View allAll Photos Tagged modulation
Math of the Afterwrath | Boozefox
Potential Modulations| Robert Jackson Harrington
BEING | Tobiah Mundt
Following Huck Finn | Logan Sebastian Beck
Snack Projects | featuring Nancy Douthey
Microchip announced its new 5 GHz, 50 ohm Matched WLAN Front End Module (FEM)—the SST11LF04—for high data rate mobile device applications. The SST11LF04 features a transmitter power amplifier, a receiver low-noise amplifier with bypass and a low-loss, single-pole two-throw antenna switch for 5 GHz WLAN connectivity into one integrated, compact 2.5x2.5x0.4 mm, 16-pin QFN package, making it ideal for high-data-rate mobile device applications. With its small footprint, high linear output power of up to 16 dBm and 17 dBm, at 3.3V and 5V Vcc respectively—for 1.75% dynamic EVM using MCS9-HT80 modulation and 80 MHz bandwidth along with 18 dBm and 19 dBm linear power for 3% EVM at 3.3V and 5V, respectively—the SST11LF04 extends the range of IEEE 802.11a WLAN system while providing exceptional transmit power at the maximum 11ac high-data–rate modulation. The receiver has a 12 dB gain and a greater than -6 dBm input (1 dB) compression level. In LNA bypass mode, the receiver has a 2.5 dB noise figure and an -6 dBm input compression level. For more info, visit: www.microchip.com/get/K6WW
Jamis Cyclocross On/Off Road All Purpose Models Price Drop on These all purpose Gravel Griding Touring bicycles for all round use. Adventure Cycle 2464 Dufferin Street 416 787 4998
Over the barriers, through the mud, to the podium we go. On a Supernova of course. The carbon fiber Team and Elite versions of this perennial CX winner are guaranteed to have you reigning in the wet and muddy stuff. Then there’s our aluminum Nova Pro, Race and Sport, possibly some of the most versatile bikes we’ve ever built. They’re as ready for Monday morning’s asphalt commute as they were at the local gravel race last Saturday. And they’re just as ready to be loaded up with panniers for next month’s adventure tour.
www.rbinc-sports.com/catalog/bikes/jamis-bikes/road/cyclo...
2014 Jamis Nova Race $1082 regular price $2899 Gravel Grinder/Cyclocross Red
www.rbinc-sports.com/catalog/bikes/jamis-bikes/road/2014-...
2013 Jamis Nova Pro $1994 regular price $4589 Matt Black
www.rbinc-sports.com/catalog/bikes/jamis-bikes/road/2013-...
We also have Gravel Grinder Adventure Bicycles- Longer Wheel base and wider tires and rims:
The Renegade is ready for any adventure, no matter which Renegade you ride. The long and tall endurance geometry is designed specifically to ride comfortably all day on the road or in harsh conditions off-road. The smooth ride of the full carbon fiber Expert and Elite bikes set the bar for how we designed the steel Exploit and Expat and aluminum Exile to ride. With disc brakes and the ability to mount up to a 40c tire, these bikes are ready to go just about anywhere. All you need is the desire to push, pedal and explore.
/m_editable
Securing the rear wheel to the frame by threading it into the rear dropouts is not only safer, it's stiffer. Increasing the rear axle diameter from 10mm to 12mm provides a stable platform for the disc braking forces and allows us to tune the rear seat stays for more compliance/comfort
Tubeless and wider rims across the range provide great benefits on any terrain. The tubeless benefits are to help prevent flats with sealant as well as being able to adjust your tire pressure for the perfect ride. For example on dirt roads you may want to reduce the tire pressure to increase your contact patch for better grip without the worry of pinch flatting. The beauty of the 23-24mm wider rims effectively gives you a constant and wide tire surface yielding better handling, stability and confidence with plenty of surface grip for control
Just in case you want to continue to push the boundaries, we added cable routing capability for a 27.2mm dropper post. Carbon-made Elite and Expert models have routing for an internal post while the Exploit is fitted for external.
After two years of testing and research we are able to provide even more comfort by reducing the seat post diameter on the carbon Renegade to 27.2mm. Through the combination of a new frame seat cluster and clamping configuration we were able to accentuate the benefits of top-down 27.2mm seatpost comfort while not compromising on side-to-side flex
Starting with a wide and consistent stack and reach range, we set out to design a frame that could handle on or off road conditions while maintaining a comfortable ride. As you start to review the geo chart you will noticed we have 3 different fork offsets, BB drops and rear center measurements. Add size specific tubing and 2 different sized rear triangles and you have what we feel is the perfect endurance geo for all sized riders. The reason for this is that we wanted the 48 and 61 to fit the rider correctly and make the geo changes needed to provide the perfect ride.
Size Specific Tubing
Size Specific Design (SSD) is the Jamis design philosophy and technique used to create the best possible riding bike for each size rider. Rather than limiting frame size variations to just different length top, seat and head tubes lengths, we take an all-inclusive look at each frame’s total configuration. Every SSD frame will also feature size-specific BB drop, rear center, fork offset/trail and SST technology.
ACE is our Internal Cable Guide System that is companionable with mechanical or Di2 shifting as well as hydraulic or mechanical braking. To keep shifting and braking performing best in any & all conditions, we’ve routed all cables internally on the new Renegade and designed a completely enclosed BB guide to keep cables clean, assuring precise shifts and sure stops in all conditions. And if you want to shift electronically, we’ve got you covered. Incorporated into our internal cable guide system are a few extra cable fittings that make the Renegade Di2 compatible
To make life easier we have repositioned each mount externally in a variety of easy-to-use locations. With a wide collection of fork and frame mounts you can now choose to mount fenders, rear carrier, low-rider front carrier (or two cages for water bottles/ storage) and three front triangle water bottles. This will open up the options wherever and whenever you chose to ride. Bad weather, commuting, trekking, touring – anything is possible.
Disc Brakes
With endurance geometry designed to go anywhere the only choice was disc brakes. Now the Renegade Elite, Expert and Exploit all come with hydraulic brakes. With hydraulic disc brakes you will have the most consistent and confidence-inspiring braking available. Just think about jamming down hill on a rutted out fire road with your hands all over the hoods…the power & modulation benefits of hydraulic disc brakes become readily apparent
Thru Axles
The 12mm Thru-Axle on our Renegades offer the benefit of increased stiffness and a quick release system without any downside. Designed specifically to counter-act the stress and pull of disc brake tourque, these forks won’t drift when brakes are applied.
Jamis 2016 Renegade Exile $883 regular price $1285 Grey Aluminum
www.rbinc-sports.com/catalog/bikes/jamis-bikes/adventure/...
Jamis 2016 Renegade Expat $1,290 regular price $1877 Black Steel
www.rbinc-sports.com/catalog/bikes/jamis-bikes/adventure/...
Jamis 2016 Renegade Exploit $1,872 regular price $3,018 Grey Steel
www.rbinc-sports.com/catalog/bikes/jamis-bikes/adventure/...
Jamis 2017 Renegade Exile $1,171 Blue Aluminum
www.rbinc-sports.com/catalog/bikes/jamis-bikes/adventure/...
Jamis 2017 Renegade Expat $1,774 Grey Steel
www.rbinc-sports.com/catalog/bikes/jamis-bikes/adventure/...
www.rbinc-sports.com/jamis-factory-outlet-store/cyclocros...
Radium 49 Key M-Audio polyphonic Keyboard.
Features
USB connection with power - power it off your laptop.
Pitch and Modulation wheels
999 programmable options
Multi-octave presets
8 little sliders and 8 little dials
plugs for sustain switch, midi out to keyboard and USB, runs off battery, usb or power adapter.
Works great with GarageBand.
Three heliographs apparent, and a possible 4th at centre rear. Also, square shutters on tripods - the signal manual mentioned these as an alternative modulation means for the heliographs. Begbie "BB" lamps, other signal lamps, signal flags and telescopes visible. Given the locale and the double straps on the case under one heliograph, I suspect some of these heliographs were patterns other than the English Mance pattern, such as the Indian Army pattern.
I personally scanned this image from my personal copy of the original, which appeared in "The Sketch", Jan 16, 1895, Vol. VIII No. 103, page 581, with this text above:
" From far-off Sialkot, in the Punjab, comes word of the success of Tommy Atkins at work, for the 2nd Battalion Royal Scots Fusiliers were first in signalling in India last year, with the phenomenal score of 491•46, thus beating the second regiment on the list by nearly seven points in the figure of merit."
A lower resolution may be found online at [1]
Another signalling distinction for the Royal Scots Fusiliers signallers - a few years later one was mentioned
in dispatches: The Relief of Chakdara 2nd August, 1897, From the Despatch of Major-General Sir Bindon Blood, K.C.B."... and E. Christian, Royal Scots Fusiliers, Signalling Officer, carried out their duties most satisfactorily. "
( The above is quoted from[2])
Sialkot is now in Pakistan, GPS coordinates roughly 32.49, 74.53: see:
For more about the Royal Scots Fusiliers, see: en.wikipedia.org/wiki/Royal_Scots_Fusiliers
This is a high resolution scan ( 4,474 × 2,666 pixels) - if you want to look at details, you can view the full-resolution scan (and many other sizes) here:
www.flickr.com/photos/signalmirror/52632242189/sizes/l/
I believe this photograph is in the public domain in the United States (and most other places) as a photograph published before 1928. Any rights I may have inadvertently acquired by scanning it, I donate to the public domain under a CC0 license.
However, copyright and other intellectual property rights are copyright and vary worldwide and with time - rights determination is your responsibility.
[1] "The Sketch", Jan 16, 1895, Vol. VIII No. 103, page 581
books.google.com/books?id=lnw4AQAAMAAJ&pg=PA581&d...
[2] THE STORY OF THE MALAKAND FIELD FORCE, AN EPISODE OF FRONTIER WAR, pp. 367-368
(preface dated Cavalry Barracks, Bangalore, 30th December, 1897)
archive.org/details/storyofmalakandf00chur/page/368/mode/...
15 Geertgen Nativity, at Night
1484-90
Oil on oak, 34 x 25 cm
National Gallery, London
This picture is attributed to Geertgen by analogy with works given to him in seventeenth-century sources. It may derive from a lost altarpiece; at this period large-scale compositions were frequently adapted for domestic devotions.
The subject of this magical little panel is vision: first, the mystic vision recounted by a fourteenth-century saint, Bridget of Sweden, in which she witnessed the painless birth of Christ, the Virgin's adoration of her son, and the baby's radiance eclipsing Joseph's candle; secondly, the ocular vision of dazzled shepherds shielding their eyes as the angel appears, like a shooting star, to announce the birth of the Messiah; thirdly, the marvelling gaze of childlike angels, ox and ass, Mary and St Joseph upon the Light of the World naked in the manger. And, finally, it makes evident a new vision of piety current in the Northern Netherlands, in which humility is the key to holiness, and a new artistic vision.
