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During a visit on February 21 to one of three ecological forestry pilot projects in Oregon, Secretary of the Interior Ken Salazar announced that the Department of the Interior’s Bureau of Land Management will apply ecological forestry principles on a broader landscape to restore forest health and to provide sustainable timber harvests for local mills and the communities who rely on the timber industry for jobs and economic strength.
For more information, please visit www.blm.gov/or/resources/forests/index.php
Photo: Michael Campbell, BLM
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
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.
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Ralph Waldo Emerson. The happiest man is he who learns from nature the lesson of worship.
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.
Haveli is generic term used for a traditional townhouse and mansions in India, Pakistan, Nepal and Bangladesh usually one with historical and architectural significance. The word haveli is derived from Arabic haveli, meaning "an enclosed place" or "private space" popularised under Mughal Empire and was devoid of any architectural affiliations. Later, the word haveli came to be used as generic term for various styles of regional mansions, townhouse and temples found in India, Pakistan, Nepal and Bangaldesh.
HISTORY
The traditional courtyard homes in South Asia is built on the ancient principles of Vastu Shastra. which state that all spaces emerge from a single point, that is the centre of the house. Courtyards are common feature in south asian architecture. The earliest archaeological evidence of courtyard homes in the region dates back to 2600–2450 BCE. Traditional homes in South Asia are built around courtyard and all family activities revolved around chowk or courtyard. Additionally, the courtyard serves as a light well and an effective ventilation strategy for hot and dry climates of South Asia. During medieval period, the term Haveli was first applied in Rajputana by the Vaishnava sect to refer to their temples in Gujarat under the Mughal Empire and Rajputana kingdoms. Later, the generic term haveli eventually came to be identified with townhouse and mansions of the merchant class.
CHARACTERISTIC
Socio-Cultural Aspects: The chowk or courtyard served as the centre for various ceremonies and the rituals. The sacred tulsi plant was placed here and worshipped daily to bring prosperity to the house.
Security and Privacy: The chowk, at times, separated areas for men and women, and provided them with privacy.
Climate: Treating open space in building design to respond to the local climate. Air movement caused by temperature differences is utilized in the natural ventilation of building.
Different Activities At Different Times: The use of the court in the day time, mostly by women to carry out their work, interact with other women in private open space. Mansions of merchant class had more than one courtyard.
Articulation Of Space: In Mor chowk, City Palace, Udaipur, there is the concept of courtyard as a dancing hall. Similarly, in havelis, a courtyard has several functions, commonly used for weddings and festive occasions.
Materials : Fired bricks, sandstone, marble, wood, plaster and granite are commonly used materials. Decorative aspects are influenced by local culture and traditions.
All these elements join to form an enclosure and give the chowk a composed secured feel. The architectural built form of havelis has evolved in response to the climate, lifestyle and availability of material. In hot climates where cooling is a necessity, buildings with internal courtyards were considered the most appropriate. It acted as a perfect shading technique, while also allowing light inside. The arcade along the court, or the high wall around it, kept the interiors cool.
Many of the havelis of India and Pakistan were influenced by Rajasthani architecture. They usually contain a courtyard often with a fountain in the centre. The old cities of Agra, Lucknow and Delhi in India and Lahore, Multan, Peshawar, Hyderabad in Pakistan have many fine examples of Rajasthani-style havelis.
FAMOUS HAVELIS IN INDIA
The term Haveli was first applied in Rajputana by the Vaishnava sect to refer to their temples in Gujarat. In the northern part of India. havelis for Lord Krishna are prevalent with huge mansion like constructions. The havelis are noted for their frescoes depicting images of gods, goddesses, animals, scenes from the British colonization, and the life stories of Lords Rama and Krishna. The music here was known as Haveli Sangeet.
Later on these temple architectures and frescoes were imitated while building huge individual mansions and now the word is popularly recognized with the mansions themselves. Between 1830 and 1930, Marwari's erected buildings in their homeland, Shekhawati and Marwar. These buildings were called havelis. The Marwaris commissioned artists to paint those buildings which were heavily influenced by the Mughal architecture.
The havelis were status symbols for the Marwaris as well as homes for their extended families, providing security and comfort in seclusion from the outside world. The havelis were to be closed from all sides with one large main gate.
The typical havelis in Shekhawati consisted of two courtyards - an outer one for the men which serves as an extended threshold, and the inner one, the domain of the women. The largest havelis could have up to three or four courtyards and were two to three stories high. Most of the havelis are empty nowadays or are maintained by a watchman (typically an old man). While many others have been converted into hotels and places of tourist attraction.
FAMOUS HAVELI IN MAWAR AREA (SIKAR DISTRICT)
"Nadine Le Prince Haveli"
FAMOUS HAVELI IN MAWAR AREA (JODHPUR DIVISION) Havelli Heritage, Ahore
The towns and villages of Shekhawati are famous for the embellished frescoes on the walls of their grandiose havelis, to the point of becoming popular tourist attractions.
The havelis in and around Jaisalmer Fort(also known as the Golden Fort), situated in Jaisalmer, Rajasthan, of which the three most impressive are Patwon Ki Haveli, Salim Singh Ki Haveli, and Nathmal-Ki Haveli, deserve special mention. These were the elaborate homes of Jaisalmer's rich merchants. The ostentatious carvings etched out in sandstone with infinite detail and then painstakingly pieced together in different patterns each more lavish than the next were commissioned to put on show the owner's status and wealth. Around Jaisalmer, they are typically carved from yellow sandstone. They are often characterized by wall paintings, frescoes, jharokhas (balconies) and archways.
