View allAll Photos Tagged principles
ISTANBUL, TURKEY - 24 MAY 2016: General view of the Special Session on “Humanitarian Principles” within the World Humanitarian Summit. OCHA / Berk Ozkan
These four boys have received the right to portray the four principles of the OA ceremony. They each have intensely studied what each fictional character represents, and by donning the clothing of these characters they symbollicly become that person. As a past ceremonialist myself, I know the dedication and work that goes into performing ceremonies, and I wish to salute these boys' efforts.
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
Now selling epic 45SURF t-shirts & hoodies!
shop.spreadshirt.com/45surf/45surf+hero's+odyssey+mytholo...
Epic Malibu Sea Caves 2018 Caledar!
My book on Epic Landscape Photography!
www.amazon.com/Epic-Landscape-Photography-Principles-Comp...
Photographing the Venus Archetype!
www.amazon.com/Photographing-Women-Models-Photography-Arc...
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:
www.facebook.com/Photographing-Women-Models-Portrait-Swim...
"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!
www.facebook.com/epiclandscapephotography
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)!
www.facebook.com/goldennumberratio/
'
The dx4/dt=ic above the gun on the lingerie derives from my new physics books devoted to Light, Time, Dimension Theory!
www.facebook.com/lightimedimensiontheory/
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!
www.facebook.com/goldennumberratio/
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!
www.facebook.com/Photographing-Women-Models-Portrait-Swim...
"Photographing Women Models: Portrait, Swimsuit, Lingerie, Boudoir, Fine Art, & Fashion Photography Exalting the Venus Goddess Archetype"
Forest management is a process which effectively integrates the biological, social and economic factors which influence the decisions leading towards the
implementation of one or more specified objectives.
ISTANBUL, TURKEY - 24 MAY 2016: General view of the Special Session on “Humanitarian Principles” within the World Humanitarian Summit. OCHA / Berk Ozkan
MG SV-R at Curborough in 2003
Designed by Peter Stevens of McLaren F1 fame it uses similar race car principles with a finely tuned chassis and carbon fibre body with Integral roll cage, they were constructed in the heartland of the Italian Super Car Industry "Modena" then shipped back to the UK for final completion by MG at their approved Midlands factory suppliers QCR Motors, XK Engineering and KC Ryan.
MG chose the acclaimed, bullet proof, tried and tested Ford SVT 4.6 V8 320bhp and 301lb engine as used in the Mustang to power the MG with a 5 Speed Manual Tremec Gearbox and Dana Limited Slip Differential. Brembo took care of the Braking with Bosch ABS and a switchable Ford traction control is also incorporated. Normal creature comforts feature, including Air Conditioning, Electric Seats, Adjustable Steering Column, Electric Windows and Door Mirrors. MG race heritage inspired fitment of a unique 3 point inertia seat belts which locks at the flick of a switch!
There is Performance aplenty on tap, Indeed the MG Power SV topped 200mph in testing at Nardo and Ex Formula 1 Drive Mark Blundell said " The MG XPower SV is aggressive and raw and at the same time stylish and refined. I have driven many of the worlds top sports cars and this car is in the same league from the unique sound of the exhaust to the precision steering this car has all the qualities I look for in a sports car "
The Directors of MG Sport & Racing said the the MG XPower combines high reserves of power and motor racing features and it is a true race car which has been built for the road. Its the ultimate MG!
Autocar road test stated ..... "The brakes are sensational; 355mm and 310mm cross-drilled and ventilated Brembo discs that give a crisp, immediate response and don't go off, neither on the road nor on the track.
The ride is also remarkably fluid for a car with such a hard-core billing, helped by those 18-inch rims with 40-profile Michelin Pilot Sports. But if you want a car to ride and handle well, double wishbones attached to a stiff, light chassis are about the best way to start. You can feel how rigid the chassis is on the road and feel the suspension being allowed to work the way it should. The ride is supple and quiet without being disconnected, and the steering is quick and accurate in its response without being in any way nervous.
