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Met 3FM Serious Request 2015 zetten we ons dit jaar in voor kinderen en jongeren in oorlogs- en conflictgebieden: deze generatie leeft onder de meest extreme omstandigheden en heeft daardoor weinig kans op scholing en ontwikkeling. Zij zijn de stille slachtoffers van de oorlog. Voor meer info, check: www.3fm.nl/seriousrequest
I am back at home in Chez Jelltex; Mulder is meowing just before dawn, in which case its situation normal. My longer than expected hike the day before meant that my legs were aching to buggery, but it is better than them stopping working.
Jools has to be up and about to go to work, but lucky me is working from home, so I can lay in bed a while enjoying the moment, but then I can smell coffee brewing, so I had better face the world. There is coffee on the table, but the cats have gone out exploring after eating, and so once Jools has left, its just me. However, the cats come in one at a time to request more food. At least not all at once.
Molly must think I'm looking a little peaky, as she brings me in a partially eaten Goldfinch and a large mouse/small rat, which I don't look at too closely.
Work is pretty much as usual, there is stuff to do, mails to send, calls to write, fires to put out. The usual.
Cheese and toast for lunch whilst I work. Somehow the volume of work wasn't what I was expecting, I guess what it being an hour ahead in Dk and being Friday afternoon. By two, mails had stopped and I can see most of my colleagues offline. I pack up for the week and get my camera gear together as there was some photographing to do.
This weekend in September is Heritage Weekend, and that means getting into churches that usually are locked. In addition, another area of Pugin's house in Ramsgate had been renovated and opened, so it seemed a good idea to go there in the 90 minutes before it closed. I think it was just about worth it.
Jools comes home, changes and we get in the car and take the Sandwich road, pretty much the same way I used to go to the office in Ramsgate when I was just an technical assistant, not that long ago, but in terms of my journey, ages ago! Traffic was a little crazy, but that is to be expected, but in the warm sunny weather, it was very pleasant indeed.
We park near The Grange, and have about an hour to get the visit done. I go straight to the Presbytery, just about the first to be built in Britain since the middle ages, designed by Pugin, and now converted by the Landmark Trust and now available for holiday rental. They have done a great job, and it feels like a fine place for up to four people can have a great stay, and help support the good cause.
I go round snapping each room, climbing the two sets of stairs to see the bedroom at the top, then back down again. What I can say is that it feels more of a home thand homely than The Grange, I think I could happily stay here. Stay and maybe never leave, mind.
Jools goes to see inside The Grange, but I have been in before, so chat with a guide outside, and I tell her about my job in the survey business. She is really interested, or says she is anyway. I do go in and take a few shots, and see that with the new camera/lens combination, the shots are fabulous. Just wish I had more time to get round.
We go back to the car as its four, and the buildings and church are closing.
I now spring it onto Jools that we are heading into Canterbury, as there is a church open that evening, that should be interesting. She takes the news well, so we drive round the outskirts of the city so to approach the right part, park up close to the chapel. We make better time that I thought, so we have time for a pint in the Two Brewers near to St Augustine's Abbey. This is the life, finished for the weekend, en route to a chapel and drinking beer and eating cheese and onion crisps; living the dream.
From the pub is was a short walk through the underpass then along the city wall to the Zoar Chapel.
You read that right; Zoar. Seems that being a Baptist isn't enough, you can have Strict and/or Peculiar Baptists too, and this is the Chapel of the Particular Strict Baptists in the city. The chapel has had an interesting life too; a former bastion in the city wall, then converted for use as a water cistern before the conversion to a church in the 19th century.
We are welcomed, but not that warmly, or I might have imagined it, I mean they open the chapel on all four days of the weekend, so they must be proud of the chapel. And rightly so, all lines with white painted wood, almost round, and looking really very fine indeed. I get my shots, talk politely, then we make our way back to the car and home.
We have run out of time for that day, so return home ready to have some dinner, as our appetites are raging. And as you will come to expect, its insalata caprese once again, with cheese and pickle bread, thickly sliced and buttered. Add a bottle of red wine, and it is perfect.
The cats are happy too, we have fed them and as we slob around the house, they ask for attention, food or whatever. Outside the sun sets on a fine late summer evening, whilst the moon has already risen and looks about half full already.
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Augustus Welby Northmore Pugin (1 March 1812 – 14 September 1852) was an English architect, designer, artist and critic, chiefly remembered for his pioneering role in the Gothic Revival style; his work culminated in the interior design of the Palace of Westminster. Pugin designed many churches in England, and some in Ireland and Australia.[1] Pugin was the son of Auguste Pugin, and the father of E.W. and Peter Paul Pugin, who continued his architectural firm as Pugin & Pugin.
Pugin was the son of a French draughtsman, Auguste Pugin, who had come to England as a result of the French Revolution and had married Catherine Welby of the Denton, Lincolnshire Welby family.[3] Augustus was born at his parents' house in Bloomsbury. Between 1821 and 1838 Pugin's father had published a series of volumes of architectural drawings, the first two entitled, Specimens of Gothic Architecture, and the following three, Examples of Gothic Architecture, that were to remain both in print and the standard references for Gothic architecture for at least the next century.
As a child he was taken each Sunday by his mother to the services of the fashionable Scottish Presbyterian preacher Edward Irving (later founder of the Holy Catholic Apostolic Church), at his chapel in Cross Street, Hatton Garden.[4] He soon rebelled against this version of Christianity: according to Benjamin Ferrey, Pugin "always expressed unmitigated disgust at the cold and sterile forms of the Scotch church; and the moment he broke free from the trammels imposed on him by his mother, he rushed into the arms of a church which, pompous by its ceremonies, was attractive to his imaginative mind".
Pugin learned drawing from his father, and for a while attended Christ's Hospital. After leaving school he worked in his father's office, and in 1825 and 1827 accompanied him on visits to France.[6] His first commissions independent of his father were for designs for the goldsmiths Rundell and Bridge, and for designs for furniture at Windsor Castle, from the upholsterers Morrel and Seddon. Through a contact made while working at Windsor, he became interested in the design of theatre scenery, and in 1831 obtained a commission to design the sets for the production of a new opera called Kenilworth at Covent Garden.[7] He also developed an interest in sailing, and briefly commanded a small merchant schooner trading between Britain and Holland, which allowed him to import examples of furniture and carving from Flanders,with which he later furnished his house at Ramsgate.[8] During one voyage in 1830 he was wrecked on the Scottish coast near Leith,[9] as a result of which he came into contact with Edinburgh architect James Gillespie Graham, who advised him to abandon seafaring for architecture.[10] He then set up a business supplying historically accurate carved wood and stone details for the increasing number of buildings being constructed in the Gothic style, but the enterprise soon failed.
