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If you look closely at stained glass, you can see all sorts of themes: religion, flowers, art, music and even fruit. When considering the theme of fruit, in ecclesiastical stained glass, a bunch of grapes may signify the sacrament of Holy Communion. Grapes and vines can also represent the church itself. Pomegranates have diverse cultural-religious significance, as a symbol of life and fertility owing to their many seeds but also as a symbol of power (imperial orb), blood and death. Pomegranates already symbolised fertility, beauty and eternal life, in Greek and Persian mythology. The apple of course is the forbidden fruit in the Book of Genesis that Adam and Eve ate from the forbidden tree in the Garden of Eden. With Art Nouveau being the predominant architectural and design influence between 1880 and the start of the Great war in 1914, there was a great interest in portraying both stylised flowers and fruit in stained glass.
This year the FFF+ Group have decided to have a weekly challenge called “Snap Happy”. A different theme chosen by a member of the group each week, and the image is to be posted on the Monday of the week.
This week the theme, “fruit” was chosen by Gary, Gazman_AU.
I thought a collage of some of the examples of fruit themed windows I have photographed in Churches and private houses over the years might be suitable.
Top row far left, second and third from left: Detail of the King David window of St John’s Church of England, Heidelberg, designed and manufactured by William Montgomery.
Top row right: Detail of the Suffer the Little Children window of Holy Trinity Church of England, Balaclava, attributed to I. A. Gibbs and Howard, London.
Middle row left: Detail of a dressing room window of “The Gables”, Malvern, painter and manufacturer unknown.
Middle row second from left: Detail of a shop window, corner Brunswick and Bell Streets, Collingwood, painter and manufacturer unknown.
Middle row third from left: Detail of a window from the former Sassafras Methodist Church, Sassafras, manufactured by Brooks Robinson and Company.
Middle row second from right: Detail of the “Lay of the Last Minstrel” window, “Warwilla” (formerly “Redholme”), St Kilda Road, painted and manufactured by William Montgomery.
Middle row right: Detail of the King David window of St John’s Church of England, Heidelberg, designed and manufactured by William Montgomery.
Bottom row far left: Detail of an entrance hall window of “The Gables”, Malvern, painter and manufacturer unknown.
Bottom row second from left: Detail of the Virgin Mary window of St Ambrose’s Catholic Church, Brunswick, manufactured by Brooks Robinson and Company.
Bottom row third from left: Detail of a dining room window of “The Gables”, Malvern, painter and manufacturer unknown.
Bottom row second from right: Detail of the “Lay of the Last Minstrel” window, “Warwilla” (formerly “Redholme”), St Kilda Road, painted and manufactured by William Montgomery.
Bottom row far left: Detail of an entrance hall window of “The Gables”, Malvern, painter and manufacturer unknown.
Built to the specifications of architect George Reilly Cox, Saint John\'s Church of England in Burgundy Street Heidelberg, is a fine example of simple Early English Gothic architecture. The building was completed by April 1851. Comprising of a gabled nave, without aisles, a narthex below the west tower and a sanctuary and vestry at the east end, Saint John\'s Church of England is simple, unpretentious and elegant in its design. The nave and chancel are constructed of handmade bricks laid on a bluestone rubble plinth. The church features lancet windows in Early English Gothic style. It has a square tower surmounted by four pinnacles and crenulations. The roof is slated and contains small gable vents, and the roof drains to galvanised steel quad section eaves gutters. The gable parapets are fitted with galvanised sheet steel cappings. The formal opening of Saint John\'s Church of England took place on the 26th of October 1861. The church was dedicated by Bishop Perry the first Bishop of Melbourne on the 30th of September 1861 and named the Church of Saint John the Evangelist. The roof was completely replaced around 1856 with slate after the original shingles had deteriorated. The interior was plastered and the exterior brickwork was covered with cement. Another renovation took place in 1965 at the cost of $56,000.00. The vestry, choir room, chapel and new entrance porch were added at the original back of the church. Interestingly, the congregation today no longer use the 1965 entrance and have reverted to the original entrance. The choir room now serves as a Sunday school for the children of the congregation, whilst the newer chapel is not generally used at all.
William Montgomery (1850 - 1927) was an artist who specialised in stained glass painting and design. He was born in England in 1850, and studied at the School of Art in Newcastle-on-Tyne. In his final year William was awarded one of only three National Art Scholarships that year to study at South Kensington School of Art (now the Royal College of Art). He was employed by the leading London stained glass firm, Clayton and Bell, before joining Franz Mayer and Company in Munich, Germany. Over the next seven years he not only designed windows he also trained others in the English style of glass painting. William arrived in Melbourne, Australia, in 1886 during the Boom Period provided by the Gold Rush. Melbourne was at the time one of the wealthiest cities in the world, and was in the throes of a building boom. He quickly set up his studio at 164 Flinders Street in the heart of Melbourne, bringing with him the latest in European style and design and achieving instant success amongst wealthy patrons. He worked equally for Catholic and Protestant denominations, his windows being found in many churches as well as in mansions, houses and other commercial buildings around the city. This extended to the country beyond as his reputation grew. A painter as well as stained glass window designer William was a founding member of the Victorian Art Society in Albert Street, Eastern Hill. William became President of its Council in 1912, a position he held until 1916. He was a trustee of the National Gallery of Victoria. His commissions included; stained glass windows at Christ Church, Hawthorn: St. John\'s, Heidelberg, St. Ignatius\', Richmond: Christ Church, St Kilda: Geelong Grammar School: the Bathurst Cathedral and private houses "Tay Creggan", Hawthorn (now Strathcona Baptist Girls Grammar), and "Earlsbrae Hall", Essendon (now Lowther Hall Anglican Grammar School). The success of William Montgomery made Melbourne the leading centre of stained glass in the Southern Hemisphere. William Montgomery died in 1927.
The first Church of England built on the triangular site in Balaclava bordered by Brighton Road and Dickens Street was opened by Bishop Perry on January 29, 1871. It was a timber building accommodating about three hundred people. It stood where the Parish Hall now stands. Its designer was the architect Francis Maloney White (1819-1888) who lived nearby in William Street. In 1882 the architects Reed and Barnes, soon to become Reed, Henderson and Smart, were commissioned to design a new church. The first service took place on December 6, 1883. Due to the Parish\'s efforts to reduce the large debt that had been incurred in the construction of the church and the vicarage, the building of the spire was delayed. Regrettably this was never to be built. However, it gives Holy Trinity the feeling of an English country parish church.
The firm of I. A. Gibbs and Howard was established in England in the 1870s. Isaac Alexander Gibbs (1849 - 1899) was the youngest son of Isaac Alexander Gibbs (senior) and brother of the stained glass artists Alexander and Charles Alexander Gibbs. His partnership with William Wallace Howard (born 1856) was established before 1879 in London. The firm continued after the death of Gibbs under Howard until about 1915.
Built in 1902 for local property developer Lawrence Alfred Birchnell and his wife Annie, “The Gables” is considered to be one of the most prominent houses in the Gascoigne Estate. The house was designed by Melbourne architect firm Ussher and Kemp in what was the prevailing style of the time, Queen Anne, which is also known as Federation style (named so after Australian Federation in 1901). Ussher and Kemp were renowned for their beautiful and complex Queen Anne houses and they designed at least six other houses in Finch Street alone. “The Gables” remained a private residence for many years. When Lawrence Birchnell sold it, the house was converted into a rooming house. It remained so throughout the tumultuous 1920s until 1930 when it was sold again. The new owners converted “The Gables” into a reception hall for hire for private functions. The first wedding reception was a breakfast held in the formal dining room in 1930, followed by dancing to Melbourne’s first jukebox in the upstairs rooms. Notorious Melbourne gangster Joseph Theodore Leslie “Squizzy” Taylor was reputed to have thrown a twenty-first birthday party for his girlfriend of the day in the main ballroom (what had originally been the house\'s billiards room). “The Gables” became very famous for its grand birthday parties throughout the 1930s and 1940s. With its easy proximity to the Caulfield Race Course, “The Gables” ran an underground speakeasy and gambling room upstairs and sold beer from the back door during Melbourne’s restrictive era of alcohol not sold after six o\'clock at night. Throughout its history, “The Gables” has been a Melbourne icon, celebrating generation after generation of Melbourne’s wedding receptions, parties and balls. Lovingly restored, the atmosphere and charm of “The Gables” have been retained for the future generations.
The former Sassafras Methodist Church, perched on the upper side of the hill, overlooking the Sassafras township had its foundation stone laid on the 18th of October 1902. A plaque records: Sassafra Church - the original of - this block was laid - by - Mrs D Stones - on October 18th 1902 - John Storrie. A Gothic Carpenter church, it is made of wood and is of simple design with simple stained glass windows. The church ceased in the 1970s and was eventually sold. For many years it was “Brother John’s”, a restaurant and wedding venue. Today it is “Dine Divine” a café that specialises in light luncheons and Devonshire cream teas, the latter being quite delicious.
