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Responsible design strategy in this case means planting trees - any trees - which will withstand the wind at the top of a hill. Only then can we begin to consider food, colour, form and other uses.
This photo was taken at the Art Museum. This layout could be Proportion. It was taken several years ago by me and was called Angles.
Committee for fundamental principles and rights at work. 106th Session of the International Labour Conference. Geneva, June 2017.
Commission pour les principes et droits fondamentaux au travail. 106e session de la Conférence internationale du Travail. Genève, juin 2017.
Comisión para los principios y derechos fundamentales en el trabajo. 106.a reunión de la Conferencia Internacional del Trabajo. Ginebra, junio de 2017.
Photo © Crozet / Pouteau
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Fatehpur Sikri (Hindi: फ़तेहपुर सीकरी, Urdu: فتحپور سیکری) is a city and a municipal board in Agra district in the state of Uttar Pradesh, India. The city was founded in 1569 by the Mughal emperor Akbar, and served as the capital of the Mughal Empire from 1571 to 1585. After his military victories over Chittor and Ranthambore, Akbar decided to shift his capital from Agra to a new location 37 km WSW on the Sikri ridge, to honor the Sufi saint Salim Chishti. Here he commenced the construction of a planned walled city which took the next fifteen years in planning and construction of a series of royal palaces, harem, courts, a mosque, private quarters and other utility buildings. He named the city, Fatehabad, with Fateh, a word of Arabic origin in Persian, meaning "victorious." it was later called Fatehpur Sikri. It is at Fatehpur Sikri that the legends of Akbar and his famed courtiers, the nine jewels or Navaratnas, were born. Fatehpur Sikri is one of the best preserved collections of Indian Mughal architecture in India.
According to contemporary historians, Akbar took a great interest in the building of Fatehpur Sikri and probably also dictated its architectural style. Seeking to revive the splendours of Persian court ceremonial made famous by his ancestor Timur, Akbar planned the complex on Persian principles. But the influences of his adopted land came through in the typically Indian embellishments. The easy availability of sandstone in the neighbouring areas of Fatehpur Sikri, also meant that all the buildings here were made of the red stone. The imperial Palace complex consists of a number of independent pavilions arranged in formal geometry on a piece of level ground, a pattern derived from Arab and central Asian tent encampments. In its entirety, the monuments at Fatehpur Sikri thus reflect the genius of Akbar in assimilating diverse regional architectural influences within a holistic style that was uniquely his own.
The Imperial complex was abandoned in 1585, shortly after its completion, due to paucity of water and its proximity with the Rajputana areas in the North-West, which were increasingly in turmoil. Thus the capital was shifted to Lahore so that Akbar could have a base in the less stable part of the empire, before moving back to Agra in 1598, where he had begun his reign as he shifted his focus to Deccan. In fact, he never returned to the city except for a brief period in 1601. In later Mughal history it was occupied for a short while by Mughal emperor, Muhammad Shah (r. 1719 -1748), and his regent, Sayyid Hussain Ali Khan Barha, one of the Syed Brothers, was murdered here in 1720. Today much of the imperial complex which spread over nearly two mile long and one mile wide area is largely intact and resembles a ghost town. It is still surrounded by a five mile long wall built during its original construction, on three sides. However apart from the imperial buildings complex few other buildings stand in the area, which is mostly barren, except of ruins of the bazaars of the old city near the Naubat Khana, the 'drum-house' entrance at Agra Road. The modern town lies at the western end of the complex, which was a municipality from 1865 to 1904, and later made a "notified area", and in 1901 had a population of 7,147. For a long time it was still known for its masons and stone carvers, though in Akbar time it was known and 'fabrics of hair' and 'silk-spinning'. The village of Sikri still exists nearby.
ARCHITECTURE OF FATEHPUR SIKRI
Fatehpur Sikri sits on rocky ridge, 3 kilometres in length and 1 km wide, and palace city is surrounded by a 6 km wall on three side with the fourth being a lake at the time. Its architect was Tuhir Das and Dhruv Chawla and was constructed using Indian principles. The buildings of Fatehpur Sikri show a synthesis of various regional schools of architectural craftsmanship such as Gujarat and Bengal. This was because indigenous craftsmen were used for the construction of the buildings. Influences from Hindu and Jain architecture are seen hand in hand with Islamic elements. The building material used in all the buildings at Fatehpur Sikri, palace-city complex, is the locally quarried red sandstone, known as 'Sikri sandstone'. It is accessed through gates along the five-mile long fort wall, namely, Delhi Gate, the Lal Gate, the Agra Gate, Birbal's Gate, Chandanpal Gate, The Gwalior Gate, the Tehra Gate, the Chor Gate and the Ajmere Gate.
Some of the important buildings in this city, both religious and secular are:
Buland Darwaza: Set into the south wall of congregational mosque, the Jama Masjid at Fatehpur Sikri, this stupendous piece of architecture is 55 metre high, from the outside, gradually making a transition to a human scale in the inside. The gate was added some five years later after the completion of the mosque ca. 1576-1577 as an 'victory arch', to commemorate the Akbar's successful Gujarat campaign. It carries two inscriptions in the archway, one of which reads: "Isa, Son of Mariam said: The world is a bridge, pass over it, but build no houses on it. He who hopes for an hour may hope for eternity. The world endures but an hour. Spend it in prayer, for the rest is unseen".
The central portico comprises three arched entrances, with the largest one, in the centre, is known locally as the Horseshoe Gate, after the custom of nailing horseshoes to its large wooden doors for luck. Outside the giant steps of the Buland Darwaza to left is deep well.
Jama Masjid: It is a Jama Mosque meaning the congregational mosque, and was perhaps one of the first buildings to come up in the complex, as its epigraph gives AH 979 (AD 1571-72) as the date of its completion, with a massive entrance to the courtyard, the Buland-Darwaza added some five years later. It was built in the manner of Indian mosques, with iwans around a central courtyard. A distinguishing feature is the row of chhatri over the sanctuary. There are three mihrabs in each of the seven bays, while the large central mihrab is covered by a dome, it is decorated with white marble inlay, in geometric patterns.