In 1831, aged nineteen, Pugin married the first of his three wives, Anne Garnet.[11] Anne died a few months later in childbirth, leaving him with a daughter. He had a further six children, including the architect Edward Pugin, with his second wife, Louisa Button, who died in 1844. His third wife, Jane Knill, kept a journal of their married life together, between their marriage in 1848 and his death; it was later published.[12] Their son was Peter Paul Pugin.
In 1834, Pugin became a Roman Catholic convert,[16] and was received into the Church in the following year.[17] Pugin's father Auguste-Charles Pugin, was a Frenchman who had come to England as a result of the French Revolution. It is probable that he, like many others, converted to the Anglican faith in order to get work (it was highly unlikely that any non-Anglican could obtain a government commission or tender for example).
British society at this time had many restrictions on any person not adhering to the state religion of the Anglican Church. Non-Anglicans could not attend University, for example as well as being unable to stand for parish or city councils, be an MP, serve as a policeman, in the armed forces or even on a jury. A number of reforms in the early 19th century changed this situation, the most important of which was the Roman Catholic Relief Act of 1829 which specifically abolished the restrictions on Catholics. After 1829 it became (in theory at least) possible to have a successful career while being a Catholic - this was the background to A W Pugin's conversion to the Roman Catholic Church.
However his conversion also brought him into contact with new patrons and employers. In 1832 he had made the acquaintance of John Talbot, 16th Earl of Shrewsbury, a Roman Catholic, sympathetic to his aesthetic views who employed him in alterations and additions to his residence Alton Towers, which subsequently led to many other commissions.[18] Shrewsbury commissioned him to build St. Giles' Catholic Church, Cheadle, completed in 1846, and Pugin was also responsible for designing the oldest Catholic church in Shropshire, St Peter and Paul at Newport.
In 1841 he left Salisbury,[20] finding it an inconvenient base for his growing architectural practice.[21] He sold St Marie's Grange at a considerable financial loss,[22] and moved temporarily to Cheyne Walk, Chelsea. He had however already purchased a piece of land at the West Cliff, Ramsgate, where he proceeded to build himself a large house and, at his own expense, a church on which he worked whenever funds allowed. His second wife died in 1844 and was buried at St. Chad's, Birmingham, a church which he had designed himself.
Following the destruction by fire of the Palace of Westminster in 1834, Pugin was employed by Sir Charles Barry to supply interior designs for his entry to the architectural competition which would determine who would build the new Palace of Westminster. Pugin also supplied drawings for James Gillespie Graham's entry.[24] This followed a period of employment when Pugin had worked with Barry on the interior design of King Edward's School, Birmingham. Despite his conversion to Catholicism in 1834, Pugin designed and refurbished both Anglican and Catholic churches throughout the country.
Other works include St Chad's Cathedral, Erdington Abbey and Oscott College, all in Birmingham. He also designed the college buildings of St Patrick and St Mary in St. Patrick's College, Maynooth; though not the college chapel. His original plans included both a chapel and an aula maxima (great hall), neither of which were built because of financial constraints. The college chapel was designed by a follower of Pugin, the Irish architect J.J. McCarthy. Also in Ireland, Pugin designed St Mary's Cathedral in Killarney, St Aidan's Cathedral, Enniscorthy (renovated in 1996) and the Dominican church of the Holy Cross in Tralee. He revised the plans for St Michael's Church in Ballinasloe, Galway. Pugin was also invited by Bishop Wareing to design what eventually became Northampton Cathedral, a project that was completed in 1864 by Pugin's son Edward Welby Pugin.
Pugin visited Italy in 1847; his experience there confirmed his dislike of Renaissance and Baroque architecture, but he found much to admire in the medieval art of northern Italy.
In February 1852, while travelling with his son Edward by train, Pugin suffered a total breakdown and arrived in London unable to recognise anyone or speak coherently. For four months he was confined to a private asylum, Kensington House. In June, he was transferred to the Royal Bethlem Hospital, popularly known as Bedlam.[26] At that time, Bethlem Hospital was opposite St George's Cathedral, Southwark, one of Pugin's major buildings, where he had married his third wife, Jane, in 1848. Jane and a doctor removed Pugin from Bedlam and took him to a private house in Hammersmith where they attempted therapy, and he recovered sufficiently to recognise his wife.[26] In September, Jane took her husband back to The Grange in Ramsgate, where he died on 14 September 1852.[26] He is buried in his church next to The Grange, St Augustine's, Ramsgate.
On Pugin's death certificate, the cause listed was "convulsions followed by coma". Pugin's biographer, Rosemary Hill, suggests that, in the last year of his life, he was suffering from hyperthyroidism which would account for his symptoms of exaggerated appetite, perspiration, and restlessness. Hill writes that Pugin's medical history, including eye problems and recurrent illness from his early twenties, suggests that he contracted syphilis in his late teens, and this may have been the cause of his death at the age of 40.
en.wikipedia.org/wiki/Augustus_Pugin
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The Grange (aka St Augustine's Grange) in Ramsgate, Kent, on the coast in southern England was the home of the Victorian architect and designer August Pugin. He designed it in the Victorian Gothic style; it is a Grade I listed building.
Pugin bought the land for the site at West Cliff, Ramsgate, in 1841.[2] The house was built between 1843 and 1844 by the builder George Myers. Pugin's second wife died in 1844 and it was only after his third marriage to Jane Knill in 1848 that it became a family home.
The interior of the house was finally completed in 1850. It is built from the inside out in the sense that the layout of the rooms was considered before the outside of the building. This is in contrast to the Georgian style that preceded it. The style was influential on subsequent English architecture designed by architects like Edwin Lutyens.
Pugin died in the house in 1852 at the age of only 40. He is buried in the impressive Pugin chantry chapel in St Augustine's Church, next to the house, which was also designed by him and completed by his eldest son, Edward Pugin, who was also an architect.
Earth Designs Garden Design and Build were asked to created a landscape and propose garden design in Hackney, London*. Here are the details of the project
The Party Garden in Hackney, London E9
BRIEF:
This space was a completely blank canvas, with sound fences to the right and a high brick wall to the left.
The client requested a ‘wow’ garden, one that is funky and stylish yet also practical and inviting, with good provision for socialising and the possibility for the inclusion of a hot tub spa.
SOLUTION:
This design sought to transform the garden from an urban wasteland into a sub-tropical party oasis and split the garden into two distinct areas. At once elegant and stylish, playful and accommodating, the space would be equally suited to intimate dining or large-scale entertaining. The colour palette is aubergine, lime and sand.
The area directly outside the back door is designed to serve as a functional utility area, with a purpose built storage unit slotted into the gap to the left of the steps and space allowed to accommodate the client’s gas barbeque.
The first section of the garden consists of two areas of slate paving, split by a decked walkway that zig-zags down the space. To the left, running partway along the existing brick wall, is fixed bench seating comprising purple rendered concrete block walls and a deck board seat. The existing wall itself was rendered behind the seat and painted purple. A moveable decking table and decking cubes on castors were constructed in this area to provide a variety of al fresco dining possibilities.
