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Gilomen, Jennifer
Cross Purposes
diptych: paper, acrylic, ink, cardboard on board
54" x 41" x 0"
$2500.00
Hong Kong Transport - Trucks
The Hong Kong Truck Culture
The number of Trucks, Vans* and Special Purpose Vehicles (Light, Medium & Heavy) registered + licenced in Hong Kong seems to fluctuate between 120,000 - 125,000 vehicles and presumably new trucks registered are offset by old trucks being retired or sold over the border in China.
*Vans are classified as Light Goods Vehicles and are not shown in this album
In Hong Kong Trucks are classified as GOODS VEHICLES By the Transport Department - see below
☛Light Goods Vehicles - Goods vehicles of permitted gross vehicle weight not exceeding 5.5 tonnes.
☛Medium Goods Vehicles - Goods vehicles of permitted gross vehicle weight exceeding 5.5 tonnes but not exceeding 24 tonnes.
☛Heavy Goods Vehicles - Goods vehicles of permitted gross vehicle weight exceeding 24 tonnes but not exceeding 38 tonnes.
The major truck types you tend to see in urban areas are trucks carrying construction materials or waste, dump trucks, concrete mixers and all sizes of delivery trucks... outside of the urban areas it is container trucks and large trucks carrying construction materials.
The following brands of Trucks can be seen on the streets of Hong Kong and include:-
Beiben ✚ Bell ✚ CAMC ✚ CNHTC ✚ DAF ✚ Dennis ✚ Dong Feng ✚ FAW ✚ Fuso ✚ Foton ✚ Ford ✚ Hino ✚ Howo ✚ Hyundai ✚ Isuzu ✚ Iveco ✚ JAC ✚ Kato ✚ KIA ✚ Liebherr ✚ MAN ✚ Mercedes Benz ✚ Mitsubishi ✚ Nissan ✚ Renault ✚ Scania ✚ Shacman ✚ Sinotruk ✚ Suzuki ✚ Toyota ✚ UD ✚ Volvo ✚ Zoomlion
Hong Kong is a brand conscious place even for trucks (!) hence the popularity of the European brands, Scania and Man are very popular and even the older trucks look the business and they are utterly reliable.
Isuzu is the market leader in terms of sale volume for all types of trucks.
(Source - The Transport Department, Hong Kong Government)
☛.... and if you want to read about my views on Hong Kong, then go to my blog, link below
✚ www.j3consultantshongkong.com/j3c-blog
☛ Photography is simply a hobby for me, I do NOT sell my images and all of my images can be FREELY downloaded from this site in the original upload image size or 5 other sizes, please note that you DO NOT have to ask for permission to download and use any of my images!
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Defining Purpose is entered in the Grade II Mother Goose Stakes at Belmont at the Big A tomorrow. The filly ran in the Grade I Alabama Stakes this summer at the Spa.
All rights reserved. Protected with PIXSY
The purpose of the Book Week Celebration is to encourage students to become readers through fun and engaging activities that motivates students to appreciate the different kinds of literature the world has to offer - from epic novels to simple newspaper comics.
To kick off the opening of the SFAMSC Book Week, a mini parade where the preschool, grade school, and some intermediate and high school student wore the costumes of their favourite literary and comic characters!
10th Anniversary High Level Conference Global Forum on Transparency and Exchange
of Information for Tax Purposes.
27 november 2019
Paris, France,
Photo : OECD / Victor Tonelli
Images from the 2010 Purpose Prize Summit at The National Constitution Center in Philadelphia, P.A. on November 13, 2010.
2010 $100,000 Purpose Prize winner Barry Childs receives his award.
|| A purpose driven hotel near the DUB / Dublin Airport incl. complimentary to / from Hotel / Airport shuttle service || Club Room || November 2014 || Our Stay || Recommended before / after a flight from DUB || Be aware that breakfast / Service / Dinner / Club Lounge could / should be improved here at this hotel || Overall, we would recommend this hotel only when the HI Express or Hilton DUB are fully booked ||
My gallery welcome Jimmy Warhol an emerging artist here in LA with a bright future. This was his first gallery show.
How to make Hot Cross Buns using sourdough yeast and all purpose (plain) flour when the actual ingredients are not available.
The purpose of the Book Week Celebration is to encourage students to become readers through fun and engaging activities that motivates students to appreciate the different kinds of literature the world has to offer - from epic novels to simple newspaper comics.
To kick off the opening of the SFAMSC Book Week, a mini parade where the preschool, grade school, and some intermediate and high school student wore the costumes of their favourite literary and comic characters!