There's plenty of feel, too, helped by the thin-rimmed Momo wheel (not a standard item - production versions getting a better-finished four-spoker), and the net result is that you can guide this broad bruiser down tight roads with far greater pace and confidence than its size suggests. The only aspect of the chassis to be exposed on the road is the damping; a series of undulations taken at sufficient speed will eventually get the back end to move and make you lift. But otherwise, this is a well-judged package for British roads; a proper and ballsy driver's machine, very much in the traditional sense"
Cost £65,750 pus options
ISTANBUL, TURKEY - 24 MAY 2016: Manuel Bessler, Head of the Swiss government’s Humanitarian Aid Unit attends the Special Session on “Humanitarian Principles” within the World Humanitarian Summit. OCHA / Berk Ozkan
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
More information at : www.ilo.org
More pictures at : www.ilo.org/dyn/media
Follow the ILO : www.facebook.com/ILO.ORG/
I'm exploring the various design principles in terms of styling. This is my attempt at playing with scale.
See my other images for:
cutiepiecompany
this was the same textbook I used in my junior high science class... I found one at a yard sale sometime ago and have been using it to make fun little cards!
MG SV-R at Curborough in 2003
Designed by Peter Stevens of McLaren F1 fame it uses similar race car principles with a finely tuned chassis and carbon fibre body with Integral roll cage, they were constructed in the heartland of the Italian Super Car Industry "Modena" then shipped back to the UK for final completion by MG at their approved Midlands factory suppliers QCR Motors, XK Engineering and KC Ryan.
MG chose the acclaimed, bullet proof, tried and tested Ford SVT 4.6 V8 320bhp and 301lb engine as used in the Mustang to power the MG with a 5 Speed Manual Tremec Gearbox and Dana Limited Slip Differential. Brembo took care of the Braking with Bosch ABS and a switchable Ford traction control is also incorporated. Normal creature comforts feature, including Air Conditioning, Electric Seats, Adjustable Steering Column, Electric Windows and Door Mirrors. MG race heritage inspired fitment of a unique 3 point inertia seat belts which locks at the flick of a switch!
There is Performance aplenty on tap, Indeed the MG Power SV topped 200mph in testing at Nardo and Ex Formula 1 Drive Mark Blundell said " The MG XPower SV is aggressive and raw and at the same time stylish and refined. I have driven many of the worlds top sports cars and this car is in the same league from the unique sound of the exhaust to the precision steering this car has all the qualities I look for in a sports car "
The Directors of MG Sport & Racing said the the MG XPower combines high reserves of power and motor racing features and it is a true race car which has been built for the road. Its the ultimate MG!
Autocar road test stated ..... "The brakes are sensational; 355mm and 310mm cross-drilled and ventilated Brembo discs that give a crisp, immediate response and don't go off, neither on the road nor on the track.
The ride is also remarkably fluid for a car with such a hard-core billing, helped by those 18-inch rims with 40-profile Michelin Pilot Sports. But if you want a car to ride and handle well, double wishbones attached to a stiff, light chassis are about the best way to start. You can feel how rigid the chassis is on the road and feel the suspension being allowed to work the way it should. The ride is supple and quiet without being disconnected, and the steering is quick and accurate in its response without being in any way nervous.
There's plenty of feel, too, helped by the thin-rimmed Momo wheel (not a standard item - production versions getting a better-finished four-spoker), and the net result is that you can guide this broad bruiser down tight roads with far greater pace and confidence than its size suggests. The only aspect of the chassis to be exposed on the road is the damping; a series of undulations taken at sufficient speed will eventually get the back end to move and make you lift. But otherwise, this is a well-judged package for British roads; a proper and ballsy driver's machine, very much in the traditional sense"
Cost £65,750 pus options
Permaculture Design Certificate
With Nick Ritar + special guests
Alexandria, Sydney Australia
May-August 2010
Information on buildings and architecture
Führungen am Campus WU Leerzeile Leerzeile
University of the Future
Internationalism, innovation, diversity – the new Campus WU is the concrete realization of WU’s vision for a modern university. The fundamental principles of the new architecture reflect the values and ideas we cherish at WU.
As a public institution, WU has lived up to its responsibility of building its new campus in an economical, ecological, and socially sustainable manner. WU’s decision to locate the new campus in Vienna’s second district will redefine this area and transform it into an educational hub. We have not only constructed new buildings, but in the process we have also given concrete realization to our ideas of what the university of the future should look like. The new campus is more than just a place for academic research and teaching and learning practical skills; it is also designed to create a new space for social, cultural, and political life.