Two large rectangular stainless steel planters planted with tall bamboo split the first section of the garden from the second. The second section consists of a large, partially sunken hot tub to the right and an area of decking to the left. A large purple rendered block wall serves to square off the bottom of the garden, providing a strong backdrop of colour to the space while an opening to the left of this wall allows access to a small, open-air storage area behind.
Planting is strong and simple. Big specimen architectural plants dominate, including plum leafed spiky phormiums and cordylines. Grasses give motion to the space. Dramatic ‘Black Parrot’ tulips and ‘Black Irises’ contrast with arum lilies to bring elegance and grace to the scheme. Agapanthus will take the stage once the spring flowers have died back and offset the sand grasses and strong plum foliage.
To compete the design, a variety of lighting was included to create a visual cornucopia when the sun goes down. The decking features sunken lights, strategically placed to light key areas. Spot lights in the main beds illuminate the architectural planting to its best advantage, while creating an overall wash to the garden. Finally, six stainless steel downlighters, three on the end wall and three on the side wall, provide effective illumination to the seating area and hot tub.
TESTIMONIAL:
"From the first time we met Kat we knew we had made the right choice. Kat very quickly determined what we wanted and more importantly, what we didn't. After a couple of iterations of design we came to an agreement and very quickly work started. We made it clear from the beginning that we needed Earth Designs to take care of every detail.
Neither of us had the time or the inclination to be involved in the process, other than discussions around design as the project progressed. Due to access restrictions, delivery of all materials and plants required the use of a crane and closure of the road. This included co-coordinating the delivery and installation of the hot tub with the manufacturer. The boys handled everything without issue.
During the construction, the whole team worked very hard in all weathers to get the job done. We gave them a key so we did not have to be around at any point and they could come and go as they pleased. Every day, we hardly knew they were there and each night, they cleaned up before they left.
They were completely trustworthy and always polite and considerate while in our home. The end result is fantastic and meets all our needs. We have a wonderful environment in which to entertain, one to relax in and a spa area to die for."
If you dig this and would like to find out more about this or any of other of our designs, please stop by our web-site and have a look at our work.
Earth Designs is a bespoke London Garden Design and build company specialising in classic, funky and urban contemporary garden design.
Our Landscape and Garden build teams cover London, Essex and parts of South East England, while garden designs are available nationwide.
Please visit www.earthdesigns.co.uk to see our full portfolio. If you would like a garden designer in London or have an idea of what you want and are looking for a landscaper London to come and visit your garden, please get in touch.
Follow our Bespoke Garden Design and Build and Blog to see what we get up to week by week, our free design clinic as well as tips and products we recommend for your garden projects www.earthdesigns.co.uk/blog/.
Earth Designs is located in East London, but has built gardens in Essex , gardens in Hertfordshire Hertfordshire and all over the South East. Earth Designs was formed by Katrina Wells in Spring 2003 and has since gone from strength to strength to develop a considerable portfolio of garden projects. Katrina, who is our Senior Garden Designer, has travelled all over the UK designing gardens. However we can design worldwide either through our postal garden design service or by consultation with our senior garden designer. Recent worldwide projects have included garden designs in Romania. Katrina’s husband. Matt, heads up the build side of the company, creating a unique service for all our clients.
If you a not a UK resident, but would like an Earth Designs garden, Earth Designs has a worldwide design service through our Garden Design Postal Design Vouchers. If you are looking for an unique birthday present or original anniversary present and would like to buy one of our Garden Design Gift Vouchers for yourself or as a present please our sister site www.gardenpresents.co.uk. We do also design outside of the UK, please contact us for details.
EOS 60D+Sigma 50mm F1.4 EX DG HSM
* If you have requests or comments, please describe these in photo comment space.
These images have been released in response to a FOIA request, case number 2014-0012-F, received by the National Archives. For more information on these images, please visit Researching Vice Presidential Materials. These photos will be available in the National Archives Catalog in July 2015.
Local Identifier: V110307DB-0054
Created By: President (2001-2009 : Bush). Office of Management and Administration. Office of White House Management. Photography Office. 1/20/2001-1/20/2009
From: Collection: Vice Presidential Records of the Photography Office (George W. Bush Administration), 1/20/2001 - 1/20/2009
Contact: Presidential Materials Division (LM)
National Archives Building
7th and Pennsylvania Avenue NW
Washington, DC 20408
Phone: 202-357-5200
Fax: 202-357-5939
Production Dates: 11/3/2007
Persistent URL: catalog.archives.gov/id/20015542
Access Restrictions: Unrestricted
Use Restrictions: Unrestricted
Send your prayer requests to www.bennyhinn.org/prayer/prayer-request. The Mighty Warriors Prayer Army stands ready to intercede for you.
Requested by warlus2014. From Young Justice. Give credits if use and tell me what you think :D,personal use only.
Met 3FM Serious Request 2015 zetten we ons dit jaar in voor kinderen en jongeren
in oorlogs- en conflictgebieden: deze generatie leeft onder de meest extreme omstandigheden en heeft daardoor weinig kans op scholing en ontwikkeling. Zij zijn de stille slachtoffers van de oorlog.
+++ DISCLAIMER +++
Nothing you see here is real, even though the conversion or the presented background story might be based historical facts. BEWARE!
Some background:
In October 1933, Hermann Göring sent out a letter requesting aircraft companies consider the design of a "high speed courier aircraft" - a thinly veiled request for a new fighter. In May 1934, this was made official and the Technisches Amt sent out a request for a single-seat interceptor for the Rüstungsflugzeug IV role, this time under the guise of a "sports aircraft". The specification was first sent to the most experienced fighter designers, Heinkel, Arado, and Focke-Wulf.
Heinkel's design was created primarily by twin brothers Walter and Siegfried Günter, whose designs would dominate most of Heinkel's work. They started work on Projekt 1015 in late 1933 under the guise of the original courier aircraft, based around the BMW XV radial engine. Work was already under way when the official request went out on 2 May, and on 5 May the design was renamed the He 112.
The primary source of inspiration for the He 112 was their earlier He 70 Blitz ("Lightning") design. The Blitz was a single-engine, four-passenger aircraft originally designed for use by Lufthansa, and it in turn was inspired by the famous Lockheed Model 9 Orion mail plane. Like many civilian designs of the time, the aircraft was pressed into military service and was used as a two-seat bomber (although mostly for reconnaissance) and served in this role in Spain. The Blitz introduced a number of new construction techniques to the Heinkel company; it was their first low-wing monoplane, their first with retractable landing gear, their first all-metal monocoque design, and its elliptical, reverse-gull wing would be seen on a number of later projects. The Blitz could almost meet the new fighter requirements itself, so it is not surprising that the Günters would choose to work with the existing design as much as possible.
