View allAll Photos Tagged omnipresence
Retour aux anciens Bains et Thermes liégeois transformés en Cité Miroir, un lieu de débat, d'éducation et de culture.
L’échevin liégeois Georges Truffaut lance le projet des Bains et Thermes. Il comprend deux bassins de natation, une station d'autobus, une section d'hydrothérapie, des locaux annexes, un café-restaurant, un dancing. L'architecte moderniste Georges Dedoyard sera désigné au terme d'un concours au règlement très strict.
Le bâtiment est achevé sous l’occupation nazie et ouvre ses portes au public en mai 1942. Georges Truffaut, décédé en résistant en Angleterre un mois auparavant, ne verra jamais son projet abouti.
Considéré comme l’une des plus importantes réalisations du style moderniste de l’entre-deux-guerres, le bâtiment de la Sauvenière adopte les formes d’un paquebot aux proportions majestueuses. A l’intérieur, l’élément le plus singulier est le grand hall des bassins qui s’étend sur 80 mètres de long et plus de 10 mètres de haut.
Dedoyard s’est inspiré du courant artistique et architectural allemand Bauhaus. Les formes élémentaires - ici le cube et la sphère - sont mises en valeur, la symétrie règne. Les murs nus, les lignes épurées, l’omniprésence du béton armé et du verre vont dans le sens de cette architecture essentiellement fonctionnaliste.
Return to the old Liège baths and thermal baths transformed into a Cité Miroir, a place of debate, education and culture.
The Liège alderman Georges Truffaut launched the Bains et Thermes project. It includes two swimming pools, a bus station, a hydrotherapy section, additional premises, a café-restaurant, a dance hall. The modernist architect Georges Dedoyard will be appointed after a competition with very strict regulations.
The building was completed under the Nazi occupation and opened its doors to the public in May 1942. Georges Truffaut, who had died in resistance in England a month earlier, would never see his project succeeded.
Considered one of the most important achievements of the Modernist style of the interwar period, the Sauvenière building takes the form of a liner of majestic proportions. Inside, the most unique feature is the large pool hall which stretches 80 meters long and more than 10 meters high.
Dedoyard was inspired by the German Bauhaus artistic and architectural movement. The elementary forms - here the cube and the sphere - are highlighted, symmetry reigns. Bare walls, clean lines, the omnipresence of reinforced concrete and glass go in the direction of this essentially functionalist architecture.
Todo quiere ser agua
Quiere licuarse la montaña entera
Las atalayas hunden en el río sus leves pies calcáreos
Ya la montaña lenta se desliza
como una vena verde
por la lenta cascada.
Aun las cumbres más altas
miran el agua
y tiemblan.
(Efraín Bartolomé / El Agua Desdichada)
Retour aux anciens Bains et Thermes liégeois transformés en Cité Miroir, un lieu de débat, d'éducation et de culture.
L’échevin liégeois Georges Truffaut lance le projet des Bains et Thermes. Il comprend deux bassins de natation, une station d'autobus, une section d'hydrothérapie, des locaux annexes, un café-restaurant, un dancing. L'architecte moderniste Georges Dedoyard sera désigné au terme d'un concours au règlement très strict.
Le bâtiment est achevé sous l’occupation nazie et ouvre ses portes au public en mai 1942. Georges Truffaut, décédé en résistant en Angleterre un mois auparavant, ne verra jamais son projet abouti.
Considéré comme l’une des plus importantes réalisations du style moderniste de l’entre-deux-guerres, le bâtiment de la Sauvenière adopte les formes d’un paquebot aux proportions majestueuses. A l’intérieur, l’élément le plus singulier est le grand hall des bassins qui s’étend sur 80 mètres de long et plus de 10 mètres de haut.
Dedoyard s’est inspiré du courant artistique et architectural allemand Bauhaus. Les formes élémentaires - ici le cube et la sphère - sont mises en valeur, la symétrie règne. Les murs nus, les lignes épurées, l’omniprésence du béton armé et du verre vont dans le sens de cette architecture essentiellement fonctionnaliste.
Return to the old Liège baths and thermal baths transformed into a Cité Miroir, a place of debate, education and culture.