Tomb of Salim Chishti: A white marble encased tomb of the Sufi saint, Salim Chisti (1478–1572), within the Jama Masjid's sahn, courtyard. The single-storey structure is built around a central square chamber, within which is the grave of the saint, under an ornate wooden canopy encrusted with mother-of-pearl mosaic. Surrounding it is a covered passageway for circumambulation, with carved Jalis, stone pierced screens all around with intricate geometric design, and an entrance to the south. The tomb is influenced by earlier mausolea of the early 15th century Gujarat Sultanate period. Other striking features of the tomb are white marble serpentine brackets, which support sloping eaves around the parapet.
On the left of the tomb, to the east, stands a red sandstone tomb of Islam Khan I, son of Shaikh Badruddin Chisti and grandson of Shaikh Salim Chishti, who became a general in the Mughal army in the reign of Jahangir. The tomb is topped by a dome and thirty-six small domed chattris, and contains a number of graves, some unnamed, all male descendants of Shaikh Salim Chisti.
Diwan-i-Aam : Diwan-i-Am or Hall of Public Audience, is a building typology found in many cities where the ruler meets the general public. In this case, it is a pavilion-like multi-bayed rectangular structure fronting a large open space. South west of the Diwan-i-Am and next to the Turkic Sultana's House stand Turkic Baths.
Diwan-i-Khas: the Diwan-i-Khas, or Hall of Private Audience, is a plain square building with four chhatris on the roof. However it is famous for its central pillar, which has a square base and an octagonal shaft, both carved with bands of geometric and floral designs, further its thirty-six serpentine brackets support a circular platform for Akbar, which is connected to each corner of the building on the first floor, by four stone walkways. It is here that Akbar had representatives of different religions discuss their faiths and gave private audience.
Ibadat Khana: (House of Worship) was a meeting house built in 1575 CE by the Mughal Emperor Akbar, where the foundations of a new Syncretistic faith, Din-e-Ilahi were laid by Akbar.
Anup Talao: A ornamental pool with a central platform and four bridges leading up to it. Some of the important buildings of the royal enclave are surround by it including, Khwabgah (House of Dreams) Akbar's residence, Panch Mahal, a five-storey palace, Diwan-i-Khas (Hall of Private Audience), Ankh Michauli and the Astrologer's Seat, in the south-west corner of the Pachisi Court.
Hujra-i-Anup Talao: Said to be the residence of Akbar's Muslim wife, although this is disputed due to its small size.
Mariam-uz-Zamani's Palace: The building of Akbar's Rajput wives, including Mariam-uz-Zamani, shows Gujarati influence and is built around a courtyard, with special care being taken to ensure privacy.
Naubat Khana: Also known as Naqqar Khana meaning a drum house, where musician used drums to announce the arrival of the Emperor. It is situated ahead of the Hathi Pol Gate or the Elephant Gate, the south entrance to the complex, suggesting that it was the imperial entrance.
Pachisi Court: A square marked out as a large board game, the precursor to modern day Ludo game where people served as the playing pieces.
Panch Mahal: A five-storied palatial structure, with the tiers gradually diminishing in size, till the final one, which is a single large-domed chhatri. Originally pierced stone screens faced the façade, and probably sub-divided the interior as well, suggesting it was built for the ladies of the court. The floors are supported by intricately carved columns on each level, totalling to 176 columns in all.
Birbal's House: The house of Akbar's favorite minister, who was a Hindu. Notable features of the building are the horizontal sloping sunshades or chajjas and the brackets which support them.
Recent excavation done by ASI in 2000 led to unearthing of an ancient jain city very near to the fort complex.
Other buildings included Taksal (mint), 'Daftar Khana (Records Office), Karkhanas (royal workshop), Khazana (treasury), Turkic styled Baths, Darogha's Quarters, stables, Caravan sarai, Hakim's quarters etc.
DEMOGRAPHICS
Fatehpur Sikri has a population of 28,757. Males constitute 53% of the population and females 47%. Fatehpur Sikri has an average literacy rate of 46%, lower than the national average of 74%: male literacy is 57%, and female literacy is 34%. In Fatehpur Sikri, 59% of the population is under 6 years of age.
ADMINISTRATIVE ESTABLISHMENT
Fatehpur Sikri is one of the fifteen Block headquarters in the Agra district it has 52 Gram panchayats (Village Panchayat) under it.
The Fatehpur Sikri, is a constituency of the Lok Sabha, Lower house of the Indian Parliament, and further comprises five Vidhan Sabha (legislative assembly) segments:
Agra Rural
Fatehpur Sikri
Kheragarh
Fatehabad
Bah
In all there are 12 villages of Sisodia Rajputs near Fatehpur Sikri fort in Agra district. These are Daultabad, Nayavas, Satha, korai, Behrawati, Byara, Undera, Kachora, Singarpur, Vidyapur, Onera, Arrua.
TRANSPORT
Fatehpur Sikri is about 39 km. from Agra. The nearest Airport is the Agra Airport (also known as Kheria Airport), 40 km from Fatehpur Sikri. The nearest railway station is the Fatehpur Sikri Railway Station, about one km. from the city centre . It is suitably connected to Agra and neighbouring centres by road, where regular bus services of UPSRTC ply, apart from Tourist buses and taxies.
WIKIPEDIA
Outline Course Content
* the ethics and principles of permaculture, their philosophy and practical application
* design methods
* energy, systems and the built environment
* people based permaculture design, community and urban sustainable living
* polycultures, organic food growing, forest gardening
* soil, water and microclimates
* animals in permaculture
* mapping, surveying and other design tools
* lots of practical hands on learning
Our Tutors
The lead tutors are Claire White and Graham Burnett, ably supported by a talented team from the London Permaculture Network who will draw on their personal experience, knowledge and insight to add flavour to the course. The team includes:
Hedvig Murray
Stefan Geyer
Ros Bedlow
Cinzia Sarigu
Kevin Mascarenhas
The 72 hour course is fully accredited by the Permaculture Association of Britain.
Course Booking Details
For bookings and further details please contact Cinzia Sarigu at
em: cisarigu@hotmail.com
tel: 07519 576 962
The Venue:
Maiden Lane Permaculture Project
Address: 156 St Paul’s Crescent London NW1 9XZ
Tube: Camden Town, Northern Line
New book! Epic Landscape Photography: The Principles of Fine Art Nature Photography!
