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Es war eine der größten Demonstrationen der vergangenen Jahre – laut Polizei gingen am Sonntag 120.000 Menschen auf die Straße, dabei waren ursprünglich nur 20.000 Teilnehmer angemeldet. Die Veranstalter sprachen sogar von fast einer halben Million Menschen; aus meiner Sicht und Einschätzung her dürften es zwischen 150.000 und 300.000 Menschen gewesen sein. So oder so: es war eine machtvolle Demonstration für den Frieden, kurz nach Kriegsbeginn am 24. Februar diesen Jahres.
Die ukrainische Diaspora „Vitsche Berlin“ hatte am 27. Februar 2022 zu einer Demonstration für den Frieden am Neptunbrunnen auf dem Berliner Alexanderplatz in Mitte aufgerufen. Dort hatten sich überwiegend Exil-Ukrainer zusammen gefunden, um gegen Putin und seinen Krieg zu protestieren. Von überall strömten die Menschen in Richtung Alexanderplatz, wo sich die ukrainische Kundgebung und spätere Demonstration formierte. Diese forderten u.a. die Unterstützung der Ukraine durch die internationale Gemeinschaft und die Isolierung Russlands. Gelb-blaue Fahnen überall, dazwischen das Weiß-Rot-Weiß der belarussischen Opposition und vereinzelt Flaggen der NATO. Für viele Linke war das zuviel, das Wort „Nationalismus“ war in diesem Zusammenhang immer wieder zu hören.
Öffentliche Verkehrsmittel und Bahnhöfe waren restlos überfüllt, Berlin platzte an diesem Tag aus allen Nähten. Im Bereich rund um die Botschaft war es so voll geworden, das es kaum noch ein Vor- und Zurück gab. Musiker spielten dort mehrfach die ukrainische Nationalhymne. Nach einer halben Stunde wurde ihnen das von der Polizei allerdings untersagt. Eine Demonstrantin verbrannte vor der Botschaft aus Protest ihren russischen Pass, andere Aktivisten hatten sich bis in die Bäume hochgeschlagen.
Aufgrund der vielen Menschenmassen wurde der Demonstrationsbereich an der Siegessäule bis zum S-Bahnhof Tiergarten und in die anderen Straßen um die Siegessäule auf dem Großen Stern ausgeweitet. Die Berliner S-Bahn setzte Sonderzüge zwischen den Bahnhöfen Gesundbrunnen und Schöneberg ein, wie sie auf Twitter mitteilte. Der Bahnhof Brandenburger Tor war einige Zeit geschlossen.
Die Hauptveranstaltung, an der wohl die meisten Linken teilnahmen, fand rund um die Siegessäule statt. Dort hatte ein breites Bündnis aus Gewerkschaften, Kirchen, Initiativen, Umweltschutzorganisationen und Friedensgruppen unter dem Motto: „Stoppt den Krieg. Frieden für die Ukraine und ganz Europa“ gegen den Angriff Russlands aufgerufen.
Neben der Hauptveranstaltung wurde von verschiedenen Organisationen und Initiativen zu weiteren Protesten aufgerufen. Schon gegen 11 Uhr gab es eine Kundgebung vor der Botschaft der Republik Belarus am Treptower Park. Die Organisatoren riefen dazu auf, gegen ein Referendum zu demonstrieren, das an diesem Tag in Belarus stattfand und die Atomwaffenfreiheit des Landes aufheben soll.
Um 15.30 Uhr protestierten Exil-Russen vor der russischen Botschaft gegen den Krieg in der Ukraine und erinnerten an den vor 7 Jahren ermordeten Politiker Boris Nemzow.
Das sowjetische Ehrenmal bekam an diesem Tag ein düsteres Kapitel. Die Anlage wurde 1945 errichtet, um die im Zweiten Weltkrieg gefallenen Soldaten der Roten Armee zu ehren. Jetzt erinnern Blumen und mahnende Worte der aktuellen Ereignisse das Gedenken des letzten Weltkrieges.
Zurück am Brandenburger Tor waren die dortigen Proteste noch sehr kraftvoll. Es wurde getanzt und musiziert, nur ein paar Schritte weiter gab es eindringliche Appelle an die ukrainische Diaspora. Zu ihnen gesellte sich auch der Streetart-Artist Dared.
Ein „Friedensengel für die Ukraine“ verlangte die Überführung Putins nach Den Haag. Dort, in den Niederlanden, hat der Internationale Strafgerichtshof06 seinen Sitz – zuständig für Völkermord, Verbrechen gegen die Menschlichkeit, Verbrechen der Aggression und Kriegsverbrechen.
Die Hauptveranstaltung war zu jenem Zeitpunkt schon beendet. Aber noch immer strömten die Massen hinaus zur Siegessäule und kehrten auf der Straße des 17. Juni wieder zurück. Es war ein Bild, was einer Friedensparade glich. Diese „Runde“ schien ein Muss für alle Friedensbewegten. Ab 17:30 Uhr war die Anzahl der Demonstrierenden schon extrem verdünnt.
Auch in Moskau waren am 27. Februar 2022 erneut tausende Menschen furchtlos auf die Straße gegangen, um gegen den Krieg zu protestieren. Es gab dabei tausende Festnahmen, über den Kanal Twitter erreichten immer mal wieder Videos die Welt, mittlerweile wurden die sozialen Netzwerke in Russland geblockt, denn die Bevölkerung soll nicht erfahren, was sich in der Ukraine, aber auch in Russland und der Welt abspielt.