The Liège alderman Georges Truffaut launched the Bains et Thermes project. It includes two swimming pools, a bus station, a hydrotherapy section, additional premises, a café-restaurant, a dance hall. The modernist architect Georges Dedoyard will be appointed after a competition with very strict regulations.
The building was completed under the Nazi occupation and opened its doors to the public in May 1942. Georges Truffaut, who had died in resistance in England a month earlier, would never see his project succeeded.
Considered one of the most important achievements of the Modernist style of the interwar period, the Sauvenière building takes the form of a liner of majestic proportions. Inside, the most unique feature is the large pool hall which stretches 80 meters long and more than 10 meters high.
Dedoyard was inspired by the German Bauhaus artistic and architectural movement. The elementary forms - here the cube and the sphere - are highlighted, symmetry reigns. Bare walls, clean lines, the omnipresence of reinforced concrete and glass go in the direction of this essentially functionalist architecture.
Public Photo Edited by Me.
This photo has been published on February 14. 2009 in the UK Newspaper
The Independent
A trio of AC44s pull an empty potash train out of the Old Man River Reservoir valley.
Despite their near omnipresence, I quite like these rebuilt AC44s; the ones that are clean—which are most of them—look quite sharp.
Architecte : Jacques Ferrier.
La singularité du bâtiment de Jacques Ferrier se fonde sur le lien que le nouveau siège communautaire crée avec le paysage de Rouen. Son profil contraste avec l’omniprésence des plans horizontaux qui caractérise ce site portuaire, et sa silhouette fait écho aux bâtiments industriels rénovés de la rive droite. Les obliques du volume répondent aux silhouettes des grues et des objets portuaires, aux étraves des navires qui passent. Le bâtiment révèle et se sert de la puissance du site pour intensifier la vie urbaine sur la rive gauche. En prolongement du futur parc, le bâtiment est à son tour créateur de contexte pour le futur écoquartier dont il sera la proue.
Son architecture facettée et transparente est conçue pour jouer des variations de lumière du ciel normand, des reflets de l’eau et des couleurs du climat. Le bâtiment est revêtu d’une façade d’écailles de verre colorées. Irisant et diffractant la lumière solaire, elles parent le bâtiment de touches de couleur qui se démultiplient avec les reflets du fleuve. Ce registre poétique est inspiré de l’impressionnisme et de Claude Monet. Le verre est revêtu d’une couche d’oxydes métalliques qui, de l’extérieur crée un reflet iridescent coloré, et s’efface vu de l’intérieur, n’altérant pas la vision des espaces de travail.
Architect: Jacques Ferrier.
The singularity of Jacques Ferrier’s building is based on the link that the new community headquarters creates with the landscape of Rouen. Its profile contrasts with the omnipresence of horizontal planes that characterize this port site, and its silhouette echoes the renovated industrial buildings on the right bank. The oblique lines of the volume respond to the silhouettes of cranes and port objects, and to the bows of passing ships. The building reveals and uses the power of the site to intensify urban life on the left bank. As an extension of the future park, the building is in turn a creator of context for the future eco-district of which it will be the prow.
Its faceted and transparent architecture is designed to play on the variations in light of the Normandy sky, the reflections of the water and the colors of the climate. The building is clad in a façade of colored glass scales. Iridescent and diffracting sunlight, they adorn the building with touches of color that multiply with the reflections of the river. This poetic register is inspired by impressionism and Claude Monet. The glass is coated with a layer of metallic oxides which, from the outside creates a colored iridescent reflection, and fades when seen from the inside, not altering the vision of the work spaces.
Love Calls Us To The Things Of This World
The eyes open to a cry of pulleys,
And spirited from sleep, the astounded
soul
Hangs for a moment bodiless and
simple
As false dawn.
Outside the open window
The morning air is all awash with
angels.
Some are in bed-sheets, some are
in blouses,
Some are in smocks: but truly there
they are.
Now they are rising together in calm
swells
Of halcyon feeling, filling whatever they
wear
With the deep joy of their impersonal
breathing;
Now they are flying in place,
conveying
The terrible speed of their
omnipresence, moving
And staying like white water; and now
of a sudden
They swoon down in so rapt a quiet
That nobody seems to be there.
