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Barsana Monastery - Maramures - Romania
Barsana Monastery - - A Step Closer to Heaven
Barsana monastery, one of the main attractions in Maramures, Romania
When UNESCO designated parts of the Maramures Region in Northern Transylvania a WORLD HERITAGE site, it was aimed at protecting the stylized wooden architecture and its dramatic vernacular. Of particular appeal are the tall spires of orthodox churches that dot the area. One of these is the recently constructed Barsana Monastery complex - actually a convent with sixteen nuns. Created in post-Communist years on the site of a church abandoned in 1790, the complex has become a significant cultural and religious attraction. Its 56 meter-tall (180 feet) spired church is reputedly the tallest wooden structure in Europe.
www.flickr.com/photos/wwwdragos/7614653774/in/set-7215762...
Famed for its dramatic rapids and canyons, the Colorado is one of the most desirable whitewater rivers in the United States. A section of the river above Moab, known as the Colorado "Daily" or "Fisher Towers Section", is the most visited whitewater run in Utah, with more than 77,000 visitors in 2011 alone.
en.wikipedia.org/wiki/Colorado_River
en.wikipedia.org/wiki/Wikipedia:Text_of_Creative_Commons_...
Mizen Head, located in County Cork, Ireland, is renowned for its dramatic cliff scenery and is traditionally regarded as the most southwesterly point of mainland Ireland². It's a major tourist attraction, offering breathtaking views where the rugged Irish landscape meets the vast expanse of the Atlantic Ocean³. The area is also known for its iconic signal station, now a museum, which narrates its rich maritime history and the pioneering efforts of Guglielmo Marconi in transatlantic communication². The Mizen Head Bridge provides access to this nearly-isolated tip of the peninsula, making it a place of both natural beauty and historical significance².
Source: Conversation with Copilot, 8/11/2024
(1) Mizen Head - Wikipedia. en.wikipedia.org/wiki/Mizen_Head.
(2) Mizen Head: Where Ireland’s Land Meets the Infinite Sea. lovetovisitireland.com/mizen-head-where-irelands-land-mee....
(3) Visiting Mizen Head: Our 2024 Guide - The Irish Road Trip. www.theirishroadtrip.com/mizen-head/.
(4) Mizen Head, Ireland – The Extreme Edge of Ireland. theplanetd.com/mizen-head-ireland/.
Detail of the glass by Clayton & Bell in the central lancet of the north transept.
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!).
Barsana Monastery - Maramures - Romania
Wall decoration in the Church
Barsana monastery, one of the main attractions in Maramures, Romania
When UNESCO designated parts of the Maramures Region in Northern Transylvania a WORLD HERITAGE site, it was aimed at protecting the stylized wooden architecture and its dramatic vernacular. Of particular appeal are the tall spires of orthodox churches that dot the area. One of these is the recently constructed Barsana Monastery complex - actually a convent with sixteen nuns. Created in post-Communist years on the site of a church abandoned in 1790, the complex has become a significant cultural and religious attraction. Its 56 meter-tall (180 feet) spired church is reputedly the tallest wooden structure in Europe.
www.flickr.com/photos/wwwdragos/7614653774/in/set-7215762...
Cuckmere Haven lies on the coast at the point where the South Downs meet the sea. Its dramatic chalk landscape with a characteristic cliffy coastline is constantly changing. The cliffs are being eroded at a rate of 30-40 cms every year.
Cuckmere's quiet beach, which is located within the Seven Sisters Country Park, is an area of great tranquility.
A path from the Seven Sisters Country Park Centre leads from the pebble beach through the Cuckmere valley.
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!).
Explore the breathtaking Romsdalen Valley in Norway, renowned for its dramatic landscapes with towering cliffs, deep fjords, and lush valleys. Key attractions include Trollveggen (Troll Wall), the tallest vertical rock face in Europe, and the Romsdalen Gondola, Norway’s longest cable car, offering stunning views of the Romsdal Alps. On a cloudy day, the gondola ride feels like floating through a dream. Outdoor enthusiasts can enjoy hiking, rock climbing, and scenic drives through this stunning region. Superb places for tourists.
REFORD GARDENS | LES JARDINS DE MÉTIS
Visit : www.refordgardens.com/
Beautiful flowers at Reford Gardens.
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
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Visit : www.refordgardens.com/
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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.
Barsana monastery, one of the main attractions in Maramures, Romania
When UNESCO designated parts of the Maramures Region in Northern Transylvania a WORLD HERITAGE site, it was aimed at protecting the stylized wooden architecture and its dramatic vernacular. Of particular appeal are the tall spires of orthodox churches that dot the area. One of these is the recently constructed Barsana Monastery complex - actually a convent with sixteen nuns. Created in post-Communist years on the site of a church abandoned in 1790, the complex has become a significant cultural and religious attraction. Its 56 meter-tall (180 feet) spired church is reputedly the tallest wooden structure in Europe.
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.
REFORD GARDENS | LES JARDINS DE METIS
Beautiful flowers at Reford Gardens.
Butterfly: Eastern tiger swallowtail (papilio glaucus)
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
© 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.
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
Split Rock Lighthouse was built in response to the great loss of ships during the famous Mataafa Storm of 1905, in which 29 ships were lost on Lake Superior. One of these shipwrecks, the Madeira, is located just north of the lighthouse.
It is built on a 130-foot (40 m) sheer cliff eroded by wave action from a diabase sill containing inclusions of anorthosite. The octagonal building is a steel-framed brick structure with concrete trim on a concrete foundation set into the rock of the cliff. It is topped with a large, steel lantern which features a third order, bi-valve type Fresnel lens manufactured by Barbier, Bernard and Turenne Company in Paris, France. The tower was built for a second order lens, but when construction went over budget, there was only enough funding remaining for the smaller third order lens. The lens floats on a bearing surface of liquid mercury which allows near frictionless operation. The lens is rotated by an elaborate clockwork mechanism that is powered by weights running down the center of the tower which are then reset by cranking them back to the top.[5] When completed, the lighthouse was lit with an incandescent oil vapor lamp that burned kerosene.
At the time of its construction, there were no roads to the area and all building materials and supplies arrived by water and lifted to the top of the cliff by crane. The light was first lit on July 31, 1910. Thanks to its dramatic location, the lighthouse soon became a tourist attraction for sailors and excursion boats. So much so, that in 1924 a road (now Minnesota State Highway 61) was built to allow land access.
In 1940, the station was electrified and the lamp was replaced with a 1000 watt electric bulb, and the incandescent oil vapor lamp was moved to Au Sable Point Lighthouse in Northern Michigan. Split Rock was outfitted with a fog signal housed in a building next to the light tower. The original signal was a pair of sirens driven by two Franklin 30 hp (22 kW) gasoline-driven air compressors manufactured by Chicago Pneumatic Tool Company. In 1932 the gasoline engines were replaced with diesel engines. The steam sirens were replaced with a Type F-2-T diaphone (be-you) type signal in 1936. The station and the fog signal were electrified four years later, but was discontinued in 1961.