Das russische Staatsfernsehen indes erklärt lang und breit die Kreml-Linie, dass es bei der „Spezial-Operation“, die offiziell nicht Krieg genannt werden darf, um eine Friedensmission gehe.
Putin hatte seinen Angriff auf das Nachbarland damit am letzten Donnerstag erklärt, dass er das in die Nato strebende Land (Ukraine) entmilitarisieren wolle. Und er behauptet, die Führung und die Streitkräfte seien von „drogensüchtigen Neonazis“ durchsetzt, die er vernichten wolle.
Diese Form der Propaganda wird schon seit 2014 in ähnlicher Form verbreitet, der leider immer noch viele Linke erlegen sind. Damit erhofft Putin, das die Ukraine somit keine Unterstützung bekommt und er ungehindert seinen Krieg fortsetzen kann, der jetzt zum Angriffskrieg ausgeweitet wurde.
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Vielen Dank!
Stand: Februar 2022
Materials: oil on canvas. Dimensions: 31.7 x 47 cm. Source: www.rauantiques.com/images/products/30-0155/zoom/full/30-....
Materials: oil on canvas. Dimensions: 91.6 x 135.3 cm. Nr.: ? Source: pinacoteca-agnelli.it/visit/wp-content/uploads/2012/07/Ca.... I have changed the contrast of the original photo.
Materials: oil on canvas. Dimensions: 15.9 x 21.3 cm. Nr. : 2004.166.4. Source: www.nga.gov/content/ngaweb/Collection/art-object-page.130.... I have changed the light and contrast of the original photo.
©All photographs on this site are copyright: DESPITE STRAIGHT LINES (Paul Williams) 2011 – 2020 & GETTY IMAGES ®
No license is given nor granted in respect of the use of any copyrighted material on this site other than with the express written agreement of DESPITE STRAIGHT LINES (Paul Williams) ©
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Photograph taken at an altitide of Six hundred and five metres at 09:29am on Tuesday 10th September 2019 off the Crowsnest Highway 3 between South Okanagan grasslands protected area and Osoyoos Lake, at Spotted Lake in Osoyoos, British Columbia, Canada.
Spotted lake is asaline endorheic alkali lake situated in the Similkameen valley of BC conating depoits of magnesium sulphate, calcium and sodium sulpahtes, silver and titanium. In the summer months due to evaporation circles of mineral deposits are outlined in the lake to stunning effect. The lake is known as Kliluk to first nations people who purchased and protected the lake in October 2001. It is now fenced off and first nations people ask that visitors do not enter the land, or at least respect it.
Of all the days to visit Spotted lake, it had to be raining and overcast! So sadly there was little to see of the amazing circles and colours, reason enough I guess for me to one day return in Spring or summer.
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Nikon D850. Focal length 46mm Shutter speed 1/10s Aperture f/16.0 iso250 RAW (14 bit uncompressed) Image size L (8256 x 5504 FX). Hand held with Nikon VR Vibration reduction set to normal. Focus mode AF-C focus 51 point with 3D- tracking. AF-Area mode single point & 73 point switchable. Exposure mode - Aperture priority exposure. Nikon Back button focusing enabled. Matrix metering. ISO Sensitivity: Auto. White balance: Natural light auto. Colour space Adobe RGB. Nikon Distortion control on. Picture control: Auto. High ISO NR on. Vignette control: normal. Active D-lighting Auto.
Nikkor AF-S 24-120mm f/4G ED VR. Lee SW150 MKII filter holder. Lee SW150 77mm screw in adapter ring. Lee SW150 0.3 (1 stop) Neutral density graduated soft resin filter. Lee SW150 Filters field pouch. Nikon EN-EL15a battery.Mcoplus professional MB-D850 multi function battery grip 6960. Matin quick release neckstrap. My Memory 128GB Class 10 SDXC 80MB/s card. Lowepro Flipside 400 AW camera bag. Hoodman HEYENRG round eyepiece oversized eyecup.Manfrotto 055XPROB Tripod 3 Sections (Payload: 5.6kgs). Manfrotto 327RC2 Light Duty Grip Ball Magnesium Tripod Head (Payload: 5.5kgs). Manfrotto quick release plate 200PL-14. Jessops Tripod bag.Nikon MC-DC2 remote shutter release cable.
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LATITUDE: N 49d 4m 43.74s
LONGITUDE: W 119d 33m 41.07s
ALTITUDE: 605.0m
RAW (TIFF) FILE: 130.00MB NEF: 91.1MB
PROCESSED (JPeg) FILE: 44.60MB
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PROCESSING POWER:
Nikon D850 Firmware versions C 1.10 (9/05/2019) LD Distortion Data 2.017 (20/3/18) LF 1.00
HP 110-352na Desktop PC with AMD Quad-Core A6-5200 APU 64Bit processor. Radeon HD8400 graphics. 8 GB DDR3 Memory with 1TB Data storage. 64-bit Windows 10. Verbatim USB 2.0 1TB desktop hard drive. WD My Passport Ultra 1tb USB3 Portable hard drive. Nikon ViewNX-1 64bit (Version 1.3.1 11/07/2019). Nikon Capture NX-D 64bit (Version 1.4.7 15/03/2018). Nikon Picture Control Utility 2 (Version 1.3.2 15/03/2018). Adobe photoshop Elements 8 Version 8.0 64bit.