Surrounded by modern office and apartment blocks the grand red brick mansion “Warwillah”, built on the corner of Beatrice Street and St Kilda Road, is one of the few remaining examples of a time Melbourne’s St Kilda Road was still a grand boulevard of elegant residences. In March 1875 the government announced that the land on the western side of St Kilda Road would be alienated from parkland and that the land would be sold for residential purposes. Following the subdivision, a gentleman of means named Rudolph D. Benjamin purchased the land on which he planned to build an elegant residence as befitting his station. Designed by well known Melbourne architect John Beswicke, “Redholme” was a sixteen-roomed brick mansion built on Mr. Benjamin’s block in 1896 by the builder James Downie. Although not in the Benjamin family, “Redholme” survived the death taxes that came after the Great War and the Great Depression of 1929. It was still a privately owned home in its entirety in 1939 when it was owned by Mr. and Mrs. C. J. Reddish. Sadly, after the Second World War, “Redholme” changed ownership, usage and even name. From the early 1950s, the red brick building became the “Warwilla Guest House”. The name “Warwilla” is what the house has been known as ever since. “Warwilla” is an unusual mansion as it is an early example of a transition from Modern Gothic to Queen Anne design. The red brick tuckpointed facade is asymmetrical with picturesque massing, but the larger half-timbered gable and cantilevered banked window on the south side is balanced by the octagonal corner tower and ‘candle snuffer’ roof on the north. The Modern Gothic is suggested by the depressed pointed arches to main openings, and engaged colonettes at the porch entrance, whilst the half-timbered gable, octagonal tower with ‘candle snuffer’ roof and Art Nouveau stained glass windows are very much stylistic elements of Queen Anne architecture. These elements were to remain popular for at least another decade. The tall banded brick chimneys (done in the style of Henry Kemp) dominate the terracotta tile roof, as do the decorative finials which include a dragon.
In 1869 the foundation stone was laid for Saint Ambrose\'s Church at 287 Sydney Road, Brunswick. The land for the church was donated by Mr. Michael Dawson, a resident of the neighbourhood. In 1873 the church was completed at a cost of £6,000.00. Parishioners Sebastian Danielli and his wife Harriet Bagatti, who had arrived in Brunswick in 1859 after being married in Milan the previous year, suggested the name Saint Ambrose\'s as the name for the church because St Ambrose was a much loved bishop in Milan in the 4th Century. All their children were born in Brunswick and baptised at Saint Ambrose’s. In 1888 Brunswick was proclaimed a town and it had a population of 14,792. In 1890, Saint Ambrose\'s became a parish in its own right, being made independent from the Coburg parish. With the need for a larger church, the present church was extended in 1899 when the transepts, with the sanctuary and the two chapels, the porch and the baptistry were added. The memorial stone was laid near the door of the northern transepts on 19 February, 1899. The parish church building is of a late Gothic style and is one of the finer churches of Melbourne, built in bluestone, with a timber supported ceiling, a 19th century organ and high quality stained glass windows.
Brooks, Robinson and Company first opened their doors on Elizabeth Street in Melbourne in 1854 as importers of window and table glass and also specialised in interior decorating supplies. Once established the company moved into glazing and were commonly contracted to do shopfronts around inner Melbourne. In the 1880s they commenced producing stained glass on a small scale. Their first big opportunity occurred in the 1890s when they were engaged to install Melbourne\'s St Paul\'s Cathedral\'s stained-glass windows. Their notoriety grew and as a result their stained glass studio flourished, particularly after the closure of their main competitor, Ferguson and Urie. They dominated the stained glass market in Melbourne in the early 20th Century, and many Australian glass artists of worked in their studio. Their work may be found in the Princess Theatre on Melbourne\'s Spring Street, in St John\'s Church in Toorak, and throughout churches in Melbourne. Brooks, Robinson and Company was taken over by Email Pty Ltd in 1963, and as a result they closed their stained glass studio.
Author's Note: The contents of this chapter include very sensitive subject matter and may be triggering to some individuals. Scenes of abuse of various forms are represented as not only for storytelling, but to raise awareness of what this behavior looks like. Abusive behavior in this story includes, but is not limited to: physical abuse, mental abuse, verbal abuse, gaslighting, manipulation, intentional triggering of another's PTSD, and trauma. In no way are these scenes intended to purposely trigger or harm anyone.
...
"...Vincent, it's me! Open the door! I need to talk to you now!"
After such an exciting (though socially exhausting) day, hearing Damien's persistent tone on the other side of the door caused him to tense as if he'd been doused with cold water. This was not how he would have liked to end his day! He really didn't want to deal with Damien right now, but he couldn't pretend he wasn't home anymore. He'd hoped Damien would have let him know before coming over. Vincent already felt a stress-headache coming on. He put the safety back on his pistol and gave a soft sigh. He could do this.
But as Vincent reached for the lock so he could let Damien in, the door was knocked on again! Vincent stared at the door and scowled. Well, that was rude of him, he thought sourly. He was sorely tempted to leave Damien out there even longer but then Damien called through the door again, "Come on, Vincent! Don't leave me out here like this. I thought you said you wanted to talk this out!"
Inhaling sharply through his nose, Vincent grit his teeth. Damien didn't need to make such a loud commotion for the whole building to hear! Deciding just to get this over with he let out some tension as he exhaled. Then he reached for the door, unlocked it, and pulled the door open to stare stoically up at his best friend of six years with his pistol resting at his side defenselessly.
Damien stared back at him with a look Vincent had seen many times; just never directed at him. In his interrogation mode, Damien's brows furrowed deeply and eyes darkened a certain way that could send chills down the spine of almost anyone who received it. His arms were folded over his chest and, in Vincent's opinion, he looked more impatient than he'd ever seen him. Vincent, however, was not like most people, and he maintained his stoic exterior. But oh, he was offended! Who the Hell did Damien think he was?! He opened his mouth to put Damien in his place but Damien cut in just a tiny bit faster.
"Are you alone?" Damien demanded quietly. Vincent blinked at him with just a hint of surprise at this question. He barely had a chance to utter, "Yes?" before Damien nodded and brushed past him to enter the flat. He grunted, "Good. We have much to discuss and I don't want any interruptions this time."
"What is the meaning of this?" Vincent asked incredulously as he pushed the door closed with a groan. "I was expecting you to let me know when you were coming over first. You always let me know first." And when he turned to look at Damien, he found Damien standing nearly an arm's length away and glowering at him.
"Well, I was expecting a bit more loyalty from YOU!"
"Loyalty?!"
"Yes! Why should I do what you want me to do when you won't do what 'I' want? All I wanted to do was to talk this out....just you and me. And all anyone else can do is put their nose in where it doesn't belong."
"It had nothing to do with Aiden!"
But at the mention of their engineer's name, Damien's nostrils flared and he spat out, "See how quickly you think of 'him?' You are proving my point. No, Vincent, it has EVERYTHING to do with YOU!" He pointed his finger right at Vincent's chest and accused, "You are throwing me to the side like a discarded, rotted apple core on the side of the road for the rats! I didn't even mention anyone in particular and already your mind went to him! Aiden this! Aiden that! Why does he even matter anyway?" Damien pressed his hands to his own chest and his expression implored Vincent to see his side as he pleaded, "Don't you care about me at all, Vincent?"
Fleetingly, Vincent was amazed that Damien had the courage to behave and speak to him like this when Vincent was armed. Despite his calm exterior, he was growing more confused and upset at Damien's onslaught of unexpected feelings. However, it was as Aiden was brought up that it shifted into anger. Vincent was done. He was going to put him in his place once and for all! But damn it all Damien asked him if he cared about him at all and Vincent felt like the wind had been knocked out of him! He felt as if he couldn't focus on what he was upset about anymore as he grappled with the unexpected, emotional question.
Of course he cared about Damien! Damien was like a brother to him! He loved him as much despite their current situation. It was what made it hurt so much worse as each second of this whole interaction passed. Had....he been unfair to Damien somehow? He did want to work things out! After all, he'd gone to Damien's temporary residence as Damien had told him before many times to do if he ever needed anything. Unlike Vincent, Damien didn't care if anyone simply dropped in. Damien's sister had insisted once before that it was fine if he stopped in anytime. Honestly, he'd wondered if Damien had nudged her into it but he was grateful to be able to see his friend all the same.