The original He 112 was basically a scaled down version of Heinkel’s aerodynamically highly refined He 70 and shared its all metal construction, inverted gull wings, and retractable landing gear. Like the He 70, the He 112 was constructed entirely of metal, using a two-spar wing and a monocoque fuselage with flush-head rivets. The landing gear retracted outward from the low point of the wing's gull-bend, which resulted in a fairly wide span track, giving the aircraft excellent ground handling. Its only features from an older era were its open cockpit and fuselage spine behind the headrest, which were kept in order to provide excellent vision and make the biplane-trained pilots feel more comfortable.
The He 112 V1 started in the head-to-head contest when it arrived at Travemünde on 8 February 1936. The other three competitors had all arrived by the beginning of March. Right away, the Focke-Wulf Fw 159 and Arado Ar 80 proved to be lacking in performance, and plagued with problems, and were eliminated from serious consideration. At this point, the He 112 was the favorite over the "unknown" Bf 109, but opinions changed when the Bf 109 V2 arrived on 21 March. All the competitor aircraft had initially been equipped with the Rolls-Royce Kestrel engine, but the Bf 109 V2 had a Jumo 210. From that point on, it started to outperform the He 112 in almost every way, and even the arrival of the Jumo-engined He 112 V2 on 15 April did little to address this imbalance.
Eventually, the Bf 109 was chosen as the Luftwaffe’s new standard fighter, and Heinkel was left with an excellent but unwanted fighter. However, the He 112 was subsequently marketed to foreign customers, including Yugoslavia, The Netherlands, Finland, Romania and Japan, and saw a mild export and license production success during WWII’s opening stages.
One of the foreign countries which adopted the He 112 was Italy. The Regia Aeronautica suffered, like many other contemporary air forces, under outdated biplane types and the fast technical developments of surrounding nations. Indigenous monoplanes like the Fiat G.50 or the Macchi MC.200 and 202 were under development, but especially an aircraft with more powerful armament and longer range, primarily for bomber escort duties, was missing. Since the new high-performance Bf 109 was not be cleared for export at that time, the He 112 appeared like a good “second choice” option for both Italian and German officials.
The He 112’s range of more than 700 miles (1.100 km) and a performance similar to the Fiat G.50 and even better – despite a nominally weaker engine – was convincing enough, so that the German type would fill the Regia Aeronautica’s perceived gap well.
A total of 60 aircraft was ordered in 1939 (an initial batch of ten aircraft, plus fifty more), and Heinkel – knowing that the He 112’s potential was limited – reacted quickly with the He 112 E (for “Export”).
The E-1 variant was tailored to Italian specifications, but it was also stripped off of any items with high military value or innovation. For instance, in order to improve performance but not to give away the more modern and potent DB600 or Jumo 211 engines, the export aircraft for Italy received uprated Jumo 210Ga engines (rated at 730 PS/534 kW) and a new three blade propeller that would transfer the engine power into propulsion more effectively.
Furthermore, no armament was fitted to the export He 112s upon delivery, since the German 20mm MG FF cannon were not cleared for export, too. The Italian operators did not mind, though, since many indigenous equipment pieces would be retrofitted to the new aircraft, anyway. As a consequence, the Regia Aeronautoca’s He 112 E-1s were locally outfitted with proven weapons of domestic origin, namely a pair of 7.7 mm Breda-SAFAT machine guns in the cowling flanks with 500 RPG, plus a pair of 12.7 mm (.5 in) Breda-SAFAT machine guns in the wings with 400 RPG.
The Italian He 112s’ first active involvements in WWII started in July 1940, with the Italian bombings in the British Mandate of Palestine. The freshly delivered machines were not ready in time to take part in the Regia Aeronautica’s Battle of France at the Western front line, so they were directly delivered to South-Italian units and primarily used in the Mediterranean and Northern African theatre of operations.
The raids in the Middle East with He 112 involvement primarily centered on Tel Aviv and Haifa, but many other coastal towns such as Acre and Jaffa also suffered. Haifa was hit many times by the Italians, because of the port and refinery, starting in June 1940. The 29 July 1940 issue of Time reported a bombing at Haifa by SM82 bombers during the previous week, with a dozen casualties. According to Time Magazine, the Italians claimed a huge success, which the British did not deny. Where the British oil pipeline from Mosul reached tidewater, "Ten big Italian bombers, flying at great altitude from the Dodecanese Islands, giving the British bases at Cyprus a wide berth, dumped 50 bombs on the Haifa oil terminal and refinery."
The bombing started fires, which burned for many days afterward, and the refinery's production was blocked for nearly one month. British fighters from a base on Mt. Carmel were too late to overtake the Italians returning to their base in Italian Dodecanese. The last Italian bombing on the territories of the British Mandate of Palestine occurred in June 1941. Haifa and Tel Aviv where hit, but with little damage and few casualties.
Further He 112 engagements included Eastern and Western Africa, and they participated with the Regia Aeronautica’s air offensive against the British-controlled island of Malta along with the German Air Force in an attempt to gain control of the Axis sea routes from Sicily, Sardinia, and Italy to North Africa.
The final front line duty of an Italian He 112 E-1 took place in 1942, when Italian Piaggio P.108 bombers, accompanied by Italian He 112 escorts, attacked Gibraltar from Sardinia, flying a number of long-range night raids, which lasted until October 1942. By then, the He 112 in Italian service had been fully replaced by indigenous and more capable, new fighter types. Moreover, advanced Bf 109 versions were delivered in early 1943 to the Regia Aeronautica, too, and the remaining He 112 E-1 were relegated to advanced weapon training duties.
General characteristics:
Crew: 1
Length: 9.22 m (30 ft 11 7/8 in)
Wingspan: 9.09 m (29 ft 9¾ in)
Height: 3.82 m (12 ft 6¾ in)
Wing area: 17 m² (183 ft²)
Empty weight: 1,617 kg (3,565 lb)
Max. takeoff weight: 2,248 kg (4,957 lb)
Powerplant:
1× Junkers Jumo 210Ga liquid-cooled inverted V12 engine, rated at 730 hp (534 kW)
Performance:
Maximum speed: 510 km/h (317 mph)
Range: 1150 km (715 mi)
Service ceiling: 9,500 m (31,200 ft)
Wing loading: 132 kg/m² (27.1 lb/ft²)
Armament:
2× 7.7 mm Breda-SAFAT machine guns with 500 RPG mounted in the sides of the engine cowling
2× 12.7 mm (0.5 in) Breda-SAFAT machine guns in the wings with 400 RPG in the wings
The kit and its assembly:
This whiffy He 112 was inspired by a CG skin found at the warthunder.com forum (created/posted by user Arkham815). In its characteristic Italian “smoke ring” livery the depicted He 112 B looked pretty natural. Since I had a Heller He 112 stashed away without concrete plans/ideas yet, I built this one as a simple quickie and just as a fictional color variant.