En la vía 1 de Estación Temuco se encuentra ubicado automotor TLD-504 y junto a el, en la vía número 2 se encuentran los coches 10000 del servicio TerraSur Temuco (el regreso, luego de 5 años de ausencia), esperando la noche para su retorno hacia Alameda.
Saludos!
really i use this stuff every day (in the morning, at work, before the dates, being late, etc.) exept the notebook which were bought in Los-ANGELES. i decided to include it here just for showing off :D
Material Circulante: CP E214 + CEyf 4169 + CEyf 4178 + CEyf 466
Hora: 08:57
Data: 14-12-2019
Local: Estação de Aveiro - Vouga (PK 34 - Linha do Vouga)
Serviço: Comboio Especial n.º 20801 (Aveiro - Vouga --» Macinhata) [Comboios Históricos na Linha do Vouga]
A "USD" (unidade simples a diesel) com o número 0360, da série "Allan", alface, na cocheira de limpeza
I understand that skulls and skeletons are a little passé but there is something really rather enjoyable about painting them. Its probably to do with the fact that they are so easily recognisable yet still rather alien to us at the same time. As you can tell by the pose of this skeleton he was in life a bit of a dick always thinking he's better than everyone else. Just look how even now he stares off into the middle distance like he's pondering something incredibly important - which he isn't. What a self important fool...
That said, this particular skull has been imbued with special powers . And I don't mean anything like the crystal skulls in the latest Indians Jones movie either. This bugger's special ability is to change the colour tone of his skull whilst your painting him. Which can be quite annoying let me tell you. One minute your using azure blue the next process red, what a shit indeed. Anyway i solved the problem surrounding him - you just make the colours up as you go along. Job done.
Cheers
id-iom
Title: Skele-tone
Materials: Paint pen, acrylic, ink, pastel, spray paint and charcoal
Size: A2
Please email if interested
3D printing has broken free of its novelty nature and is becoming the tool of choice to replace many traditionally complex and labour intensive tasks, thanks in no small part to the capabilities of the various materials now being commonly used.
Koenigsegg are currently using 3D printing technology to produce a variable speed turbo charger in stainless steel and currently use these in their production super-cars. These turbos proved difficult to cast using traditional methods, but by utilising an additive manufacturing process, these units are now printed with the internal parts completed within the unit at time of print.
NASA have successfully test fired a new 3D printed rocket-engine fuel injector. The injector replaced an earlier unit comprised of 115 different parts. The replacement 3D printed unit has 2 parts and is had only two parts and represents a simplified design which was not available using traditional manufacturing techniques.
Anecdotally these examples show how leaders in their respective fields are benefiting from the adoption of additive manufacturing techniques. Laser based 3D printing systems are now capable of working with various metals at commercial levels, including titanium, nickel, stainless steel, and aluminium to name but a few. Many of these metals suffer little in the way of tensile or yield strengths in comparison to the annealed counterparts.
When added to the high accuracy nylon available from laser based systems, and the plethora or materials available for use in FDM printing, some customers can find themselves facing a wider choice of materials than they may have expected. Highlights of FDM materials include compositions using carbon-fibre, titanium, cobalt, bronze and wood, as well as more traditional materials such as flexible rubber, low cost PLA and even some fully recycled filaments.
form 3d services ltd was formed in June 2014. we are specialists in additive manufacturing and 3d print solutions.
our goal is to provide high-end, high value outcomes to suit the project requirements of our customers
based in north east scotland, form 3d have nearly 40 years combined experience in the engineering and oil and gas
sectors. combined with our extensive experience in additive manufacturing, we believe this puts us in a strong
position to partner with all industries and educational establishments
through collaboration with our clients we aim to enhance the customer experience and subsequent deliveries by
understanding their business and products, and offering advice on how projects can be best served by the additive
manufacturing industry
options to further augment certain products may include lighting and simulation effects, local web servers via
embedded wi-fi hotspots, or intelligent assessment to allow models to react to changes in their environment
all products are offered a range of plastics and metals and in a variety of finish qualities. parts are protected by
suitable lacquer products where applicable. colours are customer defined and may be chosen to suit model context
or custom mixed to match company branding, as required
Decided to redo my Prussian Train and hopefully further it from the source material. Not exactly sure how well that played out.
Materials: oil on canvas. Dimensions: 152 x 191.1 cm. Inscriptions: J.W. (lower left). Sold by Sotheby’s, in New York, on Febrary 1, 2018. Source: www.altertuemliches.at/files/9812_lot_45.jpg. I have changed the light and contrast of the original photo.
Materials: oil on wood. Dimensions: 39.3 x 60.5 cm. Source: www.clevelandart.org/art/1973.2. I have changed the light and contrast of the original photo.
RiverBend Hospital is in Springfield, Lane County, Oregon USA.
RiverBend Hospital is where 2 years ago, this month, I almost died. I was there 17 days. This trip, last week on May 7th, I was only there a short time, roughly 5 hours. I was having some pain in right leg which my doctor felt might have been a blood clot. She said to go to the Emergency Room. It wasn't a blood clot. So all the medical treatment went smoothly, but theoretically the Hospital arranged for a ride home for me. I waited in the lobby for very close to 4 hours, occasionally peeking outside to see if my ride had come. Everyone in the waiting room plus a few new ones who arrived during my wait, had all been treated, I would snap a few pictures, like this one, right outside the entrance door, and then go back in and wait some more. It was kind of cold outside too. It was not a comfortable wait.