The imposing Library & Learning Center (LC), designed by the Iraqi-British architect Zaha Hadid, is a testament to the central importance of research and teaching at WU. The Library & Learning Center is surrounded by five building complexes, including the Teaching Center, which houses most of WU’s auditoriums. The Teaching Center is intended mainly for bachelor degree students, while the master degree programs are taught primarily in the individual Department buildings. The Executive Academy building is the home of continuing education and life-long learning programs. In this way, the various buildings and their functions reflect the three tiers of teaching and learning represented by the Bologna Process.
WU’s Department-based organizational structure was also a contributing factor. In the past, the various Institutes that make up the Departments were scattered across different locations. Now they have been brought together in four Department buildings, which will make life much easier for both students and faculty.
These are not the only improvements the new campus has to offer: All rooms have natural light, and the auditoriums feature state-of-the-art teaching equipment, including digital whiteboards. There are 3,000 student workplaces, three times as many as in the old buildings in Vienna’s ninth district. These workplaces are located not only in the dedicated self-study areas, but also in project rooms that can be booked by teaching staff and students alike. They cater to different needs by providing quiet spots for focused academic work as well as opportunities for work on group projects in communicationfriendly study areas.
The top priority in planning the new campus was to create an environment for WU students and staff that is conducive to productive work and communication.
Not only the buildings themselves, but also the surrounding grounds offer plenty of opportunities for communication and meeting people. 55,000 m² of Campus WU’s total 100,000 m² of floor and surface area is open, publicly accessible space. Fences or barriers would contradict our vision of an open campus.
Visitors and area residents are more than welcome at Campus WU. The campus offers not only food for thought, but also restaurants, cafés, and shops, all in a stimulating architectural environment.
As different as they may look, however, the buildings are all based on the same overall technical concept: the building infrastructure is standardized in terms of construction, energy supply, ventilation, and sanitary facilities. The entire campus has been designed in accordance with “green building” principles. Much of the required energy is obtained using geothermal energy from groundwater.
Another key feature of Campus WU is barrier-free accessibility. All auditoriums are specially equipped for people with disabilities, all areas are designed to be wheelchair accessible, and the campus also features a tactile guidance system for the visually impaired.
We have not only made sure to comply with all relevant legal guidelines, but we have also drawn on experience gained from best practice examples. WU aims to play a pioneering role – in all respects.
The principles mound is headed by the august bodies of the W3C (the the MIT Great Dome) and the Ietf (the greybeards as greek gods). Singled out are the key principles which lead to the success of the Web: Cool URIs Don't Change, Safety, Jon Postel's law "be conservative in what you send, liberal in what you accept" otherwise known as The Robustness Principle, the IETF mantra "rough consensus and running Code", the separation of content from representation and finally the en.wikipedia.org/wiki/End-to-end_principle's famous The Network is Stupid paper.
Pima Air and Space Museum
DAVID CLARK CO. MC-3 PARTIAL PRESSURE SUIT & MA-2 HELMET (LEFT)
AND
VKK-6M ALTITUDE COMPENSATION SUIT & GSH-6 HELMET (RIGHT)
The MC-3 pressure suit on display was developed by the David Clark Company in Worcester, Massachusetts, and the MA-2 helmet was produced by the International Latex Corporation of Dover, Delaware. Suits of this type were used by pilots of the rocket powered X-planes and high performance aircraft such as the F-104 and U-2 in the 1950s era of rapid aviation growth and development. They were replaced with full pressure suits in the 1960s.
Their Russian counterparts, the VKK-6M altitude compensation suit and GSH-6 helmet, were developed from similar designs used by Communist bloc countries in the 1950s. The VKK-6M and GSH-6 combination was used extensively through the 1970s, and though it has been largely replaced by more advanced pressure suits, the ensemble remains in service in some former Soviet republics.
The need for such suits and the principles behind both suit-helmet combinations are identical.
Following World War II, as aviation was pushing the performance envelopes of then modern aircraft ever higher and faster, aviators began to encounter severe physiological challenges.
