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Alan Parsons Live Project, 9-21-2019, H. Ric Luhrs Performing Arts Center
475 Lancaster Dr, Shippensburg, PA 17257
The current live band
Parsons-acoustic guitar, keyboards and vocals,
P.J. Olsson on vocal,
Tom Brooks on keyboards,
Guy Erez on bass,
Jeff Kollman on guitar and vocals,
Danny Thompson on drums,
Todd Cooper on sax, percussion and vocals,
Dan Tracey on guitar and vocals.
National Theatre London UK - National Theatre London UK - Architect Denys Lasdun - 1976
Denys Lasdun's National Theatre – one of London's best-known and most divisive Brutalist buildings – is a layered concrete landscape that Prince Charles once described as being like "a nuclear power station". Completed in 1976, the Royal National Theatre stands on the South Bank of the Thames, just downstream of Waterloo bridge. It is formed from two fly towers rising from layered horizontal terraces that wrap around the building, cascading to the river level. The design for the building was based on Lasdun's idea of "architecture as urban landscape." Lasdun was appointed to the project in 1963. With no previous experience in theatre design, he persuaded the board of theatre directors, designers and technical experts to give him the job without a team alongside him but with the drama of a solo-performance. The National Theatre was a live project for 13 years, with two years spent on the main theatre alone. Lasdun described the early design process as one of evolution, shaped by consultation with the committee. He stated that it began with the spaces of the theatres themselves, "before we even knew what the outside would look like". The structure is vast and city-like in plan. It accommodates three theatres, the largest seating 1,160 people, alongside restaurants, bars, foyers, workshops and all the mechanics necessary. The open-stage theatre, the Olivier, is shaped like a giant ancient amphitheatre and occupies a large area away from the bridge that runs along one side of the site, while the smaller Proscenium theatre, with an arch over the stage, sits on the bridge. A small studio theatre is tucked away to the east side of the building, alongside the offices and other administrative functions.
Great attention was paid to the details of the "quiet" interior of the theatre: lighting, sign posting, fittings, the auditorium seats, a change from the stucco and mirrors of theatres of the period. Lasdun even selected the crockery and cutlery for the restaurant. Internally and externally, the rough-cast concrete surface of the National Theatre shows the imprint of the sawn wooden planks used in the casting process, which were supposedly each only used twice, once on each side. Talking to Peter Hall, the National Theatre's director between 1973 and 1988, Lasdun described the use of concrete: "Concrete is a very intractable material, but it can be a beautiful material if it is used in the way its own nature intends it to be used... It is a sort of sculpture that you can only do with reinforced concrete, but you need to work to a certain scale... It is not a cosy little material."
On the river side, a series of interconnected foyers make up the main public area, in an L-shape around the two larger theatres. Admiration of the National Theatre tends to focus on the magic of these internal spaces, which tower in sections to their full height. It has come to be thought of as one of the city's key communal spaces, described as "the nation's sitting room". Lasdun himself described these spaces as a "fourth theatre". He said "I feel that all the public areas of the building, the foyers and terraces, are in themselves a theatre with the city as a backdrop." These public interior spaces merge with the terraces outside. Lasdun's strata make it hard to define where the National Theatre begins and ends. The interconnected walkways, split levels and circular stairwells of the South Bank merge with the city itself. Installations and temporary structures have occupied the terraces in the past, including a bright red auditorium by Haworth Tompkins. Skateboarders came to use the terraces and under crofts of Lasdun's National Theatre and the other buildings on the South Bank as their playground. Early on, this occupation was seen as evidence of failed architecture yet a recent successful campaign to save the South Bank skate park has acknowledged it as one of the great spaces of London. The National Theatre gained a Grade II heritage listing in 1994, only 18 years after it was built.
Despite being thought of with affection by many, such a large public building is bound to provoke controversy.
The Cliftones joined Elementree Livity Project, Sundae Drives, Cincinnati Reggae All-Stars and others for the second annual Reggae Resolution show held at Bogart's in Cincinnati, Ohio.
The Cliftones joined Elementree Livity Project, Sundae Drives, Cincinnati Reggae All-Stars and others for the second annual Reggae Resolution show held at Bogart's in Cincinnati, Ohio.
