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Protea is both the botanical name and the English common name of a genus of South African flowering plants, sometimes also called sugarbushes or fynbos. In local tradition, the protea flower represents change and hope. The extraordinary richness and diversity of species characteristic of the Cape flora are thought to be caused in part by the diverse landscape, where populations can become isolated from each other and in time develop into separate species. The main vectors responsible for the transfer of pollen in protea cultivation are birds, insects, and wind. Some Protea species exhibit both self-pollination and cross-pollination as a method of reproduction. Cross-pollination is preferred, though, as a method of reproduction because it provides genetic diversity in the population. When cultivating proteas, breeders use hand pollination as a controlled method to transfer pollen from one flower to another. Proteas usually flower during spring. The general structure of their flower heads consists of a mass of flowers on a woody receptacle. The ovary is protected by the receptacle, thus is not seen when looking at the flower, but the anthers are present at the top of the flower, which can then easily transfer the pollen to the vectors. 17529
Spark Ballet est une installation immersive représentant l’énergie présente en tout être vivant, habituellement invisible à l’œil nu.
Comme des auras en mouvement, des particules volent autour des arbres en de belles courbes pour créer un ballet hypnotique de lumières. La lueur qu'elles projettent joue avec les volumes de l'arbre, révélant leurs branches et leur feuillage de leurs flux lumineux. Spark Ballet est une installation qui célèbre la vie et la magie de la nature. Celle qui subsiste, celle qui résiste et qui nous entoure encore, même dans les endroits les plus communs de l'espace urbain.
BIO EXPRESS
En 2006, le studio de création lyonnais participe à son premier évènement lumière et crée 30 lustres qui seront installés dans l’espace public à l’occasion de la Fête des Lumières de Lyon. Dès lors, PITAYA élabore chaque année des projets autour de la lumière et les expose dans ces nouveaux festivals urbains, véritables vitrines à ciel ouvert.
Le studio privilégie une démarche d’auteur, à base de recherches et d’expérimentations. Cette phase donnera à son tour naissance à de nombreux concepts qui deviendront des objets finalisés. L'échange permanent entre technique et artistique permet au studio d’appréhender un projet depuis un concept, mais aussi d’une envie plus tangible d’utiliser une technologie nouvelle ou d’aborder un procédé de fabrication précis.
La lumière est le principal fil conducteur de leurs réalisations et le duo s’épanouit dans de multiples créations, entre objet lumière, luminaire et installation artistique. Ils travaillent généralement la lumière comme un matériau polyvalent qui révèle et souligne les formes de leurs objets. Leurs productions modifient l’espace dans lequel elles s’intègrent, faisant naître des perceptions et des expériences nouvelles.
Depuis sa création, PITAYA milite pour un design à dimension humaine, où artisanat et création cohabitent intelligemment. Leurs productions ont gagné une renommée internationale et ont été exposées à Tokyo, Londres, Dubaï, Moscou, Genève, Beijing, Singapour ou Baltimore.
Geneva Lux Festival 2021.
This image represents the western part of the supernova remnant. I have taken this image under not completetly darkened skies. First I took the Ha images, then after 2:00 am (moon was set), I took the OIII data.
For blending channels, I used "Pixelmath" in Pixinsight. This is the "classical" HOO image. H-alpha to red only and OIII to green and blue. The red is coming out best this way, I think. When I take e.g. 30% ha in the green, the red is more orange like.
I also made an artificial luminance image and added the ha channel to the OIII channel. After that, I did my common processing steps (DBE, Deconvolution, Morphological Transformation, HDR,Unsharp mask...).
I am qute happy with the data I have captured in just 3 hours.
-- EQUIPMENT ---------------------------
Camera: SBIG STF-8300
Filterwheel: SBIG FW8 (8 x 36 mm)
Filters: Astronomik Ha, Astrodon RGB
Telescope: APM 107/700 apochromatic refractor w. Riccardi Reducer 0.75x (525mm f/4.9)
Guiding: SBIG OAG with Starlight Xpress Lodestar X2
Software
Capturing: Sequence Generator Pro
Mount control: AP V2
Guiding: PHD2
Processing: Pixinsight
-- Details -----------------------------------
Date: 29th July 2020
Location: My backyard
Temp CCD: -10°C
Pixel size: 5.4 μm
Pixel scale: 2.1 Arcseconds per pixel
-- Exposures ------------------------------
Ha: 5 x 20 min
OIII: 4 x 20 min
Total integration time: 3 hours.
Portrait of Lawrence Lee, stained glass window artist, in front of one of his windows at the Church of St Mary and St Peter at Pett, Sussex. Lawrence Lee was 100 years old in September 2009. I met him for the first time this January and with his son Stephen, took him to see this window. A couple of local historians were there to greet us and were very interesting in meeting Lawrence who was happy to talk about his window and the process of making it.
From a sign in the church: "The stained glass window represents St Nicholas with a lifeboatman on the shore; in the background thre is a somewhat abstracted lightship which is symbolic of the Church Universal. St Nicholas is holding a model of the building which was formerly a Rocket House, but now used as a Church and known as st Nicholas, Pett Level.
The Artist is Mr Lawrence Lee ARCA of New Malden, Surrey."
HSS
Each friend represents a world in us, a world not born until they arrive, and it is only by this meeting that a new world is born.
Anais Nin
Thank you for your kind visit. Have a wonderful and beautiful day! xo💜💜
The art representing Wales on the Millennium walkway in Cardiff
Brilliant works of art have appeared on the riverside walkway near Cardiff's Millennium Stadium in time for the Rugby World Cup.
The street art represents the teams playing in the tournament and has appeared in the last few days.
It is part of a Grow Wild competition hosted by the Royal Botanical Gardens, Kew, and the Big Lottery Fund.
Nature representing a form of symmetry
If you view large, you can notice small white dots in the distant surface. These are birds "Súla" diving from the sky and making this splash effect.
Ef þið skoðið hana stóra má sjá hvíta depla í sjónum, en þetta eru Súlur að stinga sér eftir æti. Þetta var eins og orustuvöllur á tíma.
La Hamsa es un símbolo representado en multitud de culturas y en cada una de ellas tiene un significado diferente. Árabes, musulmanes, judíos, cristianos… incluso culturas paganas adoraban este amuleto como símbolo de la fertilidad.
