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New book! Epic Landscape Photography: The Principles of Fine Art Nature Photography!
www.facebook.com/epiclandscapephotography/
Join my new 45EPIC fine art landscapes page on facebook!
facebook.com/mcgucken
Working on a couple photography books! 45EPIC GODDESS PHOTOGRAPHY: A classic guide to exalting the archetypal woman. And 45EPIC Fine Art Landscape Photography!
More on my golden ratio musings: facebook.com/goldennumberratio
instagram.com/goldennumberratio
Greetings all! I have been busy finishing a few books on photography, while traveling all over--to Zion and the Sierras--shooting fall colors. Please see some here: facebook.com/mcgucken
Let me know in the comments if you would like a free review copy of one of my photography books! :)
Titles include:
The Tao of Epic Landscape Photography: Exalt Fine Art with the Yin-Yang Wisdom of Lao Tzu's Tao Te Ching!
The Golden Number Ratio Principle: Why the Fibonacci Numbers Exalt Beauty and How to Create PHI Compositions in Art, Design, & Photography
facebook.com/goldennumberratio
And I am also working on a book on photographing the goddesses! :) More goddesses soon!
Best wishes on your epic hero's odyssey!:)
I love voyaging forth into nature to contemplate poetry, physics, the golden ratio, and the Tao te Ching! What's your favorite epic poetry reflecting epic landscapes? I recently finished a book titled Epic Poetry for Epic Landscape Photographers:
www.facebook.com/Epic-Poetry-for-Epic-Landscape-Photograp...
Did you know that John Muir, Thoreau, and Emerson all loved epic poetry and poets including Shakespeare, Milton, Homer, and Robert Burns?
I recently finished my fourth book on Light Time Dimension Theory, much of which was inspired by an autumn trip to Zion!
www.facebook.com/lightimedimensiontheory/
Via its simple principle of a fourth expanding dimension, LTD Theory provides a unifying, foundational *physical* model underlying relativity, quantum mechanics, time and all its arrows and asymmetries, and the second law of thermodynamics. The detailed diagrams demonstrate that the great mysteries of quantum mechanical nonlocality, entanglement, and probability naturally arise from the very same principle that fosters relativity alongside light's constant velocity, the equivalence of mass and energy, and time dilation.
Follow me on instagram!
Join my new 45EPIC fine art landscapes page on facebook!
Universally useful design principles of Dieter Rams are on display at SF MOMA's exhibit, 'Less and More' from August 27, 2011 - February 20, 2012.
Event: The Annual Women’s Empowerment Principles, entitled “Unlimited Potential: Business Partners for Gender Equality”
hosted by UN Women and the UN Global Compact in ECOSOC chambers at United Nations Headquarters on 10 March 2015.
Welcoming remarks by:
Master of Ceremonies: Jo Confino, Executive Editor, The Guardian and Chairman & Editorial Director of Guardian Sustainable Business
Georg Kell, Executive Director, UN Global Compact
Phumzile Mlambo-Ngcuka, Under-Secretary-General and Executive Director, UN Women.
Opening remarks by: UNSGKeynote Speaker: Hon. Hillary Rodham Clinton, former US Secretary of State
Photo: UN Women/Ryan Brown
A figure used in a lecture from JR James at the Department of Town and Regional Planning at The University of Sheffield between 1967 and 1978.
VCAD's Interior Design program allows you to develop a skill set that compliments your creative vision so you can excel in interior design. The program introduces students to design principles, color theory, space planning, drafting and industry-standard software.
Subscribe to VCAD:
www.youtube.com/subscription_center?add_user=VancouverVCAD
Visual College of Art and Design
500 - 626 West Pender Street
Vancouver, BC
V6B 1V9
U.S. Customs and Border Protection Commissioner R. Gil Kerlikowske and New Zealand Customs Service Comptroller Carolyn Tremain sign a Declaration of Principles while meeting at the National Targeting Center in Herndon, Va., Feb. 25, 2016. (U.S. Customs and Border Protection Photo by Glenn Fawcett)
Working on similar principles to rail guns, coil guns use electromagnetic pulses to propel slugs at very high speed. With no moving parts, and nothing to eject, the weapon is simplified, reducing weight and cost. Due to the the weapon being in the proof of concept phase, proper sights have yet to be fitted. Charged by a battery in the rear, a 5mm magnetic slug is loaded into the firing chamber, then launched using an EM pulse which has the additional benefit of knocking out nearby enemy electronics, while it is necessary for the operator's own personal electronics to be EM shielded. The magazine hold 45 slugs.
EDIT: Credit to Option for his various workspaces
Seaside is an unincorporated master-planned community on the Florida Panhandle in Walton County, between Panama City Beach and Destin. One of the first communities in America designed on the principles of New Urbanism, the town has become the topic of slide lectures in architectural schools and in housing-industry magazines, and is visited by design professionals from all over the United States. On April 18, 2012, the American Institute of Architects's Florida Chapter placed the community on its list of Florida Architecture: 100 Years. 100 Places as the Seaside – New Urbanism Township.
