View allAll Photos Tagged its_dramatic
"White Sands National Monument is in the northern Chihuahuan Desert in the U.S. state of New Mexico. It's known for its dramatic landscape of rare white gypsum sand dunes. Trails through the dunes include the raised Interdune Boardwalk and the Dune Life Nature Trail, dotted with interpretive exhibits on wildlife and other features. " A popular activity here is sledding on the dunes using plastic discs or elongated sleds.
Day Two.
Stayed the night at a motel in Monterey, which is a nice town. Had a quick look at the place last night/evening.
"Monterey is a city on California’s rugged central coast. Its Cannery Row, one-time centre of the sardine-packing industry, was immortalized by novelist John Steinbeck. Today, it's a popular strip of gift shops, seafood restaurants and bars in converted factories" Wiki.
Heading south now on Route One again to our next motel in San Luis Obispo about 150 miles away.
First stop (not far from Monterey) is Carmel - "Carmel-by-the-Sea is a small beach city on California's Monterey Peninsula. It's known for the museums and library of the historic Carmel Mission, and the fairytale cottages and galleries of its village-like center, a famous place known for its natural scenery and rich artistic history" Wiki.
Back on the road and Route One we headed down and into the bit of coast called Big Sur.
"Big Sur is a rugged and mountainous section of the Central Coast of the U.S. state of California between Carmel Highlands and San Simeon, where the Santa Lucia Mountains rise abruptly from the Pacific Ocean. It is frequently praised for its dramatic scenery. Big Sur has been called the "longest and most scenic stretch of undeveloped coastline in the contiguous United States"
It certainly lived up to the description! Amazing place to ride through/along!
Stopped at so many various vista points for pictures and posing etc!
We stopped for lunch at a place called Ragged Point -
"The tiny hamlet of Ragged Point where travellers are welcomed with a hotel, gourmet restaurant, a gas station, wedding facilities, hiking trails and outdoor cafe with an espresso bar. Towering high above the Pacific on a promontory with 400 foot sheer cliffs"
Unfortunately there was quite a bit of sea fret (low cloud) in the area, so our views were limited here..
Lunch was good too.. Met and chatted with another Harley biker on his way to San Diego.
Back on the road and continued down to San Luis Obispo to find our motel..
Once we had landed and sorted ourselves out, we went for a walk down into the town. One of the places we wanted to see was the (in)famous Bubblegum Alley. - "Bubblegum Alley is a tourist attraction in downtown San Luis Obispo, California, known for its accumulation of used bubble gum on the walls of an alley. It is a 15-foot (4.6 m) high and 70-foot (21 m) long alley lined with chewed gum left by passers-by. It covers a stretch of 20 meters in the 700 block of Higuera Street in downtown San Luis Obispo" Wiki.
We bought some food from a takeaway near our motel and ate that back in our room watching telly! Great day seeing so much beautiful coastline on the famous Route One!
Itsukushima (厳島) a/k/a Miyajima (宮島), which in Japanese means "Shrine Island”, is an island in the western part of the Inland Sea of Japan, located in the northwest of Hiroshima Bay. Frequent ferry services operates to carry traffic between the island and the mainland. The trip takes about ten minutes. There is also an hourly express passenger ferry to Hiroshima Harbor. The island is one of Hayashi Gahō 's “Three Views of Japan” specified in 1643. Itsukushima is part of the city of Hatsukaichi in Hiroshima Prefecture. The island was part of the former town of Miyajima before the 2005 merger with Hatsukaichi. Itsukushima is famous for the Itsukushima Shrine, a UNESCO World Heritage Site. According to records, the shrine was established in the time of Empress Suiko. The warrior-courtier Taira no Kiyomori gave the shrine its present form. In 1555, Mōri Motonari defeated Sue Harukata at the Battle of Miyajima. Toyotomi Hideyoshi built a large building, the Senjō-kaku, on a hill above the shrine. Itsukushima has a number of shrines and temples [in Japan, the term "shrine" implies a Shinto religious structure and "temple" implies a Buddhist one], including Toyokuni Shrine with a five-storied pagoda and Daiganji Temple - one of the three most famous Benzaiten temples of Japan. The island is also famous for its upper hill side cherry blossoms and maple leaf autumn foliage. The island, including the waters around it (part of the Seto Inland Sea), are within Setonaikai National Park. This sea is affected by strong tides. At low tide, the bottom of the sea is exposed past the island's torii – [a traditional Japanese gate most commonly found at the entrance of or within a Shinto shrine, where it symbolically marks the transition from the mundane to the sacred]. At high tide, the sea covers all the previously exposed seabed mud and fills areas underneath the shrine boardwalk. Miyajima's maple trees are renowned throughout Japan and blanket the island in crimson in the autumn. Momiji manjū, pastries filled with azuki jam or custard, are popular souvenirs and carry maple-leaf emblems. Many other varieties such as chocolate and cheese are available. Because the island is seen as sacred, trees may not be cut for lumber and Deer roam freely. Deer are thought of as sacred in the native Shinto religion because they are considered messengers of the gods. They walk the streets of the city, not afraid of the tourists / Itsukushima Shrine (厳島神社 Itsukushima-jinja) is a Shinto shrine best known for its "floating" torii gate. The Itsukushima shrine is one of Japan's most popular tourist attractions. It is most famous for its dramatic gate, or torii on the outskirts of the shrine , the sacred peaks of Mount Misen, extensive forests, and its aesthetic ocean view. The shrine complex itself consists of two main buildings: the Honsha shrine and the Sessha Marodo-jinja, as well as 17 other different buildings and structures that help to distinguish it. The complex is also listed as a UNESCO World Heritage Site, and six of its buildings and possessions have been designated by the Japanese government as National Treasures. Five-Tiered Pagoda (Gojunoto) at Itsukushima Shrine was constructed in 1407 (thus predating Senjokaku) enshrined Yakushi Nyorai Zazo, the Buddha of Medicine said to have been made by Kobo Daishi himself, accompanied by Fugen Bosatsu (Mercy Buddha) and Monju Bosatsu (Wisdom Buddha). The three images were moved to the Daiganji Temple during the Meiji reformation. Daiganji Temple, next to the Itsukushima Shrine is dedicated to Goddess Benzaiten as well as three Buddhas important to Shingon Buddhism. Benzaiten Goddess in Japan has been traced to Goddess Saraswati of Hinduism in India. She is the Goddess of eloquence, music, arts, wealth and knowledge. The three Buddha in the temple are Gautama Buddha, Wisdom Buddha and Mercy Buddha. Daiganji Temple is one the three most famous Benzaiten Temples in Japan, along with Enoshima Benzaiten (Kanagawa) and Chikubujima Benzaiten (Shiga). The Benzaiten is opened to the public only once every year on June 17. On this day, Miyajima holds a big festival, and people of the region visit the temple to offer their prayers. The construction date of Itsukushima-jinja and Daiganji temple is estimated to be 6th century or later, and the existence of Itsukushima-jinja is confirmed by ancient Japanese texts from the early 9th century. The Nihon Koki confirms the sacredness of these Miyajama structures during the Heian Period (794-1184).
We did the tour of the Parliament building, and it has to be said, it looks absolutely stunning inside – far nicer than the outside. This is the Parliament chamber with its dramatic beams dominating the roof.
Situated over a thousand metres above sea level 30km northwest of Antalya, the ancient site of Termessos is one of Turkey’s prime attractions. Indeed, its dramatic setting and well-preserved ruins, tumbling from the summit of the mountain and enclosed within the boundaries of a national park – the Güllük Dağ Milli Parkı – merit a journey.
Despite its close proximity to Lycia, Termessos was actually a Pisidian city, inhabited by the same warlike tribe of people who settled in the Anatolian Lakeland, around Isparta and Eğirdir, during the first millennium BC. The city’s position, commanding the road from the Mediterranean to the Aegean, gave Termessians the opportunity to extract customs dues from traders; a wall across the valley is believed to be the site of their customs post. Later, in 70 BC, Termessos signed a treaty with Rome, under which their independence was preserved – a fact the Termessians proudly expressed by never including the face or name of a Roman emperor on their coinage. The city must have been abandoned quite early, probably after earthquake damage in 243 AD, and has only been surveyed, never excavated.
Source/Read more: www.roughguides.com/destinations/europe/turkey/mediterran...
Day Two.
Stayed the night at a motel in Monterey, which is a nice town. Had a quick look at the place last night/evening.
"Monterey is a city on California’s rugged central coast. Its Cannery Row, one-time centre of the sardine-packing industry, was immortalized by novelist John Steinbeck. Today, it's a popular strip of gift shops, seafood restaurants and bars in converted factories" Wiki.
Heading south now on Route One again to our next motel in San Luis Obispo about 150 miles away.
First stop (not far from Monterey) is Carmel - "Carmel-by-the-Sea is a small beach city on California's Monterey Peninsula. It's known for the museums and library of the historic Carmel Mission, and the fairytale cottages and galleries of its village-like center, a famous place known for its natural scenery and rich artistic history" Wiki.
Back on the road and Route One we headed down and into the bit of coast called Big Sur.
"Big Sur is a rugged and mountainous section of the Central Coast of the U.S. state of California between Carmel Highlands and San Simeon, where the Santa Lucia Mountains rise abruptly from the Pacific Ocean. It is frequently praised for its dramatic scenery. Big Sur has been called the "longest and most scenic stretch of undeveloped coastline in the contiguous United States"
It certainly lived up to the description! Amazing place to ride through/along!
Stopped at so many various vista points for pictures and posing etc!
We stopped for lunch at a place called Ragged Point -
"The tiny hamlet of Ragged Point where travellers are welcomed with a hotel, gourmet restaurant, a gas station, wedding facilities, hiking trails and outdoor cafe with an espresso bar. Towering high above the Pacific on a promontory with 400 foot sheer cliffs"
Unfortunately there was quite a bit of sea fret (low cloud) in the area, so our views were limited here..
Lunch was good too.. Met and chatted with another Harley biker on his way to San Diego.
Back on the road and continued down to San Luis Obispo to find our motel..
Once we had landed and sorted ourselves out, we went for a walk down into the town. One of the places we wanted to see was the (in)famous Bubblegum Alley. - "Bubblegum Alley is a tourist attraction in downtown San Luis Obispo, California, known for its accumulation of used bubble gum on the walls of an alley. It is a 15-foot (4.6 m) high and 70-foot (21 m) long alley lined with chewed gum left by passers-by. It covers a stretch of 20 meters in the 700 block of Higuera Street in downtown San Luis Obispo" Wiki.
We bought some food from a takeaway near our motel and ate that back in our room watching telly! Great day seeing so much beautiful coastline on the famous Route One!
One of the many carvings adorning the wall arcading in the north aisle.
There is a danger of running out of superlatives when trying to describe Beverley Minster. It is not only the second finest non-cathedral church in the country but is architecturally a far finer building than most of our cathedrals themselves! It will come as a surprise to many visitors to find this grand edifice simply functions today as a parish church and has never been more than collegiate, a status it lost at the Reformaton. What had added to its mystique and wealth was its status as a place of pilgrimage housing the tomb of St John of Beverley, which drew visitors and revenue until the Reformation brought an end to such fortunes and the shrine was destroyed (though the saint's bones were later rediscovered and reinterred in the nave). That this great church itself survived this period almost intact is little short of a miracle in itself.
There has been a church here since the 8th century but little remains of the earlier buildings aside from the Saxon chair near the altar and the Norman font in the nave. The present Minster's construction spans the entirety of the development of Gothic architecture but forms a surprisingly harmonious whole nevertheless, starting with Early English in the 13h century choir and transepts (both pairs) with their lancet windows in a building phase that stopped at the first bays of the nave. Construction was then continued with the nave in the 14th century but only the traceried windows betray the emergent Decorated style, the design otherwise closely followed the work of the previous century which gives the Minster's interior such a pleasingly unified appearance (the only discernable break in construction within can be seen where the black purbeck-marble ceased to be used for certain elements beyond the eastern bay of the nave). Finally the building was completed more or less by 1420 with the soaring west front with its dramatic twin-towers in Perpendicular style (the east window must have been enlarged at this point too to match the new work at the west end).
The fabric happily survived the Reformation intact aside from the octagonal chapter-house formerly adjoining the north choir aisle which was dismantled to raise money by the sale of its materials while the church's fate was in the balance (a similar fate was contemplated for the rest of the church by its new owners until the town bought it for retention as a parish church for £100). The great swathes of medieval glass alas were mostly lost, though seemingly as much to neglect and storm-damage in the following century than the usual iconoclasm. All that survived of the Minster's original glazing was collected to form the patchwork display now filling the great east window, a colourful kaleidoscope of fragments of figures and scenes. Of the other furnishings the choir stalls are the major ensemble and some of the finest medieval canopied stalls extant with a full set of charming misericords (though most of these alas are not normally on show).
There are suprisingly few monuments of note for such an enormous cathedral-like church, but the one major exception makes up for this, the delightful canopied Percy tomb erected in 1340 to the north of the high altar. The tomb itself is surprisingly plain without any likeness remaining of the deceased, but the richly carved Decorated canopy above is alive with gorgeous detail and figurative embellishments. There are further carvings to enjoy adorning the arcading that runs around the outer perimeter of the interior, especially the north nave aisle which has the most rewarding carved figures of musicians, monsters and people suffering various ailments, many were largely restored in the 19th century but still preserve the medieval spirit of irreverent fun.