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Join my new 45EPIC fine art landscapes page on facebook!
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Working on a couple photography books! 45EPIC GODDESS PHOTOGRAPHY: A classic guide to exalting the archetypal woman. And 45EPIC Fine Art Landscape Photography!
More on my golden ratio musings: facebook.com/goldennumberratio
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Greetings all! I have been busy finishing a few books on photography, while traveling all over--to Zion and the Sierras--shooting fall colors. Please see some here: facebook.com/mcgucken
Let me know in the comments if you would like a free review copy of one of my photography books! :)
Titles include:
The Tao of Epic Landscape Photography: Exalt Fine Art with the Yin-Yang Wisdom of Lao Tzu's Tao Te Ching!
The Golden Number Ratio Principle: Why the Fibonacci Numbers Exalt Beauty and How to Create PHI Compositions in Art, Design, & Photography
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And I am also working on a book on photographing the goddesses! :) More goddesses soon!
Best wishes on your epic hero's odyssey!:)
I love voyaging forth into nature to contemplate poetry, physics, the golden ratio, and the Tao te Ching! What's your favorite epic poetry reflecting epic landscapes? I recently finished a book titled Epic Poetry for Epic Landscape Photographers:
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Did you know that John Muir, Thoreau, and Emerson all loved epic poetry and poets including Shakespeare, Milton, Homer, and Robert Burns?
I recently finished my fourth book on Light Time Dimension Theory, much of which was inspired by an autumn trip to Zion!
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Via its simple principle of a fourth expanding dimension, LTD Theory provides a unifying, foundational *physical* model underlying relativity, quantum mechanics, time and all its arrows and asymmetries, and the second law of thermodynamics. The detailed diagrams demonstrate that the great mysteries of quantum mechanical nonlocality, entanglement, and probability naturally arise from the very same principle that fosters relativity alongside light's constant velocity, the equivalence of mass and energy, and time dilation.
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Epic 45SURF t-shirts & hoodies for your EPIC HERO'S ODYSSEY!
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Epic Malibu Sea Caves 2018 Caledar!
My book on Epic Landscape Photography!
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Photographing the Venus Archetype!
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Greetings mate! As many of you know, I love marrying art, science, and math in my fine art portrait and landscape photography!
The 45surf and gold 45 revolver swimsuits, shirts, logos, designs, and lingerie are designed in accordance with the golden ratio! More about the design and my philosophy of "no retouching" on the beautiful goddesses in my new book:
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"Photographing Women Models: Portrait, Swimsuit, Lingerie, Boudoir, Fine Art, & Fashion Photography Exalting the Venus Goddess Archetype"
If you would like a free review copy, message me!
Epic Landscape Photography! New Book!
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And here's more on the golden ratio which appears in many of my landscape and portrait photographs (while shaping the proportions of the golden gun)!
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'
The dx4/dt=ic above the gun on the lingerie derives from my new physics books devoted to Light, Time, Dimension Theory!
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Thanks for being a fan! Would love to hears your thoughts on my philosophies and books! :)
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Beautiful swimsuit bikini model goddess!
Golden Ratio Lingerie Model Goddess LTD Theory Lingerie dx4/dt=ic! The Birth of Venus, Athena, and Artemis! Girls and Guns!
Would you like to see the whole set? Comment below and let me know!
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I am working on several books on "epic photography," and I recently finished a related one titled: The Golden Number Ratio Principle: Why the Fibonacci Numbers Exalt Beauty and How to Create PHI Compositions in Art, Design, & Photography: An Artistic and Scientific Introduction to the Golden Mean . Message me on facebook for a free review copy!
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The Golden Ratio informs a lot of my art and photographic composition. The Golden Ratio also informs the design of the golden revolver on all the swimsuits and lingerie, as well as the 45surf logo! Not so long ago, I came up with the Golden Ratio Principle which describes why The Golden Ratio is so beautiful.
The Golden Number Ratio Principle: Dr. E’s Golden Ratio Principle: The golden ratio exalts beauty because the number is a characteristic of the mathematically and physically most efficient manners of growth and distribution, on both evolutionary and purely physical levels. The golden ratio ensures that the proportions and structure of that which came before provide the proportions and structure of that which comes after. Robust, ordered growth is naturally associated with health and beauty, and thus we evolved to perceive the golden ratio harmonies as inherently beautiful, as we saw and felt their presence in all vital growth and life—in the salient features and proportions of humans and nature alike, from the distribution of our facial features and bones to the arrangements of petals, leaves, and sunflowers seeds. As ratios between Fibonacci Numbers offer the closest whole-number approximations to the golden ratio, and as seeds, cells, leaves, bones, and other physical entities appear in whole numbers, the Fibonacci Numbers oft appear in nature’s elements as “growth’s numbers.” From the dawn of time, humanity sought to salute their gods in art and temples exalting the same proportion by which all their vital sustenance and they themselves had been created—the golden ratio.
The Birth of Venus! Beautiful Golden Ratio Swimsuit Bikini Model Goddess! Helen of Troy! She was tall, thin, fit, and quite pretty!
Read all about how classical art such as The Birth of Venus inspires all my photography!
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"Photographing Women Models: Portrait, Swimsuit, Lingerie, Boudoir, Fine Art, & Fashion Photography Exalting the Venus Goddess Archetype"
Author: Ferguson, James, 1710-1776.
Author: Horrocks, Jeremiah, 1617?-1641.
Title: Astronomy Explained Upon Sir Isaac Newton's Principles, and Made Easy to Those Who Have Not Studied Mathematics. To Which Are Added, a Plain Method of Finding the Distances of All the Planets from the Sun, By the Transit of Venus Over the Sun's Disc, in the Year 1761. An Account of Mr. Horrox's Observation of the Transit of Venus in the Year 1639; and, of the Distances of All the Planets from the Sun, as Deduced from Observations of the Transit in the Year 1761. By James Ferguson, F.R.S. The Eighth Edition.
Imprint: London : Printed for J.F. and C. Rivington, 1790.
Physical Description: [8], 503, [18] p. : ill., fold. plates ; 22 cm.