The cool thing is I got some Fence Friday types of shots for Flickr, and don't forget Metallic Objects for Cecilia. ;0)
For Dave C. and other Flickr friends too, I think the *soul of this one was two-fold. Taking pictures anyway during an uncomfortable wait time, and the cool metal shininess and patterns and sort of gift-wrapped look to some of the metal with the pretty protective blues and greens.
(20210507_151804SAMFenceRiverBendCrpTUresamShrpEqlInitFlickr051421)
flickriver.com/photos/javier1949/popular-interesting/
FUNDACIÓN FRANCISCO GINER DE LOS RÍOS Rehabilitación y Ampliación
Paseo del General Martínez Campos, 14. Madrid
Pabellón Macpherson: arquitecto, Joaquín Kramer Arnaiz: 1908-1909.
Rehabilitación y Ampliación: AMID[cero9]-Cristina Díaz Moreno & Efrén García Grinda arquitectos-. Concurso: 2004-05. Proyecto 2006-2007. Construcción.- 2011-2014. Paisajista Teresa Galí-Izard. Colaboradores. Concurso: Ana Belén Franco, Iñigo González-Haba Plana, David Marsinyach, Jorge Martín Sainz de los Terreros. Proyecto básico: Jaime Bartolomé Yllera, Íñigo González-Haba Plana, Julia Gómez Candela, Jesús Isla, José Quintanar Iniesta, Jorge Saz Semolino y Rebeca Vallecillo.
La Fundación Francisco Giner de los Ríos, uno de los pedagogos más significativos de la Europa contemporánea, encarna desde 1916 a la Institución Libre de Enseñanza. Se creó a la muerte de Giner, para asegurar la continuación de su labor, encargándose de la tutela de su patrimonio material e intelectual. Su Patronato ha mantenido sin interrupciones la continuidad desde aquella fecha, lo que permitió que, tras la incautación sufrida tras la Guerra Civil, en los años de la transición democrática la Fundación viera de nuevo reconocida plenamente su personalidad jurídica y recobrara sus bienes. Desde entonces, ha venido trabajando en la recuperación del legado de la Institución Libre de Enseñanza para la sociedad española de nuestro tiempo.
En el año 2003, debido a las condiciones de deterioro de los edificios de la Fundación se inicia un proceso para la rehabilitación y ampliación de su sede. Los ganadores del concurso público son Cristina Díaz Moreno y Efrén García Grinda. Su propuesta mantiene íntegramente los edificios históricos del conjunto, la casa de Giner y Cossío, de finales del XIX, que existía ya antes de la llegada de la institución, y el Pabellón Macpherson, y sustituye el resto de edificaciones por una serie de volúmenes que se relacionan entre sí a través del jardín, espacio generador de todo el proyecto.
La rehabilitación y ampliación refleja la visión vanguardista del espacio arquitectónico, de la naturaleza y del paisaje de Francisco Giner de los Ríos, a la vez que recrea la organización espacial de su sede histórica a partir de 1884 alrededor del jardín que perseguía el ideal pedagógico de la Institución de aproximarse hasta el último grado posible a la vida al aire libre.
El proyecto ha conservado y rehabilitado íntegramente los edificios históricos: la casa de Giner y Cossío, edificio preexistente a la instalación de la Institución, y el Pabellón Macpherson, como un objeto que atesora la memoria de la arquitectura escolar inspirada por la ILE antes de su implantación como modelo con validez general. En ambos casos se han mantenido las fachadas, el volumen y la espacialidad originales. El resto de edificaciones, añadidas tras la guerra civil o desfiguradas y deterioradas por las sucesivas remodelaciones, incluyendo el llamado pabellón de párvulos, han sido sustituidas por un conjunto de nuevos espacios vinculados directamente al jardín, que cobra su original protagonismo, y adaptados a las funciones que la renovada Institución tiene que cumplir en nuestros días.
Se preserva la idea original del jardín como "punto de encuentro" y se convierte en un espacio cambiante y en continuo proceso, mostrando su evolución en las distintas estaciones. Un espacio vivo y activo recuperado gracias a la documentación gráfica y escrita y al trabajo de la paisajista Teresa Galí-Izard. El edificio queda tan sólo como el elemento que configura el jardín, cediéndole todo el protagonismo. Las salas del conjunto, tanto cerradas como al aire libre, se vuelcan hacia el jardín generando entrantes y salientes, que lo dividen en sectores múltiples, jardines diferentes. Son los conos visuales a lo largo del recorrido por el jardín los que determinan la disposición de los volúmenes, con el objetivo de crear espacios con distinto grado de privacidad y exposición.
"Las aulas son espacios multifocales sin dirección predominante, rodeados por un cerramiento de vidrio y sistemas flexibles de cuelgue que permiten modificar intencionadamente sus condiciones acústicas y lumínicas de manera sencilla. Su geometría replica el sistema de plantaciones del jardín y permite diferentes configuraciones para ensayar también con el espacio como herramienta educativa. Los distintos tamaños y agrupaciones de las salas, así como las posibilidades de apertura del cerramiento exterior, permiten entender las salas en perfecta continuidad con el exterior".
De los 5.000 metros cuadrados construidos, la mitad lo está bajo tierra. Unas escaleras conectan el patio ajardinado con un deambulatorio subterráneo. Al final del pasillo, como una sorpresa inesperada, aparece un vanguardista auditorio con 263 butacas que se utilizará para congresos, conferencias o proyecciones. Para la directora de la Fundación, Elisa Navas, el resultado final de este proyecto "hace honor a la tradición innovadora de la Institución Libre de Enseñanza y es perfectamente adecuado a las necesidades de la Fundación".