To summarise Beverley Minster would be difficult other than simply adding that if one enjoys marvelling at Gothic architecture at its best then it really shouldn't be missed and one should prioritise it over the majority of our cathedrals. It is a real gem and a delight to behold, and is happily normally open and welcoming to visitors (who must all be astonished to find this magnificent edifice is no more than a simple parish church in status!). I thoroughly enjoyed this, my second visit here (despite the best efforts of the poor weather!).
REFORD GARDENS | LES JARDINS DE METIS
Beautiful flowers at Reford Gardens.
Visit : www.refordgardens.com/
From Wikipedia:
Elsie Stephen Meighen - born January 22, 1872, Perth, Ontario - and Robert Wilson Reford - born in 1867, Montreal - got married on June 12, 1894.
Elsie Reford was a pioneer of Canadian horticulture, creating one of the largest private gardens in Canada on her estate, Estevan Lodge in eastern Québec. Located in Grand-Métis on the south shore of the St. Lawrence River, her gardens have been open to the public since 1962 and operate under the name Les Jardins de Métis and Reford Gardens.
Born January 22, 1872 at Perth, Ontario, Elsie Reford was the eldest of three children born to Robert Meighen and Elsie Stephen. Coming from modest backgrounds themselves, Elsie’s parents ensured that their children received a good education. After being educated in Montreal, she was sent to finishing school in Dresden and Paris, returning to Montreal fluent in both German and French, and ready to take her place in society.
She married Robert Wilson Reford on June 12, 1894. She gave birth to two sons, Bruce in 1895 and Eric in 1900. Robert and Elsie Reford were, by many accounts, an ideal couple. In 1902, they built a house on Drummond Street in Montreal. They both loved the outdoors and they spend several weeks a year in a log cabin they built at Lac Caribou, south of Rimouski. In the autumn they hunted for caribou, deer, and ducks. They returned in winter to ski and snowshoe. Elsie Reford also liked to ride. She had learned as a girl and spent many hours riding on the slopes of Mount Royal. And of course, there was salmon-fishing – a sport at which she excelled.
In her day, she was known for her civic, social, and political activism. She was engaged in philanthropic activities, particularly for the Montreal Maternity Hospital and she was also the moving force behind the creation of the Women’s Canadian Club of Montreal, the first women club in Canada. She believed it important that the women become involved in debates over the great issues of the day, « something beyond the local gossip of the hour ». Her acquaintance with Lord Grey, the Governor-General of Canada from 1904 to 1911, led to her involvement in organizing, in 1908, Québec City’s tercentennial celebrations. The event was one of many to which she devoted herself in building bridges with French-Canadian community.
During the First World War, she joined her two sons in England and did volunteer work at the War Office, translating documents from German into English. After the war, she was active in the Victorian Order of Nurses, the Montreal Council of Social Agencies, and the National Association of Conservative Women.
In 1925 at the age of 53 years, Elsie Reford was operated for appendicitis and during her convalescence, her doctor counselled against fishing, fearing that she did not have the strength to return to the river.”Why not take up gardening?” he said, thinking this a more suitable pastime for a convalescent woman of a certain age. That is why she began laying out the gardens and supervising their construction. The gardens would take ten years to build, and would extend over more than twenty acres.
Elsie Reford had to overcome many difficulties in bringing her garden to life. First among them were the allergies that sometimes left her bedridden for days on end. The second obstacle was the property itself. Estevan was first and foremost a fishing lodge. The site was chosen because of its proximity to a salmon river and its dramatic views – not for the quality of the soil.
To counter-act nature’s deficiencies, she created soil for each of the plants she had selected, bringing peat and sand from nearby farms. This exchange was fortuitous to the local farmers, suffering through the Great Depression. Then, as now, the gardens provided much-needed work to an area with high unemployment. Elsie Reford’s genius as a gardener was born of the knowledge she developed of the needs of plants. Over the course of her long life, she became an expert plantsman. By the end of her life, Elsie Reford was able to counsel other gardeners, writing in the journals of the Royal Horticultural Society and the North American Lily Society. Elsie Reford was not a landscape architect and had no training of any kind as a garden designer. While she collected and appreciated art, she claimed no talents as an artist.
Elsie Stephen Reford died at her Drummond Street home on November 8, 1967 in her ninety-sixth year.
In 1995, the Reford Gardens ("Jardins de Métis") in Grand-Métis were designated a National Historic Site of Canada, as being an excellent Canadian example of the English-inspired garden.(Wikipedia)
Visit : en.wikipedia.org/wiki/Elsie_Reford
LES JARDINS DE MÉTIS
Créés par Elsie Reford de 1926 à 1958, ces jardins témoignent de façon remarquable de l’art paysager à l’anglaise. Disposés dans un cadre naturel, un ensemble de jardins exhibent fleurs vivaces, arbres et arbustes. Le jardin des pommetiers, les rocailles et l’Allée royale évoquent l’œuvre de cette dame passionnée d’horticulture. Agrémenté d’un ruisseau et de sentiers sinueux, ce site jouit d’un microclimat favorable à la croissance d’espèces uniques au Canada. Les pavots bleus et les lis, privilégiés par Mme Reford, y fleurissent toujours et contribuent , avec d’autres plantes exotiques et indigènes, à l’harmonie de ces lieux.
Created by Elsie Reford between 1926 and 1958, these gardens are an inspired example of the English art of the garden. Woven into a natural setting, a series of gardens display perennials, trees and shrubs. A crab-apple orchard, a rock garden, and the Long Walk are also the legacy of this dedicated horticulturist. A microclimate favours the growth of species found nowhere else in Canada, while the stream and winding paths add to the charm. Elsie Reford’s beloved blue poppies and lilies still bloom and contribute, with other exotic and indigenous plants, to the harmony of the site.
Commission des lieux et monuments historiques du Canada
Historic Sites and Monuments Board of Canada.
Gouvernement du Canada – Government of Canada
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Generic doesn't have to be a dirty word in the world of diecast collecting as long as the models are either believable in their styling or look imaginative and well designed. This aptly titled Silver Wolf is one such vehicle which veers on the right side of fantasy with its dramatic and daring design but one which looks as though it could have been made by a real car manufacturer. Made by Auldey it is part of a range of 11 similar themed models all given their own dramatic sounding names and all which have respectable levels of quality to finish, construction and detailing even down to opening doors. Part of a three vehicle set bought from Boyes back in July 2016. Mint and boxed.
There is a danger of running out of superlatives when trying to describe Beverley Minster. It is not only the second finest non-cathedral church in the country but is architecturally a far finer building than most of our cathedrals themselves! It will come as a surprise to many visitors to find this grand edifice simply functions today as a parish church and has never been more than collegiate, a status it lost at the Reformaton. What had added to its mystique and wealth was its status as a place of pilgrimage housing the tomb of St John of Beverley, which drew visitors and revenue until the Reformation brought an end to such fortunes and the shrine was destroyed (though the saint's bones were later rediscovered and reinterred in the nave). That this great church itself survived this period almost intact is little short of a miracle in itself.
There has been a church here since the 8th century but little remains of the earlier buildings aside from the Saxon chair near the altar and the Norman font in the nave. The present Minster's construction spans the entirety of the development of Gothic architecture but forms a surprisingly harmonious whole nevertheless, starting with Early English in the 13h century choir and transepts (both pairs) with their lancet windows in a building phase that stopped at the first bays of the nave. Construction was then continued with the nave in the 14th century but only the traceried windows betray the emergent Decorated style, the design otherwise closely followed the work of the previous century which gives the Minster's interior such a pleasingly unified appearance (the only discernable break in construction within can be seen where the black purbeck-marble ceased to be used for certain elements beyond the eastern bay of the nave). Finally the building was completed more or less by 1420 with the soaring west front with its dramatic twin-towers in Perpendicular style (the east window must have been enlarged at this point too to match the new work at the west end).
The fabric happily survived the Reformation intact aside from the octagonal chapter-house formerly adjoining the north choir aisle which was dismantled to raise money by the sale of its materials while the church's fate was in the balance (a similar fate was contemplated for the rest of the church by its new owners until the town bought it for retention as a parish church for £100). The great swathes of medieval glass alas were mostly lost, though seemingly as much to neglect and storm-damage in the following century than the usual iconoclasm. All that survived of the Minster's original glazing was collected to form the patchwork display now filling the great east window, a colourful kaleidoscope of fragments of figures and scenes. Of the other furnishings the choir stalls are the major ensemble and some of the finest medieval canopied stalls extant with a full set of charming misericords (though most of these alas are not normally on show).
There are suprisingly few monuments of note for such an enormous cathedral-like church, but the one major exception makes up for this, the delightful canopied Percy tomb erected in 1340 to the north of the high altar. The tomb itself is surprisingly plain without any likeness remaining of the deceased, but the richly carved Decorated canopy above is alive with gorgeous detail and figurative embellishments. There are further carvings to enjoy adorning the arcading that runs around the outer perimeter of the interior, especially the north nave aisle which has the most rewarding carved figures of musicians, monsters and people suffering various ailments, many were largely restored in the 19th century but still preserve the medieval spirit of irreverent fun.
To summarise Beverley Minster would be difficult other than simply adding that if one enjoys marvelling at Gothic architecture at its best then it really shouldn't be missed and one should prioritise it over the majority of our cathedrals. It is a real gem and a delight to behold, and is happily normally open and welcoming to visitors (who must all be astonished to find this magnificent edifice is no more than a simple parish church in status!). I thoroughly enjoyed this, my second visit here (despite the best efforts of the poor weather!).
Detail of the lower half of the west window depicting the Last Judgement. The Last Judgement is Fairford's most celebrated window for its dramatic composition and graphic depiction of the horrors of hell in the lower half. The window sadly suffered badly during the great storm of 1703 with the upper half depicting Christ in Judgement and the surrounding company of saints and angels the most seriously affected part.
The lower half depicts Archangel Michael at the centre with the elect entering Heaven to the left and the damned being condemned to Hell on the right. This depiction of Hell is renowned for its exotic demons dragging their victims to the red glow of hellfire, culminating in the monstrous soul-devouring figure of Satan seated in the bottom right hand corner.
St Mary's at Fairford is justly famous, not only as a most beautiful building architecturally but for the survival of its complete set of late medieval stained glass, a unique survival in an English parish church. No other church has resisted the waves of iconoclasm unleashed by the Reformation and the English Civil War like Fairford has, and as a result we can experience a pre-Reformation iconographic scheme in glass in its entirety. At most churches one is lucky to find mere fragments of the original glazing and even one complete window is an exceptional survival, thus a full set of 28 of them here in a more or less intact state makes Fairford church uniquely precious.
The exterior already promises great things, this is a handsome late 15th century building entirely rebuilt in Perpendicular style and dedicated in 1497. The benefactor was lord of the manor John Tame, a wealthy wool merchant whose son Edmund later continued the family's legacy in donating the glass. The central tower is adorned with much carving including strange figures guarding the corners and a rather archaic looking relief of Christ on the western side. The nave is crowned by a fine clerestorey whilst the aisles below form a gallery of large windows that seem to embrace the entire building without structural interruption aside from the south porch and the chancel projecting at the east end. All around are pinnacles, battlements and gargoyles, the effect is very rich and imposing for a village church.
One enters through the fan-vaulted porch and is initially met by subdued lighting within that takes a moment to adjust to but can immediately appreciate the elegant arcades and the rich glowing colours of the windows. The interior is spacious but the view east is interrupted by the tower whose panelled walls and arches frame only a glimpse of the chancel beyond. The glass was inserted between 1500-1517 and shows marked Renaissance influence, being the work of Flemish glaziers (based in Southwark) under the direction of the King's glazier Barnard Flower. The quality is thus of the highest available and suggests the Tame family had connections at court to secure such glaziers.
Entering the nave one is immediately confronted with the largest and most famous window in the church, the west window with its glorious Last Judgement, best known for its lurid depiction of the horrors of Hell with exotic demons dragging the damned to their doom. Sadly the three windows in the west wall suffered serious storm damage in 1703 and the Last Judgement suffered further during an 1860 restoration that copied rather than restored the glass in its upper half. The nave clerestories contain an intriguing scheme further emphasising the battle of Good versus Evil with a gallery of saintly figures on the south side balanced by a 'rogue's gallery' of persecutors of the faith on the darker north side, above which are fabulous demonic figures leering from the traceries.
The aisle windows form further arrays of figures in canopies with the Evangelists and prophets on the north side and the Apostles and Doctors of the Church on the south. The more narrative windows are mainly located in the eastern half of the church, starting in the north chapel with an Old Testament themed window followed by more on the life of Mary and infancy of Christ. The subject matter is usually confined to one light or a pair of them, so multiple scenes can be portrayed within a single window. The scheme continues in the east window of the chancel with its scenes of the Passion of Christ in the lower register culminating in his crucifixion above, while a smaller window to the south shows his entombment and the harrowing of Hell. The cycle continues in the south chapel where the east window shows scenes of Christ's resurrection and transfiguration whilst two further windows relate further incidents culminating in Pentecost. The final window in the sequence however is of course the Last Judgement at the west end.