Beach of Seaside
The idea behind Seaside came in 1946, when the grandfather of future founder Robert S. Davis bought 80 acres (32 ha) of land along the shore of Northwest Florida as a summer retreat for his family. In 1978 Davis inherited the parcel from his grandfather, and aimed to transform it into an old-fashioned beach town, with traditional wood-framed cottages of the Florida Panhandle. Davis, his wife Daryl and, the architectural partners and Driehaus Prize winners, Andrés Duany and Elizabeth Plater-Zyberk of Duany Plater-Zyberk & Company toured the south studying small towns as a basis for planning Seaside. The final plan was complete around 1985. The town was used as the main filming location of the 1998 film The Truman Show.
Seaside is located along County Road 30A immediately adjacent to the Gulf of Mexico. Via County Road 30A, Rosemary Beach is 8 mi (13 km) to the southeast, and Miramar Beach is 16 mi (26 km) to the northwest (via County Road 30A to US 98).
Seaside is one of three planned communities on Florida's Gulf coast designed by Andrés Duany and Elizabeth Plater-Zyberk. The other two are Rosemary Beach and Alys Beach. The three are examples of a style of urban planning known as New Urbanism. As Seaside is privately owned, no other municipal governments had planning jurisdiction over Seaside, and therefore the developers were able to write their own zoning codes. Seaside's commercial hub is located at the town center. The streets are designed in a radiating street pattern with pedestrian alleys and open spaces located throughout the town. There is a mix of uses and residential types throughout the community.
Individual housing units in Seaside are required to be different from other buildings, with designs ranging from styles such as Victorian, New Classical, Modern, Postmodern, and Deconstructivism. Seaside includes buildings by architects such as Léon Krier, Robert A. M. Stern, Steven Holl, Machado and Silvetti Associates, Deborah Berke, Gordon Burns & Associates, Thomas Christ, Walter Chatham, Daniel Solomon, Ronnie Holstead, Jeff Margaretten, Alex Gorlin, Aldo Rossi, Michael McDonough, Samuel Mockbee, David Mohney, Steve Badanes, Walker Candler, and David Coleman. Another Driehaus Prize winner, the architect Scott Merrill designed the Seaside Chapel, an interfaith chapel and local landmark.
Seaside has no private front lawns, and only native plants are used in front yards.
East 42nd Street, Midtown Manhattan
The Chrysler Building, a stunning statement in the Art Deco style by architect William Van Alen, embodies the romantic essence of the New York City skyscraper. Built in 1928-30 for Walter P. Chrysler of the Chrysler Corporation, it was "dedicated to world commerce and industry."- The tallest building in the world when completed in 1930, it stood proudly on the New York skyline as a personal symbol of Walter Chrysler and the strength of his corporation.
History of Construction
The Chrysler Building had its beginnings in an office building project for William H. Reynolds, a real-estate developer and promoter and former New York State senator. Reynolds had acquired a long-term lease in 1921 on a parcel of property at Lexington Avenue and 42nd Street owned by the Cooper Union tor the Advancement of Science and Art. In 1927 architect William Van Alen was hired to design an office tower to be called the Reynolds Building for the site. Publicized as embodying new principles in skyscraper design,*' the projected building was to be 67 stories high rising 808 feet, and it was "to be surmounted by a glass dome, which when lighted from within, will give the effect of a great jewelled sphere."-' In October, 1928, however, the office building project and the lease on the site were taken over by Walter P. Chrysler, head of the Chrysler Corporation, who was seeking to expand his interests into the real estate field.
Walter Percy Chrysler (1875-1940), one of America's foremost automobile manufacturers, was a self-made man who worked his way up through the mechanical an; manufacturing aspects of the railroad business before joining the Buick Motor Company as works manager in 1912. Because of his success in introducing new processes and efficiencies into the automobile plant, he rose quickly through the administrative ranks of General Motors (which had absorbed Buick) before personality conflicts with William C. Durant, head of General Motors, forced Chrysler to leave. In 1921 he reorganized Willys-Overland Company, and then took over as chairman of the reorganization and management committee of the Maxwell Motor Company, eventually assuming the presidency. This enabled Chrysler to introduce in 1924 the car bearing his name which presented such innovations as four-wheel hydraulic brakes and high compression motor.
Over 50 million dollars worth of cars were sold the first year, and in 1925, the Maxwell Motor Company became the Chrysler Corporation, Dodge Brothers was acquired in 1928 giving the Chrysler Corporation additional manufacturing facilities, a famous line of cars, and putting it in a position to challenge the leadership of Ford and General Motor By 1935, when Chrysler retired from the presidency of the Chrysler Corporation to become chairman of the board, the company was second in the automobile industry ir. volume of production.
It was while Chrysler was aggressively expanding his corporation in 1928 that he took over the office building project from Reynolds. In his autobiography, Chrysler said that he had the building constructed so that his sons would have something to be responsible for. He could not have been unaware, however, that the building would become a personal symbol and further the image of the Chrysler Corporation — even though no corporate funds were used in its financing or construction. To that end Chrysler worked with architect William Van Alen to make the building a powerful and striking design.
William Van Alen (1882-1954) studied at Pratt Institute before beginning his architectural career in the office or Clarence True, a speculative builder. Severs! years later while continuing his studies at the Beaux-Arts Institute 01 Design in the atelier of Donn Barber, Van Alen entered the office of Clinton * Russell as a designer. In 1908 he won the Paris Prize of the Beaux-Arts Institute and entered the Ecole des Beaux-Arts and the Atelier lLaloux. According to architect Francis S. Swales, "
His work at the Ecole indicated that the training was providing him with the mental freedom necessary to think independently, instead of merely the usual school -cargo of elements of architecture and a technique or competition by rules."0 Returning to New York in 1912 he introduced the concept of "garden11 apartments and also designed the Albemarle Building, a skyscraper without cornices. In the 1920s he became known for his innovative shop-front designs and for a series of restaurants for the Child's chain. With the Chrysler Building, Van Alen was able to apply modern principles of design to the skyscraper but at the same time created such a striking image that critic Kenneth Murchison dubbed him "the Ziegfield of his profession.
