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Plimoth Plantation in Plymouth, MA is a living history museum that replicates the first settlement by the Mayflower pilgrims
Crazy Tuesday
Spoon Reflections
Colored pencils reflection
in a highly polished stainless steel
serving spoon
I couldn't resist to take a selfie at (or rather under) the Cloud Gate, a sculpture by Anish Kapoor installed in the Millennium park in Chicago, IL, U.S.A. It is definitely one of the most intriguing modern sculptures I've seen installed in public spaces.
Bavarian Inn’s Holz-Brücke, German for “wooden bridge,” hearkens back to a bygone era. Although the bridge was completed in 1980, its aesthetic has more in common with designs from the 19th century. However, it’s not just the architecture that speaks to the past, it’s also the hard work and craftsmanship that went into replicating how covered bridges were originally built. The “Covered Bridge” as it’s called locally, stretches 239 feet across the scenic Cass River. 163,288 board feet of wood and nearly 1,000 pounds of non-wood material went into the making of the almost entirely wood structure, built mostly of Douglas Fir and clad with an astounding 25,000 cedar shingles. In January 1980, a team of oxen was used to pull the completed bridge into place over a span of 12 days at a rate of only three inches per minute. (Chamber of Commerce)
there they are, all my braincells replicated in a silo. happy new year everyone!! i love how time rolls like a wave around this big ball we all live on, striking the midnight hour according to pleats folded on the planet. ok, so i love this!....went out to dinner tonight and discovered a 13 yr old had accidentally walked off with my coat. got it when they drove back but i had done the same thing at the exact hour on christmas eve last week. so coat theft is the new must-have biorythm. love you all, thanks for a year of gobsmack amazing images. you make me happy.
This view replicates what is probably the most iconic photograph taken in the Cradle Mountain National Park. Everyone who has heard of Cradle Mountain has seen a photo of the famous boatshed alongside Dove Lake with the mountain behind. And almost everyone who visits here has taken a photograph from this spot.
But this is the last photograph I will show that can be considered a normal tourist shot. Ideally, this photograph would have been taken in a glorious golden sunset with glass-smooth water (thanks to a long exposure). But as you saw in my photograph yesterday the weather had other ideas, and any use of a tripod was ruled out by the strong winds. And of course the snow storm replaced the sunset. Never mind. You can find plenty of those scenes on the internet anyway.
On our only full day in Singapore we visited Gardens By The Bay for the second time. It really is a remarkable place and perhaps this dome is the piece de resistance; an artificial mountain created inside a glass dome that resembles the conditions you would find in a cloud forest.
The Cloud Forest is higher but slightly smaller of the two domes at 0.8 hectares (2.0 acres). It replicates the cool moist conditions found in tropical mountain regions between 1,000 metres (3,300 ft) and 3,000 metres (9,800 ft) above sea level, found in South-East Asia, Central- and South America. It features a 42-metre (138 ft) "Cloud Mountain", accessible by an elevator, and visitors are able to descend the mountain via a circular path where a 35-metre (115 ft) waterfall provides visitors with refreshing cool air.
The "Cloud Mountain" itself is an intricate structure completely clad in epiphytes such as orchids, ferns, peacock ferns, spike- and clubmosses, bromeliads and anthuriums. The design by Grant Associates was inspired by the Maiden Hair Fungus and consists of a number of levels, each with a different theme, including The Lost World, The Cavern, The Waterfall View, The Crystal Mountain, The Cloud Forest Gallery, The Cloud Forest Theatre and The Secret Garden.
Replicated painted wall deterioration as part of the 19th Sydney Biennale {19BOS} by Christine Streuli "Gradually Real" 2014
Cockatoo Island, Sydney, April 2014
2014.0417
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NOVA ZELANDA, Aotearoa B/N 2023
First Church is a prominent church in the New Zealand city of Dunedin. It is located in the heart of the city on Moray Place, 100 metres to the south of the city centre. The church is the city's primary Presbyterian church. The building is regarded as the most impressive of New Zealand's nineteenth-century churches, and is listed by Heritage New Zealand as a Category I structure.
Earlier structures:
Prior to the construction of the church, smaller earlier buildings had been used by the congregation, but the rapid rise in the city's population meant that a larger, more permanent structure was necessary.