The glass has been greatly valued and protected over the centuries from the ravages of history, being removed for protection during the Civil War and World War II. The windows underwent a complete conservation between 1988-2010 by the Barley Studio of York which bravely restored legibility to the windows by sensitive releading and recreating missing pieces with new work (previously these had been filled with plain glass which drew the eye and disturbed the balance of light). The most dramatic intervention was the re-ordering of the westernmost windows of the nave aisles which had been partially filled with jumbled fragments following the storm damage of 1703 but have now been returned to something closer to their original state.
It is important here not to neglect the church's other features since the glass dominates its reputation so much. The chancel also retains its original late medieval woodwork with a fine set of delicate screens dividing it from the chapels either side along with a lovely set of stalls with carved misericords. The tomb of the founder John Tame and his wife can be seen on the north side of the sanctuary with their brasses atop a tomb chest. Throughout the church a fine series of carved angel corbels supports the old oak roofs.
Fairford church is a national treasure and shouldn't be missed by anyone with a love of stained glass and medieval art. It is normally kept open for visitors and deserves more of them.
Sarasate / Zigeunerweisen
Orch. Incheon Philharmonic Orchestra Con. Christopher Lee
Vn. Soojin Han
• Zigeunerweisen Sarasate - Soojin Han
Title: Zigeunerweisen (Gypsy Airs), Op. 20
Composer: Pablo de Sarasate
The title 'Zigeunerweisen' is derived from the German words Zigeuner (Gypsy) and Weisen (Melodies/Airs), literally meaning "Gypsy Melodies." This masterpiece, composed in 1878, vividly captures the soulful sorrows and fiery passion of the Romani people in 19th-century Europe. The piece is world-renowned for its dramatic contrast: starting with a deeply melancholic, improvisational introduction and concluding with an exhilarating, virtuoso finale.
REFORD GARDENS | LES JARDINS DE METIS
Beautiful flowers at Reford Gardens.
-------------------------------------------------------------------------------
Visit : www.refordgardens.com/
From Wikipedia:
Elsie Stephen Meighen - born January 22, 1872, Perth, Ontario - and Robert Wilson Reford - born in 1867, Montreal - got married on June 12, 1894.
Elsie Reford was a pioneer of Canadian horticulture, creating one of the largest private gardens in Canada on her estate, Estevan Lodge in eastern Québec. Located in Grand-Métis on the south shore of the St. Lawrence River, her gardens have been open to the public since 1962 and operate under the name Les Jardins de Métis and Reford Gardens.
Born January 22, 1872 at Perth, Ontario, Elsie Reford was the eldest of three children born to Robert Meighen and Elsie Stephen. Coming from modest backgrounds themselves, Elsie’s parents ensured that their children received a good education. After being educated in Montreal, she was sent to finishing school in Dresden and Paris, returning to Montreal fluent in both German and French, and ready to take her place in society.
She married Robert Wilson Reford on June 12, 1894. She gave birth to two sons, Bruce in 1895 and Eric in 1900. Robert and Elsie Reford were, by many accounts, an ideal couple. In 1902, they built a house on Drummond Street in Montreal. They both loved the outdoors and they spend several weeks a year in a log cabin they built at Lac Caribou, south of Rimouski. In the autumn they hunted for caribou, deer, and ducks. They returned in winter to ski and snowshoe. Elsie Reford also liked to ride. She had learned as a girl and spent many hours riding on the slopes of Mount Royal. And of course, there was salmon-fishing – a sport at which she excelled.
In her day, she was known for her civic, social, and political activism. She was engaged in philanthropic activities, particularly for the Montreal Maternity Hospital and she was also the moving force behind the creation of the Women’s Canadian Club of Montreal, the first women club in Canada. She believed it important that the women become involved in debates over the great issues of the day, « something beyond the local gossip of the hour ». Her acquaintance with Lord Grey, the Governor-General of Canada from 1904 to 1911, led to her involvement in organizing, in 1908, Québec City’s tercentennial celebrations. The event was one of many to which she devoted herself in building bridges with French-Canadian community.
During the First World War, she joined her two sons in England and did volunteer work at the War Office, translating documents from German into English. After the war, she was active in the Victorian Order of Nurses, the Montreal Council of Social Agencies, and the National Association of Conservative Women.
In 1925 at the age of 53 years, Elsie Reford was operated for appendicitis and during her convalescence, her doctor counselled against fishing, fearing that she did not have the strength to return to the river.”Why not take up gardening?” he said, thinking this a more suitable pastime for a convalescent woman of a certain age. That is why she began laying out the gardens and supervising their construction. The gardens would take ten years to build, and would extend over more than twenty acres.
Elsie Reford had to overcome many difficulties in bringing her garden to life. First among them were the allergies that sometimes left her bedridden for days on end. The second obstacle was the property itself. Estevan was first and foremost a fishing lodge. The site was chosen because of its proximity to a salmon river and its dramatic views – not for the quality of the soil.
To counter-act nature’s deficiencies, she created soil for each of the plants she had selected, bringing peat and sand from nearby farms. This exchange was fortuitous to the local farmers, suffering through the Great Depression. Then, as now, the gardens provided much-needed work to an area with high unemployment. Elsie Reford’s genius as a gardener was born of the knowledge she developed of the needs of plants. Over the course of her long life, she became an expert plantsman. By the end of her life, Elsie Reford was able to counsel other gardeners, writing in the journals of the Royal Horticultural Society and the North American Lily Society. Elsie Reford was not a landscape architect and had no training of any kind as a garden designer. While she collected and appreciated art, she claimed no talents as an artist.
Elsie Stephen Reford died at her Drummond Street home on November 8, 1967 in her ninety-sixth year.
In 1995, the Reford Gardens ("Jardins de Métis") in Grand-Métis were designated a National Historic Site of Canada, as being an excellent Canadian example of the English-inspired garden.(Wikipedia)
Visit : en.wikipedia.org/wiki/Elsie_Reford
Visit : www.refordgardens.com
LES JARDINS DE MÉTIS
Créés par Elsie Reford de 1926 à 1958, ces jardins témoignent de façon remarquable de l’art paysager à l’anglaise. Disposés dans un cadre naturel, un ensemble de jardins exhibent fleurs vivaces, arbres et arbustes. Le jardin des pommetiers, les rocailles et l’Allée royale évoquent l’œuvre de cette dame passionnée d’horticulture. Agrémenté d’un ruisseau et de sentiers sinueux, ce site jouit d’un microclimat favorable à la croissance d’espèces uniques au Canada. Les pavots bleus et les lis, privilégiés par Mme Reford, y fleurissent toujours et contribuent , avec d’autres plantes exotiques et indigènes, à l’harmonie de ces lieux.
Created by Elsie Reford between 1926 and 1958, these gardens are an inspired example of the English art of the garden. Woven into a natural setting, a series of gardens display perennials, trees and shrubs. A crab-apple orchard, a rock garden, and the Long Walk are also the legacy of this dedicated horticulturist. A microclimate favours the growth of species found nowhere else in Canada, while the stream and winding paths add to the charm. Elsie Reford’s beloved blue poppies and lilies still bloom and contribute, with other exotic and indigenous plants, to the harmony of the site.
Commission des lieux et monuments historiques du Canada
Historic Sites and Monuments Board of Canada.
Gouvernement du Canada – Government of Canada
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Thought I'd posted these already but apparently not! These are from the second of 2 trips to Dollar Glen. The first visit was part of a longer walk in the Ochil Hills and I didn't really have time to stop but thought that I'd like to return with my tripod and wellies! So I did, and these are a few of the results. Castle Campbell is also well worth a visit, but disappointingly I didn't manage to capture its dramatic situation very well with my photos.
“A mountain that remembers every storm, every sunrise, and every step.”
Grand Teton is the tallest peak in the Teton Range, rising to 13,775 feet (4,199 meters), and the namesake of Grand Teton National Park—a place of dramatic geology, rich history, and ecological significance.
️ Mount Owen is the second-highest peak in the Teton Range, standing at 12,933 feet (3,942 meters), and forms part of the dramatic Cathedral Group in Grand Teton National Park. It’s known for its rugged beauty, technical climbing routes, and remote alpine setting.
Teewinot Mountain is the sixth-highest peak in the Teton Range, rising to 12,330 feet (3,760 meters), and known for its dramatic spires, exposed summit, and challenging climbs. Its name, derived from a Native American word meaning “many pinnacles,” perfectly captures its jagged silhouette.
Thank you for your visit and any faves or comments are always greatly appreciated!
~Sonja
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Nyloïd is an impressive sound sculpture, a huge tripod consisting of three six-meter-long nylon limbs animated by sophisticated mechanical and sound devices. Sensual, animal and threatening, this mobile draws its dramatic power from the reactivity of its plastic and sound material to diverse mechanical constraints. Similar to a living object, its tension, effort and suffering, which result from its contortions and its vocal manifestation, can be sensed.
Credit: tom mesic
The 44th Desktop created for “The E82 Project”
ABOUT THE SERIES:
Taking its cue from the Aurora Borealis and Light Beamed style backgrounds made popular by the Windows and Mac operating systems. Epcot Vistas is an abstraction of the logos, color palettes, and architecture of Epcot’s many pavilions.
THIS EDITION:
From its dramatic curvilinear structure to its massive planetary forms, Mission: Space Vista pays tribute to one of the most intense and realistic depictions of space flight ever created. For this edition, Planetary Plaza’s abstract orbital paths serve as the inspiration for the trajectory of the series’ signature light rays that lead from the outermost edges of space to the International Space Training Center.
For More Information
Please Visit “E82 - The Epcot Legacy”
Far from the crowds lies this nine-suite full-service hotel, where the word of the day, every day, is privacy. Amid the hilltop hush of its dramatic cliff's-edge setting, a capable and gracious staff is on call to see to your every need, from private terrace dining to tours of local sites. The modern take on Cycladic architecture lends a sophisticated edge to this boutique hotel.
No wonder it's a favourite of honeymooners the world over.
Magic is in the details at Astarte Suites, beginning with the twinkling Swarovski stones that adorn the ceiling above each suite’s Jacuzzi pool, and ending with the personalized service each guest enjoys. Surrounded by soothing shades of white and stone, guests are sure to find bliss here.During their precious down time, guests can relax and unwind next to Astarte Suites’s stunning turquoise infinity swimming pool, which overlooks the Aegean Sea’s tranquil blue waters and nearby rocky cliffs.
🇬🇧 English
Lao Shan (Laoshan) is a sacred mountain on China’s eastern coast, near Qingdao, famous for its dramatic granite peaks, clear springs, and strong Taoist heritage.
It is considered one of the birthplaces of Taoism, with temples dating back over 2,000 years. Laoshan is renowned for its pure mountain water, believed to have exceptional quality, and for its rare combination of mountain landscapes and direct sea views, which is unusual in China.
The mountain has long inspired poets, philosophers, and martial artists, symbolizing harmony between nature, spirit, and the Dao.
🇨🇳 中文（简体）
崂山（Lao Shan） 位于中国山东省青岛市东部，是中国著名的道教名山之一。
崂山以奇峰怪石、清泉瀑布和临海山景而闻名，是中国少有的“海上第一名山”。这里被认为是道教的重要发源地之一，至今仍保留着大量古老的道观。
崂山的山泉水极为著名，被认为清澈甘甜，富含灵气，长期被用于茶叶和传统养生文化中。
🇭🇷 Hrvatski
Lao Shan (Laoshan) je sveta planina na istočnoj obali Kine, u blizini Qingdaoa, poznata po strmim granitnim vrhovima, čistim izvorima i snažnoj daoističkoj tradiciji.
Smatra se jednim od najvažnijih povijesnih središta taoizma, s hramovima starima više od dvije tisuće godina. Posebnost Lao Shana je rijetka kombinacija planine i mora, gdje se s vrhova pruža pogled izravno na Žuto more.
Planina simbolizira sklad prirode, duhovnosti i dugovječnosti te ima važno mjesto u kineskoj filozofiji i kulturi.
Mount Lao, or Laoshan (Chinese: 崂山; pinyin: Láo Shān) is a mountain located near the East China Sea on the southeastern coastline of the Shandong Peninsula in China. The mountain is culturally significant due to its long affiliation with Taoism and is often regarded as one of the "cradles of Taoism". It is the highest coastal mountain in China and the second highest mountain in Shandong, with the highest peak (Jufeng) reaching 1,132.7 metres (3,716 ft). The mountain lies about 30 kilometres (19 mi) to the northeast of the downtown area of the City of Qingdao and is protected by the Qingdao Laoshan National Park that covers an area of 446 square kilometers.
en.wikipedia.org/wiki/Mount_Lao
1986 S 908 K 59 Kina_28
All Saints Church, Hereford. View from south.
All Saints, Hereford
All Saints Church has been a focus of Hereford life for over 800 years. Its dramatic twisted spire dominates the skyline, and the medieval interior is an inspired meeting of the sacred and the secular: we aim to serve the human need for physical and social as well as spiritual nourishment.
The original All Saints, probably dating from 1200AD, did not last long and it may well have been damaged by an earthquake. Rebuilding was soon started, but took a long time and it was not until about 1330AD that the new church was completed, very much as we see it today.
