View allAll Photos Tagged precise
The precise arrangement of the anthers around the central stigma, repeating the pattern of the petals, and the camera position are the two vital features of this image. My aim was to suggest a feeling of harmony within a simple composition.
Precise approach shots are required to large greens protected by bunkers that can be properly called hazards.
For more precise current measurement in LED lighting, industrial, automotive, and renewable energy applications, the Vishay Beyschlag MMA 0204 and MMB 0207 AEC-Q200-qualified Professional Thin Film MELF resistors in the 0204 and 0207 case sizes have been enhanced with tighter tolerance in the low ohmic range below 1 .
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Waning Moon on 11 November.
Precise crater detail near the Terminator Line (shadow line).
The mountains north east of four Mare basalt plains are seen lit up looking like the edge of a huge crater, but are in fact the highlands of the Montes Taurus. Just west of the edge of Montes Taurus is probably the cater Franklin and west of it is Posidinius.
The two clear craters towards the north pole region are Hercules and Atlas.
Montes Taurus is a rugged, jumbled mountainous region on the Moon. It is located to the east of the Mare Serenitatis, in the northeastern quadrant of the Moon's near side. Their extent is about 170 km.
Montes Taurus are relatively indistinct compared to other named lunar mountain systems. It is a broad hilly region without sharp borders. These mountains reach maximal height between craters Kirchhoff and Newcomb (4.9 km - approx height of Mt Blanc - above Mare Serenitatis and 2.1 km above mean level of lunar surface).
A number of craters lie embedded within this range. At the southwestern edge of the region is the crater Römer, and Newcomb is located in the northeastern section. Several satellite craters also lie throughout the Montes Taurus.
The southwestern edge of this region hosts Taurus–Littrow valley, the landing site of the manned Apollo 17 mission.
From the museum label: The domed building on the left is the church of San Simeone Piccolo; further up is Santa Croce. The canal recedes to a vanishing point off-centre, giving the painting its striking perspective. Beneath an expansive sky, Venice's architectural sights are picked out in precise detail. Such scenes of the city's everyday activity were very popular with English tourists.
Euro Racing Show in Luxembourg, ... some racing cars, old-timers, and a SM race as well as hilarious drift show. You honestly need to see for yourself how precise and talented those drift drives are ...
The precise moment when Chris Sinnett, not the "Chris Columbus",,,,,discovered some remote Oregon shores..... Columbus never made it to the west coast.......
Thanks Chris for inviting my wife Heidi and me on your boat.
The many different lanes demand incredibly precise GPS location – even more precise than in Europe.
Die zahlreichen Fahrspuren erfordern eine besonders präzise GPS-Standortbestimmung, präziser sogar als in Europa.
Faster and more precise, - this is today's reality on the construction site.
Every project is a race against time and space. The installations are designed in increasingly narrow spaces and the expectations of quality and durability are increasing. This is why we used Sikla basic elements for fixing the fixed point on our client's construction site - a solution that perfectly suits the requirements of modern construction.
💡 What did I win?
✔️ Fast and precise installation, thanks to components compatible with any system
✔️ Durability and safety - C5L corrosion protection and robust construction
✔️ Flexibility - height adjustment and adaptation to different types of pipes (steel, GRP, HDPE)
✔️ Optimal load transfer to the structure thanks to the special sliding plate
The LD-HV base element used in the project is used for large loads - with two clamps and on "double" legs up to a load of 32.8 kN.
Systematized solutions are the future of construction - less improvisation, more efficiency! 🔩✅
And you, what solutions do you use on your construction sites? Let me know in the comments! ⬇️
American Interior - 1934
Artist: Charles Sheeler (American, 1883–1965)
Charles Sheeler based American Interior on a photograph, which he had taken from above, of the living room of his former home in South Salem, New York. He designed the painting with the eye of a photographer, using a cropped composition, an oblique view, precise contours, and contrasts of light and dark. He interwove this modernist vision with his response to the purity of forms and patterns in handmade objects from the American past, such as the simple Shaker designs in the box, textiles, and chair.
"Charles Sheeler based his 1934 painting American Interior on a photograph. He interwove this modernist vision with his response to the purity of forms and patterns in handmade objects from the American past, such as the simple Shaker designs in the box, textiles, and chair. Kathryn Scanlan and Karin Roffman will talk about objects, painting, photography, and the fine line between the imaginary and the real."
windhamcampbell.org/festival/events/close-looking-charles...
www.youtube.com/watch?v=zRa8_CQFNMk
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Yale University has been collecting American art for more than 250 years. In 1832 it erected the first art museum on a college campus in North America, with the intention of housing John Trumbull’s paintings of the American Revolution—including his iconic painting The Declaration of Independence, July 4, 1776—and close to 100 of his portraits of Revolutionary and Early Republic worthies. Since then, the collection of the Yale University Art Gallery has grown to include celebrated works of art from virtually every period in American history. Encompassing works like an exquisite 18th-century watercolor-on-ivory memorial portrait of a bride, paintings of the towering grandeur of the American West in the 19th century, and jazz-influenced abstractions of the early 20th century, the Gallery’s collection reflects the diversity and artistic ambitions of the nation.