The divine radiance is not embodied in costly expanses of gold and rare pigments crafted into a precious object. It is made visible to us through Geertgen's patient modulation of darkness, the winter's night barely pierced by distant stars, hardly warmed by fire, only faintly lit by the candle Joseph once held (probably lost when the panel was trimmed at some time in the past). Through Geertgen's mastery of naturalistic description, with only a shorthand notation of thin rays of real gold beaming from the holy infant, this winter's night as it was before the birth of Christ can now be seen to have truly been, as is written in the Gospel of St John, a night in which 'if a man walk ... he stumbleth, because there is no light in him' (11:10).
....Web Gallery Of Art
El edificio de la Municipalidad de Santiago es la sede de la Ilustre Municipalidad de Santiago. Se encuentra en el costado norte de la Plaza de Armas, en la esquina de la calle Monjitas con el paseo 21 de Mayo, a un costado del antiguo Palacio de la Real Audiencia que hoy alberga al Museo Histórico Nacional.
Este solar fue destinado desde la fundación de Santiago a albergar un edificio público, siendo ocupado originalmente por el cabildo de la ciudad y la antigua cárcel colonial. Un primer edificio fue construido entre 1578 y 1647. En 1679 el edificio fue demolido y más tarde, entre 1785 y 1790, fue construido un segundo edificio por el arquitecto italiano Joaquín Toesca, ahora con estilos neoclasicistas.
La fachada tiene una modulación neoclásica, arcos de medio punto, balcón corrido y vanos rectangulares. Antiguamente en el eje del pórtico se elevaba una torre. La transformación posterior le dio un sello neoclásico con elementos de renacimiento italiano, un plomo nuevo marca el acceso como cuerpo central, recorriendo un balcón, conteniendo éste, tres grandes vanos enmarcados en pilastras. La planta se desarrolla en dos niveles, rodeando un hall vidriado, y un subterráneo abovedado, ocupa parte de la planta bajo nivel
Un incendio en 1891 obligó a una reconstrucción realizada por el arquitecto Eugène Joannon. El tercer edificio del solar –que se conserva hasta la actualidad fue inaugurado en 1895 y oficialmente declarado como sede de la administración comunal. En el año 1976 fue declarado Monumento Histórico.
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The Santiago Municipality building is the headquarters of the Illustrious Municipality of Santiago. It is located on the north side of the Plaza de Armas, on the corner of Monjitas Street and Paseo 21 de Mayo, next to the old Palace of the Royal Court that today houses the National Historical Museum.
Since the founding of Santiago, this site was intended to house a public building, originally occupied by the city council and the old colonial prison. A first building was built between 1578 and 1647. In 1679 the building was demolished and later, between 1785 and 1790, a second building was built by the Italian architect Joaquín Toesca, now with neoclassicist styles.
The façade has a neoclassical modulation, semicircular arches, a continuous balcony and rectangular openings. Formerly, a tower stood on the axis of the portico. The subsequent transformation gave it a neoclassical seal with Italian Renaissance elements, a new lead marks the access as a central body, running along a balcony, which contains three large openings framed in pilasters. The floor plan is developed on two levels, surrounding a glazed hall, and a vaulted basement, occupying part of the ground floor.
A fire in 1891 forced a reconstruction by the architect Eugène Joannon. The third building on the site – which is preserved to this day – was inaugurated in 1895 and officially declared the headquarters of the communal administration. In 1976 it was declared a Historical Monument.
In Amsterdam he played his harp in a small brass tube. Modulation and amplification of the sound with just one hand - the other hand for collecting some coins of money from listeners of his music - no blues at all..... ;-)
Violating this synth in ways it never imagined... Poor thing... ;)
Yes, the synth is sitting on top of an iMac G3. heheh
Get it
www.myfonts.com/fonts/sudtipos/merengue-script/
–
Merengue Script is the second typeface designed by Panco, once again together with Ale Paul, who supervised the whole development. In this opportunity, the process of shape research and the systematization of signs led him to dive into new waters. The objective was to generate a system of signs in which the construction of such was not directly bound to traditional calligraphy, nor to texts typography. Instead, the point was to create signs inspired in “Brush pen” calligraphy but with their main features drawn or literally illustrated. The result was a font with personality, authenticity and uncommon formal aspects that make Merengue Script an interesting, highly attractive and rather unusual font.
From the very beginning, the search was based on creating a font with weight and good presence in big formats, but, at the same time, efficient for brief texts of small formats. The aim was to make it usable mainly in candy, sweets and chocolate packaging.
The predominance of round shapes, harmonious modulations and funny and friendly-looking visual rhythms spark a special effect in the usage of Merengue Script. Texts are enhanced with an interesting visual charm, capable of transforming a very simple text into a virtual illustration that semantically reinforces the messages in a simple way, without putting legibility at risk.
With a basic set of stylistic alternatives full of frills and flounces for initials, ornamental and final letters, plus a set of disconnected signs, Merengue Script offers a wide and versatile range of options for graphic designers in the process of packaging design.
I found this chart after purchasing the lens, in a Voigtlander forum! Seems the Rolleinar 2.8/35 is the same lens as the Voigtlander Color-Skopal 2.8/35, both made by Mamiya in Japan. For anyone unfamiliar, Mamiya lenses are legendary.
Actual shots confirm the MTF charts: except in real life, my lens appears to render IQ better than the charts would indicate. The charts above are for the very early lenses: mine is a later, improved, Japan version. Overall, the lens compares favourably with today's f2/8/35mm lenses, and provides excellent contrast and resolution.
How to read an MTF chart?
[MTF= Modulation Transfer Function]
[lppmm= line pairs per millimetre]
* The chart displays 2 lines for different lppmm at different f stops.
* The solid lines measure 'sagital lines", running diagonally from lens left bottom corner, through centre, to right top corner.
* The dotted lines measure "meridonial lines", running perpendicular to sagital.
* The solid and dotted lines are grouped in pairs and displayed for 10, 20, 40 lppmm.
10 lppmm relates to contrast.
40 lppmm relates to resolution.
* In general: the higher the curves show on the chart, the better; the flatter the curves, the better; the closer the solid and dotted lines are to each other, the better.
* The number on the X axis is the diagonal distance from lens centre. Thus, 10 indicates a 20mm circle diameter imposed upon the centre of the 36x24 frame, for about 50% coverage overall.
* Due to inherent limitations of glass and design, lenses are optimised at a specific aperture, usually f8 for legacy. Thus, most charts show the curves progressing flatter as the lens is stopped own.
* Many factors determine the overall performance of a lens, more than MTF can measure. MTF serves objectively as a starting point.
Is contrast more important than resolution for general photography? Yes. Sharpness. Our eyes perceive sharpness as a function of contrast between items photographed: example, foreground against background..
Is resolution important? Yes. Without resolution, fine details are not visible. But how much is enough or too much? This answer depends entirely upon the photographer. Portraits require 'pleasing' resolution, and most top lenses provide more than enough to show clearly facial wrinkles and blemishes. Spy satellites require ultra resolution, and never have enough.
March 7 - April 9, 2010
Opening reception: March 7, 4-7pm
It is with great pleasure that devening projects + editions announces The Lodger, an exhibition of new work by Peter Otto. The show will feature new paintings, works on paper and editions.
In this exhibition, as throughout most of his career, Otto makes the task of facing untenable cultural truths only slightly easier by persuading us with a system of delivery almost impossible to ignore. Otto’s work reports on the constituent factors of a human condition continually shifting between beguiling and highly disturbing. He reveals the state to which humanity—ever tested by social, cultural and political forces—bends, breaks and at times collapses. These paintings and sculptures show a reality emerging from the darkest moments. Evidence of the ways culture and society impose will and exert power is revealed on the surfaces of his verdant canvases and in the sculptures made from clay, plaster and bronze.
The themes are somber; the work though is delicately formed and teeming with graceful facture. It’s a difficult balance to strike, but Otto is able to bring forth stories of how cultural ruptures created by wars, famine, natural and man-made disasters form the basis from which that same culture is ultimately shaped. His paintings and drawings express a highly personal relationship with historical and contemporary events but always leaves the narrative open to evoke sensations interpretable from varied positions.
One thinks of Philip Guston when looking at Otto’s work. An acknowledged influence for the artist, Guston is a model for how to bridge the political and the formal. An example in Otto’s work is a regular use of stacked or hanging objects. Macabre associations are unavoidable, but one can never be sure. These “things” might also suggest built structures raised from a destroyed place or re-presented from an emergent culture. One might consider Guston’s piles of shoes and find a strong link to Otto. The concerns addressed in Otto’s most well-known paintings can also be seen in occasional large-scale public works in Holland such as Twisted Totem in Den Haag. This monumental work is a aggressively fragmented totem made from disparate parts. The sculpture, like the paintings, asks us to face difficult and challenging revelations about our culture and brings awareness to the ways in which we process trauma.
In one of several essays in Votive/Totem, the 2006 book on Otto, Rob Smolders writes: “Peter Otto juxtaposes his own malicious imagination with the imagination of society. He tightens pieces of string, erects crosses and gallows, puts up doors and fences, has a ball with junk he finds in his way: swastikas and Christmas trees, feet and heads, flowers and walking sticks. No dances in this world for it is inhabited by monsters and crutches.”
Of his painting and process, Smolders writes: “… Meanwhile, Peter Otto remained the painter he was. Magician when glazing, alchemist when patinating. The pictorial language of the paintings dating from the past five years is often acrid yet playful. Colors that are sometimes reminiscent of blood, tar or flesh, suddenly give way to the ripe color modulations of overblown flowers in an exuberant representation. References to war and violence that are too literal have been forced back. The tenor of the work is more general, even if the prevailing mood remains somber.”
Otto, who lives in Arnhem, has been featured in solo and group exhibitions throughout Europe including projects at Museum Beelden aan Zee in Scheveningen, the Kröller-Müller Museum, Boÿmans van Beuningen in Rotterdam, Galerie Reuten and Galerie Swart in Amsterdam, the Museum Kurhaus Kleve and the Pushkin Museum in Moscow.
Devening Projects & Editions
3039 West Carroll
Chicago, IL 60612
Tel.: 312-420-4720
He's been out of his crib for almost 2 months; I just hadn't celebrated the milestone with a photo yet.
Piggy blanket by Wave of Modulation.
Drone Ranger : 4 Oscillators, 2 white noise sources, 2 ring mod, 2 Fuzz, 2 resonant low pass filters with LFO modulation.
SMARTECH Hobby is proud to introduce an assembled kit version of our nitro on-road cars: the COMMAND!
FEATURE
ASSEMBLY CHASSIS .
DISC BRAKE SYSTEM.
OIL-FILLED DAMPERS.
FOUR WHEEL DRIVE SYSTEM WITH SHAFT DRIVE.
STURDY ALUMINUM CHASSIS.
EQUIPPED WITH MUFFLER AND AIR FILTER.
SOLID ALUMINUM CHASSIS.
ORIGINAL MUFFLER AND AIR FILTER.
DIFFERENTIAL WITH BUILT-IN FRONT AND REAR BEVEL GEARS.