Las ideas de la Institución están también presentes en la elección de los materiales, sostenibles, durables, austeros y fáciles de mantener. La envolvente exterior hacia el jardín está formada por una celosía metálica que varía la escala de sus barras y su disposición actuando de protección solar y de filtro visual entre las aulas y el espacio al aire libre.
Amid.cero9 define la ampliación como una "medianera especializada". El edificio se construye como un muro que se deforma ensanchándose y comprimiéndose a lo largo de todo el perímetro para albergar salas de diversos tamaños que, sin necesidad separar físicamente el espacio y condicionar futuros cambios de uso, pueden destinarse a funciones distintas. Se ha mantenido la altura de la construcción anterior, dejando bajo rasante la zona destinada a los actos públicos. Los espacios vierten sobre el salón de actos principal, con la posibilidad de abrirse o cerrarse, variando el tamaño de la sala según la audiencia.
"El proyecto trata al mismo tiempo de instalarse dentro de la geografía sentimental de la Fundación y el ideario institucionista, tejiendo con cuidado los hilos de las relaciones entre las personas y su legado material e intelectual, para construir una evocación del espíritu de la Institución sin conservación acrítica del pasado; admitiendo el valor espacial y escala del jardín y pabellones existentes, pero redefiniéndolo de forma confiada y optimista a través de una sensibilidad completamente contemporánea para ayudar a proyectar la Fundación hacia el futuro".
La Rehabilitación y ampliación ha sido Premio COAM 2015 por "su excelente implantación en el lugar a nivel urbano, manejando una escala acertada y adecuada”. El interés del proyecto motivó su elección para formar parte del Pabellón de España en la 14ª edición de la Bienal de Arquitectura de Venecia de 2014
www.fundacionginer.org/index.htm
www.openhousemadrid.org/#!fundacion-francisco-giner-de-lo...
www.metalocus.es/content/es/blog/fundaci%C3%B3n-giner-de-...
bacecg.com/newsandmedia/premio-coam-2015-para-el-proyecto...
www.coam.org/es/actualidad/noticias/sede-fundacion-franci...
www.fueradeserie.expansion.com/2015/04/21/arquitectura/14...
This is what I currently have. Some will make better key chains than others. First come first served. You will be put onto a list when you confirm with me, then when I get to you on my list, I will then confirm what pad you want and how you want it designed.
5616760445
[PT]
Comboio: CEREAIS 50366 (Pampilhosa > Ramalhal).
Material Circulante: CP 1971 + 6 Tadgs + 6 Sgnss.
[ENG]
Freight train nº 50366 departing from Caldas da Rainha, after the arrival of a local train coming from Lisbon.
Seybold Building is a historic jewelry building in Miami, Florida. It was designed by Kiehnel and Elliott. The building was erected in two stages. The first three levels of the building were completed in 1921. John Seybold had a bakery and confectionery business which he operated on the main floor. An additional seven stories were added above the annex in 1925. The Seybold Building is a City of Miami historic landmark. Seybold sold the complex in 1941. It is a National Register of Historic Places contributing property as part of the Downtown Miami Historic District.
The Seybold building was built back in 1926 as the brainchild of its namesake, John Seybold, who moved to Miami in the late 19th century and eventually set up a bakery. That business burned down, but he bounced back with another bakery. He then went on to run a shopping mall, called an arcade back then, that became the basis of the 10-story Seybold building, which is the second largest diamond and jewelry center in the United States at 166,000 square feet (15,400 m2). The plan to transform the Seybold Building into a jeweler's hub had a helping hand from the Cuban revolution. At the start of the Cuban Revolution, Fidel Castro directed his regime to confiscate businesses all over Cuba causing a mass exodus off the island. This resulted in Cuban goldsmiths starting manufacturing in the US with the Seybold Building being the biggest spot, where individuals continually - seven days a week manufacture from scratch diamond wedding rings. Handmade Cuban Link necklaces, all types of earrings, pendants, bracelets, & cufflink. Numerous Cuban engravers perform artisan stone setting, specializing in engraving, fabrication & wax carving using gold, silver & precious metals. Platinum is the most durable for wedding rings, lost-wax casting using a silversmithing or goldsmithing process in which a liquid material - in this case Platinum is usually poured into a mold, which contains a hollow cavity of the desired shape, and then allowed to solidify. The solidified part is also known as a casting, which is ejected or broken out of the mold to complete the process. Platinum normally has a melting temperature of 1,700 °C (3,090 °F).
In the 1960s, the building's first jeweler moved in. Jeffrey Buchwald, a Hungarian immigrant who first opened his jewelry shop on the boardwalk in Atlantic City, moved to Miami to escape the cold. Today, Buchwald Jewelers is a third generation, family-run business, and co-owner Jeff Buchwald recalls visiting his family's store when he was just a kid. "We were the first jewelers in the building — back then there were a few stores and a lot of lawyers", Buchwald said. "By the time I took over 25 years ago, there were a lot more jewelers".
Mario's Casting, a second-generation family-run jewelry manufacturing business, immigrating to the United States in 1969 to try and pick up where they had left off. "In the 1970s, a lot of Cubans were coming over and making a home for their jewelry business in downtown Miami", said Martha Camero, one of the owners and operators of Mario's Casting. "As more and more jewelers moved into the Seybold Building, lawyers started moving out. Pretty soon, every single floor was filled with jewelry makers of all kinds.