The soul shrinks
From all that it is about to remember,
From the punctual rape of every
blessed day,
And cries,
"Oh, let there be nothing on
earth but laundry,
Nothing but rosy hands in the rising
steam
And clear dances done in the sight of
heaven."
Yet, as the sun acknowledges
With a warm look the world's hunks
and colors,
The soul descends once more in bitter
love
To accept the waking body, saying now
In a changed voice as the man yawns
and rises,
"Bring them down from their ruddy
gallows;
Let there be clean linen for the backs
of thieves;
Let lovers go fresh and sweet to be
undone,
And the heaviest nuns walk in a pure
floating
Of dark habits,
keeping their difficult
balance."
Richard Wilbur
The Illuminati Church is an old church in Germany. The Eye of Providence is emblazoned on the ceiling, a symbol of God's omnipresence.
Read more: www.obsidianurbexphotography.com/religious/illuminati-chu...
rural Iceland is invariably marked by the omnipresence of "traktoreggs", the fermeting hay rolls that serve as food for horses, cows and sheep throughout the long long month of winter. So some houses almost disappear behind a pyramid of those hayrolls.
Happy Monochrome Monday!
Et Non!!!
Cloche de la Chapelle du Mont Gargan.
fr.wikipedia.org/wiki/Mont_Gargan
BON WEEK-END DE PÂQUES A TOUS !!!
New York has two separate concentrations of high-rise buildings: Midtown Manhattan and Lower Manhattan, each with its own uniquely recognizable skyline. Midtown Manhattan, the largest central business district in the world, is home to such notable buildings as the Empire State Building, the Chrysler Building, Citigroup Center and Rockefeller Center. Lower Manhattan comprises the third largest central business district in the United States (after Midtown and Chicago's Loop). Lower Manhattan was characterized by the omnipresence of the Twin Towers of the World Trade Center from its completion in 1973 until its destruction in the September 11 attacks, 2001.
Today Lower Manhattan is undergoing a rapid reconstruction, to include the new One World Trade Center. The Downtown skyline will also soon get notable additions from such architects as Santiago Calatrava and Frank Gehry. Goldman Sachs is building a 225 meter tall, 43 floor building across the street from the World Trade Center site.
¿Qué es locura: ser caballero andante
o seguirlo como escudero?
¿De él o yo, quién es loco verdadero?
¿El que, despierto, sueña insanamente?
¿El que, aunque esté vendado,
sigue el sueño y ve lo real
de un loco por las brujas embrujado?
Heme, tal vez, único demente
y sabiéndome tal, fuera de quicio,
soy —insensato— un loco de juicio.
(Carlos Drummond de Andrade / Disquisición en el Insomnio)
“We know that God is everywhere; but certainly we feel His presence most when His works are on the grandest scale spread before us; and it is in the unclouded night-sky, where His worlds wheel their silent course, that we read clearest His infinitude, His omnipotence, His omnipresence.” — by Charlotte Brontë (from the novel, Jane Eyre).
Agathla Peak is an eroded volcanic plug (rising about 1500 ft. or 457 m.) south of Monument Valley, Arizona that is sacred to the Navajo (requiring permission from the local residents). I used a Cyclops 18-million candlepower spotlight to light paint the peak from a distance of almost 1 mile (5000 ft. or 1524 m.). My camera shutter was operated by a friend, and synchronized by radio communication. EXIF: Canon 5D Mark III + Rokinon 24mm f/1.4 lens • 13 seconds, f/2.0, ISO 4000.
My NEW Calendar: This is one of the images from my new 2019 Starry Night Quotes calendar. After last year’s success of my calendar, Deseret Book publishing asked me to do a calendar that pulls less from secular writings, and centers more on spiritual thoughts.
If my calendars are still available at your local (Utah/Idaho) Deseret Book, grab one (sku # 5216227); or get one from my Etsy store (where you can see more sample months and enlarge to read the quotes).
I loved the omnipresence of water jugs in Egypt. In most public places, in markets and on the streets ...
Looks serene but I was scarred for life by trillions of rabid,vampirical midges whose omnipresence also wasted most of my shots.