The light was retired in 1969 by the U. S. Coast Guard. The lighthouse is now part of the Split Rock Lighthouse State Park and is operated by the Minnesota Historical Society. The site includes the original tower and lens, the fog signal building, the oil house, and the three keepers' houses. It is restored to appear as it did in the late 1920s. The site was added to the National Register of Historic Places in 1969. Notwithstanding that the light has been retired, every November 10 the lighthouse emits a light in memory of the SS Edmund Fitzgerald which sank on that date in 1975. On June 30, 2011, the lighthouse was designated as a National Historic Landmark.
Yadan National Park, Gansu Province, China -September 16, 2009: Located 180 km north west of Dunhuang the park is famous for its dramatic rock formations in the otherwise barren and flat Gobi desert. (Photo by: Christopher Herwig)
Ultar Peak at 7,388 metres is the southeasternmost major peak of the Batura Muztagh, a subrange of the Karakoram range. While not one of the highest peaks of the Karakoram, Ultar Sar is notable for its dramatic rise above local terrain.
The Ladyfinger Peak aka Bublimating Peak, while having little prominence at 6,000m, is particularly notable for being a sharp, relatively snowless rock spire among snow peaks. This, combined with its height above the valley, makes it quite eye-catching, hence the distinctive name.
More from my Pakistan Travel Blog.
Famed for its dramatic rapids and canyons, the Colorado is one of the most desirable whitewater rivers in the United States A section of the river above Moab, known as the Colorado "Daily" or "Fisher Towers Section", is the most visited whitewater run in Utah, with more than 77,000 visitors in 2011 alone.
en.wikipedia.org/wiki/Colorado_River
en.wikipedia.org/wiki/Wikipedia:Text_of_Creative_Commons_...
This elegant and refined specimen ornamental is prized for its dramatic and attractive foliage changes. It’s deeply divided leaves flush bright red in spring and then gradually turn purplish in fall. It is a magnificent heirloom tree renowned for it’s graceful and charming presence.
Masih di Sam Pho Khong #instago #ig_nesia #instahub #iphone4s #instagood #instagram #iphonesia #instagramhub #its_dramatic #iphoneography #all_shots #awesome_shot #webstagram #b_ig #gang_family #architecture #photooftheday #hdr #hdr_arts #hdreality #hdr_lovers #hdrepublic #hdrpotters #hdroftheday #hdrstyle_gf #hdr_indonesia #softhdr #sky
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The Düsseldorf Media Harbor, or Medienhafen, is a striking example of urban regeneration that has transformed a derelict industrial port into one of the city's most fashionable and dynamic districts. Once a bustling commercial harbor filled with warehouses and disused buildings, the area began its dramatic makeover in the 1990s. City planners embarked on a strategic project to rejuvenate the waterfront, focusing on a plot-by-plot approach that blended new, avant-garde architecture with the preservation of historic industrial elements. The result is a vibrant hub that seamlessly combines the old and the new, attracting both locals and tourists with its unique atmosphere and creative energy.
The architectural landscape of the Medienhafen is its most prominent feature, showcasing the works of some of the world's most renowned architects. The most iconic structures are undoubtedly the "Gehry Buildings," officially known as the Neuer Zollhof. Designed by the visionary Frank O. Gehry, these three asymmetrical, sculptural high-rises—clad in stainless steel, red brick, and white plaster—have become a symbol of modern Düsseldorf. Other notable buildings include the Colorium, with its eye-catching kaleidoscopic glass facade by William Alsop, and the sleek Stadttor by Helmut Jahn. These architectural masterpieces stand alongside renovated historic warehouses, creating a visually captivating and diverse urban environment that has made the area a must-see for architecture enthusiasts.
Beyond its architectural appeal, the Media Harbor is a thriving economic center. As its name suggests, it is home to over 800 companies, primarily from the media, advertising, and creative sectors. The area's revitalization was driven by a vision to create a hub for these industries, and the project has been a resounding success. The modern office buildings and refurbished industrial spaces provide a unique and inspiring setting for creative work. This concentration of innovative firms has not only revitalized the district but has also solidified Düsseldorf's reputation as a major player in Germany's creative economy.
The cultural and leisure offerings in the Medienhafen are as diverse as its architecture. The waterfront is lined with a variety of trendy cafes, upscale restaurants, and vibrant bars, catering to the district's sophisticated crowd. Visitors can enjoy a wide range of culinary experiences, from Mediterranean cuisine and gourmet burgers to fine dining with stunning views of the Rhine River. The area is also a popular spot for leisure activities, whether it's a stroll along the promenade, a sightseeing cruise on the river, or simply enjoying the lively atmosphere. The fusion of business and pleasure makes the Medienhafen a destination where people can work, dine, and relax in style.
In essence, the Düsseldorf Media Harbor is a testament to the power of thoughtful urban redevelopment. It has successfully transformed an aging industrial zone into a modern, stylish, and economically significant district. By preserving its historical character while embracing cutting-edge architecture and new industries, the Medienhafen has created a unique identity. It stands as a symbol of Düsseldorf's reinvention and a vibrant, forward-looking neighborhood that attracts a mix of creatives, business professionals, and tourists alike, all drawn to its dynamic blend of art, commerce, and culture.
The Grand View Overlook Rim Trail is a 1.8 mile hike that runs along the edge of the rim of the Island in the Sky, a peninsula 6,000" above Monument Valley. Canyonlands National Park in southeastern Utah is known for its dramatic desert landscape of canyons, mesas, and buttes carved by the Colorado River and its tributaries. Print size 8x10 inches.
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
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 the 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!).
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
Famed for its dramatic rapids and canyons, the Colorado is one of the most desirable whitewater rivers in the United States A section of the river above Moab, known as the Colorado "Daily" or "Fisher Towers Section", is the most visited whitewater run in Utah, with more than 77,000 visitors in 2011 alone.
en.wikipedia.org/wiki/Colorado_River
en.wikipedia.org/wiki/Wikipedia:Text_of_Creative_Commons_...
REFORD GARDENS | LES JARDINS DE METIS
Visit : www.refordgardens.com/
Info 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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Fourth pillar rock, Stolby Nature Reserve
Stolby Nature Reserve is a Russian strict nature reserve located 10 km south of the city of Krasnoyarsk and known for its dramatic complexes of rocks.