Page: Title page and frontispiece.
Call Number: QB42 .F352 1790 Rare Book
Rights Info: Public domain. No known copyright restrictions.
Please attribute this image to: Royal Ontario Museum Library & Archives.
Whenever possible, please provide a link to our Photostream.
For information about reproduction of this item for commercial use, please contact the Royal Ontario Museum's Rights and Reproductions department.
ISTANBUL, TURKEY - 24 May 2016: Fatima Gailani, President of the Afghan Red Crescent Society, attends the High-Level Leaders’ Roundtable “Women and Girls: Catalyzing Action to Achieve Gender Equality” held in the World Humanitarian Summit. OCHA / Berk Ozkan
From left to right: Chuck Ferguson, John Fullmer, Roger Button, Bob Reichen, Dick Wingard, Bob Hall, Scott Edwards, Jeff Hart, Mark Burris, Eugene Wallace and Bob Tomeoni.
In a New York scenario, Justice of the peace Decide James Orenstein of the US District Courtroom for the Japanese District of New York has ruled in favor of Apple, denying a authorities request for information and facts on an Apple iphone. Orenstein experienced paused the request to let...
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This book is the Russian equivalent of the 1959 trilobite treatise volume (Treatise on Invertebrate Paleontology).
"Osnovy Paleontologii" means "Principles of Paleontology". This is the trilobites and crustaceans volume, published in 1960 and edited by Nina Evgenevna Chernysheva.
Chernysheva, N.E., ed. 1960. Osnovy Paleontologii, Chlenistonogie, Trilobitoobraznye i Rakoobraznye [Principles of Paleontology, Arthropods, Trilobitomorphs and Crustaceomorphs]. Moscow. Gosudarstvennoe Nauchno-Tekhnicheskoe Isdatelstvo Literatury po Geologii i Okhrane Nedr. 515 pp.
The example plate shows Cambrian and Ordovician trilobites.
Figure 1: Dipharus attleborensis (Lower Cambrian, North America)
Figure 2: Glabrella ventrosa (Middle Cambrian, central Asia)
Figure 3: Weymouthia nobilis (Lower Cambrian, North America)
Figure 4: Schmalenseeia amphionura (Upper Cambrian, eastern Siberia)
Figure 5: Solenopleura flerovae (Middle Cambrian, eastern Siberia)
Figure 6: Erdelia venusta (Lower Ordovician, Gornaya Shoriya)
Figure 7: Granularia protolenorum (Lower Cambrian, eastern Siberia)
Figure 8: Binodaspis spinosa (Lower Cambrian, eastern Siberia
Figure 9: Lecanopleura glabella (Upper Cambrian, eastern Siberia)
Figure 10: Esseigania tolli (Upper Cambrian, eastern Siberia)
Figure 11: Anomacarioides limbataeformis (Middle Cambrian, eastern Siberia)
Figure 12: Tuvanella communis (Lower Cambrian, Tuva)
Figure 13: Bailiaspis dalmani (Middle Cambrian, eastern Siberia)
Figure 14: Liostracus allachjunensis (Middle Cambrian, eastern Siberia)
This image is split using the divine proportion, or ground thirds, along a horizontal axis. The first third is the awning of the bakery, along with its shadow on the window display beneath it. The second third is the blue square making up the window, and the final third is from the window's bottom frame to the edge of the poster. This final third contains the majority of Minnie, and the trays of pastries and the bottom layer of the cupcake display. Minnie and the cupcake tiers cross over the ground thirds lines, adding flow and sequence to the image.
This poster was part of a 2013 calendar collection from the Disneyland Resort. Photograph by me.
Carlous Palmer Designs, LLC.
The Challenge:
The challenge for the WEB EXOTIQE COLLECTION was to create a collection based on basic principles of minimalism. The designs for this collection must have a futuristic yet wearable appeal and only the use of Eco-conscious (materials that are directly from/ or easy on the environment) materials. The use of the colors (BLUE), which represents coolness and fluidity (GREEN) which represents wealth, as well as taking our wealth to improve our environment , lastly the shade (black) or the tint (white). The collection must have a message that relates to the current human condition. In this particular challenge black was chosen to represent depth as well as a timeless all inclusive beauty, after all Black is a mixture of all of the colors on the color wheel created to make one.
The-concept:
An Eco- conscious ready to wear collection with an artistic flair that juxtapositions sensuality and sexuality to celebrate the female body in a tasteful manner while asking the question what does the future hold? This collection was executed with the use of Beachwood Pulp, Cotton and Squid Ink.
The Execution (Artist Statement)
The lack of a full creative team forced the designer to have to search high and low for inspiration, recently moving back to Baltimore , since the designers usual Palm Beach sources of inspiration were not readily available to him; so for the first time Carlous went out into the world and studied the people around him, he noticed groups of people doing various activities together ,hence the use of (Black) , a shade that cannot be accomplished without the use of all of the colors in the color spectrum; also black is a shade that represents mystery and intrigue. The designer also asked several women who have a very distinct sense of style and whom the artist believes are some of the best dressed women in Baltimore. Out of the five that were asked all except one said, CORAL. Carlous immediately knew that he had limitations of utilizing Blue ,green and black, so his solution was to add the color coral by way of jewelry and makeup, lastly The designer needed architectural inspiration, because for those of you, who are familiar with his work, understand that his design aesthetic derives from the use of simple geometric shapes that work cohesively to create interesting fashion when worn by the human figure. Mr Palmer’s immediate choice of Architectural inspiration was the Earl S. Richardson Library at Morgan University; the staircase is a fashion gem which not many of us notice, but will soon be noted for being one of Baltimore’s new architectural marvels. The Bugatti Veyron was the engineering inspiration, its sleek modern design can only inspire. I hope that you all enjoy the collection available on the east coast at KATWALK and coming soon to retailers in Los Angeles and Hawaii.