'In the 1930s he pioneered in prefabricated housing designs although they were never widely produced. Van Alen served for four years in the 1940s as director of sculpture for the Beaux-Arts Institute of Design, and he was a member of the American Institute of Architects and the National Academy of Design.
Work began on the Chrysler Building on October 15, 1928, when Chrysler acquire the lease, with clearance of the site. Construction proceeded rapidly; foundations to a depth of 69 feet were completed early in 1929, and the steel framework was completed by the end of September of that year.
The design of the building, however, was altered from that for Reynolds. Chrysler, in his autobiography, credits himself for suggesting that it be taller than the 1000-foot Eiffel Tower. The design of the crowning dome was also changed, and the addition of a spire, which the architect called a "vertex," made the Chrysler at 1046 feet the tallest building in the world at the time. Kenneth Murchison fancifully depicts Chrysler urging Van Alen to win the race to construct the world's tallest building.
Van Alen himself had personal reasons for achieving this goal, as a former partner, ii. Craig Severance, was constructing the Bank of Manhattan, 40 Wall Street, at the same time with the aim of making it the world's tallest skyscraper. Thinking that the Chrysler Building would be only 925 feet high, Severance added a 50-foot flagpole to his building making it 927 feet. Meanwhile, Van Alen designed the 185-foot spire which would make the Chrysler Building the tallest. The spire was fabricated, then delivered to the building in five sections, and assembled secret at the 65th floor.
In November, 1929, it was finally raised into position by a 20-ton derrick through a fire tower in the center of the building, then riveted i place, the whole operation taking about 90 minutes. This engineering feat capture the popular imagination as well as that of professionals, and it helped to further the progressive image of the Chrysler Building. However, the Chrysler lost its height distinction two years later with the construction of the Empire State Building.
The first tenants moved into the Chrysler Building in April, 1930, even though construction was not completed. Formal opening ceremonies were held on May 27, 1930 in conjunction with the annual meeting of the 42nd Street Property Owners and Merchants Association. A bronze tablet was placed in the lobby of the building "in recongnition of Mr. Chrysler's contribution to civic advancement." The building was considered finished in August, 1930, but curiously, the completion date recorded in the records of the Manhattan Building Department is February 19, 1932.
The Chrysler Building and Art Deco
Waiter P. Chrysler wanted a progressive image and a personal symbol. Van Alen strove* to create such an image using the tenets of modernism as he interpreted them. In so doing he designed a building which has come to be regarded as one of the outstanding examples of Art Deco architecture.
The term. Art Deco, which is also referred to by several different names such as the Style Moderne and Modernistic, is adopted from the Exposition International: des Arts Decoratifs et Industrie]s Modernes--an important European influence or. the American Art Deco sty!e--held in Paris in 1925.
In the period following the first World War, architects in Europe and the united States had begun to simplify traditional design forms and to use -industrial materials in innovative ways in order to characterize the modern age.
The Art Deco style seemed to lend itself particularly well to skyscraper design because the skyscraper, more than any other building type, epitomized progress, innovation, and a new modern age. Although the Art Deco style was short-lived, it coincided with a great building boom at the end of the 1920s in New York. The many-skyscrapers which were erected in the Art Deco style gave New York and its skyline a characteristic and romantic image, popularized in theater and films, which persisted until the next great building boom of the early 1960s. In the Chrysler Building, Van Alen used a variety of materials, techniques, and design forms which are characteristic of Art Deco.
The Chrysler Building rises 77 stories in a series of setbacks which accord with the regulations of the 1916 New York zoning prdinance. As a freestanding tower occupying about half a block, the building is visible from four sides. Like many Art Deco architects. Van Alen believed strongly in designing steel structures so that they would not be imitative of masonry construction.'- Also unlike many earlier skyscrapers, the design of the Chrysler did not follow the formula of a column with ornamental base, bare shaft, and ornamental capital; rather the design was to be of interest throughout the entire height.13 Both the great height of the building and the mandated setbacks aided Van Alen in making this design decision,
The first four stories of the building cover the entire site arid are faced with polished black Shastone granite at the first story and white Georgian marble above. The most striking features of this portion of the building are the two entrances, on Lexington Avenue and 42nd Street. Each entrance rises for h height of three stories in proscenium fashion and is enframed by Shastone granite. Set back within the deep reveals of the entrances are sets of revolving doors beneath intricately patterned metal and glass screens.
The treatment is such as to heighten the dramatic effect of entering the building --a concern of Art Deco design There is a one-story entrance on 43rd Street. Also at first story level are iarge show windows for shops, framed in metal. Windows for offices may be seen at the second, third, and fourth stories. Ornamental spandrels are set at the bases of the second story windows. The exposed metal frames of the entries and windows art of "Nirosta" steel, a kind of rust-resistant, chromium nickel steel, manufactured for the first time in the United States specifically for the Chrysler Building according to a German formula from Krupp. This use of a new. material is in keeping with Art Deco principles.