It seems that the tower and spire had always leant over (until the straightening of the 1990s), because the builders did not realise until it was too late that they were laying the foundations of one side very close to one and possibly more rubbish pits. In later years the spire was given a further twist at the top, as metal fixing for the stones rusted badly and pushed the stones out of place. There is a ring of eight bells, which regularly peal out over the city.
A massive project of repairs and restoration took place in the 1990s. All Saints re-opened in July 1997 and since then has gone from strength to strength with an average of over three thousand visitors a week. The building is a church, a community centre and a cafe. It is a place where people of all faiths and beliefs are welcome to pray, worship, talk, eat a delicious meal or use the space for all kinds of performances and meetings.
The Nave has been used for many different events from Shakespeare to Flamenco. The South Chapel has been used for dinners, displays, sales, meetings and office lunches.
www.westherefordteam.org.uk/allsaints/
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Church of All Saints, High Street, Hereford
Grade II* Listed
List Entry Number: 1025105
Details
HEREFORD
SO5040SE HIGH STREET 683-1/6/181 (North side) 10/06/52 Church of All Saints
GV II*
Parish church. C13 and C14. Coursed rubble; ashlar sandstone; slate and tile roof; ashlar tower and spire. Nave; chancel; south aisles; tower with spire; north and south chapels.
EXTERIOR: North front: 5 Perpendicular windows with stained and coloured glass; stepped buttresses; moulded parapet; gargoyles. East front: 4-light stained glass window with cinquefoil head, under pointed arch. West front: C20 restored window; 4-light window to South aisle. South front: porch with wrought-iron gates and plank doors, under enriched pointed arch with moulded and decorated spandrels, and castellated parapet; doorway to North under moulded pointed arch with enriched spandrels, moulded jambs, and hood-moulding; various 2-and 3-light mullions; enriched buttress finials. Castellated tower with corner buttresses and louvred lancets; ribbed spire with finials to louvred lancets, and weathercock.
INTERIOR: pulpit, c1621. C14 stalls with misericordes, and chest. C16 font (from which David Garrick was baptised in 1717); C17 reredos; C15 tiles and wall painting; Chained Library of some 300 books, the second largest in England (The largest being held at Hereford Cathedral (qv)). (Duncumb J: History of the County of Hereford: 1804-: 592-597).
Listing NGR: SO5089240043
Detail of the beautiful mid-14th century canopy of the Percy Tomb on the north side of the high altar. The tomb itself has disappeared and the exact identity of its occupant remains unclear, though Lady Eleanor (d.1328) is considered a likely candidate.
beverleyminster.org.uk/visit-us-2/percy-canopy/
There is a danger of running out of superlatives when trying to describe Beverley Minster. It is not only the second finest non-cathedral church in the country but is architecturally a far finer building than most of our cathedrals themselves! It will come as a surprise to many visitors to find this grand edifice simply functions today as a parish church and has never been more than collegiate, a status it lost at the Reformaton. What had added to its mystique and wealth was its status as a place of pilgrimage housing the tomb of St John of Beverley, which drew visitors and revenue until the Reformation brought an end to such fortunes and the shrine was destroyed (though the saint's bones were later rediscovered and reinterred in the nave). That this great church itself survived this period almost intact is little short of a miracle in itself.
There has been a church here since the 8th century but little remains of the earlier buildings aside from the Saxon chair near the altar and the Norman font in the nave. The present Minster's construction spans the entirety of the development of Gothic architecture but forms a surprisingly harmonious whole nevertheless, starting with Early English in the 13h century choir and transepts (both pairs) with their lancet windows in a building phase that stopped at the first bays of the nave. Construction was then continued with the nave in the 14th century but only the traceried windows betray the emergent Decorated style, the design otherwise closely followed the work of the previous century which gives the Minster's interior such a pleasingly unified appearance (the only discernable break in construction within can be seen where the black purbeck-marble ceased to be used for certain elements beyond the eastern bay of the nave). Finally the building was completed more or less by 1420 with the soaring west front with its dramatic twin-towers in Perpendicular style (the east window must have been enlarged at this point too to match the new work at the west end).
The fabric happily survived the Reformation intact aside from the octagonal chapter-house formerly adjoining the north choir aisle which was dismantled to raise money by the sale of its materials while the church's fate was in the balance (a similar fate was contemplated for the rest of the church by its new owners until the town bought it for retention as a parish church for £100). The great swathes of medieval glass alas were mostly lost, though seemingly as much to neglect and storm-damage in the following century than the usual iconoclasm. All that survived of the Minster's original glazing was collected to form the patchwork display now filling the great east window, a colourful kaleidoscope of fragments of figures and scenes. Of the other furnishings the choir stalls are the major ensemble and some of the finest medieval canopied stalls extant with a full set of charming misericords (though most of these alas are not normally on show).
There are suprisingly few monuments of note for such an enormous cathedral-like church, but the one major exception makes up for this, the delightful canopied Percy tomb erected in 1340 to the north of the high altar. The tomb itself is surprisingly plain without any likeness remaining of the deceased, but the richly carved Decorated canopy above is alive with gorgeous detail and figurative embellishments. There are further carvings to enjoy adorning the arcading that runs around the outer perimeter of the interior, especially the north nave aisle which has the most rewarding carved figures of musicians, monsters and people suffering various ailments, many were largely restored in the 19th century but still preserve the medieval spirit of irreverent fun.
To summarise Beverley Minster would be difficult other than simply adding that if one enjoys marvelling at Gothic architecture at its best then it really shouldn't be missed and one should prioritise it over the majority of our cathedrals. It is a real gem and a delight to behold, and is happily normally open and welcoming to visitors (who must all be astonished to find this magnificent edifice is no more than a simple parish church in status!). I thoroughly enjoyed this, my second visit here (despite the best efforts of the poor weather!).
Western towers (located on Wheeling Island) of the suspension bridge at Wheeling WV. The oldest major long span suspension bridge in the world, the most important pre-Civil War engineering structure in North America.
The Wheeling Suspension Bridge was honored as a National Historic Civil Engineering landmark in 1969, and in 1980 the bridge was listed on the National Register of Historic Places of the United States Department of the Interior. In 1975 the Wheeling Suspension Bridge received the highest honor that can be bestowed on a non-federal site or structure when it became the first bridge to be designated a National Historic Landmark. The bridge is currently being nominated as an international landmark by the International Council on Monuments and Sites.
The Wheeling Suspension Bridge, as it stands today, has the general appearance of the original bridge constructed in 1849. The massive towers, anchorage housings and island approach are all the original stone masonry. The main cables of the bridge are either original or additions which date from the 1860 reconstruction of the bridge after its collapse in a wind storm in 1854. Its dramatic fall during that storm provided engineers with the best practical lesson in the aerodynamic response of bridges subjected to high winds until the destruction of the Tacoma Narrow Bridge in 1940.
Thought I'd posted these already but apparently not! These are from the second of 2 trips to Dollar Glen. The first visit was part of a longer walk in the Ochil Hills and I didn't really have time to stop but thought that I'd like to return with my tripod and wellies! So I did, and these are a few of the results. Castle Campbell is also well worth a visit, but disappointingly I didn't manage to capture its dramatic situation very well with my photos.
In 1973, Vauxhall developed a radical version of the Firenza, known officially as the High Performance (HP) Firenza, but known colloquially as the droopsnoot after its dramatically styled aerodynamic nose. The nose was moulded from GRP and featured two pairs of Cibié headlamps behind toughened glass covers. The overall look was somewhat reminiscent of the Renault Alpine A310, and used the same headlamp units.
This car was an exciting styling departure for Vauxhall, and certainly created something of a buzz. The engine was the 2.3 litre variant of the OHC Slant Four engine, uprated to a very torquey 131 bhp using a variety of parts developed by Blydenstein racing. It had twin 175 Stromberg carburettors, high-lift camshaft and free-flow tubular exhaust manifold. The car was restyled on the David Jones original by American designer Wayne Cherry and the result was an exceptionally low drag coefficient for its time. Suspension was uprated and lowered, brakes uprated, and a 5-speed ZF dog leg gearbox was installed, a much stronger unit than fitted to the standard model (though rather noisy). Another unusual and unique feature of the car was the alloy Avon Safety Wheels, which were designed to retain the tyre safely in the event of a puncture. This was the first car to use these wheels in production. All production cars were painted in the same colour - Silver Starfire, and featured a largely black interior with silver-grey cloth seats.
Dag 11: Nagar and Hopper Valleys - Ganish village.
Nagar Valley - Ancient palace of the Nagar kingdom.
Nagar Valley is a stunning high-altitude region in Gilgit-Baltistan, known for its dramatic mountains, glaciers and rich cultural heritage.
After Lovis Corinth
Watercolour after a self-portrait painting by Lovis Corinth that I saw in Cologne. I found its dramatic and strong expression very striking.
The redness in the sky to the west was now alarming, although I knew the reason, it felt like something supernatural.
Palgrave was just a few miles from Hepworth, and one I hoped to find open, and at just after four in the afternoon, but nearly dar, it was.
It was really very gloomy inside the church, even with the lights on, shots were difficult to take. I was on a mission to snap all I could as soon as possible before the light failed altogether.
Church features a splendid Norman font, modern glass, and the remains of a spiral staircase leading to a room over the south porch, the floor of which has long since vanished. The stairs now a broom cupboard.
Wonderful painted roof, I thought maybe done in the last century, but might be much, much older than that.
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2015: I've visited Palgrave church several times since this account first appeared, most recently to take the photographs here. However, I hope I will be forgiven for retaining the original text from 2003, if only for its freshness, and perhaps also for what may be viewed at this distance as its charm.
2003: I arrived at Diss railway station in that gentle sunshine for which we’ll remember the Spring of 2003. Diss is in Norfolk; I had just crossed the border on my train journey from Ipswich, but I was bound for Diss's southern suburb, the Suffolk village of Palgrave. I cycled off from the station. I headed under the railway line, and over the infant Waveney. At this point, I entered Suffolk again, but there were no county signs in either direction. To be honest, it didn’t feel that different, apart from the way that the road surface improved, the schools came off special measures, the police force became efficient, and so on.
The countryside opened out into golden oilseed rape fields under a wide sky. It was good to be home. Soon, I was coming into Palgrave village, which seemed very pleasant indeed.
In medieval times, Palgrave was actually two parishes; the westerly one, Palgrave St John, has been subsumed into this one, and that church has completely disappeared. However, this pretty church is walled neatly into its graveyard at the heart of the village, which spreads neatly around it. As this was my first church of the day, I hoped it would be open; it always puts a crimp in a trip if the first one is a lock-out. I was not disappointed; St Peter is a friendly parish that knows that part of its Christian mission is to welcome strangers and pilgrims.
I stepped through the elaborate arch of the late 15th Century south doorway. An angel and a dragon contended in the spandrels, and there were characterful heads carved in the entrance arch. Inside, a very nice lady was busy with the flowers, and took time out to show me around. All the while, I was conscious that above my head the lovely painted roof of Palgrave. Marian monograms and symbols punctuate the whitewash; once, many small Suffolk churches must have been like this. Perhaps someone can explain to me why this one hasn’t faded like many of the others; I don’t think it has been redone.
The other famous treasure here is the font. It is unlike anything else in Suffolk. Clearly Norman, but much more elaborate than most, its most outstanding features are the faces in each corner. Again, this is a more intimate experience of the faces we normally see as corbels; but Palgrave has these too, stunning medieval characters along the lines of the arcades.
While we are on the subject of treasure, there were two modern features that were obviously loved by the locals. Firstly, Surinder Warboys has her studio nearby at Mellis, and here is one of her windows in the south aisle. The light flooded through it. The lady told me that everybody liked it, but that it was very hard to do a flower arrangement in front of it! I thought that they had done very well. Secondly, up in the chancel is the benefice millennium banner – people from all the parishes came together and produced this amazing patchwork cross. On the back, there are panels depicting the mission of the Church. Apparently, it is shared around the benefice churches for display for a few weeks at a time.
In the place where many churches now display the coat of arms, Palgrave has part of a suit of armour. I have seen an explanation in several books that it was from the parish armoury, which was once stored in the upper room of the porch, as at Mendlesham. This upper room has now gone, and the armoury has, as in most churches, been dispersed. However, I could find no evidence for this story, and it seems to be based on one of Arthur Mee’s fancies. I don't think it is even real armour; rather, it is similar to the mock plate armour behind the Bacon memorial at nearby Redgrave. It seems likely to me that this is also part of an old set of armour associated with a memorial of some kind, which the Victorians swept away. I don’t suppose we’ll ever know.
Back outside again, I took time out to photograph the famous grave of carter John Catchpole, with its relief of a wagon and horses – you can see it in the left-hand column. It seems a modern fashion to decorate headstones with symbols associated with the deceased; nice to know it was happening in the mid-18th century.
I turned, and looked back at the neat tower, the splendid porch with its dramatic niches. You can see that there was once an upper room, but it has now gone.
And it was time for me to be gone, too. Waving cheerily, I headed off in the direction of Thrandeston, all the road back to Ipswich open in front of me in the sunshine.
