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Title: Surgery, its principles and practice
Creator: Ashhurst, Astley Paston Cooper
Publisher: Philadelphia, Lea
Sponsor: MSN
Contributor: Gerstein - University of Toronto
Date: 1920
Language: eng
14
If you have questions concerning reproductions, please contact the Contributing Library.
Note: The colors, contrast and appearance of these illustrations are unlikely to be true to life. They are derived from scanned images that have been enhanced for machine interpretation and have been altered from their originals.
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Epic Black & White Fine Art Malibu Landscapes Seascapes! High Resolution Malibu Sunset! California Socal Photography! Fine Art Landscape & Nature Photography: Dr. Elliot McGucken B&W Epic Fine Art!
My Epic Gear Guide for Landscapes & Portraits!
Everyone is always asking me for this! Here ya go! :)
Support epic fine art! 45surf! Bitcoin: 1FMBZJeeHVMu35uegrYUfEkHfPj5pe9WNz
Most all of my work is composed and cropped in accordance with the golden ratio! The golden number and divine proportion informs all my logos and clothing designs!
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!
Love exalting the Venus Archetype in portrait and model photography! Shoot from thw heart and aim for the soul! Enjoy my Epic Book Exalting the Venus Archetype: 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!
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Epic books, prints, & more!
Pretty Portraits & Headshots! Beautiful Surf Goddesses! Athletic Action Portraits of Swimsuit Bikini Models! Athena, Artemis, Helen, and Aphrodite! Fitness Model! Pretty Woman! Sexy hot women!
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:
Enjoy my physics!! Light Time Dimension Theory: The Foundational Physics Unifying Einstein's Relativity and Quantum Mechanics: A Simple, Illustrated Introduction to the Physical Reality of a Fourth Expanding Dimension: dx4/dt=ic !
Beautiful Surf Goddesses! Athletic Action Portraits of Swimsuit Bikini Models! Athena, Artemis, Helen, and Aphrodite!
This is a small video clip about the Compositional Principles made by Chanel Higashi and Annique Daquep
An anti-establishment view or belief is one which stands in opposition to the conventional social, political, and economic principles of a society. The term was first used in the modern sense in 1958, by the British magazine New Statesman to refer to its political and social agenda. Antiestablishmentarianism (or anti-establishmentarianism) is an expression for such a political philosophy.
In the UK anti-establishment figures and groups are seen as those who argue or act against the ruling class. Having an established church, in England, a British monarchy, an aristocracy, and an unelected upper house in Parliament made up in part by hereditary nobles, the UK has a clearly definable[citation needed] Establishment against which anti-establishment figures can be contrasted. In particular, satirical humour is commonly used to undermine the deference shown by the majority of the population towards those who govern them. Examples of British anti-establishment satire include much of the humour of Peter Cook and Ben Elton; novels such as Rumpole of the Bailey; magazines such as Private Eye; and television programmes like Spitting Image, That Was The Week That Was, and The Prisoner (see also the satire boom of the 1960s). Anti-establishment themes also can be seen in the novels of writers such as Will Self.
However, by operating through the arts and media, the line between politics and culture is blurred, so that pigeonholing figures such as Banksy as either anti-establishment or counter-culture figures can be difficult. The tabloid newspapers such as The Sun, are less subtle, and commonly report on the sex-lives of the Royals simply because it sells newspapers, but in the process have been described as having anti-establishment views that have weakened traditional institutions. On the other hand, as time passes, anti-establishment figures sometimes end up becoming part of the Establishment, as Mick Jagger, the Rolling Stones frontman, became a Knight in 2003, or when The Who frontman Roger Daltrey was made a Commander of the Order of the British Empire in 2005 in recognition of both his music and his work for charity.
Anti-establishment in the United States began in the 1940s and continued through the 1950s.
Many World War II veterans, who had seen horrors and inhumanities, began to question every aspect of life, including its meaning. Urged to return to "normal lives" and plagued by post traumatic stress disorder (discussing it was "not manly"), in which many of them went on to found the outlaw motorcycle club Hells Angels. Some veterans, who founded the Beat Movement, were denigrated as Beatniks and accused of being "downbeat" on everything. Lawrence Ferlinghetti wrote a Beat autobiography that cited his wartime service.