La leyenda cuenta que una tarde Fátima estaba preparando la cena, cuando vio entrar al marido, del cual estaba perdidamente enamorada, Estaba con una concubina (la religión islámica permite la poligamia masculina y permite casarse hasta cuatro veces).
Fátima se encontraba profundamente amargada con la llegada de esta mujer. Fátima no se dio ni cuenta de haberse cortado con el cuchillo de leña y quemado con la sémola que estaba cociendo y continuó mezclando la cena con la mano, sin sentir dolor.
El dolor que tenía en el corazón y era tan fuerte, tanto que no le dejaba sentir el corte en la mano.
Cuando el marido se dio cuenta y fue cuando le dijo “Fátima ¿Qué estás haciendo?”, ella se dio cuenta en ese momento, de la quemadura y del dolor que le había causado en el brazo.
ALÍ la cuidó pero después le dijo que había pasado la noche con la nueva esposa.
Fátima aceptó la voluntad del marido pero cuando él se encontró en la habitación con la concubina, Fátima les espió de una fisura tras la habitación. Se dice que cuando vio a ALÍ besar a su nueva mujer, una lágrima salió de los ojos de Fátima, y corrió donde ALÍ, haciéndole entender en el gran amor que ella sentía por él, convenciéndolo para que renunciara a su nueva concubina.
Este símbolo de la Mano de Fátima también lo encontramos como decoración del hogar en la tradición andalusí y el norte de África como protección de la casa y la familia. Muchas casas antiguas tienen como llamador una mano de tradición árabe.En las casas de Marruecos también es frecuente encontrar la Mano de Fátima representada en las paredes de la vivienda. En España tenemos una evidencia de esta figura en la Alhambra que se conserva en muy buen estado, situada en la Puerta de la Justicia.
Le Kinkaku-ji ou temple du Pavillon d'or est le nom usuel du Rokuon-ji. Il a été construit en 1397 au milieu d'un vaste jardin par le shogun Ashikaga Yoshimitsu pour en faire un lieu de résidence puis il est devenu un temple du bouddhisme zen après sa mort. Le temple a été reconstruit en 1955 après un incendie puis rénové en 1987. Il est classé au patrimoine mondial de l'UNESCO.
Au faîte du toit, se trouve une sculpture représentant un phoenix (fenghuang), animal mythologique chinois
L'édifice, en partie recouvert d'or, est de style éclectique, le rez-de-chaussée est de type résidentiel shinden avec des vérandas, le premier étage est de style bouddhiste japonais, le deuxième étage est dans le style des temples zen avec une coupole de l'Ultime Vérité à son sommet (ref : Tout sur l'architecture, Flammarion, 2014)
Article de Wikipedia sur le Rokuon-ji
fr.wikipedia.org/wiki/Kinkaku-ji
Site sur le temple du pavillon d'or
El Caminante (Vitoria)
Esta escultura de 1985 ubicada en la Plaza del Arca mide 3,5 m de alto y representa a todo aquel que llega a Vitoria y le gusta tanto que se queda allí para siempre.
The Wayfarer (Vitoria) This sculpture of 1985 located in the Plaza of the Ark measures 3,5 m of high place and there represents to everything that one that comes to Vitoria and he likes so much that it remains there forever.
El Real Monasterio de San Millán de Yuso (yuso significaba 'abajo' en castellano antiguo) está situado en la villa de San Millán de la Cogolla, Comunidad Autónoma de La Rioja (España), en la margen izquierda del río Cárdenas, en pleno valle de San Millán. Forma parte del conjunto monumental de dos monasterios, junto con el más antiguo Monasterio de San Millán de Suso («de arriba»).
Patrimonio de la Humanidad
El 4 de diciembre de 1997 los monasterios de San Millán, Suso y Yuso, fueron declarados Patrimonio de la Humanidad . Este galardón viene avalado tanto por razones históricas, artísticas y religiosas como por motivos lingüísticos y literarios. Ninguna otra lengua conocida, puede ser atribuida y asociada a un monumento y un entorno natural tan singularizado y concreto como San Millán, lo que le ha merecido ser incluido en el itinerario del Camino de la Lengua, compartiendo plaza con lugares tan señalados como Alcalá de Henares o Salamanca.
Cuna de la lengua
Una lengua no nace en un lugar ni en un momento concreto, pero es en el monasterio de San Millán en el siglo XI cuando un monje tiene conscientemente el atrevimiento de poner por escrito palabras y frases de esa lengua del pueblo. Nadie lo había hecho antes con una intención literaria. Son las Glosas Emilianenses. En el mismo códice encontramos también las primeras palabras escritas en vascuence. Por esta razón San Millán de Yuso celebra en 1977 el Milenario de la Lengua, y desde entonces se le conoce con el nombre de «Cuna de la Lengua». En el Salón de los Reyes se encuentran las lápidas conmemorativas del milenario de la lengua castellana y vasca, así como una reproducción facsímil del Códice 60.
Este monasterio fue mandado construir en el año 1053 por el rey García Sánchez III de Navarra «el de Nájera». La historia de su fundación va unida a una leyenda basada en un milagro de san Millán (o Emiliano), un joven pastor que se hace ermitaño. Cuando en 574 muere Millán, a la edad de 101 años, sus discípulos lo entierran en su cueva, y alrededor de ella se va formando el primer monasterio, el de San Millán de Suso. San Braulio, cincuenta años después de muerto san Millán, escribe la vida de este.
El rey navarro García III era muy devoto de San Millán. Como acababa de fundar el gran monasterio de Santa María la Real de Nájera en esta ciudad que era corte del reino, quiso llevarse allí los restos mortales del santo, que estaban enterrados en el monasterio de San Millán de Suso. El 29 de mayo de 10531 colocaron los restos del Santo en una carreta tirada por bueyes y así emprendieron el viaje, con gran descontento de los monjes que allí quedaban desolados por la pérdida de su patrono. Cuando llegaron al llano, cerca del río, los bueyes se detuvieron y ya no quisieron volver a andar; no hubo forma de obligarlos. El rey y toda la comitiva comprendieron que aquello era un milagro, que San Millán estaba imponiendo su voluntad de no pasar de allí y ser enterrado de nuevo en aquellos lugares. Fue entonces cuando el rey mandó construir el reciente monasterio, al que se llamó Yuso (abajo), en contraposición con el de arriba (Suso).