Above the fourth story, the building is penetrated on the east and west sides by light courts extending to the face of the tower, while on the north and south the structure gradually rises in a series of setbacks. The facing of the walls through the first setback at the sixteenth story is of white brick with contrast! white marble strips creating a basketweave pattern. The use of a variety of colo and textures is characteristic of Art Deco. Windows are set in a regular grid pattern. An. unusual feature of all windows in the building is that they have no reveals; frames are set flush with the walls. This was seen is another means of indicating modernity and progress.
In the next setback, ending at the twenty-fourth floor, there is a vertical emphasis with piers of white brick alternating with vertical window strips. Aluminum spandrels between the windows aid this effect. Spandrels at the twentieth twenty-first, and twenty-second floors are adorned with polished abstract relief ornament. At the corners of the twenty-fourth floor are placed conventionalized pineapples, about nine feet high, of "Nirosta" steel, which had been fabricated < the site.
The next three stories, through the twenty-seventh, form the third setback. Horizontal banding and zigzag motifs in gray and black brick contrast with the verticality of the setback below. The fourth setback, to the thirty-first story marks the emergence of the tower shaft from the lower masses. At the thirty-first floor the corners of the building are extended outward and crowned by huge ornamental Chrysler radiator caps in "Nirosta" steel, spanning about 15 feet.
The- extension was necessary to overcome the optical effect that would otherwise make the tower appear wider at the top than at the base. Also at this floor is a frieze ir. gra; and white brick of stylized racing automobiles with polished steel hub caps. Th ornamental features are overt symbols of the Chrysler Corporation and characteristic of the types of effects created by Art Deco architects.
The building had a number of innovative and desirable features. THe soundproofed office partitions were of steel made in interchangeable sections so that arranges! of any office suite could be changed quickly and conveniently. Under-floor duct systems carried wiring for telephone and electric outlets.
The elevators, specifically at Chrysler's instruction, were capable of speeds of 1000 feet per minute although city codes in effect in 1930 only allowed 700 feet per minute. The building also had three of the longest continuous elevator shafts in the world To enhance public access to the building, an underground arcade led to the IRT subway system. The connection was strongly opposed by the IRT, but Chrysler prevailed and the passageway was built at his expense. In the dome was the private-Cloud Club, which still exists, and, in the very topmost floor, a public observation deck.
On display was Walter P. Chrysler's box of handmade tools, the emblem of his enterprise and personal success. The observatory has been closed for many years.
Conclusion
Critics such as Lewis Mumford who favored the International Style denigrated the Chrysler Building for its "inane romanticism,... meaningless voluptuousness, ... /and/ void symbolism," " but it was these qualities which captured the popular imagination and helped make it one of the most famous buildings in New York. We can appreciate the comments of the editor of Architectural Porum who wrote:
It stands by itself, something apart and alone. It is simply the realization, the fulfillment in metal and masonry, of a one-man dream, a dream of such ambition and such magnitude as to defy the comprehension and the criticism of ordinary men or by ordinary standards.
The Chrysler Building still stands proudly in the New York skyline, its gleaming spire and soaring tower capturing the eye and imagination of the viewer. While it may no longer symbolize the Chrysler Corporation, it still embodies the romantic essence of the Art Deco skyscraper in New York City, with its dramatic effects, elegant materials, and vivid ornamental details. Built as a monument to progress in commerce and industry, it remains as one of New York's finest office buildings and great examples of the Art Deco style.
- From the 1978 NYCLPC Landmark Designation Report
John Stuart Mill - Principles of Political Economy
edited by Donald Winch
Pelican Classics AC17, 1970
Cover: A detail from 'Forging the Shaft: a Welding Heat' by John Ferguson Weir
In a 2,000-word essay in the latest issue of The Architectural Review, Prince Charles has come up with 10 “important geometric principles” for urban masterplanning. He says we need to “reconnect with traditional approaches” and said “It is time to take a more mature view” as he lays out his vision for the future of architecture and planning.
“All I am suggesting is that the new alone is not enough. We have to be mindful of the long-term consequences of what we construct in the public realm and, in its design, reclaim our humanity and our connection with nature, both of which, because of the corporate rather than human way in which our urban spaces have been designed, have come under increasing threat.”
“To counter this, I believe we have to revisit the learning that for so long has been embedded in traditional approaches to design, simply because they are so rooted in our own connection with nature’s patterns and processes. As we face so many critical challenges in the years ahead, these approaches are crying out to be brought back to the forefront of contemporary practice.”
His 10 principles are:
Developments must respect the land. They should not be intrusive; they should be designed to fit within the landscape they occupy.
Architecture is a language. We have to abide by the grammatical ground rules, otherwise dissonance and confusion abound. This is why a building code can be so valuable.
Scale is also key. Not only should buildings relate to human proportions, they should correspond to the scale of the other buildings and elements around them. Too many of our towns have been spoiled by casually placed, oversized buildings of little distinction that carry no civic meaning.
Harmony – the playing together of all parts. The look of each building should be in tune with its neighbours, which does not mean creating uniformity. Richness comes from diversity, as Nature demonstrates, but there must be coherence, which is often achieved by attention to details like the style of door cases, balconies, cornices and railings.