Simon Knott, August 2003, updated July 2015
Arnarstapi is a small fishing village on the southern coast of the Snæfellsnes Peninsula in West Iceland. Historically an important fishing and trading post, it is now best known for its dramatic coastal scenery, basalt cliffs, sea arches, and rich birdlife. The village lies at the foot of Snæfellsjökull and serves as a popular starting point for coastal walks to nearby Hellnar. One of its most recognizable landmarks is the stone sculpture of Bárður Snæfellsás, a figure from Icelandic folklore associated with the peninsula.
Snæfellsnes Peninsula
Often called "Iceland in Miniature," the Snæfellsnes Peninsula is one of the country's most diverse regions, featuring volcanoes, glaciers, lava fields, black-sand beaches, fishing villages, waterfalls, dramatic cliffs, and rugged coastlines. Dominating the peninsula is Snæfellsjökull, the glacier-capped volcano made famous by Jules Verne's novel Journey to the Center of the Earth. The peninsula is widely regarded as one of Iceland’s most scenic destinations due to the variety of landscapes concentrated in a relatively small area.
Originally a mere wing of somewhat upscale shops opened in 2002 (Louis Vuitton and Tiffany notwithstanding), Westfield began reorganizing the wing in 2012 to make way for a collection of big-name luxury brands. The wing is more or less unrecognizable from its original design - and unrecognizable from this picture, considering its dramatic 2019 renovation.
Originally, the wing housed stores like Williams Sonoma (relocated), BCBG, Harry & David, A Pea in the Pod, Restoration Hardware, Kenneth Cole, and a Sony store.
Llyn Llech Owain Country Park is is a stunning 158-acre expanse of woods and lakeland near Cross Hands with nature trails, an adventure area and visitor centre. At the heart of this spectacular park is its dramatic lake which is surrounded by peat bog and there’s a lovely myth associated with Llyn Lech Owain. Legend has it that Owain Lawgoch ("Owain of the Red Hand" - who led an army of French mercenaries against the English in the Hundred Years' War), was entrusted to look after a well on the mountain named Mynydd Mawr. Each day, after extracting enough water for himself and his horse, Owain was always careful to replace the stone but on one occasion he forgot and a torrent of water poured down the side of the mountain. The resultant lake was hence named Llyn Lech Owain - the lake of Owain’s slab. Today, specially constructed paths allow for safe access over the bog and around the lake. The paths are well-surfaced and accessible to wheelchair-users. A forest track provides a longer walk or cycle ride around the country park and there’s a rough mountain bike trail for the more adventurous cyclist. Much of the park consists of coniferous woodland, planted by the Forestry Commission during the 1960s and there are also areas of dry heath and broad-leaved woodland.
ift.tt/2ooJBYu Kirkjufell, or 'Church Mountain', is a distinctly shaped peak found on the north shore of Iceland’s Snæfellsnes Peninsula, only a short distance away from the town of Grundarfjörður. It is often called ‘the most photographed mountain in Iceland’, due to its dramatic formation and perfect coastal location. Kirkjufell takes its name from its resemblance to a church steeple, sharpened at the top with long curved sides. From other angles, the mountain has been compared to a witch’s hat or even a freshly scooped ice cream. Peaking at 463 metres, 1519 feet, Kirkjufell is an impressive landmark. Throughout the centuries, Kirkjufell’s striking slopes have acted as a visual landmark for seafarers and travellers. More recently, it has attracted amateur and professional photographers alike. Within walking distance from Kirkjufell is the serene and perfectly located waterfall Kirkjufellsfoss, or 'Church Mountain Falls', an excellent subject for photographers who can easily frame the mountain in the background. Despite its relatively diminutive height, Kirkjufellsfoss’ three-steps, gentle flow, and dramatic differences between seasons make it as impressive as some of Iceland’s larger waterfalls. Fans of the HBO series Game of Thrones will recognise Kirkjufell as a shooting location from Season 7 of Game of Thrones. The mountain is showcased from the scenes ‘North beyond the Wall’ when Jon Snow, The Hound and Jorah Mormont, amongst others, brave the wilderness in hopes of catching an undead wight. Having seen it in a vision, The Hound acknowledges Kirkjufell as “[...] the mountain like an arrowhead”, and the events that happen beneath it are some of the show’s most dramatic. Source: guidetoiceland.is #travelingdorks #icelandair . . . #inspiredbyiceland #icelandic #everydayiceland #whyiceland #chasingwaterfalls #mystopover #ig_iceland #icelandtravel #visiticeland #exploreiceland #discovericeland #kirkjufell #gameofthrones #loves_iceland #wowair #icelandexplored #alliceland #bestoficeland #absoluteiceland #icelandtrip #wheniniceland #icelandic #sonyalpha #sonyimages #sonyalphasclub #sonyphotography #sonyphotogallery #sonygmaster
REFORD GARDENS | LES JARDINS DE METIS
Dwarf Morning Glory | Tricolour Convolvulus
Beautiful flowers at Reford Gardens.
-------------------------------------------------------------------------------
Visit : www.refordgardens.com/
From Wikipedia:
Elsie Stephen Meighen - born January 22, 1872, Perth, Ontario - and Robert Wilson Reford - born in 1867, Montreal - got married on June 12, 1894.
Elsie Reford was a pioneer of Canadian horticulture, creating one of the largest private gardens in Canada on her estate, Estevan Lodge in eastern Québec. Located in Grand-Métis on the south shore of the St. Lawrence River, her gardens have been open to the public since 1962 and operate under the name Les Jardins de Métis and Reford Gardens.
Born January 22, 1872 at Perth, Ontario, Elsie Reford was the eldest of three children born to Robert Meighen and Elsie Stephen. Coming from modest backgrounds themselves, Elsie’s parents ensured that their children received a good education. After being educated in Montreal, she was sent to finishing school in Dresden and Paris, returning to Montreal fluent in both German and French, and ready to take her place in society.
She married Robert Wilson Reford on June 12, 1894. She gave birth to two sons, Bruce in 1895 and Eric in 1900. Robert and Elsie Reford were, by many accounts, an ideal couple. In 1902, they built a house on Drummond Street in Montreal. They both loved the outdoors and they spend several weeks a year in a log cabin they built at Lac Caribou, south of Rimouski. In the autumn they hunted for caribou, deer, and ducks. They returned in winter to ski and snowshoe. Elsie Reford also liked to ride. She had learned as a girl and spent many hours riding on the slopes of Mount Royal. And of course, there was salmon-fishing – a sport at which she excelled.
In her day, she was known for her civic, social, and political activism. She was engaged in philanthropic activities, particularly for the Montreal Maternity Hospital and she was also the moving force behind the creation of the Women’s Canadian Club of Montreal, the first women club in Canada. She believed it important that the women become involved in debates over the great issues of the day, « something beyond the local gossip of the hour ». Her acquaintance with Lord Grey, the Governor-General of Canada from 1904 to 1911, led to her involvement in organizing, in 1908, Québec City’s tercentennial celebrations. The event was one of many to which she devoted herself in building bridges with French-Canadian community.
During the First World War, she joined her two sons in England and did volunteer work at the War Office, translating documents from German into English. After the war, she was active in the Victorian Order of Nurses, the Montreal Council of Social Agencies, and the National Association of Conservative Women.
In 1925 at the age of 53 years, Elsie Reford was operated for appendicitis and during her convalescence, her doctor counselled against fishing, fearing that she did not have the strength to return to the river.”Why not take up gardening?” he said, thinking this a more suitable pastime for a convalescent woman of a certain age. That is why she began laying out the gardens and supervising their construction. The gardens would take ten years to build, and would extend over more than twenty acres.
Elsie Reford had to overcome many difficulties in bringing her garden to life. First among them were the allergies that sometimes left her bedridden for days on end. The second obstacle was the property itself. Estevan was first and foremost a fishing lodge. The site was chosen because of its proximity to a salmon river and its dramatic views – not for the quality of the soil.
To counter-act nature’s deficiencies, she created soil for each of the plants she had selected, bringing peat and sand from nearby farms. This exchange was fortuitous to the local farmers, suffering through the Great Depression. Then, as now, the gardens provided much-needed work to an area with high unemployment. Elsie Reford’s genius as a gardener was born of the knowledge she developed of the needs of plants. Over the course of her long life, she became an expert plantsman. By the end of her life, Elsie Reford was able to counsel other gardeners, writing in the journals of the Royal Horticultural Society and the North American Lily Society. Elsie Reford was not a landscape architect and had no training of any kind as a garden designer. While she collected and appreciated art, she claimed no talents as an artist.
Elsie Stephen Reford died at her Drummond Street home on November 8, 1967 in her ninety-sixth year.
In 1995, the Reford Gardens ("Jardins de Métis") in Grand-Métis were designated a National Historic Site of Canada, as being an excellent Canadian example of the English-inspired garden.(Wikipedia)
Visit : en.wikipedia.org/wiki/Elsie_Reford
Visit : www.refordgardens.com
LES JARDINS DE MÉTIS
Créés par Elsie Reford de 1926 à 1958, ces jardins témoignent de façon remarquable de l’art paysager à l’anglaise. Disposés dans un cadre naturel, un ensemble de jardins exhibent fleurs vivaces, arbres et arbustes. Le jardin des pommetiers, les rocailles et l’Allée royale évoquent l’œuvre de cette dame passionnée d’horticulture. Agrémenté d’un ruisseau et de sentiers sinueux, ce site jouit d’un microclimat favorable à la croissance d’espèces uniques au Canada. Les pavots bleus et les lis, privilégiés par Mme Reford, y fleurissent toujours et contribuent , avec d’autres plantes exotiques et indigènes, à l’harmonie de ces lieux.
Created by Elsie Reford between 1926 and 1958, these gardens are an inspired example of the English art of the garden. Woven into a natural setting, a series of gardens display perennials, trees and shrubs. A crab-apple orchard, a rock garden, and the Long Walk are also the legacy of this dedicated horticulturist. A microclimate favours the growth of species found nowhere else in Canada, while the stream and winding paths add to the charm. Elsie Reford’s beloved blue poppies and lilies still bloom and contribute, with other exotic and indigenous plants, to the harmony of the site.
Commission des lieux et monuments historiques du Canada
Historic Sites and Monuments Board of Canada.
Gouvernement du Canada – Government of Canada
© Copyright
This photo and all those in my Photostream are protected by copyright. No one may reproduce, copy, transmit or manipulate them without my written permission.
The redness in the sky to the west was now alarming, although I knew the reason, it felt like something supernatural.
Palgrave was just a few miles from Hepworth, and one I hoped to find open, and at just after four in the afternoon, but nearly dar, it was.
It was really very gloomy inside the church, even with the lights on, shots were difficult to take. I was on a mission to snap all I could as soon as possible before the light failed altogether.
Church features a splendid Norman font, modern glass, and the remains of a spiral staircase leading to a room over the south porch, the floor of which has long since vanished. The stairs now a broom cupboard.
Wonderful painted roof, I thought maybe done in the last century, but might be much, much older than that.
-----------------------------------------
2015: I've visited Palgrave church several times since this account first appeared, most recently to take the photographs here. However, I hope I will be forgiven for retaining the original text from 2003, if only for its freshness, and perhaps also for what may be viewed at this distance as its charm.
2003: I arrived at Diss railway station in that gentle sunshine for which we’ll remember the Spring of 2003. Diss is in Norfolk; I had just crossed the border on my train journey from Ipswich, but I was bound for Diss's southern suburb, the Suffolk village of Palgrave. I cycled off from the station. I headed under the railway line, and over the infant Waveney. At this point, I entered Suffolk again, but there were no county signs in either direction. To be honest, it didn’t feel that different, apart from the way that the road surface improved, the schools came off special measures, the police force became efficient, and so on.
The countryside opened out into golden oilseed rape fields under a wide sky. It was good to be home. Soon, I was coming into Palgrave village, which seemed very pleasant indeed.
In medieval times, Palgrave was actually two parishes; the westerly one, Palgrave St John, has been subsumed into this one, and that church has completely disappeared. However, this pretty church is walled neatly into its graveyard at the heart of the village, which spreads neatly around it. As this was my first church of the day, I hoped it would be open; it always puts a crimp in a trip if the first one is a lock-out. I was not disappointed; St Peter is a friendly parish that knows that part of its Christian mission is to welcome strangers and pilgrims.
I stepped through the elaborate arch of the late 15th Century south doorway. An angel and a dragon contended in the spandrels, and there were characterful heads carved in the entrance arch. Inside, a very nice lady was busy with the flowers, and took time out to show me around. All the while, I was conscious that above my head the lovely painted roof of Palgrave. Marian monograms and symbols punctuate the whitewash; once, many small Suffolk churches must have been like this. Perhaps someone can explain to me why this one hasn’t faded like many of the others; I don’t think it has been redone.
The other famous treasure here is the font. It is unlike anything else in Suffolk. Clearly Norman, but much more elaborate than most, its most outstanding features are the faces in each corner. Again, this is a more intimate experience of the faces we normally see as corbels; but Palgrave has these too, stunning medieval characters along the lines of the arcades.
While we are on the subject of treasure, there were two modern features that were obviously loved by the locals. Firstly, Surinder Warboys has her studio nearby at Mellis, and here is one of her windows in the south aisle. The light flooded through it. The lady told me that everybody liked it, but that it was very hard to do a flower arrangement in front of it! I thought that they had done very well. Secondly, up in the chancel is the benefice millennium banner – people from all the parishes came together and produced this amazing patchwork cross. On the back, there are panels depicting the mission of the Church. Apparently, it is shared around the benefice churches for display for a few weeks at a time.