Hasta al menos el año 1100, coexistieron los dos monasterios, el de arriba, Suso, y el de abajo, Yuso. El primero permanece fiel a la tradición: regla mozárabe y carácter dúplice de doble comunidad masculina y femenina. El segundo, reformado con la regla benedictina. A partir del siglo XII solo hay una comunidad de monjes, la benedictina, con una casa principal, la de Yuso (abajo). Los siglos X y XI son los de mayor esplendor en lo espiritual, religioso, artístico y cultural.
En 1809 los benedictinos son expulsados por primera vez cumpliendo el decreto de José Bonaparte. Vuelven en 1813. Son expulsados de nuevo durante el periodo constitucional del reinado de Fernando VII, entre diciembre de 1820 y julio de 1823. La hacienda real vendió entonces la botica en subasta pública. La tercera y última expulsión de la comunidad benedictina será debida a la desamortización eclesiástica de Mendizábal. Yuso permanece abandonado durante treinta y un años, desde noviembre de 1835. Entre 1866 y 1868 se establece una casa de misioneros franciscanos de Bermeo y, tras diez años de abandono, en 1878 fue ocupado por los frailes de la Orden de Agustinos Recoletos como casa destinada a la formación de los misioneros destinados a Filipinas. Las primeras obras de rehabilitación que se efectuaron por parte de los agustinos recoletos las realiza Fray Toribio Minguella.Detalles del edificio
Planta del Monasterio de San Millán de Yuso.
El monasterio fue construido en estilo románico, como correspondía a la época. Es demolido en su totalidad y reconstruido en el siglo XVI, en estilo herreriano, de los siglos XVII y XVIII.
Portada barroca y Salón de los Reyes
Se accede al interior por una puerta barroca del siglo XVII que lleva columnas corintias y un relieve de San Millán a caballo. Es obra del arquitecto Pablo de Basave y del escultor Diego de Lizarraga. Desde el vestíbulo se entra al Salón de los Reyes. Recibe este nombre por los cuatro lienzos de reyes bienhechores del monasterio. Los escudos de la Escalera Real son los de la Abadía y los de Castilla. Están fechados en 1697. Es la última gran construcción de los abades benedictinos. En esta sala se encuentra la reproducción del códice 60 y del folio 72 recto en el que están escritas las Glosas Emilianenses.
Claustro
El claustro de la planta baja también se conoce por el nombre de procesional. Comienza su construcción Juan Pérez de Solarte en 1549. Es renacentista con bóvedas góticas. Arcos apuntados, doblados, entre contrafuertes rematados por pináculos góticos con ganchos, poco esbeltos y de labra tosca. La puerta que comunica con la iglesia, decorada al estilo manierista, es obra del italiano Andrés de Rodi. Está fechada en 1554 y nos da una idea de la decoración que tenían pensada para el resto del claustro bajo, y que no llegó a ejecutarse.
El de la planta alta es clasicista. Columnas toscanas, adosadas a pilares, con friso de triglifos, metopas y capiteles adornados con tres rosetas y molduras de ovas en el equino. Está decorado con veinticinco cuadros de José Bejes que narran los distintos milagros de San Millán, según la biografía de San Braulio, obispo de Zaragoza.
La iglesia
Coro bajo y ojo por el que pasa la luz equinoccial.
La iglesia es de tres naves, con bóveda estrellada y un bonito cimborrio. Se comenzó en 1504 por mandato del abad Fray Miguel de Alzaga y se termina treinta y seis años después. Gótico decadente. La iglesia era para uso de los monjes, por eso la parte delantera, desde el coro central, pasando por el presbiterio hasta el relicario, estaba destinada solo para ellos. La parte trasera, desde el trascoro hasta la puerta, era la zona que usaba el pueblo cuando éste podía acceder al templo. Son dos espacios litúrgicos dentro del mismo edificio.
La sillería del coro bajo fue realizada por un tallista flamenco, Matero Frabricio, en torno a 1640, siguiendo las trazas y modelo diseñado por un monje de San Juan de Burgos. Tiene un retablo del siglo XVII con pinturas también de fray Juan Ricci; el cuadro central representa a San Millán en la batalla de Hacinas (Burgos) contra los moros. Los cristianos, en sus luchas contra los musulmanes, eligieron a San Millán como patrono y así, Gonzalo de Berceo en su Vida de San Millán nos cuenta la promesa de los votos legendarios, de una parte Ramiro II de León a Santiago y de la otra, Fernán González a San Millán.
El trascoro
Era la zona destinada al pueblo. El trascoro es a la vez el retablo parroquial y puerta de acceso a través del coro al altar mayor. El trascoro, obra de Francisco de Bisou realizada en 1767, de estilo rococó francés, está decorado con esculturas de bulto redondo, probablemente del taller de Pascual de Mena, que representa a los santos que se mueven en torno a San Millán: San Braulio, su biógrafo, San Felices, patrón de Haro y su maestro, San Aselo, San Geroncio, San Citonato, San Sofronio, Santa Potamia, discípulos, y Santa Oria.
En esta zona hay también un púlpito plateresco, de finales del XVI. Los mediorelieves representan a los cuatro evangelistas.
En el oratorio se pueden contemplar las réplicas de las arcas relicarios del San Millán (siglo XI) y su maestro San Felices (siglo XII). La de San Millán fue un encargo de Sancho IV de Navarra (Sancho el de Peñalén), en el año 1067.
Sacristía
Es una de las sacristías con más alto valor artístico de España. En un principio fue la sala capitular. Arquitectónicamente es del s. XVI. Empieza a usarse como sacristía a finales del siglo XVII, época de la que es casi toda la pintura que podemos contemplar. Los frescos del techo y las mesas centrales son del XVIII. El abad Fray José Fernández (1693-1697) la adorna con doce cobres que están sobre la cajonería de nogal. La colección de cobres se completa hasta llegar a los veinticuatro. La enriquece también con cuatro grandes lienzos que traen desde Nápoles. El retablo, barroco, está presidido por una talla de Nuestra Sra. Reina de los Ángeles con cetro y corona.
Refectorio
El refectorio mayor, el comedor de los monjes, empieza a ser construido en 1580. Decorado con una portada dórica, asientos con pilastras jónicas estriadas y púlpito. Para su realización se contrató al ensamblador Juan de Iriarte en 1597. Las catorce mesas se realizan en 1608. El mobiliario se conserva completo.