The creation of well-designed enclosures.Rather than clusters of separate houses set at jagged angles, spaces that are bounded and enclosed by buildings are not only more visually satisfying, they encourage walking and feel safer.
Materials also matter. In the UK, as elsewhere, we have become dependent upon bland, standardised building materials. There is much too much concrete, plastic cladding, aluminium, glass and steel employed, which lends a place no distinctive character. For buildings to look as if they belong, we need to draw on local building materials and regional traditional styles.
Signs, lights and utilities. They can be easily overused. We should also bury as many wires as possible and limit signage. A lesson learned from Poundbury is that it is possible to rid the street of nearly all road signs by using ‘events’ like a bend, square or tree every 60-80 metres, which cause drivers to slow down naturally.
The pedestrian must be at the centre of the design process. Streets must be reclaimed from the car.
Density. Space is at a premium, but we do not have to resort to high-rise tower blocks which alienate and isolate. I believe there are far more communal benefits from terraces and the mansion block. You only have to consider the charm and beauty of a place like Kensington and Chelsea in London to see what I mean. It is often forgotten that this borough is the most densely populated one in London.
Flexibility. Rigid, conventional planning and rules of road engineering render all the above instantly null and void, but I have found it is possible to build flexibility into schemes and I am pleased to say that many of the innovations we have tried out in the past 20 years are now reflected in national engineering guidance, such as The Manual For Streets.
New book! Epic Landscape Photography: The Principles of Fine Art Nature Photography!
www.facebook.com/epiclandscapephotography/
Join my new 45EPIC fine art landscapes page on facebook!
facebook.com/mcgucken
Working on a couple photography books! 45EPIC GODDESS PHOTOGRAPHY: A classic guide to exalting the archetypal woman. And 45EPIC Fine Art Landscape Photography!
More on my golden ratio musings: facebook.com/goldennumberratio
instagram.com/goldennumberratio
Greetings all! I have been busy finishing a few books on photography, while traveling all over--to Zion and the Sierras--shooting fall colors. Please see some here: facebook.com/mcgucken
Let me know in the comments if you would like a free review copy of one of my photography books! :)
Titles include:
The Tao of Epic Landscape Photography: Exalt Fine Art with the Yin-Yang Wisdom of Lao Tzu's Tao Te Ching!
The Golden Number Ratio Principle: Why the Fibonacci Numbers Exalt Beauty and How to Create PHI Compositions in Art, Design, & Photography
facebook.com/goldennumberratio
And I am also working on a book on photographing the goddesses! :) More goddesses soon!
Best wishes on your epic hero's odyssey!:)
I love voyaging forth into nature to contemplate poetry, physics, the golden ratio, and the Tao te Ching! What's your favorite epic poetry reflecting epic landscapes? I recently finished a book titled Epic Poetry for Epic Landscape Photographers:
www.facebook.com/Epic-Poetry-for-Epic-Landscape-Photograp...
Did you know that John Muir, Thoreau, and Emerson all loved epic poetry and poets including Shakespeare, Milton, Homer, and Robert Burns?
I recently finished my fourth book on Light Time Dimension Theory, much of which was inspired by an autumn trip to Zion!
www.facebook.com/lightimedimensiontheory/
Via its simple principle of a fourth expanding dimension, LTD Theory provides a unifying, foundational *physical* model underlying relativity, quantum mechanics, time and all its arrows and asymmetries, and the second law of thermodynamics. The detailed diagrams demonstrate that the great mysteries of quantum mechanical nonlocality, entanglement, and probability naturally arise from the very same principle that fosters relativity alongside light's constant velocity, the equivalence of mass and energy, and time dilation.
Follow me on instagram!
Join my new 45EPIC fine art landscapes page on facebook!
Inspired by the Generation Equality Forum’s principles of feminist leadership, intergenerational solidarity, and meaningful youth engagement, the Con Alma Special Performance at the United Nations represents a unique opportunity to celebrate the power of activism, solidarity, resilience building, and leadership that many women and youth-led networks and movements demonstrated around the world while the COVID-19 pandemic challenged humanity. The concert will also raise awareness about 2023 marking the midpoint of the Generation Equality journey and call for accelerated ambition and commitment.
14 March 2023, Trusteeship Council Chamber, UN Headquarters, New York
Photo: UN Women/Ryan Brown
Public Domain Book: The international encyclopedia of scientific tailor principles, for all kinds and styles of garment-making ... Also designing ... embroidery, crocheting, knitting, worsted work, fancy and artistic needle work ..
by Christner, D. C
Published 1885
New book! Epic Landscape Photography: The Principles of Fine Art Nature Photography!
www.facebook.com/epiclandscapephotography/
Join my new 45EPIC fine art landscapes page on facebook!
facebook.com/mcgucken
Working on a couple photography books! 45EPIC GODDESS PHOTOGRAPHY: A classic guide to exalting the archetypal woman. And 45EPIC Fine Art Landscape Photography!
More on my golden ratio musings: facebook.com/goldennumberratio
instagram.com/goldennumberratio
Greetings all! I have been busy finishing a few books on photography, while traveling all over--to Zion and the Sierras--shooting fall colors. Please see some here: facebook.com/mcgucken
Let me know in the comments if you would like a free review copy of one of my photography books! :)
Titles include:
The Tao of Epic Landscape Photography: Exalt Fine Art with the Yin-Yang Wisdom of Lao Tzu's Tao Te Ching!
