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Teenager Jamie Knott was left devastated after his prized iPad was stolen following treatment for his kidneys at the Royal Manchester Childrens’ Hospital.
On Tuesday 27 September 2011, the 14-year old who suffers from a debilitating illness and is slowly losing his sight had been attending the hospital for treatment following a kidney transplant when the device was stolen from his room.
The hi-tech gadget had been donated to him from the Make a Wish charity after a wish he made for the tablet before his sight is permanently lost.
Touched by Jamie’s circumstances, officers from the Metropolitan Division who have been investigating the crime raised funds for a new iPad for the youngster.
PC Carl Kelly said: “When we heard about what had happened we wanted to be able to help replace the gadget, as I know his parents would have struggled to afford a new one. We are grateful to Tesco in Gorton who were kind enough to donate the new iPad for free. Jamie is a brave young man and an inspiration to us all.
“Having your personal property stolen is a devastating crime for anyone, but to have something stolen when you are recovering in hospital is heartless and takes real cowardice. We will try our hardest to see that justice is served following this crime and inquiries are ongoing.”
Mum, Tracey Knott from Driffield, West Yorkshire said: “What happened right under Jamie’s nose was a horrible thing and I think it’s wonderful what everyone has done for him.
“Jamie was really surprised and over the moon for what they have done. I’ve never known anyone show such generosity and I am very grateful.”
The Division will present Jamie with accessories for his iPad and are donating the £100 to the Make a Wish charity.
To find out more about Policing in Greater Manchester please visit our website.
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Title: State Street Station, longitudinal girder to be replaced with through girder
Date: 1905 May 23
Source: Boston Elevated Railway photographs, 9800.018.
File name: 9800018_005_040
Rights: Public Domain
Citation: Boston Elevated Railway photographs, 9800.018.City of Boston Archives, Boston
For: the people that love to download music for free without worrying too much about viruses or fake songs...
purpose: is to show that there are other p2p sharing software out there besides plain-old virus filled limewire.
downsides: If you are using Internet explorer you'll end up gettin some pop-ups... i would recommend safari for most of us but ill talk about that in a diff vid.
We are replacing a serpentine belt on a Ford F-250,6.0 poerstroke diesel engine. We are Ford Powertroke,Cummins,and Duramax Diesel engine Experts. Call Dan's Auto/Truck Repair in Arlington,Texas for any questions or concerns you may have. 817-548-8373,ask for Dan
Replacing an earlier scanned photo with a better version 26-Feb-21.
Named: "Spirit of Max Galiger".
Built as 'convertible' with a main deck cargo door, this aircraft could be operated as a passenger or freight aircraft. First flown with the Boeing test registration N1788B, this aircraft was delivered to Nordair Canada as CF-NAP in Jun-71, it became C-FNAP in May-74 when Canada introduced the C-G*** registration series. Nordair was merged into Canadian Pacific Airlines in Jan-87. Canadian Pacific was renamed Canadian Airlines International in Apr-87. It was sold to a lessor in Sep-88 and leased back to CAI. The aircraft was returned to the lessor in Oct-95 and was leased to Can-Air Cargo the following month. It was transferred to Royal Airlines in Aug-97 and was operated in both passenger and cargo configuration (at the time of the photo it was operating passenger services). Royal Airlines bought it at the end of Dec-97. Royal Airlines was merged into Canada 3000 Airlines in May-01. Canada 3000 Airlines were a little overstretched financially and the aftermath of the '9/11' terrorist atrocity in the USA finished them off, they ceased operations in Nov-01 and this aircraft was stored at Quebec City, QC, Canada. The aircraft was now 30 years old. It was sold to Logistic Air in Sep-02 and re-registered N2409N in Mar-03. However it had remained stored at Quebec City. It was sold to Air North Charter and Training Ltd (Canada) for spares in Jun-08 and was broken up at Quebec City in 2009.
Note: The registration C-FNAP was later used on an Air Canada Embraer E-190-100AR between Dec-07/Sep-20.
Replacing an earlier digital photo with a better version 24-Sep-21 (DeNoise AI).
'Fly Red'
First flown with the Airbus test registration F-WWCO, this aircraft was delivered to Wardair Canada as C-GDWD in Mar-88. Wardair was merged into Canadian Airlines International in Oct-89 and the aircraft continued in service until it was sold to Polaris Aircraft Leasing in Aug-91.
The aircraft was immediately leased to Kuwait Airways as A6-KUB (United Arab Emirates) and initially based at Dubai during the first Gulf War. It returned to Polaris in Jun-93 and was re-registered D-APOM and stored at Hamburg in Aug-93.
It remained stored until it was leased to Eurowings in Mar-95 and operated on behalf of Hapag-Lloyd in full Hapag-Lloyd livery. It was technically returned to the lessor on 31-Oct-95 and leased direct to Hapag-Lloyd on 01-Nov-95.
The aircraft was returned to the lessor in May-98 and was leased to Royal Airlines (Canada) as C-GRYA a week later. Royal Airlines was merged into Canada 3000 in May-01. Canada 3000 ceased operations in Nov-01 and the aircraft was stored at Toronto.
It was returned to the lessor in Feb-02 and was stored at Bremen-Lemwerder, Germany (Lemwerder was an Airbus Factory Airfield, now closed). The aircraft remained stored until May-03 when it was leased to SATA Air Ascores (Air Azores) as CS-TKI.
It was sub-leased to White Airways in Jun-05. In Oct-11 it was wet-leased to Air Niugini and returned to White Airways in Dec-11. The aircraft was returned to the lessor in May-12. It was re-registered N627SC and permanently retired at Marana, AZ, USA. It was last noted still stored at Marana in Sep-14, still wearing it's Portuguese registration. Updated 23-Sep-21.
Replacing an earlier digital photo with a better version 31-Mar-25.
Operated by Livingston Energy Flight for Volare Airlines in basic Livingston livery with 'Volareweb,com' titles.
Named: "Boavista".
First flown with the Airbus test registration D-AVZM, this aircraft was delivered to ILFC International Lease Finance Corp and leased to Aero Lloyd, Germany as D-ALAH.
Aero Lloyd ceased operations on 16-Oct-03 and this aircraft was impounded at Vienna, Austria. It was returned to the lessor by the end of Oct-03 and ferried to Frankfurt for storage.
In Dec-03 the aircraft was re-registered F-WQST and ferried to Bordeaux, France for maintenance and re-painting. It was leased to Livingston Energy Flight, Italy as I-LIVD in Feb-04.
It was wet-leased to Volare Airlines, Italy in Dec-06 and returned to Livingston in Apr-07. ILFC sold the aircraft to SALE Ireland in May-07. It was re-registered EI-LVD and the lease to Livingston Energy Flight continued.
Livingston ceased operations on 14-Oct-10 and the aircraft was returned to the lessor and initially stored at Malta. It was moved to Istanbul in Dec-10 for further storage. In Jun-11 it was leased to Onur Air, Turkiye as TC-OBK.
It was withdrawn from service and stored at Istanbul-Ataturk in Dec-16 and returned to service in Jun-17. In late Oct-19 the aircraft was transferred to Onur Air subsidiary Holiday Europe, Turkiye.
It was returned to Onur Air when the COVID-19 Pandemic struck the world in Mar-20 and was stored at Istanbul-Ataturk. Already in financial difficulties, the Pandemic made things worse and Onur Air 'suspended' all operations in Dec-21 when the Turkish Authorities didn't renew their operating license. They were declared bankrupt in Apr-22.
The aircraft remained stored at Istanbul-Ataturk and never flew again. Permanently retired! As far as I know, it's still there. Updated 31-Mar-25.
Vanessa Amorosi singing her first number 1 single This is who I am from her upcoming Hazardous album!
"This Is Who I Am"
On 28 August 2009 Amorosi's new song "This Is Who I Am" was serviced to Australian radio. On 31 August 2009 Universal Music Australia released a press release for Amorosi's new single with details of new single and album.
The first single to spawn from her forthcoming album is the fierce pop-rock song "This Is Who I Am". The undoubtable hit single was produced by MachoPsycho (Pink) and mixed by Chris Lord-Alge (Green Day) and was serviced to Australian radio this week. The video for "This Is Who I Am" was recently shot in Los Angeles and directed by Christopher R Watson who is better known for his work on the international hit TV series "CSI New York" and horror film "Hostel". The video was predominately shot on green screen and will launch on September 14. - Universal Music Australia
"This Is Who I Am" debuted at number 1 on the ARIA Charts for the week beginning October 18, 2009. This is Amorosi's first number 1 single. The single holds the top spot for the second week in a row - becoming the first Australian artist to debut at #1 and hold #1 single since Silverchair's "Straight Lines" in 2007. "This Is Who I Am" has achieved Gold sales in Australia.
