+++ DISCLAIMER +++

Nothing you see here is real, even though the conversion or the presented background story might be based on historical facts. BEWARE!

Some background:

Due to the restrictions of the Versailles treaties, the Reichswehr was already dealing with the increasing mobilization and motorization of the army after the end of the First World War. The realization that the speed of the troop units required appropriate equipment was available early on. However, the Reichswehr suffered from financial constraints and during the Weimar Republic the industry only had limited capacity for series production of larger, armored vehicles.

Only a total of fifty-five Sd.Kfz. 241s were completed by Magirus in Cologne until 1936, when production of the Sd.Kfz. 231 (8-Rad) vehicle family started and soon replaced the Sd.Kfz. 241, which was primarily operated at the Eastern Front in Poland and Czechoslovakia. By 1940, no Sd.Kfz. 241 was left in any frontline army unit, but a few survivors were grouped together and handed over to police units. Their main gun was either completely deleted or sometimes replaced with a second machine gun, and they were used for urban patrols and riot control duties. However, by 1942, no Sd.Kfz. 241 was left over.

Specifications:

Crew: Four (commander, gunner, driver, radio operator/rear driver)

Weight: 7.5 tons (11.450 lb)

Length: 5,85 metres (19 ft 2 in)

Width: 2,20 metres (7 ft 2 ½ in)

Height: 2,78 metres (9 ft 1 in)

Ground clearance: 28.5 cm (10 in)

Suspension: Torsion bar and leaf springs

Fuel capacity: 150 litres (33 imp gal; 40 US gal)

Armor:

8–15 mm (0.31 – 0.6 in)

Performance:

Maximum road speed: 70 km/h (43.5 mph)

52 km/h (32.3 mph) backwards

Operational range: 250 km (155 miles)

Power/weight: 13 PS/ton

Engine:

Maybach HL42 TRKM water-cooled straight 6-cylinder petrol engine with 100 hp (74 kW),

driving the rear pair of axles

Transmission:

Maybach gearbox with 5-speed forward and 4-speed reverse

Armament:

1× 37 mm KwK 30 L/45 cannon with 70 rounds

1× 7.92 mm MG 34 machine gun mounted co-axially with 1.300 rounds

The kit and its assembly:

This fictional armored car was inspired by a leftover rear axles from an Italeri Sd.Kfz. 231 (6-Rad) model that I converted into a fictional half-track variant some time ago. I wondered if the set could be transplanted under an 8-Rad chassis, to create a kind of missing link to the 8x8 successors of the Sd.Kfz. 231 (6-Rad) with a total of twelve tires on four axles.

The basis became a First to Fight 1:72 Sd.Kfz. 231 (8-Rad) kit – a rather simple and robust affair, apparently primarily intended for tabletop purposes. But the overall impression is good, and it would be modified, anyway, even though the plastic turned out to be rather soft/waxy and the parts’ sprue attachment points a bit wacky.

The hull was “turned around” to drive backwards, so that its rear engine ended up in the front. I eventually only used the rear twin wheels from the Sd.Kfz. 231 (6-Rad), but not its single axles and laminated springs. Instead, I first cut the OOB mudguards in two halves, removed their side skirts and glued them onto the lower hull in reversed order, so that the exhausts and their muffler boxes would end up at the rear of the front fenders. With these in place I checked the axles’ position from the OOB ladder chassis, which is a single, integral part, and found that the rear axles’ position had to be moved by 2mm backwards. Cutting the original piece and re-arranging it was easier to scratch a new rear suspension, and the rocker bars had to be shortened to accept the wider twin wheels.

The original small turret with the 20 mm autocannon was deleted and replaced with core elements from a Panzer III turret, left over from previous conversion projects. Wider than any original turret of the Sd.Kfz. 231/232 family, it had to be narrowed by roughly 5mm – I had to cut a respective plug from the turret’s and the mantlet’s middle section, the deformed hatch was covered under a Panzer III commander cupola. To mate the re-arranged turret with the OOB adapter plate to mount it onto the hull, and to add overall stability to the construction, I filled the interior with 2C putty.

The typical storage bin at the turret’s rear was omitted, though, it would have made it too large for the compact truck chassis. The shape was a perfect stylistic match, even though, with the longer gun barrel, the vehicle reminds a lot of the Soviet BA-10 heavy armored car?

Most small details like the bumpers and the headlights were taken OOB, I added a whip antenna base at the rear and mounted two spare wheels at the back, one of them covered with a tarpaulin (made from paper tissue drenched with white glue, this was also used to create the gun mantlet seals).

Painting and markings:

Typical for German vehicles from the early WWII stages the Sd.Kfz. 241 was painted Panzergrau (RAL 7021; I used Humbrol 67, which is authentic, but mixed it with some 125 to create a slightly lighter shade of grey) overall - quite dull, but realistic. To make the vehicle look more interesting, though, I added authentic contemporary camouflage in the form of low-contrast blotches with RAL 8017, a very dark reddish brown, mixed from Humbrol 160 and some 98. Better, but IMHO still not enough.

After the model received a washing with highly thinned red-brown acrylic artist paint I applied the few decals and gave the parts an overall dry-brushing treatment with grey and dark earth. Everything was sealed with matt acrylic varnish. For even more “excitement”, I decided to add a coat of snow.

For the simulated “frosting” I used white tile grout – which has the benefits of being water-soluble, quite sturdy to touch and the material does not yellow over time like gypsum.

First, the wheels, the chassis and the inside of the wheel arches received a separate treatment with relatively dryly mixed tile grout, simulating snow and dirt clusters. Once thoroughly dried, the wheels were mounted. Then the model was sprayed with low surface tension water and loose tile grout was drizzled over hull and turret, creating a flaky coat of fake snow. Once dry again, everything received another coat of matt acrylic varnish to protect and fixate everything further.

A relatively quick build, done in a few days. The First to Fight kit is very simple and went together well, but I’d use something else the next time due to the odd material it was molded with. The outcome of an 4x8 scout car looks quite plausible, though, like the missing link between the Sd.Kfz. 231 and 232 – the unintended similarity with the Soviet BA-10 heavy armored car was a bit surprising, though. And the snow on the model eventually makes it look a bit more interesting, the stunt was worth the effort.

I am seeing things so clearly lately. Seeing people for what they really are (good and bad)... learning things, observing...

I know what's up.