Turtle Bay, Manhattan, New York City, New York, United States
The Chrysler Building, a stunning statement in the Art Deco style by architect William Van Alen, embodies the romantic essence of the New York City skyscraper. Built in 1928-30 for Walter P. Chrysler of the Chrysler Corporation, it was "dedicated to world commerce and industry."- The tallest building in the world when completed in 1930, it stood proudly on the New York skyline as a personal symbol of Walter Chrysler and the strength of his corporation.
History of Construction
The Chrysler Building had its beginnings in an office building project for William H. Reynolds, a real-estate developer and promoter and former New York State senator. Reynolds had acquired a long-term lease in 1921 on a parcel of property at Lexington Avenue and 42nd Street owned by the Cooper Union tor the Advancement of Science and Art. In 1927 architect William Van Alen was hired to design an office tower to be called the Reynolds Building for the site. Publicized as embodying new principles in skyscraper design,*' the projected building was to be 67 stories high rising 808 feet, and it was "to be surmounted by a glass dome, which when lighted from within, will give the effect of a great jewelled sphere."-' In October, 1928, however, the office building project and the lease on the site were taken over by Walter P. Chrysler, head of the Chrysler Corporation, who was seeking to expand his interests into the real estate field.
Walter Percy Chrysler (1875-1940), one of America's foremost automobile manufacturers, was a self-made man who worked his way up through the mechanical an; manufacturing aspects of the railroad business before joining the Buick Motor Company as works manager in 1912. Because of his success in introducing new processes and efficiencies into the automobile plant, he rose quickly through the administrative ranks of General Motors (which had absorbed Buick) before personality conflicts with William C. Durant, head of General Motors, forced Chrysler to leave. In 1921 he reorganized Willys-Overland Company, and then took over as chairman of the reorganization and management committee of the Maxwell Motor Company, eventually assuming the presidency. This enabled Chrysler to introduce in 1924 the car bearing his name which presented such innovations as four-wheel hydraulic brakes and high compression motor.
Over 50 million dollars worth of cars were sold the first year, and in 1925, the Maxwell Motor Company became the Chrysler Corporation, Dodge Brothers was acquired in 1928 giving the Chrysler Corporation additional manufacturing facilities, a famous line of cars, and putting it in a position to challenge the leadership of Ford and General Motor By 1935, when Chrysler retired from the presidency of the Chrysler Corporation to become chairman of the board, the company was second in the automobile industry ir. volume of production.
It was while Chrysler was aggressively expanding his corporation in 1928 that he took over the office building project from Reynolds. In his autobiography, Chrysler said that he had the building constructed so that his sons would have something to be responsible for. He could not have been unaware, however, that the building would become a personal symbol and further the image of the Chrysler Corporation — even though no corporate funds were used in its financing or construction. To that end Chrysler worked with architect William Van Alen to make the building a powerful and striking design.
William Van Alen (1882-1954) studied at Pratt Institute before beginning his architectural career in the office or Clarence True, a speculative builder. Severs! years later while continuing his studies at the Beaux-Arts Institute 01 Design in the atelier of Donn Barber, Van Alen entered the office of Clinton * Russell as a designer. In 1908 he won the Paris Prize of the Beaux-Arts Institute and entered the Ecole des Beaux-Arts and the Atelier lLaloux. According to architect Francis S. Swales, "
His work at the Ecole indicated that the training was providing him with the mental freedom necessary to think independently, instead of merely the usual school -cargo of elements of architecture and a technique or competition by rules."0 Returning to New York in 1912 he introduced the concept of "garden11 apartments and also designed the Albemarle Building, a skyscraper without cornices. In the 1920s he became known for his innovative shop-front designs and for a series of restaurants for the Child's chain. With the Chrysler Building, Van Alen was able to apply modern principles of design to the skyscraper but at the same time created such a striking image that critic Kenneth Murchison dubbed him "the Ziegfield of his profession.
'In the 1930s he pioneered in prefabricated housing designs although they were never widely produced. Van Alen served for four years in the 1940s as director of sculpture for the Beaux-Arts Institute of Design, and he was a member of the American Institute of Architects and the National Academy of Design.
Work began on the Chrysler Building on October 15, 1928, when Chrysler acquire the lease, with clearance of the site. Construction proceeded rapidly; foundations to a depth of 69 feet were completed early in 1929, and the steel framework was completed by the end of September of that year.
The design of the building, however, was altered from that for Reynolds. Chrysler, in his autobiography, credits himself for suggesting that it be taller than the 1000-foot Eiffel Tower. The design of the crowning dome was also changed, and the addition of a spire, which the architect called a "vertex," made the Chrysler at 1046 feet the tallest building in the world at the time. Kenneth Murchison fancifully depicts Chrysler urging Van Alen to win the race to construct the world's tallest building.
Van Alen himself had personal reasons for achieving this goal, as a former partner, ii. Craig Severance, was constructing the Bank of Manhattan, 40 Wall Street, at the same time with the aim of making it the world's tallest skyscraper. Thinking that the Chrysler Building would be only 925 feet high, Severance added a 50-foot flagpole to his building making it 927 feet. Meanwhile, Van Alen designed the 185-foot spire which would make the Chrysler Building the tallest. The spire was fabricated, then delivered to the building in five sections, and assembled secret at the 65th floor.
In November, 1929, it was finally raised into position by a 20-ton derrick through a fire tower in the center of the building, then riveted i place, the whole operation taking about 90 minutes. This engineering feat capture the popular imagination as well as that of professionals, and it helped to further the progressive image of the Chrysler Building. However, the Chrysler lost its height distinction two years later with the construction of the Empire State Building.
The first tenants moved into the Chrysler Building in April, 1930, even though construction was not completed. Formal opening ceremonies were held on May 27, 1930 in conjunction with the annual meeting of the 42nd Street Property Owners and Merchants Association. A bronze tablet was placed in the lobby of the building "in recongnition of Mr. Chrysler's contribution to civic advancement." The building was considered finished in August, 1930, but curiously, the completion date recorded in the records of the Manhattan Building Department is February 19, 1932.
The Chrysler Building and Art Deco
Waiter P. Chrysler wanted a progressive image and a personal symbol. Van Alen strove* to create such an image using the tenets of modernism as he interpreted them. In so doing he designed a building which has come to be regarded as one of the outstanding examples of Art Deco architecture.
The term. Art Deco, which is also referred to by several different names such as the Style Moderne and Modernistic, is adopted from the Exposition International: des Arts Decoratifs et Industrie]s Modernes--an important European influence or. the American Art Deco sty!e--held in Paris in 1925.
In the period following the first World War, architects in Europe and the united States had begun to simplify traditional design forms and to use -industrial materials in innovative ways in order to characterize the modern age.