Her new album Hazardous is set for release on November 6, 2009.
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The Today team have galloped into Melbourne to kick off festivities for the biggest racing event on the social calendar, the 2009 Melbourne Cup Carnival.
To celebrate the Carnival, TODAY is broadcasting LIVE from Bourke Street Mall this Thursday and Friday. Karl and Lisa, along with Cam, Georgie, Richard, Steve and Richard Reid, are bringing all the fun, fashion and excitement of TODAY to the streets of Melbourne.
1957 Chevy - Van
Body Work/Fabrication: Shaved Body Lines, Replaced All Flat Sheet Metal, Reshaped Front And Rear Wheel Wells,Front And Rear Roll Pan,, One Off Billet Snow Flake Grille, Tribar Halogen Headlights, Billet Specialities Tail Lights And Front Turn Signals,1932 Ford Door Handles,Custom Service Doors For Snow Cone Vending
Engine/Transmission: 400 Horse GM Crate Engine, 700R4, 3000 Stall Converter
Suspension/Chassis: Stock Solid Axle Front Suspension Replaced With R&B Obsolete Front Chassis Clip That Accepts S-10 Front Suspension Components. BYC 1 1/4 Narrowed Tubular Control Arms, Drop Spindles, 2600 LB Bags With Custom Cups. Rear Suspension AirRide Technologies 4 Link On An S-10 Axle with 9000 series bags, One Off Front Wheel Tubs, Engine Cover And Floor, Rear Tubs Raised 9 Inches With Step Notch.
Paint: White With White And Blue Flames, Stenciled Pearl Snow Flakes
Interior: Two Tone Leather Bucket Seats *Completed By Southtowne Upolstery*, Custom Smoothed Dash With 1932 Ford Oval Dakota Digital Guage Cluster, Billet Specialities Leather Wrap Steering Wheel On Top Of An IDIDIT Tilt Column,Gennie Floor Shifter, rear Of Vehicle Equipped For Snow Cone Vending.
Wheels & Tires: Billet Specialities 2005 3D Series Rail, 22x10's All Around.
To book the Snow Sled for your next event contact Saint Louis Snow Cone at (314)-968-8377
Find and like Saint Louis Snow Cone on Facebook at www.facebook.com/STLSnowCone?ref=hl
For all of your custom and restoration needs give us a call or click at (314)-968-8377 or www.cleancutcreations.com
Find and like us on Facebook at www.facebook.com/CCCSTL
This weekend, we replaced segments of track at 52 St on the 7 line.
This photo shows workers cutting rails to finish new work.
Photo: MTA New York City Transit/Leonard Wiggins
Saint Louis Cemetery #1, which replaced the now vanished St. Peter Cemetery as the main burial ground in New Orleans following the fire of 1788, is the oldest of three Roman Catholic cemeteries bearing the same name. Spanning just one square block on the north side of Basin Street, one block from the inland border of the French Quarter and bordering the Iberville housing project built on top of Storyville, St. Louis #1 is the final resting place of over 100,000 dead. The above ground vaults, mostly constructed in the 18th and 19th century and currently is varied states of disrepair, are said to be needed because the ground water levels in New Orleans make burials impossible, but in reality owe much of their existence to French and Spanish tradition.
Famous New Orleanians buried in St. Louis #1 include Jean Etienne Boré, a wealthy pioneer of the sugar industry and the first mayor of New Orleans; Homer Plessy, the plaintiff from the landmark 1896 Plessy v. Ferguson Supreme Court decision on civil rights; Benjamin Latrobe, America's first professional architect; Ernest N. "Dutch" Morial, the first African-American Mayor of New Orleans; Paul Morphy, one of the earliest world champions of chess; and Marie Laveau, a legendary Voodoo priestess, whose unmarked grave in the Glapion family crypt is perpetually decorated with gifts and marked x's or crosses left by visitors.
The Anglo-French STD (Sunbeam-Talbot-Darracq) combine collapsed in 1935. The French Talbot company was reorganised by Anthony Lago (1893-1960) and after that, the Talbot-Lago name was used but on the home market the cars bore a Talbot badge.
For 1935 the existing range continued in production but from 1936 these were steadily replaced with cars designed by Walter Becchia featuring transverse leaf sprung independent suspension. These ranged from the two litre T11, the 3 litre T17, four litre T23 and sporting Spéciale and SS.
Lago was an excellent engineer, who developed the existing six-cylinder engine into a high-performance 4-litre one. The sporting six-cylinder models had a great racing history. The bodies—such as of T150 coupé—were made by excellent coachbuilders such as Figoni & Falaschi or Saoutchik.
Of the few cars described as rolling sculpture, the Talbot-Lago Teardrop by Figoni et Falaschi is the oldest and most frequently praised as such. During its era, the teardrop, also known as the 'Goutte d'Eau', was one of the select few automobiles that both redefined automotive style and won top-level races. Having successfully combined racing function and elegant form, the Teardrop became trend setting and motivated many other French manufacturers to consider more streamlined design. While all of the French coach builders contributed to the styling 'renaissance' of the thirties, none did so quite much as Italian-born Giuseppe Figoni. He teamed with businessman Ovidio Falaschi to create one of the most prolific and successful French design companies: Figoni et Falaschi.
The Teardrop was Figoni et Falaschi's most coveted work. It was, in a sense, a revolt against the more functional cars from the twenties. Here was a design devoid of any straight lines, one decorated with sensual curves which advertised speed without even moving. This style was emphasized by the diminishing pontoon fenders, called 'enveloppantes' by Figoni, and a converging rear end that could be called a fastback.
By 1937, the Talbot Teardrop became the ultimate expression of this streamlined era and made its seminal mark in Paris as well as the 1937 New York Auto Show. The teardrop was built in one of two different designs and on varied chassis sizes. The first, called 'Jeancart', body was named after its first owner and was built on the larger chassis, featuring a notchback rear end with twin cat-eye windows. In 1937, Figoni debuted the 'New York Style' which was a smaller, lighter and more powerful car.
With its independent front suspension, lightweight construction, excellent braking and low ride height the T150C chassis was focused on competition. It also benefited from Talbot's rich heritage in motor sport and included engineering similar to the Talbot which won the 1937 French Grand Prix. The definitive version of the T150 was the shortened and lighter SS chassis which the New York Style Teardrops were built upon.
Working with engineer Walter Brecchia, Lago turned the Talbot T120 into the Talbot-Lago T150. The transformation included a new cylinder head with hemispherical combustion chambers and the Wilson gearbox. Immediately the sporting pedegree of the T150 was apparent and a 3-liter car contested LeMans in 1935 but retired. The following year the engine was increased to four litres to match 1936 regulations. Unfortunately, the larger car didn't achieve any sales success or race success.
In 1937 Lago announced the T150C, a lightweight variant of the old chassis that stood for course or competition. These won the Tunisia, Montlhèry race as well as the British Tourist Trophy. Later in the year, Talbot released his road-going versions. The first of these was named SS after the American term Super Sport. They had a short wheelbase of 2.65m. A longer 2.95m variant was offered called Lago Speciale and was generally meant for more luxurious bodies. By 1937, Figoni et Falaschi had struck a deal with Talbot-Lago to create teardrop bodies for both versions of their chassis.
When sold, the Teardrop was one of the most expensive cars available, thus only sixteen were completed. Each was constructed to suit the individual preferences of their first owner. While all cars share the same signature fenders, raked windshield and sloping fastback, each had distinct details such as split windscreens, optional sunroofs, louvers, chrome accents and fender skirts. Many were built for wealthy clientèle who ordered unique colors and textures to capture attention at a prestigious Concours D'elegance
Only 16 recorded Teardrops have been documented from Figoni et Falaschi. 11 of these were built on the smaller SS chassis, while five more were fashioned on the longer and more luxurious Speciale or S chassis.
In the modern world, a genuine Figoni Teardrop is an amazing sight. With a design that embodies elegant form and successful race engineering, these cars still satisfy the demanding needs of the Concours they were intended for seventy years ago. As such, the Teardrop justly deserves its multi-million dollar price tag and is matched only by the legendary Alfa Romeo 8C 2900B.