;)

And I kinda like this picture. :)

(and cous cous is a totally delicious snack at 11:30pm)

San Diego, California, Tyler

The enigmatic title of this chapter is partially illuminated by a brief passage near the end (III, 351.21-22), where this mysterious “fifth tawakkul” is again briefly mentioned as one of the distinctive forms of spiritual knowledge Ibn 'Arabi saw in his culminating vision of the “Muhammadan Station”: .”..And I saw in it the knowledge of the person who acts deliberately and (at the same time) relies on God, and this is the fifth tawakkul, and it is

(expressed in) God's saying in Sura 73: '[...There is no god but Him,] so take Him as your Trustee (wakil)!' (73:9).”Elsewhere (chapter 198, II, p. 420, 36th tawhid), Ibn 'Arabi explains this same Qur’anic verse as a reference to man's inherent ontological status as a pure “servant,” with no possessions of his own, a description resembling the inner state of “pure servanthood” Ibn

'Arabi also realized in his culminating revelation (IV-I below). Similarly, a key phrase in this description, “to act deliberately” (itta'ada), is applied in Ibn 'Arabi's cautionary advice earlier

in chapter 367 (at n. 143 below; = III, 349.13) to those Sufis who would mistakenly take the ecstatic state of “annihilation in God” (fana', implying a heedlessness of the external world) to be the end and goal of the spiritual Path. All of these hints seem to point to this highest form of “trust in God” as reflecting an advanced inner state of spiritual insight in which the

saint's absolute reliance on God—an attitude that in lower stages of tawakkul is usually conceived of as implying a sort of ascetic disdain and unconcern for the “secondary causes”

(asbab) or things of this world—is now seen as simultaneously “affirming the secondary causes” (a phrase from opening poem of this chapter, at III, 340.15), which are finally perceived in their true metaphysical status, as necessary and intrinsic manifestations of the ever-present divine Reality. This form of tawakkul would thus closely correspond to Ibn 'Arabi's characteristic emphasis on the superiority of the state of “enlightened abiding” in the world (baqa') characterizing those saints who—like the Prophet—have “returned” (the raji'un) from the station of divine Proximity while retaining the ongoing realization of that insight in the world. The term tawakkul, “trust” or “inner confidence” in God, occurs many times in the Qur’an and gradually became a key term in Sufi spiritual psychology; see, for example, chapter 118 of the Futuhat (II, 199-201), on the maqam al-tawakkul, where Ibn 'Arabi mentions at the end that “the levels of tawakkul, for the true Knowers, are 487....” Near the

beginning of the R. al-Anwar (Chodkiewicz, Seal of the Saints, p. 151; T. Harris, Journey to the Lord of Power, p. 30) he also discusses tawakkul as the last of the preparatory stages

before the spiritual Mi'raj, marked by four distinctive “charismatic powers” (karamat)....God said “There is nothing like His likeness [and He is the All-Hearing, the All-Seeing]” (Qur’an 42:11),27 so He described Himself with a description that necessarily belongs only to Him, which is. His saying: “And He is with you wherever you are” (Qur’an 57:4).28 Thus He is with us wherever we

are, in the state of His “descending to the heaven of this world during the last third of the night,”29 27This famous Qur’anic verse, with its paradoxical “double negations” (corresponding to the shahada) of God's “resemblance” to created things, is usually treated by Ibn 'Arabi as a classic reference to the mystery of the simultaneous immanence (tashbih) and transcendence (tanzih) of the Divine Reality reflected in the Perfect Manwhich is the central intuition of all his work. Often he even interprets the expression “His Likeness” in this verse as a direct reference to the Perfect Man, alluding to Adam's creation (according to a famous hadith) “in the image of the Merciful”: see the famous discussions of this verse in the chapters on Noah (ch. 3) and Hud (ch. 10) in the Fusus alHikam,and further references in the Futuhat I, 62, 97, 111, 220; II, 129, 510, 516-17, 541, 563; III,

109, 165, 266, 282, 340, 412, 492; IV, 135, 141, 306, 311, 431. In addition to the ambiguity of the expression kamithlihi (which can also be read simply as “like Him”—i.e., like God), Ibn 'Arabi likewise stresses the apparently paradoxical contrast between the absolute insistence on divine transcendence at the beginning of this verse and the apparent anthropomorphism of its conclusion. Thus, according to either reading, the absolute universality of the divine Presence implied by this verse includes all the particular, “restricted” modalities of the divine “descent” (nuzul) and Self-manifestation indicated in the following verses and hadith—each of which is likewise the subject of numerous discussions throughout the Futuhat. 28 For Ibn 'Arabi, this verse is simply a direct implication of the broader truth implied in the opening verse: this inner correspondence between the different manifestations of God and the Perfect Man (al-Insan al-Kamil), at all the levels of being (or “worlds”) is assumed throughout the rest of this chapter. More generally, the reality of the divine “compresence” (ma'iya, “with-ness”) with all things expressed in this verse is discussed in many parts of the Futuhat, including a number of the shorter metaphysical or cosmological excerpts included in this anthology. 29 A reference to a famous “divine saying” (hadith qudsi) which Ibn 'Arabi included in his own

collection of such hadith, the Mishkat al-Anwar (no. 56, and cited from the Sahih of Muslim); available in English translation by S. Hirtenstein and M. Notcutt in Divine Sayings, p. 65: “God, ever

mighty and majestic is He, says, when He descends during the third part of the night: ‘I am the King! Who is there that calls out to Me, that I may answer him? Who is there that asks of Me, that I may give to him? Who is there that asks pardon of Me, that I may forgive him?’”[MORRIS’S TRANSLATION“Our Lord descends every night to the heaven of this world when the last third of

the night remains, and then He says: 'I am the King! Whoever calls on Me, I answer him. Whoever asks (something) of Me, I give to him. Whoever requests My forgiveness, I forgive him.”] This hadith is recorded, with a number of minor variations, by Muslim, Malik, Bukhari, Tirmidhi, Ibn Maja, and Ahmad b. Hanbal: see detailed references and variants in W. Graham, Divine Word and Prophetic Word in Early Islam (The Hague, 1977), pp. 177-178. As Ibn 'Arabi explains in detail in the latter part of chapter 34 of the Futuhat (OY ed., III, 320-332), the “night,” in this hadith, “is the place of the descent in time of God and His Attribute” (of Mercy), and this “last third of the night”—which, Ibn 'Arabi insists, lasts forever—is none other than the Perfect Man (the first two “thirds” being “the heavens and the in the state of His being mounted upon the Throne (Qur’an 5:20; etc.),30 in the state of His being in the “Cloud,”31 in the state of His being upon the earth and in heaven (Qur’an 43:84; etc.),32 in the state of His being closer to man than his jugular vein (Qur’an 50:16)33—and all of these are qualifications with which only He can be described. earth,” man's “two parents”). The following verses and hadith (at notes 30-32 here) are interpreted in chapter 34 as references to different ontological degrees or “moments” of that

universal divine Self-manifestation. 30 There are seven Qur’anic verses referring to God's being “mounted (istawa') on the Throne,” often following “the creation of the heavens and the earth” (i.e., what lies “beneath” or constitutes the Throne in its cosmological sense). For Ibn 'Arabi's understanding of these verses, see the extensive references to the Futuhat in Hakim, Al-Muʻjam al-sūfī, pp. 791-803 (on the many meanings of the

divine “Throne,” 'arsh) and pp. 622-629 (on istiwa').