Exporting is Great Opportunity Ireland held DIT Ireland in partnership with the British & Irish Trading Alliance, Greater Manchester Chamber of Commerce, Bank of Ireland, DRS Bond Management, Roberts Nathan and AMOSS Solicitors hosted “Opportunity: Ireland”, a unique event for the Northern Powerhouse construction supply chain. Delivered through a half-day seminar that included presentations and panel discussions, UK companies heard directly from their Irish counterparts currently working within the industry, with information on live projects and business opportunities, straight forward advice on how to sell into these firms, and the supports available when exporting to Ireland.” at Old Trafford home of Manchester United
The Cliftones joined Elementree Livity Project, Sundae Drives, Cincinnati Reggae All-Stars and others for the second annual Reggae Resolution show held at Bogart's in Cincinnati, Ohio.
Zenrays offers Best Data Science Training in Bangalore. Contact Data Science institutes in Bangalore at + 91 9901220350 for more details. Powered By IItians, Live Project, Hands on classes. Best Training in Bangalore.trainings@zenrays.com.
Op 30 maart 2013 bezocht wereldact Alan Parsons Live Project het Muziekcentrum in Enschede.
Foto's: Ramona Kasius
For more than a century, there have been countless patents, projects, and concepts relating to tailless airplanes. Many models and prototypes were constructed; most enjoyed only a brief period of development and public interest, and then quickly disappeared. From an engineering viewpoint, a high percentage of these short-lived projects were possibly well founded and deserving of serious consideration and further development. The lack of adequate financial backing, lack of government or public interest, and politics often contributed to the premature end of a worthwhile project. For the most part, these projects were pursued by independent promoters who made little attempt to coordinate their investigations. Gradually, however, a large body of technical data on tailless aircraft was accumulated. Although no organized data-exchange program appeared to have existed during the 1920s and 1930s, articles on tailless projects could be read frequently in aviation journals, both in the United States and abroad. Whether these articles inspired or assisted the competition is conjectural.
We are providing Machine Learning Training in Bangalore by our team of expert faculties. Hands-On Training, Work On Live Project, Training By Experts, Placement Support Powered By IItians Best Training in Bangalore.trainings@zenrays.com and +91 63624 54616 for more information.
National Theatre London UK - National Theatre London UK - Architect Denys Lasdun - 1976
Denys Lasdun's National Theatre – one of London's best-known and most divisive Brutalist buildings – is a layered concrete landscape that Prince Charles once described as being like "a nuclear power station". Completed in 1976, the Royal National Theatre stands on the South Bank of the Thames, just downstream of Waterloo bridge. It is formed from two fly towers rising from layered horizontal terraces that wrap around the building, cascading to the river level. The design for the building was based on Lasdun's idea of "architecture as urban landscape." Lasdun was appointed to the project in 1963. With no previous experience in theatre design, he persuaded the board of theatre directors, designers and technical experts to give him the job without a team alongside him but with the drama of a solo-performance. The National Theatre was a live project for 13 years, with two years spent on the main theatre alone. Lasdun described the early design process as one of evolution, shaped by consultation with the committee. He stated that it began with the spaces of the theatres themselves, "before we even knew what the outside would look like". The structure is vast and city-like in plan. It accommodates three theatres, the largest seating 1,160 people, alongside restaurants, bars, foyers, workshops and all the mechanics necessary. The open-stage theatre, the Olivier, is shaped like a giant ancient amphitheatre and occupies a large area away from the bridge that runs along one side of the site, while the smaller Proscenium theatre, with an arch over the stage, sits on the bridge. A small studio theatre is tucked away to the east side of the building, alongside the offices and other administrative functions.
Great attention was paid to the details of the "quiet" interior of the theatre: lighting, sign posting, fittings, the auditorium seats, a change from the stucco and mirrors of theatres of the period. Lasdun even selected the crockery and cutlery for the restaurant. Internally and externally, the rough-cast concrete surface of the National Theatre shows the imprint of the sawn wooden planks used in the casting process, which were supposedly each only used twice, once on each side. Talking to Peter Hall, the National Theatre's director between 1973 and 1988, Lasdun described the use of concrete: "Concrete is a very intractable material, but it can be a beautiful material if it is used in the way its own nature intends it to be used... It is a sort of sculpture that you can only do with reinforced concrete, but you need to work to a certain scale... It is not a cosy little material."