The Golden Number Ratio Principle: Why the Fibonacci Numbers Exalt Beauty and How to Create PHI Compositions in Art, Design, & Photography
facebook.com/goldennumberratio
And I am also working on a book on photographing the goddesses! :) More goddesses soon!
Best wishes on your epic hero's odyssey!:)
I love voyaging forth into nature to contemplate poetry, physics, the golden ratio, and the Tao te Ching! What's your favorite epic poetry reflecting epic landscapes? I recently finished a book titled Epic Poetry for Epic Landscape Photographers:
www.facebook.com/Epic-Poetry-for-Epic-Landscape-Photograp...
Did you know that John Muir, Thoreau, and Emerson all loved epic poetry and poets including Shakespeare, Milton, Homer, and Robert Burns?
I recently finished my fourth book on Light Time Dimension Theory, much of which was inspired by an autumn trip to Zion!
www.facebook.com/lightimedimensiontheory/
Via its simple principle of a fourth expanding dimension, LTD Theory provides a unifying, foundational *physical* model underlying relativity, quantum mechanics, time and all its arrows and asymmetries, and the second law of thermodynamics. The detailed diagrams demonstrate that the great mysteries of quantum mechanical nonlocality, entanglement, and probability naturally arise from the very same principle that fosters relativity alongside light's constant velocity, the equivalence of mass and energy, and time dilation.
Follow me on instagram!
Join my new 45EPIC fine art landscapes page on facebook!
Stages of Ethical Development in Artificial General Intelligence Systems by Ben Goertzel and Stephan Vladimir Bugaj
"Balance the risks of action and inaction"
- Max More 2004
I030308 176
Universally useful design principles of Dieter Rams are on display at SF MOMA's exhibit, 'Less and More' from August 27, 2011 - February 20, 2012.
Event: The Annual Women’s Empowerment Principles, entitled “Unlimited Potential: Business Partners for Gender Equality”
hosted by UN Women and the UN Global Compact in ECOSOC chambers at United Nations Headquarters on 10 March 2015.
Welcoming remarks by:
Master of Ceremonies: Jo Confino, Executive Editor, The Guardian and Chairman & Editorial Director of Guardian Sustainable Business
Georg Kell, Executive Director, UN Global Compact
Phumzile Mlambo-Ngcuka, Under-Secretary-General and Executive Director, UN Women.
Opening remarks by: UNSGKeynote Speaker: Hon. Hillary Rodham Clinton, former US Secretary of State
Photo: UN Women/Ryan Brown
History of the Vienna Philharmonic
The orchestra of the Vienna Philharmonic was founded on March 28, 1842. It was founded by the German composer Otto Nicolai, whose creations include the opera "The Merry Wives of Windsor". Nearly a century later, the club was dissolved in December 1938 during the Nazi period by the law on the "transfer and incorporation of clubs, organizations and associations" for the time being and the assets fell to the State Theater and the Stage Academy of the City of Vienna. This was, however, a few days later at the urging of the conductor and musicologist Dr. Heinz Drewes largely reversed. Dr. Drewes was the leader of the "entire German musical life" and so he used his influence on the Reich propaganda minister Goebbels. Ultimately, Goebbels decreed in June 1939 that the Vienna Philharmonic as an association should retain their most extensive independence on the condition that the club is subject to his supervision and that the articles of association regarding the National Socialist principles is changed. Thus, the club's assets were released again.
In 1939, the idea of the New Year's Concert, at which time only the music of Johann Strauss was played, was born. This concert series of the New Year's Concert has become one of the cultural highlights of the year and is always broadcast live on television. The magnificent pictures from Vienna are accompanied, among other things, by fantastic flowers and dance performances by the Wiener Ballett. With the end of the Second World War, the Vienna Philharmonic Orchestra once again became completely independent and the orchestra played two major concert evenings right after the liberation of Vienna in April 1945. A special focus is still the position of the conductor at the Vienna Philharmonic. Because until 1933, the orchestra was directed by a single conductor every season. From 1933 there were only guest conductors. Great merits in the early years had especially the conductors Arturo Toscanini from 1933 to 1937 and intermittently from 1933 to 1954 Wilhelm Furtwängler. Herbert von Karajan, Karl Böhm, Paul Hindemith and Daniel Barenboim are among the famous guest conductors. Also as a guest conductor conducted from 1966, the later honorary member Leonard Bernstein repeatedly the orchestra. One of Leonard Bernstein's most outstanding works in collaboration with the Vienna Philharmonic is, for example, the adaptation of the works of Gustav Mahler, who himself had directed the orchestra from 1898 to 1901 for three years as a subscription conductor to the Vienna Philharmonic.
Vienna Philharmonic coins
Appropriately to the Vienna Philharmonic, the Austrian Mint, which mints all coins in Austria, has been issuing a bullion every year since 1989, which after the orchestra precisely is called the Vienna Philharmonic. At first, the coins were pure gold. Since 2008 there is also an annual silver version. Their value does not correspond to the nominal value, but the Vienna Philharmonic is a bullion coin whose value depends on the current precious metal value. The motif of the Vienna Philharmonic is always the same. The front of the Vienna Philharmonic Münze designed by Thomas Pesendorfer shows some of the classical orchestral instruments such as bassoon, horn, harp and four violins, as well as a cello in the middle. The reverse shows the organ, which is located in the Golden Hall of the Wiener Musikverein. Only the respective year is changed. The coin is now available in four sizes. As a special coinage, a 1000-ounce coin, the so-called "Big Phil", was released in 2004 on the occasion of the 15th anniversary, and another coin in 2009 for the 20th anniversary. Both are traded as collectors' items because of the limited edition and are therefore more expensive than the actual precious metal value.