The Heller kit dates back to 1979, and it is pretty good. You get raised panel lines, but decent interior detail and good fit. For this pseudo-Italian incarnation the kit was mostly built OOB. The only mods are a new three blade propeller (from a Hobby Boss Mitsubishi A6M and an AZ Model Spitfire V spinner, plus a metal axis and a styrene tube adapter inside the fuselage) and some oxygen bottles behind the seat.
The canopy was cut into three pieces for display, and I added some structures inside of the landing gear wells with styrene strips since they are OOB totally bleak. For the wing cannons, barrels cut from a steel needle were added (the original 20mm cannon just featured holes in the wings’ leading edge).
Painting and markings:
Well, the “smoke ring” camouflage used in the CG animation looks pretty on the He 112, and the aircraft’s outline similarity with the Macchi MC.205 make it a natural choice. But I did not use it for my build because it would not match the He 112’s time frame. The “smoke ring” scheme was only used from 1942 onwards, a little too late for my place in history for the Italian He 112, and it was furthermore more or less confined to the Northern African theatre of operations.
Consequentially, I chose an earlier standard scheme for my fictional Italian He 112, even though it would have a similar style, so that the original design idea would be kept. My choice fell on the so-called “C1A” scheme, basically an overall sand yellow with irregular, small green and brown mottles.
The colors were guesstimated, based on contemporary Regia Aeronautica aircraft. The basic Giallo Mimetico is represented through the rather yellowish Humbrol 94 (Desert Sand), later highlighted and somewhat dulled down with dry-brushed Humbrol 168 (Hemp).
The mottles were created in Bruno Mimetico with Humbrol 113 first, and “on top” came another layer with Verde Mimetico (Humbrol 150). Unlike the CG benchmark, the upper camouflage was extended under the engine and the rear fuselage, as well as around the wings’ leading edges. The wings’ undersides were painted in Grigio Mimetico (Humbrol 64).
The white ID band round the fuselage was created with generic decal sheet (TL Modellbau), and all other markings come basically from a vast Fiat CR.42 sheet from Sky Models with markings for roundabout 70(!!!) aircraft. The white spinner with a thin red band was adapted from a contemporary real world 162° Squadriglia Fiat CR.42. It is the only colorful addition, because I wanted to keep things rather subtle – and the mottled scheme in itself is already a spectacular sight!
Being an aircraft of German origin, the interior surfaces became RLM 02 (Humbrol 240), lightly dry-brushed with light grey.
After some soot stains with graphite the kit was sealed with matt acrylic varnish (Italeri).
Part one of a Heller He 112 trilogy, and a rather simple and quick build, done in less than a week and mostly spent on the painting phase. But the He 112 looks very good in its fictional Italian livery, if not spectacular? I find it amazing how well this scheme disrupts the aircraft’s outlines, and how the marking blur into the overall livery. Only the white MTO ID markings truly stand out – an unexpected result.
© All Rights Reserved
©Todos os direitos reservados
Available for Request to License
Disponível para solicitação de licença
These images have been released in response to a FOIA request, case number 2014-0012-F, received by the National Archives. For more information on these images, please visit Researching Vice Presidential Materials. These photos will be available in the National Archives Catalog in July 2015.
Local Identifier: V8261-20
Created By: President (2001-2009 : Bush). Office of Management and Administration. Office of White House Management. Photography Office. 1/20/2001-1/20/2009
From: Collection: Vice Presidential Records of the Photography Office (George W. Bush Administration), 1/20/2001 - 1/20/2009
Contact: Presidential Materials Division (LM)
National Archives Building
7th and Pennsylvania Avenue NW
Washington, DC 20408
Phone: 202-357-5200
Fax: 202-357-5939
Production Dates: 2/18/2004
Persistent URL: catalog.archives.gov/id/20015718
Access Restrictions: Unrestricted
Use Restrictions: Unrestricted
This is a stereo card that includes a poem requesting photographs for an album. It reads:
WHOEVER OPENS THIS TO SEE
ANOTHERS FACE WITHIN
MUST NOT FORGET HIS OWN
TO PLACE
FOR HAVING QUIZZD
AT HIM.
ALL THAT'S ASK'D
OF THOSE WHO LOOK
AT THE CONTENTS OF THIS BOOK
BY ITS RIGHT & LAWFULL OWNER
IS THAT EACH BECOME A DONER.
Since the stereo card would not be placed in an album I can only assume that this type of card so so common that the message would be understood even though it is not in an album.
I have posted a detail of one side where the poem is easier to read.
san juan pueblo, new mexico
1975
buffalo dance
part of an archival project, featuring the photographs of nick dewolf
© the Nick DeWolf Foundation
Image-use requests are welcome via flickrmail or nickdewolfphotoarchive [at] gmail [dot] com
These images have been released in response to a FOIA request, case number 2014-0012-F, received by the National Archives. For more information on these images, please visit Researching Vice Presidential Materials. These photos will be available in the National Archives Catalog in July 2015.
Local Identifier: V091108DB-0103
Created By: President (2001-2009 : Bush). Office of Management and Administration. Office of White House Management. Photography Office. 1/20/2001-1/20/2009
From: Collection: Vice Presidential Records of the Photography Office (George W. Bush Administration), 1/20/2001 - 1/20/2009
Contact: Presidential Materials Division (LM)
National Archives Building
7th and Pennsylvania Avenue NW
Washington, DC 20408
Phone: 202-357-5200
Fax: 202-357-5939
Production Dates: 9/11/2008
Persistent URL: catalog.archives.gov/id/18545588
Access Restrictions: Unrestricted
Use Restrictions: Unrestricted
+++ DISCLAIMER +++Nothing you see here is real, even though the conversion or the presented background story might be based on historical facts. BEWARE!
Some background:
The Nakajima J9N Kitsuka (中島 橘花, "Orange Blossom", pronounced Kikka in Kanji used traditionally by the Japanese) was Japan's first jet aircraft. In internal IJN documents it was also called Kōkoku Nigō Heiki (皇国二号兵器, "Imperial Weapon No.2"). After the Japanese military attaché in Germany witnessed trials of the Messerschmitt Me 262 in 1942, the Imperial Japanese Navy issued a request to Nakajima to develop a similar aircraft to be used as a fast attack bomber. Among the specifications for the design were the requirements that it should be able to be built largely by unskilled labor, and that the wings should be foldable. This latter feature was not intended for potential use on aircraft carriers, but rather to enable the aircraft to be hidden in caves and tunnels around Japan as the navy began to prepare for the defense of the home islands.