In the place where many churches now display the coat of arms, Palgrave has part of a suit of armour. I have seen an explanation in several books that it was from the parish armoury, which was once stored in the upper room of the porch, as at Mendlesham. This upper room has now gone, and the armoury has, as in most churches, been dispersed. However, I could find no evidence for this story, and it seems to be based on one of Arthur Mee’s fancies. I don't think it is even real armour; rather, it is similar to the mock plate armour behind the Bacon memorial at nearby Redgrave. It seems likely to me that this is also part of an old set of armour associated with a memorial of some kind, which the Victorians swept away. I don’t suppose we’ll ever know.
Back outside again, I took time out to photograph the famous grave of carter John Catchpole, with its relief of a wagon and horses – you can see it in the left-hand column. It seems a modern fashion to decorate headstones with symbols associated with the deceased; nice to know it was happening in the mid-18th century.
I turned, and looked back at the neat tower, the splendid porch with its dramatic niches. You can see that there was once an upper room, but it has now gone.
And it was time for me to be gone, too. Waving cheerily, I headed off in the direction of Thrandeston, all the road back to Ipswich open in front of me in the sunshine.
Simon Knott, August 2003, updated July 2015
REFORD GARDENS | LES JARDINS DE MÉTIS
Beautiful flowers at Reford Gardens
Visit : www.refordgardens.com/
From Wikipedia:
Elsie Stephen Meighen - born January 22, 1872, Perth, Ontario - and Robert Wilson Reford - born in 1867, Montreal - got married on June 12, 1894.
Elsie Reford was a pioneer of Canadian horticulture, creating one of the largest private gardens in Canada on her estate, Estevan Lodge in eastern Québec. Located in Grand-Métis on the south shore of the St. Lawrence River, her gardens have been open to the public since 1962 and operate under the name Les Jardins de Métis and Reford Gardens.
Born January 22, 1872 at Perth, Ontario, Elsie Reford was the eldest of three children born to Robert Meighen and Elsie Stephen. Coming from modest backgrounds themselves, Elsie’s parents ensured that their children received a good education. After being educated in Montreal, she was sent to finishing school in Dresden and Paris, returning to Montreal fluent in both German and French, and ready to take her place in society.
She married Robert Wilson Reford on June 12, 1894. She gave birth to two sons, Bruce in 1895 and Eric in 1900. Robert and Elsie Reford were, by many accounts, an ideal couple. In 1902, they built a house on Drummond Street in Montreal. They both loved the outdoors and they spend several weeks a year in a log cabin they built at Lac Caribou, south of Rimouski. In the autumn they hunted for caribou, deer, and ducks. They returned in winter to ski and snowshoe. Elsie Reford also liked to ride. She had learned as a girl and spent many hours riding on the slopes of Mount Royal. And of course, there was salmon-fishing – a sport at which she excelled.
In her day, she was known for her civic, social, and political activism. She was engaged in philanthropic activities, particularly for the Montreal Maternity Hospital and she was also the moving force behind the creation of the Women’s Canadian Club of Montreal, the first women club in Canada. She believed it important that the women become involved in debates over the great issues of the day, « something beyond the local gossip of the hour ». Her acquaintance with Lord Grey, the Governor-General of Canada from 1904 to 1911, led to her involvement in organizing, in 1908, Québec City’s tercentennial celebrations. The event was one of many to which she devoted herself in building bridges with French-Canadian community.
During the First World War, she joined her two sons in England and did volunteer work at the War Office, translating documents from German into English. After the war, she was active in the Victorian Order of Nurses, the Montreal Council of Social Agencies, and the National Association of Conservative Women.
In 1925 at the age of 53 years, Elsie Reford was operated for appendicitis and during her convalescence, her doctor counselled against fishing, fearing that she did not have the strength to return to the river.”Why not take up gardening?” he said, thinking this a more suitable pastime for a convalescent woman of a certain age. That is why she began laying out the gardens and supervising their construction. The gardens would take ten years to build, and would extend over more than twenty acres.
Elsie Reford had to overcome many difficulties in bringing her garden to life. First among them were the allergies that sometimes left her bedridden for days on end. The second obstacle was the property itself. Estevan was first and foremost a fishing lodge. The site was chosen because of its proximity to a salmon river and its dramatic views – not for the quality of the soil.
To counter-act nature’s deficiencies, she created soil for each of the plants she had selected, bringing peat and sand from nearby farms. This exchange was fortuitous to the local farmers, suffering through the Great Depression. Then, as now, the gardens provided much-needed work to an area with high unemployment. Elsie Reford’s genius as a gardener was born of the knowledge she developed of the needs of plants. Over the course of her long life, she became an expert plantsman. By the end of her life, Elsie Reford was able to counsel other gardeners, writing in the journals of the Royal Horticultural Society and the North American Lily Society. Elsie Reford was not a landscape architect and had no training of any kind as a garden designer. While she collected and appreciated art, she claimed no talents as an artist.
Elsie Stephen Reford died at her Drummond Street home on November 8, 1967 in her ninety-sixth year.
In 1995, the Reford Gardens ("Jardins de Métis") in Grand-Métis were designated a National Historic Site of Canada, as being an excellent Canadian example of the English-inspired garden.(Wikipedia)
Visit : en.wikipedia.org/wiki/Elsie_Reford
------------------------------------------------------------------------------------------
Visit : www.refordgardens.com/
----------------------------------------------------------------------------------------
LES JARDINS DE MÉTIS
Créés par Elsie Reford de 1926 à 1958, ces jardins témoignent de façon remarquable de l’art paysager à l’anglaise. Disposés dans un cadre naturel, un ensemble de jardins exhibent fleurs vivaces, arbres et arbustes. Le jardin des pommetiers, les rocailles et l’Allée royale évoquent l’œuvre de cette dame passionnée d’horticulture. Agrémenté d’un ruisseau et de sentiers sinueux, ce site jouit d’un microclimat favorable à la croissance d’espèces uniques au Canada. Les pavots bleus et les lis, privilégiés par Mme Reford, y fleurissent toujours et contribuent , avec d’autres plantes exotiques et indigènes, à l’harmonie de ces lieux.
Created by Elsie Reford between 1926 and 1958, these gardens are an inspired example of the English art of the garden. Woven into a natural setting, a series of gardens display perennials, trees and shrubs. A crab-apple orchard, a rock garden, and the Long Walk are also the legacy of this dedicated horticulturist. A microclimate favours the growth of species found nowhere else in Canada, while the stream and winding paths add to the charm. Elsie Reford’s beloved blue poppies and lilies still bloom and contribute, with other exotic and indigenous plants, to the harmony of the site.
Commission des lieux et monuments historiques du Canada
Historic Sites and Monuments Board of Canada.
Gouvernement du Canada – Government of Canada
© Copyright
This photo and all those in my Photostream are protected by copyright. No one may reproduce, copy, transmit or manipulate them without my written permission.
Iceland, a Nordic island nation, is defined by its dramatic volcanic landscape of geysers, hot springs, waterfalls, glaciers and black-sand beaches. The capital, Reykjavik, home to the majority of the population, runs on geothermal power and offers a renowned nightlife scene as well as Viking history museums. The glaciers in Vatnajökull and Snæfellsnes national parks are popular for ice climbing, hiking and snowmobiling.
Jala Neti kriya (nasal cleaning) is a process to clean the sinus passages with warm saline water. Sometime
Yogis have practiced for this since many centuries for its innumerable and powerful benefits of this.
It is also called Neti or Saline Nasal Irrigation.
In yoga, it has been used for its extremely powerful physical, psychological and spiritual benefits of Neti Kriya.
However, in the modern world, Jala Neti has gained immense popularity because of its dramatic effects on the sinuses.
#yoga #teacher #training in #India
Quebrada de Humahuaca is a narrow mountain valley in northern Argentina. It's known for its dramatic rock formations and hills, and its indigenous Quechuan villages. In the south, the rocky, multihued slopes of the Seven Colors Hill rise above the Spanish colonial village of Purmamarca. The village is known for the centuries-old Santa Rosa de Lima church and surrounding desert landscapes.
Purmamarca is a village in the Jujuy province of northwest Argentina. It's set at the base of a striking, multi-hued mountain called the Seven Colors Hill. From the village, the Paseo de los Colorados trail leads into the surrounding desert landscapes for views of the mountain. Adobe houses line the streets, and 9 de Julio Square hosts a popular crafts market. Nearby is the centuries-old Santa Rosa de Lima church.
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Interesting place for a short stop, the village of Purmamarca is stunningly set just below the unusual colourful mountain massive.
SLO_GenLA Table
The SLO_GenLA communal table is a focal point in the lobby of Gensler’s Los Angeles office, and the result of an innovative partnership between Gensler and the Department of Architecture at the College of Architecture and Environmental Design at Cal Poly, San Luis Obispo.
In 2011, professors Jim Doerfler and Mark Cabrinha, co-directors of Cal Poly’s Digital Fabrication Lab (“d[Fab]Lab”) reached out to Gensler L.A. design director Shawn Gehle to create a fully-virtualized studio focused on digital fabrication and online collaboration tools. In response, Gehle authored a unique, 10-week seminar that would allow students access to the firm’s design talent and explore form-finding and digital fabrication techniques through the design of a custom furniture piece. The design brief simply outlined a piece that could accommodate standing and sitting space for guests and storage for the firm’s design publications. The piece would need to be site-specific and prominently featured in Gensler’s new downtown Los Angeles office.
Beyond an initial in-person meeting, Cal Poly students and d[Fab]Lab faculty met with Gensler advisors via the online collaboration tool GoToMeeting to conduct weekly seminar discussions and review the team’s progress. In addition to bridging the 200-mile gap between designers in Los Angeles and students and faculty in San Luis Obispo, this method allowed professional consultants and materials specialists to participate easily, while exposing students to the kind of virtual collaboration that is prevalent in professional practice today. Maintaining a focus on a digital workflow, the team’s design and documentation process also was conducted virtually, substituting a 3-D model as the deliverable for fabrication in lieu of a traditional set of 2-D drawings.
Over the course of the seminar, the original concepts of three students were developed and refined using the 3-D modeling software Rhino and T-Splines, and virtually reviewed and critiqued weekly with Gensler’s design staff. Structural engineers at Buro Happold and solid surfacing material provider LG Hausys joined multiple discussions to examine schemes and offer insight on constructability, cost and structural integrity. A final, in-person meeting in Los Angeles focused on the review of physical prototypes and material samples, and enabled the team to address the challenges of forming fiberglass vs. solid surfacing as the table’s predominant surface material.
Inspired by the design and opportunity, LG Hausys become a partner in the project, providing technical expertise and support for their HI-MACS solid surfacing product, which proved to be the ideal material for achieving the table’s draped surface. LG Hausys also introduced the team to the capabilities of R.D. Wing Co. Inc., the Seattle-based fabrication specialists who ultimately constructed and delivered the table’s design.
The SLO_Gen table was recently installed in the main entry of Gensler Los Angeles, where its dramatic profile continues to lure pedestrians in from the street and prompt conversation on its origin.
Link to Project Video:
Project Information
Name
SLO_GenLA Table
Location
Gensler Los Angeles, 500 S. Figueroa, Los Angeles, CA 90027
Contacts
Shawn Gehle, Design Director – Gensler Los Angeles
Follow on twitter: @shawngehle
Mark Cabrinha, Ph.D., RA, Associate Professor, Architecture Department - Cal Poly, SLO
mcabrinh@calpoly.edu
805.756.2855
Project Credits
CLIENT
•Gensler Los Angeles
-Robert Jernigan, Shawn Gehle
TEAM
Design
•Cal Poly, San Luis Obispo
Department of Architecture, College of Architecture and Environmental Design
-Faculty: Jim Doerfler, Mark Cabrinha
-Students: Ben Hait-Campbell, Cory Walker, Kegan Charles Flanderka
•Gensler Los Angeles
-Sabu Song, Shawn Gehle, Richard Hammond, Valentin Lieu
Engineering
•Buro Happold
-Garrett Jones, Gary Lau, Greg Otto, Liz Mahlow,
Fabrication
•R.D. Wing Co., Inc.
-Brandon Wing, Dan Foreman, Vath Sida, Wayne Bart
Materials
•LG Hausys – HI-MACS® Solid Surfacing
Bronx Community College, University Heights, Bronx
Dramatically sited on the heights overlooking the Harlem River, Harlem Flats, and the New Jersey Palisades beyond, the Gould Memorial Library and the related buildings of the former New York University campus stand as one of the triumphs of late nineteenth-century American architecture. Designed at a time when many institutions of higher learning were expanding their facilities, the library is a monument to two great men—architect Stanford White and chancellor Henry MacCracken.' The Gould Memorial Library is an imposing, classically-inspired structure constructed of yellow Roman brick with limestone and terra-cotta trim.
The use of these materials serves to modulate the building's monumental quality and link it to the surrounding landscape. The restrained exterior stands in vivid contrast to the rich interior with its dramatic flow of spaces and its sumptuous stone and marble detailing. The Gould Memorial Library has long been recognized as among the supreme examples of Stanford White's work. The most fitting comment on the building's architectural importance has come, not from architectural critics or the general public, but from White's peers who in 1919 chose the library as the site for the Stanford White Memorial. Although no longer used as a library, the building retains its original configuration and is a major monument of the former New York University campus.