The original First Church stood close to the former beach in the city's lower High Street. This was a rough, weatherboard building, erected very quickly, and capable of holding some 200 people. It was opened in September 1848, within six months of the arrival of the city's first permanent European settlers from Scotland. So hasty was the construction of the building that early congregations had to remain standing, as seating was not installed until three months later.
A stone church was built in 1850 which expanded and extended the original structure, doubling its capacity. This building not only served as a church, but, in the city's early days, was also a school, public lecture hall, and served as the Otago Provincial Council chambers. The building was utilitarian, and may have only ever been intended as a temporary solution, as plans for a more stately building were being mooted as early as 1856. After construction of the permanent church, the 1848 and 1850 buildings were used as a wool store, but were destroyed by fire in 1865.
From 1864 a third structure ("The Interim Church") was used, on a site above the previous buildings on Dowling Street. A sturdy wooden structure on a stone base, it had seating for 600, and was used until the present building was ready for use in 1873. The wooden building was dismantled and moved to Fryatt Street, where is served as a tram workshop; part of the original stone foundations on Dowling Street are still visible adjoining a city council car park.
Construction:
The current church stands on the stump of Bell Hill, a major promontory which initially divided the heart of Dunedin in two. In the city's early years, gold was discovered inland, resulting in rapid growth in the city. The hill became a massive obstacle to the development of Dunedin, and a decision was made by the Otago Provincial Council to make a substantial excavation into the hill. This resulted in a cutting through which one of the city's main streets, Princes Street, now passes, and the reduction of the height of Bell Hill by some 12 metres (40 ft). Much of the excavated soil and stone was used in the reclamation of land which now forms the Southern Endowment of South Dunedin. The church's site, on a promontory of what is left of the hill, commands views to the south across Queen's Gardens towards the Otago Harbour and South Dunedin.
The building, in decorated Gothic style, was designed in 1862 by Robert Lawson, who also designed the city's Knox Church, which has a similar tower. Lawson had won a competition for the design of the church from among six entrants.[7] Construction was delayed after the decision to reduce Bell Hill, with the foundation stone being laid in May 1868 by Dr. Thomas Burns, and was officially opened on 23 November 1873, by which time Burns, its champion, had already died.[3] The church is dominated by its multi-pinnacled tower crowned by a spire rising to 56.4 metres (185 ft). The spire is unusual as it is pierced by two-storeyed gabled windows on all sides, which give an illusion of even greater height. Such was Lawson's perfectionism that the top of the spire had to be dismantled and rebuilt when it failed to measure up to his standards. It can be seen from much of central Dunedin, and dominates the skyline of lower Moray Place, and has a capacity of over 1000.
The expense of the building was not without criticism. Some members of the Presbyterian synod felt the metropolitan church should not have been so privileged over the country districts where congregants had no purpose designed places of worship or only modest ones. The Reverend Dr Burns's championship of the project ensured it was carried through against such objections.
The building:
The rear of the building, as seen from Queens Gardens, shows the true architecture and extravagant European basilica-like quality of the church, which shocked its early congregation.
The mausoleum of William Larnach and family, in Dunedin Northern Cemetery, New Zealand, is a miniature replica of First Church.
Externally, First Church successfully replicates the effect, if on a smaller scale, of the late Norman cathedrals of England. The cathedral-like design and size can best be appreciated from the rear. There is an apse flanked by turrets, which are dwarfed by the massive gable containing the great rose window. It is this large circular window which after the spire becomes the focal point of the rear elevations. The whole architectural essay appears here almost European. Inside, instead of the stone vaulted ceiling of a Norman cathedral, there are hammer beams supporting a ceiling of pitched wood and a stone pointed arch acts as a simple proscenium to the central pulpit. Above this diffused light enters through a rose window of stained glass. This is flanked by further lights on the lower level, while twin organ pipes emphasise the symmetry of the pulpit.
At 56.4 metres (185 ft), the spire makes the building one of the tallest in the South Island, and it was the island's tallest building until the construction of ChristChurch Cathedral, Christchurch was completed in 1881. It again held that rank briefly from 1888, after the latter building was damaged by an earthquake. The church is currently the city's tallest building, and the fourth tallest building in the South Island (after Pacific Tower, the Forsyth Barr Building, and Rydge's Hotel, all in Christchurch).