The Patwon Ji ki Haveli is the most important and the largest haveli, as it was the first erected in Jaisalmer. It is not a single haveli but a cluster of 5 small havelis. The first in the row is also the most popular, and is also known as Kothari's Patwa Haveli. The first among these was commissioned and constructed in the year 1805 by Guman Chand Patwa, then a rich trader of jewellery and fine brocades, and is the biggest and the most ostentatious. Patwa was a rich man and a renowned trader of his time and he could afford and thus order the construction of separate stories for each of his 5 sons. These were completed in the span of 50 years. All five houses were constructed in the first 60 years of the 19th century. Patwon Ji Ki is renowned for its ornate wall paintings, intricate yellow sandstone-carved jharokhas (balconies), gateways and archways. Although the building itself is made from yellow sandstone, the main gateway is brown.
FAMOUS HAVELIS OF PAKISTAN
There are a number of historically and architecturally significant havelis in Pakistan, most of which are situated in the Punjab province and constructed during the Mughal period.
Below is a list of some of the historically and architecturally significant havelis in Pakistan:
Kapoor Haveli in Peshawar
Fakir Khana Haveli and Museum, in Lahore
Mubarak Haveli in Lahore
Haveli Asif Jah in Lahore
Haveli Wajid Ali Shah in Lahore
Choona Mandi Haveli in Lahore
Haveli Nau Nihal Singh in Lahore
Haveli Barood Khana in Lahore
Lal Haveli or Chandu Di Haveli in Lahore
Haveli Man Singh in Jhelum
Lal Haveli in Rawalpindi
Saad Manzil in Kamalia
Khan Club in Peshawar
Waziristan Haveli in Abbottabad, home of Osama bin laden
Janjua Haveli in Malowal, Gujrat, Pakistan
Haveli Mubashar Ali Janjua, in Matore, Kahuta, Rawalpindi
HAVELIS IN POPULAR CULTURE
Haveli is an also a novel by Suzanne Fisher Staples and is a sequel to her Newbery Award-winning novel Shabanu: Daughter of the Wind. The story takes place in an old-fashioned haveli in Lahore, Pakistan.
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Golden Ratio Compositions & Secret Sacred Geometry for Photography, Fine Art, & Landscape Photographers: How to Exalt Art with Leonardo da Vinci's, Michelangelo's!
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)
All art is but imitation of nature.-- Seneca (Letters from a Stoic - Letter LXV: On the First Cause)
The universe itself is God and the universal outpouring of its soul. --Chrysippus (Quoted by Cicero in De Natura Deorum)
Season of mists and mellow fruitfulness
Close bosom-friend of the maturing sun
Conspiring with him how to load and bless
With fruit the vines that round the thatch-eves run;
To bend with apples the moss'd cottage-trees,
And fill all fruit with ripeness to the core;
To swell the gourd, and plump the hazel shells
With a sweet kernel; to set budding more,
And still more, later flowers for the bees,
Until they think warm days will never cease,
For Summer has o'er-brimm'd their clammy cells. --To Autumn. by John Keats
Photographs available as epic fine art luxury prints. For prints and licensing information, please send me a flickr mail or contact drelliot@gmail.com with your queries! All the best on your Epic Hero's Odyssey!
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.
Death Valley National Park California Desert Fuji GFX100 Fine Art Landscape Nature Photography! Dr. Elliot McGucken dx4/dt=ic California Fine Art Medium Format Photographer! Fuji GFX 100 & FUJIFILM FUJINON Lens!
All my photography celebrates the physics of light! The McGucken Principle of the fourth expanding dimension: The fourth dimension is expanding at the rate of c relative to the three spatial dimensions: dx4/dt=ic .
Lao Tzu--The Tao: Nature does not hurry, yet everything is accomplished.
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
"Between every two pine trees there is a door leading to a new way of life." --John Muir
Epic Stoicism guides my fine art odyssey and photography: geni.us/epicstoicism
“The clearest way into the Universe is through a forest wilderness.” --John Muir
Epic Poetry inspires all my photography: geni.us/9K0Ki Epic Poetry for Epic Landscape Photography: Exalt Fine Art Nature Photography with the Poetic Wisdom of John Muir, Emerson, Thoreau, Homer's Iliad, Milton's Paradise Lost & Dante's Inferno Odyssey
“The mountains are calling and I must go.” --John Muir
Epic Art & 45EPIC Gear exalting golden ratio designs for your Hero's Odyssey:
Support epic fine art! 45surf ! Bitcoin: 1FMBZJeeHVMu35uegrYUfEkHfPj5pe9WNz
Exalt the goddess archetype in the fine art of photography! My Epic Book: Photographing Women Models!
Portrait, Swimsuit, Lingerie, Boudoir, Fine Art, & Fashion Photography Exalting the Venus Goddess Archetype: How to Shoot Epic ... Epic! Beautiful Surf Fine Art Portrait Swimsuit Bikini Models!
Some of my epic books, prints, & more!
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!