The F-105 Thunderchief, which would become a legend in the history of the Vietnam War, started out very modestly as a proposal for a large, supersonic replacement for the RF-84F Thunderflash tactical reconnaissance fighter in 1951. Later this was expanded by Republic’s famous chief designer, Alexander Kartveli, to a nuclear-capable, high-speed, low-altitude penetration tactical fighter-bomber which could also replace the F-84 Thunderstreak. The USAF liked the idea, as the F-84 had shown itself to be at a disadvantage against Chinese and Soviet-flown MiG-15s over Korea, and ordered 200 of the new design before it was even finalized. This order was reduced to only 37 aircraft with the end of the Korean War, but nonetheless the first YF-105A Thunderchief flew in October 1955. Although it was equipped with an interim J57 engine and had drag problems, it still achieved supersonic speed. When the design was further refined as the YF-105B, with the J75 engine and area ruling, it went over Mach 2. This was in spite of the fact that the design had mushroomed in size from Kartveli’s initial idea to one of the largest and heaviest fighters ever to serve with the USAF: fully loaded, the F-105 was heavier than a B-17 bomber.
The USAF ordered 1800 F-105s, though this would be reduced to 830 examples. Almost immediately, the F-105 began to be plagued with problems. Some of the trouble could be traced to the normal teething problems of any new aircraft, but for awhile it seemed the Thunderchief was too hot to handle, with a catastrophically high accident rate. This led to the aircraft getting the nickname of “Thud,” supposedly for the sound it made when hitting the ground, along with other not-so-affectionate monikers such as “Ultra Hog” and “Squat Bomber.”
Despite its immense size and bad reputation, however, the F-105 was superb at high speeds, especially at low level, was difficult to stall, and its cockpit was commended for its ergonomic layout. Earlier “narrow-nose” F-105Bs were replaced by wider-nosed, radar-equipped F-105Ds, the mainline version of the Thunderchief, while two-seat F-105Fs were built as conversion trainers. Had it not been for the Vietnam War, however, the F-105 might have gone down in history as simply another 1950s era mildly successful design. Deployed to Vietnam at the beginning of the American involvement there in 1964, the Thunderchief was soon heading to North Vietnam to attack targets there in the opening rounds of Operation Rolling Thunder; this was in spite of the fact that the F-105 was designed primarily as a low-level (and, as its pilots insisted, one-way) tactical nuclear bomber. Instead, F-105s were heading north festooned with conventional bombs.
As Rolling Thunder gradually expanded to all of North Vietnam, now-camouflaged Thuds “going Downtown” became iconic, fighting their way through the densest concentration of antiaircraft fire in history, along with SAMs and MiG fighters. The F-105 now gained a reputation for something else: toughness, a Republic hallmark. Nor were they defenseless: unlike the USAF’s primary fighter, the F-4 Phantom II, the F-105 retained an internal 20mm gatling cannon, and MiG-17s which engaged F-105s was far from a foregone conclusion, as 27 MiGs were shot down by F-105s for the loss of about 20. If nothing else, Thud pilots no longer burdened with bombs could simply elect to head home at Mach 2 and two thousand feet, outdistancing any MiG defenders.
If the Thud had any weakness, it was its hydraulic system, which was found to be extremely vulnerable to damage. However, it was likely more due to poor tactics and the restrictive Rules of Engagement, which sent F-105s into battle on predictable routes (namely from the northeast, down the Red River Valley to Hanoi and over Tam Do Mountain—renamed by American pilots “Thud Ridge”), unable to return fire on SAM sites until missiles were launched at them, and their F-4 escorts hamstrung by being forced to wait until MiGs were on attack runs before engaging them that caused the resulting high losses: 382 F-105s were lost over Vietnam, nearly half of all Thuds ever produced and the highest loss rate of any USAF aircraft.
The combination of a high loss rate and the fact that the F-105 really was not designed to be used in the fashion it was over Vietnam led to the type’s gradual withdrawal after 1968 in favor of more F-4s and a USAF version of the Navy’s A-7 Corsair II. An improved all-weather bombing system, Thunderstick II, was given to a few of the F-105D survivors, but this was not used operationally. The Thud soldiered on another decade in Air National Guard and Reserve units until February 1984, when the type was finally retired in favor of the F-16, and its spiritual successor, the A-10 Thunderbolt II.
Though Dad built more F-4 models than any other aircraft type, he had a special place for the Thud, and built several. This was one of his first attempts: 61-0219 was a F-105D attached to the 388th Tactical Fighter Wing, based at Korat RTAFB, Thailand. As "The Blonde Bomb," 0219 was flown by Captain Thomas Norris during his tour with the 388th. Norris, who was awarded two Silver Stars in 47 missions over North Vietnam, was shot down and captured in August 1967. Luckily, he survived his ordeal and was released in 1973. Norris retired as a Colonel in 1987. Norris was not shot down in "The Blonde Bomb," but the aircraft didn't survive the Vietnam War: it was lost in a fatal landing accident at Da Nang in 1968.
Dad didn't know Norris that I know of, but had read about him and built this F-105 in tribute to a brave pilot. 61-0219 is painted in standard USAF Southeast Asia camouflage, which looks darker here because of the age of the photograph. At the time when Norris was flying missions over North Vietnam, tailcodes were just coming into use and many F-105s did not carry them, just their tail numbers. 0219's warload--six M117 750-pound bombs and two Mk 82 500-pound bombs, plus two external tanks--would not be flown "Downtown," over Hanoi, because of the need to carry radar jamming ECM pods.
This was one of Dad's earlier efforts, and he felt he could do better. He gave the model to me as a toy, and sadly it didn't survive the wear and tear of a 10-year old boy who wanted to be a fighter pilot.
I replaced the little rug that was under the coffee table with the Ikea Arden Ruta rug that I had bought for the entryway. I like it much better here, but now the entryway needs to be solved, again. I might just buy another Arden Ruta. What do you think about having two of the s
I replaced the little rug that was under the coffee table with the Ikea Arden Ruta rug that I had bought for the entryway. I like it much better here, but now the entryway needs to be solved, again. I might just buy another Arden Ruta. What do you think about having two of the same rug in a room?
Lakeside Arts Centre, Nottingham. Replacing the Highfields Park Pavilion in 2001 was the D H Lawrence Pavilion, designed by March:Grochowski Archiects, and completing the Lakeside Arts Complex at the University of Nottingham. This now comprises, across three locations, a theatre, recital hall, museum, several galleries, together with bars and cafes. The Djanogly Theatre has 213 seats, permanently fixed on the upper level and retractable on the lower level. It is designed (although rarely applied) to also operate as a ballroom / function room, with retractable side walls opening out to allow views across the lake. It has come to specialise in productions for children and families.
City of Nottingham, Nottinghamshire, East Midlands, England - Djanogly Theatre, Lakeside Arts Centre, University of Nottingham Campus
January 2025
To release the memory you will need to push the metal handles that are located on the sides of the memory away from the memory.
The memory chip will pop up.
Take it out. Insert the new memory at a 45 degree angle (just like the old memory was when it poped up) and push it down until you hear a click.
Updating the 2010 Langster headset bearings when they wore out on my 2010 Langster. I discovered from this site www.bikeradar.com/forums/viewtopic.php?f=40004&t=1261... that they are kind of unique to Specialized bikes and kind of crummy. I managed to replace the originals with a Cane Creek IS2 bearing, and thought some people might benefit from info and pics so here they are. The instructions on the link worked for me, with the caveat that knocking out the cups was not easy. I managed it with a hammer and a screwdriver but it took a while, tapping a few times around their circumferences to gradually work them out. The result - steering went from notchy as hell to buttery-smooth!
Workers replacing oiled pom-pons with clean ones along a beach in Louisiana. Credit: NOAA.
As the nation’s leading scientific resource for oil spills, NOAA has been on the scene of the BP spill from the start, providing coordinated scientific weather and biological response services to federal, state, and local organizations.
To learn more about NOAA's role in the Deepwater Horizon oil spill, visit:
Office of Response and Restoration Deepwater Horizon Incident page
(Original source: Deepwater Horizon Incident Image Gallery)
"Joe Erceg’s mural
For 14 years, the back of the Fleischner was notorious for a huge arrow pointing across the street at Import Plaza. In 1976, the Naitos replaced the ad with a mural of a butterfly. It was composed of large dots, so that the image of the butterfly was only visible after moving back from it. It was the result of brainstorming between Joe Erceg, a graphic designer whose office was in the Merchant Hotel. Bill considered the image of a trolley car or the Skidmore Fountain, but ultimately, the two decided on a pointillism style butterfly."