Citizens had also begun to question authority, especially after the Gary Powers U-2 Incident, wherein President Eisenhower repeatedly assured people the United States was not spying on Russia, then was caught in a blatant lie. This general dissatisfaction was popularized by Peggy Lee's laconic pop song "Is That All There Is?", but remained unspoken and unfocused. It was not until the Baby Boomers came along in huge numbers that protest became organized, who were named by the Beats as "little hipsters".
"Anti-establishment" became a buzzword of the tumultuous 1960s. Young people raised in comparative luxury saw many wrongs perpetuated by society and began to question "the Establishment". Contentious issues included the ongoing Vietnam War with no clear goal or end point, the constant military build-up and diversion of funds for the Cold War, perpetual widespread poverty being ignored, money-wasting boondoggles like pork barrel projects and the Space Race, festering race issues, a stultifying education system, repressive laws and harsh sentences for casual drug use, and a general malaise among the older generation. On the other side, "Middle America" often regarded questions as accusations, and saw the younger generation as spoiled, drugged-out, sex-crazed, unambitious slackers.
Anti-establishment debates were common because they touched on everyday aspects of life. Even innocent questions could escalate into angry diatribes. For example, "Why do we spend millions on a foreign war and a space program when our schools are falling apart?" would be answered with "We need to keep our military strong and ready to stop the Communists from taking over the world." As in any debate, there were valid and unsupported arguments on both sides. "Make love not war" invoked "America, love it or leave it."
As the 1960s simmered, the anti-Establishment adopted conventions in opposition to the Establishment. T-shirts and blue jeans became the uniform of the young because their parents wore collar shirts and slacks. Drug use, with its illegal panache, was favored over the legal consumption of alcohol. Promoting peace and love was the antidote to promulgating hatred and war. Living in genteel poverty was more "honest" than amassing a nest egg and a house in the suburbs. Rock 'n roll was played loudly over easy listening. Dodging the draft was passive resistance to traditional military service. Dancing was free-style, not learned in a ballroom. Over time, anti-establishment messages crept into popular culture: songs, fashion, movies, lifestyle choices, television.
The emphasis on freedom allowed previously hushed conversations about sex, politics, or religion to be openly discussed. A wave of radical liberation movements for minority groups came out of the 1960s, including second-wave feminism; Black Power, Red Power, and the Chicano Movement; and gay liberation. These movements differed from previous efforts to improve minority rights by their opposition to respectability politics and militant tone. Programs were put in place to deal with inequities: Equal Opportunity Employment, the Head Start Program, enforcement of the Civil Rights Act, busing, and others. But the widespread dissemination of new ideas also sparked a backlash and resurgence in conservative religions, new segregated private schools, anti-gay and anti-abortion legislation, and other reversals. Extremists[clarification needed] tended to be heard more because they made good copy for newspapers and television.[citation needed] In many ways, the angry debates of the 1960s led to modern right-wing talk radio and coalitions for "traditional family values".
As the 1960s passed, society had changed to the point that the definition of the Establishment had blurred, and the term "anti-establishment" seemed to fall out of use.
In recent years, with the rise of the populist right, the term anti-establishment has tended to refer to both left and right-wing movements expressing dissatisfaction with mainstream institutions. For those on the right, this can be fueled by feelings of alienation from major institutions such as the government, corporations, media, and education system, which are perceived as holding progressive social norms, an inversion of the meaning formerly associated with the term. This can be accounted for by a perceived cultural and institutional shift to the left by many on the right. According to Pew Research, Western European populist parties from both sides of the ideological spectrum tapped into anti-establishment sentiment in 2017, "from the Brexit referendum to national elections in Italy." Sarah Kendzior of QZ opines that "The term "anti-establishment" has lost all meaning," citing a campaign video from then candidate Donald Trump titled "Fighting the Establishment." The term anti-establishment has tended to refer to Right-wing populist movements, including nationalist movements and anti-lockdown protests, since Donald Trump and the global populist wave, starting as far back as 2015 and as recently as 2021.