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)
All art is but imitation of nature.-- Seneca (Letters from a Stoic - Letter LXV: On the First Cause)
The universe itself is God and the universal outpouring of its soul. --Chrysippus (Quoted by Cicero in De Natura Deorum)
Season of mists and mellow fruitfulness
Close bosom-friend of the maturing sun
Conspiring with him how to load and bless
With fruit the vines that round the thatch-eves run;
To bend with apples the moss'd cottage-trees,
And fill all fruit with ripeness to the core;
To swell the gourd, and plump the hazel shells
With a sweet kernel; to set budding more,
And still more, later flowers for the bees,
Until they think warm days will never cease,
For Summer has o'er-brimm'd their clammy cells. --To Autumn. by John Keats
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
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
Colt 45 Revolver Model Goddess! Beautiful Cowgirl Model Goddess Cowboy Boots! Long Legs Short Shorts Daisy Dukes Cutoffs Jeans Shorts! The Birth of Venus! dx4/dt=ic! Pretty Woman Portraiture! Nikon D800 & Sexy Sharp AF-S NIKKOR 70-200mm F2.8 G ED VR2 Nikon Model Portrait Photography! Girls & Guns!
My Epic Gear Guide for Epic Landscapes & Portraits!
Everyone is always asking me for this! Here ya go! :)
Epic books, prints, & more!
The Tao of Epic Landscape Photography: geni.us/taophotography
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 . . . !
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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Portrait, Swimsuit, Lingerie, Boudoir, Fine Art, & Fashion Photography Exalting the Venus Goddess Archetype: How to Shoot Epic...
Epic Poetry inspires all my photography: geni.us/9K0Ki Epic Poetry for Epic Landscape Photography: Exalt Fine Art Nature Photography with the Poetic Wisdom of John Muir, Emerson, Thoreau, Homer's Iliad, Milton's Paradise Lost & Dante's Inferno Odyssey
Malibu Beach Sea Cave Brilliant Sunset El Matador State Beach Red Yellow Orange Clouds Fuji GFX100 Fine Art Landscape! Elliot McGucken Landscape Nature Photography! Master Medium Format Fine Art Photographer! Fujifilm GFX 100 & Fujifilm FUJINON Lens!
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All my photography celebrates the physics of light! The McGucken Principle of the fourth expanding dimension: The fourth dimension is expanding at the rate of c relative to the three spatial dimensions: dx4/dt=ic .
Lao Tzu--The Tao: Nature does not hurry, yet everything is accomplished.
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
"Between every two pine trees there is a door leading to a new way of life." --John Muir
Epic Stoicism guides my fine art odyssey and photography: geni.us/epicstoicism
“The clearest way into the Universe is through a forest wilderness.” --John Muir
Epic Poetry inspires all my photography: geni.us/9K0Ki Epic Poetry for Epic Landscape Photography: Exalt Fine Art Nature Photography with the Poetic Wisdom of John Muir, Emerson, Thoreau, Homer's Iliad, Milton's Paradise Lost & Dante's Inferno Odyssey
“The mountains are calling and I must go.” --John Muir
Epic Art & 45EPIC Gear exalting golden ratio designs for your Hero's Odyssey:
Support epic fine art! 45surf ! Bitcoin: 1FMBZJeeHVMu35uegrYUfEkHfPj5pe9WNz
Exalt the goddess archetype in the fine art of photography! My Epic Book: Photographing Women Models!
Portrait, Swimsuit, Lingerie, Boudoir, Fine Art, & Fashion Photography Exalting the Venus Goddess Archetype: How to Shoot Epic ... Epic! Beautiful Surf Fine Art Portrait Swimsuit Bikini Models!
Some of my epic books, prints, & more!
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!
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)
All art is but imitation of nature.-- Seneca (Letters from a Stoic - Letter LXV: On the First Cause)
The universe itself is God and the universal outpouring of its soul. --Chrysippus (Quoted by Cicero in De Natura Deorum)
Season of mists and mellow fruitfulness
Close bosom-friend of the maturing sun
Conspiring with him how to load and bless
With fruit the vines that round the thatch-eves run;
To bend with apples the moss'd cottage-trees,
And fill all fruit with ripeness to the core;
To swell the gourd, and plump the hazel shells
With a sweet kernel; to set budding more,
And still more, later flowers for the bees,
Until they think warm days will never cease,
For Summer has o'er-brimm'd their clammy cells. --To Autumn. by John Keats
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
Dr. Gina Tambini, Director of the Family, Gender, and Life Course at PAHO (left), and Heidi Jimenez, PAHO Legal Council (right)
Rapid strata formation in soft sand (field evidence).
Photo of strata formation in soft sand on a beach, created by tidal action of the sea.
Formed in a single, high tidal event. Stunning evidence which displays multiple strata/layers.
Why this is so important ....
It has long been assumed, ever since the 17th century, that layers/strata observed in sedimentary rocks were built up gradually, layer upon layer, over many years. It certainly seemed logical at the time, from just looking at rocks, that lower layers would always be older than the layers above them, i.e. that lower layers were always laid down first followed, in time, by successive layers on top.
This was assumed to be true and became known as the superposition principle.
It was also assumed that a layer comprising a different material from a previous layer, represented a change in environmental conditions/factors.
These changes in composition of layers or strata were considered to represent different, geological eras on a global scale, spanning millions of years. This formed the basis for the Geologic Column, which is used to date rocks and also fossils. The evolutionary, 'fossil record' was based on the vast ages and assumed geological eras of the Geologic Column.