Salón de la Lengua
Inaugurado en 1977 con motivo de las celebraciones del Milenario de la Lengua Castellana, hoy es el lugar emblemático del monasterio. Está decorado con todos los escudos y banderas de los países hispanos y de Filipinas por las embajadas correspondientes, además de un busto de Gonzalo de Berceo, primer poeta de las letras españolas y notario de este monasterio. En este salón se realizan los actos oficiales y las conferencias relacionadas con el castellano.
This image was taken with a full-spectrum converted camera, and represents a very fun adventure into new areas of photography for me. I’ve always wanted to do a star trail image that focused on reflections as well! View large!
“Full spectrum” means that the camera can detect light from wavelengths beyond that of human vision. Camera sensors are normally sensitive to ultraviolet and infrared light, but a filter in front of the camera blocks this light from being recorded in the image. In this way a camera shows us a similar world to the world we see with our own eyes, but what if you wanted to collect all the light? Remove the filters and you’re pushing new limits.
Images done in “full spectrum” look very strange and far “redder” than you would expect. This is because there is a ton of infrared light, especially on a sunny day, that messes with the camera’s ability to record colours properly. In many ways a full-spectrum camera is useless, but the night sky is an exception. Because the white balance has to be skewed to compensate for the additional light, “true” colours aren’t exactly on the menu; the light pollution that we would see as orange on the horizon is green because of this colour shift. There is variation in the colour of the stars that we see in the frame as well, and my first impression is that I’m able to see a greater variation in full-spectrum than I can with my regular camera.
You might ask why I would convert a camera to full-spectrum photography when its uses are limited. By placing various filters in front of the camera lens I can shoot in various levels of infrared and ultraviolet light. The full spectrum has some limited value, but slicing up different bands of the spectrum is where the fun begins. I’ll be publishing an ebook later this year on infrared and extra-spectrum photography, so don’t be surprised if you see more images like this through the summer!
The water was mostly calm, but a few ripples on the surface caused some star reflections to become slightly chaotic, resembling recorded sound waves. A lot of deep shadows were pulled up to help balance the image and keep a surreal feel to the overall composition, and it’s amazing to think that all of this was lit exclusively with the light of the cosmos. There was no moon, and no light painting done. It was a spectacular night.
As I lay under the stars being serenaded by a variety of frogs (take a listen: donkom.ca/extra/frogs.mp3 ) I couldn’t help but feel at peace. I was doing what I love – exploring the unseen world and experimenting with photography, and finding time to enjoy the natural world around me. I was feasted on by mosquitoes and other insects of the night, but it didn’t bother me. I was in my element. :)
Si tratta di uno dei monumenti più noti e rappresentati di Villa Adriana ed è divenuto uno dei simboli dell’unicità e della concezione innovativa dell’impianto architettonico dell’intero complesso residenziale. L’isola era accessibile attraverso due strutture girevoli in legno e la sensazione, ancora oggi, è quella di trovarsi in un luogo nel quale potersi ritirare per svolgere in tranquillità le proprie attività. L’Edificio prende il nome da un raffinato fregio figurato in marmo con soggetto marino che ne decorava la trabeazione.
Costituito da un corpo circolare preceduto da un pronao che immette in un portico di forma circolare sorretto da colonne ioniche e coperto da volta a botte. Il colonnato si riflette sull’acqua di un ampio canale che delimita un’isola artificiale, sulla quale si imposta un edificio che può essere identificato come una vera e propria domus, una sorta di residenza minore all’interno della residenza imperiale.
Lo spazio interno, seppure ridotto e condizionato dalla pianta circolare, è stato sfruttato in maniera ottimale per realizzare tutti gli ambienti idonei alle esigenze dell’ imperatore: e, in effetti, la costruzione ripete nei suoi elementi costitutivi, lo schema tipico della domus, con atrio, cortile, portico per passeggiare, tablino, cubicula, impianto termale e, perfino, latrine, ubicate negli spazi di risulta. La caratteristica più attuale di questa villa in miniatura è forse proprio la finalità funzionale che sta alla base della progettazione, unita alla capacità di costringere e adattare lo spazio in senso estetico.
Villa Adriana: The Maritime Theater
It is one of the most famous monuments of Villa Adriana and has become one of the symbols of the uniqueness and innovative design of the architectural system of the entire residential complex. The island was accessible through two revolving wooden structures and the feeling, still today, is to be in a place where you can retire to carry out your activities in peace. The building is named after a sophisticated marble frieze with a marine theme decorating the trabeation.
It is constituted by a circular body preceded by a pronaos that enters a circular arcade supported by Ionic columns and covered by barrel vault. The colonnade is reflected on the water of a large canal that delimits an artificial island, on which a building is set, which can be identified as a real domus, a sort of minor residence within the imperial residence.
The interior space, albeit reduced and conditioned by the circular plant, has been optimally exploited to create all the environments suitable for the emperor's needs: and, indeed, the construction is repeated in its constituent elements, the typical domus scheme, with lobby, courtyard, porch for stroll, tablecloth, cubicula, spa and, even, latrines, located in the spaces of the result. The most current feature of this miniature villa is perhaps the functional purpose behind the design, coupled with the ability to force and adapt space in aesthetic sense.
C'est l'un des monuments les plus connus et les plus représentés de la Villa Adriana et est devenu l'un des symboles de l'unicité et du concept innovant de la disposition architecturale de l'ensemble du complexe résidentiel. L'île était accessible à travers deux structures tournantes en bois et le sentiment, encore aujourd'hui, est celui d'être dans un endroit où l'on peut se retirer pour exercer ses activités en toute quiétude. Le bâtiment tire son nom d'une frise de marbre figurée raffinée avec un sujet marin qui décorait son entablement.
Composé d'un corps circulaire précédé d'un pronaos qui mène à un portique circulaire soutenu par des colonnes ioniques et couvert par une voûte en berceau. La colonnade se reflète dans l'eau d'un grand canal qui délimite une île artificielle, sur laquelle est érigé un bâtiment qui peut être identifié comme une véritable domus, une sorte de résidence mineure au sein de la résidence impériale.