"Of course, I care about you," Vincent relented as his stoic expression faded and a small, sad frown pulled at his lips. Was that how Damien felt about him? About their friendship? "That's not fair, Damien. How can you even say that after everything we've been through?"
"I can say the same about you," Damien responded with just a touch of edge in his voice as he reached out with his metallic arm and pressed his mechanical hand to the door behind Vincent and leaned in slightly; almost a touch dangerously. It made Vincent tense involuntarily as he stared back up at him. However, Damien's voice softened and he sounded and looked hurt.
"I just wanted to talk. And you sent me away."
"I-I just..."
"You just what, Vincent?"
Vincent shrank back slightly against the door and gazed up at his best friend before sighing. Finally he replied, "I'm sorry. I didn't mean to make you feel like you don't matter." At his words, Damien's aggression dissipated as he smiled more. "I knew you would understand. I forgive you," Damien responded as his hand slid to squeeze Vincent's shoulder before resting there. Vincent glanced at his hand then gave a small nod before turning and brushing past Damien to head towards the veranda to get some air. As he walked past a bookshelf, he set down his gun then proceeded to run his hands through his hair. Bloody Hell...
Damien let his hand fall to his side as he turned slowly in place to visually follow Vincent's figure as he made to step outside. His eyes narrowed before he began to follow him out. Was something else wrong?
Out on the veranda, Vincent inhaled slowly and deeply through his nostrils before slowly exhaling as he glanced up at the evening sky. While he didn't mean to make Damien feel like he didn't matter, Damien's behavior as of late was....not okay. He really needed to talk to him about it. He needed to get to the bottom of it once and for all. Vincent could hear Damien following him out onto the veranda behind him. This was his chance to talk it out....just the two of them.
"Look... Damien..." Vincent turned to face Damien and he spoke sincerely as he tried to reason and understand. "I don't know what's been going on lately. I don't like this contention going on between us. I want you to talk to me. Tell me what's going on."
"There's nothing to talk about. You already apologized."
"Yes but that's not what I'm talking about."
"Then what ARE you talking about?"
"The contention going on between us lately; 'before' just the day before. Surely, you've felt it too?"
"Contention?"
"Yes. That's what I said."
"I don't know what you mean."
Damien looked genuinely confused! Vincent just couldn't understand why Damien didn't see what he was talking about. If he was being honest with himself, he had only noticed it during the last few weeks. Prior to that, they'd gotten on well enough and had always been able to work things out. It only seemed to be getting worse....and for some reason it felt like it was only around Aiden. He couldn't quite figure it out. Surely, that couldn't be it, he thought. Surely, Damien would tell him if he had a problem with Aiden! Up until the day before yesterday, the two seemed to have worked out whatever problem they had. But apparently they hadn't and something still seemed off between them even the other day. But...hadn't it always? Vincent had not forgotten what Bernadette had told him about Damien and Aiden's quarrel while he was still abed with high fever. He trusted she would never lie to him; especially about something like that. Therefore, he had taken her word that they had worked it. After all, Aiden hadn't come to him about Damien's misconduct. Was there not as big of a problem as he believed it was? Or was it just worse under the surface?
"Well," Vincent cleared his throat and began calmly, "that aside, I wanted to talk to you about something else. Just...I want to have a heart to heart, okay? Two days ago-"
"But you-"
"Don't interrupt me. Please let me finish."
Damien scowled but he closed his mouth and folded his arms over his chest defensively. However he did keep his mouth closed as he quirked his brow at Vincent and waited for whatever he was going to tell him. Opposite him, Vincent stared up at him calmly and waited for him. Once he saw Damien was actually going to listen he continued.
"Two days ago when you and I were speaking, some of the things you said to me were out of line." Vincent watched Damien's jaw tighten as his jaw clenched. Vincent felt a sinking feeling in the pit of his stomach but tried to explain how he felt anyway. "You really hurt my feelings; especially when you accused me of being too intoxicated." And, sure enough, he'd barely had a chance to utter the last word of his sentence before Damien cut in defensively, "Well YOU hurt MY feelings!"
"I know, and I already apologized. But I still want to talk about what you-"
"You know I can't help what I say when I get angry!"
"Damien, don't you see?! THIS is what I'm talking about! We never argue like this!"
"You are just mad that I called you out on it!" He took a step closer and poked Vincent's chest which caused him to gasp in surprise! "It's not MY fault you like to overindulge in alcohol and herbs! Damn it, Vincent! You know what? Sometimes it's hard to tell if it's 'you' I'm talking to, or your addictions!"
Vincent's face fell, and for the second time this week he very nearly broke down completely. He bit his lower lip and gave a small nod before turning and facing away from Damien. He defensively folded his arms over his chest as his shoulders sank depressingly. That had hurt. It had hurt a lot. Was that really how Damien felt?
Damien sighed. He ran his hands over his face then peeked at Vincent through his fingers. Vincent still wasn't looking at him. He was just...standing there dejectedly and hurt. Frowning slightly, Damien stepped closer and placed his hand on Vincent's shoulder. At his touch, however, Vincent turned away more; clearly not wanting to be touched.
"What do you want me to say, Vincent? I'm sorry, okay?"
After several seconds of no response, Damien huffed and leaned around him and peered at the side of his face. Still nothing. In fact, Vincent turned his head away from him even more! 'Damn it all!' Damien thought. He groaned softly and leaned his forearms against the railing and leaned against it. He hung his head down slightly before glancing back at Vincent.
"Come on. You know I didn't mean that," he tried again, his voice softening. This time he sounded more sincere. "I really am sorry, Vincent. You know sometimes I say things I don't mean. Don't let this silly misunderstanding ruin what we have." At this, Vincent took a deep breath and slowly let it out before turning to glance over his shoulder at Damien, his gaze lifting towards his face but unable to meet his eyes.
"Is that what you really think of me?"
"I just said I didn't. Look, why don't we just start over and put all this behind us? We agree there have been misunderstandings and things done and said that we don't mean."
Vincent licked his lips as he considered that. Maybe Damien was right and it would be best to put it behind them and move on from it. While things had never escalated this much, they had done the same thing in the past once they reached an understanding. It always seemed to work out and they were fine again. Though, this time Aiden was a third party in this. Would things be okay with Aiden too?
"What about Aiden?"
"He will be fine! And if he can't work this out with me, it's not a big deal. He can leave just like the others did and go back to that little garage you plucked him out of." Damien gave a noncommittal shrug then confidently slid his arm around Vincent's shoulders and drew him to his side with an encouraging grin. Much to his delight he watched as Vincent lifted his gaze to finally look at him and gave a small smile and replied, "I suppose you're right."
"Of course I am!" Damien tightened his arm around Vincent's shoulders and jostled him gently with a chuckle. "You and me against the world, right?"
Vincent smiled a bit more and nodded. "Yeah, you and me against the world." Damien grinned and looked up at the sky and continued to ramble on about how he couldn't wait to get back up into the air. Beside him, Vincent's gaze lowered and he looked down at the railing. He could feel his mood sinking more and more. He couldn't help feeling like he hadn't really had a chance to get out what he wanted to say. It felt unfinished on Vincent's end but they HAD agreed it was a misunderstanding and to just move on from it. He decided to push it down and just...tuck it away. Perhaps things would just get better after all; just like Damien was saying. However, there was still something he couldn't seem to shake.
While he had voiced his agreement, the idea of Aiden leaving because he couldn't work things out with Damien made him feel even worse; somehow even worse than this unfinished business with Damien. Aiden was NOT like the handful of others who had departed from Leon's Claw. Aiden was special...important. He didn't want to see him go!
"...and in a few weeks your ribs will be healed! Guh...I'm so bored. I can't wait to get back in the air again," Damien was saying beside him. He appeared not to notice Vincent's quick-sinking depression. Perhaps it was better that way, Vincent figured. He really didn't want to upset Damien even more tonight. He was tired and growing more and more exhausted. Honestly, he just wanted to be done. He wanted to be alone. More than anything, he just wanted to escape. However, Vincent noticed Damien didn't seem ready to leave anytime soon. He'd have to do something about that.
"You're right!" Vincent replied with a small smirk, nudging Damien gently with his elbow as an idea had suddenly come to him. All he had to do was play along to keep Damien in a good enough mood. "Just a few more weeks. You're worried about being bored right? So why don't you keep yourself entertained by going to your family's gathering?" Damien opened his mouth and was about to interrupt but Vincent turned in Damien's arm and quickly added, "I know you want to stay here with me but all I'm going to be doing is sitting around. Boring. I'm boring."
"Are you trying to get rid of me?"
"I am pointing out the benefits if you go...such as the amazing food you KNOW will be there and you can share all your new adventures with everyone. It's been a long while since you've been there. You know everyone loves to hear when you tell a story! It would be fun!"