There was also circular reasoning applied with the assumed age of 'index' fossils (based on evolutionary beliefs & preconceptions) used to date strata in the Geologic Column. Dating strata from the assumed age of (index) fossils is known as Biostratigraphy.
We now know that, although these assumptions seemed logical, they are not supported by the evidence.
At the time, the mechanics of stratification were not properly known or studied.
An additional factor was that this assumed superposition and uniformitarian model became essential, with the wide acceptance of Darwinism, for the long ages required for progressive microbes-to-human evolution. There was no incentive to question or challenge the superposition, uniformitarian model, because the presumed, fossil 'record' had become dependant on it, and any change in the accepted model would present devastating implications for Darwinism.
This had the unfortunate effect of linking the study of geology so closely to Darwinism, that any study independent of Darwinian considerations was effectively stymied. This link of geology with Darwinian preconceptions is known as biostratigraphy.
Some other field evidence, in various situations, can be observed here: www.flickr.com/photos/101536517@N06/sets/72157635944904973/
and also in the links to stunning, experimental evidence, carried out by sedimentologists, given later.
_______________________________________________
GEOLOGIC PRINCIPLES (established by Nicholas Steno in the 17th Century):
What Nicolas Steno believed about strata formation is the basis of the principle of Superposition and the principle of Original Horizontality.
dictionary.sensagent.com/Law_of_superposition/en-en/
“Assuming that all rocks and minerals had once been fluid, Nicolas Steno reasoned that rock strata were formed when particles in a fluid such as water fell to the bottom. This process would leave horizontal layers. Thus Steno's principle of original horizontality states that rock layers form in the horizontal position, and any deviations from this horizontal position are due to the rocks being disturbed later.”)
BEDDING PLANES.
'Bedding plane' describes the surface in between each stratum which are formed during sediment deposition.
science.jrank.org/pages/6533/Strata.html
“Strata form during sediment deposition, that is, the laying down of sediment. Meanwhile, if a change in current speed or sediment grain size occurs or perhaps the sediment supply is cut off, a bedding plane forms. Bedding planes are surfaces that separate one stratum from another. Bedding planes can also form when the upper part of a sediment layer is eroded away before the next episode of deposition. Strata separated by a bedding plane may have different grain sizes, grain compositions, or colours. Sometimes these other traits are better indicators of stratification as bedding planes may be very subtle.”
______________________________________________
Several catastrophic events, flash floods, volcanic eruptions etc. have forced Darwinian, influenced geologists to admit to rapid stratification in some instances. However they claim it is a rare phenomenon, which they have known about for many years, and which does nothing to invalidate the Geologic Column, the fossil record, evolutionary timescale, or any of the old assumptions regarding strata formation, sedimentation and the superposition principle. They fail to face up to the fact that rapid stratification is not an extraordinary phenonemon, but rather the prevailing and normal mechanism of sedimentary deposition whenever and wherever there is moving, sediment-laden water. The experimental evidence demonstrates the mechanism and a mass of field evidence in normal (non-catastrophic) conditions shows it is a normal everyday occurrence.
It is clear from the experimental evidence that the usual process of stratification is - that strata are not formed by horizontal layers being laid on top of each other in succession, as was assumed. But by sediment being sorted in the flowing water and laid down diagonally in the direction of flow. See diagram:
www.flickr.com/photos/truth-in-science/39821536092/in/dat...
The field evidence (in the image) presented here - of rapid, simultaneous stratification refutes the Superposition Principle and the Principle of Lateral Continuity.
We now know, the Superposition Principle only applies on a rare occasion where sedimentary deposits are laid down in still water.
Superposition is required for the long evolutionary timescale, but the evidence shows it is not the general rule, as was once believed. Most sediment is laid down in moving water, where particle segregation is the general rule, resulting in the simultaneous deposition of strata/layers as shown in the photo.
See many other examples of rapid stratification (with geological features): www.flickr.com/photos/101536517@N06/sets/72157635944904973/
Rapid, simultaneous formation of layers/strata, through particle segregation in moving water, is so easily created it has even been described by sedimentologists (working on flume experiments) as a law ...
"Upon filling the tank with water and pouring in sediments, we immediately saw what was to become the rule: The sediments sorted themselves out in very clear layers. This became so common that by the end of two weeks, we jokingly referred to Andrew's law as "It's difficult not to make layers," and Clark's law as "It's easy to make layers." Later on, I proposed the "law" that liquefaction destroys layers, as much to my surprise as that was." Ian Juby, www.ianjuby.org/sedimentation/
The example in the photo is the result of normal, everyday tidal action in a single incident. Where the water current or movement is more turbulent, violent, or catastrophic, great depths (many metres) of stratified sediment can be laid down in a short time. Certainly not the many millions of years assumed by evolutionists.
The composition of strata formed in any deposition event. is related to whatever materials are in the sediment mix, not to any particular timescale. Whatever is in the mix will be automatically sorted into strata/layers. It could be sand, or other material added from mud slides, erosion of chalk deposits, coastal erosion, volcanic ash etc. Any organic material (potential fossils), alive or dead, engulfed by, or swept into, a turbulent sediment mix, will also be sorted and buried within the rapidly, forming layers.
See many other examples of rapid stratification with geological features: www.flickr.com/photos/101536517@N06/sets/72157635944904973/
Stratified, soft sand deposit. demonstrates the rapid, stratification principle.