The Art Deco style seemed to lend itself particularly well to skyscraper design because the skyscraper, more than any other building type, epitomized progress, innovation, and a new modern age. Although the Art Deco style was short-lived, it coincided with a great building boom at the end of the 1920s in New York. The many-skyscrapers which were erected in the Art Deco style gave New York and its skyline a characteristic and romantic image, popularized in theater and films, which persisted until the next great building boom of the early 1960s. In the Chrysler Building, Van Alen used a variety of materials, techniques, and design forms which are characteristic of Art Deco.
The Chrysler Building rises 77 stories in a series of setbacks which accord with the regulations of the 1916 New York zoning prdinance. As a freestanding tower occupying about half a block, the building is visible from four sides. Like many Art Deco architects. Van Alen believed strongly in designing steel structures so that they would not be imitative of masonry construction.'- Also unlike many earlier skyscrapers, the design of the Chrysler did not follow the formula of a column with ornamental base, bare shaft, and ornamental capital; rather the design was to be of interest throughout the entire height.13 Both the great height of the building and the mandated setbacks aided Van Alen in making this design decision,
The first four stories of the building cover the entire site arid are faced with polished black Shastone granite at the first story and white Georgian marble above. The most striking features of this portion of the building are the two entrances, on Lexington Avenue and 42nd Street. Each entrance rises for h height of three stories in proscenium fashion and is enframed by Shastone granite. Set back within the deep reveals of the entrances are sets of revolving doors beneath intricately patterned metal and glass screens.
The treatment is such as to heighten the dramatic effect of entering the building --a concern of Art Deco design There is a one-story entrance on 43rd Street. Also at first story level are iarge show windows for shops, framed in metal. Windows for offices may be seen at the second, third, and fourth stories. Ornamental spandrels are set at the bases of the second story windows. The exposed metal frames of the entries and windows art of "Nirosta" steel, a kind of rust-resistant, chromium nickel steel, manufactured for the first time in the United States specifically for the Chrysler Building according to a German formula from Krupp. This use of a new. material is in keeping with Art Deco principles.
Above the fourth story, the building is penetrated on the east and west sides by light courts extending to the face of the tower, while on the north and south the structure gradually rises in a series of setbacks. The facing of the walls through the first setback at the sixteenth story is of white brick with contrast! white marble strips creating a basketweave pattern. The use of a variety of colo and textures is characteristic of Art Deco. Windows are set in a regular grid pattern. An. unusual feature of all windows in the building is that they have no reveals; frames are set flush with the walls. This was seen is another means of indicating modernity and progress.
In the next setback, ending at the twenty-fourth floor, there is a vertical emphasis with piers of white brick alternating with vertical window strips. Aluminum spandrels between the windows aid this effect. Spandrels at the twentieth twenty-first, and twenty-second floors are adorned with polished abstract relief ornament. At the corners of the twenty-fourth floor are placed conventionalized pineapples, about nine feet high, of "Nirosta" steel, which had been fabricated < the site.
The next three stories, through the twenty-seventh, form the third setback. Horizontal banding and zigzag motifs in gray and black brick contrast with the verticality of the setback below. The fourth setback, to the thirty-first story marks the emergence of the tower shaft from the lower masses. At the thirty-first floor the corners of the building are extended outward and crowned by huge ornamental Chrysler radiator caps in "Nirosta" steel, spanning about 15 feet.
The- extension was necessary to overcome the optical effect that would otherwise make the tower appear wider at the top than at the base. Also at this floor is a frieze ir. gra; and white brick of stylized racing automobiles with polished steel hub caps. Th ornamental features are overt symbols of the Chrysler Corporation and characteristic of the types of effects created by Art Deco architects.
The building had a number of innovative and desirable features. THe soundproofed office partitions were of steel made in interchangeable sections so that arranges! of any office suite could be changed quickly and conveniently. Under-floor duct systems carried wiring for telephone and electric outlets.
The elevators, specifically at Chrysler's instruction, were capable of speeds of 1000 feet per minute although city codes in effect in 1930 only allowed 700 feet per minute. The building also had three of the longest continuous elevator shafts in the world To enhance public access to the building, an underground arcade led to the IRT subway system. The connection was strongly opposed by the IRT, but Chrysler prevailed and the passageway was built at his expense. In the dome was the private-Cloud Club, which still exists, and, in the very topmost floor, a public observation deck.
On display was Walter P. Chrysler's box of handmade tools, the emblem of his enterprise and personal success. The observatory has been closed for many years.
Conclusion
Critics such as Lewis Mumford who favored the International Style denigrated the Chrysler Building for its "inane romanticism,... meaningless voluptuousness, ... /and/ void symbolism," " but it was these qualities which captured the popular imagination and helped make it one of the most famous buildings in New York. We can appreciate the comments of the editor of Architectural Porum who wrote:
It stands by itself, something apart and alone. It is simply the realization, the fulfillment in metal and masonry, of a one-man dream, a dream of such ambition and such magnitude as to defy the comprehension and the criticism of ordinary men or by ordinary standards.
The Chrysler Building still stands proudly in the New York skyline, its gleaming spire and soaring tower capturing the eye and imagination of the viewer. While it may no longer symbolize the Chrysler Corporation, it still embodies the romantic essence of the Art Deco skyscraper in New York City, with its dramatic effects, elegant materials, and vivid ornamental details. Built as a monument to progress in commerce and industry, it remains as one of New York's finest office buildings and great examples of the Art Deco style.
- From the 1978 NYCLPC Landmark Designation Report
Driving through the Rio Grande Gorge, on the way to Taos.
The road is on an ancient Taos volcanic plateau that forms the 78-mile long Rio Grande Gorge in northern New Mexico.
This bridge in the past has also been known as the “High Bridge and it” hangs 650 feet above the Rio Grande River. This makes it the fifth highest bridge in the United States behind the highest bridge being the Royal Gorge Bridge in Colorado that is 1,053 feet high. However, unlike the tourism only Royal Gorge Bridge this bridge across the Rio Grande actually serves a useful purpose as a busy highway bridge. The bridge was built in 1965 and since then has been featured in a number of movies due to its dramatic profile across this spectacular gorge.
Dag 11: Nagar and Hopper Valleys - Ganish village.
Nagar Valley - Goats.
Nagar Valley is a stunning high-altitude region in Gilgit-Baltistan, known for its dramatic mountains, glaciers and rich cultural heritage.
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!).
Lake Como, in Northern Italy’s Lombardy region, is an upscale resort area known for its dramatic scenery, set against the foothills of the Alps. The lake is shaped like an upside-down Y, with three slender branches that meet at the resort town of Bellagio. At the bottom of the southwest branch lies the city of Como, home to Renaissance architecture and a funicular that travels up to the mountain town of Brunate.