Damien gave a smug smirk and shrug as Vincent stroked his ego. He was right: everyone DID enjoy a good story and Damien had plenty to share now. The younger generations of his family all seemed to look up to him. It never failed to boost his ego.
"Honestly," Vincent continued, "you won't miss a thing. I intend to spend the next few weeks with my nose in a book."
"You'd rather choose a book over my company? How nice."
"Hmph! I keep telling you I'm not nice!"
Damien laughed and lifted his arm off of Vincent's shoulder so he could turn and face him properly as he leaned against the railing. Vincent turned fully to face him and gave him a small, amused smirk. "There are no plans except to sit and rest. Honest. No more adventures for me for a while. I am going to be resting. Bernadette's orders. Go with your sister. Go enjoy your vacation away and just have fun! You deserve it! You'll be back in three weeks from now, yes? By then my ribs should be good enough to go sailing! You and I can go together and then you can tell me all about your trip. It will give us both something to look forward to!"
"Fine," Damien finally agreed with a small chuckle. "I suppose you're right." He chuckled before he reached over his head and stretched and felt his back pop where he needed it and let himself drift off with thoughts of going to his family reunion after all.
"Good! It's decided!" Vincent agreed before Damien could change his mind. He had to fight to actually sigh with relief. While he truly did enjoy Damien's friendship, right now he really needed time away from him. It was best just to let him be happy and just...get past this for now. Maybe one day they could actually talk this out like he wanted to. He also figured that this time apart might be just what Damien and Aiden needed as well.
"Well since I'm here why don't we have dinner at The Fat Lady's? We can celebrate getting past all this messy business!" Damien was saying, but already Vincent felt his stomach lurch at the idea; especially at the mention of the tavern where Thorn and Micah had accused him of gambling. He smiled weakly and shook his head. "I appreciate the offer, but I think I will need to postpone. Why don't we celebrate tomorrow instead?"
"How come?"
"How come? Because I am not ready to go out tonight. I have a headache brewing, my ribs are aching, and I was not prepared for company let alone ready to go out in public tonight." Vincent pleaded exhaustedly. He just wanted to be left alone! And indeed, Damien finally began to see how tired Vincent looked. He did look a bit pale, didn't he? His brow furrowed in concern and asked, "Vincent, why didn't you say so? I could have just come back another time!"
Vincent fought back the knee-jerk reaction of angrily calling Damien a rather creative, colorful name. Instead, he sighed and just snorted at the irony of the situation and went to head back inside. Damien could have started with that when he first arrived! he thought.
Finally Vincent managed in a convincing voice as he paused at the door: "It's fine. Don't worry about it. Come on. I'll see you out."
NEXT PART:
www.flickr.com/photos/153660805@N05/52966552948/in/datepo...
To read the rest of the story, here's the album link:
www.flickr.com/photos/153660805@N05/albums/72157717075565127
***Please note this is a BOY LOVE (BL/yaoi/gay) series. It is a slow burn and rated PG13!***
Special thank you to my husband Vin (Be My Mannequin? Pose Store) for collaborating with me on this series and co-starring as The Captain!
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"The Wheel of Life"
Yesterday was the most beautiful inspirational day I've had in a long time, I walked for miles on a beautiful winters day up to my ankles in squelchy mud I love, read books, nearly fell into the river and dropped my camera! But they were all nearly's and I had the best day!
Today, I was at work...
This represents to me the coming of a much needed spring, the regrowth from what we thought was dead and long gone, and the mystery of life's ever turning wheel
This image taken in my back yard playground of the Canadian Rockies represents another early winter moment. Brief, although not quite as short lived compared to the conditions in my previous shot "From the Mists". This section of the Rockies is continually much cooler then the surrounding areas throughout the year, mainly due to the enormous glacier which rests on top of the peaks. Even in the middle of summer you can constantly feel cold air pouring off the mountains throughout the day. Because of this fact, this area is the first to freeze and be covered with snow. This winter all of the surrounding glacial ponds and streams were turned into a featureless white blanket within 3 days of our first big snow, making for a limited amount of time available to capture interesting images. Just as the creeping white of winter started closing in on the surrounding landscape, the intense cold formed many beautiful ice sculptures lining the water's edge. Luckily our timing here was perfect on this -30 celsius late afternoon.
What makes this image just a little more interesting to me is that the main formation pictured here is not a stand alone mountain at all. It is actually the remaining stone resting between 2 huge glacier tongues which carved out it's shape. Over the course of 2014 I spent over 2 weeks camping in this area, and not once did I ever point my camera in this direction prior to this outing. The only thing that made this scene shootable is how the towering walls of stone and ice behind have been shrouded in atmospheric light and cloud, fully isolating this formation. In photography sometimes all the preparation and scouting in the world will be thrown out the window when the time comes to capture a final image. This happens more often then not during winter photography if I am perfectly honest, but that is half the fun of it!
Anyways, thank you all for viewing and reading. Now that I am back home I am looking forward to releasing more fresh images, many featuring more unique formations of the cold!
"Ce tableau constitue une des premières représentations du prolétariat urbain. Si les paysans (Des glaneuses de Millet) ou les ouvriers des campagnes (Casseurs de pierres de Courbet) ont souvent été montrés, les ouvriers de la ville ont très rarement fait l'objet de tableaux. Contrairement à Courbet ou Millet, Caillebotte, bourgeois aisé, n'introduit aucun discours social, moralisateur ou politique dans son oeuvre. L'étude documentaire (gestes, outils, accessoires) le place parmi les réalistes les plus chevronnés.
Caillebotte a suivi une formation académique auprès de Bonnat, et la perspective accentuée par l'effet de plongée et l'alignement des lames de parquet est conforme à la tradition. L'artiste a dessiné une à une toutes les parties de son tableau, avant de les reporter au carreau sur la toile. Le torse nu des raboteurs est celui de héros antiques. Mais loin de s'enfermer dans ces exercices académiques, Caillebotte en exploite la rigueur afin d'explorer l'univers contemporain de manière inédite.
Présenté au Salon de 1875, le tableau est refusé par le Jury, sans doute choqué par ce réalisme cru (certains critiques ont parlé de "sujet vulgaire"). Le jeune peintre décide alors de se joindre aux impressionnistes et présente son tableau à la seconde exposition du groupe en 1876 où Degas expose ses premières Repasseuses. Les critiques sont impressionnés par cette grande page moderne, Zola notamment qui condamne cependant cette "peinture bourgeoise à force d'exactitude"." Notice du Musée d'Orsay
Neri di Bicci (Florence, 1418/1420 - Florence, 1492) - Detached fresco, representing St. John Gulberto and saints Valleombrosiani (1455) - Basilica of Santa Trinita, Florence
Affresco staccato proveniente dal chiostro del soppresso convento vallombrosano di S. Pancrazio in via della Spada. Nel chiostro l'opera era rimasta nascosta da una vetrata, insidiata dalla polvere e dall'umidità delle emanazioni del tabacco depositato quando il locale era adibito a manifattura. Su richiesta di P. Nocioni di S. Trinita la Soprintendenza ha concesso lo stacco del grande affresco che, dopo un restauro diretto da U. Baldini, è stato collocato nei primi mesi del 1973, in occasione del IX centenario della morte del Santo fondatore dei vallombrosani, entro la cappella Compagni. L'autore, Neri di Bicci, nelle sue "Ricordanze" del 1 marzo 1455 descrive minuziosamente l'opera che considera come la più importante della sua produzione e si dice d'accordo col committente, l'abate di S. Pancrazio don Benedetto Toschi, per il compenso (lire 159). In effetti l'opera, relativamente alle altre del pittore, è concepita in modo grandioso, ispirandosi ad architetture brunelleschiane anche se rese più superficiali con l'aggiunta di una decorazione esuberante. Nell'affresco il committente è raffigurato in ginocchio in basso a sinistra. Il pittore è l'ultimo rappresentante di una famiglia fiorentina di artisti, subentra al padre Bicci di Lorenzo nella conduzione della bottega verso il 1455. Pur mostrandosi aggiornato alle novità rinascimentali, nella sua produzione estremamente uniforme attraverso gli anni, resta legato ad un gusto ritardatario, caro alla committenza meno colta per cui lavorava.