Superb examples from a “who’s who” of American painters and sculptors—including works by Benjamin West, John Singleton Copley, Ralph Earl, Albert Bierstadt, Hiram Powers, Frederic Church, Frederick Remington, Thomas Eakins, Winslow Homer, Augustus Saint-Gaudens, George Bellows, John Singer Sargent, Joseph Stella, Gerald Murphy, Eli Nadelman, Arthur Dove, Thomas Hart Benton, Edward Hopper, Alexander Calder, and Stuart Davis—bring the complex American story to life. Now these extraordinary works of art are in a new home—the elegantly restored galleries in Street Hall, the magnificent Ruskinian Gothic building designed in 1867 by Peter Bonnett Wight to be the first art school in America on a college campus. Rich in architectural detail and nobly proportioned, these breathtaking spaces allow the American collections to “breathe,” to present new visual alliances, and to create multiple artistic conversations. Under soaring skylights, the uniqueness of vision that generations of American artists brought to bear in the service of their art will be on full display.
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artgallery.yale.edu/collection?f%5B0%5D=on_view%3AOn%20vi...
The early years of the 20th century were characterized in the visual arts by a radical international reassessment of the relationship between vision and representation, as well as of the social and political role of artists in society at large. The extraordinary modern collection at the Yale University Art Gallery spans these years of dramatic change and features rich holdings in abstract painting by artists such as Pablo Picasso, Georges Braque, and Wassily Kandinsky, as well as in paintings and sculptures associated with German Expressionism, Russian Constructivism, De Stijl, Dada, and Surrealism. Many of these works came to Yale in the form of gifts and bequests from important American collections, including those of Molly and Walter Bareiss, B.S. 1940s; Stephen Carlton Clark, B.A. 1903; Mr. and Mrs. Paul Mellon, B.A. 1929; Katharine Ordway; and John Hay Whitney.
Art from 1920 to 1940 is strongly represented at the Gallery by the group of objects collected by the Société Anonyme, an artists’ organization founded by Katherine S. Dreier and Marcel Duchamp with Man Ray. This remarkable collection, which was transferred to Yale in 1941, comprises a rich array of paintings, drawings, prints, and sculptures by major 20th-century artists, including Marcel Duchamp, Constantin Brancusi, El Lissitzky, and Piet Mondrian, as well as lesser-known artists who made important contributions to the modernist movement.
The Gallery is also widely known for its outstanding collection of American painting from after World War II. Highlights include Jackson Pollock’s Number 13A: Arabesque (1948) and Roy Lichtenstein’s Blam (1962), part of a larger gift of important postwar works donated to the Gallery by Richard Brown Baker, B.A. 1935. Recent gifts from Charles B. Benenson, B.A. 1933, and Thurston Twigg-Smith, B.E. 1942, have dramatically expanded the Collection with works by artists such as James Rosenquist, Ed Ruscha, and Wayne Thiebaud.
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Yale University Art Gallery is the oldest college art museum in America. The Gallery’s encyclopedic holdings of more than 250,000 objects range from ancient times to the present day and represent civilizations from around the globe. Spanning a block and a half of the city of New Haven, Connecticut, the Gallery comprises three architecturally distinct buildings, including a masterpiece of modern architecture from 1953 designed by Louis Kahn through which visitors enter. The museum is free and open to the public.
www.archdaily.com/83110/ad-classics-yale-university-art-g...
Yale University’s School of Architecture was in the midst of pedagogical upheaval when Louis Kahn joined the faculty in 1947. With skyscraper architect George Howe as dean and modernists like Kahn, Philip Johnson, and Josef Albers as lecturers, the post-war years at Yale trended away from the school’s Beaux-Arts lineage towards the avant-garde. And so, when the consolidation of the university’s art, architecture, and art history departments in 1950 demanded a new building, a modernist structure was the natural choice to concretize an instructional and stylistic departure from historicism. Completed in 1953, Louis Kahn’s Yale University Art Gallery building would provide flexible gallery, classroom, and office space for the changing school; at the same time, Kahn’s first significant commission signaled a breakthrough in his own architectural career—a career now among the most celebrated of the second half of the twentieth century.
The university clearly articulated a program for the new gallery and design center (as it was then called): Kahn was to create open lofts that could convert easily from classroom to gallery space and vice versa. Kahn’s early plans responded to the university’s wishes by centralizing a core service area—home to the stairwell, bathrooms, and utility shafts—in order to open up uninterrupted space on either side of the core. Critics have interpreted this scheme as a means of differentiating “service” and “served” space, a dichotomy that Kahn would express often later in his career. As Alexander Purves, Yale School of Architecture alumnus and faculty member, writes of the gallery, “This kind of plan clearly distinguishes between those spaces that ... house the building's major functions and those that are subordinated to the major spaces but are necessary to support them.” As such, the spaces of the gallery dedicated to art exhibition and instruction are placed atop a functional hierarchy, above the building’s utilitarian realms; still, in refusing to hide—and indeed, centralizing—the less glamorous functions of the building, Kahn acknowledged all levels of the hierarchy as necessary to his building’s vitality.
