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The Queen Victoria Silver Jubilee Memorial Technical College was opened by the Governor of Queensland, Charles Wallace Alexander Napier Cochrane-Baillie, 2nd Baron Lamington, on the 4th of June 1901, at a time when technical education was becoming firmly established throughout Queensland. Queensland's first technical college was established in Brisbane in 1882 and in 1898 the Brisbane Technical College Act was passed which governed only the Brisbane Technical College. Technical colleges established outside Brisbane during this period were initiated and run by independent boards not bound by statutes or regulations and the Ipswich Technical College was the first of these to be established and to construct its own purpose-built college. Other independent technical colleges to follow Ipswich were Warwick (1906), Mount Morgan (1909), and Toowoomba (1910).
Ipswich commenced running technical classes in August 1891 after a public meeting was held in June where community leaders including the Mayor, the Headmaster of the Ipswich Grammar School and the Chairman of The Queensland Times accepted a Government offer of £250 to begin technical education at Ipswich. Prior to 1891, the only form of technical education available in Ipswich was through a limited range of courses at the Ipswich School of Arts.
The technical classes began with book-keeping, drawing, algebra, and geometry at the Ipswich Middle State School, in rented premises and even in a rented foundry. Arrangements were also made to include dressmaking, cookery, ambulance work, geography, history, Latin and English to the syllabus. The financial difficulties bought on by the depression of the early 1890s forced the college to close between 1893 and 1896. It reopened in 1897 in O'Sullivan's Buildings in Brisbane Street. In the same year the first classes in coal mining began.
At a public meeting in January 1897, it was decided to commemorate Queen Victoria's silver jubilee by erecting a new technical college. The local community raised £1000, and with a government grant of £2000 work began on a site granted by the city council in the Central Gardens. The college, a two-storey masonry structure with a basement was designed by prominent Ipswich architect George Brockwell Gill. The contractor was H Woodford and the brickwork was undertaken by G Williams.
The architect, Goerge Brockwell Gill, designed many of the grand residences and public buildings in Ipswich from the 1880s to the 1930s. Some of his works include 'Brynhyfryd' for Lewis Thomas (1889/1890), Ipswich Girls' Grammar School (1890/1891), Saint Paul's Rectory (1895), the Ipswich Club (1916), the Hotel Metropole (1906), and supervision of the construction of the Walter Burleigh Griffin Incinerator in 1936. Gill emigrated from London and settled in Ipswich in 1886 where he commenced work as an architect for the firm of Samuel Shenton. Gill took over Shenton's practice in 1889 when Shenton retired. Gill had been elected Associate of the Queensland Institute of Architects in 1904 and Fellow by 1913. He was its Vice-President in 1914 - 1916 and President in 1918 - 1919.
At this time the college was managed by a local committee with local knowledge and as various committee members were connected with the railway workshops or mines the curriculum was able to meet the needs of the city.
By 1902 the Board of Technical Education, created by thirty-four technical colleges throughout Queensland, was established to regulate and increase technical education and advise the Minister for Public Instruction. In 1903 annual examinations in Ipswich which were previously run by the local College Committee were placed under the control of the Board of Technical Education. In 1905 this Board was abolished when a separate branch of the department was established.
The Ipswich student population expanded rapidly and by 1910 an electrical laboratory had been added to the basement. In 1910 the City Council also agreed that the site on which the College was situated be vested in the Minister for Public Instruction.
A lack of complete courses was remedied in 1912 with the introduction of the Mine Manager's Certificate course (issued by the Department of Mines) and the Mechanical and Electrical Diploma Course (issued by the University of Queensland).
The building program was continued with the establishment in 1915 of a Domestic Science area on the top floor of the original college building (still evident today) and the completion of a brick building fronting Ellenborough Street in 1917. The top floor was devoted to the Commercial Day School, Engineering Diploma courses and laboratories and the ground floor was occupied by the Lecture Hall, Library, Dressmaking Room, Drawing Office and Teachers' Rooms. The basement was occupied by the Engineering Workshops, Storeroom, Patternmaking Shop, Plumbing Shop and Blacksmith's Shop.
In 1922 the Domestic Science School, the Commercial Day School and the Preparatory Trade School were given High School Status and students were prepared for the University Junior Exams. In 1924 a new building was opened to house the new high school classes and in 1930 the three separate schools were merged to form the Ipswich Technical High School. This new building was extended in 1941 and stands visible from Limestone Street.
In 1937 a workshops building was constructed on the southern side of the High School building which was later used as the Mining, Science and Student Amenities area. This building now has a canteen on the ground floor and the top floor is vacant with evidence of science laboratories still extant.