Geschichte der Wiener Philharmoniker
Das Orchester der Wiener Philharmoniker wurde am 28. März 1842 gegründet. Ins Leben gerufen hatte es der deutsche Komponist Otto Nicolai, aus dessen Feder unter anderem die Oper "Die lustigen Weiber von Windsor" stammt. Knapp ein Jahrhundert später wurde der Verein im Dezember 1938 in der NS-Zeit durch das Gesetz zur "Überleitung und Eingliederung von Vereinen, Organisationen und Verbänden" vorerst aufgelöst und das Vermögen fiel dem Staatstheater und der Bühnenakademie der Stadt Wien zu. Dies wurde jedoch wenige Tage später auf Drängen des Dirigenten und Musikwissenschaftlers Dr. Heinz Drewes größtenteils wieder rückgängig gemacht. Dr. Drewes war der Leiter des "gesamten deutschen Musiklebens" und so nutzte er seinen Einfluss auf den Reichspropagandaminister Goebbels. Letztlich verfügte Goebbels im Juni 1939, dass die Wiener Philharmoniker als Verein ihre weitestgehende Selbständigkeit behalten sollten unter der Bedingung, dass der Verein seiner Aufsicht unterstellt wird dass die Vereinssatzung hinsichtlich der nationalsozialistischen Grundsätze geändert wird. Damit wurde auch das Vereinsvermögen wieder frei gegeben.
Im Jahr 1939 entstand zugleich die Idee des Neujahrskonzerts, bei dem damals ausschließlich die Musik von Johann Strauss gespielt wurde. Diese Konzertreihe des Neujahrskonzerts ist inzwischen einer der kulturellen Höhepunkte des Jahres und wird immer live im Fernsehen übertragen. Die prächtigen Bilder aus Wien werden unter anderem untermalt durch phantastische Blumen und Tanzeinlagen des Wiener Balletts. Mit dem Ende des Zweiten Weltkriegs wurde der Verein der Wiener Philharmoniker wieder komplett unabhängig und das Orchester spielte gleich nach der Befreiung von Wien im April 1945 zwei große Konzertabende. Ein ganz besonderer Augenmerk gilt noch der Stelle des Dirigenten bei den Wiener Philharmonikern. Denn bis zum Jahr 1933 wurde das Orchester jede Saison von einem einzigen Dirigenten geleitet. Ab 1933 gab es nur noch Gastdirigenten. Große Verdienste hatten in den Anfangsjahren vor allem die Dirigenten Arturo Toscanini von 1933 bis 1937 und mit Unterbrechungen von 1933 bis 1954 Wilhelm Furtwängler. Zu den berühmten Gastdirigenten zählen unter anderem Herbert von Karajan, Karl Böhm, Paul Hindemith oder Daniel Barenboim. Ebenfalls als Gastdirigent leitete ab 1966 das spätere Ehrenmitglied Leonard Bernstein mehrfach das Orchester. Zu den herausragendsten Werken von Leonard Bernstein in Zusammenarbeit mit den Wiener Philharmonikern zählt beispielsweise die Bearbeitung der Werke von Gustav Mahler, der von 1898 bis 1901 selbst drei Jahre lang als Abonnementdirigent der Wiener Philharmoniker das Orchester geleitet hatte.
Wiener Philharmoniker Münzen
Passend zu den Wiener Philharmonikern gibt die Münze Österreich, die alle Münzen in Österreich prägt, seit dem Jahr 1989 jedes Jahr eine Anlagemünze heraus, die nach dem Orchester eben der Wiener Philharmoniker genannt wird. Zunächst waren die Münzen aus reinem Gold. Seit 2008 gibt es auch eine jährliche Silberversion. Ihr Wert entspricht nicht dem reinen Nennwert, sondern der Wiener Philharmoniker ist eine Bullionmünze, deren Wert sich nach dem aktuellen Edelmetallwert richtet. Das Motiv des Wiener Philharmoniker ist immer gleich. Die Vorderseite der von Thomas Pesendorfer gestalteten Wiener Philharmoniker Münze zeigt einige der klassischen Orchesterinstrumente wie Fagott, Horn, Harfe und dazu vier Geigen sowie in der Mitte ein Cello. Die Rückseite zeigt die Orgel, die sich im Goldenen Saal vom Wiener Musikverein befindet. Geändert wird nur das jeweilige Prägejahr. Die Münze gibt es inzwischen in vier Größen zu kaufen. Als Sonderprägungen erschien 2004 zum 15-jährigen Jubiläum eine 1000-Unzen-Münze, der sogenannte "Big Phil", und 2009 zum 20-jährigen Jubiläum eine weitere Münze. Beide werden wegen der limitierten Auflage als Sammlerobjekte gehandelt und sind daher teurer als der eigentliche Edelmetallwert.
www.geschichte-oesterreich.com/musik/wiener_philharmonike...
We have a lot of windows given by friends and neighbours for our house and garden and we're using them up in our animal houses. This one's not finished yet.