One of these was the fact that atmospheric pressure falls off rapidly the higher one flies. Fully one half of the Earth's atmosphere lies below the altitude of 18,000 feet. Given that air pressure decreases even further with increasing altitude, aircrews needed a garment that would provide a means of preventing bodily swelling should cabin pressurization fail at altitude.
The visual of an astronaut in a fully enclosed space suit is fairly common, where air is fully contained under pressure within the suit.
Before the full pressure suit, however, suits such as those on display provided "pressurization" through mechanical means. These suits came in a wide variety of sizes to fit the wearer very closely, and final fit was adjusted to almost skin tight by a complex lacing system. The fabric of the suits was attached to inflatable tubing that ran along the arms, torso and legs by special strapping referred to as "capstans." When the wearer was exposed to extreme low pressure, the tubing would inflate against the capstans, tightening the suit fabric even more, mechanically countering the loss of pressure.
Topas Ecolodge is the only one of its kind in Vietnam. It has a perfect location – situated atop two cone formed hills, set deep in the spectacular Sapa valley of northern Vietnam.
Topas Ecolodge is based on sustainable principles to ensure that the lodge has a minimum impact on the surrounding environment. We employ local people and use local products and goods, in order to bring economic benefits to the local community as well as we have implemented a wastewater facility to avoid pollution of the local area. www.topasecolodge.com
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Lào Cai is a province of the mountainous Northwest region of Vietnam bordering the province of Yunnan in China. The province covers an area of 6383.9 square kilometres and as of 2008 it had a population of 602,300 people.
Lào Cai and Sa Pa are two important cities within the province at the border with China; the former is well known as key trading post and the latter is hill station famous for tourism, in the Northwest region of Vietnam. Lào Cai is also the capital of Lào Cai Province and shares border with the city of Hekou, in the Yunnan province of Southwest China. This border town was closed after the 1979 war with China, since reopened in 1993, has become a major tourist centre between Hanoi, Sa Pa and Kunming (China). Sa Pa is notable as a hill resort and market centre for the local ethnic Hmong, including the Red, Black, Green and Flower Hmong.
As the province is mostly mountainous, it experiences a dry cold climate from October to March, while the tropical monsoon is rainy season which lasts from April to September. The annual average temperature is 23 °C . The temperature generally ranges between 18 °C and 28 °C in the mountainous region, with the lowland areas showing a temperature variation of between 20 °C and 22 °C. In Sa Pa town however, the temperature drops to less than 0 °C with snowing conditions. Fog and frost are a common phenomenon in the province. Source: en.wikipedia.org
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
Former Foreign Office Minister James Duddridge at the Annual Plenary Meeting of the Voluntary Principles on Security and Human Rights Initiative, 17 March 2015, London.
In this photo, there are many ecological principles at play but I will only shed light on a few. First, in this photo there are two primary species I will focus on and they are the Tillandsia usneoide (common name Spanish Moss) and what I believe to be the Quercus virginiania (Southern Live Oak). I found these two species in Downtown Wilmington, on Market street. In this photo, it is important to know that this tree is located in a very humid climate, in which provides an essential ecological niche for both tree and angiosperm (the Spanish moss is commonly misperceived to be a moss, but it is indeed an angiosperm). The Spanish moss is an epiphyte which means it acquires its nutrients and water supply mainly through the air, which is why a humid climate is essential to it's survival. They also acquire many nutrients from their "friends", as the Southern live oak is rich in their rates of foliar mineral leaching. This means that the Southern live oak provides an abundant supply of nutrients that are essential to the Spanish moss. This is why you can always find the Spanish moss living with the Southern live oak. Many people believe that the "moss" harms the trees but I will lay that myth to rest as the Spanish moss does not act as a parasite to the tree. The only way for the Spanish moss to harm the tree is when they become too dense for sunlight to reach the tree's leaves which lowers the trees photosynthetic rates and in turn harms the tree. These two species live harmoniously and are very abundant here in Wilmington due to our humid climate.
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
More information at : www.ilo.org
More pictures at : www.ilo.org/dyn/media
Follow the ILO : www.facebook.com/ILO.ORG/
2001 China TCDC International Training Course on Bamboo Technology
DESCRIPTION:
Training Course
China National Bamboo Research Center
CHINA
FOR MORE INFORMATION:
Mr. Ding Xingcui,
Mr. Wu Jintao cbrc@mail.hz.zj.cn
+86 571 8869217 or 8863888 ext. 8915
PRESS RELEASE:
Participants are required to master the basic theories and principles of cultivation processing and utilization of bamboo so as to enhance their awareness and capacity of integrated development of bamboo, and create a chance leading to further mutual fruitful exchange and cooperation.