Description
The stairhall, administrative offices, and central reading room of the Gould Memorial Library form one of the great surviving interiors dating from the period of American architectural history that has come to be known as the American Renaissance. The interior spaces are among the finest designs of Stanford White and reflect his adherence to scientific eclecticism— "the assemblage of pieces from the past...to create harmonious wholes.At this building White combined forms and ideas from the Roman Pantheon and from Renaissance palaces to create an original and highly sophisticated work of art.
The library is entered through an exterior portico of six Corinthian columns and a pair of bronze doors. 7 Beyond the doors the visitor stands in a small vestibule that is flanked by bronze lamp standards. The main stairway rises directly in front and subsidiary staircases leading to the basement chapel are set on either side. The barrel-vaulted side stairways, with their handsome railings, lead to a foyer and hallway set in front of the chapel. From the vestibule one gains a glimpse of the reading room located at the end of the grand staircase. A sense of the polychromatic richness of the interior is established immediately upon entering the building by the use of stained-glass windows and bands of red, yellow, black, and white mosaic tile for the floor. The vestibule ceiling is in the form of a shallow dome and forms the first of a progression of domes that culminates in the dome of the reading room. A handsome revolving door has been placed within the vestibule.
The short vestibule leads directly to the lower landing of the staircase. This area also has a mosaic floor. Heavy wooden doors on either side lead to offices. From .this landing rise the twenty-four Tennessee-marble steps of the barrel-vaulted stair hall. The stairway is modeled after Renaissance prototypes referred to by White in answer to a critical letter of MacCracken's:
I am sure that the staircase as it is designed is all right... I do not see how it will be possible to treat it any other way____Certainly neither the Gold Staircase (of the Ducal Palace) nor the Vatican Staircase look like tunnels, and the New York University one will look far less so, as it is very much more lofty and very much shorter.
The staircase is an extremely successful part of the design, symbolically serving as the stairway to knowledge. It is only upon reaching the top of the stairs, or after ascending the stairway to knowledge, that the dome of the reading room (the crown of the storehouse of knowledge) begins to come into sight.
The stairway is articulated by two pairs of stone pilast.ers--one pair at the bottom and one pair towards the top of the steps. The middle pilasters support bronze torcheres capped by glass globes. The lower two-thirds of the stairway walls are faced with Portland stone. A band embellished with a Vitruvian scroll pattern separates the stone walls from panels of highly-polished, pale-yellow, Cippolini marble. Above these panels is an entablature that supports a coffered barrel vault.
The upper stairway landing is similar in form to the lower landing and vestibule, with a mosaic floor, bronze lamps, and a shallow dome. In the center of the dome is a roundel of green Tiffany stained glass from which hangs a glass globe lamp. The shallow arms of this landing continue the decorative pattern of the stairway-Portland stone walls topped by Cippolini marble panels. Lunettes with round niches that were intended to house portrait busts are located at either end of the landing and above the entrance to the reading room. The original administrative offices of the university are located on either side of the stairway. These elegantly appointed offices, with their wood paneling and fireplaces, remain substantially intact, although they are no longer regularly used.
The entrance to the reading room is through a pair of doors set into a simple eared enframement crowned by a bracketed pediment. The simplicity of the entrance enframement is a foil to the ornate reading room. The reading room, designed to be the major space on the campus, and set at the center of the complex, is the symbol of the intellectual pursuits embodied by the university. Although the scale of the room is extremely grand and it is constructed with the finest materials, the space is not overwhelming. The room has a warm tone created by the muted colors of the stone and marble used and by the human scale of the bookcases and doors that surround the central colonnade.
The most prominent elements of the reading room are the sixteen green Connemara marble column shafts that were imported from the west coast of Ireland and the magnificent coffered dome that covers the entire space. The use of Connemara larble for the columns created a number of problems in the construction of the library.
- From the 1981 NYCLPC Landmark Designation Report
Panoramic view of the top of Tianmenshan Mountain, with visibility ll the way down to the city of Zhangjiajie. The top of the mountain can be reached by cable car from the centre of the city - a 45 minute ride through the suburbs and rural landscape prior to dramatically rising up the mountain summit.
Tianmen Mountain, located near the city of Zhangjiajie in Hunan Province, China, is a stunning natural landmark known for its dramatic scenery and cultural significance. Accessible by a steep cable car ride, the mountain features sheer cliffs, deep valleys, and lush forests, offering breathtaking panoramic views of the surrounding landscape. At the mountain's summit, visitors can explore the Tianmen Cave, a natural archway carved through the rock, often referred to as the "Heaven's Gate." Tianmen Mountain is also home to the Tianmen Shan National Forest Park, which encompasses diverse ecosystems, rare plant species, and hiking trails, providing opportunities for outdoor adventure and exploration amidst this awe-inspiring natural wonder.
Bronx Community College, University Heights, Bronx
Dramatically sited on the heights overlooking the Harlem River, Harlem Flats, and the New Jersey Palisades beyond, the Gould Memorial Library and the related buildings of the former New York University campus stand as one of the triumphs of late nineteenth-century American architecture. Designed at a time when many institutions of higher learning were expanding their facilities, the library is a monument to two great men—architect Stanford White and chancellor Henry MacCracken.' The Gould Memorial Library is an imposing, classically-inspired structure constructed of yellow Roman brick with limestone and terra-cotta trim.
The use of these materials serves to modulate the building's monumental quality and link it to the surrounding landscape. The restrained exterior stands in vivid contrast to the rich interior with its dramatic flow of spaces and its sumptuous stone and marble detailing. The Gould Memorial Library has long been recognized as among the supreme examples of Stanford White's work. The most fitting comment on the building's architectural importance has come, not from architectural critics or the general public, but from White's peers who in 1919 chose the library as the site for the Stanford White Memorial. Although no longer used as a library, the building retains its original configuration and is a major monument of the former New York University campus.
Description
The stairhall, administrative offices, and central reading room of the Gould Memorial Library form one of the great surviving interiors dating from the period of American architectural history that has come to be known as the American Renaissance. The interior spaces are among the finest designs of Stanford White and reflect his adherence to scientific eclecticism— "the assemblage of pieces from the past...to create harmonious wholes.At this building White combined forms and ideas from the Roman Pantheon and from Renaissance palaces to create an original and highly sophisticated work of art.
The library is entered through an exterior portico of six Corinthian columns and a pair of bronze doors. 7 Beyond the doors the visitor stands in a small vestibule that is flanked by bronze lamp standards. The main stairway rises directly in front and subsidiary staircases leading to the basement chapel are set on either side. The barrel-vaulted side stairways, with their handsome railings, lead to a foyer and hallway set in front of the chapel. From the vestibule one gains a glimpse of the reading room located at the end of the grand staircase. A sense of the polychromatic richness of the interior is established immediately upon entering the building by the use of stained-glass windows and bands of red, yellow, black, and white mosaic tile for the floor. The vestibule ceiling is in the form of a shallow dome and forms the first of a progression of domes that culminates in the dome of the reading room. A handsome revolving door has been placed within the vestibule.
The short vestibule leads directly to the lower landing of the staircase. This area also has a mosaic floor. Heavy wooden doors on either side lead to offices. From .this landing rise the twenty-four Tennessee-marble steps of the barrel-vaulted stair hall. The stairway is modeled after Renaissance prototypes referred to by White in answer to a critical letter of MacCracken's:
I am sure that the staircase as it is designed is all right... I do not see how it will be possible to treat it any other way____Certainly neither the Gold Staircase (of the Ducal Palace) nor the Vatican Staircase look like tunnels, and the New York University one will look far less so, as it is very much more lofty and very much shorter.
The staircase is an extremely successful part of the design, symbolically serving as the stairway to knowledge. It is only upon reaching the top of the stairs, or after ascending the stairway to knowledge, that the dome of the reading room (the crown of the storehouse of knowledge) begins to come into sight.
The stairway is articulated by two pairs of stone pilast.ers--one pair at the bottom and one pair towards the top of the steps. The middle pilasters support bronze torcheres capped by glass globes. The lower two-thirds of the stairway walls are faced with Portland stone. A band embellished with a Vitruvian scroll pattern separates the stone walls from panels of highly-polished, pale-yellow, Cippolini marble. Above these panels is an entablature that supports a coffered barrel vault.
The upper stairway landing is similar in form to the lower landing and vestibule, with a mosaic floor, bronze lamps, and a shallow dome. In the center of the dome is a roundel of green Tiffany stained glass from which hangs a glass globe lamp. The shallow arms of this landing continue the decorative pattern of the stairway-Portland stone walls topped by Cippolini marble panels. Lunettes with round niches that were intended to house portrait busts are located at either end of the landing and above the entrance to the reading room. The original administrative offices of the university are located on either side of the stairway. These elegantly appointed offices, with their wood paneling and fireplaces, remain substantially intact, although they are no longer regularly used.
The entrance to the reading room is through a pair of doors set into a simple eared enframement crowned by a bracketed pediment. The simplicity of the entrance enframement is a foil to the ornate reading room. The reading room, designed to be the major space on the campus, and set at the center of the complex, is the symbol of the intellectual pursuits embodied by the university. Although the scale of the room is extremely grand and it is constructed with the finest materials, the space is not overwhelming. The room has a warm tone created by the muted colors of the stone and marble used and by the human scale of the bookcases and doors that surround the central colonnade.
The most prominent elements of the reading room are the sixteen green Connemara marble column shafts that were imported from the west coast of Ireland and the magnificent coffered dome that covers the entire space. The use of Connemara larble for the columns created a number of problems in the construction of the library.
- From the 1981 NYCLPC Landmark Designation Report
Detail of the upper half of the west window depicting the Last Judgement. The Last Judgement is Fairford's most celebrated window for its dramatic composition and graphic depiction of the horrors of hell in the lower half. The window sadly suffered badly during the great storm of 1703 with the upper half depicting Christ in Judgement and the surrounding company of saints and angels the most seriously affected part.
A substantial amount however still remained until it was unfortunately 'restored' in 1860 by Chance Bros of Smethwick, whose approach was to substitute all the surviving glass in the upper half of the window with a carefully created replica. It is clear that the design is a faithful copy of what was there originally, but none of the surviving material was reused, parts of it being secretly kept by the studio and probably sold (some elements have resurfaced much more recently).
St Mary's at Fairford is justly famous, not only as a most beautiful building architecturally but for the survival of its complete set of late medieval stained glass, a unique survival in an English parish church. No other church has resisted the waves of iconoclasm unleashed by the Reformation and the English Civil War like Fairford has, and as a result we can experience a pre-Reformation iconographic scheme in glass in its entirety. At most churches one is lucky to find mere fragments of the original glazing and even one complete window is an exceptional survival, thus a full set of 28 of them here in a more or less intact state makes Fairford church uniquely precious.
The exterior already promises great things, this is a handsome late 15th century building entirely rebuilt in Perpendicular style and dedicated in 1497. The benefactor was lord of the manor John Tame, a wealthy wool merchant whose son Edmund later continued the family's legacy in donating the glass. The central tower is adorned with much carving including strange figures guarding the corners and a rather archaic looking relief of Christ on the western side. The nave is crowned by a fine clerestorey whilst the aisles below form a gallery of large windows that seem to embrace the entire building without structural interruption aside from the south porch and the chancel projecting at the east end. All around are pinnacles, battlements and gargoyles, the effect is very rich and imposing for a village church.
One enters through the fan-vaulted porch and is initially met by subdued lighting within that takes a moment to adjust to but can immediately appreciate the elegant arcades and the rich glowing colours of the windows. The interior is spacious but the view east is interrupted by the tower whose panelled walls and arches frame only a glimpse of the chancel beyond. The glass was inserted between 1500-1517 and shows marked Renaissance influence, being the work of Flemish glaziers (based in Southwark) under the direction of the King's glazier Barnard Flower. The quality is thus of the highest available and suggests the Tame family had connections at court to secure such glaziers.
Entering the nave one is immediately confronted with the largest and most famous window in the church, the west window with its glorious Last Judgement, best known for its lurid depiction of the horrors of Hell with exotic demons dragging the damned to their doom. Sadly the three windows in the west wall suffered serious storm damage in 1703 and the Last Judgement suffered further during an 1860 restoration that copied rather than restored the glass in its upper half. The nave clerestories contain an intriguing scheme further emphasising the battle of Good versus Evil with a gallery of saintly figures on the south side balanced by a 'rogue's gallery' of persecutors of the faith on the darker north side, above which are fabulous demonic figures leering from the traceries.
The aisle windows form further arrays of figures in canopies with the Evangelists and prophets on the north side and the Apostles and Doctors of the Church on the south. The more narrative windows are mainly located in the eastern half of the church, starting in the north chapel with an Old Testament themed window followed by more on the life of Mary and infancy of Christ. The subject matter is usually confined to one light or a pair of them, so multiple scenes can be portrayed within a single window. The scheme continues in the east window of the chancel with its scenes of the Passion of Christ in the lower register culminating in his crucifixion above, while a smaller window to the south shows his entombment and the harrowing of Hell. The cycle continues in the south chapel where the east window shows scenes of Christ's resurrection and transfiguration whilst two further windows relate further incidents culminating in Pentecost. The final window in the sequence however is of course the Last Judgement at the west end.