Using the same design principles of my Nintendo World Mosaic from fall 2013, in conjunction with my mosaic “Lite Brite” mood lamps from December, I’ve combined both ideas and created a flat mosaic sprite portrait with hollow innards lined with bright LED strips! The light from the LEDs illuminate the colored LEGO dots plugged into a mosaic grid of Technic bricks, thus mimicking a “Lite Brite” effect. Each LED strip is soldered into a series circuit with 24 gauge wires, then connected to a switch and a female DC adapter plug. The grid of LED strips is attached to a rear door which opens/closes via LEGO hinge bricks.
Check out the tutorial on Instructables, so you can build your own!
www.instructables.com/id/Illuminated-Mosaic-LEGO-Sprite-P...
Electrical power: 12VDC
LED strips: 16 feet (~5 meters)
Merry Christmas Happy New Year Happy Holidays from all the 45SURF Pretty Swimsuit Bikini Model Goddesses! 45EPIC Nikon D800 70-200mm F2.8 Portraits Headshots Maibu Surf Girl Lifestyle Photoshoot!
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
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!
Follow me my good friends!
Facebook: geni.us/A0Na3
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Golden Ratio: geni.us/9EbGK
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Fine Art Ballet: geni.us/C1Adc
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 my photography celebrates the physics of light! dx4/dt=ic! Light Time Dimension Theory: The Foundational Physics Unifying Einstein's Relativity and Quantum Mechanics: A Simple, Illustrated Introduction to the Physical: geni.us/Fa1Q
Ralph Waldo Emerson. The happiest man is he who learns from nature the lesson of worship.
Lucius Annaeus Seneca: On entering a temple we assume all signs of reverence. How much more reverent then should we be before the heavenly bodies, the stars, the very nature of God!
John Muir: All the wild world is beautiful, and it matters but little where we go, to highlands or lowlands, woods or plains, on the sea or land or down among the crystals of waves or high in a balloon in the sky; through all the climates, hot or cold, storms and calms, everywhere and always we are in God's eternal beauty and love. So universally true is this, the spot where we chance to be always seems the best.
Viollet-le-Duc was the first architect since the Middle Ages to reach a profound understanding of the principles of Gothic construction and he devoted his careful scrutiny to the structure of Notre-Dame. The tall, monolithic and incredibly thin colonettes which support the apse vaults he describes as "splender pins, as strongs as if they were of cast iron, thanks to the quality of the stone employed".
The building dates from the second quarter of the thirteenth century. A rather unusual anecdote related by the Dominican Etienne de Bourbon gives the date of 1240 for near completion. A certain usurer of Dijon, walking beneath the west façade, was killed by the fall of one of the gargoyles. The other usurers of the city clubbed together and obtained the removal of all these dangerous objects, of which the Dominican was an eye-witness. The present gargoyles were placed in the façade only in 1881. They are none of them gargoyles in the proper sense of the word, for they play no part in the water drainage system. They form the most striking and original feature of the church, for the west front takes the unusual form of a vast screen of masonry.
Malibu Beach Sunset Fuji GFX 100 Zen Tao Fine Art Landscape Photography! Point Mugu Coastline Sycamore State Beach Southern California Ocean Art! Fine Art Seascape Nature Photography ! Elliot McGucken 45EPIC Master Medium Format Photographer Fujifilm GFX100 & Fujinon Lens!
Enjoy some epic drone footage and more on my newish Youtube channel, where I fly the DJI Mavic 2 Pro & DJI Mavic 2 Zoom!
Epic Fine Art Photography Prints & Luxury Wall Art:
Support epic, stoic fine art: Hero's Odyssey Gear!
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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)
Best wishes on your Epic Odyssey!
Homer: Tell me, O muse, of that ingenious hero who traveled far and wide after he had sacked the famous town of Troy. Many cities did he visit, and many were the nations with whose manners and customs he was acquainted; moreover he suffered much by sea while trying to save his own life and bring his men safely home. . . --Homer's Odyssey, Book I
1. Loyalty-You must stay loyal to yourself and your family. Thus your customers are part of your family. They help keep the cash flow to provide for your family. It is easier to keep a customer then it is to find a new one.