Detached fresco from the cloister of the suppressed Vallombrosian convent of S. Pancrazio in Via della Spada. In the cloister the work had been hidden by a glass door, undermined by the dust and the humidity of the emanations of the tobacco deposited when the room was used as a manufacture. On request of P. Nocioni of S. Trinita the Superintendence has granted the detachment of the great fresco that, after a restoration directed by U. Baldini, has been placed in the first months of 1973, in occasion of the IX centenary of the death of the Saint founder of the vallombrosani, inside the chapel Compagni. The author, Neri di Bicci, in his "Ricordanze" (recollections) of March 1st 1455, describes in detail the work that he considers the most important of his production and he agrees with the client, the abbot of S. Pancrazio don Benedetto Toschi, for the compensation (159 lire). In effects the work, relatively to the others of the painter, is conceived in grandiose way, inspired to Brunelleschi's architectures even if made more superficial with the addition of an exuberant decoration. In the fresco the client is depicted kneeling in the lower left corner. The painter is the last representative of a Florentine family of artists, takes over from his father Bicci di Lorenzo in the management of the workshop around 1455. Although showing up to date with the innovations of the Renaissance, in its production extremely uniform through the years, remains tied to a late taste, dear to less cultured customers for whom he worked
A ‘Mass’ demonstration by ‘The Extinction Rebellion’ group taking place along Deansgate, Manchester, UK.
Joe public are up in arms with the police and the local council as they allowed the 4 day demonstration to take place along Deansgate, the main route through the City centre; chosen by the demonstrators as they say it is the most polluted street in the City. In defence of the police they maintained that allowing the closure of the road would result in less trouble and fewer arrests; I don’t know if there were any. This young lady was the sole person on view, representing the City of Hull, in their encampment; she looked extremely cold. Looking in the other direction, (behind me), the scene wasn’t much better; in other words not a great turnout. This had nothing like the impact the demonstration had in London a few weeks back. The weather wasn’t great but I still think the turnout would have been poor.
Hawk Mountain Sanctuary is a wild bird sanctuary in Albany Township and East Brunswick Township, located along the Appalachian flyway in eastern Pennsylvania. The sanctuary is a prime location for the viewing of kettling and migrating raptors with an average of 20,000 hawks, eagles and falcons passing the lookouts during the late summer and fall every year. The birds are identified and counted by staff and volunteers to produce annual counts of migrating raptors that represent the world's longest record of raptor populations. These counts have provided conservationists with valuable information on changes in raptor numbers in North America.
The above information is from Wikipedia: en.wikipedia.org/wiki/Hawk_Mountain_Sanctuary
Myanmar represents a complete departure from any destination I've ever photographed before. It is a cultural destination, and traveling around the country with two local photographers for nearly three weeks, we were fully immersed.
Low-light portrait of praying novice monk, Maing Thauk, Lake Inle, Shan State, Myanmar.
This is a copyrighted image with all rights reserved. Please don't use this image on websites, blogs, facebook, or other media without my explicit permission. I will stop posting again if these images turn up in places I did not allow them to. See profile page for information on prints and licensing.
Bản quyền hình ảnh. Không sử dụng mà không được phép.
Авторское изображение. Не используйте без разрешения.
受版权保护的图像。未经许可，请勿使用。
© Tom Schwabel, All rights reserved
Description: Planetary Nebulae represent the late evolutionary stage of low to intermediate mass stars. As these stars reach the final stage of their existence they enter the AGB (asymptotic giant branch) phase. As early AGB stars they begin to lose mass through dense but slow winds. This phase is followed by more profound mass lose through tenuous fast winds or superwind phase. The dynamic interaction between fast and slow winds ultimately forms the complex shell structure of Planetary Nebulae.
M97, more popularly known as the "Owl Nebula" is an older planetary nebula (PN) with a circular morphology and a bland inner structure. It is one of about 1600 planetary nebulae discovered in the Milky Way. The Milky Way has an estimated population of about 10,000 planetary nebulae. The low number is due to the brief time they exist, less than 50,000 years. M97 is at a fairly advanced stage as the superwind from the central star has long since ceased. M97 has a triple shell structure consisting of a round double shell comprising the main optical nebula and a faint bow-shaped outer shell which is very faint. The outer halo formed from material ejected thousands of years ago during the dying stars red giant phase. It continues to interact with the surrounding interstellar medium as the PN moves through space. The central star is a hot dead cinder of about 0.6 solar masses which produces abundant radiation from its 110,000 degree surface temperature.
Astronomers have had increasing success at building three dimensional models of planetary nebulae from two dimensional data. The models are based however on three assumptions: 1) material in the nebula moves exclusively in radial directions 2) each shell is ejected at different time epochs 3) each shell is composed of sub-shells that expand with velocities proportional to their distance from the center. The double shell of the main nebula is about 1.3 light years in diameter and has an expansion velocity of 40 kilometers/second. The inner shell is slightly elongated and the outer shell is round. The outer halo is bow shaped and has no measurable expansion velocity.
There are two distinguishing features of the Owl Nebula. The first is the presence of a central bipolar cavity excavated by the superwind of the central star. The second peculiar feature is the lack of a bright rim. The superwind that carved out the central cavity has since ceased allowing nebula material to backfill the cavity and smear out any bright rim that previously existed. The higher density of the material along the rim of the cavity is responsible for producing the forehead and beak of the owl. The bipolar cavity forms the characteristic eyes of the owl.
A reasonable conjecture regarding the evolutionary history of M97 begins in the early ABG phase of the dying star. The first event was the early slow wind which plowed into the interstellar medium forming the outer halo. During later stages of the ABG phase high mass loss occurred in the superwind phase which formed the main body of the planetary nebula. (Text: www.robgendlerastropics.com/M97text.html)
This picture was photographed March 17-18 2013 in Khlepcha observatory, Ukraine.
Equipment: reflector S&D 254 mm. f/4.7
Mount WhiteSwan-180, camera QSI-583wsg, Tevevue Paracorr-2. Off-axis guidecamera Orion SSAG.
LRGB filter set Baader Planetarium.
L=20*600 sec., bin.1 RGB: 10*450-600 sec. each channel, bin.2 Total 7.5 hours.
Processed Pixinsight 1.7 and Photoshop CS5.
© 2014 SCOTT A WOODWARD photography
Representing Dublin Bus these days are 3 different types of Volvo low floor decker. From the left, E400 bodied B9TL, Wright Gemini 3 bodied B5TL and ALX400 bodied B7TL.
Detalle de una pintura que representa un Santo Entierro, realizado con no demasiada pericia.
Aprovecho para hacer una petición: si alguien se acerca a Salamanca y visita el pequeño, pero interesante y remozado Museo Catedralicio que se halla en las Salas Capitulares de la Catedral Vieja, que me diga el autor de esta obra.
There are several "readings" of this symbol.
7 eyes is a bead of "attention". As the Tibetan simply explained to me, the owner of the bead will be heard, noticed, perceived and remembered.
According to a more common version, the Tibetan dZi bead 7 eyes symbolizes the constellation Ursa Major. The 7 eyes of the Dzi bead represent the 7 stars from this constellation. In Tibet, it is believed that Ursa Major is a manifestation of the seven Buddhas of medicine.
The main task of these seven Buddhas is to free all living beings from diseases of an external and internal nature. The main Buddha of medicine, or the guru of medicine, is depicted with a blue body, which symbolizes wisdom and that he is an emanation of the healing power of all the buddhas. In his left hand he holds a bowl filled with healing nectar, and in his right hand he holds a medicinal plant.
The Buddha of Medicine helps a person to awaken bodily and mental powers that we can use to heal ourselves and help other people. These are not some external forces that help us, this is what is inside us, in our consciousness. These are the dormant forces that can be awakened by meditation, awareness of the moment "now", visualization and other spiritual practices.
When awakened, this inner source exerts tremendous healing power. It opens the reserves of the human body and spirit and is able to most fully reveal the true personal potential of a person. Tibetan dZi bead 7 eyes helps in revealing this inner potential.
Représentation artistique de la nuée ardente s'abattant sur la ville de Saint Pierre lors de l'éruption de 1902.
Toile de moustiquaire et filets de pêche
God's Utterance "God's Work, God's Disposition, and God Himself (2)" (Part Three)
www.holyspiritspeaks.org/videos/gods-work-gods-dispositio...
"'There was a man in the land of Uz, whose name was Job; and that man was perfect and upright, and one that feared God, and eschewed evil.' The first assessment of Job in the Bible, this sentence is the author’s appraisal of Job. Naturally, it also represents man’s assessment of Job, which is 'that man was perfect and upright, and one that feared God, and eschewed evil.' Next, let us read of God’s assessment of Job: 'there is none like him in the earth, a perfect and an upright man, one that fears God, and eschews evil' (Job 1:8). Of the two, one came from man, and one originated from God; they are two assessments with the same content. It can be seen, then, that Job’s behavior and conduct were known to man, and were also praised by God. In other words, Job’s conduct before man and his conduct before God were the same; he laid his behavior and motivation before God at all times, so that they might be observed by God, and he was one that feared God and shunned evil. Thus, in the eyes of God, of the people on earth only Job was perfect and upright, and one that feared God and shunned evil" (Continuation of The Word Appears in the Flesh).