L'espace intérieur, bien que réduit et conditionné par le plan circulaire, a été exploité de manière optimale pour créer toutes les pièces adaptées aux besoins de l'empereur: et, en fait, la construction reprend dans ses éléments constitutifs, le schéma typique de la domus, avec atrium, cour, porche pour se promener, tablinum, cubicula, spa et même des latrines, situés dans les espaces résultants. La caractéristique la plus actuelle de cette villa miniature est peut-être l'objectif fonctionnel derrière la conception, combiné à la capacité de restreindre et d'adapter l'espace dans un sens esthétique.
"Blue hour" .I was going to adjust the color balance to warm this up a bit, but this represents the light at the time, just before sunset. I went every evening to see the little owls in the protected lots a few houses away from the house we stayed in with friends in Cape Coral at Easter.
Une représentation de l'homme des bois (ou homme sauvage) similaire à celles de Tilières-sur-Avre ou de Thiers
www.flickr.com/photos/biron-philippe/7672731798/in/photol...
Le palais épiscopal (fin XVe s) est aujourd'hui le Musée d'Evreux. Il est relié à la Cathédrale par les galeries du Cloître
fr.wikipedia.org/wiki/Mus%C3%A9e_d%27%C3%89vreux
Nikon FE, Objectif 135mm F2.8 ai
Pellicule Kodak Portra 800
Développement en solutions Rollei Colorchem C41
These six infrared images of Saturn's moon Titan represent some of the clearest, most seamless-looking global views of the icy moon's surface produced so far. The views were created using 13 years of data acquired by the Visual and Infrared Mapping Spectrometer (VIMS) instrument on board NASA's Cassini spacecraft. The images are the result of a focused effort to smoothly combine data from the multitude of different observations VIMS made under a wide variety of lighting and viewing conditions over the course of Cassini's mission.
Previous VIMS maps of Titan display great variation in imaging resolution and lighting conditions, resulting in obvious seams between different areas of the surface. With the seams now gone, this new collection of images is by far the best representation of how the globe of Titan might appear to the casual observer if it weren’t for the moon's hazy atmosphere, and it likely will not be superseded for some time to come.
Image credit: NASA/JPL-Caltech/Stéphane Le Mouélic, University of Nantes, Virginia Pasek, University of Arizona
Représentant l'archipel du Japon avec ces pierres noires désormais posées sur l'eau, ce jardin nous entraîne dans une poétique méditation sur le paysage. Fumiaki Takano a ensuite inventé, en lien avec le grand maître japonais un très beau projet circulaire, enserrant l'œuvre de Shodo Suzuki, en multipliant par trois la surface des miroir d'eau dans lesquelles se reflètent les nuages.
The US Navy were well represented at the 1979 Yeovilton Air Day with all three aircraft coming from the USS America which at that time had a complement of Pacific based aircraft.
Lockheed S-3A Viking 160134 was from unit VS-33 nicknamed the Screwbirds, as illustrated in the artwork above the '710'. I'm not sure what that word's all about - maybe it was created by the Navy personnel?
Yeovilton, Somerset
4th August 1979
Pentax MX, Kodachrome
19790804 13731 160134 Yeovilton clean
Petrella Guidi is an old village located in Emilia Romagna,Italy. To preserve the village, Petrella became a "widespread hotel". The landscape seen from the tower was represented in Piero della Francesca and Leonardo's paintings.
13 Catalan independence leaders, including Carles Puigdemont will charged for rebellion by Spain's Supreme court. Peacefully politicians are being jailed in the EU for representing their voters. Absolutely shameful!
Facism is back in Europe! This is another black day for the democracy in whole Europe.
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The fact that the crime and the punishment were related and bound up in the form of atrocity was not the result of some obscurely accepted law of retaliation. It was the effect, in the rites of punishment, of a certain mechanism of power: of a power that not only did not hesitate to exert itself directly on bodies, but was exalted and strengthened by its visible manifestations; of a power that asserted itself as an armed power whose functions of maintaining order were not entirely unconnected with the functions of war; of a power that presented rules and obligations as personal bonds, a breach of which constituted an offence and called for vengeance; of a power for which disobedience was an act of hostility, the first sign of rebellion, which is not in principle different from civil war; of a power that had to demonstrate not why it enforced its laws, but who were its enemies, and what unleashing of force threatened them; of a power which, in the absence of continual supervision, sought a renewal of its effect in the spectacle of its individual manifestations; of a power that was recharged in the ritual display of its reality as 'super-power'.
Michel Foucault, Discipline and Punish: The Birth of the Prison
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This represents a return to a project I'd been working on intermittently for a while - and then somehow lost sight of. By no means finished, eleven of the twelve rectangles here are out-of- camera jpegs. The twelfth is was a minimally adjust raw file out of the TG6. When I started, the idea was to take a single shot under the water every time I swam, and collect them together into an album of colours. Now I have made this - I think I will start again - and save the photos in the order I take them to make a daily record of the colour of the water I swim in, whether it is fresh or salty, clear or murky, sunny or overcast.
The cross represents a moral ethical symbol to me. It could be considered mythical to some as well. This was taken downtown in LA with my cell phone.
They represent Archbishop Riordan High School. The shoulder panels - depicting a knight - identify them as "The Crusaders". A San Francisco Parade.
Represented by corset and crinoline it is a retro look at the same time modern with newspaper prints. This would be the piece that Elyse Jolie would wear during French fashion week when she was asked to run by a famous brand.
Look:
The outfit was created in a newspaper using papier-mache techniques and satin ribbons.
Accessories: IT
I needed a break from studying so I set out to create a very specific image. The result was something entirely different, but to me that is what's so beautiful about creative expression. Intent is important when creating a photo but being open to new possibilities, to truly living in the moment and reacting fluidly to what is around you...Responding to the forces that surround you while you're creating - that is just as special.
This photo is rooted in two thoughts...The first is from one of my favourite movies, Chronicles of Narnia (I read the book a long time ago, I'm sure it's amazing but the visuals in the movie are incredible <3)...The image has to do with the scene where the little girl meets Mr. Tumnus and learns that winter has lasted for a long time. So that connects to the whimsical aspect of the photo. The second part is that this looks like an ad for something. It has that element of sexuality and smoking. The materialism that is symbolized represents how obsessive we have become over consumer goods, over trivial nonsense. The two girls face the same direction, and one even looks straight at the camera. The earth behind them is warm, green and lush but there is no way of knowing whether or not they are aware of this. They are huddling together for warmth. Ultimately, they are immersed in the lifeless cold of winter but there is always hope for summer and what summer represents :)
BTS shots are on my blog
Dinamarca - Copenhague - Vistas desde la Rundetaarn (Torre Redonda)
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www.visitcopenhagen.com/copenhagen/round-tower-gdk410741
ENGLISH:
The Rundetaarn, or Rundetårn (Round Tower in English), is a 17th-century tower located in central Copenhagen, Denmark. One of the many architectural projects of Christian IV, it was built as an astronomical observatory. It is most noted for its equestrian staircase, a 7.5-turn helical corridor leading to the top, and for the expansive views it affords over Copenhagen.