About the Photography
Creating a collection takes a lot of work and energy, bringing the clothes to life, is a job that only great photographers can do. This collection is the first collection that Carlous created in Baltimore City in over ten years. He spent months looking for a photographer that not only had integrity and the ability to work with some of outlandish ideas, but a photographer that can turn his concepts into dynamic eye catching works of art that are meant to inspire. Although, he has worked with many photographers over the years, the designer decided to work with someone that he was unfamiliar with; in his search he found the most amazing photographer. The photographer Mark Moyer is a graduate of Towson State University, also a full service photography business in the city of Baltimore, Maryland. This collection would not have its amazing appeal without the powerful images that this two photographer has created it is encouraged that you to visit the Photographers website to see how you can have your own beautiful images created, www.moyerphotography.com.
About the Location
For over 140 years, Morgan State University has been an important part of the higher education system in Baltimore City, the State of Maryland, and the nation. Throughout its history, Morgan has served the community with distinction while meeting the educational needs of an increasingly diverse society. Its designation as Maryland's Public Urban University assures that Morgan will continue to play a prominent role in Maryland's education future. (MSU . 2011. Web. 2012). The reason for utilizing the Earl S. Richardson Library at Morgan State University my choice to shoot this collection at the University is due to my strong ties to the university. The inspiration that the library gives me is unmatched by any inspiration that I have ever had. I hope to draw attention to the University’s magnificent beauty in hopes that others will be as inspired as I have been.
Make up: by Heather Cotter
Styling assistants :Tanya Crawley and Olusegun T. Ojo
ISTANBUL, TURKEY - 24 May 2016: UNRWA Commissioner-General Pierre Krahenbuhl the Special Session on “Humanitarian Principles” held within the World Humanitarian Summit. OCHA / Berk Ozkan
My Epic Gear Guide for Epic Landscapes & Portraits!
Everyone is always asking me for this! Here ya go! :)
Epic books, prints, & more!
Epic High Resolution Malibu Sunset! Malibu Sea Cave Sunset California Socal Photography! Fine Art Landscape & Nature Photography: Light Beams & Dr. Elliot McGucken Epic Fine Art! High Res!
Exalt your photography with Golden Ratio Compositions!
Golden Ratio Compositions & Secret Sacred Geometry for Photography, Fine Art, & Landscape Photographers: How to Exalt Art with Leonardo da Vinci's, Michelangelo's . . . !
My fine art photography graces my physics books!
Regarding the award-winning physicist Dr. Elliot McGucken at Princeton University, the late John Archibald Wheeler stated, "More intellectual curiosity, versatility and yen for physics than Elliot McGucken's I have never seen in any senior or graduate student. . . Originality, powerful motivation, and a can-do spirit make me think that McGucken is a top bet."
Dr. E would go on to heal the blind with his NSF-funded, award-winning Ph.D. dissertation which also laid down the foundations of Light Time Dimension Theory. Over the years, LTD Theory added foundational *physical* postulates, principles, and equations en route to becoming numerous books, with this one forming the simple, illustrated introduction.
Epic Landscape Photography:
A Simple Guide to the Principles of Fine Art Nature Photography: Master Composition, Lenses, Camera Settings, Aperture, ISO, ... Hero's Odyssey Mythology Photography)
Epic Art & Gear for your Epic Hero's Odyssey:
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The great thing about the beach is that it presents an entirely different universe from season to season, from day to day, from hour to hour, from second to second, with the ever changing wind, tides, clouds, and sun. A split second with tumbling surf and a sinking sun can make a vast different, resulting in entirely different photographs.
Photographing Women Models! geni.us/m90Ms
Portrait, Swimsuit, Lingerie, Boudoir, Fine Art, & Fashion Photography Exalting the Venus Goddess Archetype: How to Shoot Epic...
Dr. Gina Tambini, Director of the Family, Gender, and Life Course at PAHO (left), and Heidi Jimenez, PAHO Legal Council (right)
Students learn important construction principles while have fun building balsa wood house frames in their Home & Commercial Systems Integration class.
ISTANBUL, TURKEY - 24 MAY 2016: General view of the Special Session on “Humanitarian Principles” within the World Humanitarian Summit. OCHA / Berk Ozkan
ISTANBUL, TURKEY - 24 MAY 2016: Ambassador Hesham Youssef is Assistant Secretary General for Humanitarian Affairs at the Organization of Islamic Cooperation attends the Special Session on “Humanitarian Principles” within the World Humanitarian Summit. OCHA / Berk Ozkan
ISTANBUL, TURKEY - 24 MAY 2016: Participants take photos during the Special Session on “Humanitarian Principles” within the World Humanitarian Summit. OCHA / Berk Ozkan
Hand typeset in Folio Extra Bold and Stempel Helvetica and letterpress printed by Typoretum onto 350gsm Colorplan Natural card stock.
Design © Taxi Studio 2013
ISTANBUL, TURKEY - 24 May 2016: Sorcha O'Callaghan, Head of Humanitarian Policy at the British Red Cross, attends the High-Level Leaders’ Roundtable “Women and Girls: Catalyzing Action to Achieve Gender Equality” held in the World Humanitarian Summit. OCHA / Berk Ozkan
Movements Afoot Pilates Studio
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Author of Upcoming Book "Change Your Mind. Change Your Fitness." Make the body/mind connection for better fitness and wellness
Etsy's product design principles presented by Cap Watkins (@cap) at HybridConf 2013. Cap discussed the principles of product design and gave some great insight into the inner workings of Etsy's design team
The Compass Principles offer aspirational guidelines for what constitute quality in innovation and execution of basic financial services—those that allow people to transact, borrow, save and plan in ways that are beneficial to the consumer and profitable for industry.
Burning Man, an event that transcends traditional festivals, is a celebration of art, self-expression, and community. Each year, Nevada's Black Rock Desert transforms into a temporary metropolis, known as Black Rock City, where participants (or 'Burners') create a living canvas of art installations, interactive experiences, and creative extravagance.
Burning Man is not just an event; it's a movement that highlights principles such as radical self-expression, self-reliance, and communal effort. There are no spectators here; everyone is a participant, contributing to the city's culture and life. From monumental art pieces to impromptu dance performances, Burning Man is a place where the boundaries of creativity are challenged and expanded.
To join this year, securing a ticket, which often sells out rapidly, is the first step. Participants are encouraged to contribute to the community through "gifting" - a practice that doesn't involve commercial exchange but rather a spontaneous and unconditional culture of giving.