Terms of Use en.godfootsteps.org/disclaimer.html
I never got a chance to photograph any of the BN trains on the Cuba Sub. before the merger took place so this was a nice sight for 2015. Glad it still had the BN herald on the nose.
BNSF 3135 leads the 816 local west on the BNSF Cuba Sub. as it over powers the nine cars in tow. Currently approaching the crossing near Mp. 32 just east of Pacific, Mo., for the past few months this shot was rough or impossible due to a wrecked coal hopper which blocked most of this scene. Thankfully it was cut up about 3 weeks ago, now to just get rid of that pile of ballast and the left over coal from that hopper......
Units in consist: BNSF 3135, 2837, & 2019.
"La banque est sans doute le représentant le plus remarquable du postmodernisme à Bâle et porte la signature indéniable de Mario Botta : le langage formel clair, la composition de géométries simples et la symétrie se retrouvent de manière cohérente dans toutes ses œuvres. La pierre naturelle constitue le deuxième élément stylistique important. Il en résulte une monumentalité qui s'accorde très bien avec la représentation d'une banque."
www.architekturbibliothek.ch/bauwerk/bankhaus/?lang=fr
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"Son architecture, fortement influencée par Le Corbusier, Carlo Scarpa et Louis Kahn, se caractérise par un pragmatisme notable et la création d'un espace architectural fort et géométrique, souvent recouvert de briques en terre cuite construites avec une conception soignée des détails architecturaux. Caractéristiques de son architecture sont l'utilisation de la brique et de la pierre et les bâtiments constitués de volumes purs, découpés et perforés de larges fissures, parmi lesquels les édifices cylindriques tronqués qui furent d'abord réalisés dans l'église de San Giovanni Battista in Mogno et développés ensuite dans la cathédrale d'Évry, près de Paris. À partir des premières constructions de maisons unifamiliales dans le canton du Tessin, son œuvre a embrassé de nombreuses typologies de bâtiments : écoles, banques, bâtiments administratifs, bibliothèques, musées et lieux de culte. "
Peinture murale médiévale représentant les Neuf Preux au Château de Castelnaud : Ils sont répartis en trois triades : l’Ancien Testament avec Josué, David et Judas Maccabée ; l’Antiquité avec Hector, Alexandre le Grand et César et les temps chrétiens avec Arthur, Charlemagne et Godefroy de Bouillon.
This F-4C represents aircraft 64-0829 in service with the 8th Tactical Fighter Wing at Ubon Royal Thai Air Force Base, and flown by Colonel Robin Olds during Operation BOLO on 2 January 1967. This mission was a response to the heavy losses sustained to USAF bombers during the ROLLING THUNDER air campaign of 1966. In response, USAF F-4Cs deceived the North Vietnamese Air Force into believing they were actually lumbering F-105 bombers by flying the same routes and carrying the same jamming pods. The Phantoms successfully surprised the adversary, and shot down seven MiG-21 FISHBED fighters in twelve minutes. Col Olds' plan was a complete success, and during the fight he and his backseater, 1st Lt Charles Clifton, shot down a single MiG-21 with an AIM-9 Sidewinder. The losses sustained by the Vietnamese MiGs caused both their pilots and their Soviet backers to re-evaluate tactics and deployment of the MiG-21s for the remainder of the war. Operation BOLO was one of the most successfully planned and executed operations of the Vietnam War, and remains one of the most celebrated engagements in USAF history.
April 28, 2011.
No time to take anything good
Thank goodness tomorrow is Friday because I don't think I could endure school for much longer.
Flags representing the American lives lost in Iraq and Afganistan were placed on the lawn at the Terryville Congregational Church in Terryville, Connecticut. We owe these patriots and their families everything...
Souvent représentée sous les traits d'une vache, la déesse Hathor porte le disque solaire entre ses cornes et est vénérée aussi bien par la famille royale (elle est la nourrice allaitant le pharaon) que par les gens du commun, dans les tombes desquels elle est décrite comme la "maîtresse de l'Ouest", accueillant le mort dans sa nouvelle vie. Cependant à Deir el-Bahari, la reine d'Hatchepsout tenait tout particulièrement à prouver cette filiation divine, légitimant ainsi sa position pharaonique. Ce n'est donc pas ici un pharaon qui tête sa mère, mais bien une pharaonne.
Lorsque Thoutmôsis II décède sans avoir eu de fils avec Hatchepsout, la succession revient à Thoutmôsis III, fils d'une épouse secondaire de son père, Iset. Etant alors âgé d'à peine 5 ans, cela ne fit pas l’unanimité, certains voyant la reine Hatchepsout comme l'héritière légitime, de nombreux autres étant plus en faveur d'un successeur mâle. Les prêtres d'Amon confirmèrent donc le trône au jeune prince Thoutmôsis III, mais donnèrent par contre la régence à sa belle-mère et tante Hatchepsout.
Mais très rapidement, la régente quitta ses parures d'Épouse divine pour arborer les ornements de Rê, les couronnes du Sud et du Nord étant notamment mêlées sur sa tête, et se fit donc couronner Pharaon avec l’appui du grand prêtre Hapouseneb qui dirigeait le haut clergé d'Amon. Elle associa toutefois Thoutmôsis III aux manifestations et décisions royales, dans un co-règne apparent, tout en le mettant à l’écart des affaires de l'État durant une vingtaine d'années, de -1 479 à -1 457 av. JC.
Depuis lors, Hatchepsout tint à être reconnue comme un Pharaon et non plus comme une femme avec robe-fourreau et couronne de reine, mais bien avec tous les attributs d'un pharaon : "Némès, uraeus (ou cobra) dressé sur le front, barbe postiche, titulature, sceptres, pagne court et queue de taureau fixée à la ceinture", ses très nombreuses statues la représentant désormais en homme, comme roi à part entière conférant la nature divine attachée à cette fonction. Hatchepsout cependant ne rejettait en rien sa nature féminine, les textes la désignant toujours comme femme (cf. egypte-eternelle.org, merci Olaf Tausch pour la photo).
flickriver.com/photos/javier1949/popular-interesting/
Plaza Mayor de la Universidad Autónoma de Madrid
Edificio de Servicios “Plaza Mayor”. C/ Einstein s/n Campus de Cantoblanco. Universidad Autónoma de Madrid.
MTM Arquitectos “Madrid Territorio Mutante” Javier Fresneda & Javier Sanjuán.
Coordinador del Proyecto: Miguel García-Redondo Villar. Arquitectos MTM: Carmen Antón, Laura Casas, Ana Arriero, Jesús Barranco, Álvaro Maestro. Concurso, Proyectos Básico y de Ejecución 2007. Obras 2009-2012
MTM Arquitectos describe el proyecto desde la Memoria del mismo:
Objetivo de la obra: Plaza Mayor. La ciudad donde construimos esta Plaza Mayor tiene un apellido específico, es una Ciudad Universitaria. La Universidad Autónoma de Madrid ha crecido alrededor de un espacio central de encuentro y circulación, un bulevar verde convertido en su espina dorsal. En uno de sus extremos la estación de cercanías que comunica con la madrileña Puerta del Sol; en el otro, la “Plaza Mayor”.
La “Plaza Mayor” es el nuevo centro de servicios de la Universidad por lo que debe manifestar su carácter simbólico y representativo, sirviendo de referencia dentro de la estructura del Campus. La Plaza se soluciona en continuidad con el lugar, proponiendo un nuevo paisaje, soporte de las actividades existentes e incitador de nuevas situaciones. Apoyándonos en el desnivel existente en la parcela y la potencia del bulevar verde que conforma el acceso a las facultades históricas, se construye una plataforma plegada. El bulevar se prolonga así a través de una calle jardín equipada, girando alrededor de una plaza.
Sobre el nivel del terreno natural, por debajo de la rasante, se implanta el aparcamiento, reduciendo al máximo el volumen de excavación, facilitando su ventilación natural a través de los taludes vegetados perimetrales existentes. Respetando estos “amortiguadores naturales” y sobre el nivel inferior, se construyen dos plataformas intermedias donde se produce la agrupación de programas y la variedad de accesos peatonales a nivel de las calles. Las torres de comunicación se elevan funcionando como hitos urbanos dentro del conjunto, creando un punto de inflexión perimetral que anuncian los 7 puentes. Torres y puentes son entradas, conexiones y acontecimientos que incitan a descubrir el vacío interior: la “Plaza Mayor”. Dentro, a su alrededor, los grandes vuelos construyen calles cubiertas que incrementan la versatilidad del espacio protegiendo de sol y la lluvia.