For Ibn 'Arabi, however, an even more fundamental meaning of the “Throne” is “the Heart of the man of true faith” (which is “the Throne of the Merciful,” according to a famous

hadith), i.e., the Perfect Man (see Hakim, Al-Muʻjam al-sūfī, pp. 916-921, on the qalb). The inner connection between these two senses is brought out explicitly in the famous hadith

qudsi discussed at n. 7 above and quoted at n. 37 below, and is a basic assumption throughout sections III and IV below, since the “Heart” is precisely the “theater” of the entire journey:

that point is made most forcefully in sections IV-G and IV-I below. Elsewhere, (e.g., in chapter 34, OY ed., III, 320 ff.), Ibn 'Arabi frequently stresses the particular importance of the

Qur’anic specification (at 5:20) that it is “the Merciful” (al-Rahman), the Source of all being, Who is “mounted” or “seated” there. 31 A reference to the following hadith, concerning the Prophet's response to the question “Where was our Lord before He created the creation?”: “He was in a Cloud ('ama'), without air above it and without air below it, and He created His Throne upon the Water.” (This famous hadith is found in the collections of Ibn Maja, Tirmidhi and Ahmad b. Hanbal.) Our translation here reflects Ibn 'Arabi's interpretation in chapter 34 of the Futuhat (OY ed., III, 323 ff.), where he also stresses the fact that this particular ontological reality concerns the divine Name “Lord” (rabb)—and not “the Merciful” (see n. 29). For the broader meaning of the term 'ama' (“the Cloud”) in Ibn 'Arabi, see the

references in Hakim, Al-Muʻjam al-sūfī, pp. 820-826 and in the Futuhat II, 310, as well as its treatment in the penultimate stage of the cosmological mi'raj in chapter 167 (S. Ruspoli, L’Alchimie, pp. 138-140). 32 This phrase is contained (with minor variations) in a number of other Qur’anic verses (3:5; 10:61; 14:38; 22:70) all insisting on God's intimate acquaintance with all things: see, for example, “Our Lord, surely You know what we say openly and what we hide: not a thing upon the earth and in heaven is hidden from God” (Qur’an 14:38); or even more appropriately, “He is God in the heavens and upon the earth; he knows your secret [sirr] and what you proclaim, and He knows what you gain” (Qur’an 6:3). 33 Ibn 'Arabi's understanding of the divine “nearness” (see the related notion of “with-ness,” ma'iya,

at n. 28 above) expressed in this Qur’anic phrase is intimately bound up with the reality of 19 Hence God does not move a servant from place to place in order that (the servant) might see Him, but rather “so that He might cause him to see of His Signs” (Qur’an 41:53; etc.)34 those that were unseen by him. He said: “Glory to Him Who made His servant journey one night from the Sacred Place of Worship to the Furthest Place of Worship, whose surroundings We have blessed, so that We might cause him to see of Our Signs!” (Qur’an 17:1)35 And similarly, when God moves (any) “perpetual creation” (khalq jadid) expressed in the rest of the verse and its immediate context: .”..yet they are in confusion about the (ever-) renewed creation; but surely We created man [alinsan] and We know what his soul insinuates to him and We are closer to man than his jugular vein” (Qur’an 50:15-16). As indicated in the Introduction, for Ibn 'Arabi the spiritual “station of Proximity” (maqam al-qurba), in which one actually realizes the full extent of this intimate relation with God, is the ultimate goal of the Ascension of the saints outlined in this chapter: that relation is outlined schematically, in the theological language of 'ilm al-kalam, in section III and discussed in

more experiential terms in the final two parts of section IV. (See the extensive references in Hakim, Al-Muʻjam al-sūfī, pp. 936-940 and Chodkiewicz, Seal of the Saints, index s.v. [maqam al-qurba].) 34 While Ibn 'Arabi is alluding in particular to the “reason” for the Prophet's Ascension described at Qur’an 17:1 (see following note), the same phrase (with only minor variations in the pronouns) is addressed to mankind more generally in a number of other Qur’anic verses (27:93; 31:31; etc.). Of these, certainly the most important and best known is the verse 41:53—to such an extent that it is clearly assumed whenever Ibn 'Arabi mentions the divine “Signs” (ayat): “We shall cause them to

see Our Signs on the horizons and in their souls, so that it becomes clear to them that He is the Truly Real [al-Haqq]—or is your Lord not enough, for surely He is witnessing every thing! What, are they in doubt about meeting their Lord? Does He not surely encompass all things?” Especially important, for Ibn 'Arabi as for so many other Islamic thinkers, is the insistence in this verse on the coincidence of the Signs “on the horizons,” i.e., in the external world (but note also Muhammad's decisive revelation at the “Loftiest Horizon,” Qur’an 53:7) and those “in the souls,” in the totality of awareness of the “Perfect Man” (al-insan al-kamil). Secondly, Ibn 'Arabi always emphasizes the causative, active meaning of the verb form 'Ara as “to make someone see,” not just “to show”: for him, God's “Signs” are already there, in the totality of our experience, but usually “unseen” (ghaba)—i.e., not perceived as such. Thus the whole purpose of the spiritual journey is simply to open our (spiritual) eyes to the reality of “things” as Signs, or as Ibn 'Arabi goes on to explain immediately below (and in more detail in section III), to recognize the divine Names “in our states.” All this is implicit

in the famous prayer of the Prophet likewise assumed throughout this chapter: “O my God, cause us to see things as they really are!” 35 The masjid al-haram (“Sacred Place of Worship”) was a common name for the sanctuary of the

Kaaba at Mecca, but there is some disagreement in the hadith surrounding the identification of the masjid al-aqsa: it was sometimes, especially in later traditions, identified with the site of the Temple at Jerusalem (al-bayt al-maqdis, “the sacred House”) where Muhammad stops to pray before his heavenly ascension according to several hadith accounts (including that followed by Ibn 'Arabi below); but the earlier traditions agree that it refers to the “furthest point” (al-darah) or goal of the