When it comes to clothing and gear, the keyword is preparation. The Black Rock Desert is notorious for its extreme temperatures and unpredictable weather conditions. Days can be scorchingly hot, while nights turn cold. Burners need to bring everything they require for survival, including water, food, and protection from the sun. Clothing is an extravagant display of self-expression - colourful costumes, funky hats, and light shows that brighten up the night are common sights.
In this kaleidoscopic haven, "Verve" discovered the Scandinavian beauty, FN. With her long, blonde hair flowing freely in the desert wind and the characteristic freckles dancing across her face, FN is a vision of natural beauty and youthful freedom. Her presence at Burning Man symbolizes the spirit of the festival; a celebration of individuality and the power of community.
FN, just 20 years old, is not just a model; she is a narrative of a new generation embracing the principles of Burning Man. From the improvised clothing choices reflecting her spontaneous nature to the effortless way she mingles with the other 'Burners', Freja is an embodiment of what it means to live fully, without boundaries and without fear.
As "Verve" prepares to feature her on their cover, FN's story is a reminder that beauty and fashion are more than just surface; it's a celebration of life, cultural diversity, and the unpredictable nature of the human spirit.
Poem: "Desert Dance"
In the heart of sands where the sun fiercely reigns,
A city arises, ephemeral yet so alive.
Amidst dust and dreams, under Nevada's blue skies,
Where freedom's song in every soul thrives.
Here, in Black Rock's vast, open embrace,
Dances FN, with the wind in her hair,
Blonde tresses like waves of golden lace,
A vision of beauty, wild and rare.
In her eyes, the stories of stars untold,
With each step, she weaves a tapestry so bold.
Burning Man's daughter, in freedom's hold,
A spirit unbound, a future unrolled.
Art and fire blend in her dance,
A celebration of chance and circumstance.
In this desert realm, she finds her trance,
In a moment's magic, life's eternal romance.
As night descends, the playa aglow,
FN's laughter mingles with the fire's roar.
In this world of wonder, where time moves slow,
She finds herself, like never before.
Haiku: "Desert Whisper"
Desert winds embrace,
FN dances, dreams take flight,
Stars whisper her name.
Listed 9/3/2019
Millbrook, New York
Reference number: 100004333
Innisfree is a public garden of approximately 200 acres, blending Japanese, Chinese, Modern, and ecological design principles in Millbrook, a rural area roughly in the center of Dutchess County, New York. Innisfree’s distinctive sloping, rocky landscape, which forms the literal and visual foundation for the garden, is set within a natural bowl wrapping around the 40-acre Tyrrel Lake. This bowl, with no other signs of human intervention visible beyond the garden, creates a profound sense of intimacy and privacy at Innisfree that is one of its defining characteristics. A product of postwar ideas in American landscape architecture, Innisfree merges the essence of Modernist and Romantic ideas with traditional Chinese and Japanese garden design principles in a form that evolved through subtle, sculptural handling of the site and slow, science-based manipulation of its ecology. The result is a distinctly American stroll garden organized around placemaking techniques used in ancient Chinese villa gardens and described as “cup gardens.”
Innisfree, one of the largest intact modern designed landscapes in America, is the masterwork of Lester Collins (1914-1993), a seminal figure in American twentieth century landscape architecture. Lester Collins, fellow of the American Society of Landscape Architects, was one of the most sought-after designers and influential educators of his generation. Innisfree’s design reflects the philosophies and practices that guided Collins’s approach throughout his career, integrates innovative, sometimes truly groundbreaking horticultural and environmental engineering practices, and embodies the distinctive characteristics of postwar Modernist landscape architecture.
Innisfree began as the private estate of Walter and Marion Beck, who started initial work on the garden during the early 1930s. Starting in 1938, they continued its development in collaboration with and under the direction of Lester Collins. In 1960, following the deaths of the Becks and pursuant to their wishes, Collins transformed Innisfree from a private estate garden into a substantially larger, more nuanced public garden. He ran the public
garden while continuing to gradually develop and transform the landscape until his death in 1993.
Innisfree demonstrates Collins’s focus on the experience of people in the landscape; his ability to respond adroitly to the particularities of site and program; his approach and aesthetics as a Modernist; his scholarly understanding of landscape history, particularly of Romantic, Chinese, and Japanese gardens; and his innovative use of scientific and engineering principles to develop an environmentally and economically sustainable landscape. Innisfree has long been a mecca for designers from all over the world and it is now attracting similar attention from the global horticultural
community.
The primary features of Innisfree’s design are its principal cup gardens (loosely understood as garden rooms), Tyrrel Lake, and the Lake Path. Collins used the unifying features of the lake and lake path to integrate the many cup gardens into one dynamic experience in the natural landscape. The cup gardens vary in form, scale, and materials. One is an organically shaped meadow bisected by a wildly meandering stream and dotted with sculptural rocks and specimen trees. Another is a bog garden that has been carefully but lightly managed so that a new plant community emerged to play a particular aesthetic role. One more still is an elaborate complex of rock terraces stepping down a slope, each with its own vocabulary of design, materials, and mood.
Throughout the garden, there are themes and motifs that recur in varied forms. There is a dynamic tension between what appears to be natural and what appears to be cultivated. At a macro scale, this is evidenced by the entirety of the garden itself emerging from apparent wooded wilderness. Undulating, almost surreal natural topography is echoed in the rounded forms of clipped trees and constructed berms. Tall, straight pine trunks are mirrored in a 60’ high fountain jet. Naturalistic bogs are discreetly cultivated while areas that look like traditional planted beds are allowed to evolve and change like native plant communities.
While there are some exceptional horticultural specimens at Innisfree, the vast majority of the plants are native or naturalized. Instead of labor-intensive maintenance to strictly adhere to a fixed planting plan, plants are encouraged to find locations where they thrive just as they do in the wild and then gently edited for aesthetics. Sometimes this is achieved simply by allowing plants to self-sow; sometimes by sowing seed or moving plants in from elsewhere on site to increase a successful population; sometimes by limited hybridization to develop strains that are more ideally suited to specific local conditions. As a result, the overall plantings at Innisfree have an unstudied visual character punctuated by a handful of carefully placed, carefully sculpted trees.