Nakajima designers Kazuo Ohno and Kenichi Matsumura laid out an aircraft that bore a strong but superficial resemblance to the Me 262. Compared to the Me 262, the J9N airframe was noticeably smaller and more conventional in design, with straight wings and tail surfaces, lacking the slight sweepback of the Me 262. The triangular fuselage cross section characteristic of the German design was less pronounced, due to smaller fuel tanks. The main landing gear of the Kikka was taken from the A6M Zero and the nose wheel from the tail of a Yokosuka P1Y bomber.
The Kikka was designed in preliminary form to use the Tsu-11, a rudimentary motorjet style jet engine that was essentially a ducted fan with an afterburner. Subsequent designs were planned around the Ne-10 (TR-10) centrifugal-flow turbojet, and the Ne-12, which added a four-stage axial compressor to the front of the Ne-10. Tests of this powerplant soon revealed that it would not produce anywhere near the power required to propel the aircraft, and the project was temporarily stalled. It was then decided to produce a new axial flow turbojet based on the German BMW 003.
Development of the engine was troubled, based on little more than photographs and a single cut-away drawing of the BMW 003. A suitable unit, the Ishikawa-jima Ne-20, was finally built in January 1945. By that time, the Kikka project was making progress and the first prototype made its maiden flight. Due to the worsening war situation, the Navy considered employing the Kikka as a kamikaze weapon, but this was quickly rejected due to the high cost and complexity associated with manufacturing contemporary turbojet engines. Other more economical projects designed specifically for kamikaze attacks, such as the simpler Nakajima Tōka (designed to absorb Japanese stock of obsolete engines), the pulsejet-powered Kawanishi Baika, and the infamous Yokosuka Ohka, were either underway or already in mass production.
The following month the prototype was dismantled and delivered to Kisarazu Naval Airfield where it was re-assembled and prepared for flight testing. The aircraft performed well during a 20-minute test flight, with the only concern being the length of the takeoff run – the Ne 20 only had a thrust of 4.66 kN (1,047 lbf), and the engine pair had barely sufficient power to get the aircraft off the ground. This lack of thrust also resulted in a maximum speed of just 623 km/h (387 mph, 336 kn) at sea level and 696 km/h (432 mph; 376 kn) at 10,000 m (32,808 ft).
For the second test flight, four days later, rocket assisted take off (RATO) units were fitted to the aircraft, which worked and gave the aircraft acceptable field performance. The tests went on, together with a second prototype, but despite this early test stage, the J9N was immediately rushed into production.
By May 1945 approximately forty airframes had been completed and handed over to IJN home defense frontline units for operational use and conversion training. These were structurally identical with the prototypes, but they were powered by more potent and reliable Ne-130 (with 8.826 kN/900 kgf) or Ne-230 (8.679 kN/885 kgf) engines, which finally gave the aircraft a competitive performance and also made the RATO boosters obsolete - unless an 800 kg bomb was carried in overload configuration. Most were J9N1 day fighter single seaters, armed with two 30 mm Type 5 cannons with 50 rounds per gun in the nose. Some operational Kitsukas had, due to the lack of equipment, the 30 mm guns replaced with lighter 20 mm Ho-5 cannon. A few were unarmed two-seaters (J9N2) with dual controls and a second seat instead of the fuselage fuel tank. This markedly limited the aircraft’s range but was accepted for a dedicated trainer, but a ventral 500 l drop tank could be carried to extend the two-seater’s range to an acceptable level.
A small number, both single- and two-seaters, were furthermore adapted to night fighter duties and equipped with an experimental ”FD-2” centimeter waveband radar in the nose with an “antler” antenna array, similar to German radar sets of the time. The FD-2 used four forward-facing Yagi style antennae with initially five and later with seven elements (the sideway facing rods) each. These consisted of two pairs, each with a sending (top and bot) and a receiving antenna (left and right). The set used horizontal lobe switching to find the target, an electrical shifter would continuously switch between the sets. The signal strengths would then be compared to determine the range and azimuth of the target, and the results would then be shown on a CRT display.
In order to fit the electronics (the FD-2 weighed around 70 kg/155 lb) the night fighters typically had one of the nose-mounted guns replaced by a fixed, obliquely firing Ho-5 gun ("Schräge Musik"-style), which was mounted in the aircraft’s flank behind the cockpit, and the 500l drop tank became a permanent installation to extend loiter time, at the expense of top speed, though. These machines received the suffix “-S” and flew, despite the FD-2’s weaknesses and limitations, a few quite effective missions against American B-29 bombers, but their impact was minimal due to the aircrafts’ small numbers and poor reliability of the still experimental radar system. However, the FD-2’s performance was rather underwhelming, though, with an insufficient range of only 3 km. Increased drag due to the antennae and countermeasures deployed by B-29 further decreased the effectiveness, and the J9N2-S’s successes could be rather attributed to experienced and motivated crews than the primitive radar.
Proposed follow-on J9N versions had included a reconnaissance aircraft and a fast attack aircraft that was supposed to carry a single bomb under the fuselage against ships. There was also a modified version of the design to be launched from a 200 m long catapult, the "Nakajima Kikka-kai Prototype Turbojet Special Attacker". All these proposed versions were expected to be powered by more advanced developments of the Ne-20, the Ne-330 with 13 kN (1.330 kg) thrust, but none of them reached the hardware stage.
The J9Ns’ overall war contribution was negligible, and after the war, several airframes (including partial airframes) were captured by Allied forces. Three airframes (including a two-seat night fighter with FD-2 radar) were brought to the U.S. for study. Today, two J9N examples survive in the National Air and Space Museum: The first is a Kikka that was taken to the Patuxent River Naval Air Base, Maryland for analysis. This aircraft is very incomplete and is believed to have been patched together from a variety of semi-completed airframes. It is currently still in storage at the Paul E. Garber Preservation, Restoration and Storage Facility in Silver Hill, MD. The second Kikka is on display at the NASM Udvar-Hazy Center in the Mary Baker Engen Restoration Hangar.