Mi'raj (i.e., where Muhammad received the culminating revelation described in Sura 53), and is therefore more or less identical with the “Inhabited House” or heavenly Temple of Abraham (al-bayt 20 servant through his (inner spiritual) states in order also to cause him to see His Signs, He moves him through His states.36 ...(I.e., God) says: “I only made him journey by night in order that he see the Signs, not (to bring him) to Me: because no place can hold Me and the relation of all places to Me is the same. For I am such that (only) 'the heart of My servant, the man of true faith, encompasses Me,'37 so how could he be 'made to journey to Me' while I am 'with him wherever he is' (Qur’an

57:4)?!” al-ma'mur), the symbol of the Heart discussed in section IV-H (notes 168-172) below. Ibn 'Arabi implicitly seems to follow the latter interpretation. See also the articles from the SEI/EI cited in n. 1 above. Throughout this chapter (and in the K. al-Isra', etc.) Ibn 'Arabi generally uses the Qur’anic expression isra' to refer to the Prophet's ascension and its spiritual analogues—

possibly because the term mi'raj might appear limited only to the “ascending” portion, whereas Ibn 'Arabi always is at pains (as in sections III and IV-F below, and at the end of his R. al-Anwar) to emphasize the critical importance of the “descending” phase of return (ruju'), which distinguishes the highest rank of the saints (and of course the prophets). We have consistently translated isra' and its related verbal forms here as “journey,” but it must be kept in mind that the Arabic term refers specifically to a nocturnal journey: for Ibn 'Arabi, especially, this nuance no doubt corresponds to the fact that the spiritual isra', at least, is an

inner, “secret” process largely hidden from outward observation, especially in those saints (the afrad or malamiya) who have followed it through to the end. In the K. al-Isfar 'an Nata'ij al-Asfar (Rasa'il, II, no. 24), pp. 17-21, Ibn 'Arabi offers

an elaborate interpretation of this same Qur’anic verse (17:1) focusing—as is typically the case in his reading of the Qur’an—on the complex inner significance of the grammatical and

lexical details of its particular Arabic expressions, such as the apparent duplication of “at night” (laylan) and asra (meaning “to cause to journey at night”), etc. Our translation cannot

convey most of those nuances or alternative meanings.

36Here, as so often with Ibn 'Arabi (see especially section III below), the pronouns are rather ambiguous; in this case the intended meaning is clarified by the following untranslated lines (III, 340.25-30) which cite several other hadith and Qur’anic passages where God shows some of “His” creations to certain prophetic messengers in order to teach them a particular lesson. Here Ibn 'Arabi implicitly contrasts this spiritual journey of the saints (and ultimately of all men) through their inner “states”—i.e., the “Signs in your souls” of verse 41:53 (see notes 34 and 72)—with the physical (or possibly “imaginal”) journey through places which, as he explains below (end of section II), was the exclusive privilege of the Prophet on this single occasion.37 An allusion to the celebrated hadith qudsi already mentioned at n. 7 above: “My earth does not encompass Me, nor does My heaven, but the heart of My servant, the man of true faith, does encompass Me.” This famous divine saying (not found in the canonical collections, but favored by many Sufi authors) is cited repeatedly by Ibn 'Arabi, who takes it as a classical reference to the role

of the “Heart” (of the “Perfect Man,” as realized by the accomplished saints) as the complete mirror of the divine tajalliyat. See the references at notes 30 and 33 above, and all of section IV-H (notes 167-173) below.

dlib.bc.edu/islandora/object/bc-ir:107287/datastream/PDF/...

life is going in the right direction, we thank God for that.

The concept of self-realization states that it is the ultimate goal of a human being to attain permanent happiness and complete independence and freedom from all worldly bondage, and that true happiness is then the result of self-realization.

© Austin Sullivan 2012

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“The drum of the realization of the promise is beating,

we are sweeping the road to the sky.

Your joy is here today, what remains for tomorrow?

The armies of the day have chased the army of the night,

Heaven and earth are filled with purity and light.

Oh! joy for he who has escaped from this world of perfumes and color!

For beyond these colors and these perfumes, these are other colors in the heart and the soul.

Oh! joy for this soul and this heart who have escaped the earth of water and clay,

Although this water and this clay contain the hearth of the philosophical stone.”

(“Mystic Odes” by Jalal ad-Din Muhammad Balkhi, known as Jelaluddin Rumi - Persian poet, jurist, theologian, and mystic, 1207–1273)

This was shot near Gai Ghat along the Ganges in Varanasi (Benaras) where this man has been washing his laundry.

He was streching his clothes under the sun.

It was two days ago, I thought that it was uncommon to have such an heat in November.

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Please do not use any photographs without permission (even for private use).

The use of any work without consent of the artist is PROHIBITED and will lead automatically to consequences.

Who you are vs. who you want to make yourself be.

Sometimes not knowing is better. The trash cans at the Palm Springs Art Museum In Palm Desert (yes, that's correct) do double duty. The bottom is for trash while the top is for recycling bottles and cans. As I went to toss my empty bottle into the top part, I realized it might just make a cool shot. So I bent down, camera in hand and took my shots for my HDR photo and then stuck my hand deep inside to deposit the empty bottle so the wind would not blow it out. A few days later I got to processing it. I ran it through this, then pulled it up on that and tweaked a thingy here and there. Now, I have to say, in the bright desert sun, shadows are darker, much darker. So that round little hole was black to me with the exception of the words on the other side shining though. Imagine my surprise when I looked at the photo that the HDR processing pulled out all the dark from and saw the GIGANTIC MAN EATING SPIDER WEBS in there. My first thought was COOL! and then it hit me, that moment of realization that I STUCK my hand in there

Yes I fainted.

Twice.

View with bug eyes

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Name: Urban Entertainment Centre

City: Almere

Architect(s): William Alsop (UK)

Realization: 2004

The Urban Entertainment Centre in Almere comprises of 16,000sqm of new buildings containing shopping, pop concert hall, disco, hotel, bicycle park and associated leisure, cafe and restaurant facilities. These elements are grouped together beside a new sunken square and form an edge to the southern limit of the existing town centre.

The 'polder city' of Almere, close to Amsterdam, has grown up as a low-rise development along the lines of the English garden cities. Although the residential areas of Almere are attractive, the settlement lacks a real 'heart' and the lack of local amenities encourages people to commute to Amsterdam for entertainment. Almere has, however, something of a tradition of encouraging bold and innovative architecture and this has underpinned moves to transform the central area.