2. Compassion-You must have the ability to feel for others. If you cant find what your market needs then you will never have a successful product or service.
3. Diligence-You must always remember to have good time management. Beware of the couch potato syndrome! Get out there and take action! Make sure to focus on your goal and complete it!.
4. Integrity-You must be consistent and take your business actions, values, and principles seriously.
5. Forgiveness-Forgive your customers. Give them a chance as they have given you a chance with there business. Do what you can for them when you can.
6. Patience-We live in hard times but don't dwell in it. Don't blame your business for failing because of the economy. Remember be steadfast in your business and see things through.
7. Listening-Listen to your customers, for they may show you the way to success!
8. Responsible-Capable of responding to any of your customers, whether positive or negative.
9. Respect-Be sure to show a sense of the worth and value. Keep your business at the premium level.
10. Awareness-Be sure you keep your ability to remain conscious. Keep track or your competition. Don't follow there lead, stay innovative and surpass your competitors!
Saguaro National Park Giant Saguaro Cactus Fuji GFX100 Fine Art Landscape Nature Photography! Elliot McGucken Master Medium Format Fine Art Photographer! Fujifilm GFX 100 & Fujifilm FUJINON Lens!
Epic Fine Art Photography Prints & Luxury Wall Art:
Support epic, stoic fine art: Hero's Odyssey Gear!
Follow me on Instagram!
Facebook:
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)
Best wishes on your Epic Odyssey!
Homer: Tell me, O muse, of that ingenious hero who traveled far and wide after he had sacked the famous town of Troy. Many cities did he visit, and many were the nations with whose manners and customs he was acquainted; moreover he suffered much by sea while trying to save his own life and bring his men safely home. . . --Homer's Odyssey, Book I
Peak Zion NP Autumn Colors & Snow! Zion National Park Fall Foliage Utah Autumn Colors Fine Art Landscape & Nature Photography! Sony A7R II & Carl Zeiss Sony Vario-Tessar T* FE Wide-Angle Zoom 16-35mm f/4.0 ZA OSS Lens! Super Sharp High Res 4K 8K Elliot McGucken Fine Art! East Side Zion NP!
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
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!
Follow me my good friends!
Facebook: geni.us/A0Na3
Instagram: geni.us/QD2J
Golden Ratio: geni.us/9EbGK
45SURF: geni.us/Mby4P
Fine Art Ballet: geni.us/C1Adc
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 my photography celebrates the physics of light! dx4/dt=ic! Light Time Dimension Theory: The Foundational Physics Unifying Einstein's Relativity and Quantum Mechanics: A Simple, Illustrated Introduction to the Physical: geni.us/Fa1Q
Ralph Waldo Emerson. The happiest man is he who learns from nature the lesson of worship.
Lucius Annaeus Seneca: On entering a temple we assume all signs of reverence. How much more reverent then should we be before the heavenly bodies, the stars, the very nature of God!
John Muir: All the wild world is beautiful, and it matters but little where we go, to highlands or lowlands, woods or plains, on the sea or land or down among the crystals of waves or high in a balloon in the sky; through all the climates, hot or cold, storms and calms, everywhere and always we are in God's eternal beauty and love. So universally true is this, the spot where we chance to be always seems the best.
join the 200 Hour Kundalini Tantra course, which incorporates more detailed emphasis on Kundalini principles, Tantra to awaken the Kundalini and Chakras and Meditation to harness the unlimited potential and channelize the same in the right direction.
fell the powerhouse within you..
for more information visit
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.
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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.
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
Plot - Alex Katz, Georg Baselitz, Iris (Detail), 2009, Albertina - Sammlung Batliner
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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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
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Ralph Waldo Emerson. The happiest man is he who learns from nature the lesson of worship.
Lucius Annaeus Seneca: On entering a temple we assume all signs of reverence. How much more reverent then should we be before the heavenly bodies, the stars, the very nature of God!