Important, field evidence which supports the work of the eminent, sedimentologist Dr Guy Berthault MIAS - Member of the International Association of Sedimentologists.
(Dr Berthault's experiments (www.sedimentology.fr/)
And also the experimental work of Dr M.E. Clark (Professor Emeritus, U of Illinois @ Urbana), Andrew Rodenbeck and Dr. Henry Voss, (www.ianjuby.org/sedimentation/)
Location: Sandown, Isle of Wight. Formed 16/01/2018 This field evidence demonstrates that multiple strata in sedimentary deposits do not need millions of years to form and can be formed rapidly. This natural example confirms the principle demonstrated by the sedimentation experiments carried out by Dr Guy Berthault and other sedimentologists. It calls into question the standard, multi-million year dating of sedimentary rocks, and the dating of fossils by depth of burial or position in the strata.
Mulltiple strata/layers are evident in this example.
Dr Berthault's experiments (www.sedimentology.fr/) and other experiments (www.ianjuby.org/sedimentation/) and field studies of floods and volcanic action show that, rather than being formed by gradual, slow deposition of sucessive layers superimposed upon previous layers, with the strata or layers representing a particular timescale, particle segregation in moving water or airborne particles can form strata or layers very quickly, frequently, in a single event.
And, most importantly, lower strata are not older than upper strata, they are the same age, having been created in the same sedimentary episode.
Such field studies confirm experiments which have shown that there is no longer any reason to conclude that strata/layers in sedimentary rocks relate to different geological eras and/or a multi-million year timescale. www.youtube.com/watch?v=5PVnBaqqQw8&feature=share&.... they also show that the relative position of fossils in rocks is not indicative of an order of evolutionary succession. Obviously, the uniformitarian principle, on which the geologic column is based, can no longer be considered valid. And the multi-million, year dating of sedimentary rocks and fossils needs to be reassessed. Rapid deposition of stratified sediments also explains the enigma of polystrate fossils, i.e. large fossils that intersect several strata. In some cases, tree trunk fossils are found which intersect the strata of sedimentary rock up to forty feet in depth. upload.wikimedia.org/wikipedia/commons/thumb/0/08/Lycopsi... They must have been buried in stratified sediment in a short time (certainly not millions, thousands, or even hundreds of years), or they would have rotted away. youtu.be/vnzHU9VsliQ
In fact, the vast majority of fossils are found in good, intact condition, which is testament to their rapid burial. You don't get good fossils from gradual burial, because they would be damaged or destroyed by decay, predation or erosion. The existence of so many fossils in sedimentary rock on a global scale is stunning evidence for the rapid depostion of sedimentary rock as the general rule. It is obvious that all rock containing good intact fossils was formed from sediment laid down in a very short time, not millions, or even thousands of years.
See set of photos of other examples of rapid stratification: www.flickr.com/photos/101536517@N06/sets/72157635944904973/
Carbon dating of coal should not be possible if it is millions of years old, yet significant amounts of Carbon 14 have been detected in coal and other fossil material, which indicates that it is less than 50,000 years old. www.ldolphin.org/sewell/c14dating.html
www.grisda.org/origins/51006.htm
Evolutionists confidently cite multi-million year ages for rocks and fossils, but what most people don't realise is that no one actually knows the age of sedimentary rocks or the fossils found within them. So how are evolutionists so sure of the ages they so confidently quote? The astonishing thing is they aren't. Sedimentary rocks cannot be dated by radiometric methods*, and fossils can only be dated to less than 50,000 years with Carbon 14 dating. The method evolutionists use is based entirely on assumptions. Unbelievably, fossils are dated by the assumed age of rocks, and rocks are dated by the assumed age of fossils, that's right ... it is known as circular reasoning.
* Regarding the radiometric dating of igneous rocks, which is claimed to be relevant to the dating of sedimentary rocks, in an occasional instance there is an igneous intrusion associated with a sedimentary deposit -
Prof. Aubouin says in his Précis de Géologie: "Each radioactive element disintegrates in a characteristic and constant manner, which depends neither on the physical state (no variation with pressure or temperature or any other external constraint) nor on the chemical state (identical for an oxide or a phosphate)."
"Rocks form when magma crystallizes. Crystallisation depends on pressure and temperature, from which radioactivity is independent. So, there is no relationship between radioactivity and crystallisation.
Consequently, radioactivity doesn't date the formation of rocks. Moreover, daughter elements contained in rocks result mainly from radioactivity in magma where gravity separates the heavier parent element, from the lighter daughter element. Thus radiometric dating has no chronological signification." Dr. Guy Berthault www.sciencevsevolution.org/Berthault.htm
Visit the fossil museum:
www.flickr.com/photos/101536517@N06/sets/72157641367196613/
Just how good are peer reviews of scientific papers?
www.sciencemag.org/content/342/6154/60.full
www.examiner.com/article/want-to-publish-science-paper-ju...
The neo-Darwinian idea that the human genome consists entirely of an accumulation of billions of mutations is, quite obviously, completely bonkers. Nevertheless, it is compulsorily taught in schools and universities as 'science'.
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.