"A serene coastal landscape from Little Beach in St. Martins, New Brunswick, Canada, captured on a foggy morning, August 19, 2023. The view stretches toward the misty sea, where the silhouette of kayakers in the distance adds a touch of intrigue to the tranquil scene. St. Martins, nestled along the Bay of Fundy, is celebrated for its dramatic tides, natural beauty, and the nearby Fundy Trail Parkway. This peaceful moment captures the quiet charm of New Brunswick's coastal wonders."
Playa_stMartins-9124
"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.
ftrc.blog/doberitz-heide-bunkers/
Just a short train ride from the booming city of Berlin lies a vast, quiet landscape with a storied past—the Döberitz Heide. What was once one of Germany’s most prestigious military training grounds is now a massive nature park. But if you look closely, leftovers of its dramatic history still peek through the forest foliage.
For urban explorers, history buffs, and nature lovers alike, the Döberitz Heide bunkers and their surroundings offer a fascinating glimpse into an almost forgotten era.
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
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Visit : www.refordgardens.com/
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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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The Düsseldorf Media Harbor, or Medienhafen, is a striking example of urban regeneration that has transformed a derelict industrial port into one of the city's most fashionable and dynamic districts. Once a bustling commercial harbor filled with warehouses and disused buildings, the area began its dramatic makeover in the 1990s. City planners embarked on a strategic project to rejuvenate the waterfront, focusing on a plot-by-plot approach that blended new, avant-garde architecture with the preservation of historic industrial elements. The result is a vibrant hub that seamlessly combines the old and the new, attracting both locals and tourists with its unique atmosphere and creative energy.
The architectural landscape of the Medienhafen is its most prominent feature, showcasing the works of some of the world's most renowned architects. The most iconic structures are undoubtedly the "Gehry Buildings," officially known as the Neuer Zollhof. Designed by the visionary Frank O. Gehry, these three asymmetrical, sculptural high-rises—clad in stainless steel, red brick, and white plaster—have become a symbol of modern Düsseldorf. Other notable buildings include the Colorium, with its eye-catching kaleidoscopic glass facade by William Alsop, and the sleek Stadttor by Helmut Jahn. These architectural masterpieces stand alongside renovated historic warehouses, creating a visually captivating and diverse urban environment that has made the area a must-see for architecture enthusiasts.
Beyond its architectural appeal, the Media Harbor is a thriving economic center. As its name suggests, it is home to over 800 companies, primarily from the media, advertising, and creative sectors. The area's revitalization was driven by a vision to create a hub for these industries, and the project has been a resounding success. The modern office buildings and refurbished industrial spaces provide a unique and inspiring setting for creative work. This concentration of innovative firms has not only revitalized the district but has also solidified Düsseldorf's reputation as a major player in Germany's creative economy.
The cultural and leisure offerings in the Medienhafen are as diverse as its architecture. The waterfront is lined with a variety of trendy cafes, upscale restaurants, and vibrant bars, catering to the district's sophisticated crowd. Visitors can enjoy a wide range of culinary experiences, from Mediterranean cuisine and gourmet burgers to fine dining with stunning views of the Rhine River. The area is also a popular spot for leisure activities, whether it's a stroll along the promenade, a sightseeing cruise on the river, or simply enjoying the lively atmosphere. The fusion of business and pleasure makes the Medienhafen a destination where people can work, dine, and relax in style.
In essence, the Düsseldorf Media Harbor is a testament to the power of thoughtful urban redevelopment. It has successfully transformed an aging industrial zone into a modern, stylish, and economically significant district. By preserving its historical character while embracing cutting-edge architecture and new industries, the Medienhafen has created a unique identity. It stands as a symbol of Düsseldorf's reinvention and a vibrant, forward-looking neighborhood that attracts a mix of creatives, business professionals, and tourists alike, all drawn to its dynamic blend of art, commerce, and culture.
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 the 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!).
Roosevelt Island, Manhattan, New York City
The Octagon, located at the northern end of Roosevelt Island, served as the administrative center and main entrance hall of the New York City Lunatic Asylum, one of the first institutions of its kind established in this country.
Designs for the Asylum were prepared in 1834-35 by the acted New York architect, Alexander Jackson Davis, and the building was opened in 1839. Davis' plans called for a much more elaborate scheme than was actually built by the City; the Octagon was to have been one of a pair within a great U-shaped complex, ordered around a central rectangular pavilion.
As built, the single Octagon, from which two long wings extended, became the focal point of the building. Much admired in the 19th century for its architectural excellence, the Octagon now stands alone, the imposing geometric clarity and simplicity of its design fully revealed.
The City of New York purchased Blackwell's Island, as Roosevelt Island was called, in the 19th century, in 1828 with a view to institutional development; it was believe that the pleasant island surroundings would be conducive to both physical and mental rehabilitation. The island Penitentiary was begun in 1829, and the Lunatic Asylum was constructed at the end of the following decade. An Almshouse, Workhouse, and numerous charity hospitals were also built on Blackwell's Island during the course of the century, The Lunatic Asylum was erected in response to the desperate need for proper accomodation of the insane.
Previously, these cases had been assigned to a few overcrowded and poorly maintained wards in Bellevue Hospital, In the middle years of the 19th century, the attitude towards the treatment and care of the insane underwent significant and progressive change. Recognition that they required medical assistance, not merely custodial restraint, led to the founding of such institutions as the New York City Lunatic Asylum.
That this change in. attitude was, however, only gradually accomplished is well demonstrated by the fact that, in the early years of the Lunatic Asylum, patients were supervised by inmates from the Penitentiary under the direction of a small medical staff. The physicians in charge deplored this situation, and a suitable staff of orderlies and nurses was finally hired in 1850. Physical activity and labor as well as entertainment were prescribed as therapeutic for mental disturbances.
Thus, the male patients of the lunatic Asylum who were willing and able, worked in vegetable gardens or built sea walls in order to reclaim land, while female patients aided in housekeeping chores and worked as seamstresses.
A library—for the most part the result of donations from publishing houses and private citizens-- •• was formed, and weekly dances were held. At the recommendation of a resident physician, even a billiard table was purchased.
The Asylum was, however, plagued with difficulties, primarily due to overcrowding and financial inadequacies. In the early years the diet of the patients was inadequate, and scurvy was a relatively common disease.
Typhus and cholera epidemics afflicted the patients and staff alike in the 1860s. When Charles Dickens visited the United States in 1842, he was taken on a tour of the Black-well's Island Lunatic Asylum where he much admired the architecture, calling the building "handsome" and the Octagon an especially "elegant" feature; but he further commented in his American Notes (1842): "... everything (at the Asylum) had a lounging, listless, madhouse air which was very painful."
Through the perseverance of the resident physicians and other concerned New Yorkers, conditions were gradually improved. Additional buildings were constructed to ease overcrowding and to separate violent patients from less serious cases.