The glass has been greatly valued and protected over the centuries from the ravages of history, being removed for protection during the Civil War and World War II. The windows underwent a complete conservation between 1988-2010 by the Barley Studio of York which bravely restored legibility to the windows by sensitive releading and recreating missing pieces with new work (previously these had been filled with plain glass which drew the eye and disturbed the balance of light). The most dramatic intervention was the re-ordering of the westernmost windows of the nave aisles which had been partially filled with jumbled fragments following the storm damage of 1703 but have now been returned to something closer to their original state.
It is important here not to neglect the church's other features since the glass dominates its reputation so much. The chancel also retains its original late medieval woodwork with a fine set of delicate screens dividing it from the chapels either side along with a lovely set of stalls with carved misericords. The tomb of the founder John Tame and his wife can be seen on the north side of the sanctuary with their brasses atop a tomb chest. Throughout the church a fine series of carved angel corbels supports the old oak roofs.
Fairford church is a national treasure and shouldn't be missed by anyone with a love of stained glass and medieval art. It is normally kept open for visitors and deserves more of them.
Redmond, Oregon
Listed 10/30/2013
Reference Number: 13000859
Petersen Rock Garden, which has state-wide significance, is eligible for listing in the National Register of Historic Places under Criterion C in the areas of Art and Landscape Architecture, as a folk art environment, for its significance as an exceptional work of art that combines architecture, landscape, art, and sculpture in a unified whole. Located approximately eight miles southwest of Redmond, Oregon, the work recalls European and American grotto traditions, juxtaposed with American iconography and vernacular folk art traditions, through the creativity and artistry of Danish immigrant Rasmus Christian Petersen. Petersen, who began constructing the garden after finishing his education in Danish and American culture at Nysted Folk High School in Nebraska and three successful decades of farming, was also influenced by his homestead's setting in central Oregon, with its dramatic views of the Cascade range . Creation of the garden represents the last chapter in Petersen's life. The gardens are all the more remarkable for their unexpectedness in the desert landscape and their lack of precedent in their creator's life. The Period of Significance for the site is 1927, the date of construction of the Petersen's residence, to 1952, the date of Petersen's death. The gardens and property as a whole retain excellent integrity and easily convey the reasons for their significance.
National Register of Historic Places Homepage
One of the many carvings adorning the wall arcading in the north aisle.
There is a danger of running out of superlatives when trying to describe Beverley Minster. It is not only the second finest non-cathedral church in the country but is architecturally a far finer building than most of our cathedrals themselves! It will come as a surprise to many visitors to find this grand edifice simply functions today as a parish church and has never been more than collegiate, a status it lost at the Reformaton. What had added to its mystique and wealth was its status as a place of pilgrimage housing the tomb of St John of Beverley, which drew visitors and revenue until the Reformation brought an end to such fortunes and the shrine was destroyed (though the saint's bones were later rediscovered and reinterred in the nave). That this great church itself survived this period almost intact is little short of a miracle in itself.
There has been a church here since the 8th century but little remains of the earlier buildings aside from the Saxon chair near the altar and the Norman font in the nave. The present Minster's construction spans the entirety of the development of Gothic architecture but forms a surprisingly harmonious whole nevertheless, starting with Early English in the 13h century choir and transepts (both pairs) with their lancet windows in a building phase that stopped at the first bays of the nave. Construction was then continued with the nave in the 14th century but only the traceried windows betray the emergent Decorated style, the design otherwise closely followed the work of the previous century which gives the Minster's interior such a pleasingly unified appearance (the only discernable break in construction within can be seen where the black purbeck-marble ceased to be used for certain elements beyond the eastern bay of the nave). Finally the building was completed more or less by 1420 with the soaring west front with its dramatic twin-towers in Perpendicular style (the east window must have been enlarged at this point too to match the new work at the west end).
The fabric happily survived the Reformation intact aside from the octagonal chapter-house formerly adjoining the north choir aisle which was dismantled to raise money by the sale of its materials while the church's fate was in the balance (a similar fate was contemplated for the rest of the church by its new owners until the town bought it for retention as a parish church for £100). The great swathes of medieval glass alas were mostly lost, though seemingly as much to neglect and storm-damage in the following century than the usual iconoclasm. All that survived of the Minster's original glazing was collected to form the patchwork display now filling the great east window, a colourful kaleidoscope of fragments of figures and scenes. Of the other furnishings the choir stalls are the major ensemble and some of the finest medieval canopied stalls extant with a full set of charming misericords (though most of these alas are not normally on show).
There are suprisingly few monuments of note for such an enormous cathedral-like church, but the one major exception makes up for this, the delightful canopied Percy tomb erected in 1340 to the north of the high altar. The tomb itself is surprisingly plain without any likeness remaining of the deceased, but the richly carved Decorated canopy above is alive with gorgeous detail and figurative embellishments. There are further carvings to enjoy adorning the arcading that runs around the outer perimeter of the interior, especially the north nave aisle which has the most rewarding carved figures of musicians, monsters and people suffering various ailments, many were largely restored in the 19th century but still preserve the medieval spirit of irreverent fun.
To summarise Beverley Minster would be difficult other than simply adding that if one enjoys marvelling at Gothic architecture at its best then it really shouldn't be missed and one should prioritise it over the majority of our cathedrals. It is a real gem and a delight to behold, and is happily normally open and welcoming to visitors (who must all be astonished to find this magnificent edifice is no more than a simple parish church in status!). I thoroughly enjoyed this, my second visit here (despite the best efforts of the poor weather!).
Bronx Community College, University Heights, Bronx
Dramatically sited on the heights overlooking the Harlem River, Harlem Flats, and the New Jersey Palisades beyond, the Gould Memorial Library and the related buildings of the former New York University campus stand as one of the triumphs of late nineteenth-century American architecture. Designed at a time when many institutions of higher learning were expanding their facilities, the library is a monument to two great men—architect Stanford White and chancellor Henry MacCracken.' The Gould Memorial Library is an imposing, classically-inspired structure constructed of yellow Roman brick with limestone and terra-cotta trim.
The use of these materials serves to modulate the building's monumental quality and link it to the surrounding landscape. The restrained exterior stands in vivid contrast to the rich interior with its dramatic flow of spaces and its sumptuous stone and marble detailing. The Gould Memorial Library has long been recognized as among the supreme examples of Stanford White's work. The most fitting comment on the building's architectural importance has come, not from architectural critics or the general public, but from White's peers who in 1919 chose the library as the site for the Stanford White Memorial. Although no longer used as a library, the building retains its original configuration and is a major monument of the former New York University campus.
Description
The stairhall, administrative offices, and central reading room of the Gould Memorial Library form one of the great surviving interiors dating from the period of American architectural history that has come to be known as the American Renaissance. The interior spaces are among the finest designs of Stanford White and reflect his adherence to scientific eclecticism— "the assemblage of pieces from the past...to create harmonious wholes.At this building White combined forms and ideas from the Roman Pantheon and from Renaissance palaces to create an original and highly sophisticated work of art.
The library is entered through an exterior portico of six Corinthian columns and a pair of bronze doors. 7 Beyond the doors the visitor stands in a small vestibule that is flanked by bronze lamp standards. The main stairway rises directly in front and subsidiary staircases leading to the basement chapel are set on either side. The barrel-vaulted side stairways, with their handsome railings, lead to a foyer and hallway set in front of the chapel. From the vestibule one gains a glimpse of the reading room located at the end of the grand staircase. A sense of the polychromatic richness of the interior is established immediately upon entering the building by the use of stained-glass windows and bands of red, yellow, black, and white mosaic tile for the floor. The vestibule ceiling is in the form of a shallow dome and forms the first of a progression of domes that culminates in the dome of the reading room. A handsome revolving door has been placed within the vestibule.
The short vestibule leads directly to the lower landing of the staircase. This area also has a mosaic floor. Heavy wooden doors on either side lead to offices. From .this landing rise the twenty-four Tennessee-marble steps of the barrel-vaulted stair hall. The stairway is modeled after Renaissance prototypes referred to by White in answer to a critical letter of MacCracken's:
I am sure that the staircase as it is designed is all right... I do not see how it will be possible to treat it any other way____Certainly neither the Gold Staircase (of the Ducal Palace) nor the Vatican Staircase look like tunnels, and the New York University one will look far less so, as it is very much more lofty and very much shorter.
The staircase is an extremely successful part of the design, symbolically serving as the stairway to knowledge. It is only upon reaching the top of the stairs, or after ascending the stairway to knowledge, that the dome of the reading room (the crown of the storehouse of knowledge) begins to come into sight.
The stairway is articulated by two pairs of stone pilast.ers--one pair at the bottom and one pair towards the top of the steps. The middle pilasters support bronze torcheres capped by glass globes. The lower two-thirds of the stairway walls are faced with Portland stone. A band embellished with a Vitruvian scroll pattern separates the stone walls from panels of highly-polished, pale-yellow, Cippolini marble. Above these panels is an entablature that supports a coffered barrel vault.
The upper stairway landing is similar in form to the lower landing and vestibule, with a mosaic floor, bronze lamps, and a shallow dome. In the center of the dome is a roundel of green Tiffany stained glass from which hangs a glass globe lamp. The shallow arms of this landing continue the decorative pattern of the stairway-Portland stone walls topped by Cippolini marble panels. Lunettes with round niches that were intended to house portrait busts are located at either end of the landing and above the entrance to the reading room. The original administrative offices of the university are located on either side of the stairway. These elegantly appointed offices, with their wood paneling and fireplaces, remain substantially intact, although they are no longer regularly used.
The entrance to the reading room is through a pair of doors set into a simple eared enframement crowned by a bracketed pediment. The simplicity of the entrance enframement is a foil to the ornate reading room. The reading room, designed to be the major space on the campus, and set at the center of the complex, is the symbol of the intellectual pursuits embodied by the university. Although the scale of the room is extremely grand and it is constructed with the finest materials, the space is not overwhelming. The room has a warm tone created by the muted colors of the stone and marble used and by the human scale of the bookcases and doors that surround the central colonnade.
The most prominent elements of the reading room are the sixteen green Connemara marble column shafts that were imported from the west coast of Ireland and the magnificent coffered dome that covers the entire space. The use of Connemara larble for the columns created a number of problems in the construction of the library.
- From the 1981 NYCLPC Landmark Designation Report
Thought I'd posted these already but apparently not! These are from the second of 2 trips to Dollar Glen. The first visit was part of a longer walk in the Ochil Hills and I didn't really have time to stop but thought that I'd like to return with my tripod and wellies! So I did, and these are a few of the results. Castle Campbell is also well worth a visit, but disappointingly I didn't manage to capture its dramatic situation very well with my photos.
The Iya Valley (祖谷渓谷 Iya Keikoku) region in Tokushima Prefecture, Japan is a scenic area known for its dramatic mountain valleys and old vine bridges. Although access has improved in recent years, the Iya Valley and the inner parts of Shikoku have historically been remote and difficult to enter, making them a favorite retreat for refugees and defeated warriors. Most notably, members of the Taira clan were rumored to have entered the area after losing the Genpei War to the Minamoto clan in the late 12th century.
In modern times, the Iya Valley has become an increasingly popular tourist destination. Although the west part of the valley area has good road access and other tourist facilities, the eastern area known as East Iya (東祖谷) or Oku-Iya (奥祖谷) is still relatively difficult to access and thus the natural beauty is largely undisturbed. Several vine bridges, once the only method for crossing the rivers, continue to span the valleys and have become a popular tourist attraction.
Fonte : Wikipedia
Florence and the Machine (styled as Florence + the Machine) are an English indie rock band that formed in London in 2007, consisting of lead singer Florence Welch, Isabella Summers, and a collaboration of other artists. The band's music received praise across the media, especially from the BBC, which played a large part in their rise to prominence by promoting Florence and the Machine as part of BBC Introducing. At the 2009 Brit Awards they received the Brit Awards "Critics' Choice" award. The band's music is renowned for its dramatic and eccentric production and also Welch's powerful vocal performances.
The band's debut studio album, Lungs, was released on 6 July 2009, and held the number-two position for its first five weeks on the UK Albums Chart. On 17 January 2010, the album reached the top position, after being on the chart for twenty-eight consecutive weeks.As of October 2010, the album had been in the top forty in the United Kingdom for sixty-five consecutive weeks, making it one of the best-selling albums of 2009 and 2010. The group's second studio album, Ceremonials, released in October 2011, entered the charts at number one in the UK and number six in the US. The band's third album, How Big, How Blue, How Beautiful, was released on 2 June 2015. It topped the UK charts, and debuted at number one on the US Billboard 200, their first to do so. The album reached number one in a total of eight countries and the top ten of twenty. Also in 2015, the band was the headlining act at Glastonbury Festival, making Florence Welch the first British female headliner this century.
Florence and the Machine's sound has been described as a combination of various genres, including rock and soul. Lungs won the Brit Award for Best British Album in 2010. Florence and the Machine has been nominated for eight Grammy Awards including Best New Artist and Best Pop Vocal Album. Additionally, the band performed at the 2010 MTV Video Music Awards and the 2010 Nobel Peace Prize Concert