John Muir: All the wild world is beautiful, and it matters but little where we go, to highlands or lowlands, woods or plains, on the sea or land or down among the crystals of waves or high in a balloon in the sky; through all the climates, hot or cold, storms and calms, everywhere and always we are in God's eternal beauty and love. So universally true is this, the spot where we chance to be always seems the best.
The Alexander Hamilton Custom House is one of New York's finest examples of Beaux Arts architecture, incorporating City Beautiful Movement planning principles with architecture, engineering, and fine arts. The seven story structure with 450,000 square feet sits on three city block in Bowling Green.
Is is here, at the southern terminus of the old Algonquin trade route, Wiechquaekeck Trail, that Peter Minuet purchased the island of Manhattes for trinkets valued at 60 guilders, or about $24, from the Lenape Indians in 1626. Soon thereafter the Dutch West India Company built Fort Amsterdam on this site, which came to be the nucleus for the New Amsterdam settlement. After the American Revolution the fort was replaced by the brick Government House, which was intended to be but never used as a residence for the President. Instead it became the residence of New York Governors DeWitt Clinton and John Jay. The building served briefly as the Custom House from 1799 and 1815 before being torn down and replaced with rowhouses.
Before a federal income tax was imposed in 1916, a primary source of revenue for the federal government was custom duty. New York City, as the country's most active port, has had a Custom House since the country's founding in in 1781. In 1899, the United States Department of the Treasury acquired the Bowling Green property and sponsored a competition to build a new U.S. Custom House. Minnesotan Cass Gilbert, who later designed the Woolworth Building, won the competition by designing a building that was not just a functional building for commerce, but exuded a palatial grandeur. Construction began in 1900 and completed in 1907.
The interior of the building is dominated by the huge rotunda, which survives as one of the largest public spaces in New York. Commissioned In 1936 as part of the Treasury Relief Art Project, Reginald Marsh was commissioned to paint the elliptical space around the 140-ton skylight with sixteen frescoes. The larger sections portray eight successive stages of the arrival of an ocean liner in the harbor. Eight smaller panels, painted in grisaille to simulate statuary, depict famous explorers like Amerigo Vespucci, Christopher Columbus, Giovanni da Verrazano and Henry Hudson.
Above the main cornice on the sixth story are standing sculptures representing the great commercial sea-faring nations, from the Phoenicians to the Americans.
Central to Gilbert's design of the Custom House were four separate sculptures to be placed at the front entrance of the Custom House, representing four continents (from left to right) - Asia, America, Europe and Africa. Gilbert asked both Daniel Chester French and August Saint-Gaudens both to submit designs for the sculptures. Saint-Gaudens declined the invitation, citing other work he was occupied with, so French received the commission. French began designing the sculptures of "Continents" in 1903 and they were completed and installed in 1907. Art scholars consider French's "Continents" to be perhaps the best examples of architecture sculpture in the United States. Each of the four "Continents" represent a view of the continents through French's early 20th century lens: Asia and Africa are still cloaked in mystery, Europe is in the waning years of its colonial conquests, and America is emerging as a new, vibrant society.
The building was subsequently abandoned in the 1970's and was scheduled for demolition before being saved and restored in the early 1980's. In 1987, the United States Bankruptcy Court for the Southern District of New York occupied the building and in 1994, the Smithsonian Institution's National Museum of the American Indian took over two floors of the Old Custom House.
The United States Custom House was designated a landmark by the New York Landmarks Preservation Commission in 1965. Its interior was designated separately in 1979.
The Alexander Hamilton Custom House is one of New York's finest examples of Beaux Arts architecture, incorporating City Beautiful Movement planning principles with architecture, engineering, and fine arts. The seven story structure with 450,000 square feet sits on three city block in Bowling Green.
Is is here, at the southern terminus of the old Algonquin trade route, Wiechquaekeck Trail, that Peter Minuet purchased the island of Manhattes for trinkets valued at 60 guilders, or about $24, from the Lenape Indians in 1626. Soon thereafter the Dutch West India Company built Fort Amsterdam on this site, which came to be the nucleus for the New Amsterdam settlement. After the American Revolution the fort was replaced by the brick Government House, which was intended to be but never used as a residence for the President. Instead it became the residence of New York Governors DeWitt Clinton and John Jay. The building served briefly as the Custom House from 1799 and 1815 before being torn down and replaced with rowhouses.
