clever counter arguments, this time I decided to go with a flow and to enjoy what there is. And somehow it was me and not Aura, who had to readjust of how I see things and think about them. Going to art museum with a kid sure is an eye opening experience.
Days of Zeiss: www.daysofzeiss.com
... had to incline the camera to give an idea of the crazy shape of the interiour of my favorit B-lona hotel (very modest) / mon hostal favorito en Barcelona, antiguo convento.
Église Saint-Séverin 07/11/2022 10h22
Interiour detail of one of the niches of the gothic church Église Saint-Séverin.
A photo especially taken and uploaded for the
Église Saint-Séverin
The Église Saint-Séverin (Church of Saint-Séverin) is a Roman Catholic church in the 5th arrondissement, or Latin Quarter, of Paris, on the lively tourist street Rue Saint-Séverin. It was constructed beginning in 1230, then, after a fire, rebuilt and enlarged in the 15th to 17th centuries in the Flamboyant Gothic style. It was the parish church for students at the University of Paris, and is one of the oldest churches that remains standing on the Left Bank.
The choir was constructed in the 15th century in the Flamboyant style. It has the form of a half-circle, surrounded by an arcade of pointed arches, and covered with flamboyant rib vaults with highly decorated crisscrossing compartments. The classical decoration was added in the late 17th century by Jean-Baptiste Tuby (1635-1700), using the designs of Charles Le Brun (1619-1690), the royal architect. The high altar was removed following the reforms of the Second Vatican Council, replaced only by a simplistic table.