Excerpt from lartdansmaclasse.mnbaq.org/fr/oeuvre/lafetedieuaquebec:
About Jean-Paul Lemieux
Quebec, 1904 - Quebec, 1990
Jean Paul Lemieux developed his artistic talent in his early twenties. He enrolled at the École des Beaux-Arts in Montreal at the age of 22 and studied alongside other painters who left their mark in the history of Quebec art: Louis Muhlstock, Jori Smith and Paul -Emile Borduas among others. He deepened his knowledge during trips to France and the United States and returned to Quebec to complete the studies he left behind. From then on, he was a painter, teacher and art critic all at the same time. He produces works of all genres: portrait, religious scenes and genre scene, but it is the landscape that will occupy the greatest place in his production. Unlike some of his compatriots in the early 1940s, Lemieux refused to engage in abstraction, although his landscapes were sometimes almost minimalist. Until the end, he creates figurative works that tell the story of the Quebec of his time, without ever being devoid of a touch of humor.
About Corpus Christi in Quebec
This imposing work by Lemieux is constructed from an accumulation of details, characters and actions. Without being a caricature, it presents with a few touches of humour, the omnipresence of the Catholic religion in Quebec in the 1940s.
Looking closer, we see certain characters whose posture reflects their indifference to the action in progress. . The artist himself staged himself at the door of a tavern of which he would be the owner, waiting with folded arms for the ceremony to end. The “S” shaped composition of the image leads the eye through the canvas to savor its fine details. Lemieux offers us here a superb aerial perspective, allowing us to slightly overlook the magnificent City of Quebec.
Retour aux anciens Bains et Thermes liégeois transformés en Cité Miroir, un lieu de débat, d'éducation et de culture.
L’échevin liégeois Georges Truffaut lance le projet des Bains et Thermes. Il comprend deux bassins de natation, une station d'autobus, une section d'hydrothérapie, des locaux annexes, un café-restaurant, un dancing. L'architecte moderniste Georges Dedoyard sera désigné au terme d'un concours au règlement très strict.
Le bâtiment est achevé sous l’occupation nazie et ouvre ses portes au public en mai 1942. Georges Truffaut, décédé en résistant en Angleterre un mois auparavant, ne verra jamais son projet abouti.
Considéré comme l’une des plus importantes réalisations du style moderniste de l’entre-deux-guerres, le bâtiment de la Sauvenière adopte les formes d’un paquebot aux proportions majestueuses. A l’intérieur, l’élément le plus singulier est le grand hall des bassins qui s’étend sur 80 mètres de long et plus de 10 mètres de haut.
Dedoyard s’est inspiré du courant artistique et architectural allemand Bauhaus. Les formes élémentaires - ici le cube et la sphère - sont mises en valeur, la symétrie règne. Les murs nus, les lignes épurées, l’omniprésence du béton armé et du verre vont dans le sens de cette architecture essentiellement fonctionnaliste.
Return to the old Liège baths and thermal baths transformed into a Cité Miroir, a place of debate, education and culture.
The Liège alderman Georges Truffaut launched the Bains et Thermes project. It includes two swimming pools, a bus station, a hydrotherapy section, additional premises, a café-restaurant, a dance hall. The modernist architect Georges Dedoyard will be appointed after a competition with very strict regulations.
The building was completed under the Nazi occupation and opened its doors to the public in May 1942. Georges Truffaut, who had died in resistance in England a month earlier, would never see his project succeeded.
Considered one of the most important achievements of the Modernist style of the interwar period, the Sauvenière building takes the form of a liner of majestic proportions. Inside, the most unique feature is the large pool hall which stretches 80 meters long and more than 10 meters high.
Dedoyard was inspired by the German Bauhaus artistic and architectural movement. The elementary forms - here the cube and the sphere - are highlighted, symmetry reigns. Bare walls, clean lines, the omnipresence of reinforced concrete and glass go in the direction of this essentially functionalist architecture.
Relámpago de carne hecha de roca,
gesto de invocación incorporada;
anciano de cristal cuya mirada
parece un girasol de doble boca.
En tu oración la luz se ha vuelto loca
llena de mansedumbre exasperada;
y una tormenta azul, paralizada
se postra a ese alarido que convoca.
Tu arquitectura gime como un bosque
crucificado en furia que no mengua
bajo las destrucciones cenitales.