Before a federal income tax was imposed in 1916, a primary source of revenue for the federal government was custom duty. New York City, as the country's most active port, has had a Custom House since the country's founding in in 1781. In 1899, the United States Department of the Treasury acquired the Bowling Green property and sponsored a competition to build a new U.S. Custom House. Minnesotan Cass Gilbert, who later designed the Woolworth Building, won the competition by designing a building that was not just a functional building for commerce, but exuded a palatial grandeur. Construction began in 1900 and completed in 1907.
The interior of the building is dominated by the huge rotunda, which survives as one of the largest public spaces in New York. Commissioned In 1936 as part of the Treasury Relief Art Project, Reginald Marsh was commissioned to paint the elliptical space around the 140-ton skylight with sixteen frescoes. The larger sections portray eight successive stages of the arrival of an ocean liner in the harbor. Eight smaller panels, painted in grisaille to simulate statuary, depict famous explorers like Amerigo Vespucci, Christopher Columbus, Giovanni da Verrazano and Henry Hudson.
Above the main cornice on the sixth story are standing sculptures representing the great commercial sea-faring nations, from the Phoenicians to the Americans.
Central to Gilbert's design of the Custom House were four separate sculptures to be placed at the front entrance of the Custom House, representing four continents (from left to right) - Asia, America, Europe and Africa. Gilbert asked both Daniel Chester French and August Saint-Gaudens both to submit designs for the sculptures. Saint-Gaudens declined the invitation, citing other work he was occupied with, so French received the commission. French began designing the sculptures of "Continents" in 1903 and they were completed and installed in 1907. Art scholars consider French's "Continents" to be perhaps the best examples of architecture sculpture in the United States. Each of the four "Continents" represent a view of the continents through French's early 20th century lens: Asia and Africa are still cloaked in mystery, Europe is in the waning years of its colonial conquests, and America is emerging as a new, vibrant society.
The building was subsequently abandoned in the 1970's and was scheduled for demolition before being saved and restored in the early 1980's. In 1987, the United States Bankruptcy Court for the Southern District of New York occupied the building and in 1994, the Smithsonian Institution's National Museum of the American Indian took over two floors of the Old Custom House.
The United States Custom House was designated a landmark by the New York Landmarks Preservation Commission in 1965. Its interior was designated separately in 1979.
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“The mountains are calling and I must go.” --John Muir
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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!
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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!
High-level Event to launch the Principles for Responsible Banking
Remarks by the Secretary-General
Principles for Responsible banking, CEO’s signing agreement to do responsible banking
"Ten Principles", part of the 2014 Capital Fringe Festival, performing at the Fringe Preview in the Baldacchino Tent Bar.
This image is fully copyrighted. Permission is granted only to those affiliated with the Fringe Festival &/or the performers to use these photos provided that they provide the following:
"© Andrew Bossi, flickr.com/thisisbossi/collections/72157624437631981/"
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.
WIKIPEDIA
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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.
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.
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.
WIKIPEDIA
Gordon England, Deputy Secretary of Defense explaining that 9/11 would have been much worse if the terrrorists could have figured how to kill more Americans.
England's 15 principles of leadership…
1)provide an environment for everyone to excel
2)Treat every person with dignity and respect
3)Be forthright, honest and direct with every person in every circumstance
4)Improve effectiveness to gain efficiency
5)Cherish your time and the time of others
6)Identify the critical problems
7)Describe complex problems simply
8)Never stop learning
9)Encourage constructive criticism
10)Surround yourself with great people and delegate to them full authority and responsibility
11)Make ethical standards more important then legal requirements
12)Strive for team based wins
13)Emphasize capability – not organization
14)Incorporate measures and metrics everywhere
15)Concentrate on core functions and outsource all others
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.
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Season of mists and mellow fruitfulness
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To bend with apples the moss'd cottage-trees,
And fill all fruit with ripeness to the core;
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With a sweet kernel; to set budding more,
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For Summer has o'er-brimm'd their clammy cells. --To Autumn. by John Keats
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