Enrollment Information for Course Guangzhou - 10-May-2001
ENROLLMENT INFORMATION 2001
China TCDC International Training Course on Bamboo Technology
Totally, there are 1250 species of bamboo or more belonged to 150 genera with a bamboo forest area of 1700 million ha. in the world, among which, there are more than 500 species belonging to 39 genera with a bamboo forest area of 500 million ha. in China, or about 1/3 of the world total, therefore, China is reputed as a "Bamboo Kingdom". China not only is a big country of bamboo resources, but also has already accumulated so much experience in bamboo research, exploitation, production, and management, etc., as a result, has been in advanced position of the world in many aspects of bamboo, especially marked achievements have been scored in bamboo integrated processing and utilization. The total production value of bamboo sector in China in 1999 is over US$ 2.2 billion. Bamboo sector has been becoming a new sunrising industry.
China National Bamboo Research Center (CBRC) was established in 1988 in Hangzhou, a picturesque city in eastern China, which is located in one of the China's biggest bamboo grown centers, and well-known for its West Lake. CBRC has three missions as enshrined by the Ministry of Science and Technology, the State Administration of Forestry: (a) to undertake, organize and coordinate major international and domestic bamboo projects of research and exploitation; (b) to undertake international technical and economic exchange and cooperation and personnel training in bamboo; and (c) to be managed and operated by modality of share-holding and gradually grow into a locomotive and backbone enterprise of China's bamboo sector so as to enhance China bamboo industry as a whole.
In order to disseminate bamboo technology, CBRC has already held with success several training courses/workshops entrusted by United Nations Development Program (UNDP), the Ministry of Foreign Trade & Economic Cooperation (MOFTEC), P.R. China, etc.
"2001 China TCDC International Training Course on Bamboo Technology" is the course sponsored by the Chinese Government. CBRC is entrusted by the MOFTEC to organize this training course. We should invite famous experts, professors all over the China, even an academician to give lectures.
1. Objectives
Participants are required to master the basic theories and principles of cultivation, processing and utilization of bamboo so as to enhance their awareness and capacity of integrated development of bamboo, and create a chance leading to further mutual fruitful exchange and cooperation.
2. Date and Duration
From May 8 to June 22, 2001.
3. Venue
China National Bamboo Research Center (CBRC) No. 138 Wenyi Rd., Hangzhou, Zhejiang Province, 310012 P.R. China
4. Main Course Contents
Present situation of bamboo resources, cultivation, processing, utilization in China and in the world; Bamboo sustainable development; Bamboo classification and introduction; Bamboo genetic pool set-up and maintenance; Bamboo biology and ecology, including individual and population growth and development; Bamboo propagation; Oriented cultivation of in-kind bamboo stands, such as for shoot, timber, both shoot and timber, coastal shelter, water and soil conservation, landscape, and pulp etc.; Bamboo landscaping; Bamboo pest control; Bamboo shoot production and processing; Production technologies of bamboo flooring and 10-plus bamboo artificial boards; Bamboo food, Bamboo integrated utilization (bamboo mats, bamboo charcoal, bamboo chemical utilization, etc); and Bamboo timber and shoot preservation; Bamboo social economy, etc.
5. Training Methods
Lectures, Field Practice, Demonstration, Seminar on Special Topics, Field Tours, Discussion and Report Presentation, Term Paper, etc.
6. Medium of Instruction
English
7. Source of Trainees
Technical, management and research personnel or officials in the field of forestry, bamboo, agriculture and others from developing countries.