The facilities in general were made more pleasant and comfortable. By 1875 a contributor to Harper's Weekly magazine was able to write that "very few sane persons inhabit more healthy and convenient chambers."
In 1894 it had been determined that municipal facilities could no longer adequately care for the great numbers of indigent insane. Ward's Island also in the Hast River was consequently ceded to the State of New York, and all New York City mental patients were transferred to hospitals there.
The Lunatic Asylum was renamed Metropolitan Hospital and became a general hospital with special emphasis on the treatment of tubercular patients. In the 1950s the buildings on the island were abandoned for new quarters in Manhattan. By the late 1960s the island redevelopment project of the New York State Urban Development Corporation, threatened the old Asylum with demolition.
Fortunately it was decided, on the basis of. recommendations made by the Landmarks Preservation Commission and a report prepared by the noted architectural historian, Henry-Russell Hitchcock, to preserve the central Octagon, Demolition of the two wings which projected at right 'angles to the south and west was completed in 1970, and temporary preservation the measures were taken for the Octagon under the direction of the New York architect, Giorgio Cavaglieri, who also restored two other buildings on the island, the Blackwell House and the Chapel of the Good Shepherd.
The Octagon has a complicated history of alteration and modification., which has carefully traced by Jane B. Davies, an authority on the work of A.J. Davis. The original 1834-35 design by Davis was in what he termed the "Tuscan Style".
The Octagon was to have had a low-pitched hip roof with wide eaves and a central skylight. Construction of the Asylum had barely begun, however, when the City Council ordered work halted because of disagreements over the design.
In 1837 work was resumed, but Davis' great U-shaped plan was reduced to a single octagon joined to a single east-west wing. The upper portion of the Octagon was altered to include a crenelated cupola and the architectural detail was changed to the Greek Revival style. Davis had intended that the Octagon should house a kitchen and dining hall, day rooms, a laundry, and baths. It now became the administrative center and main entrance as well as the living quarters for the Resident Physician.
This phase of construction was completed in 1839, under the supervision of two master-builders, as Davis was apparently no longer associated with the project. In 1847-48 a north-south wing was built repeating the style of the earlier east-west wing. Architect Joseph M. Dunn was commissioned in 1879 to alter the Asylum.
He raised the wings one story in height and, to retain the visual prominence of the Octagon, added a dome-like convex mansard roof with neo-Grec detail. To further enhance the Octagon, a new main entrance was constructed with a double staircase.
The Octagon, executed in the gray "granite" (actually gray gneiss) quarried on the island in' the 19th century, is a smooth-walled, crisply faceted structure, relying for its dramatic effect on the clarity of its geometry and the boldness of its silhouette. The fenestration is especially notable as the earliest surviving example of the "Davisean window" ; paired windows appear at each floor, separated by heavy mullions and by simple stone transverse members, creating a very modern feeling of continuous verticality.
The main entrance of the Octagon, at first floor level, is approached by a double staircase of stone which was originally covered by a wooden porch, and has heavy wing walls adorned by recessed
the third floor by a simple projecting metal cornice with boldly scaled dentils and a paneled frieze beneath. At the center of the roof is the simple octagonal cupola surmounted by its dome-like octagonal roof.
This tall, convex mansard roof is crowned by a heavy cornice and pierced by two tiers of dormer windows. The rectangular windows are enframed by neo-Grec pilasters and pediments, and smaller dormers with oval windows appear above.
The plan of the Octagon is composed of a central rotunda surrounded by four rooms, separated by corridors which radiate outward. The rotunda contains a spiral staircase constructed of cast iron with wood Ionic columns encircling the high central stairwell -an especially beautiful space, described by Henry-Russell Hitchcock as one of the grandest interiors in the City.
Although the silhouette and proportions of the Octagon have been altered by the addition of Dunn's mansard dome, the major credit for the design of the structure may be assigned to Alexander Jackson Davis (1803-1892), a native New Yorker and highly successful architect, who worked throughout the United States.
In the early years of his career Davis was in partnership with the prominent architect Ithiel Town (1784-1844) with whom he designed the New York Customs House (now Federal Hall National Memorial), a designated New York City Landmark. During the period of his association with Town, Davis designed the Blackwell's Island Lunatic Asylum, as well as the State Capitols of Indiana, North Carolina, Illinois, and Ohio, the Wadsworth Athenaeum in Hartford, and the Patent Office in Washington D.C.
His commissions were, however, not limited solely to public buildings; he was also responsible for numerous commercial buildings, churches and domestic structures, and was the author of two books, Views of the Public Buildings in the City of New York (c, 1830) and Rural Residences 1837). While Davis was a highly competent practitioner of the Greek Revival style --in his early twenties he made an intensive study of Greek detail — he was also well versed in many other styles, as his original "Tuscan" design for the Lunatic Asylum demonstrates.
The architectural historian, Talbot Hamlin, has praised Davis' "consistent feeling for logical planning." The original symmetrical plan made by Davis for the New York City Lunatic Asylum took into account efficient supervision of patients, ease of circulation and ample provision for good lighting and ventilation in the wards.
Davis' plan was a variant of the influential "panoptic plan," which was centralized with radiating wings, developed in Great Britain by Jeremy Bentham (1742 -1832), a philosopher and jurist interested in prison reform. While only a portion of Davis' original proposal for the Lunatic Asylum was actually built, the plan still functioned very effectively. Davis' New York, City Asylum project was also significant in that it served as the prototype for his North Carolina Hospital for the Insane at Raleigh.
Dr. R.L. Parsons, Resident Physician of the Lunatic Asylum during the 1860s, remarked in his annual report of 1865 that the Octagon "has a symmetry, a beauty and a grandeur even, that are to be admired." These qualities arc still in evidence, not only to the visitor to Roosevelt Island, but also from Manhattan where the picturesque silhouette of the Octagon is a prominent feature of the island's skyline.
- From the 1976 NYCLPC Landmark Designation Report
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!).
Silleta "From fear to hope" (Medellin rising again and reconstructing its present after its dramatic history in the 80's and 90's), Medellin's flower feast, Antioquia department, Colombia
Manufacturer: Thunderhead Automotive Division
Nationality: United States of America
First assembled: July 19th, 1971
Birthplace: Milwaukee, Wisconsin
Engine: 7 L Hemi V8
HP: 434 BHP
0-60: 5.8 Seconds
Top speed: 150.40 MPH
When Thunderhead resurrected the Asgard nameplate in the early 2040s, it was like the world stopped. A manufacturer that before then had no real sportscar or even just a truly sporty model suddenly had something that sat in this strange midground between a classic musclecar and full-blown supercar. The low, sleek design enhanced by some beefy design elements certainly made it look the part, and the immense 7.3 L V12 engine was something unique not just in Thunderhead's lineup, but in all of the western hemisphere's auto industry. The Asgard quickly made waves when it landed, with significant public exposure thanks to plenty of viral videos and celebrity owners. Its performance made sure it wasn't writing checks its burly looks couldn't cash, either. With that V12 producing over 800 naturally-asperated horses thundering the Asgard to nearly 220 MPH, this was truly a machine to be respected and feared. The new Asgard didn't have just its own merit to stand on, however. As said before, Thunderhead *resurrected* the nameplate. The Asgard is a historic name for the brand, and to see why that name is so historic in the first place, you have to go back to the golden era of musclecar, nearly a century ago.