General characteristics:
Crew: 2
Length: 8.13 m (26 ft 8 in) fuselage only
10.30 m (33 ft 8¾ in) with FD-2 antenna array
Wingspan: 10 m (32 ft 10 in)
Height: 2.95 m (9 ft 8 in)
Wing area: 13.2 m² (142 sq ft)
Empty weight: 2,300 kg (5,071 lb)
Gross weight: 3,500 kg (7,716 lb)
Max takeoff weight: 4,080 kg (8,995 lb)
Powerplant:
2× Ishikawajima Ne-130 or Ne-230 axial-flow turbojet engines
each with 8.83 kN/900 kg or 8.68 kN/885 kg thrust
Performance:
Maximum speed: 785 km/h (487 mph, 426 kn)
Range: 925 km (574 mi, 502 nmi) with internal fuel
Service ceiling: 12,000 m (39,000 ft)
Rate of climb: 10.5 m/s (2,064 ft/min)
Wing loading: 265 kg/m² (54 lb/sq ft)
Thrust-to-weight ratio: 0.43
Armament:
1× 30 mm (1.181 in) Type 5 cannon with 50 rounds in the nose
1× 20 mm (0.787 in) Type Ho-2 cannon with 80 rounds, mounted obliquely behind the cockpit
1× ventral hardpoint for a 500 l drop tank or a single 500 kg (1,102 lb) bomb
The kit and its assembly:
This is in fact the second Kikka I have built, and this time it’s a two-seater from AZ Models – actually the trainer boxing, but converted into a personal night fighter interpretation. The AZ Models kit is a simple affair, but that's also its problem. In the box things look quite good, detail level is on par with a classic Matchbox kit. But unlike a Matchbox kit, the AZ Models offering does not go together well. I had to fight everywhere with poor fit, lack of locator pins, ejection marks - anything a short run model kit can throw at you! Thanks to the experience with the single-seater kit some time ago, things did not become too traumatic, but it’s still not a kit for beginners. What worked surprisingly well was the IP canopy, though, which I cut into five sections for an optional open display – even though I am not certain if the kit’s designers had put some brain into their work because the canopy’s segmentation becomes more and more dubious the further you go backwards.
The only personal mods is a slightly changed armament, with one nose gun deleted and faired over with a piece of styrene sheet, while the leftover gun was mounted obliquely onto the left flank. I initially considered a position behind the canopy but rejected this because of CoG reasons. Then I planned to mount it directly behind the 2nd seat, so that the barrel would protrude through the canopy, but this appeared unrealistic because the (utterly tiny) sliding canopy for the rear crewman could not have been opened anymore? Finally, I settled for an offset position in the aircraft’s flanks, partly inspired by “Schräge Musik” arrangements on some German Fw 190 night fighters.
The antennae come from a Jadar Model PE set for Italeri’s Me 210s, turning it either into a night fighter or a naval surveillance aircraft.
Painting and markings:
This became rather lusterless; many late IJN night fighters carried a uniform dark green livery with minimalistic, toned-down markings, e. g. hinomaru without a white high-contrast edge, just the yellow ID bands on the wings’ leading edges were retained.
For this look the model received an overall basis coat of Humbrol 75 (Bronze Green), later treated with a black ink washing, dry-brushed aluminum and post-shading with lighter shades of dark green (including Humbrol 116 and Revell 67). The only colorful highlight is a red fin tip (Humbrol 19) and a thin red stripe underneath (decal). The yellow and white ID bands were created with decal material.
The cockpit interior was painted in a yellowish-green primer (trying to simulate a typical “bamboo” shade that was used in some late-war IJN cockpits), while the landing gear wells were painted in aodake iro, a clear bluish protective lacquer. The landing gear struts themselves became semi-matt black.
The markings are fictional and were puzzled together from various sources. The hinomaru came from the AZ Models’ Kikka single seater sheet (since it offers six roundels w/o white edge), the tactical code on the fin was created with red numbers from a Fujimi Aichi B7A2 Ryusei.
Finally, the kit received a coat of matt acrylic varnish and some grinded graphite around the jet exhausts and the gun nozzles.
Well, this fictional Kikka night fighter looks quite dry, but that makes it IMHO more credible. The large antler antenna array might look “a bit too much”, and a real night fighter probably had a simpler arrangement with a single Yagi-style/arrow-shaped antenna, but a description of the FD-2 radar suggested the layout I chose – and it does not look bad. The oblique cannon in the flank is another odd detail, but it is not unplausible. However, with all the equipment and esp. the draggy antennae on board, the Kikka’s mediocre performance would surely have seriously suffered, probably beyond an effective use. But this is whifworld, after all. ;-)
from "Gov Snake," the Great Basin gopher snake (Pituophis catenfier desrticola), to notice the differences between how he looks and how "RS-4, the Great Basin rattlesnake (Crotalus oreganus lutosus) seen in the previous posted picture, looks, because, though the patterns are similar, they are also quite different, and "Gov Snake" wants his friends to be able to identify both gopher snakes and rattlesnakes when they are encountered. He says if his friends encounter any snake, they simply should walk away slowly and let the snake live its own life. Photo by Frank.
EOS 5D Mark IV+Canon EF 85mm f1.4L IS
* If you have requests or comments, please describe these in photo comment space.
George Nurthen first twins in this series were cast in magnesium and painted black with some accessories highly polished and chrome plated. The later engines were cast in aluminum and left unfinished or painted per the customer’s request. This 30cc water-cooled boat engine is designed to burn gasoline on spark ignition with oil added to the crankcase for splash lubrication. Rocker assemblies required manual lubrication prior to running the engine. The number of two-cylinder engines sold is unknown, but it is believed less than 50 were produced.
See Our Gannet Engines at: www.flickr.com/photos/15794235@N06/sets/72157634270787707/
See Our Two-Cylinder Engines at: www.flickr.com/photos/15794235@N06/sets/72157649352645204/
See Our Model Engine Collection at: www.flickr.com/photos/15794235@N06/sets/72157602933346098/
Visit Our Photo Sets at: www.flickr.com/photos/15794235@N06/sets
Courtesy of Paul and Paula Knapp
Miniature Engineering Museum
From James and Ashley Hobson Collection
These images have been released in response to a FOIA request, case number 2014-0012-F, received by the National Archives. For more information on these images, please visit Researching Vice Presidential Materials. These photos will be available in the National Archives Catalog in July 2015.
Local Identifier: V112506DB-0049
Created By: President (2001-2009 : Bush). Office of Management and Administration. Office of White House Management. Photography Office. 1/20/2001-1/20/2009
From: Collection: Vice Presidential Records of the Photography Office (George W. Bush Administration), 1/20/2001 - 1/20/2009
Contact: Presidential Materials Division (LM)
National Archives Building
7th and Pennsylvania Avenue NW
Washington, DC 20408
Phone: 202-357-5200
Fax: 202-357-5939
Production Dates: 11/25/2006
Persistent URL: catalog.archives.gov/id/20015576
Access Restrictions: Unrestricted
Use Restrictions: Unrestricted
EOS 5D Mark IV+Canon EF 85mm f1.4L IS
* If you have requests or comments, please describe these in photo comment space.
EOS 5D Mark III+Sigma 50mm F1.4 EX DG HSM
* If you have requests or comments, please describe these in photo comment space.
Sasudio requested some action poses of Sarah Connor trying to take Miles Dyson out. The figure’s articulation is a bit limited but I tried : ) If it is now, she would surely say “Stick to the vacuum machines, Dyson!” HaHaHa!!! Cheers!
Well, it's that time again. I am not taking anymore requests at this time. I need to go through my inbox, all 899 messages, and see what I can get finished before I can accept anymore requests. Also I have quite a few commisioned designs that need to be finished.
Thank you,
Roaglaan
This photo was revised per a customers request, and I agree this is an improvement over the original image.