The building is constructed of Oamaru stone, set on foundations of basalt breccia from Port Chalmers, with details carved by Louis Godfrey, who also did much of the woodcarving in the interior. The use of "cathedral glass", coloured but unfigured glass pending the donation of a pictorial window for the rose window is characteristic of Otago's 19th-century churches, where donors were relatively few reflecting the generally "low church" sentiments of the place. Similar examples can be found in several of Lawson's other churches throughout Otago.
Other notable features of the building include stained glass windows dedicated to those fallen in war and to the Otago Mounted Rifles. For many years, the church housed a 1908 Norman & Baird organ, though this was replaced in 1983 by a digital organ by Allen. A full set of eight change-ringing bells, cast by the Whitechapel Bell Foundry, was installed in 1975 and are rung by members of the Australian and New Zealand Association of Bellringers. At that time the only such set in a Presbyterian church outside the United Kingdom and claimed to be the southernmost ring of bells in the world.[9][10] A large bell on a pedestal stands outside the church, sent from Scotland in 1851. Also located in the grounds in front of the church is a memorial plaque to Dr. Burns. The entrance gates to the church feature two lamps which started life as Edinburgh street lamps, another connection to the homeland of many of the city's first settlers.
A miniature of the church was created by Lawson in the city's Northern Cemetery as a family tomb for noted early Dunedinite William Larnach.
Regular Sunday services are held in the church in English (10.00am), Cook Island Maori (12.00 Noon), and Samoan (2.00pm). The church is also used for a variety of both religious and secular civic and cultural events within the city.
Wikipedia
“The Eye Moment photos by Nolan H. Rhodes”
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This fountain is a replication of the wine fountain that was at Hampton Court during Henry VIII's reign.
Originally built by Cardinal Wolsey in the early 16th century, Hampton Court was eventually taken over by Henry VII and turned into his residence. The palace is a blend of Tudor and Baroque architecture and was a home to the royal family until 1737 under George II. In 1838, Queen Victoria opened its doors to visitors.
Marius Els did an example of using under the brush tool :symmetry and making Mandalas. Since I never used this variant of the brush tool here is my piece called Dream Replication. Enjoy!
This rare one off 1954 Aston Martin DB2/4 by Bertone is one of seven built by Bertone, and is the only coupe of the seven. Powered by a modified 2.9L, 140hp engine, and seen and photographed at the 2024 Greenwich Concours Show. Here is it's story by Sotheby's:
The tale of Stanley H. “Wacky” Arnolt II is well-known to sports car enthusiasts, but bears a rapid repeating: The Warsaw, Indiana businessman made his first fortune as a manufacturer of marine engines, then branched into the selling of British automobiles in Chicago in late 1950. In 1952 he commissioned Italian coachbuilder Bertone to build a limited run of custom-bodied MG TDs, known as Arnolt-MGs, for sale through his showroom. This relationship soon expanded, with Bertone collaborating with “Wacky” on, most famously, the Arnolt-Bristol, as well as Bertone-bodied Alfa Romeos, Bentleys, Ferraris, and other fabulous coachbuilt creations.
There were seven Aston Martins dressed by Bertone under Arnolt’s auspices, or, as the relentlessly self-promoting Arnolt would have preferred they be known, Arnolt-Aston Martins. Their designs differed from series to series and car to car, but DB2/4 chassis number LML/765 is the only coupe. It was and remains a thing of beauty, with lines that are more crisp and elegant than some of the other Bertone creations, arguably more finely tailored and cohesive and especially striking as a coupe. As noted by historian Stanley Nowak in his article on the Bertone Astons in Automobile Quarterly, Vol. 26 No. 4, the car’s dramatic creases in its flanks and a pronounced wraparound rear window were both signature touches of Bertone’s Franco Scaglione.
Build records at Aston Martin Dorset indicate that LML/765 was commissioned by Arnolt on 20 August 1954 for “Monsieur Henrey Pagezy” of Paris and delivered on 7 January 1955. Given the somewhat mangled spelling, it is believed that this client was actually Henri Pigozzi, founder of Société Industrielle de Mécanique et Carrosserie Automobile, better-known as Simca. This is likely, as a few features on LML/765, most notably the taillights, were borrowed from Simca automobiles—an impressive signature.