After WWII, The United States was unquestionably the greatest industrial superpower on the planet, which was one major element that lead to them having such a thriving economy after the war. Car manufacturing wasn't left out from this boom, which in no part helped greatly increase car ownership in North America. Car brands could have multiple models sharing a category and still make money, a fact that was especially apparent with Thunderhead. Their stable of sporty models was varied and plentiful, meeting every size and performance niche you could imagine. At the bottom there was the Phantom, an "entry-level" ponycar. Sitting on the very top however was none other than the Hammer of the Gods itself. The original 1969 Thunderhead Asgard wasn't just meant to take on the best of the North American sector, but the entire world as a global offering to take the fight directly to European marques slipping their way into the US market. While the Asgard was distinctly and proudly American in appearance, in design its European-fighting directive becomes quite clear with a closer look. The Asgard was obviously a big mean musclecar in size and demeanor, but the long front hood, low position and 2-seat coupe setup made it something that wouldn't look too out-of-place across the Atlantic. What would make it stand out across the pond was what was under that long hood; a 6.3 L V8 that was standard. Producing over 340 HP, the original Asgard isn't impressive by todays standards, but in the mid/late 20th century power like this was believed to be the kind of stuff that could split the earth open. Yet even with its euro-esque setup and quintessentially American grunt, the Asgard had some trouble competing on a global scale. Funnily enough, Thunderhead's entry-level model the Phantom was a bigger hit in Europe, though only meagerly. To truly give Europe something to think about, the Asgard would have to go bigger. And go bigger it would in a way that truly made it an American legend.
1971 might just be one of the most important years in Thunderhead's history, as it was the year that the Asgard truly earned its legendary status. How so? By introducing the all-powerful 426 "Mjolnir" V8 Hemi engine. That's 7 liters of displacement, making this engine one of the biggest on the road at the time. It was also one of the most advanced since its origins are traced back to motorsports. The 426 Mjolnir more or less began life in the mid-1960s as a pure race engine built for use in stock car racing, a fact they leaned heavily on in marketing when this engine was tuned for road use. The main trick of the 426 was the use of hemispherical combustion chambers in the cylinder heads, which is where the term "hemi" comes from. The main advantage of this design is increased compression, which in turn increases power. The larger intake and exhaust valves also help, allowing better flow of intake and exhaust gasses, also resulting in improved volumetric efficiency, and most importantly even greater power. This absolutely meaty powertrain made its debut in the new top-ot-the-line trim for the Asgard in 1972, which shared its name with the engine. What buyers would get with this new flagship was the closest thing America had to an outright supercar at the time. All that focus on increasing power paid off, with Thunderhead stating the Mjolnir produced over 430 HP. Independent dynamometer testing however showed that Thunderhead wasn't being truthful...in that power actually reached over 440, with some even theorizing that 450 could be possible. This is respectable by modern standards, but in the early 1970s power like this was outright apocalyptic. It's no surprise that the Asgard 426 wasn't exactly slow, with independent tests putting 0-60 in just under 6 seconds, and top speed estimated to just break the 150 MPH barrier. Again, not the greatest stats by modern standards, but in the 1970s the only people making faster machines were also flying said machines to the moon.
The Asgard 426 certainly had the power to fight the Europeans, but this is where its advantages really began and ended. The big power made the Asgard 426 fast, sure, but it also made it about as much of a classic musclecar as it gets. In that handling wasn't the best. Tires, brakes, and suspension tech at the time just simply couldn't deal with the kind of power the Asgard 426 was putting down, making the driving experience outside of quarter-mile runs unsatisfying at best and outright suicidal at worst. The luxuries weren't that impressive even by 1970s standards, either, which was another area the Asgard's overseas competitors excelled in. What probably caused the Asgard 426 to truly lose its fight to the Europeans was that it's basically didn't show up to begin with. Sure, in the US it was as present as it gets, providing customers with a cheaper, more powerful alternative to foreign offerings. Due to Thunderhead not having a fantastic distribution network in Europe though, potential customers would be having a rough time just finding an Asgard in the first place, let alone choosing it over more domestic options that arguably had more to offer. So overall, no, the Asgard 426 did not succeed at becoming a serious player on the international market. Domestically, though? The Asgard 426 was above and beyond the most desirable car Thunderhead had ever made up to that point, with the company unable to match demand. And sadly, they'd never even get the chance. Come roughly over a year after the Asgard 426 was first built, an oil crisis would kick the world into a recession, Which in turn brought about stringent emissions regulations that would force Thunderhead to kill production of the Asgard 426 outright. The Asgard nameplate would stick around up until the very end of the 20th century, but none of these later iterations would ever reach the heights the Asgard 426 reached, barring its dramatic resurrection in the 2040s.
Because the production window was so small thanks to the emissions regulations, the Asgard 426 wasn't built in great numbers. Estimates range from about over 1,200 to as low as 800 were ever built, and that number has only gotten lower over time no thanks in due part due to plenty of inexperienced owners crashing them. This means the Asgard 426 is basically just as desirable as it was back in the 1970s where its from, and far more expensive. The average asking price for a well-kept Asgard 426 easily reaches $150,000, with some exceptional examples approaching 7-figure pricetags. Even for all its shortcomings, the Asgard 426 earned its legendary status in American car culture thanks to all that insane power, and resurrecting the nameplate in the 2040s was one of the better choices Thunderhead has made. Right next to seemingly correcting the mistakes they made with the Asgard 426 with it's modern successor. The new Asgard offers more luxurious features, and every other performance component on it is as advanced as they can be to truly handle the massive power, making sure the new Asgard is a genuine world-fighting supercar than put its horses down anywhere, not just a straight line. But all its performance would've never mattered if it wasn't for the Asgard 426 making the nameplate something worth seeing.
Surfing,a passion for riding the waves.
Surf, pasión por las olas. Las Canteras.
Surf en Gran Canaria
Gran Canaria es uno de aquellos paraísos ideales para la temporada de verano e invierno, sobre todo para los viajeros aventureros que buscan disfrutar de sus increíbles paisajes mientras gozan de las olas haciendo surf.