DOUBLE WISHBONE SUSPENSION ARMS WITH ADJUSTABLE WIDTH.
15CXP POWERFUL AND HAND-PULLING ENGINE EQUIPPED WITH THE CARBURETOR.
TECHNICAL PARAMETERS
Length -------------------- ----- 380 mm
Width --------------------------- 200 mm
Height -------------------------- 148 mm
Wheelbase --------------------- 260 mm
Tread(F/R) --------------------- 192 mm
Wheel DIA.(F/R) --------------- 66*26 mm
Gear Rate ---------------------- 8.4:1
Weight ------------------------- 1650 g
Engine -------------------------15 CX
THE CAR KIT:
1. TAKE OUT THE VEHICLE FROM THE BOX:the chassis of the car kit is semi-assembled,is ready to run only by being fixed with linkage,tires,wheels and body.
2. TAKE OFF MECHANICAL PLATE:take out screws,etc.be sure to get them all duly collected.
3. ASSEMBLE SERVO:before installation,turn on transmitter and receiver,set the transmitter trimming rod to the center neutral position.and then install the prop-set.
4. ASSEMBLY RECEIVER SWITCH AND MECHANICAL PLATE.
5. ASSEMBLY STEERING LINK.
6. ASSEMBLY THROTTLE LINK.
7. ATTACH THROTTLE LINKAGE.
8. ATTACH BRAKE LINKAGE.
9. ATTCHING ENGINE CONTROL.
10. ASSEMBLY TIRES.
This is a new sort of transmitter with impulsion coding modulation,2 channel transmisson,and three indicator lights for power.(the transmitter ,the receiver,two servos,abattery case,power switch of the receiver included.)
Ham Radio station 9CHC, H.E. Johnston, scanned from Radio News, Nov., 1924
"Station 9CHC, owned and operated by H.E. Johnston, Spencer, Iowa. The transmitter employs four 5 watters in a modified Hartley circuit. Plate voltage is supplied by a 550 volt motor-generator. CW radiation on 150 meters is 2 amperes. Heising modulation is employed for fone and an R.C.A. chopper for I.C.W. The receiver is a three circuit and a Reinartz, both mounted in the same cabinet. Both coasts have been worked on C.W.
Prague Castle (Pražský hrad)
For more than a thousand years, has the Prague Castle been an important symbol of the Czech state. Founded in the 9th century, it became the permanent seat of the Czech rulers and, most recently, also of the Presidents. One of the largest castle complexes in the world consists of palaces, offices, churches and fortification buildings, gardens and picturesque corners. The castle covers an area of 45 hectares. The unique view to the Prague Castle is one of the most amazing panorama views in the world.
Prague Castle is the most important folk-cultural and historical monument, and is the symbol of the more than one thousand years of development of the Czech and all-Czech states. It is a monumental symbol of the palace, church, fortification, official and residential buildings which represent very valuable monuments, included in all style epochs. It covers an area of 45 hectares, was the seat of the Bohemian princes, kings and emperors, and since the Republic was founded in 1918, it was also the residence of the presidents. Since 1962, the Prague Castle has been known for its archaeological discoveries.
History
The initial phases of the Prague Castle are connected with the first historically documented Přemyslid Bořivoj (Bořivoj I (Czech pronunciation: [ˈbɔr̝ɪvɔj], Latin: Borzivogius, c. 852 – c. 889) was the first historically documented Duke of Bohemia from about 870 and progenitor of the Přemyslid dynasty.] The Duchy of Bohemia was at those times subordinated to Great Moravia.). This one transferred in the 80s of the 9th century his original seat from Levý Hradec to the place where on the raised spot above the river Vltava/Moldau already existed a Slavic castle and was very well situated.
The first princely palace apparently only consisted of wood. The first stone building and the oldest Christian sanctuary was the Virgin Mary Church. Its remains have been found between the Second Courtyard and the Bastion garden (original name of the garden: Na Baště). This Bořivoj church was soon reconstructed by the prince Spytihněv I, who was buried here in 915. The second church in the castle was the St. George Basilica founded by Prince Vratislaus I. The next Přemyslide, Prince Wenceslas (Saint), the third sanctuary - the St Veit Rotunda - in the twenties of the 10th century nearby had built which in the 11th century by Prince Spytihnev II was transformed into a huge basilica.
In 973, when the bishopric was established in Prague, the castle was not only the seat of the head of state, but also the seat of the Prague bishop, the highest representative of the church. At the same time arose the first monastery in Bohemia at St. George's basilica.
In the 10th century the castle occupied an area of about 6 ha. In the Romanesque epoch the former fortress, especially after the year 1135 thanks to Soběslaus I, as the stony princely palace and the new masonry fortified with some towers were erected, was turned into a fortified medieval castle. Of the towers is the eastern blacktower best preserved.
Very significantly the Gothic period in the appearance of Prague Castle intervened, most of all Charles IV (1346 - 1378), who, with his father, John of Luxemburg (1310 - 1346), obtained from the pope the promotion of the Prague bishopric to the archbishopric and laid the foundations for the construction of St. Vitus Cathedral. Under Charles IV, the castle for the first time was turned into the imperial residence. Charles IV the defense of the Prague Castle had consolidated, the Royal Palace with the Chapel of All Saints he rebuilt generously. The roofs he had covered with gilded plates, which were the foundation for the binding of words "Golden Prague". Since 1382, Bohemian rulers ceased to occupy the Prague Castle for more than 100 years. The royal court was moved to the place of today's Community hall and back to the Prague castle it came only in 1483 under Wladislaus from the Jagiellonian dynasty.
Although the ruler already in 1490 moved to Ofen (Buda), he had the Prague castle renovated in the late Gothic style under the supervision of Benedikt Ried. He was the master builder of the magnificent Vladislav Hall, the largest secular vaulted room of the then Europe, with which the first Renaissance signs came to Prague. He carried out major construction works, including the construction of a new masonry, the defensive towers and the expansion of the Royal Palace. At his time, the Gothic died away and a new architectural style, the Renaissance, gradually prevailed.
The direct influence of the Italian art on the new style was most frequently observed in Prague under the reign of Ferdinand I (von Habsburg) and after his departure from Prague under the influence of the governor Ferdinand of Tyrol. At that time, the medieval castle was converted into a comfortable Renaissance castle with gardens. The typical Italian architecture of the Royal Pleasure palace arose in the northern King's garden.
For a large building activity in 1541 contributed a fire devastating the castle objects as well as the surrounding area quite a lot. Within the framework of the restoration, both the housing estates and the church buildings were rebuilt. Under the reign of the first Habsburgs, nobility palaces were added to the castle grounds (for example, the Pernstein Palace - later Lobkowicz Palace, Rosenberg Palace and others). Horse stable buildings were built in the north-west.
Under the reign of the Emperor Rudolph II (1576 - 1611), the Renaissance and Mannerism transformation of the castle, which for the second time became the center of the empire, and especially the center of European culture and science, reached its peak. On the second courtyard, new rooms were built for the collections of Rudolph - the new (now Spanish) hall and the Rudolph gallery. Also arose the connection tract between the northwestern and the southwestern part of the castle. Just here the famous Kunstkammer (Art chamber) and other rooms for Rudolph's collective activities were located. Additionally further horse stable properties were built for his rare Spanish horses. During the Rudolph times also the foundation stone of the famous Golden Alley was laid. Laboratories of the Rudolph-Alchymists were supposed to have been in the Powder tower above the Hirschgraben (Deer's ditch). The castle suffered again considerable damages when it was occupied by the Saxon army in 1631 and by the Swedes in 1648 not only was occupied but also plundered. After the Thirty Years' War, the Habsburgs did not care too much about the Prague royal seat.
Only Maria Theresia carried out an extensive reconstruction of the Prague Castle from 1755 - 1775 into a representative castle complex. The reason for the massive construction action were war damages, caused by the intense bombing of the castle during war conflicts at the beginning of her reign. The reconstruction was designed by the Viennese architect Nicolo Pacassi, who also planned the first courtyard with the monumental entrance gate. From the time of the Theresian reconstruction stems also the chapel of the Holy Cross on the 2nd castle forecourt and other buildings, especially the noblewomen institute. The south wing he imprinted the uniform monumental late Baroque facade of a representative seat. His plans influenced by Viennese Rococo and French Classicism the builders Anselmo Lurago, Anton Kunz and Anton Haffenecker brought into life.
In the 19th century, the castle fell into ruin, in several objects after the Josephine reforms the army settled. In connection with the stay of Ferdinand I the Good in the castle after his abdication in 1848 and further in connection with the preparation for the coronation of Franz Joseph I in the sixties it came to building modifications of several objects. After 1859, when the community for the completion of St Veit cathedral emerged, began first the repair, and then, under the influence of the architect Joseph Mocker, the work on the actual completion of St Veit's cathedral was started, completed in 1929.
In the years 1920 - 35, carried out extensive regulations of the Prague Castle as the seat of the Czechoslovak President the great Slovenian architect Josip Plečnik, who masterfully combined the valuable historical space with modern civilization claims. His modifications mainly concerned the 1st and 3rd court, the southern gardens of the castle, the fourth forecourt with the Bastion garden as well as numerous interiors. He created e.g. the pillared hall, private rooms of the presidential residence, including the Masaryk workroom. His pupil, Otto Rothmayer, brought to an end the incomplete solutions of some castle interior spaces after the Second World War in comparable quality.
In 1936, Pavel Janák and after him, in 1959, Jaroslav Fragner became castle architect.
After the year of change of 1989, the Prague Castle was opened to the public in many places. During the term of President Havel, at the castle it came to modulations of the interiors and to the expansion of two new entrances into the second courtyard after the project of the creator and designer Bořek Šípek. The puncture through the rampart of the Powder bridge in Hirschgraben was rewarded with a significant prize (Arch. Josef Pleskot). Also interesting is the modern greenhouse of the world-famous architect Eva Jiřičná. The Georgian Square (Jiřské náměstí) was re-paved and modulated. The Mosaic of the Last Judgment was renovated in collaboration with the specialists from the Getti Institute. In 1990, the Prague Castle was solemnly illuminated and this situation lasts from dusk to midnight until today. In the main tourist season, the lighting time even lasts an hour longer until 1 o'clock. The tradition of electric lighting, but on a much smaller scale, began in 1928, when the lamps were installed for the 10th anniversary of the elevation to a Republic. A little bit the present daylight resembles of those from the end of the sixties, but today it is much more detailed and in communist times it was only switched on at solemn occasions. At that time, illuminative days were state holidays or significant day of republic, which, however, did not lack recognition from the communist point of view.
In recent years the reconstruction and renovation work has been developed in many buildings of the castle and a considerable attention has been devoted to the archaeological investigation, which has been going on since 1925 and has brought many insights into the history of the castle. The investigation as well as the renovation of the individual rooms and objects is motivated by the idea of invigorating them as much as possible by making them accessible to the public.