Hay cinco elementos materiales que refuerzan la continuidad bulevar, calle y plaza: El pavimento público: hormigón desactivado in situ y prefabricado, plantación vegetal, césped artificial y pavimentos de caucho. El final del bulevar existente es el comienzo del proyecto y desde ahí una lengua continua de hormigón recorre todo el sistema, rampas, plataformas y escaleras. Sobre esta se recorta la huella de otras actividades y otros materiales.
El cerramiento al exterior de la plaza: policarbonato gris atérmico cargado de resinas metalizadas, piel homogénea y cambiante, desde sus tratamientos específicos y los matices introducidos por las condiciones atmosféricas. El cerramiento al interior: Vidrios en cámara incoloros que abren la actividad al interior como un mercado contemporáneo de servicios. Las compartimentaciones interiores: vidrios laminados, ligeros, y casi imperceptibles, que intentan desaparecer, reforzando la percepción unitaria de cada isla sobre las plataformas; compartimentaciones que no llegan físicamente a tocar la piel exterior de vidrio y policarbonato. Los puntos de color que forman los vidrios templados, en azules, verdes y oros, agrupados formando gemas, puntúan los volúmenes uniformes alrededor de la paleta de grises y tostados utilizados en toda la obra.
Las plataformas, son la infraestructura a la espera de incorporar un programa. La solución estructural facilita la coexistencia de una geometría irregular y quebrada, diferente en cada nivel, los distintos usos programáticos inicialmente requeridos y la continuidad de movimientos entre ellos. Ante un problema complejo la solución estructural es sencilla: un básico sistema de retícula de pilares portantes y losas postesadas de hormigón. La retícula de 5x5 m se mostró la más eficiente y la que mejor se adaptaba a las singularidades de las diferentes plataformas, desde el nivel inferior con la distribución funcional de los aparcamientos, hasta las superiores, más liberadas, permiten reducir la presencia de pilares y adoptar luces de hasta 12,00 m o voladizos de 5,00 m, al compensar los esfuerzos y variar sus diámetros.
La prolongación del paisaje natural que identifica al Campus Universitario se consigue a través de la última plataforma-cubierta. La cubierta ya no lo es, adopta un nuevo carácter más urbano, artificial y equipado. Las situaciones y relaciones que se dan en el bulevar del Campus se reinterpretan y transforman, proponiendo ahora nuevas áreas de oportunidad e intercambio para estudiantes, profesores y visitantes, dotándolo de nuevos soportes e instalaciones para que el espacio sea vivido, valorado y usado de forma continua. Los materiales sobre la nueva calle se adaptarán a las nuevas topografías configurando dunas, pliegues, playas o recortes; con texturas diversas, blandas, rugosas, peludas y colores acentuados, verdes, naranjas, negros, o arena, con líneas de iluminación, báculos elevados conectados al reloj solar, terrazas y kioscos. Y como con la soltura del primer croquis, se dibuja una línea naranja que con su geometría no lineal desmaterializa el borde convirtiéndolo en una línea de conexión con el paisaje del campus y con la lejana presencia de la sierra madrileña.
La ONCE y el Colegio Oficial de Arquitectos de Madrid (COAM) han otorgado a esta Plaza Mayor el primer premio del “Concurso para la selección de actuaciones de Arquitectura e Ingeniería con una Accesibilidad ejemplar” por ser un ejemplo de máxima calidad en el campo de la arquitectura y la ingeniería a nivel nacional, dando prioridad al acceso de personas con discapacidad.
Además de su fácil accesibilidad, otro de los criterios fundamentales de la construcción del edificio es la máxima funcionalidad, eficiencia energética y singularidad de sus dependencias. 26 paneles térmicos y 92 paneles fotovoltaicos permiten el ahorro energético y la optimización de los recursos medioambientales del edificio y se destinan al abastecimiento parcial de las instalaciones.
Las características arquitectónicas del edificio contemplan un diseño que alberga 4.000 m2 distribuidos en cuatro plantas, de las cuales la mitad están cubiertas por soportales y en cuyo sótano se ubican cerca de 200 plazas de aparcamiento. Los servicios disponibles en las instalaciones son la Oficina de Orientación y Atención al Estudiante, la Sección de Acceso, Admisión y Traslados, la Sección de Becas y Ayudas al Estudio, la Oficina de Relaciones Internacionales y Movilidad, la Oficina de Acogidas Internacionales, la Oficina de Acción Solidaria y Cooperación, la Oficina de Prácticas Externas y Orientación para el Empleo, el Centro de Atención a Usuarios y la Oficina de Ecocampus. Además se encuentran operativos un auditorio y una sala de exposiciones, Cafeterías/Restaurantes, Farmacia/Óptica, Librería/Papelería, Agencia de Viajes, entidad bancaria y Centro de Servicios Documentales.
En palabras de Alberto Campo Baeza, miembro del jurado del concurso "Los arquitectos en un tour de force nada fácil, han planteado y han resuelto con rigor y con brillantez un problema crucial en la arquitectura contemporánea, en la siempre debatida relación entre arquitectura y naturaleza. Les pedían unos edificios para alojar diferentes servicios de la Universidad y ellos les han dado una Plaza Mayor. ...han inclinado y plegado y girado y torcido, siempre con criterio, y han construido, insisto, un trozo de Naturaleza en continuidad con lo existente. Han construido su propio paisaje..."
mtmarquitectos-blog-curriculum.blogspot.com.es/
www.metalocus.es/content/es/blog/edificio-de-servicios-pl...
212.145.146.10/ejercicio/concursos/concursos_ocam/120517_...
Elementals represent an evolution divergent from that of humans. They are the metaphysical forces behind nature which assist earth’s ecology to function better. Their realms are harmonized into the earth but are not composed of the gross matter that constitutes humans. Because of the different vibrations of their composition, nature spirits can sometimes be seen by humans whose ajna, or third-eye chakra has been enhanced through recitations of specific prayers or mantras. Such mantras increase the harmony of consciousness and telepathy. Elementals are the archetypal spiritual intelligence behind all species. Contact with the plant kingdom is in fact contact with a more universal being.
also:
www.elephantjournal.com/2020/12/some-notes-on-nature-spir...
This shot represents a number of milestones for me. I had only recently opened my photography to landscapes, after 25 years in photography I had never been interested before. I had invited a renowned English Landscape photographer to give a course for us in Ireland and I chose Wicklow as the venue. He and i found this location in the middle of the day when it looked nothing. But the next day, at sunset, with the clouds in sky it was transformed. I had started to emphasise clouds in my shots a year or so previously in shots of abandonded buildings that were converted to black and white, this was the first one I wanted in colour. It's also the first colour shot that I used dodging and burning on (the hay and the clouds got some special attenion here) and it's also the first shot I that I used blend modes with gradient fills in Photoshop on. All this came together in one shot. Maybe that's why it's a favourite, you never forget your first :-)
Explore 12/13/09 #359 Thank you:-)
Taken in Bethlehem (at sunset) close to the Church of Nativity, where Jesus was born.
The sculpture was created by Franco Iezzi and it is titled "2000&BEYOND".
On the sign next to it, the following text was written:
In the region where most fervent was
the encounter of the great monotheistic religions
that manifested itself in a clash for the past
the three links that represent each one
and that at the same time connect
the third rising millennium to the second
uplifted towards the sky
rather then tumbling down inertly
want to evoke a new spiritual course
inspired to the light of humanity and culture
untamed yearning for hope
of solidarity and peace among peoples
freedom of faith and of thought
creative conviction of a serene future
for the world
Ottaviano Giannangeli
church floor covered with straw to represent manger - Serbian Christmas tradition
Храм Рождества Христовог у Пироту, Србија
Nativity Orthodox church, Pirot, Serbia
All images and photography © Tanjica Perovic
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The iconographic type known as the 'goddess with uplifted arms' may have originated in Crete and found its way to Cyprus at the end of the Late Bronze Age (12th-11th centuries BCE). All said to have been found in the same tomb, these figures may represent either a divinity - the Great Goddess of Cyprus later assimilated with Phoenician Astarte and Greek - or else elite worshippers or priestesses (perhaps in the Sanctuary of Palaepaphos near where they were found).
Wheel-made tubular bodies, with applied breasts and arms (heads missing on two); made of buff clay decorated with black and red paint: parallel bands on the lower body probably representing drapery, the top end of a maniple-like sash is just visible on each; armlets and bracelets along both arms are shown as parallel bands of paint; a loose chain or string hangs between the breasts, at the end of which are several pendants, probably seals (very worn); surface is very worn and the lower part of the body of the front one is restored with plaster.
Cypro-Archaic I, 700 BCE-600 BCE, Cyprus.