There is also a deliberate choreographing of human perceptual experiences throughout Innisfree. Collins paid particular attention to these ideas. Scale ranges from massive to intimate. Spaces are open and bright, or tight and shadowy. Surfaces vary in material, texture, slope, and sound. Water changes form, scale, and sound. Design and planting details are dense or spare.
Another important motif at Innisfree is sculptural landforms. Collins began to clear trees to reveal the undulating glacial landforms. Collins felt that “land shapes, both natural and man-made…separate but also knit together sequences of cup gardens. Just like the sculptural rocks, these land forms are permanent design features in the garden, for they do not grow and their health is not subject to vagaries.” In the 1970s and early 1980s, Collins created dramatic berms in the garden to echo and emphasize the natural landforms.
In the nearly 70 years since Innisfree opened to the public, the garden has delighted and captured the imagination of experts and non-experts alike. Garden lovers, landscape writers and critics have sought to capture the unique aesthetic qualities and unusual design sophistication of Innisfree in various descriptive terms.
National Register of Historic Places Homepage
Listed 9/3/2019
Millbrook, New York
Reference number: 100004333
Innisfree is a public garden of approximately 200 acres, blending Japanese, Chinese, Modern, and ecological design principles in Millbrook, a rural area roughly in the center of Dutchess County, New York. Innisfree’s distinctive sloping, rocky landscape, which forms the literal and visual foundation for the garden, is set within a natural bowl wrapping around the 40-acre Tyrrel Lake. This bowl, with no other signs of human intervention visible beyond the garden, creates a profound sense of intimacy and privacy at Innisfree that is one of its defining characteristics. A product of postwar ideas in American landscape architecture, Innisfree merges the essence of Modernist and Romantic ideas with traditional Chinese and Japanese garden design principles in a form that evolved through subtle, sculptural handling of the site and slow, science-based manipulation of its ecology. The result is a distinctly American stroll garden organized around placemaking techniques used in ancient Chinese villa gardens and described as “cup gardens.”
Innisfree, one of the largest intact modern designed landscapes in America, is the masterwork of Lester Collins (1914-1993), a seminal figure in American twentieth century landscape architecture. Lester Collins, fellow of the American Society of Landscape Architects, was one of the most sought-after designers and influential educators of his generation. Innisfree’s design reflects the philosophies and practices that guided Collins’s approach throughout his career, integrates innovative, sometimes truly groundbreaking horticultural and environmental engineering practices, and embodies the distinctive characteristics of postwar Modernist landscape architecture.
Innisfree began as the private estate of Walter and Marion Beck, who started initial work on the garden during the early 1930s. Starting in 1938, they continued its development in collaboration with and under the direction of Lester Collins. In 1960, following the deaths of the Becks and pursuant to their wishes, Collins transformed Innisfree from a private estate garden into a substantially larger, more nuanced public garden. He ran the public
garden while continuing to gradually develop and transform the landscape until his death in 1993.
Innisfree demonstrates Collins’s focus on the experience of people in the landscape; his ability to respond adroitly to the particularities of site and program; his approach and aesthetics as a Modernist; his scholarly understanding of landscape history, particularly of Romantic, Chinese, and Japanese gardens; and his innovative use of scientific and engineering principles to develop an environmentally and economically sustainable landscape. Innisfree has long been a mecca for designers from all over the world and it is now attracting similar attention from the global horticultural
community.
The primary features of Innisfree’s design are its principal cup gardens (loosely understood as garden rooms), Tyrrel Lake, and the Lake Path. Collins used the unifying features of the lake and lake path to integrate the many cup gardens into one dynamic experience in the natural landscape. The cup gardens vary in form, scale, and materials. One is an organically shaped meadow bisected by a wildly meandering stream and dotted with sculptural rocks and specimen trees. Another is a bog garden that has been carefully but lightly managed so that a new plant community emerged to play a particular aesthetic role. One more still is an elaborate complex of rock terraces stepping down a slope, each with its own vocabulary of design, materials, and mood.
Throughout the garden, there are themes and motifs that recur in varied forms. There is a dynamic tension between what appears to be natural and what appears to be cultivated. At a macro scale, this is evidenced by the entirety of the garden itself emerging from apparent wooded wilderness. Undulating, almost surreal natural topography is echoed in the rounded forms of clipped trees and constructed berms. Tall, straight pine trunks are mirrored in a 60’ high fountain jet. Naturalistic bogs are discreetly cultivated while areas that look like traditional planted beds are allowed to evolve and change like native plant communities.
While there are some exceptional horticultural specimens at Innisfree, the vast majority of the plants are native or naturalized. Instead of labor-intensive maintenance to strictly adhere to a fixed planting plan, plants are encouraged to find locations where they thrive just as they do in the wild and then gently edited for aesthetics. Sometimes this is achieved simply by allowing plants to self-sow; sometimes by sowing seed or moving plants in from elsewhere on site to increase a successful population; sometimes by limited hybridization to develop strains that are more ideally suited to specific local conditions. As a result, the overall plantings at Innisfree have an unstudied visual character punctuated by a handful of carefully placed, carefully sculpted trees.
There is also a deliberate choreographing of human perceptual experiences throughout Innisfree. Collins paid particular attention to these ideas. Scale ranges from massive to intimate. Spaces are open and bright, or tight and shadowy. Surfaces vary in material, texture, slope, and sound. Water changes form, scale, and sound. Design and planting details are dense or spare.
Another important motif at Innisfree is sculptural landforms. Collins began to clear trees to reveal the undulating glacial landforms. Collins felt that “land shapes, both natural and man-made…separate but also knit together sequences of cup gardens. Just like the sculptural rocks, these land forms are permanent design features in the garden, for they do not grow and their health is not subject to vagaries.” In the 1970s and early 1980s, Collins created dramatic berms in the garden to echo and emphasize the natural landforms.
In the nearly 70 years since Innisfree opened to the public, the garden has delighted and captured the imagination of experts and non-experts alike. Garden lovers, landscape writers and critics have sought to capture the unique aesthetic qualities and unusual design sophistication of Innisfree in various descriptive terms.