The tower is part of the Trinitatis Complex which also provided the scholars of the time with a university chapel, the Trinitatis Church, and an academic library which was the first purpose-built facilities of the Copenhagen University Library which had been founded in 1482.
Today the Round Tower serves as an observation tower for expansive views of Copenhagen, a public astronomical observatory and a historical monument. At the same time the Library Hall, located above the church and only accessible along the tower's ramp, is an active cultural venue with both exhibitions and a busy concert schedule.
The Round Tower is a cylindrical tower built in masonry of alternating yellow and red bricks, the colours of the Oldenburgs. The bricks used were manufactured in the Netherlands and are of a hard-burned, slender type known as muffer or mopper. On the rear side, it is attached to the Trinitatis Church, but it has never served as a church tower.
Steenwinckel — whose name is otherwise synonymous with Dutch Renaissance architecture in Denmark — with the Trinitatis Complex has left his signature style. Unlike his other buildings with their lavish ornamentations and extravagant spires, the complex is built to a focused and restrained design. Hans van Steenwinckel must have been up on the situation in Holland, cogniziant that the style which he had once learned from Hendrick de Keyser had been altogether abandoned.
The architects now setting the agenda in the Netherlands, masters such as Jacob van Kampen (Amsterdam City Hall), Pieter Post (Mauritshuis in the Hague) and Philip Vingboons, now favoured a style characterized by sobriety and restraint. It is now known as Dutch Baroque or sometimes Dutch Classicism. Its proponents often relied on the theoretical works such as those of Palladio and of Jacopo Barozzi da Vignola. Steenwinckel may have paid a visit to his native Netherlands prior to his change in style but it will have been too early for him to have seen any of the period's buildings realized.
Instead of stairs, a 7.5-turn spiral ramp forms the only access way to the towertop observatory as well as the Library Hall and the Bell-Ringer's Loft, both located above the church. The ramp turns 7.5 times around the hollow masonry core of the tower before reaching the observation deck and observatory at the top, on the way also affording access to the Library Hall as well as the Ringer's Loft. This design was chosen to allow a horse and carriage to reach the library, moving books in and out of the library as well as transporting heavy and sensitive instruments to the observatory.
The winding corridor has a length of 210 m, climbing 3.74 m per turn. Along the outer wall the corridor has a length of 257.5 m and a grade of 10%, while along the wall of the inner core the corridor is only 85.5 m long but has a grade of 33%.
The observation deck is located 34.8 m above street level. Along the edge of the platform runs a wrought-iron lattice made in 1643 by Kaspar Fincke, Court Artist in metalwork. In the latticework, Christian IV's monogram and the letters RFP are seen, the letters representing the King's motto: Regna Firmat Pietas – Piety strengthens the Realms.
The observatory is a small domed building, built on the roof of the tower. Built in 1929, the current observatory is 7 m high and has a diameter of 6 m. Access is by a narrow winding stone staircase from the observation deck.
On the upper part of the façade of the tower, there is a gilded rebus inscription. Christian IV's draft of it, written in his own hand writing, is kept at the Danish National Archives. The rebus includes the four Hebrew consonants of the Tetragrammaton. The rebus can be interpreted in the following way: Lead God, the right teaching and justice into the heart of the crowned King Christian IV, 1642.
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ESPAÑOL:
La Rundetårn (en español: Torre Redonda) es una torre del siglo XVII ubicada en el centro de Copenhague, Dinamarca. Siendo uno de los numerosos proyectos arquitectónicos del rey Cristián IV, fue construida como observatorio astronómico. Es conocida por su pasillo helicoidal que recorre 7 vueltas y media antes de llegar a la parte más alta y por las amplias vistas panorámicas de la ciudad de Copenhague que ofrece.
La torre forma parte del Trinitatis Complex, que también estaba compuesto por una capilla universitaria, la Iglesia Trinitatis y una biblioteca universitaria, que fueron las primeras instalaciones construidas específicamente por la Biblioteca de la Universidad de Copenhague, fundada en 1482.
Actualmente, la Torre Redonda tiene la función de mirador, observatorio astronómico público y monumento histórico. Asimismo, en la Sala de la Biblioteca, que se encuentra por encima de la iglesia y a la cual solo se puede acceder a través de la rampa de la torre, se suelen exhibir exposiciones y celebrar conciertos.
Preah Ko (The Sacred Bull) was the first temple to be built in the ancient and now defunct city of Hariharalaya (in the area that today is called Roluos), some 15 kilometers south-east of the main group of temples at Angkor, Cambodia. The temple was built under the Khmer King Indravarman I in 879 to honor members of the king's family, whom it places in relation with the Hindu deity Shiva.
Preah Ko (Sacred Bull) derives its name from the three statues of sandstone located in the front of and facing the temple's central towers. These statues represent Nandi, the white bull who serves as the mount of Shiva.
Preah Ko consists of six brick towers arranged in two rows of three towers each perched on a sandstone platform. The towers face east, and the front central tower is the tallest. The sanctuaries are dedicated to three divinized forefathers of Indravarman and their respective wives. The front central tower is dedicated to Jayavarman II, the founder of the Khmer empire. The tower to the left is dedicated to Prithivindreshvara, King Indravarman's father; the tower to the right to Rudreshvara, his grandfather. The three rear towers are dedicated to the wives of these three men. The central towers all bear images of the Hindu god Shiva.
The works representing mythological figures.
Drawing on information from the excavation and stylistic comparisons, the pavement has been dated to the first half or middle of the 2nd century AD. A deeper examination of the pavement during its lifting and restoration allowed for an understanding of the construction techniques and the successive phases of installation of its different segments. While the ensemble was realised in situ, in opus tessellatum, the circular medallion, created in opus vermiculatum using miniscule elements, was composed within a workshop upon a terracotta base (the emblema technique) and then inserted into a space left empty in the centre of the shield. The border decorated with a guilloche was added at a third stage in order to camouflage the join between the shield and the emblema. By identifying the material used for the medallion and the guilloche, we can say that the creation of the panel and its insertion were carried out by the same team.