During the Second World War the facilities of the college were used to train a large number of Defence Trainees. The college expanded again in 1944 when a new complex was constructed on the west side of Ellenborough Street to house a Machine Shop and in 1945 a Woodworking Shop was opened and in 1947 a Plumbing Shop was opened on the same site. Both the plumbing workshop and the teachers' common room were built by the Commonwealth Reconstruction Trainees as part of their training program. (NB: This site is not within the listing boundary for the Technical College Entry in the Heritage Register.)
From 1948 the College Committee was in financial trouble on a number of occasions and in July 1951 the control of the college administration was taken over by the Queensland Government. In 1962 the Technical High School was separated from the Technical College and the Ipswich State High School was established at Brassal.
The Technical College was later absorbed into the Bremer TAFE and now operates as a secondary campus to the main campus in Bundamba.
Source: Queensland Heritage Register.
some stuff that's probably going to live on top of the card catalog now: a few patternmaking/draping/sewing books, knitting needles and crochet hooks (that live in barfware ceramic jars i made myself), the wooden head, domo, and some other stuff that seemed like it belonged there.
Im Textiltechnikum Mönchengladbach trifft Nostalgie auf Technik – und diese filigranen Nadeln gucken mich an, als würden sie gleich losnähen. Wer braucht schon Hightech, wenn Oldschool-Maschinen SO cool aussehen?
Close-up of my Woven Triangles Tessellation III, the symmetric layout with molecules of two different chiralities.
This is the final pattern I drafted for Daenerys's leggings. I drafted the original sloper (shown earlier in my photostream) following the directions on Stuart Anderson's Pattern School website, adapting them from human scale to Iplehouse SID scale (1:2.8). That gave me the basic pants shape from which I made a prototype, tailored the prototype, and then iteratively adjusted the pattern.
Pattern PDF and more explanation here: www.denofangels.com/forums/showthread.php?585428-Pattern-...
We got snowed in the other day, so I had some time to start new projects.
I hope it's not one of those unfinished projects I have laying around.
This is the leggings sloper (block) I made following the directions on Stuart Anderson's Pattern School website, adapting them from human scale to Iplehouse SID scale (1:2.8)
Pattern PDF and more explanation here: www.denofangels.com/forums/showthread.php?585428-Pattern-...
A big Christmas Eve tidy up - well overdue. My Ikea Trestle table, when raised to its full height, is the perfect height for patternmaking. A craft book stash is under the table.
Blogged here
I am learning how to make patterns for my dolls! It is very exciting!
Revolutionary cake ( Den of Angels profile here: www.denofangels.com/forums/member.php?53792-revolutionary... ) has been kind enough to provide a very amazing step-by-step tutorial ( www.denofangels.com/forums/showthread.php?407695-Patternm...! ) for bodice and skirt blocks/slopers, which are the building blocks for creating custom patterns for your dolls. I believe that she is still working on adding sleeves and pants to the tutorial, but I may be mistaken. A thread of bjd measurements has been added here: www.denofangels.com/forums/showthread.php?411703-Pattern-...
BE WARNED!
The slopers that you create are extremely form-fitting. They are meant to be a BASIS for creating patterns off of, not the final product.
You can see my first efforts here. I have used paper towel (or kitchen paper as I have also seen it referred to) and scotch tape (clear tape). The reason that I have used paper towel is that it is cheap, has good body, and most importantly, it DOESN'T REQUIRE SEWING FOR FITTING! This means that it can be cut and fitted very quickly and accurately, making the whole process that much more streamlined.
Using scotch tape allows me to simply tear up the taped seam to remove or reposition the block. It also allows me to tighten/loosen the block easily and shape it with no guesswork (that you need when sewing the fabric block).
To transfer the drawn pattern to my paper towel, I simply folded the paper towel in half, aligned it underneath my pattern drawing along the front centerline, and used a pin to poke holes through the drawing into the paper towel. This transferred them really well! I then just 'connected the dots', cut it out along the lines, and taped it together. I did the same thing for the back. When I was done taping the whole thing together (to make sure everything was aligned properly), I just cut up the middle back line, put it on Ellen, and taped it up using scotch tape! Easy peasy!
The pins through the seam allowance catch the backside of the knit fabric but do not pierce the front of the garment where they would leave behind visible holes. Also, note how carefully I pinned down the center seam's seam allowances, so that this seam doesn't leave a bump in the waistline of the finished pants. I did the same with the ankle cuff hems..
Pattern PDF and more explanation here: www.denofangels.com/forums/showthread.php?585428-Pattern-...