Within the open spaces enabled by the central core, Kahn played with the concept of a space frame. He and longtime collaborator Anne Tyng had been inspired by the geometric forms of Buckminster Fuller, whom Tyng studied under at the University of Pennsylvania and with whom Kahn had corresponded while teaching at Yale. It was with Fuller’s iconic geometric structures in mind that Kahn and Tyng created the most innovative element of the Yale Art Gallery: the concrete tetrahedral slab ceiling. Henry A. Pfisterer, the building’s structural engineer, explains the arrangement: "a continuous plane element was fastened to the apices of open-base, hollow, equilateral tetrahedrons, joined at the vertices of the triangles in the lower plane.” In practice, the system of three-dimensional tetrahedrons was strong enough to support open studio space—unencumbered by columns—while the multi-angular forms invited installation of gallery panels in times of conversion.
Though Kahn’s structural experimentation in the Yale Art Gallery was cutting-edge, his careful attention to light and shadow evidences his ever-present interest in the religious architecture of the past. Working closely with the construction team, Kahn and Pfisterer devised a system to run electrical ducts inside the tetrahedrons, allowing light to diffuse from the hollow forms. The soft, ambient light emitted evokes that of a cathedral; Kahn’s gallery, then, takes subtle inspiration from the nineteenth-century neo-Gothic gallery it adjoins.
Of the triangulated, concrete slab ceiling, Kahn said “it is beautiful and it serves as an electric plug." ] This principle—that a building’s elements can be both sculptural and structural—is carried into other areas of the gallery. The central stairwell, for example, occupies a hollow, unfinished concrete cylinder; in its shape and utilitarianism, the stairwell suggests the similarly functional agricultural silo. On the ceiling of the stairwell, however, an ornamental concrete triangle is surrounded at its circumference by a ring of windows that conjures a more elevated relic of architectural history: the Hagia Sophia. Enclosed within the cylinder, terrazzo stairs form triangles that mimic both the gallery’s ceiling and the triangular form above. In asserting that the stairs “are designed so people will want to use them,” Kahn hoped visitors and students would engage with the building, whose form he often described in anthropomorphic terms: “living” in its adaptability and “breathing” in its complex ventilation system (also encased in the concrete tetrahedrons).
Given the structural and aesthetic triumphs of Kahn’s ceiling and stair, writing on the Yale Art Gallery tends to focus on the building’s elegant interior rather than its facade. But the care with which Kahn treats the gallery space extends outside as well; glass on the west and north faces of the building and meticulously laid, windowless brick on the south allow carefully calculated amounts of light to enter.
Recalling the European practice, Kahn presents a formal facade on York Street—the building’s western frontage—and a garden facade facing neighboring Weir Hall’s courtyard.
His respect for tradition is nevertheless articulated in modernist language.
Despite their visual refinement, the materials used in the gallery’s glass curtain walls proved almost immediately impractical. The windows captured condensation and marred Kahn’s readable facade. A restoration undertaken in 2006 by Ennead Architects (then Polshek Partnership) used modern materials to replace the windows and integrate updated climate control. The project also reversed extensive attempts made in the sixties to cover the windows, walls, and silo staircase with plaster partitions. The precise restoration of the building set a high standard for preservation of American modernism—a young but vital field—while establishing the contentiously modern building on Yale’s revivalist campus as worth saving.
Even with a pristinely restored facade, Kahn’s interior still triumphs. Ultimately, it is a building for its users—those visitors who, today, view art under carefully crafted light and those students who, in the fifties, began their architectural education in Kahn’s space. Purves, who spent countless hours in the fourth-floor drafting room as an undergraduate, maintains that a student working in the space “can see Kahn struggling a bit and can identify with that struggle.” Architecture critic Paul Goldberger, who studied at Yale a decade after Kahn’s gallery was completed, offers a similar evaluation of the building—one echoed by many students who frequented the space: “its beauty does not emerge at first glance but comes only after time spent within it.”
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Moses Urbano - Precise Reformer (40 mins) - Level 2 t.co/X7yvvgUNWX (via Twitter twitter.com/pilatesworkoutv/status/1087233136080097280)
Euro Racing Show in Luxembourg, ... some racing cars, old-timers, and a SM race as well as hilarious drift show. You honestly need to see for yourself how precise and talented those drift drives are ...
Sweeny’s West’s planned a fun Customer Appreciation Day for its customers Saturday, Oct. 9. Located at 621 East Enterprise Drive in Pueblo West, Colo., the store had great (human!) food and raffles at the event. It also debuted the new Precise Holistic Complete line, which many customers took home!
Another mini-university for our annual Founder's Day. Andy taught a group of eager woodworkers how to make a bench out of fallen trees.
Brattleboro, Vermont.
Precise bridge rails to connect rails between modules. The bottom of each bridge rail is color coded to the color of the wire that powers it. Each module has its own baggie, with a drawing and number for the bridge rails.
Doug Evans would always quote Grandma Evans, "If it is worth doing, it is worth overdoing".