Prager Burg (Pražský hrad)
Die Prager Burg ist seit über tausend Jahren ein bedeutendes Symbol des tschechischen Staates. Gegründet im 9. Jahrhundert wurde sie zum ständigen Sitz der tschechischen Herrscher und zuletzt auch der Präsidenten. Einer der größten Burgkomplexe weltweit setzt sich aus Palästen, Amts-, Kirchen- und Fortifikationsgebäuden, aus Gärten und malerischen Ecken zusammen. Die Burg erstreckt sich auf einer Fläche von 45 Hektar. Der alleinige Blick auf die Prager Burg stellt einen der überwältigendsten Panoramablicke der Welt dar.
Die Prager Burg ist das bedeutendste Volkskultur- und Historiedenkmal, sie ist das Symbol der mehr als eintausendjährigen Entwicklung des böhmischen sowie gesamttschechischen Staats. Es ist ein monumentales Symbol der Palast-, Kirchen-, Fortifikations-, Amts- und Wohngebäude, die sehr wertvolle Denkmäler darstellen, einbezogen auf alle Stilepochen. Sie erstreckt sich auf einer Fläche von 45 ha, war der Sitz der böhmischen Fürsten, Könige und Kaiser und seit der Republikentstehung im Jahre 1918 war sie auch die Residenz der Präsidenten. Seit 1962 steht die Prager Burg mit ihren archäologischen Funden als bekanntester.
Geschichte
Die Anfangszeiten der Prager Burg sind mit dem ersten historisch belegten Přemysliden Bořivoj verbunden. Dieser übertrug in den 80er Jahren des 9. Jahrhunderts seinen ursprünglichen Sitz von Levý Hradec an den Ort, wo auf der erhabenen Stelle über der Moldau eine slawische Burgstätte bereits bestand und sehr gut gelegen war.
Der erste Fürstenpalast bestand offenbar aus Holz. Der erste Steinbau und das älteste christliche Heiligtum war die Jungfrau Maria Kirche. Ihre Reste wurden zwischen dem II. Vorhof und dem Basteigarten (Originalname des Gartens: Na Baště) gefunden. Diese Bořivoj-Kirche wurde durch den hier im Jahre 915 beigesetzten Fürsten Spytihněv I. bald umgebaut. Die zweite Kirche im Burgraum war die vom Fürsten Vratislaus I. gegründete St. Georg Basilika. Der nächste Přemyslide, der Fürst Wenzel (der Heilige), ließ in der Nähe in den 20er Jahren des 10. Jahrhunderts das dritte Heiligtum - die St. Veit Rotunde - bauen, die im 11. Jahrhundert vom Fürsten Spytihněv II. zu einer gewaltigen Basilika umgebaut wurde.
Im Jahre 973, als in Prag das Bistum gegründet wurde, war die Burg nicht nur der Sitz des Staatsoberhaupts, sondern auch der Sitz des Prager Bischofs, des höchsten Repräsentanten der Kirche. Zu demselben Zeitpunkt entstand an der St. Georg Basilika das erste Kloster in Böhmen.
Im 10. Jahrhundert nahm die Burg eine Fläche von ca. 6 ha in Anspruch. In der romanischen Epoche wurde die einstige Burgstätte, insbesondere nach dem Jahr 1135 dank Soběslaus I., als der steinige Fürstenpalast und das neue mit einigen Türmen verstärkte Mauerwerk aufgebaut wurden, zu einer festen mittelalterlichen Burg umgebaut. Von den Türmen ist der östliche Schwarzturm am besten erhalten.
Sehr bedeutend griff ins Aussehen der Prager Burg die Gotikzeit ein, insbesondere Karl IV. (1346 - 1378), der mit seinem Vater Johann von Luxemburg (1310 - 1346) vom Papst die Beförderung des Prager Bistums zum Erzbistum erwirkte und den Grundstein für den Bau der St. Veit Kathedrale legte. Unter Karl IV. wurde die Burg zum ersten Mal zur Kaiserlichen Residenz. Karl IV. ließ die Verschanzung der Prager Burg festigen, den Königspalast mit der Kapelle Aller Heiligen baute er großzügig um. Die Dächer ließ er mit vergoldeten Blechen decken, die das Fundament für die Wörterbindung „Goldenes Prag“ darstellten. Seit 1382 hörten böhmische Herrscher auf, die Prager Burg für mehr als 100 Jahre zu bewohnen. Der Königshof wurde an den Ort des heutigen Gemeindehauses umgezogen und zurück auf die Prager Burg kehrte er erst im Jahre 1483 unter Wladislaus aus der Jagiellonen-Dynastie.
Obwohl der Herrscher bereits 1490 nach Ofen (Buda) umsiedelte, ließ er die Prager Burg im spätgotischen Stil unter der Bauleitung von Benedikt Ried umbauen. Er war der Baumeister des großartigen Wladislaus-Saals, des größten weltlichen gewölbten Raums des damaligen Europas, mit dem die ersten Renaissancezeichen nach Prag kamen. Er führte großartige Bauregelungen einschließlich des Ausbaus eines neuen Mauerwerks, der Wehrtürme und der Erweiterung des Königspalastes durch. Zu seiner Zeit klang die Gotik aus und es setzte sich allmählich ein neuer Baustil durch, die Renaissance.
Der direkte Einfluss der italienischen Kunst des neuen Stils wurde in Prag unter der Regierung von Ferdinand I. (von Habsburg) und nach seinem Weggang von Prag unter der Wirkung des Statthalters Ferdinand von Tirol am meisten beobachtet. Damals wurde die mittelalterliche Burg in ein bequemes Renaissanceschloss mit Gärten umgewandelt. Im nördlichen Königsgarten entstand die typisch italienische Architektur des Königlichen Lustschlosses.
Zu einer großen Bauaktivität trug im Jahre 1541 ein Brand bei, der die Burgobjekte sowie die Umgebung ziemlich viel kaputt machte. Im Rahmen der Wiederherstellung wurden sowohl die Wohnräume als auch die Kirchenobjekte umgebaut. Unter der Regierung der ersten Habsburger kamen ins Burggelände auch Adelspaläste dazu (zum Beispiel der Pernstein-Palast - später Lobkowicz-Palast, Rosenberg-Palast und weitere). Im Nordwesten wurden Pferdestallgebäude erbaut.
Unter der Regierung des Kaisers Rudolph II. (1576 - 1611) erreichte der Renaissance- und Manierismusumbau der Burg, die zum zweiten Mal zum Zentrum des Reiches und insbesondere zum Zentrum der europäischen Kultur und Wissenschaft wurde, seinen Gipfel. Auf dem II. Vorhof wurden neue Räume für die Sammlungen Rudolphs erbaut - der Neue (heute Spanische) Saal und die Rudolph-Galerie. Es entstand auch der Verbindungstrakt zwischen dem Nordwest- und dem Südwestteil der Burg. Eben hier befanden sich die berühmte Kunstkammer und weitere Räume für die Sammeltätigkeit Rudolphs. Es wurden auch weitere Pferdestallobjekte für seine seltenen spanischen Pferde aufgebaut. Während der Rudolph-Zeiten wurde auch der Grundstein der berühmten Goldenen Gasse gelegt. Laboratorien der Rudolph-Alchymisten sollen im Pulverturm über dem Hirschgraben gewesen sein. Die Burg erlitt erneut erhebliche Schäden, als sie 1631 vom sächsischen Heer und 1648 von den Schweden besetzt und ausgeplündert wurde. Nach dem Dreißigjährigen Krieg kümmerten sich die Habsburger um den Prager königlichen Sitz nicht allzu sehr.
Erst Maria Theresia führte in den Jahren 1755 - 1775 einen umfangreichen Umbau der Prager Burg zu einem repräsentativen Schlosskomplex durch. Der Grund für die massive Bauaktion waren Kriegsschäden, verursacht durch die intensive Bombardierung der Burg bei Kriegskonflikten zu Beginn ihrer Regierung. Den Umbau entwarf der Wiener Architekt Nicolo Pacassi, der auch den I. Vorhof mit dem monumentalen Eingangstor projektierte. Aus der Zeit des theresianischen Umbaus stammt auch die Kapelle des Heiligen Kreuzes auf dem II. Burgvorhof und weitere Gebäude, insbesondere die Edeldamenanstalt. Dem Südflügel prägte er die einheitliche monumentale Spätbarockfassade eines Repräsentationssitzes ein. Seine durch das Wiener Rokoko und den französischen Klassizismus beeinflussten Pläne brachten die Baumeister Anselmo Lurago, Anton Kunz und Anton Haffenecker zustande.
Im 19. Jahrhundert verfiel die Burg, in mehreren Objekten ließ sich nach den josephinischen Reformen das Heer nieder. Zu Bauregelungen einiger Objekte kam es im Zusammenhang mit dem Aufenthalt von Ferdinand I. dem Guten auf der Burg nach seiner Abdikation im Jahre 1848 und weiter im Zusammenhang mit der Vorbereitung auf die vorgesehene Krönung von Franz Joseph I. in den 60er Jahren. Nach 1859, als die Gemeinde für die Fertigstellung der St. Veit Kathedrale entstand, begann zuerst die Reparatur und anschließend unter der Wirkung des Architekten Joseph Mocker wurde die Arbeit an der eigentlichen Fertigstellung der St. Veit Kathedrale aufgenommen, abgeschlossen im Jahre 1929.
In den Jahren 1920 - 35 führte ausgedehnte Regelungen der Prager Burg als des Sitzes des tschechoslowakischen Präsidenten der bedeutende slowenische Architekt Josip Plečnik durch, der den wertvollen historischen Raum mit modernen Zivilisationsansprüchen meisterlich zusammenfügte. Seine Regelungen betrafen vor allem den 1. und 3. Vorhof, die Südgärten der Burg, den 4. Vorhof mit dem Basteigarten sowie zahlreiche Innenräume. Er schuf z.B. die Säulenhalle, Privaträume der Präsidentenwohnung einschließlich des Arbeitszimmers Masaryks. Sein Schüler Otto Rothmayer brachte die unvollendeten Lösungen einiger Burginnenräume nach dem 2. Weltkrieg in vergleichbarer Qualität zu Ende.
Im Jahre 1936 ist Pavel Janák und nach ihm seit 1959 Jaroslav Fragner Burgarchitekt geworden.