In line with the development masterplan for Almere, which envisages a process of 'intensification' for the city centre, Alsop designed a 16,000sqm waterfront entertainment centre. The Centre consists of a family of buildings grouped around a new square and elevated four metres on a unifying podium, which covers a parking area. Varied in form, the buildings use a variety of materials to create a rich new urban landscape.

At the heart of the development is the Pop Zaal, its reinforced concrete structure clad in pre-weathered zinc and steel mesh. The scale of the structure is not apparent at first sight and cloaks the various internal functions of auditorium, disco, bar and ancillary spaces in a continuous metal skin.

The Almere Hotel is a 120 room 4-star hotel clad in cedar boarding. The hotel has a raised 'sleeping block' approximately 4,000sqm, that is lifted eight metres above street level. Below the ground plain is the car park with a direct connection to the lobby.

The 400sqm two-level entrance building is organic in shape and clad with brass. It houses the lobby, meeting rooms, a restaurant, a bar, offices, and storage spaces. Two elevators, a staircase and a services shaft connect the entrance bubble with the main accommodation component.

The square itself is a lively place, with cafes and restaurants, attractive in all seasons.

text: www.alsoparchitects.com

Because of us, environment is changing ... arn't we creating our own grave!

"infrathin," a subtle difference or gap that exists between things, particularly between an idea and its realization, or between intention and execution.

Marcel Duchamp

Music: Right Click and select "Open link in new tab"

www.youtube.com/watch?v=B6mV9XBP0EA

John Cage - Music for Marcel Duchamp - Scott Tinney, prepared piano

I'll be your mirror

www.flickr.com/photos/twoblackcatscom/albums/721777203213...

Above: Untitled Collage by Hermann Nitsch (Leopold Museum: "Hermann Nitsch - Structures. architectural drawings, scores and realizations of the o.m. theater").

Below: Untitled Guerilla Art at abandoned Pavillon 35. Psychiatric Department Otto Wagner Spital am Steinhof.

Part of "MirrorGround Steinhof".

Diptychon:

oben: DMC-G2 - P1270983 4.2.2012 (Hermann Nitsch: Collage)

unten: DMC-G2 - P1210302 Manipulation 26.11.2011 (Pavillon 35 Guerilla Art)

this was another quicky.. was so exhausted last night and fell asleep early.

this past week has been really hard with my son's tantrums.. and we are trying to figure out how to help him work through his emotions and find some peace. so we have made some changes.. limiting tv time.. and making sure there is no violence in any programs.. my fault for not recognizing that 'kung fu panda' might have been too much for him. i feel so horribly for that because he really liked it..but it is majorly violent.

i believe that much of sickness and disease can come from not properly working through our emotions.. when we stuff things inside they can end up doing physical and emotional damage.. and with the little ones, they might not even know what they are feeling and many things are overwhelming. lesson learned but i feel like an idiot!

:(

The original photo is taken from Google.com,

and belongs to its respective owner.

Digitalpaint

Thaumatophyllum giganteum - Self-Realization Fellowship Meditation Gardens, Encinitas, California

I have come to the realization that the intense stare from a gorilla is really quite scary!!!!

This Momma Gorilla and her oh so gorgeous baby gave us the most vicious looking stare I'd seen from an animal... perhaps its was because they were behind the wall and not the other way round.....

Another shot from Belfast Zoo in the summer. I particularly liked the result of this shot, even though Momma is out of focus, you can still make out her disapproving frown :)

I'm apologising to you all for not having time to comment on your photos of late... and I'm afraid I won't get a chance until after Christmas... I do want to thank you all for the wonderful support and appreciation you have for my work.

I will get another couple of photos up before Christmas (hopefully a few seasonal ones) and will wish you all a merry Christmas then... For today (unfortunately I'm at work) I hope you all have a great Saturday and a stress free weekend :)

Johnson's Shut-Ins

Reynolds County, MO

I've come to the realization that unlike many 100 strangers project photographers, I can't go out with my goal being to seek subjects. Must not be my style. Strangers just kind of show up while I have my camera and I get a picture. It will probably take me a long time to finish this project....

That said... I was in the small park by my house and saw Jim hanging out on a bench talking with a friend. I started chatting with them and discovered that Jim is a volunteer at the Teton Raptor Center. The TRC takes in injured hawks, falcons, eagles etc. and nurses them back to health to hopefully release them back to their native habitat. Those that can't return to the wild find homes at the TRC, are well taken care of and become models for educational programs with schools and the public.

I learned a little about Jim but more about the Raptor Center. You can learn more about the Raptor Center at www.tetonraptorcenter.org

find out more about the 100 strangers project and see pictures from other photographers at www.100strangers.com

www.jkaphanphotography.com

You can check out the rest of my work and toy reviews to these social media sites.

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During Andared's journey north, he discovered that the war had ended. This pleased Andared, all the more so when he found out that the Loreesi were going to pay war damages in in recompense for their actions. He was so happy, in fact, that he decided to ride to the northern coast of Lenfald to watch the sun set, his anxiety relieved at last.

What he saw when he arrived, he would never forget. Freshly dug, the graves of three Lenfel soldiers lay before him. They faced away from the sea and her cliffs. The soldier's swords lay across their graves, while a solitary flag flew above them.

Andared fell to his knees, and wept.

Before him, lay the true picture of war. There was no glory in it. No fame. The hollow victory they had "won" was lying six feet in the ground.

Andared's hands shook as he imagined the hundreds of scattered graves that these represented. The men and women who had given their lives in a meaningless war. A war that had changed nothing other than leaving a king and hundreds of his subjects in graves.

His thoughts turned to the Loreesi. His immediate reaction was anger, hatred. Then he saw the faces of the men he had slaughtered just a day before. One by one, their bloodied and horror-stricken faces danced before him. These men had been no threat to him. Had they been given the choice all of them would have surrendered. But instead, they were brutally murdered. He had laid aside mercy and callously ordered their execution.

More tears streamed down Andared's face as he thought of the wives who would never see their husbands. The mothers who would have to answer the fatherless children who begged to know "Why?".

Trembling, Andared raised his head toward heaven and cried out.

"Forgive me! I who could not show grace, beg to receive it. All I could see in them was evil and murder. Now I realize, I was the murderer. I beg you, forgive me!"

But the silent graves could not reply...

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My entry to the Local Challenge Contest 8 in the Lenfald faction.

Being social and ignoring what's in front of me will never give me happiness. I need to take the time to acknowledge and enjoy the influences in my life that gives me satisfaction. I think being there - walking through the grown-in pathways and searching in the thick brush for something insignificant... it made me realize that everything is "insignificant", and I need to accept that, no matter how unsettling that is. And yet, the sun on my back seemed so satisfying.

(c) Kayla Burton

Do not use without my permission.