8. Methods for Evaluation
The evaluation for the participants will be done on the basis of written tests, field practice, site study and comprehensive performance. Successful completion of the training program will lead to a diploma offered by CBRC. The allotment of marks will be as follows: a) Written tests 50% b) Comprehensive performance 50%
9. Participant's Qualifications and Requirements for Admission
Participants are requested: 1) To be nominated by his/her related government department; 2) To be less than 45 years old, better with a minimum educational background of college graduate, better with an agriculture, forestry and bamboo background and with a minimum of two years' practice in the relative profession; 3) To be in good health conditions with no infectious diseases and not handicapped. Physically fit to completing all course activities; 4) To be proficient in English reading, listening, speaking and writing; 5) To prepare a review paper or report on the bamboo (forestry) production or research of the participant's country and brief introduction of the participant's professional experiences for the purpose of experiences exchange; 6) Not to bring family members to the training course; and 7) To observe all the laws, rules and regulations of P. R. China and respect the Chinese customs during the training period.
10. Training Expenses
1) The expenses of training, boarding and lodging, local transportation, pocket money of RMB 30 Yuan per person per day during the training period in China will be borne by the Chinese Government and distributed by CBRC. 2) The International travel costs including round trip tickets, transit fares are to be covered by the participants themselves, or their respective Governments, or their employers or sponsored by some international organizations, like UNDP, ESCAP, FAO, etc. through proper application and consultations. 3) The expenses of medical care, insurance and domestic salaries for the participants are to be borne by the participants' governments.
11. Application and Admission
1) The applicants should be nominated by their respective Governments. The nominated participants are requested to fill up the Application Forms, which should be endorsed by the departments concerned of their respective Governments, and submit with valid Health Certificates provided by authorized physicians or hospitals to the Economic and Commercial Counselor's Office of the Chinese Embassy ( ECCOCE ) for examination, recommendation and endorsement; 2) After endorsed by the Economic and Commercial Counselor's Office of the Chinese Embassy, Admission Notices will be issued to the accepted participants by the ECCOCE through the related governmental departments of the participants. With the Admission Notices, the participants are requested to go through all necessary formalities for entering into China and bring all the documents like Admission Notices, Application Forms, Health Certificates to China for attending the Course on time.
12. Insurance
The training course organizer dose not hold any responsibility for such risks as loss of life, accidents, illness, loss of properties incurred by the participants during the training period.
13. Liaison Address
Attn: Mr. Ding Xingcui, Mr. Wu Jintao China National Bamboo Research Center No. 138, Wenyi Rd., Hangzhou 310012 Zhejiang Province P.R. China Phone:+86 571 8869217 or 8863888 ext. 8915 Mobile: +86 13805791796 Fax: +86 571 8869217, 8860944
E-mail: cbrc@mail.hz.zj.cn
Born in Victoria, BC, Canada in July of 1965, Warren is a pioneer of highly detailed comic art.
He has adhered to fine art sculpting principles throughout his long career and is considered the most consistently representative comic sculpture in the world.
As a youth in the Fairfield area of Victoria, Warren was encouraged by a number of mentors and teachers to sculpt in the free-standing form, a practice he has never strayed from. One of his funniest memories was when he was a young and impressionable teenager in an advanced sculpting class. Warren was enthusiastic when the teacher said they were going to sculpt a live model one evening. He was not quite prepared as the beautiful woman completely disrobed on the stage in front of the students. Being the shy, youngest member of the class he quickly turned around and sculptured a very long haired woman rising out of a rock at the waist. The model was not pleased with his work but the teacher loved it!
warren stratfordWarren soon began to concern himself with his lifelong objective: portraying the variations of humor and atmosphere brought on by comical things he thinks about. Rather than copy others as was the traditional practice of young artists, Warren learned from people around him, from the landscape itself, and from the works of his older contemporaries. Warren’s representation of humor are based on his observations of people he meets and interviews.
He often shows natural color by breaking it down into its different components as a prism does. Eliminating dull and boring from his palette, Warren rejected entirely the academic approach to comic sculpting.
Warren gIn the Signature Series Warren allows his vision of light to dissolve the real structures of his subjects. To do this he chose simple subjects, making several humorous studies of the same subject at different occupations or activities.
Warren shares his time between Asia and his home town Victoria. Look for more Signature Series as Warren is always finding humor wherever he goes.
Warren’s work is particularly well represented in shops around the world. It is also included in many famous private collections.
A garden in the exercise yards of the Old Workhouse. Sundial garden with old roses. Mixed borders in sun and shade. Gardened on organic principles.