Nach dem Wendejahr 1989 wurde die Prager Burg an vielen Stellen für die Öffentlichkeit geöffnet. Während der Amtszeit des Präsidenten Havel kam es auf der Burg zu Regelungen der Innenräume und zum Ausbau zweier neuer Eingänge in den 2. Vorhof nach dem Projekt des Bildners und Designers Bořek Šípek. Mit einem bedeutenden Preis wurde der Durchstich durch den Wall der Pulverbrücke im Hirschgraben belohnt (Arch. Josef Pleskot). Interessant ist auch das moderne Gewächshaus der weltberühmten Architektin Eva Jiřičná. Der Georg-Platz (Jiřské náměstí) wurde neu bepflastert und geregelt. In Zusammenarbeit mit den Fachleuten aus dem Getti-Institut wurde die Mosaik „des Letzten Gerichts“ renoviert. Im Jahre 1990 wurde die Prager Burg feierlich beleuchtet und dieser Zustand dauert von der Dämmerung bis zur Mitternacht bis heute. In der touristischen Hauptsaison dauert die Beleuchtungszeit sogar eine Stunde länger, bis 1 Uhr. Die Tradition der elektrischen Beleuchtung, jedoch im viel kleineren Umfang, begann im Jahre 1928, als die Lampen zum 10. Jubiläum der Republikentstehung installiert wurden. Ein wenig ähnelte die heutige feierliche Beleuchtung jener aus dem Ende der 60er Jahren, heute ist sie allerdings viel detaillierter und in den Kommunistenzeiten wurde sie nur bei feierlichen Gelegenheiten angemacht. Beleuchtungswürdige Tage waren damals Staatsfeiertage oder bedeutende Republiktage, denen allerdings aus der kommunistischen Sicht die Anerkennung nicht fehlte.
In den letzten Jahren entwickelte sich die Umbau- bzw. Renovierungstätigkeit in vielen Objekten der Burg und eine erhebliche Aufmerksamkeit wurde der archäologischen Untersuchung gewidmet, die bereits seit 1925 läuft und viele Erkenntnisse über die Burggeschichte brachte. Die Untersuchung sowie die Renovierung der einzelnen Räume und Objekte ist von der Idee motiviert, sie dadurch, dass sie der Öffentlichkeit zugänglich gemacht werden, möglichst viel zu beleben.
Over the years the war has escalated as the UTF realized the power of the new kid NGM and struggled to submit them. El Tovar Hotel to the Park Visitor center. Their lines seem to serve no other purpose than to make a rhyme or extend the patter scheme. Kosovan Serbs are seeking the removal of Kosovan Albanians customs officials from border crossings with Serbia. Monotrona began using the MC505 and Elektron Sidstation to compose songs.
The unexpurgated diary reveals a woman breaking out into wild sexual discovery. November 1975 following news of the dismissal. In March 1971, SAVAK brings Jazani to Tehran. Full text in English, chabad.All party members were eligible to cast a vote. He set about his mission with zeal, preaching thirteen lengthy sermons during his first eleven days there. Winter Olympics drew an average of 24. The book is written for people who are already concerned about abuse of animals and need to learn how to take effective action. The precursor of the school was founded in 1928, and it was chartered as a university in 1965.
Rocky Mountains in BC. SpaceGodzilla tried to escape his prison, causing the crystals appearing across the planet. Kerr Stuarts for South Africa. Kramer played the Blues in St. Security Council with Resolution No.
Xiang was killed in an assault on the army by the Nationalist forces. On the occasion of his historic visit to Montreal on 24 January 1999, the President of the GAA, Mr. Mexican comments and complained that it ignored Tejano contributions to the battle. To overcome frequency instability of the magnetron, pulse modulation was used. Having discovered that her daughter spoke to Jeremy in her bedroom, she sends her mother out to walk their dog.
--
Brianna
Sent with Airmail
Title: Concha Renaissance San Juan Resort
Other title: Concha
Creator: Toro, Osvaldo 1914-1995; Ferrer, Miguel, 1915-2004; Salvadori, Mario George, 1907-1997; Marvel & Marchand Architects
Creator role: Architect
Date: 1958 (original) 2008 (renovation)
Current location: San Juan, Puerto Rico
Description of work: Renaissance Hotels tasked architect Jose R. Marchand and interior designer Jorge Rossello with renovating and saving this beachside landmark. "[B]y the mid-1990s the venerable La Concha hotel had been shuttered, abandoned and left to rot...Originally designed by Osvaldo Toro and Miguel Ferrer, with an eccentric but utterly loveable seashell-shaped restaurant by Mario Salvatori [sic], La Concha was a beautifully massed, expertly sited, vividly inventive building perfectly in sync with its time. Closely attuning the hotel to its sun-swept setting, the architects created deep-shading overhangs, open corridors, windows and doors that gave onto lush interior courtyards and provided cross ventilation, and beautifully lacy quiebra-sol (their take on a brise-soleil) for further modulation of the light and heat" (Frank, Michael. "La Concha Revival". Architectural Digest. Aug 2009, p. 103-104. Print).
Description of view: Detail view of pool and lounge area with a fountain that is built into the pool.
Work type: Architecture and Landscape
Style of work: Modern: International Style
Culture: Puerto Rican
Materials/Techniques: Water
Concrete
Trees
Source: Pisciotta, Henry (copyright Henry Pisciotta)
Date photographed: May 13, 2008
Resource type: Image
File format: JPEG
Image size: 2304H X 3072W pixels
Permitted uses: This image is posted publicly for non-profit educational uses, excluding printed publication. Other uses are not permitted. For additional details see: alias.libraries.psu.edu/vius/copyright/publicrightsarch.htm
Collection: Worldwide Building and Landscape Pictures
Filename: WB2010-0244 Concha.JPG
Record ID: WB2010-0244
Sub collection: resorts
Copyright holder: Copyright Henry Pisciotta
Videomicrograph 1000x oil Hoffman Modulation Contrast. TWO-WAY TRAFFIC: A small pinnate diatom passes along a Cyanobacterial filament, also motile.
A curious rose, this "Arabesque". Look with discernment and you will see how very different it is from most other roses. No single color or quality of color; no, not an ordinary rose. It must be exactly this whimsical and ornate quality that urged its designers - for want of a better word - to christen it as "Arabesque".
That's what it was that struck my mind when I took a closer look: a total lack of patterning; an ornate beauty of course, but verging even on the grotesque (as Edgar Allan Poe might have put it). Not unfittingly the title chosen by Claude Debussy (1862-1918) for his first two piano compositions (1888-1891) was "Arabesque", described by one critic in terms of 'unprepared modulations' .
Anyway... this was one of the beauties that I saw in the wonderful rose display in the Shinjuku Gyoen near Tokyo's Shinjuku Station, which must be one of the most complicated - yes! arabesque - places in the world. Even natives of Tokyo easily lose their way there, as I experienced when a colleague came to collect me from my hotel nearby.
PS Is anyone knowledgeable about uploading? I'm having trouble here in my hotel (in Kyoto) so I've had to reduce this to 480 instead of the usual 1024. To make it short: how come, and how do I overcome this? Thanks for your help.
Primera y Ruiz [R1] -
Ensenada, Baja California
Networked Fabrication for Urban Provocations.
Shifting Paradigms from Mass Production to Mass Customization
Computational architecture and design course
Conventional construction methods all depart from the basic premises of mass production: standardization, modulation and a production line. What these systems developed during the last two centuries fail to take into account are the evolutionary leaps and bounds the manufacturing industry has taken over the last decades. With the introduction of CNC technologies and rapid prototyping machines have altered the paradigms of fabrication forever. It is due to these new tools that it is now possible to create (n) amount of completely unique and different pieces with the same amount of energy and material that is required to create (n) identical pieces. The possibilities for implementation of new forms, textures, materials and languages are infinite due to the versatility that these new tools offer a growing network of architects, designers, fabricators that are integrating them into their professional practices to generate unique and precise objects that respond to countless data and real-life conditions.
Instructors:
Monika Wittig [ LaN, IaaC ]
Shane Salisbury [ LaN, IaaC ]
Filippo Moroni [ SOLIDO, Politecnico di Milano ]
MS Josh Updyke [ Advanced Manufacturing Institute, KSU, Protei ]
Aaron Gutiérrez Cortes [ Amorphica ]
This is a full shot of the robot while lying down.
This project uses an Arduino to drive a miniature "segway" balancing robot.
A pair of Lego Mindstorm NXT motors are used to drive the robot wheels. An Arduino is used to control the motors. An ADXL335 3-axis accelerometer is used to determine robot orientation. An L293D H-Bridge is used to allow the Arduino to interface with the Lego NXT motors using pulse-width modulation signals. A proportional-integral-derivative (PID) algorithm was used to determine the logic for wheel movement. Programmed in C++.
Unfortunately, the robot required "human assistance" to stand up on its own for any length of time. I wish I had a bit more time on this project to continue tweaking the PID algorithm to improve this.
Video HERE
Instructions [BuWizz] or [2.4 GHz]
Purchase Full Kit: [LesDIY] or [LetBricks]
Features:
01. RC Drive 6 x 6. Buggy Motor geared at 17 to 1.
02. RC Steering. PF Servo
03. RC Turntable. PF M Motor with Worm Gear.
04. RC Compressor. PF L Motor driving 2 x 6L Pumps. Dual Air Storage Tanks.
05. RC Pneumatics. PF Servo & Pneumatic Switch assembly.
06. Dampened Crane Arm movements for fine control & modulation.
07. PRV Function to automatically shut off Compressor.
08. Powered by 2 x (Buwizz 2.0) or (2.4GHz Module)
09. Live Axle Suspension Front & (Tandem) Rear.
10. Ackermann Steering Geometry. Positive Caster Angle.
11. Working Cab Steering Wheel.
12. Opening Cab & Crane Doors. Technic Figure compatibility.
13. Fully customizable Crane counterweight compartment (88 cubic studs) for better stability.
14. Disengage drive & steering motors for manual locomotion. Working HOG on roof.
Title: Concha Renaissance San Juan Resort
Other title: Concha
Creator: Toro, Osvaldo 1914-1995; Ferrer, Miguel, 1915-2004; Salvadori, Mario George, 1907-1997; Marvel & Marchand Architects
Creator role: Architect
Date: 1958 (original) 2008 (renovation)
Current location: San Juan, Puerto Rico
Description of work: Renaissance Hotels tasked architect Jose R. Marchand and interior designer Jorge Rossello with renovating and saving this beachside landmark. "[B]y the mid-1990s the venerable La Concha hotel had been shuttered, abandoned and left to rot...Originally designed by Osvaldo Toro and Miguel Ferrer, with an eccentric but utterly loveable seashell-shaped restaurant by Mario Salvatori [sic], La Concha was a beautifully massed, expertly sited, vividly inventive building perfectly in sync with its time. Closely attuning the hotel to its sun-swept setting, the architects created deep-shading overhangs, open corridors, windows and doors that gave onto lush interior courtyards and provided cross ventilation, and beautifully lacy quiebra-sol (their take on a brise-soleil) for further modulation of the light and heat" (Frank, Michael. "La Concha Revival". Architectural Digest. Aug 2009, p. 103-104. Print).
Description of view: View of the pool and lounge area which is located in the center of the hotel.