Model is wearing a Uni sleeve top in blue and green dyed with Squid ink paired with a green rectangle skirt
carlouspalmer.zohosites.com
Make up: by Heather Cotter
Styling assistants :Tanya Crawley and Olusegun T. Ojo
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
ISTANBUL, TURKEY - 24 MAY 2016: General view of the Special Session on “Humanitarian Principles” within the World Humanitarian Summit. OCHA / Berk Ozkan
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Für ein großes Ziel/For a Grand Goal, 1973 (Acryl auf Leinwand/Acrylic on canvas)
The Albertina
The architectural history of the Palais
(Pictures you can see by clicking on the link at the end of page!)
Image: The oldest photographic view of the newly designed Palais Archduke Albrecht, 1869
"It is my will that the expansion of the inner city of Vienna with regard to a suitable connection of the same with the suburbs as soon as possible is tackled and at this on Regulirung (regulation) and beautifying of my Residence and Imperial Capital is taken into account. To this end I grant the withdrawal of the ramparts and fortifications of the inner city and the trenches around the same".
This decree of Emperor Franz Joseph I, published on 25 December 1857 in the Wiener Zeitung, formed the basis for the largest the surface concerning and architecturally most significant transformation of the Viennese cityscape. Involving several renowned domestic and foreign architects a "master plan" took form, which included the construction of a boulevard instead of the ramparts between the inner city and its radially upstream suburbs. In the 50-years during implementation phase, an impressive architectural ensemble developed, consisting of imperial and private representational buildings, public administration and cultural buildings, churches and barracks, marking the era under the term "ring-street style". Already in the first year tithe decided a senior member of the Austrian imperial family to decorate the facades of his palace according to the new design principles, and thus certified the aristocratic claim that this also "historicism" said style on the part of the imperial house was attributed.
Image: The Old Albertina after 1920
It was the palace of Archduke Albrecht (1817-1895), the Senior of the Habsburg Family Council, who as Field Marshal held the overall command over the Austro-Hungarian army. The building was incorporated into the imperial residence of the Hofburg complex, forming the south-west corner and extending eleven meters above street level on the so-called Augustinerbastei.
The close proximity of the palace to the imperial residence corresponded not only with Emperor Franz Joseph I and Archduke Albert with a close familial relationship between the owner of the palace and the monarch. Even the former inhabitants were always in close relationship to the imperial family, whether by birth or marriage. An exception here again proves the rule: Don Emanuel Teles da Silva Conde Tarouca (1696-1771), for which Maria Theresa in 1744 the palace had built, was just a close friend and advisor of the monarch. Silva Tarouca underpins the rule with a second exception, because he belonged to the administrative services as Generalhofbaudirektor (general court architect) and President of the Austrian-Dutch administration, while all other him subsequent owners were highest ranking military.
In the annals of Austrian history, especially those of military history, they either went into as commander of the Imperial Army, or the Austrian, later kk Army. In chronological order, this applies to Duke Carl Alexander of Lorraine, the brother-of-law of Maria Theresa, as Imperial Marshal, her son-in-law Duke Albert of Saxe-Teschen, also field marshal, whos adopted son, Archduke Charles of Austria, the last imperial field marshal and only Generalissimo of Austria, his son Archduke Albrecht of Austria as Feldmarschalil and army Supreme commander, and most recently his nephew Archduke Friedrich of Austria, who held as field marshal from 1914 to 1916 the command of the Austro-Hungarian troops. Despite their military profession, all five generals conceived themselves as patrons of the arts and promoted large sums of money to build large collections, the construction of magnificent buildings and cultural life. Charles Alexander of Lorraine promoted as governor of the Austrian Netherlands from 1741 to 1780 the Academy of Fine Arts, the Théâtre de Ja Monnaie and the companies Bourgeois Concert and Concert Noble, he founded the Academie royale et imperial des Sciences et des Lettres, opened the Bibliotheque Royal for the population and supported artistic talents with high scholarships. World fame got his porcelain collection, which however had to be sold by Emperor Joseph II to pay off his debts. Duke Albert began in 1776 according to the concept of conte Durazzo to set up an encyclopedic collection of prints, which forms the core of the world-famous "Albertina" today.
Image : Duke Albert and Archduchess Marie Christine show in family cercle the from Italy brought along art, 1776. Frederick Henry Füger.
1816 declared to Fideikommiss and thus in future indivisible, inalienable and inseparable, the collection 1822 passed into the possession of Archduke Carl, who, like his descendants, it broadened. Under him, the collection was introduced together with the sumptuously equipped palace on the Augustinerbastei in the so-called "Carl Ludwig'schen fideicommissum in 1826, by which the building and the in it kept collection fused into an indissoluble unity. At this time had from the Palais Tarouca by structural expansion or acquisition a veritable Residenz palace evolved. Duke Albert of Saxe-Teschen was first in 1800 the third floor of the adjacent Augustinian convent wing adapted to house his collection and he had after 1802 by his Belgian architect Louis de Montoyer at the suburban side built a magnificent extension, called the wing of staterooms, it was equipped in the style of Louis XVI. Only two decades later, Archduke Carl the entire palace newly set up. According to scetches of the architect Joseph Kornhäusel the 1822-1825 retreaded premises presented themselves in the Empire style. The interior of the palace testified from now in an impressive way the high rank and the prominent position of its owner. Under Archduke Albrecht the outer appearance also should meet the requirements. He had the facade of the palace in the style of historicism orchestrated and added to the Palais front against the suburbs an offshore covered access. Inside, he limited himself, apart from the redesign of the Rococo room in the manner of the second Blondel style, to the retention of the paternal stock. Archduke Friedrich's plans for an expansion of the palace were omitted, however, because of the outbreak of the First World War so that his contribution to the state rooms, especially, consists in the layout of the Spanish apartment, which he in 1895 for his sister, the Queen of Spain Maria Christina, had set up as a permanent residence.