Singapore Suntec Fountain of Wealth
It had been on my mind to head to the fountain of wealth at suntec after its make over. It was a challenge to compose the 4 tower with the fountain even with a 14-24 lens. The water spraying out from the fountain adds to the challenge of getting a good shot.
Luckily for me , i manage to get a few good clean shot without any "human" in the composition.
.:About :.
The Fountain of Wealth (Chinese: 财富之泉) is listed by the Guinness Book of Records in 1998 as the largest fountain in the world.[1] It is located in one of Singapore's largest shopping malls, Suntec City.
During certain periods of the day, the fountain is turned off and visitors are invited to walk around a mini fountain at the centre of the fountain's base to collect coins for good luck. At night, the fountain is the setting for laser performances, as well as live song and laser message dedications between 8pm to 9pm daily.[2] It is situated in such a way the fountain is the hub of the shopping mall.
History
The Fountain of Wealth was constructed in 1995, together with the main Suntec City development. A symbol of wealth and life, the Fountain Of Wealth is recognized since 1998 by the Guinness Book Of World Records as the World's Largest Fountain. The bronze ring of the fountain is designed based on the Hindu Mandala, meaning universe and is a symbolic representation of the oneness in spirit and unity and further symbolizes the equality and harmony of all races and religions in Singapore.
Structure
The fountain is made of silicon bronze, and consists of a circular ring with a circumference of 66 metres supported on four large slanted columns. It occupies an area of 1683.07 square metres,[3] with a height of 13.8m.[4] The sand cast silicon bronze, including all formwork and patternmaking was designed,manufactured and installed by DCG Design and Meridian Projects (from Melbourne Australia) in 1995. The base area of the fountain is 1,683 square metres. In the design plan of Suntec City, where the five tower blocks represent the fingers and thumb of a left hand emerging from the ground, the fountain forms the palm of the hand.
Location
The Fountain of Wealth is located within the commercial complex of Suntec City in Singapore. The base of the fountain is located underground, and on its base perimeter lies the main basement restaurant area of Suntec City. The circular ring top of the fountain is visible at ground level.
Contact me here
I primarily flared the ankle for the style of it, but it also solves the problem of getting the pants over the doll's feet without breaking the ankle hem stitches. If brought the pants down to just over the ankle, like pencil jeans, I would have had to either zig-zag stitch the hems, or zipper the side seams.
November 2005
In 2005, after a very rewarding US West Coast teaching tour debuting our workshop, "The Cutting Edge," we were asked by Joan Clipp at PolymerCAFE magazine to contribute a how-to article featuring our new techniques. At the time, we weren't sure how we could. Using a Peeler as a new tool for polymer clay, "The Cutting Edge" workshop was an entire weekend suite of techniques. Day 1 featured a number of methods for revealing graphic patterns in clay slabs: Holes, Lines, Inserts, Texture Without Texture, and Peeler Mokume were some of the techniques that made up what we would later refer to as "Polymerology." On Day 2, we debuted "Matrix Canes," taking simple striped canes and turning them sideways. It was, quite literally, a different approach to peeling (and canework), but an equally open-ended patternmaking system. We were excited at the time to share all this new stuff, but because it was a challenge to fit everything into a 2-day workshop, we couldn't imagine how we might fit even half of it into a few pages in a magazine. What we decided to do instead was isolate just one of our new Peeler possibilities, and feature it in the article. We zeroed in and debuted "The Cutting Edge" in print by focusing in on one of its most accessible and fundamental techniques: Lines.
Knowing that there was a chance this could be the cover story for PolymerCAFE, I decided to do my best to create a piece that would be worthy of a cover photo, and then use it as a departure point for the tutorial. My experience has been that every new technique plays coy at first, never revealing itself to you completely. You think you're done, but then a little something new and unexpected will surface, coaxing you in to investigate even further. What follows is a back-and-forth: question, answer, new question, new answer. A series of tipping points will occur until it becomes apparent that the thing you first thought was a small tangent of something else is actually an independent thing of its own. This was the case with Lines. In the midst of so many Peeler options, I hadn't gone very far with this one part of my Cutting Edge repertoire. I wasn't sure I could pull it off. But this necessary focus was a perfect opportunity to discover its potential, and once I challenged myself to make a multi-beaded necklace featuring only Lines, I realized how versatile it was.
Sometimes, deliberately limiting your options can give you the freedom to explore a narrower range more deeply. In the end, I designed and built 27 slabs, for 27 beads, in 27 different colours, each with a unique Lines pattern.
Our friend Lisa, a photographer and graphic designer, took this shot. We spent the afternoon at her house, dining room as studio, hanging out and taking notes during the shoot. Our son was the one-year-old photographer's assistant that day.
photo by Lisa Salazar, CGD
Men pose in their work areas at the Standard Pattern Works in York, Pennsylvania, sometime early in the twentieth century.