Martin Kalungu-Banda is a specialist in innovation processes and leadership having done work with the Zambian government and Cambridge University. He co-designed the Common Purpose Dishaa course delivered in Pune in February 2011
1906 Marshall general purpose traction engine No. 46276 "Pearl" (HO 5556) at the 2022 Elvaston steam rally.
from explorequotes.com/good-morning-sms-quotes/happy-purpose/
If you want to be happy,
you have to be happy on purpose.
When you wake up,
you can’t just wait to see
what kind of day you’ll have.
You have to decide
what kind of day you’ll have.
Good Morning.
Shared From "You have to be happy on purpose." : explorequotes.com/
Ingredients
3 cups all-purpose flour
1/2 cup white sugar
1/2 teaspoon salt
1 cup margarine
4 eggs
1 1/2 cups light corn syrup
1 1/2 cups white sugar
3 tablespoons margarine, melted
1 1/2 teaspoons vanilla extract
2 1/2 cups chopped pecans
Directions
Preheat oven to 350 degrees F (175 degrees C). Lightly grease a 10x15 inch jellyroll pan.
In a large bowl, stir together the flour, 1/2 cup sugar, and salt. Cut in 1 cup of margarine until mixture resembles coarse crumbs. Sprinkle the mixture evenly over the prepared pan, and press in firmly.
Bake for 20 minutes in the preheated oven.
While the crust is baking, prepare the filling. In a large bowl mix together the eggs, corn syrup, 1 1/2 cups sugar, 3 tablespoons margarine, and vanilla until smooth. Stir in the chopped pecans. Spread the filling evenly over the crust as soon as it comes out of the oven.
Bake for 25 minutes in the preheated oven, or until set. Allow to cool completely on a wire rack before slicing into bars.
10th Anniversary High Level Conference Global Forum on Transparency and Exchange
of Information for Tax Purposes.
27 november 2019
Paris, France,
Photo : OECD / Victor Tonelli
2014 Driven By Purpose For D.A.R.E. in Upper Saddle River, NJ
www.autopriority.com/2014-driven-purpose-dare-photo-gallery/
The purpose of the Book Week Celebration is to encourage students to become readers through fun and engaging activities that motivates students to appreciate the different kinds of literature the world has to offer - from epic novels to simple newspaper comics.
To kick off the opening of the SFAMSC Book Week, a mini parade where the preschool, grade school, and some intermediate and high school student wore the costumes of their favourite literary and comic characters!
The purpose of this outreach was to provide a day long teacher training to the foreign language department at Capital University of Economics and Business (where Rose is a fellow). Teachers are eager for new, innovative, active and engaging activities and tasks that they can apply to content in the classrooms. Emphasis was placed on interactive learning, use of authentic texts and materials for motivation, connecting to student’s interests and experiences, and building organic classroom environments for students to learn more naturally.
1906 Marshall general purpose traction engine No. 46276 "Pearl" (HO 5556) at the 2022 Elvaston steam rally.
The Capture of the Hessians at
Trenton, December 26, 1776 - 1786–1828
Artist: John Trumbull (American, 1756–1843)
I composed the picture, for the express purpose of giving a lesson to all living and future soldiers in the service of their country, to show mercy and kindness to a fallen enemy—their enemy no longer when wounded and in their power. —John Trumbull
On the night of December 25, 1776, General George Washington and his troops crossed the Delaware River at Trenton, New Jersey, launching a surprise attack against the Hessians, German mercenaries hired to fight on behalf of the British Empire. The Germans, caught off-guard on the morning after Christmas celebrations, were defeated after only forty-five minutes. Hessian Colonel Johann Gottlieb Rall was mortally wounded. On horseback, General Washington directs Major William Stephens Smith to care for the dying Rall. Anxious to secure Washington’s likeness for this scene as well as for his paintings of the battles of Princeton, New Jersey, and Yorktown, Virginia, Trumbull persuaded him to pose for several sittings, with the general even exercising on horseback at the artist’s request.
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Yale University has been collecting American art for more than 250 years. In 1832 it erected the first art museum on a college campus in North America, with the intention of housing John Trumbull’s paintings of the American Revolution—including his iconic painting The Declaration of Independence, July 4, 1776—and close to 100 of his portraits of Revolutionary and Early Republic worthies. Since then, the collection of the Yale University Art Gallery has grown to include celebrated works of art from virtually every period in American history. Encompassing works like an exquisite 18th-century watercolor-on-ivory memorial portrait of a bride, paintings of the towering grandeur of the American West in the 19th century, and jazz-influenced abstractions of the early 20th century, the Gallery’s collection reflects the diversity and artistic ambitions of the nation.