Work type: Architecture and Landscape
Style of work: Modern: International Style
Culture: Puerto Rican
Materials/Techniques: Plants
Concrete
Source: Pisciotta, Henry (copyright Henry Pisciotta)
Date photographed: May 13, 2008
Resource type: Image
File format: JPEG
Image size: 2304H X 3072W pixels
Permitted uses: This image is posted publicly for non-profit educational uses, excluding printed publication. Other uses are not permitted. For additional details see: alias.libraries.psu.edu/vius/copyright/publicrightsarch.htm
Collection: Worldwide Building and Landscape Pictures
Filename: WB2010-0243 Concha.JPG
Record ID: WB2010-0243
Sub collection: resorts
Copyright holder: Copyright Henry Pisciotta
ArtScience celebrates 25th anniversary
Paradiso, Amsterdam 2015
Loudthings is an audiovisual account of an expedition into the inside world of the computer. Using a set of elementary instructions such as modulation, masking, and feedback, Telcosystems programmed a self-organizing network of algorithmic processes for the creation of spatial image and sound. The result is a non-referential world which strains the senses; an exploration along the borders of human perception, through worlds of multiplying and mushrooming clouds of light and sound, through worlds of mesmerizing spatiality and interfering landscapes.
Loudthings has been nominated for a Tiger Awards for Short Film at IFFR 2008 and won the Gus Van Sant Award for Best Experimental Film at the Ann Arbor Film Festival 2009 and the Grand Prix 2008 at 25 FPS festival in Zagreb Croatia.
Loudthings premiered at the IFFR film festival Rotterdam in 2008, and has been shown since at festivals such as Ann Arbor film festival, EX-IS Seoul, EMAF Osnabruck, IKFF Hamburg, VideEx Zurch, 25FPS Zagreb, NFF Utrecht, ISFF Lille, Spectropia Riga.
Loudthings was made possible by the generous support from: Netherlands Foundation for Visual Arts, Design and Architecture, The Netherlands Film Fund, The Rotterdam Film Fund, ThuisKopie Fonds.
Telcosystems
Gideon Kiers, David Kiers and Lucas van der Velden are the founding members of Telcosystems. Lucas van der Velden (1976, Eindhoven) and Gideon Kiers (1975, Amsterdam) studied at the Interfaculty Image and Sound, a department of the Royal Conservatoire and the Royal Academy of Art in The Hague. David Kiers (1977, Amsterdam) studied at the Sonology department of the Royal Conservatoire.
In their audiovisual works Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior. This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances. The software they write enables them to compose ever-evolving audiovisual worlds. Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes. Their work is the result of an ongoing search for an own language of non-referential image and sound, and is characterized by lucid and restrained aesthetics, closely related to the technology they use. In interaction with machines Telcosystems fuse the auditive and visual domains into one immersive spatial experience that explores the limits of the human sensory apparatus.
The Palatine Chapel, is the royal chapel of the Norman kings of Sicily situated on the first floor at the center of the Palazzo Reale in Palermo, southern Italy.
Commissioned by Roger II of Sicily in 1132 and built upon an older chapel (now the crypt) constructed around 1080.
The mosaics being only partially finished by 1143.
The sanctuary, dedicated to Saint Peter, is reminiscent of a domed basilica. It has three apses, as is usual in Byzantine architecture, with six pointed arches (three on each side of the central nave) resting on recycled classical columns.
The mosaics of the Palatine Chapel are of unparalleled elegance as concerns elongated proportions and streaming draperies of figures. They are also noted for subtle modulations of colour and luminance. The oldest are probably those covering the ceiling, the drum, and the dome. The shimmering mosaics of the transept, presumably dating from the 1140s and attributed to Byzantine artists, with an illustrated scene, along the north wall, of St. John in the desert and a landscape of Agnus Dei.
Below this are five saints, the Greek fathers of the church, St. Gregory of Nissa, St. Gregory the Theologian, St. Basil, St. John Chrysostom and St. Nicholas.
The three central figures, St. Gregory, St. Basil, St. John Chrysostom, allude to the Orthodox cult known as the Three Hierarchs, which originated fifty years earlier.
Roger II of Sicily depicted on the muqarnas ceiling in an Arabic style.
The rest of the mosaics, dated to the 1160s or the 1170s, is executed in a cruder manner and feature Latin (rather than Greek) inscriptions. Probably a work of local craftsmen, these pieces are more narrative and illustrative than transcendental.
The chapel combines harmoniously a variety of styles: the Norman architecture and door decor, the Arabic arches and script adorning the roof, the Byzantine dome and mosaics. For instance, clusters of four eight-pointed stars, typical for Muslim design, are arranged on the ceiling so as to form a Christian cross.
Muqarnas ceiling
The hundreds of facets were painted, notably with many purely ornamental vegetal and zoomorphic designs but also with scenes of daily life and many subjects that have not yet been explained. Stylistically influenced by Iraqi 'Abbasid art, these paintings are innovative in their more spatially aware representation of personages and of animals.
The chapel has been considered a union of a Byzantine church sanctuary and a Western basilica nave.
The sanctuary, is of an "Eastern" artistic nature, while the nave reflects "Western" influences.
Nave
The nave, constructed under Roger II, did not contain any Christian images.
These were added later by Roger II's successors, William I and William II.
The nave's ceiling consists of Greek, Latin and inscriptions.
The frame for the royal throne sets against the west wall of the nave.
There are six steps leading up to where the throne would be, along with two heraldic lions in two roundels upon the spandrels over the throne frame gabel.
Sanctuary
As an expression of Norman culture, St. Dionysius and St. Martin are represented in the sanctuary.
Mosaics are of Byzantine culture in their composition and subjects.
The apex of the dome consists of the Pantokrator, with rows of angels, prophets, evangelists and saints.
The Byzantine motif ends abruptly with scenes from Christ's life along the south wall of the southern transept arm, while the north wall consists of warrior saints
architecture.arqhys.com/architects/antoniobonet-biography...
ANTONIO BONET. In 1942, Bonet participates in the constitution of the Organization of the Integral House in the Argentine Republic. The idea of the formation of its work ties it with the ideas suggested by Him Corbusier throughout the process of preparation of the Plan of Buenos Aires. "the routine servitude of conception submissive the outsider does not exist any worthy of consideration argument seriously nor even in that some Argentineans live" So that the initial note of a universal modulation does not take place in our country, whose hope appears in the immediate perspective of the world: on the area in catastrophe of the cities martyred by the war, the genius of the man already begins to project the new forms of the human coexistence. On the contrary, the essential circumstance of our historical youth and the one of our adventurous peace, locate to us in the moral obligation to create new forms of life anticipating us to whatever of project and of dream it even subsists in a world of towns in flames and ruins. This thought of Bonet, is taken from the N° Notebook 1 of OVRA, titled Study of the Contemporary Problems for the organization of the integral house in the Argentine Republic. Without a doubt, the text gathers part of the optimism of the Austral Group. But while this one was directed to the architects and its problems, in the OVRA manifesto the horizon is ampler, next to certain discovered nonfree of messianism of the American, coincident with other similar initiatives in other places of the continent.
Reflections of Antonio Bonet on the architecture: "the architectonic elements that will form the new city will be formed by a series, numerous, of structures little systematized. Those structures will be able to arrive to the maximum from their aesthetic, technical perfection and economic, since besides to be placed in free lands, its study must be based on the progressive improvement of such types, so as it has become in the great architectures of the past. Within those structures, that will be the expression of the effort of the social man, to obtain the order and the harmony of its time, never will be obtained to a freedom reached after the development of the life of the man like individual, and the one of its institutions. It is well certain that we are even far from that stage, But does not fit doubt that once demonstrated that the modern buildings can be developed in simple structures, more and more seemed to each other, it will make the importance powerful of this system. Those buildings will be used and the equipped for but diverse uses, without aging with it, although they will have to work at a time whose social programs, industrial, etc., are in permanent evolution. I am going to finish with the confession of my conviction of which to group the programs for the unification of the structures, is something enormously difficult, but some is no doubt that it is the way that will take us forms to the true architectonic of our time. in that the diverse social programs will be developed freely, cultural hygienic, etc., that must form the structure of the new society.
Upper West Side, Manhattan, New York City, New York, United States
The 854 West End Avenue House is one of an intact group of four residences designed by the architectural firm of Schneider & Herter and built by the firm of Schneider & Company as a speculative venture. 1 The rowhouse group is the sole surviving example of a type of site planning used on several comer plots along West End Avenue in the early 1890s where a group of houses facing the Avenue featured a prominent comer house and an additional house was built facing the side street behind the Avenue-facing houses. Treated as the centerpiece of the rehouse group, the comer house at No. 858 West End Avenue is representative of the many larger comer houses with side entrances and comer towers which once stood on West End Avenue.
The group of residences was built in 1892-93 during the first period of intense residential development for the comfortable professional class along the northern portion of West End Avenue where the suburban qualities of landscaped streets, the views of the Hudson River, and the amenities of nearby Riverside Park created a desirable residential area. The 858 West End Avenue House is distinguished by ornament characteristic of the mannerist aesthetic of the firm of Schneider & Herter, the juxtaposition of contrasting textures of rough, smooth-faced, and carved brownstone, and the emphasis on a lively roof line punctuated by a bell-shaped tower and chimneys. The quality and distinctiveness of the Queen Anne/Romanesque Revival style design of the 858 West End Avenue House reflects the desire for individuality in the appearance of houses within rowhouse groups and is representative of the eclectically-styled residential architecture of West End Avenue dating from the 1890s.
Development of the Upper West Side
Despite its long history beginning soon after the colonial Dutch settlement, the Upper West Side, known as Bloomingdale prior to its urbanization, remained largely undeveloped until the 1880s. In the early eighteenth century, Bloomingdale Road (later renamed the Boulevard and finally Broadway in 1898) was opened through rural Bloomingdale and provided the northern route out of the city which was then concentrated in the southern tip of Manhattan. The Upper West Side was included in the Randel Survey of 1811 (known as the Commissioners' Map) which established a uniform grid of avenues and cross streets in Manhattan as far north as 155th Street, although years elapsed before streets on the Upper West Side were actually laid out, some as late as the 1870s and 1880s, and the land was subdivided into building lots.
The city grew rapidly northward during the nineteenth century, but it was not until after Central Park (a designated New York City Scenic landmark) was laid out in 1857 that development began around the perimeter of the Park, setting off the first wave of real estate speculation on the Upper West Side.
Improved public transportation to the area contributed to the growth and sustained development of the Upper West Side. By 1880 the horse car line on Eighth Avenue had been replaced by street rail service up to 125th Street and the Elevated Railway on Ninth Avenue (renamed Columbus Avenue in 1890) had been completed. However, the biggest boost to the development of the West End (the area west of Broadway) was the creation, between 1876 and 1900, of Riverside Drive and Park (a designated New York City Scenic Landmark) located north of 72nd Street along the Hudson River. The presence of the park and drive, designed by Frederick Law Olmsted, was an important factor in making this area desirable for high-quality residential development.
Development of the Wast End began slowly, due, to a large degree, to the hesitation of would-be residents, but by 1885 it had emerged as the area in the city experiencing the most intense real estate speculation. The expectation that the blocks along Riverside Drive and West End Avenue would be lined with mansions kept the value of these lots, as well as adjacent land, consistently higher and developers were willing to wait to realize profits from the potentially valuable sites. The real estate developers, including the West End Association, founded in 1884 by the prominent developer, W.E.D. Stokes, ultimately stimulated the demand for houses in the West End. Real estate brochures and the local press drew attention to the area, emphasizing the scenic quality of the setting, the nearness of parks, and the availability of public transportation.