Building
The majority of the tenants are still jewelry and watch merchants, diamond cutters, repair shops and other specialty gem shops.
Awards
The Seybold Jewelry Building was named Best Place to Buy a Diamond Ring by Miami New Times in 2009.
Credit for the data above is given to the following websites:
en.wikipedia.org/wiki/Seybold_Building
www.historicpreservationmiami.com/pdfs/2011%20designation...
www.miaminewtimes.com/best-of/2009/shopping-and-services/...
© All Rights Reserved - you may not use this image in any form without my prior permission.
Material Circulante: CPA 4009
Hora: 16:33
Data: 01-12-2014
Local: Fernando Pó (PK 35 - Linha do Alentejo)
Serviço: Comboio de Formação n.º 32212 (Évora --» Lisboa - Santa Apolónia)
Sneak preview of the commissioned 1.5-metre diameter sphere sculpture I've made by bolting together 120 machine-cut silhouettes of final-year pupils from Stourfield Junior School in Bournemouth.
The silhouette components are cut from 100% recycled agricultural plastic (silage bags etc). The sheet material is usually used to line horse boxes and livestock sheds.
The masking tape name tags will be removed in the final piece.
Unveiling of the final artwork will take place on 13 July...
©All photographs on this site are copyright: ©DESPITE STRAIGHT LINES (Paul Williams) 2011 – 2021 & GETTY IMAGES ®
No license is given nor granted in respect of the use of any copyrighted material on this site other than with the express written agreement of ©DESPITE STRAIGHT LINES (Paul Williams). No image may be used as source material for paintings, drawings, sculptures, or any other art form without permission and/or compensation to ©DESPITE STRAIGHT LINES (Paul Williams)
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I would like to say a huge and heartfelt 'THANK YOU' to GETTY IMAGES, and the 40.066+ Million visitors to my FLICKR site.
***** Selected for sale in the GETTY IMAGES COLLECTION on May 24th 2021
CREATIVE RF gty.im/1319051923 MOMENT ROYALTY FREE COLLECTION**
This photograph became my 5,231st frame to be selected for sale in the Getty Images collection and I am very grateful to them for this wonderful opportunity.
©DESPITE STRAIGHT LINES (Paul Williams)
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Photograph taken at an altitude of Fifty five metres at 07:04am on Wednesday 19th August 2020, of a Large red slug (Arion rufus) off Chessington Avenue in Bexleyheath, Kent.
Also known as the Red slug, Chocolate arion and European red slug, these are land slugs or roundback slugs in the family Arionidae. The opening on the right side is a pneumostome or respiratory pore whih feeds air to the lung. They have a striped foot fringe and pale sole, and can reach 150mm fully extended.
Also known as the Red slug, Chocolate arion and European red slug, these are land slugs or roundback slugs in the family Arionidae. They are widespread across Western Europe, with a variant species found in Northern Britain and Scandinavia. They have a compact bell shape and stretch out in motion to a length of up to 180mm. They were first noted in 1758 by Carl Linnaeus and areclassed as Mollusca, gastropoda class and subclass Heterobranchia.
Their life cycle is typically just one year and they are hermaphrodites. The opening on the right side is a pneumostome or respiratory pore which feeds air to the lung. They have a striped foot fringe and pale sole, and can reach 150mm fully extended. They have 27,000 teeth!
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Nikon D850 Hand held with Sigma OS OPtical Stabilization enabled on normal setting. Focal length 340mm Shutter speed: 1/50s Aperture f/6.0 iso250 Image area FX (36 x 24) NEF RAW L (8256 x 5504). NEF RAW L (14 bit uncompressed) Image size L (8256 x 5504 FX). Focus mode AF-C focus. AF-C Priority Selection: Release. Nikon Back button focusing enabled. AF-S Priority selection: Focus. 3D Tracking watch area: Normal 55 Tracking points.AF-Area mode single point & 73 point switchable. Exposure mode: Shutter Priority mode. Matrix metering. Auto ISO sensitivity control on (Max iso 800/ Minimum shutter speed 125). White balance on: Auto1. Colour space: RGB. Active D-lighting: Normal. Vignette control: Normal. Nikon Distortion control: Enabled. Picture control: Auto (Sharpening A +1/Clarity A+1)
Sigma 60-600mm f/4.5-6.3DG OS HSM SPORTS. Lee SW150 MKI filter holder with MK2 light shield and custom made velcro fitting for the Sigma lens. Lee SW150 circular polariser glass filter.Lee SW150 Filters field pouch.Nikon GP-1 GPS module. Hoodman HEYENRG round eyepiece oversized eyecup.Mcoplus professional MB-D850 multi function battery grip 6960.Two Nikon EN-EL15a batteries (Priority to battery in Battery grip). Matin quick release neckstrap. My Memory 128GB Class 10 SDXC 80MB/s card. Lowepro Flipside 400 AW camera bag.
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LATITUDE: N 51d 28m 28.55s
LONGITUDE: E 0d 8m 10.05s
ALTITUDE: 55.0m
RAW (TIFF) FILE: 130.00MB NEF: 93.3MB
PROCESSED (JPeg) FILE: 44.10MB
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PROCESSING POWER:
Nikon D850 Firmware versions C 1.10 (9/05/2019) LD Distortion Data 2.018 (18/02/20) LF 1.00
HP 110-352na Desktop PC with AMD Quad-Core A6-5200 APU 64Bit processor. Radeon HD8400 graphics. 8 GB DDR3 Memory with 1TB Data storage. 64-bit Windows 10. Verbatim USB 2.0 1TB desktop hard drive. WD My Passport Ultra 1tb USB3 Portable hard drive. Nikon ViewNX-1 64bit Version 1.4.1 (18/02/2020). Nikon Capture NX-D 64bit Version 1.6.2 (18/02/2020). Nikon Picture Control Utility 2 (Version 2.4.5 (18/02/2020). Nikon Transfer 2 Version 2.13.5. Adobe photoshop Elements 8 Version 8.0 64bit.