2003XXXX | REALIZATION

-

318*410mm | acrylic on wood panel

Sometimes, some people think to be so much important that they are sure to be waited for indefinitely.

Hasselblad 500C/M + Zeiss Planar 80mm f/2.8 + Ilford FP4 125 (expired since 1983) + Ilford ID-11 + Epson V700 Scan (No photoshop except from dust)

Bruno Servant © All rights reserved - Downloading and using images without permission is illegal. PoissonSoluble92@hotmail.fr

"Brothers and sisters: FAITH is the realization of what is hoped for and evidence of things not seen." Hebrews 11:1

"We walk by FAITH, not by sight" ~ 2 Corinthians 5:7.

MEDITATION

"FAITH is an entirely free gift which God makes to us through the power of the Holy Spirit. Believing and Trusting in God to act in our lives is only possible by the Grace and Help of the Holy Spirit who moves the heart and converts it to God. The Holy Spirit opens the eyes of the mind and helps us to Understand, Accept, and Believe God's word. How do we grow in FAITH? By listening to God's word with Trust and Submission. FAITH also grows through Testing and Perseverance. The Lord wants to teach us how to pray in FAITH for His will for our lives and for the things He wishes to give us to enable us to follow Him FAITHfully and serve Him generously. "

#prayer and excerpt #meditation from today’s scripture reflection @ www.DailyScripture.Net or APP at Daily Scripture Servants of the Word

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THE NECESSITY OF FAITH

CCC161 Believing in Jesus Christ and in the One who sent Him for our salvation is necessary for obtaining that salvation. "Since "without FAITH it is impossible to please [God]" and to attain to the fellowship of His sons, therefore without FAITH no one has ever attained justification, nor will anyone obtain Eternal Life 'But he who endures to the end.'"

FAITH - the beginning of eternal life

CCC164 Now, however, "we walk by FAITH, not by sight"; we perceive God as "in a mirror, dimly" and only "in part". Even though enlightened by Him in whom it believes, FAITH is often lived in darkness and can be put to the test. The world we live in often seems very far from the one Promised us by FAITH...

www.scborromeo.org/ccc/para/161.htm

www.scborromeo.org/ccc/para/164.htm

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ENCYCLICAL LETTER ~ BETWEEN FAITH AND REASON by Saint Pope John Paul II

www.ewtn.com/library/ENCYC/JP2FIDES.HTM

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“Why Faith Matters” - www.thecatholicthing.org/2024/05/01/why-faith-matters/

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Image in use at:

~ www.goodnewspost.net/inspirational-sayings-definition-of-...

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Filename - Faith - DSC_0638 Mtn Layers view toward LA SClNR2 2013

Following the Son...

Blessings,

Sharon 🌻

God's Beauty In Nature is calling us into a deeper relationship with Him...

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Bloggers are welcome to use my artwork with, “Image from Art4TheGlryOfGod by Sharon under Creative Commons license”, (next to the image or embedded in it) with a link back to the images you use and please let me know in the comment section below, thank you...

#prints availability upon request

Art4TheGlryOfGod Photography by Sharon

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Faith, Hope & Love in daily Art meditations...

X ~ www.twitter.com/Art4ThGlryOfGod

Flickr (complete portfolio) ~ www.flickr.com/photos/4thglryofgod/albums/

Fine Art America (canvas, prints & cards) ~ fineartamerica.com/profiles/sharon-soberon

Redbubble (canvas, prints & cards) ~ www.redbubble.com/people/4theglryofgod/shop

Pixoto (awards) ~ www.pixoto.com/4thegloryofgod/awards

Music Videos (from my Art Photography) ~

www.youtube.com/user/4ThGlryOfGod

sunrise,..vision one

Another realization of Multioutlining project.

Light painting image done in Erg-Chebbi (Merzouga, Morocco) while LPWA Morocco meet-up October 2018. More details here youtu.be/vNz1htts-uc

This event was possible because of help from LPWA Morocco Representative Yasmina Cherkaoui @yaslightpainter and sponsorship by Royal Air Maroc, TheArtCompany Gallery (Casablanca), Maroc Telecom, 2M Television (Morocco), Do-It Co, Insitut Francais Casablanca and OCP (Casablanca).

More about Multioutlining technique see here www.lightpainters.com/archive/lpwa/publication/115/index.htm

Cosmopolitan: April 1955

Illustration by Rowland Emmit

The mountain veiled in mist is not a hill; an oak tree in the rain is not a weeping willow.

-Kahlil Gibran ( Sand and Foam)

An Instantiation is a concept in Object Oriented Programming (OOP) - You can create an object with a set of properties that are defined by a Class in a program. When you create a member of a class, it is the instantiation (i.e. realization or creation) of a specific object of that class.

Object (computer science)

From Wikipedia, the free encyclopedia

In computer science, an object is a location in memory having a value and possibly referenced by an identifier. An object can be a variable, a data structure, or a function. In the class-based object-oriented programming paradigm, "object" refers to a particular instance of a class where the object can be a combination of variables, functions, and data structures. In relational database management, an object can be a table or column, or an association between data and a database entity (such as relating a person's age to a specific person).[1]

Contents [hide]

1 Object-based languages

2 Object-oriented programming

3 Specialized objects

4 Distributed objects

5 Objects and the Semantic Web

6 See also

7 References

8 External links

Object-based languages[edit]

Main article: Object-based language

An important distinction in programming languages is the difference between an object-oriented language and an object-based language. A language is usually considered object-based if it includes the basic capabilities for an object: identity, properties, and attributes. A language is considered object-oriented if it is object-based and also has the capability of polymorphism and inheritance. Polymorphism refers to the ability to overload the name of a function with multiple behaviors based on which object(s) are passed to it. Conventional message passing discriminates only on the first object and considers that to be "sending a message" to that object. However, some OOP languages such as Flavors and the Common Lisp Object System (CLOS) enable discriminating on more than the first parameter of the function.[2] Inheritance is the ability to subclass an object class, to create a new class that is a subclass of an existing one and inherits all the data constraints and behaviors of its parents but also changes one or more of them.[3][4]

Object-oriented programming[edit]

Main article: Object-oriented programming

Object-Oriented programming is an approach to designing modular reusable software systems. The object-oriented approach is fundamentally a modelling approach.[5] The object-oriented approach is an evolution of good design practices that go back to the very beginning of computer programming. Object-orientation is simply the logical extension of older techniques such as structured programming and abstract data types. An object is an abstract data type with the addition of polymorphism and inheritance.