Superb examples from a “who’s who” of American painters and sculptors—including works by Benjamin West, John Singleton Copley, Ralph Earl, Albert Bierstadt, Hiram Powers, Frederic Church, Frederick Remington, Thomas Eakins, Winslow Homer, Augustus Saint-Gaudens, George Bellows, John Singer Sargent, Joseph Stella, Gerald Murphy, Eli Nadelman, Arthur Dove, Thomas Hart Benton, Edward Hopper, Alexander Calder, and Stuart Davis—bring the complex American story to life. Now these extraordinary works of art are in a new home—the elegantly restored galleries in Street Hall, the magnificent Ruskinian Gothic building designed in 1867 by Peter Bonnett Wight to be the first art school in America on a college campus. Rich in architectural detail and nobly proportioned, these breathtaking spaces allow the American collections to “breathe,” to present new visual alliances, and to create multiple artistic conversations. Under soaring skylights, the uniqueness of vision that generations of American artists brought to bear in the service of their art will be on full display.
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artgallery.yale.edu/collection?f%5B0%5D=on_view%3AOn%20vi...
The early years of the 20th century were characterized in the visual arts by a radical international reassessment of the relationship between vision and representation, as well as of the social and political role of artists in society at large. The extraordinary modern collection at the Yale University Art Gallery spans these years of dramatic change and features rich holdings in abstract painting by artists such as Pablo Picasso, Georges Braque, and Wassily Kandinsky, as well as in paintings and sculptures associated with German Expressionism, Russian Constructivism, De Stijl, Dada, and Surrealism. Many of these works came to Yale in the form of gifts and bequests from important American collections, including those of Molly and Walter Bareiss, B.S. 1940s; Stephen Carlton Clark, B.A. 1903; Mr. and Mrs. Paul Mellon, B.A. 1929; Katharine Ordway; and John Hay Whitney.
Art from 1920 to 1940 is strongly represented at the Gallery by the group of objects collected by the Société Anonyme, an artists’ organization founded by Katherine S. Dreier and Marcel Duchamp with Man Ray. This remarkable collection, which was transferred to Yale in 1941, comprises a rich array of paintings, drawings, prints, and sculptures by major 20th-century artists, including Marcel Duchamp, Constantin Brancusi, El Lissitzky, and Piet Mondrian, as well as lesser-known artists who made important contributions to the modernist movement.
The Gallery is also widely known for its outstanding collection of American painting from after World War II. Highlights include Jackson Pollock’s Number 13A: Arabesque (1948) and Roy Lichtenstein’s Blam (1962), part of a larger gift of important postwar works donated to the Gallery by Richard Brown Baker, B.A. 1935. Recent gifts from Charles B. Benenson, B.A. 1933, and Thurston Twigg-Smith, B.E. 1942, have dramatically expanded the Collection with works by artists such as James Rosenquist, Ed Ruscha, and Wayne Thiebaud.
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Yale University Art Gallery is the oldest college art museum in America. The Gallery’s encyclopedic holdings of more than 250,000 objects range from ancient times to the present day and represent civilizations from around the globe. Spanning a block and a half of the city of New Haven, Connecticut, the Gallery comprises three architecturally distinct buildings, including a masterpiece of modern architecture from 1953 designed by Louis Kahn through which visitors enter. The museum is free and open to the public.
www.archdaily.com/83110/ad-classics-yale-university-art-g...
Yale University’s School of Architecture was in the midst of pedagogical upheaval when Louis Kahn joined the faculty in 1947. With skyscraper architect George Howe as dean and modernists like Kahn, Philip Johnson, and Josef Albers as lecturers, the post-war years at Yale trended away from the school’s Beaux-Arts lineage towards the avant-garde. And so, when the consolidation of the university’s art, architecture, and art history departments in 1950 demanded a new building, a modernist structure was the natural choice to concretize an instructional and stylistic departure from historicism. Completed in 1953, Louis Kahn’s Yale University Art Gallery building would provide flexible gallery, classroom, and office space for the changing school; at the same time, Kahn’s first significant commission signaled a breakthrough in his own architectural career—a career now among the most celebrated of the second half of the twentieth century.