Material Circulante: UTD 592.215
Hora: 16:17
Data: 03-03-2017
Local: Campo (PK 17 - Linha do Douro)
Serviço: IR 872 (Pocinho --» Porto - Campanhã)
Material Girl Magazine Spring/Summer 2015
Models are Barbara Egholm and Sabine / Louisa Models
Alica Kalk / Model-Management
Jana / PMA Models
Styling / Faustyna Klabun
Hair and Make Up / Francesca Vigliarolo / Nordish Republic
Hair and Make Up Assistance / Kim Albershardt
Photo Assistance / Patrick Mariathasan
This lovely Tropical Mockingbird faces the horizon looking for his pair. They have been collecting material for their nest taking advantage of the rains while performing lovely melodies.
Etimología: Actor o mimo de color arena.
Género del latín mimus: Actor o mimo.
Epíteto del latín gilvus: Amarillo pálido o color arena.
Nótese que la especie mimus que realmente puede imitar sonidos variados es la M. polyglottos típica de Norteamérica, no esta.
Orden: PASSERIFORMES
Familia: Mimidae
Genero: Mimus
Nombres comunes: Sinsonte Común, Sinsonte Tropical
Nombre científico: Mimus gilvus
Nombre en ingles: Tropical Mockingbird
Registro: Vereda La Bonilla
Región: Embalse El Peñol-Guatapé, Antioquia, Colombia
M.S.N.M: 1900m
Por: Carlos Iván Restrepo Jaramillo
It was late in the day, the refuge was closing in a few minutes, but the work to build a new nest goes on.
Palm-leaf manuscripts are manuscripts made out of dried palm leaves. Palm leaves were used as writing materials in Indian subcontinent and in Southeast Asia reportedly dating back to the 5th century BCE. Their use began in South Asia and spread to other regions, as texts on dried and smoke-treated palm leaves of Palmyra palm or the talipot palm. Their use continued till the 19th century, when printing presses replaced hand-written manuscripts.
One of the oldest surviving palm leaf manuscripts of a complete treatise is a Sanskrit Shaivism text from the 9th-century, discovered in Nepal, now preserved at the Cambridge University Library. The Spitzer Manuscript is a collection of palm leaf fragments found in Kizil Caves, China. They are dated to about the 2nd-century CE and are the oldest known philosophical manuscript in Sanskrit.
HISTORY
The text in palm leaf manuscripts was inscribed with a knife pen on rectangular cut and cured palm leaf sheets; colourings were then applied to the surface and wiped off, leaving the ink in the incised grooves. Each sheet typically had a hole through which a string could pass, and with these the sheets were tied together with a string to bind like a book. A palm leaf text thus created would typically last between a few decades and about 600 years before it decayed due to dampness, insect activity, mold and fragility. Thus the document had to be copied onto new sets of dried palm leaves. The oldest surviving palm leaf Indian manuscripts have been found in colder, drier climates such as in parts of Nepal, Tibet and central Asia, the source of 1st-millennium CE manuscripts.
The individual sheets of palm leaves were called Patra or Parna in Sanskrit (Pali/Prakrit: Panna), and the medium when ready to write was called Tada-patra (or Tala-patra, Tali, Tadi). The famous 5th-century CE Indian manuscript called the Bower Manuscript discovered in Chinese Turkestan, was written on birch-bark sheets shaped in the form of treated palm leaves.
Hindu temples often served as centers where ancient manuscripts were routinely used for learning and where the texts were copied when they wore out. In South India, temples and associated mutts served custodial functions, and a large number of manuscripts on Hindu philosophy, poetry, grammar and other subjects were written, multiplied and preserved inside the temples. Archaeological and epigraphical evidence indicates existence of libraries called Sarasvati-bhandara, dated possibly to early 12th-century and employing librarians, attached to Hindu temples. Palm leaf manuscripts were also preserved inside Jain temples and in Buddhist monasteries.
With the spread of Indian culture to Southeast Asian countries like as Indonesia, Cambodia, Thailand, and the Philippines, these nations also became home to large collections. Palm-leaf manuscripts called Lontar in dedicated stone libraries have been discovered by archaeologists at Hindu temples in Bali Indonesia and in 10th century Cambodian temples such as Angkor Wat and Banteay Srei.
One of the oldest surviving Sanskrit manuscripts on palm leaves is of the Parameshvaratantra, a Shaiva Siddhanta text of Hinduism. It is from the 9th-century, and dated to about 828 CE. The discovered palm-leaf collection also includes a few parts of another text, the Jñānārṇavamahātantra and currently held by the University of Cambridge.
With the introduction of printing presses in the early 19th century, the cycle of copying from palm leaves mostly came to an end. Many governments are making efforts to preserve what is left of their palm leaf documents.
RELATIONSHIP WITH THE DESIGN OF WRITING SYSTEMS
The round and cursive design of the letters of many South Indian and Southeast Asian scripts, such as Devanagari, Nandinagari, Telugu, Lontara, Javanese, Balinese, Odia, Burmese, Tamil, Khmer, and so forth, may be an adaptation to the use of palm leaves, as angular letters could tear the leaves apart.