Rather than structure programs as code and data an object-oriented system integrates the two using the concept of an "object". An object has state (data) and behavior (code). Objects can correspond to things found in the real world. So for example, a graphics program will have objects such as circle, square, menu. An online shopping system will have objects such as shopping cart, customer, product,. The shopping system will support behaviors such as place order, make payment, and offer discount. The objects are designed as class hierarchies. So for example with the shopping system there might be high level classes such as electronics product, kitchen product, and book. There may be further refinements for example under electronic products: CD Player, DVD player, etc. These classes and subclasses correspond to sets and subsets in mathematical logic.[6][7]

Specialized objects[edit]

An important concept for objects is the design pattern. A design pattern provides a reusable template to address a common problem. The following object descriptions are examples of some of the most common design patterns for objects.[8]

Function object: an object with a single method (in C++, this method would be the function operator, "operator()") that acts much like a function (like a C/C++ pointer to a function).

Immutable object: an object set up with a fixed state at creation time and which does not change afterward.

First-class object: an object that can be used without restriction.

Container: an object that can contain other objects.

Factory object: an object whose purpose is to create other objects.

Metaobject: an object from which other objects can be created (Compare with class, which is not necessarily an object)

Prototype: a specialized metaobject from which other objects can be created by copying

God object: an object that knows too much or does too much. The God object is an example of an anti-pattern.

Singleton object: An object that is the only instance of its class during the lifetime of the program.

Filter object

Distributed objects[edit]

Main article: Distributed object

The object-oriented approach is not just a programming model. It can be used equally well as an interface definition language for distributed systems. The objects in a distributed computing model tend to be larger grained, longer lasting, and more service-oriented than programming objects.

A standard method to package distributed objects is via an Interface Definition Language (IDL). An IDL shields the client of all of the details of the distributed server object. Details such as which computer the object resides on, what programming language it uses, what operating system, and other platform specific issues. The IDL is also usually part of a distributed environment that provides services such as transactions and persistence to all objects in a uniform manner. Two of the most popular standards for distributed objects are the Object Management Group's CORBA standard and Microsoft's DCOM.[9]

In addition to distributed objects, a number of other extensions to the basic concept of an object have been proposed to enable distributed computing:

Protocol objects are components of a protocol stack that enclose network communication within an object-oriented interface.

Replicated objects are groups of distributed objects (called replicas) that run a distributed multi-party protocol to achieve high consistency between their internal states, and that respond to requests in a coordinated way. Examples include fault-tolerant CORBA objects.

Live distributed objects (or simply live objects)[10] generalize the replicated object concept to groups of replicas that might internally use any distributed protocol, perhaps resulting in only a weak consistency between their local states.

Some of these extensions, such as distributed objects and protocol objects, are domain-specific terms for special types of "ordinary" objects used in a certain context (such as remote invocation or protocol composition). Others, such as replicated objects and live distributed objects, are more non-standard, in that they abandon the usual case that an object resides in a single location at a time, and apply the concept to groups of entities (replicas) that might span across multiple locations, might have only weakly consistent state, and whose membership might dynamically change.

Objects and the Semantic Web[edit]

The Semantic Web is essentially a distributed objects framework. Two key technologies in the Semantic Web are the Web Ontology Language (OWL) and the Resource Description Framework (RDF). RDF provides the capability to define basic objects—names, properties, attributes, relations—that are accessible via the Internet. OWL adds a richer object model, based on set theory, that provides additional modeling capabilities such as multiple inheritance.

OWL objects are not like standard large grained distributed objects accessed via an Interface Definition Language. Such an approach would not be appropriate for the Internet because the Internet is constantly evolving and standardization on one set of interfaces is difficult to achieve. OWL objects tend to be similar to the kind of objects used to define application domain models in programming languages such as Java and C++.

However, there are important distinctions between OWL objects and traditional object-oriented programming objects. Where as traditional objects get compiled into static hierarchies usually with single inheritance, OWL objects are dynamic. An OWL object can change its structure at run time and can become an instance of new or different classes.

Another critical difference is the way the model treats information that is currently not in the system. Programming objects and most database systems use the "closed-world assumption". If a fact is not known to the system that fact is assumed to be false. Semantic Web objects use the open world assumption, a statement is only considered false if there is actual relevant information that it is false, otherwise it is assumed to be unknown, neither true nor false.

OWL objects are actually most like objects in artificial intelligence frame languages such as KL-ONE and Loom.

The following table contrasts traditional objects from Object-Oriented programming languages such as Java or C++ with Semantic Web Objects:[11][12]

OOP ObjectsSemantic Web Objects

Classes are regarded as types for instances.Classes are regarded as sets of individuals.

Instances can not change their type at runtime.Class membership may change at runtime.

The list of classes is fully known at compile-time and cannot change after that.Classes can be created and changed at runtime.

Compilers are used at build-time. Compile-time errors indicate problems.Reasoners can be used for classification and consistency checking at runtime or build-time.

Classes encode much of their meaning and behavior through imperative functions and methods.Classes make their meaning explicit in terms of OWL statements. No imperative code can be attached.

Instances are anonymous insofar that they cannot easily be addressed from outside of an executing program.All named RDF and OWL resources have a unique URI under which they can be referenced.

Closed world: If there is not enough information to prove a statement true, then it is assumed to be false.Open world: If there is not enough information to prove a statement true, then it may be true or false.[13]

I decided to do a photoshoot rather dark in response to an article I read on the net. It spoke of the rape culture in our society. It really made me think and I wanted to recreate that in this series of three Photogallery with Hambleton.

Strobist: Vivitar 285HV thru umb cam R

Maletto is on the western side of the Etna to 960 M of altitude. Human settlings, around the actual Maletto, they were had until from the first millennium before Christ. There lived the Siculs, then arrived Greeks, Romans, Byzantines and Arabs, Normans and Swabians. To one of these last, the Manfredi Maletta count, is owed the origin of Maletto. In the 1263, this one did raise on the fortress a strengthened tower, said Castle, about which s picked up a first nucleus of inhabitants. The construction of the actual historical centre was started at the end of XV century, when the districts that are today around the Castle were built. The construction then continued in the first years of the following century with the realization of the baronial palace of the Spatafora and the attached Saint Michael Archangel church, l et alone of stores and of an open gallery, of an inn and of a warehouse. It was however starting from the 1619, when Maletto the king of Spain recognized the title of principality, that the area is developed mostly, assuming the definitive aspect kept to our days. Maletto is the most elevated town of the Etna and of the province of Catania and it reverts nearly for whole in the park of the Etna.The production of the strawberries has made famous Maletto in the world.