Picture: The "audience room" after the restoration: Picture: The "balcony room" around 1990
The era of stately representation with handing down their cultural values found its most obvious visualization inside the palace through the design and features of the staterooms. On one hand, by the use of the finest materials and the purchase of masterfully manufactured pieces of equipment, such as on the other hand by the permanent reuse of older equipment parts. This period lasted until 1919, when Archduke Friedrich was expropriated by the newly founded Republic of Austria. With the republicanization of the collection and the building first of all finished the tradition that the owner's name was synonymous with the building name:
After Palais Tarouca or tarokkisches house it was called Lorraine House, afterwards Duke Albert Palais and Palais Archduke Carl. Due to the new construction of an adjacently located administration building it received in 1865 the prefix "Upper" and was referred to as Upper Palais Archduke Albrecht and Upper Palais Archduke Frederick. For the state a special reference to the Habsburg past was certainly politically no longer opportune, which is why was decided to name the building according to the in it kept collection "Albertina".
Picture: The "Wedgwood Cabinet" after the restoration: Picture: the "Wedgwood Cabinet" in the Palais Archduke Friedrich, 1905
This name derives from the term "La Collection Albertina" which had been used by the gallery Inspector Maurice von Thausing in 1870 in the Gazette des Beaux-Arts for the former graphics collection of Duke Albert. For this reason, it was the first time since the foundation of the palace that the name of the collection had become synonymous with the room shell. Room shell, hence, because the Republic of Austria Archduke Friedrich had allowed to take along all the movable goods from the palace in his Hungarian exile: crystal chandeliers, curtains and carpets as well as sculptures, vases and clocks. Particularly stressed should be the exquisite furniture, which stems of three facilities phases: the Louis XVI furnitures of Duke Albert, which had been manufactured on the basis of fraternal relations between his wife Archduchess Marie Christine and the French Queen Marie Antoinette after 1780 in the French Hofmanufakturen, also the on behalf of Archduke Charles 1822-1825 in the Vienna Porcelain Manufactory by Joseph Danhauser produced Empire furnitures and thirdly additions of the same style of Archduke Friedrich, which this about 1900 at Portois & Ffix as well as at Friedrich Otto Schmidt had commissioned.
The "swept clean" building got due to the strained financial situation after the First World War initially only a makeshift facility. However, since until 1999 no revision of the emergency equipment took place, but differently designed, primarily the utilitarianism committed office furnitures complementarily had been added, the equipment of the former state rooms presented itself at the end of the 20th century as an inhomogeneous administrative mingle-mangle of insignificant parts, where, however, dwelt a certain quaint charm. From the magnificent state rooms had evolved depots, storage rooms, a library, a study hall and several officed.
Image: The Albertina Graphic Arts Collection and the Philipphof after the American bombing of 12 März 1945.
Image: The palace after the demolition of the entrance facade, 1948-52
Worse it hit the outer appearance of the palace, because in times of continued anti-Habsburg sentiment after the Second World War and inspired by an intolerant destruction will, it came by pickaxe to a ministerial erasure of history. In contrast to the graphic collection possessed the richly decorated facades with the conspicuous insignia of the former owner an object-immanent reference to the Habsburg past and thus exhibited the monarchial traditions and values of the era of Francis Joseph significantly. As part of the remedial measures after a bomb damage, in 1948 the aristocratic, by Archduke Albert initiated, historicist facade structuring along with all decorations was cut off, many facade figures demolished and the Hapsburg crest emblems plunged to the ground. Since in addition the old ramp also had been cancelled and the main entrance of the bastion level had been moved down to the second basement storey at street level, ended the presence of the old Archduke's palace after more than 200 years. At the reopening of the "Albertina Graphic Collection" in 1952, the former Hapsburg Palais of splendour presented itself as one of his identity robbed, formally trivial, soulless room shell, whose successful republicanization an oversized and also unproportional eagle above the new main entrance to the Augustinian road symbolized. The emocratic throw of monuments had wiped out the Hapsburg palace from the urban appeareance, whereby in the perception only existed a nondescript, nameless and ahistorical building that henceforth served the lodging and presentation of world-famous graphic collection of the Albertina. The condition was not changed by the decision to the refurbishment because there were only planned collection specific extensions, but no restoration of the palace.
Image: The palace after the Second World War with simplified facades, the rudiment of the Danubiusbrunnens (well) and the new staircase up to the Augustinerbastei
This paradigm shift corresponded to a blatant reversal of the historical circumstances, as the travel guides and travel books for kk Residence and imperial capital of Vienna dedicated itself primarily with the magnificent, aristocratic palace on the Augustinerbastei with the sumptuously fitted out reception rooms and mentioned the collection kept there - if at all - only in passing. Only with the repositioning of the Albertina in 2000 under the direction of Klaus Albrecht Schröder, the palace was within the meaning and in fulfillment of the Fideikommiss of Archduke Charles in 1826 again met with the high regard, from which could result a further inseparable bond between the magnificent mansions and the world-famous collection. In view of the knowing about politically motivated errors and omissions of the past, the facades should get back their noble, historicist designing, the staterooms regain their glamorous, prestigious appearance and culturally unique equippment be repurchased. From this presumption, eventually grew the full commitment to revise the history of redemption and the return of the stately palace in the public consciousness.