On the river side, a series of interconnected foyers make up the main public area, in an L-shape around the two larger theatres. Admiration of the National Theatre tends to focus on the magic of these internal spaces, which tower in sections to their full height. It has come to be thought of as one of the city's key communal spaces, described as "the nation's sitting room". Lasdun himself described these spaces as a "fourth theatre". He said "I feel that all the public areas of the building, the foyers and terraces, are in themselves a theatre with the city as a backdrop." These public interior spaces merge with the terraces outside. Lasdun's strata make it hard to define where the National Theatre begins and ends. The interconnected walkways, split levels and circular stairwells of the South Bank merge with the city itself. Installations and temporary structures have occupied the terraces in the past, including a bright red auditorium by Haworth Tompkins. Skateboarders came to use the terraces and under crofts of Lasdun's National Theatre and the other buildings on the South Bank as their playground. Early on, this occupation was seen as evidence of failed architecture yet a recent successful campaign to save the South Bank skate park has acknowledged it as one of the great spaces of London. The National Theatre gained a Grade II heritage listing in 1994, only 18 years after it was built.
Despite being thought of with affection by many, such a large public building is bound to provoke controversy.
Dr Paul Bailey's is Subject Leader for Interior Design and Course Director for BA (Hons) and MA Interior Design at Birmingham City University. Paul's students carried out a live project for the Jagular Daimler Trust Heritage Centre,Coventry. For more information visit www.bcu.ac.uk/trends/
Op 30 maart 2013 bezocht wereldact Alan Parsons Live Project het Muziekcentrum in Enschede.
Foto's: Ramona Kasius
Some shots I took of the Gobbins path for my company McLaughlin and Harvey who carrie out the construction/restoration of the path
www.mclh.co.uk/live-projects/gobbins-coastal-path-reconst...
Dr Paul Bailey's is Subject Leader for Interior Design and Course Director for BA (Hons) and MA Interior Design at Birmingham City University. Paul's students carried out a live project for the Jagular Daimler Trust Heritage Centre,Coventry. For more information visit www.bcu.ac.uk/trends/
We are providing Machine Learning Training in Bangalore by our team of expert faculties. Hands-On Training, Work On Live Project, Training By Experts, Placement Support Powered By IItians Best Training in Bangalore.trainings@zenrays.com and 9916482106 for more information.
SSDN Technologies is Micro Soft Certified Partner which MCSA & certification program with live project by expert trainers.
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National Theatre London UK - Architect Denys Lasdun - 1976
Denys Lasdun's National Theatre – one of London's best-known and most divisive Brutalist buildings – is a layered concrete landscape that Prince Charles once described as being like "a nuclear power station". Completed in 1976, the Royal National Theatre stands on the South Bank of the Thames, just downstream of Waterloo bridge. It is formed from two fly towers rising from layered horizontal terraces that wrap around the building, cascading to the river level. The design for the building was based on Lasdun's idea of "architecture as urban landscape." Lasdun was appointed to the project in 1963. With no previous experience in theatre design, he persuaded the board of theatre directors, designers and technical experts to give him the job without a team alongside him but with the drama of a solo-performance. The National Theatre was a live project for 13 years, with two years spent on the main theatre alone. Lasdun described the early design process as one of evolution, shaped by consultation with the committee. He stated that it began with the spaces of the theatres themselves, "before we even knew what the outside would look like". The structure is vast and city-like in plan. It accommodates three theatres, the largest seating 1,160 people, alongside restaurants, bars, foyers, workshops and all the mechanics necessary. The open-stage theatre, the Olivier, is shaped like a giant ancient amphitheatre and occupies a large area away from the bridge that runs along one side of the site, while the smaller Proscenium theatre, with an arch over the stage, sits on the bridge. A small studio theatre is tucked away to the east side of the building, alongside the offices and other administrative functions.