From: naitomemorial.pbworks.com/w/page/9697177/Art%20and%20Craf...
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"Joseph Erceg Graphic Design—roots in Old Town
In Old Town, the longest continuous tenant of the Bill Naito Company is Joseph Erceg and his son Matt. Located on the second floor of the Merchant Hotel Building since 1970, Joseph Erceg Graphic Design has been in business since 1955, making it the oldest design firm in Portland. The space has become a landmark in the building due to a vintage bumper car and gas pump that Joe Erceg purchased and installed in the lobby in the mid 80s. Hundreds of young grade school children on field trips have enjoyed a history lesson while getting to sit in the bumper car and learn how gasoline stations worked in days gone by.
A graduate of the University of Portland and the Museum Art School (now the Pacific Northwest College of Art), Joe has been a freelance designer in Portland for the past 56 years. He designed the butterfly wall which adorned the north wall of the Fleischner-Mayer Building for over 30 years, and the light pole banners in the Old Town Chinatown Historic District. His designs for an airline company included the painting scheme on the planes to the luggage carts. Joe has designed the limited edition books for the Murdock Charitable Trust of Vancouver that were filled with the art works and writings of northwest artists; the massive three volume history of the Collins Companies; and “Touching the Stones – Tracing One Hundred Years of Japanese American History”, a book which features the Japanese American Historical Plaza in Tom McCall Waterfront Park.
In addition to his design career, he and his son are avid collectors of vintage neon and other eclectic objects, some of which he keeps in his design studio. Stop by and say hello! Joe Erceg Graphic Design, 123 NW Second Avenue, Suite 201, Portland, Oregon 97209. 503.227.5915."
Text from the PDF document of Summer 2012 issue of The Old Town Chinatown Crier
("A Publication of the Old Town Chinatown Neighborhood Association")
located at www.phlush.org/wp-content/uploads/2012/05/SU2012FinalPrin...
Bulldogs were replaced with Huskies at Drake University's Knapp Center as it played host to Hoover High School's commencement. Hoover celebrated nearly 200 members of the Class of 2022 at their graduation ceremony on Sunday, May 29.
Dental implants offer the opportunity to permanently replace lost or missing teeth. Once installed, dental implants look and function just like your natural teeth. Many people only consider the aesthetic benefits of dental implants, but there are plenty of health benefits that come with this advanced dental procedure. If you’d like to learn more about full mouth dental implants, schedule a consultation today at Envision a Smile, online or over the phone.
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view replacing our living room windows - _mg_2374 on a black background.
our living-room windows being replaced. they told me that they used one 40-foot ladder and one 30-foot ladder to rig this plank they're working on. not like we're built on a steep hillside or anything!
we had our upstairs windows replaced this week, swapping out the original 1977 aluminum frame windows for some fancy argon-filled low-e double pane vinyl windows c/o local manufacturer milgard and local window company kemp's windows. we did the same thing for our downstairs floor last winter.
copyright © 2006 sean dreilinger
The kit and its assembly:
This fictional Bronco update/conversion was simply spawned by the idea: could it be possible to replace the original cockpit section with one from an AH-1 Cobra, for a kind of gunship version?
The basis is the Academy OV-10D kit, mated with the cockpit section from a Fujimi AH-1S TOW Cobra (Revell re-boxing, though), chosen because of its “boxy” cockpit section with flat glass panels – I think that it conveys the idea of an armored cockpit section best. Combining these parts was not easy, though, even though the plan sound simple. Initially, the Bronco’s twin booms, wings and stabilizer were built separately, because this made PSR on these sections easier than trying the same on a completed airframe. One of the initial challenges: the different engines. I wanted something uprated, and a different look, and I had a pair of (excellent!) 1:144 resin engines from the Russian company Kompakt Zip for a Tu-95 bomber at hand, which come together with movable(!) eight-blade contraprops that were an almost perfect size match for the original three-blade props. Biggest problem: the Tu-95 nacelles have a perfectly circular diameter, while the OV-10’s booms are square and rectangular. Combining these parts and shapes was already a messy PST affair, but it worked out quite well – even though the result rather reminds of some Chinese upgrade measure (anyone know the Tu-4 copies with turboprops? This here looks similar!). But while not pretty, I think that the beafier look works well and adds to the idea of a “revived” aircraft. And you can hardly beat the menacing look of contraprops on anything...
The exotic, so-called “tip sails” on the wings, mounted on short booms, are a detail borrowed from the Shijiazhuang Y-5B-100, an updated Chinese variant/copy of the Antonov An-2 biplane transporter. The booms are simple pieces of sprue from the Bronco kit, the winglets were cut from 0.5mm styrene sheet.
For the cockpit donor, the AH-1’s front section was roughly built, including the engine section (which is a separate module, so that the basic kit can be sold with different engine sections), and then the helicopter hull was cut and trimmed down to match the original Bronco pod and to fit under the wing. This became more complicated than expected, because a) the AH-1 cockpit and the nose are considerably shorter than the OV-10s, b) the AH-1 fuselage is markedly taller than the Bronco’s and c) the engine section, which would end up in the area of the wing, features major recesses, making the surface very uneven – calling for massive PSR to even this out. PSR was also necessary to hide the openings for the Fujimi AH-1’s stub wings. Other issues: the front landing gear (and its well) had to be added, as well as the OV-10 wing stubs. Furthermore, the new cockpit pod’s rear section needed an aerodynamical end/fairing, but I found a leftover Academy OV-10 section from a build/kitbashing many moons ago. Perfect match!
All these challenges could be tackled, even though the AH-1 cockpit looks surprisingly stout and massive on the Bronco’s airframe - the result looks stockier than expected, but it wodks well for the "Gunship" theme. Lots of PSR went into the new central fuselage section, though, even before it was mated with the OV-10 wing and the rest of the model
Once cockpit and wing were finally mated, the seams had to disappear under even more PSR and a spinal extension of the canopy had to be sculpted across the upper wing surface, which would meld with the pod’s tail in a more or less harmonious shape. Not an easy task, and the fairing was eventually sculpted with 2C putty, plus even more PSR… Looks quite homogenous, though.
After this massive body work, other hardware challenges appeared like small distractions. The landing gear was another major issue, because the deeper AH-1 section lowered the ground clearance, also because of the chin turret. To counter this I tried to raise the OV-10 landing gear by ~2mm – not much, but it was enough to create a credible stance, together with the front landing gear transplant under the cockpit. The front wheel retracts backwards now, but this looks quite plausible, thanks to the additional space under the cockpit tub, which also made an ammuntion belt supply for the gun believable.
To enhance the menacing look I gave the model a fixed refuleing boom, made from 1mm steel wire and a receptor adapter sculpted with white glue. The latter stuff was also used add some antenna fairings around the hull. Some antennae, chaff dipenesers and an IR decoy were taken from the Academy kit.
The ordnance came from various sources. The Sidewinders under the wing tips were taken from a Hasegawa USAF weapon set, representing the state-of-the-art of aerial defence. The quadruple Hellfire launchers on the underwing hardpoints were left over from an Italeri AH-1W, and they are a perfect load for this aircraft and its role. The LAU-4 and -19 missile pods on the stub wings were taken from the OV-10 kit.
Replacing a temporary vehicle in the fleet of 36-branded vehicles is BF62UXZ, one of 6 brand new Volvo B9TL Wright Eclipse Gemini 2's that were delivered to Transdev in December 2012 - though personally I think this registraton should have been applied to a Coastliner vehicle and BF62 UYL gone on this one, as it's out of sequence with the rest... though eventually 3613 here will be re-registered X13 VTD.
3613 is the only B9 in the Transdev Harrogate and District fleet, and cost £200,000. This can be told apart from the heavily-refurbished B7's because of the Wrights logo at the front (instead of a blank panel with the 36 logo painted on), a Volvo badge, and a straight upper deck grabrail in front of the windscreen, as opposed to a curved one. This extra vehicle has been required due to a frequency increase for the 36 to make up for each bus losing just over a dozen seats to improve passenger comfort.
The church San Sebastian de La Rochette replaced in the 1180s building a robust eleventh century. His plan is simple: a single nave, transept crossing a fake and a semicircular apse.
The facade has a central portal to three naked arches and two side arches each containing a small carved tympanum. North tympanum (left has a equestrian figure stomping a little character. Latter holds a scholarship. So it can be a representation of the victory of virtue over greed, vice. Unless not necessary to see here a figure of Constantine, the first Christian emperor, symbolizing the triumph of the church over paganism.