New book! Epic Landscape Photography: The Principles of Fine Art Nature Photography!
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Join my new 45EPIC fine art landscapes page on facebook!
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Working on a couple photography books! 45EPIC GODDESS PHOTOGRAPHY: A classic guide to exalting the archetypal woman. And 45EPIC Fine Art Landscape Photography!
More on my golden ratio musings: facebook.com/goldennumberratio
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Greetings all! I have been busy finishing a few books on photography, while traveling all over--to Zion and the Sierras--shooting fall colors. Please see some here: facebook.com/mcgucken
Let me know in the comments if you would like a free review copy of one of my photography books! :)
Titles include:
The Tao of Epic Landscape Photography: Exalt Fine Art with the Yin-Yang Wisdom of Lao Tzu's Tao Te Ching!
The Golden Number Ratio Principle: Why the Fibonacci Numbers Exalt Beauty and How to Create PHI Compositions in Art, Design, & Photography
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And I am also working on a book on photographing the goddesses! :) More goddesses soon!
Best wishes on your epic hero's odyssey!:)
I love voyaging forth into nature to contemplate poetry, physics, the golden ratio, and the Tao te Ching! What's your favorite epic poetry reflecting epic landscapes? I recently finished a book titled Epic Poetry for Epic Landscape Photographers:
www.facebook.com/Epic-Poetry-for-Epic-Landscape-Photograp...
Did you know that John Muir, Thoreau, and Emerson all loved epic poetry and poets including Shakespeare, Milton, Homer, and Robert Burns?
I recently finished my fourth book on Light Time Dimension Theory, much of which was inspired by an autumn trip to Zion!
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Via its simple principle of a fourth expanding dimension, LTD Theory provides a unifying, foundational *physical* model underlying relativity, quantum mechanics, time and all its arrows and asymmetries, and the second law of thermodynamics. The detailed diagrams demonstrate that the great mysteries of quantum mechanical nonlocality, entanglement, and probability naturally arise from the very same principle that fosters relativity alongside light's constant velocity, the equivalence of mass and energy, and time dilation.
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Eight principles for locally led adaptation have been developed to help ensure that local communities are empowered to lead sustainable and effective adaptation to climate change at the local level.
They have been endorsed by nearly 80 governments, global institutions, local and international NGOs.
This graphic sets out the principles and explains them in more detail, from devolving decision making to the lowest appropriate level to ensuring transparency and accountability.
This poster was produced by IIED and the World Resources Institute on behalf of the community of practice on locally led adaptation.
More information: www.iied.org/principles-for-locally-led-adaptation
My principles: it is better to be hungry than to eat junk-food. See all: foodnchef.com/portfolio/mikhail-marchuk-chef-of-touche-ca...
And see recipe Tuna steak with Soba noodles from this chef: blog.foodnchef.com/recipe-from-mikhail-marchuk-tuna-steak...
Universally useful design principles of Dieter Rams are on display at SF MOMA's exhibit, 'Less and More' from August 27, 2011 - February 20, 2012.
Event: The Annual Women’s Empowerment Principles, entitled “Unlimited Potential: Business Partners for Gender Equality”
hosted by UN Women and the UN Global Compact in ECOSOC chambers at United Nations Headquarters on 10 March 2015.
Welcoming remarks by:
Master of Ceremonies: Jo Confino, Executive Editor, The Guardian and Chairman & Editorial Director of Guardian Sustainable Business
Georg Kell, Executive Director, UN Global Compact
Phumzile Mlambo-Ngcuka, Under-Secretary-General and Executive Director, UN Women.
Opening remarks by: UNSGKeynote Speaker: Hon. Hillary Rodham Clinton, former US Secretary of State
Photo: UN Women/Ryan Brown
On the left the photo displays color, the vibrant red of the raspberries and the yellow color of the mug create a focus point. On the bottom left the rock fire pit creates a a circular shape. Now the top middle shows texture, the three dimension of the moss and it’s magnification makes the object look slimy. The picture to the right of the moss shows space because while there are clouds in the sky there is nothing else, allowing for room.The bottom middle photograph shoes both grey and black vertical lines. The top right photo shows form because the cat curled up sleeping creates an oval like form. Lastly, the bottom right photo shows value because it contains both a mixture of light and dark colors that create depth.
Event: The Annual Women’s Empowerment Principles, entitled “Unlimited Potential: Business Partners for Gender Equality”
hosted by UN Women and the UN Global Compact in ECOSOC chambers at United Nations Headquarters on 10 March 2015.
Welcoming remarks by:
Master of Ceremonies: Jo Confino, Executive Editor, The Guardian and Chairman & Editorial Director of Guardian Sustainable Business
Georg Kell, Executive Director, UN Global Compact
Phumzile Mlambo-Ngcuka, Under-Secretary-General and Executive Director, UN Women.
Opening remarks by: UNSGKeynote Speaker: Hon. Hillary Rodham Clinton, former US Secretary of State
Photo: UN Women/Ryan Brown
Woohoo!!! Back again to my Principles of Levitation project!
What about, flying into the subway tunnels? it could be awesome to just go there high speed across the tunnels going from one side of the city to the other totally underground and feeling the adrenaline running all over the body!!!!
Yeah, I know, I am crazy but well, I love it!!!
Press L
or
click Here to see it in the lightbox!!!