Great attention was paid to the details of the "quiet" interior of the theatre: lighting, sign posting, fittings, the auditorium seats, a change from the stucco and mirrors of theatres of the period. Lasdun even selected the crockery and cutlery for the restaurant. Internally and externally, the rough-cast concrete surface of the National Theatre shows the imprint of the sawn wooden planks used in the casting process, which were supposedly each only used twice, once on each side. Talking to Peter Hall, the National Theatre's director between 1973 and 1988, Lasdun described the use of concrete: "Concrete is a very intractable material, but it can be a beautiful material if it is used in the way its own nature intends it to be used... It is a sort of sculpture that you can only do with reinforced concrete, but you need to work to a certain scale... It is not a cosy little material."
On the river side, a series of interconnected foyers make up the main public area, in an L-shape around the two larger theatres. Admiration of the National Theatre tends to focus on the magic of these internal spaces, which tower in sections to their full height. It has come to be thought of as one of the city's key communal spaces, described as "the nation's sitting room". Lasdun himself described these spaces as a "fourth theatre". He said "I feel that all the public areas of the building, the foyers and terraces, are in themselves a theatre with the city as a backdrop." These public interior spaces merge with the terraces outside. Lasdun's strata make it hard to define where the National Theatre begins and ends. The interconnected walkways, split levels and circular stairwells of the South Bank merge with the city itself. Installations and temporary structures have occupied the terraces in the past, including a bright red auditorium by Haworth Tompkins. Skateboarders came to use the terraces and under crofts of Lasdun's National Theatre and the other buildings on the South Bank as their playground. Early on, this occupation was seen as evidence of failed architecture yet a recent successful campaign to save the South Bank skate park has acknowledged it as one of the great spaces of London. The National Theatre gained a Grade II heritage listing in 1994, only 18 years after it was built.
Despite being thought of with affection by many, such a large public building is bound to provoke controversy.
MAC e-Learning Revolution Pvt Ltd -Leader in Advanced Civil/Mechanical/Structural Engineering CAD/CAM/CAE Video Training with Live Projects.
The Cliftones joined Elementree Livity Project, Sundae Drives, Cincinnati Reggae All-Stars and others for the second annual Reggae Resolution show held at Bogart's in Cincinnati, Ohio.
Who need Hands-on Experience on Live Projects to make professional Carrier?
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National Theatre London UK - Architect Denys Lasdun - 1976
Denys Lasdun's National Theatre – one of London's best-known and most divisive Brutalist buildings – is a layered concrete landscape that Prince Charles once described as being like "a nuclear power station". Completed in 1976, the Royal National Theatre stands on the South Bank of the Thames, just downstream of Waterloo bridge. It is formed from two fly towers rising from layered horizontal terraces that wrap around the building, cascading to the river level. The design for the building was based on Lasdun's idea of "architecture as urban landscape." Lasdun was appointed to the project in 1963. With no previous experience in theatre design, he persuaded the board of theatre directors, designers and technical experts to give him the job without a team alongside him but with the drama of a solo-performance. The National Theatre was a live project for 13 years, with two years spent on the main theatre alone. Lasdun described the early design process as one of evolution, shaped by consultation with the committee. He stated that it began with the spaces of the theatres themselves, "before we even knew what the outside would look like". The structure is vast and city-like in plan. It accommodates three theatres, the largest seating 1,160 people, alongside restaurants, bars, foyers, workshops and all the mechanics necessary. The open-stage theatre, the Olivier, is shaped like a giant ancient amphitheatre and occupies a large area away from the bridge that runs along one side of the site, while the smaller Proscenium theatre, with an arch over the stage, sits on the bridge. A small studio theatre is tucked away to the east side of the building, alongside the offices and other administrative functions.
Great attention was paid to the details of the "quiet" interior of the theatre: lighting, sign posting, fittings, the auditorium seats, a change from the stucco and mirrors of theatres of the period. Lasdun even selected the crockery and cutlery for the restaurant. Internally and externally, the rough-cast concrete surface of the National Theatre shows the imprint of the sawn wooden planks used in the casting process, which were supposedly each only used twice, once on each side. Talking to Peter Hall, the National Theatre's director between 1973 and 1988, Lasdun described the use of concrete: "Concrete is a very intractable material, but it can be a beautiful material if it is used in the way its own nature intends it to be used... It is a sort of sculpture that you can only do with reinforced concrete, but you need to work to a certain scale... It is not a cosy little material."