To the south, presented under the guise of a bearded man squatting edge at full speed vice symbolized by a character riding a fantastic animal.
Some interpretations have this man as Samson the lion.
Above the portal, consoles indicate the past presence of a built in 1632 to enlarge the church and now defunct porch. A series of ornate corbels and confined by two columns window occupy the upper part of the facade.
Capitals in replacement were placed high up the corners of the front and side walls. These are punctuated by massive buttresses. Animals, plants and various characters adorn the corbels supporting the ledge to the north and south.
The apse is supported by two flat and shows no ornamentation foothills. A bell tower overcomes the false transept crossing. Its floor is drilled in 1905 recovered five openings: two kinds of loopholes in the west and a rectangular bay on each other faces.
Coverage of the building, recently restored (1980), consists of limestone slate.
Inside, the nave is covered with a broken and divided into three bays by arches falling on half-columns with carved cradle. Three bays are drilled north and south. Those in the north had been walled up in the early sixteenth century.
The full cradle vaulted arch above the apse false square topped by a cul-de-four and lit by an opening window in the south.
We also find this side of a swimming pool and two niches of cabinets.
The interior of San Sebastian offers fine examples of Romanesque sculpture. In addition to the palms and animal heads, we see, at the entrance of false square, a lion, one of the hind legs is devoured by a head. Its tail ends itself in the form of head. Cinch corner and scrolls adorn the capitals framing the entrance to the sanctuary.
The capitals of the nave have, among other characters grappling with ducks, lions devouring the arms of a man or an unfortunate armed with a spear and defending against a monster that already eats up a knee.
As the eardrums of the facade, most of these storied capitals involved a pervasive iconography in the decor of our medieval churches intended to illustrate the ongoing struggle between good and evil.
Antwerpen - Bahnhof Antwerpen-Centraal
Antwerpen-Centraal railway station (Dutch: Station Antwerpen-Centraal; French: Gare d'Anvers-Central)[a] is the main railway station in Antwerp, Belgium. It is one of the most important hubs in the country and is one of the four Belgian stations on the high-speed rail network. From 1873 to early 2007, it was a terminal station. The current building, designed by the architect Louis Delacenserie, was constructed between 1895 and 1905. On 23 March 2007, a tunnel with two continuous tracks was opened under part of the city and under the station. The train services are operated by the National Railway Company of Belgium (NMBS/SNCB).
History
Early history
Antwerp's first station was the terminus of the Brussels–Mechelen–Antwerp railway line, which opened on 3 June 1836. The original station building was made of wood and was replaced by a new and larger building on the occasion of the opening of the new international connection to the Netherlands in 1854–55.
The current terminal station building was constructed between 1895 and 1905 as a replacement for the first station. The stone-clad building was designed by the architect Louis Delacenserie. The viaduct into the station is also a notable structure designed by local architect Jan Van Asperen. A plaque on the north wall bears the name Middenstatie ("Middle Station"), an expression now antiquated in Dutch. To the north of the station a large public square, known as the Statieplein ("Station Square"), was created, acting as an entry to the city for its many commuters. In 1935, the square's name was changed to the Koningin Astridplein, in honour of the recently deceased Queen Astrid.
World War II damage and restoration
During World War II, severe damage was inflicted to the train hall by the impact of V-2 rockets, though the structural stability of the building remained intact, according to the National Railway Company of Belgium. Nevertheless, it has been claimed that the warping of the substructure due to a V-2 impact had caused constructional stresses. The impact remains visible due to a lasting wave-distortion in the roofing of the hall.
In the mid-20th century, the building's condition had deteriorated to the point that its demolition was being considered. The station was closed on 31 January 1986 for safety reasons, after which restoration work to the roof (starting at the end of March 1986 and finishing in September 1986) and façades was performed. The stress problems due to the impact of bombs during the war were reportedly solved by the use of polycarbonate sheets instead of glass, due to its elasticity and its relatively low weight (40% less than glass), which avoided the need for extra supporting pillars. After replacing or repairing steel elements, they were painted burgundy. Copper was also used in the renovation process of the roof.
Expansion for high-speed trains
In 1998, large-scale reconstruction work began to convert the station from a terminus to a through station. A tunnel was excavated between Antwerpen-Berchem railway station in the south of the city and Antwerpen-Dam railway station in the north, passing under the Central Station, with platforms on two underground levels. This allows Thalys, HSL 4 and HSL-Zuid high-speed trains to travel through Antwerpen-Centraal without the need to turn around (the previous layout obliged Amsterdam–Brussels trains to call only at Antwerpen-Berchem or reverse at Central).
The major elements of the construction project were completed in 2007, and the first through trains ran on 25 March 2007. The station was awarded a Grand Prix at the European Union Prize for Cultural Heritage / Europa Nostra Awards in 2011. These works, including the connecting tunnels, cost €765 million
Architecture
The station is widely regarded as the finest example of railway architecture in Belgium, although the extraordinary eclecticism of the influences on Delacenserie's design had led to a difficulty in assigning it to a particular architectural style. In W. G. Sebald's novel Austerlitz an ability to appreciate the full range of the styles that might have influenced Delacenserie is used to illustrate the brilliance of the fictional architectural historian who is the novel's protagonist. Owing to the vast dome above the waiting room hall, the building became colloquially known as the spoorwegkathedraal ("railroad cathedral").
The originally iron and glass train hall (185 metres long and 44 metres or 43 metres high) was designed by Clément Van Bogaert,[9] an engineer, and covers an area of 12,000 square metres. The height of the station was necessary for dissipating the smoke of steam locomotives. The roof of the train hall was originally made of steel.
In 2009, the American magazine Newsweek judged Antwerpen-Centraal the world's fourth greatest train station. In 2014, the British-American magazine Mashable awarded Antwerpen-Centraal the first place for the most beautiful railway station in the world.
Station layout
The station has four levels and 14 tracks arranged as follows:
Level +1: The original station, six terminating tracks, arranged as two groups of three and separated by a central opening allowing views of the lower levels
Level 0: Houses ticketing facilities and commercial space
Level −1: 7 m below street level, four terminating tracks, arranged in two pairs separated by the central opening.
Level −2: 18 m below street level, four through tracks, leading to the two tracks of the tunnel under the city (used by high-speed trains and domestic services towards the north).
In popular culture
A staged "flash mob"-like event at the station in early 2009, featuring the song "Do-Re-Mi" from the Rodgers and Hammerstein musical The Sound of Music, became a viral video. It was performed by 200 dancers of various ages, along with several dozen waiting passengers who just jumped in and joined the dance themselves. The video was produced to publicize Op zoek naar Maria, the Belgian TV version of the BBC talent competition programme How Do You Solve a Problem Like Maria?, about the search for an actress to play the lead role in a stage revival of The Sound of Music.
The station is used in Agatha Christie's Poirot episode "The Chocolate Box" to represent a station in Brussels.
The beginning of Austerlitz, the final novel of the German writer W. G. Sebald is set in the station.
(Wikipedia)
Der Bahnhof Antwerpen-Centraal (niederländisch Antwerpen-Centraal, französisch Anvers-Central) ist ein Bahnhof der NMBS/SNCB in Antwerpen (Belgien). Der ehemalige Kopfbahnhof wird täglich von etwa 540 Zügen befahren. Die Verbindungen gehen u. a. bis nach Rotterdam (– Amsterdam), Gent (– Kortrijk), Brügge (– Ostende), Brüssel, Lüttich, Neerpelt und Puurs. Der Bahnhof liegt am Koningin Astridplein östlich der Antwerpener Altstadt, unmittelbar neben dem Zoo.
Geschichte
Der erste Bahnhof Borgerhout war die Endstation der am 3. Juni 1836 eröffneten Bahnlinie Mechelen–Antwerpen. 1843 wurde die Strecke zum Bahnhof Antwerpen-Dokken en Stapelplaatsen am Hafen verlängert, wo auch die Bahnstrecke Richtung Deutschland (Eiserner Rhein) begann. 1854 ersetzte ein neues Gebäude das hölzerne Empfangsgebäude, und der Bahnhof Borgerhout erhielt die Bezeichnung Antwerpen-Oost.
1873 wurde der Bahnhof wieder zum Kopfbahnhof zurückgebaut, weil der zunehmende Verkehr in Richtung Niederlande nicht länger ebenerdig durch die belebte Stadt geführt werden konnte. Im Osten wurde eine Umfahrung auf einem Damm gebaut.