The Egyptian Building is a National Historic Landmark in Richmond, Virginia, built in 1845.
After several years in the Union Hotel, the board of the College decided they needed a space specifically created for medical education. Aid was sought to pay for the structure and the Commonwealth offered a twenty-five thousand dollar loan and Richmond donated two thousand dollars. The Board chose the noted Philadelphia architect, Thomas S. Stewart, who had just completed the new St. Paul's Church, to build the College Building. Stewart chose a style known as Egyptian Revival.
Many believed that his choice of style was appropriate because it represented the esoteric nature of medicine. Furthermore, the origins of medicine went back to the Egyptian physician, Imhotep. Sir William Osler wrote that Imhotep was the "first figure of a physician to stand out clearly from the mists of antiquity."[3]
The Egyptian Building was originally called College Building and later the Old College Building. The latter title was fitting because the National Register of Historic Places considers it to be the oldest medical college building south of the Mason-Dixon Line.[citation needed] The battered walls of the structure are meant to represent the old temples of Egypt. The building has been compared to the Temple of Horus at Edfu.
Originally the building housed medical lecture rooms, a dissecting room, an infirmary and hospital beds for medical and surgical cases. The building was restored in 1939 by the architects, Baskerville and Son, in honor of Dr. Simon Baruch, an 1862 graduate of the Medical College of Virginia. At that time the interior of the building was remodeled to carry on the Egyptian style.
The building has been in continuous use since it was built in 1845. In 1969 it became a historic landmark, and in 1995 it celebrated its 150th anniversary. It has at one time or another been used by every school in the Medical College. The MCV Campus has a strong sentimental attachment to the Egyptian Building. At Founders' Day exercises held at the Egyptian Building, 5 December 1940, historian Dr. Wyndham Blanton commented to alumni and guests:
"What old Nassau Hall is to Princeton, what the Wren Building is to William and Mary, what the Rotunda is to the University of Virginia, the Egyptian Building is to the Medical College of Virginia. It is a shrine, a sanctuary of tradition, the physical embodiment of our genius. It is a spiritual heritage. In a world often accused of cold materialism, with an ideology of human self-sufficiency, and an adoration of objects that can be handled and seen, there is a need for things of the spirit, if science is to do more than make life safer, longer and more comfortable."
Na zes dagen mochten Giel Beelen, Michiel Veenstra en Gerard Ekdom maandagavon om negen uur het glazen huis weer uit op de Oude Markt in Enschede. Tijdens het eindfeest op het Van Heekplein werd bekend gemaakt dat de deejays dit jaar meer dan twaalf miljoen euro hebben opgehaald met 3FM Serious Request.
Foto: Heidie Duteweert
@grickle A washed up, old wizard with a pointy hat (of course)!
-Got them deep, down, Wizardin' blues. @akbutcher
If you would like this doodle as a signed print for your very own, head on over to the Grickle store!
Met 3FM Serious Request 2015 zetten we ons dit jaar in voor kinderen en jongeren
in oorlogs- en conflictgebieden: deze generatie leeft onder de meest extreme omstandigheden en heeft daardoor weinig kans op scholing en ontwikkeling. Zij zijn de stille slachtoffers van de oorlog.
The request was for a masquerade cake in the colours pink, purple, black and silver, with the cake being purple. The rest was left up to me!
Believe it or not, there is no person turning 40 who will be celebrating with this cake. In fact I doubt the candles will even be lit! The customer ordered this for her daughter, who is studying Event Management. She is involved in a group assignment, where they have to set up a 40th birthday party in a masquerade theme, right down to the cake! I suggested a dummy cake, but I think they were quite happy to have an excuse to eat cake!!! I'm hoping they might share some photos with me afterwards of their 'set-up'!
I had tonnes of fun with this cake, but learnt that I hate working with vibrant colours! My mask started off MUCH brighter, but because I had to make it a week in advance, it started to fade! :-(
I sought inspiration from a few cakes I found on Flickr, as well as from my Venetian mask collection. It was also my first time quilting. I was pretty happy with how it turned out!
Special thanks to Nicole who helped me out with tips after making this great masked cake! www.flickr.com/photos/try-tias-blog/4310748517/
The cathedral of Vienna
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Many thanks for your visit!
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041713: Customs and Border Protection Acting Deputy Commissioner Kevin McAleenan, Chief of Border Patrol Michael Fisher, and the Assistant Commissioner of Office of Air and Marine Randolph Alles testify before the House Appropriations Subcommittee on Homeland Security. They were discussing a budget request for Fiscal Year 2014.
Photgrapher: Josh Denmark
This model is Request by Raphy, meeting the criteria for Challenge 38 - 'By Random Appointment'. This was one of may favourite challenges - one that meant that you never knew quite what you were going to end up building. The great thing was, it was always going to challenge you, and fortunately, you could ask for a request during any of the other build challenges too.
Raphy requested: 'any pre-'80s JDM car, but in 1:15!'.
Well, this had been on my 'to do' list for a while - a real unicorn. Only 197 cars were built, as the model appeared in the fuel-crisis era, and Nissan had pulled out of motorsport, and no export program existed (though there was consideration of sending the car to Australia) leaving the car without a direct purpose. Oddly enough, the corresponding C110 Skyline (non GT-R) was quite successful, even though this was a quite expensive export vehicle - known variously, including the 240K moniker.
This marked the end of the GT-R until Nissan released the R32 model in 1989 to dominate Group-A racing.
I have built the model in standard miniland 1:21, as I wanted the car to sit to scale with the other period JDM models I have designed over the past two years. Maybe one day I will get to some 1:15 scale models too.
This lego miniland-scale Nissan Skyline GT-R KPGC110 (1973) has been created for Flickr LUGNuts' 120th Build Challenge, - 'Happy 10th Anniversary, LUGNuts', - where all the previous challenge themes are open for use in creating builds for the Challenge.
The Challenge theme chosen is number 38 - 'By Random Appointment' - for any vehicle or brief provided by the admins or other LUGNuts member
Sailors assigned to the aircraft carrier USS Ronald Reagan and embarked Carrier Air Wing 14 take boxes off of a C-2A Greyhound from Fleet Logistics Combat Support Squadron 30. Ronald Reagan was diverted from its current training maneuvers at the direction of Commander U.S. Third Fleet, and at the request of the U.S. Coast Guard, to a position south near the Carnival cruise ship C/V Splendor to facilitate the delivery of 4,500 pounds of supplies to the cruise ship. Early Monday, CV Splendor reported it was dead in the water 150 nautical miles southwest of San Diego. (U.S. Navy photo by Seaman Haldane Hamilton)
USS Ronald Reagan (CVN 76)
Date Taken:11.09.2010
Location:USS RONALD REAGAN, AT SEA
Related Photos: dvidshub.net/r/ds4lb6