British Museum, London (1899,1229.1-3)
That statue represents our musician Dorival Caymmi that was always honoring the sea with his songs... In the distance has Sugar loaf. :-)
Copacabana, Rio de Janeiro, Brazil.
Have a great Sunday. :-]
Listen him with 82 years old singing "É Doce Morrer no Mar" ("It's Sweet To Die In The Sea")...
www.youtube.com/watch?v=2xmgulZlJ_Y
Para me contactar diretamente: lmsmartinsx@yahoo.com.br
Top: REPRESENT - Essential Fury Tee "White"
Sneakers: REPRESENT - Mirror Plated Hightop Sneaker "White"
Accessories: :[P]:- Avera Collar:// Gold
:[P]:- Avera Cuff [Wrist L+R]:// Gold
The represents the kind of views many of my vintage National Geographic magazines from the 1915 to 1920 era would proudly portray as the modern and efficient "Future Of Industry". By the mid 1970s, they looked awfully tired and dated.
I remember reading a book about Jersey City written in the 1930s describing it as a industrial city "without trees". Of course... who needed trees and the niceties of life when you've got countless brick warehouses, hundreds of factories and endless railroads which sliced through every neighborhood? It was all about business, pure business.
The same place today:
www.google.com/maps/@40.7220077,-74.0380614,3a,75y,194.68...
This is a still from a work scan of a Super 8 movie some friends and I shot. When the high-def DVD version returns back from the professional movie scanner, I'll post more images from this film.
This photo represents me moving on and starting new.
I wanted to create this new account because I really need a fresh start. I created my old Flickr account back in 2009 and, frankly, I loathe my old Flickr URL. It's so bad.
But, please check out some of my old work! There are some hidden gems in there:)
I plan on uploading more. There have been a lot of broken sets that I've never finished and I really want to restart them or just trash them. So yes, I will get back to my Deadly Seven;)
xoxoxox!!
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This HYBYCOZO sculpture is titled Axis Mundi. It is in the Lewis Desert Portal and anchors the keystone of the Desert Discovery Trail.
Axis Mundi 2024.
Stainless Steel, Powder Coat Pigment, LED
Axis Mundi draws inspiration from the crystalline structure of fluorite, which contains shapes similar to honeycomb. This artwork is made up of hexagons and squares that efficiently fill space without gaps. These patterns are remarkably elegant and balanced in their division of three-dimensional space.
dbg.org/events/light-bloom/2024-10-12/
www.youtube.com/watch?v=FFelgzzzQqg
LIGHT BLOOM by HYBYCOZO is a limited-time exhibit where nature and light converge. This mesmerizing display invites you to explore the Garden transformed by stunning geometric light installations that illuminate the beauty of the desert landscape in a new way. As the sun sets, LIGHT BLOOM comes to life, casting intricate shadows and vibrant hues across the Garden. Wander the trails and let the enchanting installations transport you to a magical realm where the natural world meets the abstract.
HYBYCOZO is the collaborative studio of artists Serge Beaulieu and Yelena Filipchuk. Based in Los Angeles, their work consists of larger than life geometric sculptures, often with pattern and texture that draw on inspirations from mathematics, science, and natural phenomena. Typically illuminated, the work celebrates the inherent beauty of form and pattern and represents their ongoing journey in exploring the myriad dimensions of geometry. HYBYCOZO is short for the Hyperspace Bypass Construction Zone, a nod to their favorite novel (The Hitchhikers Guide to the Galaxy) and was the title of their first installation in 2014. They continue to create under this name. In the novel earth was being destroyed to make way for a bypass. It lead Serge and Yelena to ask what it means to make art at a time where the earth’s hospitable time in the universe may be limited.
dbg.org/meet-the-artists-behind-light-bloom/
Q: Walk us through your creative process?
A: The focus of our creative process is to explore the intricate interplay between geometry, light, space and to inspire contemplation, wonder and a sense of place among our audiences. Geometry and pattern-making serve as the backbone of our creative expression. It is the framework through which we navigate the complexities of form, proportion and spatial relationships. Patterns, both simple and complex, have a profound impact on our perception and understanding of the world. They possess the ability to evoke a sense of order, balance and aesthetic pleasure. Pattern making and geometry offer us a means of storytelling and communication. These patterns serve as conduits for deeper exploration, provoking introspection and contemplation to uncover the underlying symbols embedded within the human psyche.
Q: What inspired the concept of LIGHT BLOOM?
A: Just as many cactus and desert plants have evolved to produce night-blooming flowers, adapting to their environment and thriving in darkness, our sculptures come alive after sunset, blossoming with light and transforming the night into a glowing landscape of art and geometry.
Desert Botanical Garden has an incredible collection of plants and cacti arranged in a beautiful park setting.
"Think the desert is all dirt and tumbleweeds? Think again. Desert Botanical Garden is home to thousands of species of cactus, trees and flowers from all around the world spread across 55 acres in Phoenix, Arizona."
Desert Botanical Garden
DBG HYBYCOZO Light Bloom
Le titre de l'œuvre fait référence à la parabole du Christ adressée aux Pharisiens : « Laissez-les. Ce sont des aveugles qui guident des aveugles. Or, si un aveugle guide un aveugle, ils tomberont tous deux dans la fosse. » (Mt 15,14 ; Lc 6,39).
Conformément à la tradition médiévale, Bruegel choisit de représenter les aveugles comme des vagabonds vêtus de haillons et se livrant sans doute à la mendicité. La scène, subtil mélange de ridicule et d'effroi, rend l'inévitabilité de la chute par une gradation de la représentation. Tandis que le premier aveugle de cette étrange procession est déjà tombé, le second trébuche, le troisième va trébucher, le quatrième semble pressentir le danger et les deux derniers ne se doutent encore de rien. La gradation des postures physiques s'accompagne d'une gradation des sentiments, visible dans la physionomie des visages aux yeux caves. Dans cette œuvre tardive, l'émotion qui se dégage est moins due à une accumulation de détails horribles, comme dans Le Triomphe de la Mort, qu'au sentiment d'inévitable fatalité que la misère humaine engendre.
Ce tableau fit partie des œuvres conservées en Italie (à Naples) et spoliées par l'armée allemande pendant la Seconde Guerre mondiale, sous le couvert de leur protection par le principe établi du Kunstschutz. Elle a été restituée grâce aux actions menées pendant et après la guerre par Rodolfo Siviero.
Au musée du Louvre figure une copie exécutée par Pieter Bruegel le Jeune. La petite église de Sint-Anna-Pede, dont mention est déjà faite en 1259, est à l'arrière-plan de l'œuvre
The title of the work refers to Christ's parable to the Pharisees: "Leave them alone. They are blind people who guide the blind. But if a blind man guides a blind man, they will both fall into the pit. (Mt 15,14, Lk 6,39).
In accordance with medieval tradition, Bruegel chose to portray the blind as vagrants dressed in rags and no doubt begging for begging. The scene, subtle mixture of ridicule and fright, makes the inevitability of the fall by a gradation of representation. While the first blind man of this strange procession has already fallen, the second stumbles, the third stumbles, the fourth seems to sense the danger, and the last two still do not suspect anything. The gradation of the physical postures is accompanied by a gradation of the feelings, visible in the face of the faces with the cellar eyes. In this late work, the emotion that emerges is less due to an accumulation of horrible details, as in The Triumph of Death, than to the inevitable feeling of inevitability that human misery engenders.
This painting was part of the works kept in Italy (in Naples) and despoiled by the German army during the Second World War, under cover of their protection by the established principle of Kunstschutz. It was restored thanks to the actions carried out during and after the war by Rodolfo Siviero.
The Louvre Museum features a copy by Pieter Bruegel the Younger. The small church of Sint-Anna-Pede, whose mention is already made in 1259, is in the background of the work..
Painted to represent a Viscount of British European Airways with the original name Sir John Franklin, Whiskey Foxtrot was the second production aircraft and was delivered to British European Airways in 1953. The last operator was Cambrian Airways and she was retired in 1971 and placed on display at Liverpool Airport with the Viscount Preservation Trust. She was transferred to the Duxford Aviation Society and moved to Duxford by road in 1976.
This photo was taken by a Kowa Super 66 medium format film camera and Kowa 1:4.5/110 lens with a Zenza Bronica 67mm SY48•2C(Y2) filter using Kodak 400 TRI-X film, the negative scanned by an Epson Perfection V600 and digitally rendered using Photoshop.
Earthenware ceramics represent one of the most ancient craft traditions of Indonesia. Traditionally, pottery in Lombok was used in the village household to store rice, water salt and spices.
Penujak, Banyumulek and Masbagik are the three main villages in Lombok where the pottery comes from. These villages had their own distinct styles and methods which were further developed and improved under the aid plan to an extent that now their pottery products are exported around the world.