The Beach Club Hallandale represents the oceanfront lifestyle you are looking for. From the 50,000-square-foot spa and fitness center to the endless infinity-edge resort-style pools, onsite restaurants, and services found at 5-Star resorts, the Beach Club Hallandale is easy to call home.
The Beach Club Hallandale features some of the most dynamic and technological advancements in fitness, our skilled staff is dedicated to making you look and feel your best. Consulting trainers will make your experience the most efficient and effortless workout you have had. Your physical aspirations will soon become manifestations.
The Beach Club Spa is certain to change your life. “Desires” will become realities when they are part of your “home”. You can have a massage or get a facial...workout or relax...swim or just sit by the pool. Life here is about options and our spa and fitness center are no different.
Yes. We are the first living “experience” that is designed for people just like you...those who want more than most but think that they are worth it. Residents at The Beach Club Hallandale Spa and Fitness Center will finally realize what it was they were missing in life. While The Beach Club is going to redefine your lifestyle, our Spa and Fitness Center is going to make you look and feel better than ever before.
As if that wasn’t enough, the Beach Club Hallandale also features Azure, a poolside Bar & Café offering a wide variety of fare from a classic burger to grilled Mahi-Mahi or perhaps a Salad Nicoise while you sip on a Pina Colada. Holiday parties and weekend music with friends & fellow residents, imagine that.
For those that like to explore the ocean life, the Beach Club is also adjacent to a limestone reef, approximately 650 offshore from the towers which is enjoyed by both divers & snorkelers alike.
A 9-Acre Site with Over 500 Feet of Magnificent Ocean Frontage
Oversized Heated Swimming Pool and Spa Overlooking the Atlantic Ocean
Snack Bar with Pool-Side Services
Lushly Landscaped Grounds
Magnificent 2-Story Lobby Entrance
Spectacular Porte-Cochere
24-Hour Valet Parking
Multi-Level Covered Parking
Full-Time Concierge
Mail and Package Receiving Desk
24-Hour Security
Credit for the data above is given to the following websites:
www.emporis.com/complex/109540/the-beach-club-hallandale-...
© All Rights Reserved - you may not use this image in any form without my prior permission.
Lepe es un municipio español de la provincia de Huelva, Andalucía.
Es el municipio más poblado de la provincia tras la capital.
Fundada por los fenicios en un pequeño valle junto al río Piedras, Lepe ha sido poblada por romanos y árabes, conservando patrimonio histórico de estas épocas. Marineros leperos y vinculados a la villa de Lepe intervienen en el descubrimiento y la conquista de América, entre los que destaca Rodrigo Pérez de Acevedo, el primero en divisar las tierras americanas desde las carabelas del primer viaje de Cristobal Colón.
El Paraje Natural Marismas del Río Piedras y Flecha del Rompido es el principal exponente de patrimonio natural del municipio, dentro del cual se sitúa la playa de Nueva Umbría.
Lepe se sitúa en el centro de la comarca de la Costa de Huelva. Dista unos 35 kilómetros de la capital onubense y unos 20 kilómetros de la frontera portuguesa.
Dispone de un litoral amplio, con diferentes ecosistemas, dunas, playas, marismas, esteros.
The Great WARNING.
The field is the world, and the good seed represents the people of the Kingdom. The weeds are the people who belong to the evil one.The enemy who planted the weeds among the wheat is the devil. The harvest is the end of the world, and the harvesters are the angels.“Just as the weeds are sorted out and burned in the fire, so it will be at the end of the world.The Son of Man will send his angels, and they will remove from his Kingdom everything that causes sin and all who do evil.And the angels will throw them into the fiery furnace, where there will be weeping and gnashing of teeth.Then the righteous will shine like the sun in their Father’s Kingdom. Anyone with ears to hear should listen and understand! - Matthew 13:38-43 www.biblegateway.com/passage/?search=Matthew13:38-43&...
These women aviators represent the work done by the Air Transport Auxiliary (ATA). It was set up in 1939 as a civilian organisation to fly new, repaired and damaged military aircraft between factories, assembly plants, maintenance depots to active service squadrons and airfields. The first eight women pilots were taken on in 1940 initially flying Tiger moths. They later flew all types including heavy bombers and large transports. In World War II the ATA flew 415,000 hours and delivered more than 309,000 aircraft ranging from smaller planes such as the Spitfire and Mustangs to heavy bombers such as the Lancaster and American B17 Flying Fortress.
174 men and women pilots of the ATA were killed during the War.
They represent the first few years of my career. I chose making tiny size because it's easier to cast and if I made mistake, I would not waste much material. At that time, I was just graduated, didn't have much money and my father was against me. It's hard and tough, but I had nothing to lose.
Now the condition is much better, but I am worrying that maybe just one slip, I might loose everything. Hope not. :p
Minasan, kon'nichiwa! Hello Everyone .
I choose to represent Japan , because i have always been fascinated by its rich culture ,history , gastronomy and fashion , And i can state that japan has nothing to envy to milan , new York or Paris .
I still remember my self, when i was little boy hidding under the bed ,behind the curtains jumping and cutting the wind with invisible daggers , thinking i was a powerful and an invisible ninja .
The ninjas are warriors of the shadow also called Shinobi that means the one who hides . They are trained from early age in survival skills , weopanery and secret ninja martial arts that was called ninjutsu.
they hadde there own code of conduct sieled in a document called the bansenshukai , Hattori Hanzō also known as Hattori Masanari or Hattori Masashige was a famous ninja of the Sengoku era, who served Tokugawa clan as a samurai, credited with saving the life of Tokugawa Ieyasu and then helping him to become the ruler of united Japan.
Yes, this house represents Winter.
This photo was taken by a KИEB-60 medium format film camera with a Carl Zeiss Jena DDR Flektogon 4/50 lens using Fuji Pro 400-H film, the negative scanned by an Epson Perfection V600 and digitally rendered with Photoshop.
This and the Toledo in the next images along represent the sort of thing I like seeing at shows. This Rapier was particularly pleasing, being registered just a couple of months before I was born and with the first owner in Hove sharing my surname (I don't think he was a relation).