West End Avenue (formerly Eleventh Avenue) was opened in 1880 from 72nd Street to 106th street and was paved with asphalt by 1893. West End Association members set twenty-year restrictive covenants governing West End Avenue which closed the avenue to commercial traffic and initially limited development to single-family houses, thus enhancing the desirability of the residential area. By 1890 the character of the avenue had emerged as completely residential and was promoted as a suburban-like setting with such amenities as grass plots and trees along the sidewalks. The absence of flats and apartment houses on the avenue provided the opportunity for various treatments of the comers with rowhouses and larger attached residences.
In the mid-1880s the most attractive areas for development along West End Avenue were located near the El stations and along the higher elevations of the hilly avenue. Construction of mid-size rowhouses, rather than the more grand type of mansions originally projected for West End Avenue, began in 1885 near 104th Street which was convenient to a Ninth Avenue El station and by 1895 the high plateau between West 99th and 104th Streets had been built up with three- and four-story rowhouses. The architectural tone of these private residences was set by the presence of costly mansions such as the W.F. Foster residence at 102th Street and Riverside Drive and the Bacon residence at 104th Street and Riverside Drive.
The Schneider & Company's Houses
The site at the northeast corner of West 102nd Street and West End Avenue appears to have been first sold for development purposes in 1881 and at that time an open-ended restrictive covenant was initiated which prevented the construction of a variety of commercial and industrial buildings. The property changed hands several times before Hannah O'Brien filed plans in 1890 to build five three-story limestone-fronted houses designed by Andrew Spence; within a year O'Brien lost control of the property and this project was abandoned.
Two New York architects, Ernest W. Schneider and Henry Herter, along with two partners — John Fish, a previous client, and Eugene Schultz— acquired the property and soon after filed plans for the construction of a group of four three-story residences with raised basements. Beside the comer house, facing West End Avenue, are two narrow houses, nearly identical in design. Situated across the rear of the three West End Avenue houses, facing West 102nd Street and enclosing the yard area, the fourth house has a freestanding side facade. The houses, built between May, 1892, and April, 1893, were appropriately finished on the interior with decorative mantels, hardwood trim, and horseshoe openings ornamented with fretwork dividing the music rooms from the parlors, as well as up-to-date plumbing and utility areas. The placement of the stairhall in the center of each house permitted large full-width front rooms on the upper floors.
The first house to be sold in the rowhouse group was No. 856 West End Avenue. In 1895 the remaining houses were divided among the investors and Schneider & Herter acquired title to No. 858 West End Avenue. The house was sold in 1897 but title reverted to Schneider & Herter in 1898; they soon resold the house. No. 854 West End Avenue had been sold in 1895 and the West 102nd Street House was sold in 1896.
The Schneider & Company development venture is the sole surviving example of a site development pattern that emerged on West End Avenue in which large comer parcels were purchased for the construction of rowhouse groups. By decreasing the depth of the avenue-facing houses, an additional house could be built on the plot facing the side street; the plan worked to the advantage of the developer who sought a maximum return on the expensive West End Avenue lots. Slightly larger and more prestigious comer houses, with highly visible design features such as comer towers, were characteristic of this site development plan. This scheme was particularly favored in the early 1890s when the area between 99th and 104th streets was developed. Rowhouse groups facing West End Avenue, with a side street-facing house (or houses) across the rear of these lots, were built at the southeast comers of West End Avenue and 99th, 100th, 102nd, and 103rd Streets; all of the groups except the Schneider & Company group have been demolished.
The rowhouse group at the southeast comer of 103rd Street and West End Avenue, designed by M.V.B. Ferdon in 1891, included five houses facing West End Avenue and one facing 103rd Street; only the house facing West 103rd Street remains standing. Another group of houses designed by M.V.B. Ferdon and built by Increase Grenell in 1892 at the northwest comer of West End Avenue and 104th Street (demolished) included a comer house very similar to the Schneider & Company house, featuring the entrance near the center of the 104th Street facade.
Picturesque Architecture on West End Avenue
Curing the intense period of rowhouse development on the Upper West Side, from 1885 to 1900, residential design was dominated by a reaction to the conformity and homogeneity of older Italianate style brownstone rowhouses found elsewhere in the city. The first wave of development along West End Avenue in the period between 1885 and 1895 produced a number of individually-designed houses and speculatively-built, yet distinctive, rowhouse groups which, along with houses in the West End as a whole, represent the culmination of single-family house construction in Manhattan. Many of the most prominent architects working in New York City designed these residences, often for speculative developers who invested in the area. The residences designed for West End Avenue were characteristic of the picturesque eclecticism of late-nineteenth-century architecture, drawing from a wide variety of stylistic sources and expressing the desire of architects and clients for originality, variety, and novelty in residential architecture.
There was a movement away from smooth brownstone as a facing material and a new emphasis on the sculptural and textural qualities of surfaces, as well as on the mixture of colors and materials.
Unusual, picturesque house design on West End Avenue had been initiated by the construction of two groups of houses with a "Dutch" flavor in 1885-86, designed by Frederick B. White and McKim, Mead & White. Clarence True and other architects continued to design residences for West End Avenue in unusual and picturesque revival styles which were executed with a high-degree of artistic experimentation. Strong rhythmic patterns, asymmetrical massing, and a lively streetscape were created by the profusion of bowfronts, bay and oriel windows, gables, turrets, chimneys, dormers, cornices, stoops, and ornamentation associated with the popular Queen Anne and Romanesque Revival styles as well as more exotic revival styles. These later rowhouses on West End Avenue, and throughout the Upper West Side, unlike their Italianate brownstone predecessors from earlier in the nineteenth century, were purposely designed to be distinguished from one another, while together forming visually coherent ensembles.
The houses designed by Schneider & Herter are representative of this picturesque design movement, and although based on the common hybrid of the Queen Anne and Romanesque Revival styles they are enlivened by unusual carved ornament. The treatment of each of the four houses individually within the easily recognizable group provided the architects with the opportunity to create variations on a theme. The high degree of modulation in the plane of the facades, through the use of recessed entrances as well as projecting bay windows and balconies (which afforded views of the river and park) adds depth and grandeur to the rowhouse designs. Schneider & Herter explored the range of surface effects achievable from smooth-faced and rough-cut brownstone, and incorporated both geometric and figural carving of the material.
The repetition of several ornamental elements unites the houses, including paired stringcourses, gridded panels of rough-faced stone, chamfered window surrounds in the smooth-faced facades, sheet-metal panels at the roofline, and elements of the carved stone program. The two smaller West End Avenue houses are identical except for the shape and detailing of the window openings. No. 858 West End Avenue has recessed balconies at the parlor and second stories that relate the comer house to the West End Avenue houses, while the longer West 102nd Street frontage is visually linked to the house at 254 West 102nd Street through the repetition of unusual columns flanking the entrances and the carved panels at the roofline. The round comer tower with a bell-shaped roof serves as the centerpiece of the group.
The design of picturesque rowhouses in New York was influenced by trends in the design of architectural ornament in the later nineteenth century, a time when ornament was treated by many architects as an opportunity for creative experimentation. European theorists such as Owen Jones, James K. Collings, and Christopher Dresser encouraged an abstract interpretation of vegetation executed with an emphasis on geometricized form and their publications influenced designers in the United States. At the same time, technological change also influenced the design of ornament. The availability of steam-powered tools encouraged the use of bold, machine-cut ornament while the growing use of terra cotta prompted the design of intricate ornament that could be easily reproduced.
The popularity of several revival styles, and the inventive blending of these styles, encouraged the architect/designer to adopt an individualized aesthetic in the design of architectural ornament. This trend can be seen in the abstracted naturalistic ornament developed by such recognized American innovators as Frank Fumess and Louis H. Sullivan, as well as in the pioneering work of architects like Henry Hobson Richardson, who developed a highly personal style drawing on Romanesque sources. Many architects working in New York City also developed identifiable personal styles, such as clarence True with his interpretation of the "Elizabethan Renaissance Revival" style.
Schneider & Herter developed a somewhat idiosyncratic and mannerist aesthetic characterized by a lack of reverence for the traditional placement of ornament, an unexpected combining of architectural styles, and asymmetry in the composition of facades and their detailing; these characteristics appear in the firm's early designs for tenements, rowhouses and synagogues. In the ornamental programs of several buildings, including the 858 West End Avenue House, Schneider & Herter combined incised, machine-cut ornament— recalling the earlier Neo-Grec style of incised ornament — with both abstracted naturalistic designs and romantic figurative carving. An uncommon approach to the composition and placement of ornament appears in the design of the entrance where the architects combined pilasters with the projecting balcony above to suggest an entrance portico.
Two flattened engaged baluster forms, with incised horizontal bands and necks at the bottom, are topped by capitals with carved shell forms above inscribed circles; animal masks extend from the upper portion of plain blocks above the capitals that support the projecting balcony. Framing the door to the east is a variation on this form, a cylindrical baluster with a capital, different from the flanking ones, of stalky acanthus leaves above which an elongated console bracket supports the balcony. A more subtle example of Schneider & Herter's unusual ornamental treatment appears in the placement of carved stones in the upper courses of the rusticated basement to cap undefined piers.
Schneider & Herter
Ernest W. Schneider and Henry Herter began an architectural partnership in New York City around 1887; within a very short time they had a thriving business designing tenements, flats, and industrial buildings, primarily on the Lower East Side. Schneider & Herter worked repeatedly for a group of German-Jewish clients with ethnic backgrounds similar to theirs, the most prominent of whom were the real estate developers Jonas Weil and Bernard Mayer for whom the architects designed a number of multiple dwellings. This association led to the firm's commission for the Park East Synagogue, 163 East 67th Street (1889-90, a designated New York City Landmark), which Weil financed and led as president of the congregation. Schneider & Herter also designed Congregation Kol Israel Arshi at 20-22 Forsyth Street (1892, now owned by the Hellenic Orthodox Community).
The firm of Schneider & Herter had acted as architect-developers prior to its venture on the Upper West Side as Schneider & Co., designing and building a pair of French flats at 731-735 East 5th Street in 1890-91 and a French flat at 233-35 Delancey Street in 1891-92; the firm began a warehouse project at 141 West Broadway in 1893. Schneider & Herter later erected a five-story apartment building at 79-81 Perry Street in 1895 (in addition to designing several other buildings now within the Greenwich Village Historic District) and a pair of flats buildings at 309 and 317 West 93rd Street in 1901-02 (within the Riverside-West End Historic District).
The West End Avenue-102nd Street project was a departure from Schneider & Herter's usual work designing multiple dwellings, and was among the firm's first projects on the Upper West Side. Many of the firm's more than 100 multiple dwellings in Manhattan no longer stand, but those remaining exhibit the firm's individualistic approach to the use of ornament and facade compositions often featuring round-arched windows characteristic of the Romanesque Revival style.