Image: The restored suburb facade of the Palais Albertina suburb
The smoothed palace facades were returned to their original condition and present themselves today - with the exception of the not anymore reconstructed Attica figures - again with the historicist decoration and layout elements that Archduke Albrecht had given after the razing of the Augustinerbastei in 1865 in order. The neoclassical interiors, today called after the former inhabitants "Habsburg Staterooms", receiving a meticulous and detailed restoration taking place at the premises of originality and authenticity, got back their venerable and sumptuous appearance. From the world wide scattered historical pieces of equipment have been bought back 70 properties or could be returned through permanent loan to its original location, by which to the visitors is made experiencable again that atmosphere in 1919 the state rooms of the last Habsburg owner Archduke Frederick had owned. The for the first time in 80 years public accessible "Habsburg State Rooms" at the Palais Albertina enable now again as eloquent testimony to our Habsburg past and as a unique cultural heritage fundamental and essential insights into the Austrian cultural history. With the relocation of the main entrance to the level of the Augustinerbastei the recollection to this so valuable Austrian Cultural Heritage formally and functionally came to completion. The vision of the restoration and recovery of the grand palace was a pillar on which the new Albertina should arise again, the other embody the four large newly built exhibition halls, which allow for the first time in the history of the Albertina, to exhibit the collection throughout its encyclopedic breadh under optimal conservation conditions.
Image: The new entrance area of the Albertina
64 meter long shed roof. Hans Hollein.
The palace presents itself now in its appearance in the historicist style of the Ringstrassenära, almost as if nothing had happened in the meantime. But will the wheel of time should not, cannot and must not be turned back, so that the double standards of the "Albertina Palace" said museum - on the one hand Habsburg grandeur palaces and other modern museum for the arts of graphics - should be symbolized by a modern character: The in 2003 by Hans Hollein designed far into the Albertina square cantilevering, elegant floating flying roof. 64 meters long, it symbolizes in the form of a dynamic wedge the accelerated urban spatial connectivity and public access to the palace. It advertises the major changes in the interior as well as the huge underground extensions of the repositioned "Albertina".
Christian Benedictine
Art historian with research interests History of Architecture, building industry of the Hapsburgs, Hofburg and Zeremonialwissenschaft (ceremonial sciences). Since 1990 he works in the architecture collection of the Albertina. Since 2000 he supervises as director of the newly founded department "Staterooms" the restoration and furnishing of the state rooms and the restoration of the facades and explores the history of the palace and its inhabitants.
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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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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.
Objective 3: Elements and Principles of Design
Line: the lines in this photo are curved lines created from the edges of the apples. This adds beauty and elegance to the photo.
Colour: the colour in this photo is coming from the three apples. The first apples red colour stands out more because the green one is directly behind it. The second green apple also brings out the subtle greens in the first apple like the area surrounding the stem. These complimentary colours add interest to the photo.
Shape: the shape in this photo is created by the apples. There are circular shapes created from each apple itself and then there are also circular shapes on each of the apples created from the parts surrounding the stem.
Form: the form in this photo is created by the shadows in the bottom right corner of the apple, it is also created from the reflections on the apples. These shadows and reflections create a 3D look to the apples and make them stand out more. This adds strength to the photo because the main focus point (the first apple) stands out to you more and draws you eye to it.
Space: the space in this photo shows the positive space as the apples and the negative space as the white background. The negative space (white background) makes the apples stand out more, especially the first one. The negative space has no clutter in the background making it simple and making the main focus point the first apple. The first apple is the main focus point but since the positive space continues into the other two apples your eye is drawn around the photo. This makes the photo more interesting and focused on one area.
Objective 4: Lighting: The lighting in this photo is soft, overhead lighting. This makes the photos reflections not as harsh and makes the apples look more natural.
Objective 5: Post Production (ex. dust/spot removal, resize, contrast, white balance, sharpening, borders, etc.)
Corrections/adjustments made:
The main things I did were sharpening to define the edges more and create a crisper look, contrast was done to adjust the light and dark areas, and image resize to post to Flickr.
Objective 6: Critique
I think this photo is strong because of the angle it is at. The repetition of apples draws interest but because the first apple starts in the bottom right corner and then the other apples curve over towards the left and adds interest to the photo. The angle and positioning makes all the difference in this photo and works very well. If I were to take these apple photos again I would place them in better lighting. The lighting in this photo isn’t horrible but if it were natural, window lighting I think it would make the photo pop even more and much more natural and bright looking. This would also make the white background whiter and then make the apples stand out more. Using a different lighting would also remove the purple glare on the first apple, which I think is a bit distracting and unnecessary. Overall I think this photo was very strong because of all the elements used.
Scanning negatives from 'first principles' ; PHOTAX test negative / the negative was illuminated by simply laying it flat on a light box, then photographed with a Canon G9 power shot digital camera (camera held rigid on a copy stand) The image was uploaded onto an iPad mini and then edited on the iPad using the Snap Seed application : I reversed the image from negative to positive (seen here) by using the 'curves' facility of the Snap Seed app. Considering the primitive nature of the scanning method it's a reasonable result and offers a way to get negative images onto internet media sites (such as Flickr).
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