Lo interesante de Gran Canaria es el hecho de ser una de las pocas regiones del territorio español, disponibles durante cualquier temporada del año, esto quiere decir que las temperaturas, tanto en el agua del océano Atlántico en esta latitud como la temperatura ambiental es suave y primaveral, por tanto, Canarias debe ser tú próximo objetivo.
Por lo regular los surferos internacionales no paran hasta que aterrizan en las famosas “Islas Afortunadas”, que a su vez son conocidas como el “Hawai del Atlántico”, por su belleza natural, debido a su increíble archipiélago de origen volcánico formado por siete islas, ideales para disfrutar del Surf.
in English
Sulf in Gran Canaria
Gran Canaria is one of those havens ideal for summer and winter season, especially for adventurous travelers looking to enjoy its dramatic scenery while enjoying surfing waves.
The interesting thing about Gran Canaria is the fact of being one of the few regions of the Spanish territory, available at any time of year, this means that temperatures, both in the water of the Atlantic Ocean at this latitude as the temperature is mild and spring, therefore, the Canary Islands should be your next target.
For international surfers usually do not stop until they land in the famous "Afortunadas Islas", which in turn are known as the "Hawaii of the Atlantic" for its natural beauty due to its amazing volcanic archipelago consisting of seven islands , ideal for enjoying the Surf.
En Alemán
Surf, Leidenschaft für die Wellen. Las Canteras.
Surf in Gran Canaria
Gran Canaria ist eine jener Oasen ideal für Sommer-und Wintersaison, besonders für abenteuerlustige Reisende auf der Suche nach seiner dramatischen Szenerie zu genießen, während Sie surfen Wellen.
Das Interessante an Gran Canaria ist die Tatsache, dass sie eine der wenigen Regionen des spanischen Territoriums, zu jeder Zeit des Jahres bedeutet dies, dass die Temperaturen sowohl im Wasser des Atlantischen Ozeans in diesen Breiten die Temperatur mild ist und Frühjahr sollte daher auf den Kanarischen Inseln Ihrem nächsten Ziel.
Für die internationale Surfer in der Regel nicht aufhören, bis sie landen in der berühmten "Happy Isles", die wiederum als "Hawaii des Atlantiks" für seine natürliche Schönheit wegen seiner erstaunlichen vulkanischen Archipel, bestehend aus sieben Inseln sind bekannt , ideal für den Genuss der Surf.
日本
Surf、波への情熱。ラスナスカン。
グランカナリア島のSulf
グランカナリア島は特に波サーフィンを楽しみながら信じられないほどの景色を楽しむために探して冒険旅行のため、夏と冬のシーズンに向けて理想的なものな避難所の一つです。
グランカナリア島の面白いところは、どの季節で使用可能なスペイン語の地域のいくつかの地域では、この手段の一つが、この緯度では大西洋の海洋深層水の両方の温度が温度が軽度であるととしてという事実です。春は、従って、カナリア諸島では、あなたの次のターゲットにする必要があります。
通常、国際的なサーファーは、順番に七つの島で構成されるその驚くべき火山群島のために、その自然の美しさのための"大西洋のハワイ"として知られている有名な"ハッピーアイル"で彼らの土地、までは停止しない、Sulfを楽しむのに理想的。
中國
含硫，對於波的激情。拉斯維加斯 Canteras酒店。
含硫在大加那利
大加那利是那些理想的避風港夏季和冬季，特別是對於那些希望享受令人難以置信的風光，同時享受衝浪的海浪冒險的旅客之一。
關於大加那利有趣的是，在西班牙境內的少數地區，任何季節使用，這意味著一個在大西洋海水溫度在這個緯度的溫度溫和，春天，因此，加那利群島的應該是你的下一個目標。
通常國際衝浪者不要停止，直到他們在著名的“快樂島”，這又是為“大西洋夏威夷”之稱的自然之美的七個島嶼組成，由於其驚人的火山群島土地為享受含硫的理想選擇。
العربية
Surf، والعاطفة للموجات. لاس Canteras.
Surf في غران كناريا
غران كناريا هي واحدة من تلك الملاذات مثالية لفصل الصيف وموسم الشتاء ، خاصة بالنسبة للمسافرين المغامرة يبحث التمتع مشهد لا يصدق في حين تتمتع تصفح الأمواج.
والشيء المثير للاهتمام حول غران كناريا هو حقيقة أن واحدة من المناطق القليلة في الأراضي الإسبانية، وهي متاحة للأي موسم، وهذا يعني ان درجات الحرارة في كل من مياه المحيط الأطلسي في هذا العرض حيث تكون درجة الحرارة معتدلة و الربيع ، وبالتالي، ينبغي أن يكون هدف جزر الكناري الخاص بك المقبل.
متصفحي الدولي عادة لا تتوقف حتى أنهم الأراضي في "الجزر سعيد" الشهيرة، والتي بدورها هي المعروفة باسم "هاواي في المحيط الاطلسي" لجمالها الطبيعي بسبب الأرخبيل البركاني في مذهلة تتألف من سبع جزر ومثالية للاستمتاع Surf.
Cathedral Peak and Cathedral Lakes are stunning natural landmarks located in Yosemite National Park, California. Cathedral Peak, standing at 10,912 feet, is a striking granite pinnacle renowned for its dramatic spire and challenging climbing routes. It was first ascended by the famous naturalist John Muir in 1869. Below the peak, Cathedral Lakes consist of two beautiful alpine lakes, the Upper and Lower Cathedral Lakes, nestled amidst picturesque meadows and surrounded by the Sierra Nevada's majestic peaks. The area is a popular destination for hikers and outdoor enthusiasts, offering breathtaking views, serene landscapes, and opportunities for rock climbing, camping, and photography.
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
Visit : www.refordgardens.com/
MECONOPSIS BETONICIFOLIA
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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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
Details best viewed in Original Size.
The Mutianyu section of The Great Wall is situated 56 miles (90km) north of Beijing and is known for its dramatic mountainous setting, fewer visitors and its less intrusive tourist industry. With a series of watchtowers along its recently restored length, the wall you can see here dates from 1368 and was built upon the foundations of a wall built during the Northern Qi Dynasty (AD 550-577).
Antique Heriz Serapi Persian Rugs #44085 by Nazmiyal Collection
Antique Heriz-Serapi, Persia, late nineteenth century A grand medallion design spewing palmette vinescrolls and finials virtually rules the field of this arrestingly beautiful antique Serapi. Vinescroll cornerpieces give the soft camel ground a hexagonal form, while they echo the rich palette of reds, terracotta, greens, and soft blues of the main floral elements. A vinescroll border provides a framing contrast in scale, while its dramatic blue-black ground reprises the ground color and graphic impact of the central medallion. Serapi carpets represent the finest grade of Heriz, but this magnificent example is extraordinary for its bold drawing and color, even among Serapis.