National Register of Historic Places Homepage
Listed 9/3/2019
Millbrook, New York
Reference number: 100004333
Innisfree is a public garden of approximately 200 acres, blending Japanese, Chinese, Modern, and ecological design principles in Millbrook, a rural area roughly in the center of Dutchess County, New York. Innisfree’s distinctive sloping, rocky landscape, which forms the literal and visual foundation for the garden, is set within a natural bowl wrapping around the 40-acre Tyrrel Lake. This bowl, with no other signs of human intervention visible beyond the garden, creates a profound sense of intimacy and privacy at Innisfree that is one of its defining characteristics. A product of postwar ideas in American landscape architecture, Innisfree merges the essence of Modernist and Romantic ideas with traditional Chinese and Japanese garden design principles in a form that evolved through subtle, sculptural handling of the site and slow, science-based manipulation of its ecology. The result is a distinctly American stroll garden organized around placemaking techniques used in ancient Chinese villa gardens and described as “cup gardens.”
Innisfree, one of the largest intact modern designed landscapes in America, is the masterwork of Lester Collins (1914-1993), a seminal figure in American twentieth century landscape architecture. Lester Collins, fellow of the American Society of Landscape Architects, was one of the most sought-after designers and influential educators of his generation. Innisfree’s design reflects the philosophies and practices that guided Collins’s approach throughout his career, integrates innovative, sometimes truly groundbreaking horticultural and environmental engineering practices, and embodies the distinctive characteristics of postwar Modernist landscape architecture.
Innisfree began as the private estate of Walter and Marion Beck, who started initial work on the garden during the early 1930s. Starting in 1938, they continued its development in collaboration with and under the direction of Lester Collins. In 1960, following the deaths of the Becks and pursuant to their wishes, Collins transformed Innisfree from a private estate garden into a substantially larger, more nuanced public garden. He ran the public
garden while continuing to gradually develop and transform the landscape until his death in 1993.
Innisfree demonstrates Collins’s focus on the experience of people in the landscape; his ability to respond adroitly to the particularities of site and program; his approach and aesthetics as a Modernist; his scholarly understanding of landscape history, particularly of Romantic, Chinese, and Japanese gardens; and his innovative use of scientific and engineering principles to develop an environmentally and economically sustainable landscape. Innisfree has long been a mecca for designers from all over the world and it is now attracting similar attention from the global horticultural
community.
The primary features of Innisfree’s design are its principal cup gardens (loosely understood as garden rooms), Tyrrel Lake, and the Lake Path. Collins used the unifying features of the lake and lake path to integrate the many cup gardens into one dynamic experience in the natural landscape. The cup gardens vary in form, scale, and materials. One is an organically shaped meadow bisected by a wildly meandering stream and dotted with sculptural rocks and specimen trees. Another is a bog garden that has been carefully but lightly managed so that a new plant community emerged to play a particular aesthetic role. One more still is an elaborate complex of rock terraces stepping down a slope, each with its own vocabulary of design, materials, and mood.
Throughout the garden, there are themes and motifs that recur in varied forms. There is a dynamic tension between what appears to be natural and what appears to be cultivated. At a macro scale, this is evidenced by the entirety of the garden itself emerging from apparent wooded wilderness. Undulating, almost surreal natural topography is echoed in the rounded forms of clipped trees and constructed berms. Tall, straight pine trunks are mirrored in a 60’ high fountain jet. Naturalistic bogs are discreetly cultivated while areas that look like traditional planted beds are allowed to evolve and change like native plant communities.
While there are some exceptional horticultural specimens at Innisfree, the vast majority of the plants are native or naturalized. Instead of labor-intensive maintenance to strictly adhere to a fixed planting plan, plants are encouraged to find locations where they thrive just as they do in the wild and then gently edited for aesthetics. Sometimes this is achieved simply by allowing plants to self-sow; sometimes by sowing seed or moving plants in from elsewhere on site to increase a successful population; sometimes by limited hybridization to develop strains that are more ideally suited to specific local conditions. As a result, the overall plantings at Innisfree have an unstudied visual character punctuated by a handful of carefully placed, carefully sculpted trees.
There is also a deliberate choreographing of human perceptual experiences throughout Innisfree. Collins paid particular attention to these ideas. Scale ranges from massive to intimate. Spaces are open and bright, or tight and shadowy. Surfaces vary in material, texture, slope, and sound. Water changes form, scale, and sound. Design and planting details are dense or spare.
Another important motif at Innisfree is sculptural landforms. Collins began to clear trees to reveal the undulating glacial landforms. Collins felt that “land shapes, both natural and man-made…separate but also knit together sequences of cup gardens. Just like the sculptural rocks, these land forms are permanent design features in the garden, for they do not grow and their health is not subject to vagaries.” In the 1970s and early 1980s, Collins created dramatic berms in the garden to echo and emphasize the natural landforms.
In the nearly 70 years since Innisfree opened to the public, the garden has delighted and captured the imagination of experts and non-experts alike. Garden lovers, landscape writers and critics have sought to capture the unique aesthetic qualities and unusual design sophistication of Innisfree in various descriptive terms.
National Register of Historic Places Homepage
Committee for fundamental principles and rights at work. 106th Session of the International Labour Conference. Geneva, June 2017.
Commission pour les principes et droits fondamentaux au travail. 106e session de la Conférence internationale du Travail. Genève, juin 2017.
Comisión para los principios y derechos fundamentales en el trabajo. 106.a reunión de la Conferencia Internacional del Trabajo. Ginebra, junio de 2017.
Photo © Crozet / Pouteau
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Light Time Dimension Theory: The Foundational Physics Unifying Einstein's Relativity and Quantum Mechanics: A Simple, Illustrated Introduction to the Unifying Physical Reality of the Fourth Expanding Dimensionsion dx4/dt=ic !: geni.us/Fa1Q
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This poster uses almost perfect vertical symmetry in its design. The small Mickey Mouse head at the top of the poster marks the dividing point. From there, the word "Twenty" is split, three letters on each side. The number 13 roughly follows the line. This pattern continues all the way down, to the second Mickey head, banners, circles, and all other design elements in the background and foreground.
This poster was part of a 2013 calendar collection from the Disneyland Resort. Photograph by me.