Große Eingangshalle
Die heutige Anlage aus den Jahren 1899 und 1905 erhielt eine 186 m lange und 66 m breite Bahnhofshalle aus Stahl nach einem Entwurf des Ingenieurs Clement Van Bogaert. Die Höhe von 43 m berücksichtigte die Abgase der Dampflokomotiven. Das steinerne Empfangsgebäude in eklektizistischem Stil stammt von Louis de la Censerie. Er ließ sich vom Bahnhof Luzern und dem Pantheon in Rom inspirieren. Wegen der dominierenden Kuppel (75 m hoch) wird das Gebäude im Volksmund Spoorwegkathedraal (= Eisenbahnkathedrale) genannt. Eröffnet wurde der Bahnhof am 11. August 1905 unter dem Namen Antwerpen-Centraal. Den freiwerdenden Namen Antwerpen-Oost erhielt nun ein Haltepunkt an der Ostumfahrung.
Mitte des 20. Jahrhunderts war der Bahnhof baulich in einem sehr schlechten Zustand. Der kalkhaltige Vinalmontstein, aus dem die Kuppel errichtet ist, begann sich zu zersetzen. 1953 lösten sich erste Steine, 1957 wurde sogar ein Fahrgast von einem herabfallenden Stein getroffen. Der Abriss des Gebäudes wurde in den 1960er Jahren erwogen, es erhielt aber Denkmalschutz und wurde ab 1993 grundlegend renoviert.
Nord-Süd-Verbindung
Der historische Kopfbahnhof mit zehn Gleisen stieß um die Jahrtausendwende an seine Kapazitätsgrenzen. Es gab zu wenige Gleise und die Bahnsteige waren zu kurz. Auch das Kopfmachen der Züge senkte die Kapazität.
Nachdem das Zugangebot mit der Verkehrsnachfrage aufgrund der Kapazitätsprobleme nicht hatte Schritt halten können, wurden Pläne für einen Umbau des Bahnhofs entwickelt. Der Bahnhof wurde bei dem Umbau umfassend umgestaltet, der Bahnbetrieb wird nun auf drei Ebenen abgewickelt: Von den zehn Kopfgleisen im Obergeschoss (Ebene +1) blieben je drei an beiden Seiten erhalten. Neu sind zwei Untergeschosse; das erste Untergeschoss (Ebene −1) erhält vier Kopfgleise, das zweite Untergeschoss (Ebene −2) vier Durchfahrtsgleise. Ab Mai 1998 wurde an der Nord-Süd-Verbindung gearbeitet, die die Stadt und den Bahnhof unterquert. Der zweiröhrige Tunnel ist mit 90 km/h befahrbar und erspart internationalen Zügen von Brüssel nach Amsterdam, auch den Hochgeschwindigkeitszügen auf den Schnellfahrstrecken HSL 4 und HSL-Zuid (Schnellfahrstrecke Schiphol–Antwerpen), ein Kopfmachen in Antwerpen-Centraal. Der unterirdische Bahnhofsteil wurde am 23. März 2007 eröffnet. Die vier Ebenen des Bahnhofs werden mit 40 Aufzügen und 48 Rolltreppen verbunden. Das imposante Empfangsgebäude blieb in Form und Funktion unverändert erhalten.
Sonstiges
Der Bahnhof ist eine beliebte Kulisse für eine Vielzahl von Spielfilmen geworden. Ein bekanntes Beispiel ist die Anfangsszene von De zaak Alzheimer mit der Ankunft des Serienmörders Ledda aus Frankreich.
2009 entstand bei einem inszenierten Flashmob ein Musikvideo mit dem Lied „Do-Re-Mi“ aus dem Rodgers- und Hammerstein-Musical The Sound of Music, das schnell zu einem sogenannten „viralen“ Video im Internet wurde. Teile des Videos tauchen auch im Flashmob-Video E.L.O. (Electric Light Orchestra) All Over The World auf.
Als König Leopold II. 1905 bei der Eröffnung den Bahnhof das erste Mal sah, fiel ihm dessen offensichtliche Größe auf. Seine Reaktion darauf war: C’est une petite belle gare („Das ist ein netter, kleiner Bahnhof“).
Nach einer Untersuchung von Newsweek ist es der viertschönste Bahnhof der Welt.
(Wikipedia)
If you plan on shooting lots of different film formats you've got to include the evil one.
Disc film has a bad reputation, but I have to say I like the camera. Kind of a ahead of it's time: Compact and slim, non user replaceable battery (ala iPods...), easy to load film. The styling is pretty cool, reminds me of a low price modern digital.
Ok the negative size is tiny compared to 35mm, but still it seems amazing that disc holds anything.
Dec 2009: New rear nearside wheelarch fitted and painted. The original one, with rusty hole can be seen here: www.flickr.com/photos/piersmason/3966142711/in/set-721576...
Replacing an earlier digital photo with a better version 05-Dec-19.
Taken late evening after sunset.
First flown with the Airbus test registration F-WWCY, this aircraft was delivered to ILFC International Lease Finance Corporation and leased to South African Airways as ZS-SNE in Nov-03. Current, updated (Dec-19).
Built in 1903-1905, this Prairie-style mansion was designed by Frank Lloyd Wright for Larkin Company executive Darwin D. Martin, whom built the house as a way to bring his family, which had been scattered in various parts of the United States when his mother had died early in his childhood. The house was the culmination of immense personal wealth and professional success that Martin had enjoyed in his life despite his difficult childhood, starting as a soap seller in New York City, being hired by the Larkin Company in 1878, before moving to Buffalo and becoming the single office assistant to John D. Larkin in 1880, and in 1890, replaced Elbert Hubbard, who was a person that Martin immensely admired, as the Corporate Secretary of the Larkin Company. When the Larkin Company was seeking a designer for a major new office building for the company at the turn of the 20th Century, Martin, whom had witnessed Wright’s work in Chicago and Oak Park, wished to hire the architect as the designer of the new building, but needed to convince the skeptical John D. Larkin and other executives at the company of Wright’s suitability for the project. As a result, Martin decided to have Wright design his family estate. Darwin D. Martin became such a close friend of Wright that he commissioned the family’s summer house, Graycliff, located south of Buffalo on the shores of Lake Erie, to be designed by Wright in 1926, and spearheaded the effort to assist Wright with his finances when his personal residence, Taliesin, was threatened with foreclosure in 1927.
The main house is made up of four structures, those being the house itself, which sits at the prominent southeast corner of the property closest to the intersection of Summit Avenue and Jewett Parkway of any structure on the site, the pergola, which is a long, linear covered porch structure that runs northwards from the center of the house, the conservatory, which sits at the north end of the pergola and features a statue of the Winged Victory of Samothrace, which is visible from the front entrance to the house down the long visual axis created by the pergola, and the carriage house, which sits immediately west of the conservatory and behind the west wing of the house, enclosing the rear of the house’s main garden.
On the grounds of the mansion are two other houses, those being the Barton House, built at the northeast corner of the property along Summit Avenue to house Darwin D. Martin’s sister, Delta Martin Barton, and her husband, George F. Barton, which was the first structure to be built on the property and very visually similar to the main house, using the same type of bricks and incorporating many smaller versions of features found on the main house, and the Gardener’s cottage, built in 1909 to house gardeners who maintained the grounds of the property, which is the smallest and plainest of the three houses, which is sandwiched into a narrow strip of the property between two other houses, fronting Woodward Avenue to the west.
The main house features a buff roman brick exterior with raked horizontal mortar joints and filled in vertical joints, giving the masonry the appearance of being made of a series of solid horizontal bands with recessed joints, accentuating the horizontal emphasis of the house’s design and creating texture with shadows. The roof is hipped with wide overhanging eaves, with the gutters draining into downspouts that drop water into drain basins atop various one-story pillars at the corners of the house, with the roof having a T-shaped footprint above the second floor and three separate sections above the first floor, which wrap around the second floor to the south, west, and north, with the roof soaring above a porte-cochere to the west of the house, as well as a separate roof suspended above a porch to the east. The house’s roof is supported by pillars that sit near, but not at the corners of the building, with windows wrapping the corners. The windows are framed by stone sills and wooden trim, with some windows featuring stone lintels. The front door is obscured inside a recessed porch on the front facade, with the tile walkway to the door turning 90 degrees upon its approach to the doorway, a quite common feature of many of Wright’s houses at the time. The house is surrounded by a series of low brick walls with stone bases and stone caps, with sculptural decorative stone planters atop the pillars at the ends of many of these walls, with some of the planters containing carefully chosen decorative vegetation, and others serving as semi-hidden drainage basins for the adjacent one-story roofs.