REGIONAL VARIATIONS
ODISHA
Palm leaf manuscripts of Odisha include scriptures, pictures of Devadasi and various mudras of the Kama Sutra. Some of the early discoveries of Odia palm leaf manuscripts include writings like Smaradipika, Ratimanjari, Pancasayaka and Anangaranga in both Odia and Sanskrit. State Museum of Odisha at Bhubaneswar houses 40,000 palm leaf manuscripts. Most of them are written in the Odia script, though the language is Sanskrit. The oldest manuscript here belongs to the 14th century but the text can be dated to the 2nd century.
KERALA
TAMIL NADU
In 1997 The United Nations Educational Scientific and Cultural Organisation (UNESCO) recognised the Tamil Medical Manuscript Collection as part of the Memory of the World Register. A very good example of usage of palm leaf manuscripts to store the history is a Tamil grammar book named Tolkāppiyam which was written around 3rd century BCE. A global digitalization project led by the Tamil Heritage Foundation collects, preserves, digitizes and makes ancient palm-leaf manuscript documents available to users via the internet.
JAVA AND BALI
In Indonesia the palm-leaf manuscript is called lontar. The Indonesian word is the modern form of Old Javanese rontal. It is composed of two Old Javanese words, namely ron "leaf" and tal "Borassus flabellifer, palmyra palm". Due to the shape of the palmyra palm's leaves, which are spread like a fan, these trees are also known as "fan trees". The leaves of the rontal tree have always been used for many purposes, such as for the making of plaited mats, palm sugar wrappers, water scoops, ornaments, ritual tools, and writing material. Today, the art of writing in rontal still survives in Bali, performed by Balinese Brahmin as a sacred duty to rewrite Hindu texts. Many old manuscripts dated from ancient Java, Indonesia, were written on rontal palm-leaf manuscripts. Manuscripts dated from the 14th to 15th century during the Majapahit period. Some were found even earlier, like the Arjunawiwaha, the Smaradahana, the Nagarakretagama and the Kakawin Sutasoma, which were discovered on the neighboring islands of Bali and Lombok. This suggested that the tradition of preserving, copying and rewriting palm-leaf manuscripts continued for centuries. Other palm-leaf manuscripts include Sundanese language works: the Carita Parahyangan, the Sanghyang Siksakandang Karesian and the Bujangga Manik.
PREPARATION AND PRESERVATION
The palm leaves are first cooked and dried. The writer then uses a stylus to inscribe letters. Natural colourings are applied to the surface so the ink will stick in the grooves. This process is similar to intaglio printing. Afterwards, a clean cloth is used to wipe out the excess ink and the leaf manuscript is done. Details can be found in videos listed in the external links section.
WIKIPEDIA
Materials: oil on canvas. Dimensions: 174.6 x 123.8 cm. Nr.: 17.190.29. Source: www.metmuseum.org/collection/the-collection-online/search.... I have changed the light, contrast and colors of the original photo.
Hazardous Materials Company is made up of four apparatus:
Hazmat 1: 2016 Seagrave Marauder II walk-in heavy rescue
Hazmat 1a: 2006 Kenworth/Hackney tractor trailer heavy rescue
Mobile Lab 1: 1978/1991/2016 Mack CF walk-in heavy rescue
Foam 1: 2017 SSV Tiger II 2650/1500/210/500#
Credits:
Martijn Meijdam for Foam 1
Paulo R. for the SNOTed compartments as well as the wheel wells on HM1a
Zak O. for inspiration on the Kenworth tractor
Xander Gerakis for the rear wheel wells on the tractor
A house in a Conservation area, with the project consisting of a loft extension at the rear gable roof and a kitchen rear extension.
The loft extension will be a zinc roof cover with a 2 windows and a roof light to allow natural light into the central part of the house. The metal colour of the zinc will match the colour of the window frames, for an integrated aesthetic. The proposal will also remodel an extent of the interiors but this interior work will not require planning. The kitchen design will elongate the kitchen and a sliding fire door will be created in the design to create a protected stair. The living room will
include a new fire door to form a protected stair as well.
The rest of the house include renovations to ensuite bathroom, a larger closet, children's bedrooms and bathroom extension.
Honestly, it was journey and a good lessons learned. Some lessons include
1. Making 100% sure before the contractor is hired that they will comply and sign a contract with the client. Here they did an agreement and this is where everything goes wrong, including massive changes of the design, without my knowledge. Many rooms as not as I designed them.
2. Even without a contract to contract adminstrator, I should have been on site every week, as the stair design was completely messed up by the contractor, even though the drawings show something aligned. Samples of every material should have been taken before being applied on the walls, ceilings etc. The children's room was designed without wood, for example.
3. Looking at details such as unaligned downlights and light in the complete different location, not as per drawings at hand.
4. Using a closet and kitchen supplier right away and just laying out the idea, which I mostly did.
5. Getting the client's full trust in designing items as we went through the architectural stages, rather than designing later on with the contractor.
Materials: Oil on canvas. Dimensions: 124 x 84 cm. Source: www.masterart.eu/tsmedia/MacConnalMasonMacphoto/Willem-Ko....
Materials: gouache. Dimensions: 27.2 x 46.2 cm. Source: cp14.nevsepic.com.ua/183/18259/1384986349-booksellers---l.... I have changed the light, contrast and colors of the original photo.