Yo pido a ese sarmiento que me enrosque
con brasas y zafiros esta lengua
de pecados y cantos capitales.
(Juan Eduardo Cirlot / Poema a Gaudí)
Baptisée Venise de l'Ouest, à cause de l'omniprésence de l'Huisne et de la Même, qui serpentent en son coeur, La Ferté-Bernard est une jolie cité médiévale qui marque l'entrée du Perche sarthois, elle est traversée de petits canaux sur lesquels on peut flâner en bateau électrique.
Called Venice of the West, because of the omnipresence of the Huisne and the Same, which snake in his heart, La Ferté-Bernard is a pretty medieval city which marks the entrance of the Perche Sarthois, it is crossed of small canals on which you can stroll by electric boat.
La piedra es la criatura
perfecta
igual a sí misma
vigilante de sus fronteras
exactamente repleta
de pétreo sentido
con un aroma que a nada recuerda
a nadie espanta no despierta codicia
Su ardor y frío
son justos y están llenos de dignidad
siento su duro reproche
cuando la apreso en mi mano
y su noble cuerpo
absorbe el falso calor
Las piedras no se dejan domesticar
hasta el final nos mirarán
con su mirada tranquila clarísima
(Zbigniew Herbert / La Piedra)
These photos were taken in Farlow's Garden where we enjoyed a tropical lunch following Kelsey's awards ceremony.
Vino a mí en espiral,
con vuelo de mañana,
su voz hecha sonrisa
de lucero del alba.
Mi sangre baña el río
en aleteo de agallas;
queda el cuerpo sin sangre
y oye la voz del alba.
Está mi cuerpo frío
ya tendido en la playa,
y huyendo de la luz
desaparece el alba.
Su voz hecha sonrisa
vino a mí en espiral;
mi gesto sin aristas
fue a ella en espiral.
(José María Hinojosa / Mi Alegría)
El gran camino no tiene puerta
miles de senderos penetran en él
El que atraviesa esta barrera sin puerta
camina libremente entre el cielo y la tierra
(MUMONKAN)
------------------------------------------------------
De los incontables monumentos al peregrino y al Apóstol Santiago,
que salen al encuentro en en el camino,
tengo un especial cariño por esas pequeñas esculturas de piedra,
como la que hay en VENTOSA,
que casi parecen desearte BUEN CAMINO, PEREGRINO.
The building is intentionally reminiscent of the United States Capitol. Designed by Elijah E. Myers, it was constructed in the 1890s from Colorado white granite, and opened for use in November 1894. The distinctive gold dome consists of real gold plate, first added in 1908, commemorating the Colorado Gold Rush. The building is part of Denver's Civic Center area.
NRHP # #74002348
Retour aux anciens Bains et Thermes liégeois transformés en Cité Miroir, un lieu de débat, d'éducation et de culture.
L’échevin liégeois Georges Truffaut lance le projet des Bains et Thermes. Il comprend deux bassins de natation, une station d'autobus, une section d'hydrothérapie, des locaux annexes, un café-restaurant, un dancing. L'architecte moderniste Georges Dedoyard sera désigné au terme d'un concours au règlement très strict.
Le bâtiment est achevé sous l’occupation nazie et ouvre ses portes au public en mai 1942. Georges Truffaut, décédé en résistant en Angleterre un mois auparavant, ne verra jamais son projet abouti.
Considéré comme l’une des plus importantes réalisations du style moderniste de l’entre-deux-guerres, le bâtiment de la Sauvenière adopte les formes d’un paquebot aux proportions majestueuses. A l’intérieur, l’élément le plus singulier est le grand hall des bassins qui s’étend sur 80 mètres de long et plus de 10 mètres de haut.
Dedoyard s’est inspiré du courant artistique et architectural allemand Bauhaus. Les formes élémentaires - ici le cube et la sphère - sont mises en valeur, la symétrie règne. Les murs nus, les lignes épurées, l’omniprésence du béton armé et du verre vont dans le sens de cette architecture essentiellement fonctionnaliste.
Return to the old Liège baths and thermal baths transformed into a Cité Miroir, a place of debate, education and culture.
The Liège alderman Georges Truffaut launched the Bains et Thermes project. It includes two swimming pools, a bus station, a hydrotherapy section, additional premises, a café-restaurant, a dance hall. The modernist architect Georges Dedoyard will be appointed after a competition with very strict regulations.