Inside, the house features a foyer with a head-on view of the pergola and the conservatory to the north, simple but finely crafted wooden trim elements, the beautiful Wisteria Mosaic Fireplace between the foyer and dining room on the first floor that reflects light in different ways via various types of tile with different types of glazing, rough plaster painted a variety of colors, careful use of shadow to highlight certain elements while obscuring others, art glass windows featuring stained glass and clear glass panes in decorative patterns, wooden built ins and Frank Lloyd Wright-designed furnishings, a large kitchen with lots of white surfaces and wooden cabinets overlooking the garden, a living room with a vaulted ceiling and brick fireplace featuring an arched hearth opening, extensive use of expansion and compression via ceiling height to drive movement through the space, ventilation ducts that can be operated via decorative casement windows at the pillars ringing the various spaces of the house, wooden screens to obscure the staircase and second floor, custom light fixtures, art glass ceiling panels, and five large doors with art glass lights to the eastern porch on the first floor. The second floor of the house has multiple bedrooms with a variety of Frank Lloyd Wright built-in and freestanding furniture, wooden trim, and multiple bathrooms. The house is further decorated with Japanese art pieces procured by Wright in Japan, as well as being heavily inspired by traditional Japanese architecture, with usage of shadow and light to obscure and highlight different features, as well as the general form of the house, with the wide eaves providing ample shade to the interior during the summer months, while still allowing light to easily enter the space during the darker winter months.
To the north of the main house is an approximately 90-foot-long pergola with evenly spaced brick pillars framing the tile walkway, decorative wooden trim on the ceiling at each column, light fixtures at each column, and a glass transom and a door with large glass lights and a narrow frame providing a nearly unobstructed view of the interior of the conservatory at the north end of the pergola, focusing the attention of visitors upon their entrance to the house, as the conservatory and pergola form a continual visual axis from the foyer to the statue of the Winged Victory of Samothrace that stands in the northern end of the conservatory. This entire section of the house was rebuilt during its restoration, having been demolished in the 1960s after falling into disrepair. The pergola features a gabled roof that terminates at the bonnet roof around the perimeter of the conservatory to the north and at the first floor hipped roof of the house to the south.
The conservatory sits at the north end of the pergola, and has a latin cross footprint, with a glass skylight roof with a gabled section running north-south and a pyramidal hipped section at the crossing. The skylight terminates at a parapet that surrounds it on all sides, which features distinctive and decorative “birdhouses” at the north and south ends, apparently intended to house Blue Martins, but were not designed appropriately for the specific needs of the species, and have thus never been occupied. Two of the birdhouses survived the decay and demolition of the original conservatory in the 1960s, and were prominently displayed atop a wall in front of the house until the restoration of the complex in 2007. The interior of the conservatory features only a few concrete planters flanking the walkways and below the large Winged Victory of Samothrace that sits in the northern alcove of the space, with this apparently not having been what the Martin family had in mind, leading to the erection of a prefabricated conventional greenhouse made of metal and glass to the west of the Carriage House shortly after the house’s completion. The conservatory utilizes the same small tile on the floor as other areas of the house, with suspended wooden trim frames breaking up the large void of the space into smaller sections, supporting the space’s light fixtures and carefully framing the planters, fountain, and sculpture.
To the west of the conservatory is the two-story Carriage House, which features a simple pyramidal hipped roof with wide overhanging eaves, recessed corner pillars with central sections featuring wrap-around bands of windows on the second floor, a large carriage door in the center of the south facade, flanked by two smaller pillars and two small windows, and a one-story rear wing with a hipped roof. The interior presently houses a gift shop, but is set up like the original structure, demolished in the 1960s, would have been, with horse stables, red brick walls, a utility sink, and a simple staircase to the upper floor.
The house complex was home to the Martin family until 1937, when, owing to financial difficulties brought on by the loss of the family fortune during the 1929 Black Friday stock market crash and Darwin D. Martin’s death in 1935, the house had become too difficult for the family to maintain, with the family abandoning the house, allowing it to deteriorate. Additionally, Isabelle Reidpath Martin, Darwin’s widow, did not like the house’s interior shadows, which made it difficult for her to see. D.R. Martin, Darwin’s son, tried to donate the house to the City of Buffalo and the State University of New York system for use as a library, but neither entity accepted the offer, and the house remained empty until 1946, when it was taken by the city due to back taxes. In 1951, the house was purchased by the Roman Catholic Diocese of Buffalo, which intended to convert the house into a summer retreat for priests, similar to the contemporaneous sale of Graycliff by the Martin family to the Piarists, a Catholic order. However, the property languished until 1955, when it was sold to architect Sebastian Tauriello, whom worked hard to save the architecturally significant and by-then endangered property, hoping the house would avoid the fate that had befallen the Larkin Administration Building five years prior. The house was subdivided into three apartments, with the carriage house, pergola, and conservatory demolished and the rear yard sold, and two uninspired apartment buildings with slapped-on Colonial Revival-style trim known as Jewett Gardens Apartments, were built to the rear of the house. In 1967, the University at Buffalo purchased the house, utilizing it as the university president’s residence, with the Barton House and Gardener’s Cottage being parceled off, both converted to function as independent single-family houses. The university attempted to repair the damage from years of neglect and did some work to keep the house functioning, modernizing portions of the interior and returning several pieces of original furniture to the house. The house would exist in this condition for the next half-century.
In 1975, the house was listed on the National Register of Historic Places, and in 1986, was listed as a National Historic Landmark. In 1992, the nonprofit Martin House Restoration Corporation was founded with the goal of eventually restoring the historically and architecturally significant complex, and opening it as a museum. In 1994, the organization purchased the Barton House, and had the Martin House donated by the University of Buffalo in 2002. The restoration of both houses began under the direction of Hamilton Houston Lownie Architects shortly thereafter, and the Jewett Gardens Apartments were demolished upon the acquisition of the site by the nonprofit around the turn of the millennium. In 2006, the Gardener’s cottage was purchased from private ownership, and work began to rebuild the lost Pergola, Conservatory, and Carriage House, which were completed in 2007. Additional work to restore the house continued over the next decade, restoring the various interior spaces, with extensive work being put in to restore the kitchen and bedrooms. Finally, in 2017, the last part of the house was restored, being the beautiful Wisteria Mosaic Fireplace between the dining room and foyer, which had been extensively altered. An addition to the grounds, located on the former rear yard of an adjacent house, is the contemporary, sleek glass and steel-clad Eleanor & Wilson Greatbatch Pavilion Visitor Center, designed by Toshiko Mori, with a cantilevered roof that appears to float and tapers to thin edges, with glass walls on three sides, which houses the visitor information desk, ticket sales, presentation space, a timeline of the Martin House’s history, and restrooms. The restoration of the house marks one of the first full reconstructions of a demolished Frank Lloyd Wright structure, and is one of several significant works by the architect in Buffalo, including three designs that were built posthumously in the early 21st Century - the Fontana Boat House in Front Park, the Tydol Filling Station at the Buffalo Transportation Pierce Arrow Museum, and the Blue Sky Mausoleum at Forest Lawn Cemetery, which was designed for the Martin family in 1928, but not built until 2004.
Today, the restored Darwin D. Martin House complex serves as a museum, allowing visitors to experience one of the largest Prairie-style complexes designed by Frank Lloyd Wright, faithfully restored to its circa 1907 appearance, giving visitors a sense of the genius and design philosophy of Wright.
The soon-to-be replaced Johnson Street Bridge. Summer 2010. Victoria, BC, Canada.
"Construction of the new bridge will begin in May 2013. The existing 89-year-old Johnson Street Bridge is expected to stay open throughout construction as crews build the new bridge slightly to the north. The new bridge will open to traffic by the end of 2015."
Nikon F4s;
Nikkor 17-35mm f2.8 (I think)
Fuji Sensia 100
ODC - replace. His smile was replaced by a look of sadness when he realized that baseball was cancelled because of the thunderstorm.
iss070e023971 (Nov. 13, 2023) --- NASA astronaut and Expedition 70 Flight Engineer Loral O'Hara uses a portable glovebag to replace components on a biological printer, the BioFabrication Facility (BFF), that is testing the printing of organ-like tissues in microgravity.
Lost 1930 Pratt pony truss bridge on Hungry Creek Rd (NC 1890) over the East Fork of the Pigeon River in Haywood County, North Carolina. Replaced by new bridge in 2011.