- From the 1990 NYCLPC Landmark Designation Report
M3 Globular Cluster: Taken on 5th Jan 2022. An integration of 252 x 30s images (2hrs 6mins). Note the galaxy at approx. 12:00.
From Wiki: Messier 3 (M3; also NGC 5272) is a globular cluster of stars in the northern constellation of Canes Venatici. It was discovered on May 3, 1764, and was the first Messier object to be discovered by Charles Messier himself. Messier originally mistook the object for a nebula without stars. This mistake was corrected after the stars were resolved by William Herschel around 1784. Since then, it has become one of the best-studied globular clusters. Identification of the cluster's unusually large variable star population was begun in 1913 by American astronomer Solon Irving Bailey and new variable members continue to be identified up through 2004.
Many amateur astronomers consider it one of the finest northern globular clusters, following only Messier 13. M3 has an apparent magnitude of 6.2, making it a difficult naked eye target even with dark conditions. With a moderate-sized telescope, the cluster is fully defined. It can be found by looking almost exactly halfway along the north-west line that would join Arcturus (α Boötis) to Cor Caroli (α Canum Venaticorum). Using a telescope with a 25 cm (9.8 in) aperture, the cluster has a bright core with a diameter of about 6 arcminutes and spans a total of double that.
This cluster is one of the largest and brightest, and is made up of around 500,000 stars. It is estimated to be 11.4 billion years old. It is centered at 32,600 light-years (10.0 kpc) away from Earth.
Messier 3 is quite isolated as it is 31.6 kly (9.7 kpc) above the Galactic plane and roughly 38.8 kly (11.9 kpc) from the center of the Milky Way. It contains 274 known variable stars, by far the most found in any globular cluster. These include 133 RR Lyrae variables, of which about a third display the Blazhko effect of long-period modulation. The overall abundance of elements other than hydrogen and helium, what astronomers term the metallicity, is in the range of −1.34 to −1.50 dex. This value gives the logarithm of the abundance relative to the Sun; the actual proportion is 3.2–4.6% of the solar abundance. Messier 3 is the prototype for the Oosterhoff type I cluster, which is considered "metal-rich". That is, for a globular cluster, Messier 3 has a relatively high abundance of heavier elements.
Hardware: Altair Astro Starwave 102ED-R, Planostar 0.8x reducer, SkyTech L-Pro MAX filter, Altair Astro Hypercam 26C TEC, Pegasus Focuscube V2, Pegasus Powerbox Micro, Altair Astro 60mm Guidescope, Altair Astro GPCAM3 290C, QHYCCD Polemaster, Skywatcher HEQ-5 Pro (Rowen belt mode) & Intel i5 8265U Mini PC.
Software: Imaging: NINA, PHD2. Processing: Astro Pixel Processor, Photoshop, Topaz Labs.
The large 1mA meter is a bit sluggish to be really useful for modulation and power display. Maybe a peak hold circuit could help there as peak is the useful thing to know for those two parameters. I can always use the LCD display on the radio for the fast moving values.
I don't know if a 100uA would be less sluggish. Still, it's a nice big meter. It looks the part!
One idea I have is to build a driver circuit for it. It would be interesting to drive it from the low impedance output of an op-amp. I could also have a go at adding a differential signal in a feed-forward configuration.
The radio in this shot is running off battery power using an external battery pack which is also propping up the meter.
Water lilies, setting sun, Ca.1907.
During the final two decades of his life Monet devoted himself to painting the water garden he had created at his home in Giverny, producing around 250 innovative canvases. His paintings became increasingly experimental as he gradually abandoned depictions of the banks of the pond, its Japanese bridge and the traditional horizon line in order to concentrate on the subtle modulations of light as it transformed the water and the reflections of foliage and clouds.
In this painting the only hint to help situate the viewer is the clump of plants in the bottom left corner which indicates the approximate position of the bank. The pink and yellow rays of the setting sun shimmer on the pond. Our vision seems to oscillate between the surface of the water and the depths of the pond; between the horizontal lily pads and the dark vertical reflections of the weeping willows.
The National Gallery, London.
Crown XLS1500 DriveCore Series 1550W Amplifier Description:
Crown's XLS 1500 amplifier is a premiere portable PA system with unmatched performance, technology and affordability. It includes multiple inputs so you can plug in anything and play anywhere, along with several system setup configurations. This high-performance Crown power amp provides enormous power and flexibility thanks to the integrated DriveCore Technology, PureBand Crossover System and Peakx limiters. Weighing less than 12 pounds, it's much easier to set up and move from show to show.
A Crown Power Amp with Integrated DriveCore Technology
Class D amplifiers are notable for extraordinarily high efficiency and being well suited for driving difficult reactive loads such as subwoofers. However, their performance can suffer impaired performance on marginal and unstable AC line supplies. To overcome this obstacle, Crown engineers developed DriveCore Technology—a proprietary hybrid analog-digital integrated circuit (IC) developed with Texas Instruments that drives the "front end" of the Class D output stage. Over 60 years of Crown's design knowledge and experience went into the development of this technology resulting in truly remarkable benefits. DriveCore Technology provides an extremely wide tolerance with regards to sagging or "dirty" AC line conditions, providing consistent performance without affecting audio quality. This means the Crown XLS1500 power amp will not compromise your performance by fluctuating generator power, or overload from lighting rigs, backline gear, etc.
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PureBand Crossover System
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Peakx limiters
Peakx limiters provide the ultimate in performance and protection for your entire system. This advanced algorithm was specifically developed and tuned to work with this amplifier and power-supply to achieve higher SPL will less audible artifacts. This means less distortion, less shutdowns, and maximum safe power delivered to your speakers. The Peakx limiters can be easily turned on or off by channel right from the front panel eliminating the need to be digging around in the back of the dark rack.
The XLS is a leader in portable amps, with DriveCore Technology, PureBand Crossover System, and Peakx limiters
XLS High Performance, Lightweight Class D power amp weighs less than 11 lbs.
Integrated PureBand Crossover System for better performance and control
Peakx Limiters provide maximum output while protecting your speakers
XLR, 1/4", RCA inputs provide outstanding flexibility
1/4" Inputs can be used as loop-thrus to distribute signal to additional amplifiers Efficient forced-air fans prevent excessive thermal buildup
Electronically balanced XLR inputs; touchproof binding post and Speakon outputs
Precision detented level controls, power switch, power LED, and six LEDs indicate signal, clip and fault for each channel
Three-Year, No-Fault, Fully Transferable Warranty completely protects your investment and guarantees its specifications
inimum Guaranteed Power per channel, both channels driven: 775W, Stereo, 2 Ohms (per ch.); 525W, Stereo, 4 Ohms (per ch.); 300W, Stereo, 8 Ohms (per ch.); 1050W, Bridge-Mono, 8 Ohms; 1550W, Bridge-Mono, 4 Ohms
Sensitivity (for full rated power at 4 Ohms): 1.4 Vrms
Frequency Response (at 1 watt, 20 Hz - 20 kHz): +0 dB, -1 dB
Signal-to-Noise Ratio Rated as dBr to full rated 8Ohm power output (A-Weighted): XLS1500 > 103 dB
Damping Factor (8 Ohm): 10 Hz to 400 Hz: > 200
Crosstalk (below rated 8Ohm power): At 1kHz: > 85dB; At 20kHz: >55dB
Input Impedance (nominal): 20 kOhm balanced, 10 kOhm unbalanced
Load Impedance: 2 to 8 Ohm per channel in Stereo; 4 to 8 Ohm in Bridge Mono
AC Line Voltage and Frequency Configurations Available (± 10%):120 VAC 60 Hz; 100 VAC 50/60 Hz; 220 and 240 VAC 50 Hz
Ventilation: Flow-through ventilation from front to back
Cooling: Internal heat sinks with forced-air cooling for rapid, uniform heat dissipation
Air Volume Requirements (per minute per unit): 80.15 ft (2.27 m )
Integrated Processing: PureBand Crossover System; Crossover Filter: Linkwitz-Riley 24dB per Octave; Crossover Frequency Range: 50 HZ - 3 kHz: Crossover Mode: Crossover (CH1=LPF, CH2=HPF), LowPass (both channels LPF), HighPass (both channels HPF), Bridge (LPF or HPF); Peakx limiters: Channel independent clip limiter designed to provide maximum output while protecting your loudspeakers
Input/Output: Input Connectors: XLR (one per channel), 1/4-Inch (one per channel), and RCA (one per channel). 1/4-Inch connectors can be used as loop-thrus to distribute signal to additional amplifiers. Output Connectors: Two 4-Pole Speakon Output Connectors accept 2-pole or 4-pole Speakon connectors. The top Speakon connector is wired for both channels so it can be used for bridgemono wiring or for stereo wiring of two speakers to a single Speakon connector. One pair of back-panel binding posts per channel; accepts banana plugs or bare wire. (European models do not accept banana plugs.)
Dimensions: 19"W x 3-1/2"H x 7-3/4"D
Weight: XLS1500: 8-3/4 lb.
Title: Concha Renaissance San Juan Resort
Other title: Concha
Creator: Toro, Osvaldo 1914-1995; Ferrer, Miguel, 1915-2004; Salvadori, Mario George, 1907-1997; Marvel & Marchand Architects
Creator role: Architect
Date: 1958 (original) 2008 (renovation)
Current location: San Juan, Puerto Rico
Description of work: Renaissance Hotels tasked architect Jose R. Marchand and interior designer Jorge Rossello with renovating and saving this beachside landmark. "[B]y the mid-1990s the venerable La Concha hotel had been shuttered, abandoned and left to rot...Originally designed by Osvaldo Toro and Miguel Ferrer, with an eccentric but utterly loveable seashell-shaped restaurant by Mario Salvatori [sic], La Concha was a beautifully massed, expertly sited, vividly inventive building perfectly in sync with its time. Closely attuning the hotel to its sun-swept setting, the architects created deep-shading overhangs, open corridors, windows and doors that gave onto lush interior courtyards and provided cross ventilation, and beautifully lacy quiebra-sol (their take on a brise-soleil) for further modulation of the light and heat" (Frank, Michael. "La Concha Revival". Architectural Digest. Aug 2009, p. 103-104. Print).
Description of view: View from the lounge and pool area at the center of the hotel looking south.
Work type: Architecture and Landscape
Style of work: Modern: International Style
Culture: Puerto Rican
Materials/Techniques: Concrete
Plants
Trees
Source: Pisciotta, Henry (copyright Henry Pisciotta)
Date photographed: May 13, 2008
Resource type: Image
File format: JPEG
Image size: 2304H X 3072W pixels
Permitted uses: This image is posted publicly for non-profit educational uses, excluding printed publication. Other uses are not permitted. For additional details see: alias.libraries.psu.edu/vius/copyright/publicrightsarch.htm
Collection: Worldwide Building and Landscape Pictures
Filename: WB2010-0238 Concha.JPG
Record ID: WB2010-0238
Sub collection: resorts
Copyright holder: Copyright Henry Pisciotta