The building was completed under the Nazi occupation and opened its doors to the public in May 1942. Georges Truffaut, who had died in resistance in England a month earlier, would never see his project succeeded.
Considered one of the most important achievements of the Modernist style of the interwar period, the Sauvenière building takes the form of a liner of majestic proportions. Inside, the most unique feature is the large pool hall which stretches 80 meters long and more than 10 meters high.
Dedoyard was inspired by the German Bauhaus artistic and architectural movement. The elementary forms - here the cube and the sphere - are highlighted, symmetry reigns. Bare walls, clean lines, the omnipresence of reinforced concrete and glass go in the direction of this essentially functionalist architecture.
No se ve gente en este monte,
sólo se oyen, lejos, voces.
Bosque profundo. Luz poniente:
alumbra el musgo y, verde, asciende.
Empty hills, no one in sight,
only the sound of someone talking;
late sunlight enters the deep wood,
shining over the green moss again.
(Wang Wei / En la Ermita del Parque de los venados)
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Taken somewhere on the edge of Shoreditch if I recall correctly, this was one of those instinctive shots where I raised the camera to my eye and pressed the shutter without thinking about it too much. I suspect it was the predominant yellow and blue colours that caught my eye so now I'm actually wondering if that's been influenced by the omnipresence of the Ukrainian flag.
By the way, the next London Flickr Group photowalk is being held on Saturday 24th June, more details here if that sounds something you'd be interested : www.flickr.com/groups/londonflickrgroup/discuss/721577219...
Click here to see more of my London photos : www.flickr.com/photos/darrellg/albums/72157601900466587
From the Chiquita website, "For over 70 years, our iconic Blue Stickers have been the seal of high-quality fruit, a celebration of fun, and a way to help tell our sustainability story.
Over the years, Chiquita has created numerous fun limited-edition versions of its Blue Sticker – highlighting fitness, fan artwork, cause-related issues, and other unique designs crafted by well-known artists such as Romero Britto."
© D.Godliman
Mas la línea espiral, no sostenida
sino por aire y mar, oh
escalera, scalaria delicada,
oh monumento frágil de la aurora
que un anillo con ópalo amasado
enrolla deslizando la dulzura.
(Pablo Neruda / Molusaca Gongorina)
A place I knew so much about, but had never seen
stories so numerous that oversaw all that had been
my foothold was already placed from forebearing steps
in a time that came together with the adept preps
of yore...now the oversight of a level playing field
feels something like the home so long concealed
now it resembles the Sun coming home to you
from crimson horizons to the hinterland of chanson renew
everything I ever knew, everyone I've ever known
are coming back to me with lyrics full-blown
it's exhilerating beyond the vallies of misty eyes
those that see mystery of life in disguise
and here lies the truth of so many ages gone
in the steps of my forebears, a comcomitant dawn
as days pass the mantle of the years they surpass
is there still room for today's sentimental impasse?
I think yes, a little, from the wisdom of perspicacious past
we see a future tweaked by a timelessly entranced contrast
the original trance mixed-in with pre-released emotions
hits the perfect note for a memoir of visionary scope and notions
reliving is the reimbursement of the missing self's presence
of the mind is the spirit of the levelled landscape's omnipresence
free!! at last!! with the coming together of all, there is no time like now;
the roots of the deeper Soul need not yield to societal plough.
by anglia24
10h00: 14/06/2008
©2008anglia24
Esta foto es antigua, es del año 2008 pero viendo fotos la he encontrado y me gusta. por eso la subo esperando os guste a todos y a todas.
Christ, the Redeemer... differents views
Taken from a moving bus (through the glass window) in Rio de Janeiro!
He aquí la calma del hogar lejano, el manso río, el otoñal paisaje.
(Ay, solitario y lento peregrino,
¡descansa ya!
Su mano borrará de tu traje la polvorienta huella del camino.)
Pisaba ya el umbral.
Y sonreía.
-Hogar.
Paisaje.
Otoño.
Río manso.-
Y, en el reloj del muro, el Sol ponía la irreparable hora del descanso.
(Dámaso Alonso / El Descanso)