Sunday 19 June 2011 will be the quarter centenary of this popular and exciting garden event. Do come!
You will be surprised at what lies behind the garden walls of our delightful town streets; the diversity of plots and planting; the willingness of gardeners to welcome you. There will be 30+ gardens on show at venues within the town centre. As usual, there will be refreshments offered and plants to buy at some gardens and from our very popular Pennycross Plants nursery stall.
A suggested walking route is provided with your programme or you can choose from brief descriptions your own 'must see' gardens.Come and find gardens old and new, large and small, showy and loved, all providing ideas for your own patch and together making a delightful walk round our lovely town.
Well over 2000 visitors come each year. Be one of them for our 25th in 2011 and add to your collection of 'Hidden Gardens' distinctive lapel stickers, free!
All proceeds go to St Nicholas Hospice Care.
Objective 3: Elements and Principles of Design
Line: this photo has many kinds of line in it, on the leafs there is straight line from the start to end and along that straight line there is curved lines running off of it, the lines on the leafs draw your eye to them because they are defined and have a calm and beautiful feel to them. The main branch that the leaves are connected to also demonstrates straight line and has a rigid feeling to it.
Colour: the main colour in this photo is the green leafs and as well as some pink on the ends of buds. This colour give off a nature feel to the image and shows you that it was taken on a cloudy day because there is no hard lighting in the image.
Shape: the leaves in this photo are organic and an oval shape, this adds to the nature feeling of this image.
Space: in the background the space is negative and it draws your eyes towards the foreground and makes your eye really focus on the branches and the raindrops on the leaves.
Texture: the texture of this photo is smooth because it was a cloudy day which made for no harsh lighting and the leaves give off a smooth texture the way that the rain drops are on them and the smooth texture gives this photo an at peace feeling with nature.
Emphasis: in this photo I made sure that background was clutter free and had nothing going on in it so this way the eye would mainly focus on the close up shot of the branch and leafs and especially the water drops which were the main point of focus in this photo.
Movement: in this image there are lots of diagonal lines on the leaves and it draws your eye to other leafs and that keeps it a flowing movement which your eyes are drawn too. The rain drops are also dripping from the ends of the leaves which show us they have moved and that the photo has been taken after it had just rained.
Repetition/pattern: the repeating pattern of the different types of lines on the leafs adds to this image quite a lot because it draws your eye to them which makes the image a lot more interesting to the eye.
Contrast: in this image I adjusted the contrast so that the darks would be darker and the lights lighter so that this way the green on the leaves stand out more and this makes the foreground become more interesting. And by making the lights lighter it makes the background become brighter and blurred so this way it is even more so out of focus.
Unity: I believe that this photo has unity by the way the foreground is in focus, the leafs and the rain also give off a smooth texture which makes them go together and the rain drops just give the image a sense of nature and peace which just gives it an overall completeness.
Objective 4: Lighting
This picture was taken outside but I took it on a cloudy rainy day so that made the lighting not so harsh and hard but instead soft.
Objective 5: Post Production (ex. dust/spot removal, resize, contrast, white balance, sharpening, borders, etc.)
In this image I contrasted it so that the darks would be just a little bit darker and the lights lighter so that way the green leafs stand out more, another thing I did was resize the image so that it is easier to download or to post.
Objective 6: Critique
For this image I would have liked to have an extended lens to try different zooms.
Next time I would like to try to shoot this image while it is raining and try to get it in the image.
I liked how the post production made this image turn out and as well as how I took it after it rained so there was rain drops in the image.
Objective 7: Photographic Styles (ex. portrait, landscape, etc.) – Explain why the settings and composition are appropriate for the style of photography. (How did you create the shot?) You do NOT need to do Objective 2 if you are handing in this objective.
Type/style of photography: the photography style I used in this photo was close up.
The camera mode used in this picture was Av
f stop used: 5.6
shutter speed used: the shutter speed was decided for me because I was in Av mode
ISO used: 400 because it was outside lighting but it was a cloudy day so it did not need to be down any lower.
Exposure compensation: 0
Focal length: the focal length was 55 because I wanted to get close in to this photo and not have much in the background so that your eyes would mostly focus on the rain drops and leafs.
I chose this picture for my Principles of Design for rhythm because it is showing a pattern or a flow and its moving.