To replace the crude mid section I settled on a simple flex joint. The system from the engine has no flex in it at all and all the movement of the engine places strain on the turbo exhaust flange so I was keen to add a flex so why not here. This will allow movement in the down pipe without causing stress. Plus saves me a tonne of work.
Left front corner. You can see where the plastic sheet stuff is dropping down, and sunlight on the other side. Again, no sealant or anything to keep water from getting on top of this plastic from the outer edge.
Lìjiāng (simplified Chinese: 丽江; traditional Chinese: 麗江) is a prefecture-level city in the northwest of Yunnan province, People's Republic of China. It has an area of 21,219 square kilometres and had a population of 1,244,769 at the 2010 census.
HISTORY
Lijiang City replaced the former administrative region of Lijiang Prefecture. It was under the rule of the Mu family (木氏) local commanders (土司) during the Ming Dynasty and Qing Dynasty.
The Baisha Old Town was the political, commercial and cultural center for the local Naxi people and other ethnic groups for 400 years from the year 658 AD to 1107 AD. The Dabaoji Palace of the Baisha Fresco, very close to the Baisha Naxi Hand-made Embroidery Institute, was built in the year 658 AD in the Tang Dynasty (618 AD to 960 AD).
In ancient times, the Baisha Old Town used to be the center of silk embroidery in the southwest of China and the most important place of the Ancient Southern Silk Road, also called the Ancient Tea and Horse Road or Ancient tea route. The Ancient Southern Silk Road started from Burma, crossed Lijiang, Shangri-La County, Tibet, journeyed through Iran, the Fertile Crescent, and ultimately to the Mediterranean Sea.
Naxi women were well known for their hand-made embroidery before 1972 during the Great Cultural Revolution. The most famous Naxi masters were arrested and put in jail, some of them died in jail during the Cultural Revolution because they did hand-made embroidery only for the Naxi Emperors when they were young.
GEOGRAPHY
Lijiang is located in the northwestern portion of Yunnan and borders Sichuan. It is in a region where the Qinghai-Tibet Plateau and Yunnan-Guizhou Plateau converge.
Owing to its low latitude and high elevation, the city centre of Lijiang experiences a mild subtropical highland climate (Köppen Cwb). Winters are mild and very dry and sunny (>70% possible sunshine), although average lows in December and January are just below the freezing mark; January, the coolest month, has a 24-hour average temperature of 6.0 °C. Spring begins early and remains dry and sunny until late May, when there is a dramatic uptick in frequency and amount of rainfall that lasts until late September. Summers are warm, rainy (more so than it is sunny) and damp, with June, the warmest month, averaging 18.4 °C. Autumn sees an abrupt reduction in rainfall and return to sunniness. The annual mean temperature is 12.70 °C, while precipitation averages 968 mm, around 80% of which occurs from June to September. With monthly percent possible sunshine ranging from 32% in July to 80% in December, the city receives 2,463 hours of bright sunshine annually.
OLD TOWN
The world famous Old Town of Lijiang is located in Lijiang City. It is a UNESCO Heritage Site.
The town has a history going back more than 800 years and was once a confluence for trade along the old tea horse road. The Lijiang old town is famous for its orderly system of waterways and bridges. The old town of Lijiang differs from other ancient Chinese cities in architecture, history and the culture of its traditional residents the Nakhi people, therefore people there are called 胖金哥 and 胖金妹 (pàng jīn gē, pàng jīn mèi, male and female respectively). The town was ruled by the Mu Family during the portions of the Ming and Qing Dynasties, a period of nearly 500 years.
Overlooking Lijiang Old Town is Lion Hill and at its summit is the Wangu Pavilion, which is a wooden building that stands 33 m tall and boasts 10,000 dragon carvings. The pavilion is constructed on 16 columns each of 22 m in height. The pavilion is a masterpiece of Qing Dynasty architecture that has been extensively restored following the designation of Lijiang Old Town as a UNESCO Heritage Site.
From Lion's Hill it is possible to view the entire Li River valley, including both the old city and new city of Lijiang. Looking Northwest, the Jade Dragon Snow Mountain is dominates the horizon.
The Old Town is a maze of winding cobblestone streets. It is extremely easy to get lost as there is no grid, but each turn takes one to some new interesting spot, and it's not hard to eventually find one's way out of the maze and back to familiar territory. The layout of the town was established to conform to the flow of 3 streams in adherence to Feng Shui design, so there was water and waste disposal for the inhabitants. The Old Town has fast become a destination for young Chinese artists, students, and adventurers. Most recently, it has become a favored Spring Break destination for students. "Bar Street" is a line of clubs with live music, dancing, and revelry. The Old Town has a multitude of shops, some a bit tourist oriented, but several showcasing handcrafts, individual artists, and local manufacturers of interesting personal products.
There are dozens of restaurants, from snacks to high end dining, all very reasonably priced, cheap by Western standards.
Accommodations are varied, but the most interesting are the large number of boutique hotels run by individuals and families. These boutique hotels are in old traditional houses converted to rooms, courtyards, and gathering places, and designs all trend to traditional Chinese sensibilities. There are new high end hotel and condominium developments starting construction from 2011 forward, so there is a definite push to make the destination one for all tastes and not just young adventurers.
NEARBY
Some tens of miles north of Lijiang is the Baishui Terrace (白水台 Baishuitai, literally "White Water Terrace"), an area where spring water flows over a sinter terrace, leaving behind travertine. Lijiang is also close to the Jade Dragon Snow Mountain (玉龙雪山).
A few miles north of Lijiang is the village of Baisha, famous for the Baisha Fresco and the Naxi Hand-made Embroidery Institute.The Fresco was built in the Ming Dynasty 600 years ago, the Naxi Hand-made Embroidery Institute was built 800 years ago, it is the headquarters of the Naxi embroideries and also, a school for the Naxi embroiderers. There are many Naxi embroidery masters, teachers, students and local farmers there. Their embroidery arts can be found there.
WIKIPEDIA
Panther is the common name of a medium tank deployed by Nazi Germany in World War II from mid-1943 to the end of the European war in 1945. It was intended as a counter to the Russian T-34, and as a replacement for the Panzer III and Panzer IV. While never replacing the latter, it served alongside it and the heavier Tiger tanks until the end of the war. The Panther's excellent combination of firepower, mobility, and protection served as a benchmark for other nations' late war and post-war tank designs, and it is regarded as one of the best tanks of World War II.
Until 1944, it was designated as the Panzerkampfwagen V Panther and had the ordnance inventory designation of Sd.Kfz. 171. On 27 February 1944, Hitler ordered that the Roman numeral V be deleted from the designation.
The Panther tank was a compromise of various requirements. While having essentially the same engine as the Tiger I tank, it had better frontal armor (including the benefit of a sloped armor, increasing effective armor depth), better gun penetration, was lighter and thus faster, and could traverse rough terrain better than the Tigers. The tradeoff was weaker side armor. The Panther proved to be deadly in open country and long range engagements, but vulnerable in close-quarters combat. Also, the 75 mm gun fired a slightly smaller shell than the Tiger's 88 mm gun, providing less high explosive firepower against infantry.
The Panther was also far cheaper to produce than the Tiger tanks, and only slightly more expensive than the Panzer IV, as its design came to fruition when the Reich Ministry of Armament and War Production was making great efforts to increase war production. Key elements of the Panther design, such as its armor, transmission, and final drive, were compromises made specifically to improve production rates and address Germany's war shortages, whereas other elements such as its highly compact engine and its complex suspension system remained with their elegant but complicated engineering. The result was that Panther tank production was far higher than what was possible for the Tiger tanks, but not much higher than what had been accomplished with the Panzer IV. At the same time, the simplified final drive became the single major cause of breakdowns of the Panther tank, and was a problem that was never corrected.
The Panther tank arrived in 1943 at a crucial phase in World War II for Germany. Rushed into combat at the Battle of Kursk with un-corrected teething problems, which resulted in breakdowns and other equipment failures, the Panther tank would thereafter only be fighting outnumbered in Germany's steady retreat against the Allies for the remainder of World War II. Its success as a battlefield weapon was thus hampered by Germany's generally declining position in the war, with the loss of airpower protection by the Luftwaffe, the loss of fuel and training space, and the declining quality of tank crews. Nevertheless, the Panther tank commanded respect from the Allies, and its combat capabilities led directly to the introduction of heavier Allied tanks such as the Soviet IS-2 and the American M26 Pershing into the war.
(Text Wikipedia)