It was sold in 1973 and the next owner kept until the early '00s, by which time it'd done around 82-84,000 miles.
La ville Tavira est le siège d'un «municipio» de 607 km2 et 26167 habitants, divisée en 9 communes (freguesias). Le municipio de Tavira est limité au nord-est par le municipio d'Alcoutim, à l'est par Castro Marim, par la partie occidentale du conseil de Vila Real de Santo Antonio, au sud-ouest par Olhão, à l'ouest par São Brás de Alportel et Loulé, au sud par le littoral atlantique. Elle se trouve dans la zone «Sotavento» (Algarve oriental - sous le vent).
Le centre-ville avec des restes de murs de châteaux, des églises et des ponts de différentes époques ainsi que de très belles plages, le passé historique et les traces archéologiques intactes ont réussi à préserver la ville comme l'une des représentations les plus caractéristiques de l'Algarve. Comme la plupart des villes du sud du Portugal, Tavira possède un mélange d'héritage romain, arabe et chrétien. L'île de Tavira faisant partie du Ria Formosa, en fait une découverte unique.
Actuellement, Tavira, pleine de rues sinueuses et étroites, est caractéristique, avec quelques autres villes, de l'Algarve. La promenade à travers le centre-ville offre de belles et agréables découvertes bien que la ville ne soit pas très grande.
La rive gauche est Tavira Santa Maria. Sur cette rive se trouve plus particulièrement le côté résidentiel de la ville avec de nombreux restaurants dans les petites rues. C’est aussi sur cette rive que nous pouvons voir de nombreuses maisons ou petits immeubles recouverts d’Azulejos. Façades typiques de l’Algarve qui, avec ces Azulejos, permettaient d’offrir une belle décoration personnalisée ainsi que d’avoir une bonne étanchéité avec un minimum d’entretien.
Torcecuello euroasiático
(Jynx torquilla)
El más atípico representante de la familia de los pícidos en Europa es un ave de pequeño tamaño y críptico plumaje que poco tiene que ver con los verdaderos pájaros carpinteros. En efecto, el extraño torcecuello es incapaz de taladrar la madera, carece de algunas de las adaptaciones de los piciformes típicos y se comporta más como un paseriforme cuando se posa en las ramas o corretea por el suelo; sin embargo, conserva los hábitos
trogloditas y una larga lengua con la que asalta los hormigueros.
Descripción y Clasificación
Orden Piciformes; familia Picidae
Longitud 16-17 cm. Envergadura 25-27 cm.
Identificación
Este pícido de pequeño tamaño posee un aspecto característico y notables singularidades morfológicas que lo diferencian de los restantes componentes de la familia, dentro de la cual constituye una subfamilia independiente. En contraposición a los contrastados coloridos de otros pájaros carpinteros, el torcecuello luce una librea muy críptica, de color pardo grisáceo y profusamente manchada de punteados y barrados, que recuerda inmediatamente a la de los chotacabras o las rapaces
nocturnas. La especie no presenta apenas dimorfismo sexual y su aspecto general resulta bastante diferente del de otros pícidos, pues recuerda en ocasiones al de un paseriforme, ya que suele deambular a saltos por el suelo, prefiere posarse en ramas horizontales (en lugar de hacerlo por los troncos) y carece de algunas de las características propias del grupo, como las rígidas rectrices (sustituidas en su caso por largas plumas blandas) y el fornido pico para perforar la madera, algo que el torcecuello jamás intenta.
Canto
Produce un sonido nasal y lastimero —ki, ki, ki, ki—, que puede parecerse al de otros pícidos e incluso al de ciertas rapaces.
The CCTV Headquarters Building in Beijing, designed by Rem Koolhaas and Ole Scheeren of the architectural firm OMA, opened in 2012. This iconic structure serves as the headquarters for China Central Television (CCTV), the country’s national television broadcaster. It houses a variety of facilities, including television studios, offices, and media spaces, and is a key symbol of China’s growing influence in the media and global communications.
One of the most unique features of the CCTV Building is its bold, continuous loop design, which consists of two interconnected towers that form an innovative "crane-like" structure. This distinctive design eliminates the need for traditional support columns, allowing for open and flexible interior spaces. The building’s unusual shape, with its large, cantilevered sections and angular geometry, has made it an architectural landmark in Beijing, representing both China’s modernity and its ambition on the global stage.
What has become an annual event that just keeps on keeping on, is the Auto fest Spring car Nats held in Shepparton. Here is a link to the event organisers page, autofest.com.au/.
The event has been going for over 30 years, and for many there is no better way to spend the weekend than with like-minded people, as the entrants burn rubber with an excess of horsepower, that is thankfully quite obscene : )
There was and is everything from the go to woe, handling events, drifting, and of cause burn outs! Burnouts bouncing of the rev limiting, literally hitting the redline burnouts. How much rubber do they burn, enough so I can smell it from my house nearly a mile away : ) PS the smoke signals might be cultural appropriation, so some one should bring along a Pontiac and make it officially ok : P
Jack Danniels www.jackdaniels.com/en-au has a bar, so Tennessee is represented, although in the main part, not much American iron turns up at the event in comparison to the Australian contingent and Japanese cars.
V8s are the flavour, although you might be surprised like I was this year to see a Honda S2000 turn up, a pleasant inclusion, with one of the all-time great 4 bangers in it.
Black snot is a thing, that is if you can handle the close quarters action! You might like to take some year plugs, even then for about mile you will still be able to hear the cars at it.
As a car enthusiast I enjoy the day, friendly people getting their thing on, and having a great time.
PS. Make sure you drink lots of water, and keep hydrated!
Representing JR West's newest themed train is the third One Piece Shinkansen making its way over downtown Hiroshima on a Kodama service for Hakata.
Since the beginning of Spring 2025, JR West and the Japanese manga/anime One Piece partnered to wrap three 700 Series shinkansen's in different schemes. The first was "Setouchi Blue", put into service on April 12th, "Tony Tony Chopper" on May 28th, and the last one, "Monkey D. Luffy" on July 2nd. They're assigned to the slow Kodama services and one of the three run daily between Hakata and Osaka. Add in the Hello Kitty 500 Series (RIP), and the San-Yo shinkansen is a colorful racetrack.
JR San-Yo Shinkansen
JR 700 Series (One Piece Shinkansen, Monkey D. Luffy)
Hiroshima, Japan