Maletto è un comune italiano di 4.029 abitanti della provincia di Catania in Sicilia.Le origini del piccolo comune etneo risalgono al 1263. Esso nacque per interesse di Manfredi di Maletta, parente dell'imperatore Federico I, che edificò su uno sperone roccioso un castello, di cui ancora si conservano i ruderi. Il piccolo borgo fu abbandonato e decadde. L'attuale agglomerato urbano, è frutto della ricostruzione avviata nel 1440, ad opera del principe Spadafora.Ogni anno, nel mese di giugno, Maletto diventa la città delle fragole, richiamando centinaia di turisti e di visitatori. Nel corso della Sagra, le maestranze locali realizzano una gigantesca torta alla fragola di oltre mille chili, che viene offerta a tutti i partecipanti. Durante la manifestazione vengono esposti in appositi stand le fragole in piantine e in cassette e sono offerte come assaggio gratuito ai visitatori. Il frutto matura tra i primi di maggio e la fine di giugno e nell'ambito della sagra sono esposti diversi tipi di fragole: la fragolina di pasticceria, la fragola "rifiorente", che matura da gennaio a dicembre, e la fragola tradizionale, dal sapore più dolce e dall'odore più profumato. La sagra dura tre giorni e si svolge di solito dal venerdì alla domenica.

Mount Etna (Aetna in Latin, also known as Muncibeddu in Sicilian and Mongibello in Italian, a combination of Latin mons and Arabic gibel, both meaning mountain) is an active stratovolcano on the east coast of Sicily, close to Messina and Catania. Its Arabic name was Jebel Utlamat (the Mountain of Fire).Volcanic activity at Etna began about half a million years ago, with eruptions occurring beneath the sea off the coastline of Sicily. 300,000 years ago, volcanism began occurring to the southwest of the present-day summit, before activity moved towards the present centre 170,000 years ago. Eruptions at this time built up the first major volcanic edifice, forming a strato-volcano in alternating explosive and effusive eruptions. The growth of the mountain was occasionally interrupted by major eruptions leading to the collapse of the summit to form calderas.From about 35,000 to 15,000 years ago, Etna experienced some highly explosive eruptions, generating large pyroclastic flows which left extensive ignimbrite deposits. Ash from these eruptions has been found as far away as Rome, 800 km to the north.Sicily's greatest natural attraction is also its highest mountain: Mount Etna, at 10,924 feet, is the most active volcano in Europe and the oldest recorded active volcano in the world.Mount Etna is an active volcano on the east coast of Sicily, close to Messina and Catania. It is the largest active volcano in Europe, currently standing about 3329.6 m (10,924 feet)high, though it should be noted that this varies with summit eruptions; the mountain is 21.6 m (71 ft) lower now than it was in 1865. It is the highest mountain in Italy south of the Alps. Etna covers an area of 1,190 km² (460 square miles) with a basal circumference of 140 km.The fertile volcanic soils support extensive agriculture, with vineyards and orchards spread across the lower slopes of the mountain and the broad Plain of Catania to the south. Due to its history of recent activity and nearby population, Mount Etna has been designated a Decade Volcano by the United Nations.Etna lava stone is a material with unique characteristics: durable, indestructible, resistant to changes in the temperature (it’s a heat conductor), it offers infinite possibilities of uses: flooring, urban furniture, interior design.After the glazing process the product doesn’t get stained, resists to acids and doesn’t require particular maintenance: that’s why lava stone is the ideal material even to make kitchens and bathrooms countertops. The natural stone tends to grey, with the glazing process we can obtain any desired colour. Shapes, sizes and decorations can be customized . The lava stone it is formed by the solidification of cooled magma on the surface of the Etna volcano, in Sicily

L'Etna è un vulcano attivo che si trova sulla costa orientale della Sicilia (Italia), tra Catania e Messina. È il vulcano attivo più alto del continente europeo e uno dei maggiori al mondo. La sua altezza varia nel tempo a causa delle sue eruzioni, ma si aggira attualmente sui 3329.6 m (10,924 feet) s.l.m. Il suo diametro è di circa 45 chilometri.Un tempo era noto anche come Mongibello.In genere le eruzioni dell'Etna pur fortemente distruttive delle cose, non lo sono per le persone se si eccettuano i casi fortuiti o di palese imprudenza come quello dell'improvvisa esplosione di massi del 1979 che uccise nove turisti e ne ferì una decina di altri avventuratisi fino al cratere appena spento. L'Etna è un tipico strato-vulcano che iniziò la sua attività, tra 500 e 700 mila anni fa. La sua lava di tipo basaltico è povera in silice, è molto calda, densa e fluida. Per queste ragioni le eruzioni sono tranquille ed il percorso delle lave prevedibile. La velocità di scorrimento è superiore a quella delle lave acide, più ricche in silice e più viscose e leggere.La lavorazione della pietra lavica, derivante dall’industria estrattiva delle vicine cave dell'Etna, per scopi ornamentali o per materiali da costruzione, diede da vivere a molte famiglie siciliane.I "pirriaturi", anticamente, estraevano lungo i costoni dell'Etna solo strati superficiali di lava perché più porosi e più facilmente lavorabili con arnesi quali la subbia, lo scalpello, la mazzola e il martello. Sul materiale estratto interveniva lo spaccapietre che ricavava lastre di pietra, infine lo scalpellino rifiniva il materiale. Uno degli usi prevalenti cui era destinata la pietra lavica era la pavimentazione delle strade urbane

www.youtube.com/watch?v=cAT2XppUwxg

Visit Toyark.com and TFW2005.com for full sets of these galleries!

Every once in a while I try something different to break the monotonous habits I form around methods of "making." In this case, digital painting.

Realization

In the realization of the attic Gaudí adopted an ingenious architectural solution based on the use of so-called catenary arch, which allows an even distribution of loads by eliminating the need for columns, walls and buttresses. The result is an environment that calls to mind a cave, or some say the rib cage of a large animal like a whale.

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Nella realizzazione della soffitta Gaudí adottò una ingegnosa soluzione architettonica basata sull'utilizzo del cosiddetto arco catenario o arco equilibrato, che consente una omogenea distribuzione dei carichi eliminando la necessità di colonne, muri e contrafforti. Il risultato è un ambiente che richiama una caverna, o secondo alcuni la cassa toracica di un grande animale come la balena. In passato vi trovava posto la lavanderia dei condomini mentre oggi ospita un piccolo museo dedicato all'architetto catalano. Due scale a chiocciola collegano i locali della soffitta alla terrazza.

it.wikipedia.org/wiki/Casa_Batll%C3%B3#La_soffitta

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Website (wip): picas.cc/

Twitter: twitter.com/supersum30