On the river side, a series of interconnected foyers make up the main public area, in an L-shape around the two larger theatres. Admiration of the National Theatre tends to focus on the magic of these internal spaces, which tower in sections to their full height. It has come to be thought of as one of the city's key communal spaces, described as "the nation's sitting room". Lasdun himself described these spaces as a "fourth theatre". He said "I feel that all the public areas of the building, the foyers and terraces, are in themselves a theatre with the city as a backdrop." These public interior spaces merge with the terraces outside. Lasdun's strata make it hard to define where the National Theatre begins and ends. The interconnected walkways, split levels and circular stairwells of the South Bank merge with the city itself. Installations and temporary structures have occupied the terraces in the past, including a bright red auditorium by Haworth Tompkins. Skateboarders came to use the terraces and under crofts of Lasdun's National Theatre and the other buildings on the South Bank as their playground. Early on, this occupation was seen as evidence of failed architecture yet a recent successful campaign to save the South Bank skate park has acknowledged it as one of the great spaces of London. The National Theatre gained a Grade II heritage listing in 1994, only 18 years after it was built.
Despite being thought of with affection by many, such a large public building is bound to provoke controversy.
MAC e-Learning Revolution Pvt Ltd -Leader in Advanced Civil/Mechanical/Structural Engineering CAD/CAM/CAE Video Training with Live Projects.
Alan Parsons Live Project, 9-21-2019, H. Ric Luhrs Performing Arts Center
475 Lancaster Dr, Shippensburg, PA 17257
The current live band
Parsons-acoustic guitar, keyboards and vocals,
P.J. Olsson on vocal,
Tom Brooks on keyboards,
Guy Erez on bass,
Jeff Kollman on guitar and vocals,
Danny Thompson on drums,
Todd Cooper on sax, percussion and vocals,
Dan Tracey on guitar and vocals.
Cocoon Dream Sequence
live projected visuals by Jonathan Phelps/Muckraker Productions
live soundscape PAS Musique
performed by Sherry Aliberti, Devlin Goldberg, Kim Wirt, Mag Ne Ta with special VIPs from the audience Nick Detar-Koch, Christine Genna, Gillian Barlow, Julian Tree, Vaiva and others.
photo by Pangoop Dff
curated etc Wild Torus
An epic multi-state saga of post-digital transmogrification enacted through performance and sound experimentation / A collusion within a visually-augmented surreality installation of Spandex and sacred geometry / Attendees should expect not to simply observe, but participate / The experience is framed around the first manned orbit flight by Yuri Gagarin, and the notion of spiritual and physical transformation of the (cyber)space traveler / The cycle lasts 109 min, the length of Gagarin's orbit / During this time, the cosmonaut will be suspended from above, live tweeting on their unique view.
Infl3ctor is a tool for live projecting calligraphy into the urban space. The act of drawing on paper is projected at the size of buildings, becoming Digital Calligraffiti. By Michael Ang and Hamza Abu Ayyash www.michaelang.com/project/infl3ctor
The Cliftones joined Elementree Livity Project, Sundae Drives, Cincinnati Reggae All-Stars and others for the second annual Reggae Resolution show held at Bogart's in Cincinnati, Ohio.
The Cliftones joined Elementree Livity Project, Sundae Drives, Cincinnati Reggae All-Stars and others for the second annual Reggae Resolution show held at Bogart's in Cincinnati, Ohio.
Colaborador fundamental de álbuns clássicos como “Abbey Road” e “Let it Be” dos Beatles, bem como “The Dark Side Of The Moon” do Pink Floyd, Alan Parsons apresenta The Alan Parsons Live Project em São Paulo. 28.03.14
Mais em: rogeriostella.wordpress.com/2014/03/29/o-cultuado-alan-pa...
Millennium Point created in Second Life, for the virtual learning environment at Birmingham City University.
For more information see the full Learning in Virtual Environments article on the Birmingham City University website.