The university clearly articulated a program for the new gallery and design center (as it was then called): Kahn was to create open lofts that could convert easily from classroom to gallery space and vice versa. Kahn’s early plans responded to the university’s wishes by centralizing a core service area—home to the stairwell, bathrooms, and utility shafts—in order to open up uninterrupted space on either side of the core. Critics have interpreted this scheme as a means of differentiating “service” and “served” space, a dichotomy that Kahn would express often later in his career. As Alexander Purves, Yale School of Architecture alumnus and faculty member, writes of the gallery, “This kind of plan clearly distinguishes between those spaces that ... house the building's major functions and those that are subordinated to the major spaces but are necessary to support them.” As such, the spaces of the gallery dedicated to art exhibition and instruction are placed atop a functional hierarchy, above the building’s utilitarian realms; still, in refusing to hide—and indeed, centralizing—the less glamorous functions of the building, Kahn acknowledged all levels of the hierarchy as necessary to his building’s vitality.
Within the open spaces enabled by the central core, Kahn played with the concept of a space frame. He and longtime collaborator Anne Tyng had been inspired by the geometric forms of Buckminster Fuller, whom Tyng studied under at the University of Pennsylvania and with whom Kahn had corresponded while teaching at Yale. It was with Fuller’s iconic geometric structures in mind that Kahn and Tyng created the most innovative element of the Yale Art Gallery: the concrete tetrahedral slab ceiling. Henry A. Pfisterer, the building’s structural engineer, explains the arrangement: "a continuous plane element was fastened to the apices of open-base, hollow, equilateral tetrahedrons, joined at the vertices of the triangles in the lower plane.” In practice, the system of three-dimensional tetrahedrons was strong enough to support open studio space—unencumbered by columns—while the multi-angular forms invited installation of gallery panels in times of conversion.
Though Kahn’s structural experimentation in the Yale Art Gallery was cutting-edge, his careful attention to light and shadow evidences his ever-present interest in the religious architecture of the past. Working closely with the construction team, Kahn and Pfisterer devised a system to run electrical ducts inside the tetrahedrons, allowing light to diffuse from the hollow forms. The soft, ambient light emitted evokes that of a cathedral; Kahn’s gallery, then, takes subtle inspiration from the nineteenth-century neo-Gothic gallery it adjoins.
Of the triangulated, concrete slab ceiling, Kahn said “it is beautiful and it serves as an electric plug." ] This principle—that a building’s elements can be both sculptural and structural—is carried into other areas of the gallery. The central stairwell, for example, occupies a hollow, unfinished concrete cylinder; in its shape and utilitarianism, the stairwell suggests the similarly functional agricultural silo. On the ceiling of the stairwell, however, an ornamental concrete triangle is surrounded at its circumference by a ring of windows that conjures a more elevated relic of architectural history: the Hagia Sophia. Enclosed within the cylinder, terrazzo stairs form triangles that mimic both the gallery’s ceiling and the triangular form above. In asserting that the stairs “are designed so people will want to use them,” Kahn hoped visitors and students would engage with the building, whose form he often described in anthropomorphic terms: “living” in its adaptability and “breathing” in its complex ventilation system (also encased in the concrete tetrahedrons).
Given the structural and aesthetic triumphs of Kahn’s ceiling and stair, writing on the Yale Art Gallery tends to focus on the building’s elegant interior rather than its facade. But the care with which Kahn treats the gallery space extends outside as well; glass on the west and north faces of the building and meticulously laid, windowless brick on the south allow carefully calculated amounts of light to enter.
Recalling the European practice, Kahn presents a formal facade on York Street—the building’s western frontage—and a garden facade facing neighboring Weir Hall’s courtyard.
His respect for tradition is nevertheless articulated in modernist language.
Despite their visual refinement, the materials used in the gallery’s glass curtain walls proved almost immediately impractical. The windows captured condensation and marred Kahn’s readable facade. A restoration undertaken in 2006 by Ennead Architects (then Polshek Partnership) used modern materials to replace the windows and integrate updated climate control. The project also reversed extensive attempts made in the sixties to cover the windows, walls, and silo staircase with plaster partitions. The precise restoration of the building set a high standard for preservation of American modernism—a young but vital field—while establishing the contentiously modern building on Yale’s revivalist campus as worth saving.
Even with a pristinely restored facade, Kahn’s interior still triumphs. Ultimately, it is a building for its users—those visitors who, today, view art under carefully crafted light and those students who, in the fifties, began their architectural education in Kahn’s space. Purves, who spent countless hours in the fourth-floor drafting room as an undergraduate, maintains that a student working in the space “can see Kahn struggling a bit and can identify with that struggle.” Architecture critic Paul Goldberger, who studied at Yale a decade after Kahn’s gallery was completed, offers a similar evaluation of the building—one echoed by many students who frequented the space: “its beauty does not emerge at first glance but comes only after time spent within it.”
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