According to Nowak, Arnolt’s Bertone representative claimed that the coupe was intended to have been the first in a small run of cars, but by the time it appeared Aston Martin had refused to supply any more chassis to the effort. Supporting this statement, the car was shown, well after its completion, at both the 1957 and 1958 Turin Motor Shows—finished in white and then in blue, respectively—each time on the Bertone stand. It is believed that the coachbuilder borrowed the car back both years in an effort to entice Aston Martin to consider them as a new firm to develop the upcoming DB4, a role that eventually went to another Italian coachbuilder, Touring of Milan.
The Bertone coupe later made its way to the United States in 1976, into the hands of John G. Gyann. It was subsequently owned by Dr. Jim Pavlatos of Palos Heights, Illinois, and restored under his care, then passed through the hands of Chicago-based sportscar dealer Bill Jacobs and the Blackhawk Collection. In 1987, it was acquired from Blackhawk by Roger Karlson of California, who would own the car for eleven years and spent much time and spared no expense meticulously sorting the mechanicals of the largely cosmetic restoration that had been undertaken prior to his ownership. The car was shown later in 1987 at Pebble Beach while under Mr. Karlson’s ownership.
In 2019, the special Bertone Aston was acquired by the current owner, who commissioned Aston Martin specialists Kevin Kay Restorations in Redding, California to undertake a full concours restoration. As part of this work, the car was faithfully returned to its “show stand-correct” metallic blue shade, matched to traces of the original finish located below the headlight bezels and in the trunk area. In addition, the correct front bumper and taillights, which had been modified over the years, were fabricated to replicate the original 1955 units, as was the bonnet trim, sun visors, and much of the interior trim hardware. Down to the original red exhaust tip, visible in a surviving 1958 color photograph, no small detail was overlooked during this extensive restoration, which cost over $800,000 and was completed just in time for the Pebble Beach Concours d’Elegance in 2023. The restored car retains its original numbers-matching drivetrain, per its build documentation, with the original engine having been rebuilt to a high-output specification with elevated compression, DB MK III-style valves and camshafts, and an uprated oiling system.
At completion of the work, the car was debuted at the 2023 Pebble Beach Concours d’Elegance, where it was honored with First in Class, a remarkable achievement. It has yet to be shown publicly since, leaving the door open for the next caretaker to enjoy participation in virtually any top-level concours event on the planet. In fact, the Bertone Aston has already been invited to be displayed and compete at the Concorso d’Eleganza Villa d’Este. Accompanying the sale is a document file featuring restoration photographs and invoices, as well as a copy of the Automobile Quarterly article and other historical information, including a detailed letter account by dedicated former owner Roger Karlson.
This unique Aston Martin DB2/4 is a singular and exquisite automobile, representing the epitome of English sporting heritage, but inspired by American ingenuity, passion, and ambition, and styled and built by Bertone and Italy’s finest artisans. In so many ways, the Bertone Aston represents the ultimate iteration of company owner David Brown’s “gentleman’s express.” A lively, smooth performer, it is a consummate English gentleman indeed, but clothed in a bespoke Italian suit.
The 90 meter (300 ft.) replication of the famous Brooklyn bridge at the New York-New York Hotel & Casino in Las Vegas.
I would say that observations of patterns is my true quest as a nature photographer. I don't look for certain patterns, I just look, and when I see a pattern that strikes me, thats when I pull my camera out of its pouch. The pattern of the Shawnee Hills are observed from the Union County Wildlife Preserve in southern Illinois was duplicated in the clouds hovering above.
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As sunset approached at the nature park, I was walking on a dirt path by the river, rounded the bend, and then was struck by this beautiful tree lit by the golden sun, with an equally beautiful reflection in the water. The light was fleeting, so I had to work fast. Because of the brilliant highlights, this shot was not so easy to capture technically. HDR produced ghastly results, so I had to work with one image and pull out detail in the shadows. That produced a lot of noise, which I then reduced using LOTS of noise reduction. But in the end, the beauty my eyes beheld was pretty much replicated in this image.
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Had a great day with my friend Malcolm Thorngate up at the falls in Pontneddfechan.......
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Sorry I haven't been around much, I've had a small op on my elbow!!!
Getting back to normal slowly!
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