As Wikipedia explains, "In casting, a pattern is a replica of the object to be cast, used to prepare the cavity into which molten material will be poured during the casting process.... The making of patterns, called patternmaking..., is a skilled trade that is related to the trades of tool and die making and moldmaking, but also often incorporates elements of fine woodworking."
Singapore Suntec Fountain of Wealth
It had been on my mind to head to the fountain of wealth at suntec after its make over. It was a challenge to compose the 4 tower with the fountain even with a 14-24 lens. The water spraying out from the fountain adds to the challenge of getting a good shot.
Luckily for me , i manage to get a few good clean shot without any "human" in the composition.
.:About :.
The Fountain of Wealth (Chinese: 财富之泉) is listed by the Guinness Book of Records in 1998 as the largest fountain in the world.[1] It is located in one of Singapore's largest shopping malls, Suntec City.
During certain periods of the day, the fountain is turned off and visitors are invited to walk around a mini fountain at the centre of the fountain's base to collect coins for good luck. At night, the fountain is the setting for laser performances, as well as live song and laser message dedications between 8pm to 9pm daily.[2] It is situated in such a way the fountain is the hub of the shopping mall.
History
The Fountain of Wealth was constructed in 1995, together with the main Suntec City development. A symbol of wealth and life, the Fountain Of Wealth is recognized since 1998 by the Guinness Book Of World Records as the World's Largest Fountain. The bronze ring of the fountain is designed based on the Hindu Mandala, meaning universe and is a symbolic representation of the oneness in spirit and unity and further symbolizes the equality and harmony of all races and religions in Singapore.
Structure
The fountain is made of silicon bronze, and consists of a circular ring with a circumference of 66 metres supported on four large slanted columns. It occupies an area of 1683.07 square metres,[3] with a height of 13.8m.[4] The sand cast silicon bronze, including all formwork and patternmaking was designed,manufactured and installed by DCG Design and Meridian Projects (from Melbourne Australia) in 1995. The base area of the fountain is 1,683 square metres. In the design plan of Suntec City, where the five tower blocks represent the fingers and thumb of a left hand emerging from the ground, the fountain forms the palm of the hand.
Location
The Fountain of Wealth is located within the commercial complex of Suntec City in Singapore. The base of the fountain is located underground, and on its base perimeter lies the main basement restaurant area of Suntec City. The circular ring top of the fountain is visible at ground level.
Contact me here
Singapore Suntec Fountain of Wealth
It had been on my mind to head to the fountain of wealth at suntec after its make over. It was a challenge to compose the 4 tower with the fountain even with a 14-24 lens. The water spraying out from the fountain adds to the challenge of getting a good shot.
Luckily for me , i manage to get a few good clean shot without any "human" in the composition.
.:About :.
The Fountain of Wealth (Chinese: 财富之泉) is listed by the Guinness Book of Records in 1998 as the largest fountain in the world.[1] It is located in one of Singapore's largest shopping malls, Suntec City.
During certain periods of the day, the fountain is turned off and visitors are invited to walk around a mini fountain at the centre of the fountain's base to collect coins for good luck. At night, the fountain is the setting for laser performances, as well as live song and laser message dedications between 8pm to 9pm daily.[2] It is situated in such a way the fountain is the hub of the shopping mall.
History
The Fountain of Wealth was constructed in 1995, together with the main Suntec City development. A symbol of wealth and life, the Fountain Of Wealth is recognized since 1998 by the Guinness Book Of World Records as the World's Largest Fountain. The bronze ring of the fountain is designed based on the Hindu Mandala, meaning universe and is a symbolic representation of the oneness in spirit and unity and further symbolizes the equality and harmony of all races and religions in Singapore.
Structure
The fountain is made of silicon bronze, and consists of a circular ring with a circumference of 66 metres supported on four large slanted columns. It occupies an area of 1683.07 square metres,[3] with a height of 13.8m.[4] The sand cast silicon bronze, including all formwork and patternmaking was designed,manufactured and installed by DCG Design and Meridian Projects (from Melbourne Australia) in 1995. The base area of the fountain is 1,683 square metres. In the design plan of Suntec City, where the five tower blocks represent the fingers and thumb of a left hand emerging from the ground, the fountain forms the palm of the hand.
Location
The Fountain of Wealth is located within the commercial complex of Suntec City in Singapore. The base of the fountain is located underground, and on its base perimeter lies the main basement restaurant area of Suntec City. The circular ring top of the fountain is visible at ground level.
Contact me here