View allAll Photos Tagged sobriety
... a smile is the twilight that hovers gently between both, more bewitching than either.
Henry Ward Beecher
Topaz Studio
Texture with thanks to Alan- sunsetsailor
© ALL RIGHTS RESERVED. Use without permission is illegal.
Please, don't fave and run, you will get yourself blocked.
Sobriété, calme et sérénité pour cette jolie basilique loin des hordes de touristes qui se précipitent en masse vers les animations colorées de plus ou moins bon goût qui "ornent" les façades des autres principaux monuments de la ville.
L'un des plus anciens lieux de culte chrétien en France, cette abbaye fondée au 5ème siècle, se présente à l'heure actuelle entre autres sous la forme d'un édifice roman qui possède quelques éléments d'origine, en particulier ces colonnes de la croisée du transept en granit d'Egypte (dont deux sont visibles sur la photo du milieu) qui proviendraient de l'Autel de Rome et d'Auguste qui était situé au Sanctuaire des Trois Gaules de Lugdunum et dans lequel les tribus gauloises se réunissaient chaque année pour prêter allégeance à l'Empereur romain.
Saint-Martin d'Ainay one night of the Festival of Lights
Sobriety, calm and serenity for this pretty basilica away from the hordes of tourists who rush in mass to the colorful animations of more or less good taste that "adorn" the facades of the other main monuments of the city.
One of the oldest places of Christian worship in France, this abbey founded in the 5th century, is among others presented in the form of a Romanesque building that has some original elements, especially these columns of the transept cross in Egyptian granite (two of which are visible in the middle photo) that would come from the Altar of Rome and Augustus, which was located at the Sanctuary of the Three Gauls at Lugdunum, where the Gallic tribes gathered each year to pledge allegiance to the Roman Emperor.
DSC8627-8630-8634
Here we go again.. Keukenhof is open from now till the end of May and I will be there (for the 7th time) selling souvenirs :-)
The Keukenhof theme for 2017 is "Dutch Design". Dutch Design is characterized by Dutch sobriety combined with innovative solutions.Famous artists and designers such as Mondriaan and Rietveld, have laid the foundations for Dutch design.
Dutch design is incorporated in the flower bulb mosaic, one of the highlights of the theme year. In addition, the flower shows in the Oranje Nassau Pavilion are entirely in the style of Dutch Design.
I saw a flock of waxwings today and some of them seemed to be a bit drunk. This fellow passed the sobriety test set by the narrow branch with flying colours
L’arrivée sur les terrasses est une autre source d’émerveillement. Outre la vision à 360° qu’elles offrent sur les abords et le parc de Chambord, elles donnent le sentiment d’être au cœur d’un village céleste. Les toitures des pavillons y sont hérissées de tourelles d’escalier, de souches de cheminée et de lucarnes au décor foisonnant. Cette exubérance des parties sommitales rompt avec la sobriété des façades et donne une envolée finale à la masse imposante du donjon. Au centre, prolongeant l’escalier à doubles révolutions, s’élève la tour lanterne, point culminant du château (56 m) dont le sommet est orné du symbole des rois de France, la fleur de lys.
The arrival on the terraces is another source of wonder. In addition to the 360 ° vision that they offer on the surroundings and the Chambord park, they give the feeling of being at the heart of a celestial village. The roofs of the pavilions are bristling with turrets, chimney stumps and skylights with an abundant decor. This exuberance of the summit parts breaks with the sobriety of the facades and gives a final flight to the imposing mass of the dungeon. In the center, extending the double-revolved staircase, stands the lantern tower, the highest point of the castle (56 m) whose summit is adorned with the symbol of the kings of France, the fleur-de-lis.
Le cloître est le cœur du monastère. Alors que beaucoup de cloîtres ont été détruits, celui de Fontenay est resté intact depuis le XIIe siècle.
Cette merveille de l’art roman a été conçue aussi bien comme espace de communication entre toutes les salles du monastère que comme lieu de méditation. Les galeries forment un rectangle de 36 m sur 38 m dégageant une grande impression d’homogénéité, malgré une variété de piliers, colonnettes et chapiteaux qui témoignent tous de la sobriété de l’architecture cistercienne.
À toute heure de la journée et tout au long de l’année, le cloître est baigné de lumière. C’est un lieu unique qui inspire dessinateurs et photographes, et invite le visiteur à la méditation
The cloister is the heart of the monastery. While many cloisters have been destroyed, that of Fontenay has remained intact since the 12th century.
This marvel of Romanesque art was designed both as a space for communication between all the rooms of the monastery and as a place for meditation. The galleries form a rectangle of 36 m by 38 m giving off a great impression of homogeneity, despite a variety of pillars, columns and capitals which all testify to the sobriety of Cistercian architecture.
At any time of the day and throughout the year, the cloister is bathed in light. It is a unique place that inspires designers and photographers, and invites the visitor to meditation.
Situé à l’angle de la rue de Sèvres et de la rue Saint-Romain, l’hôtel de Choiseul est construit en 1732 par l’architecte Sulpice Gaubier pour la comtesse de Choiseul. D’une grande sobriété, ce petit hôtel incarne toute la grâce de l’époque Louis XV avec de grandes ouvertures cintrées et des mascarons sculptés aux clefs des baies. En 1748, l’hôtel échoit à son neveu, César Gabriel de Choiseul, futur duc de Praslin et pair de France, qui agrandit l’hôtel. Cet aristocrate fera une brillante carrière de militaire, d’ambassadeur puis de secrétaire d’Etat à la Marine sous Louis XV.
Located at the corner of rue de Sèvres and rue Saint-Romain, the Hôtel de Choiseul was built in 1732 by the architect Sulpice Gaubier for the Countess de Choiseul. With its great sobriety, this small hotel embodies all the grace of the Louis XV period with large arched openings and sculpted mascarons on the keystones of the bays. In 1748, the hotel passed to his nephew, César Gabriel de Choiseul, future Duke of Praslin and peer of France, who enlarged the hotel. This aristocrat had a brilliant career as a military officer, ambassador and Secretary of State for the Navy under Louis XV.
Created specifically for the "Gratitude" challenge at Award Tree:
www.flickr.com/groups/awardtree/discuss/72157718782212166/
This encapsulates a couple things that on a daily basis I am grateful for...
1) When I was a little boy, I would always dream and fantasize about living in a big city. I couldn't wait to get the hell out of Florida! Im grateful for my adventurous spirit that I had in my twenties. On a whim...I bought a bus ticket to SF and spent four days on buses traveling to what would be my new home. To this day when Im on the Bay Bridge, I always think and remember when I was on that Greyhound bus...the sun rising, and I saw SF for the first time....I was ecstatic...and I will always call SF my home. Ive lived here for 29 years, and will never move away....even if I were to become homeless again.
2) As I mentioned....I was homeless here In SF. I succumbed to my addiction, and willingly became homeless so that I would have more money to sustain my addiction. How crazy was that.....that is the insanity of addiction. I was homeless for over two years. I slept in parks and on benches, and ate at churches that would supply food. It wasnt until I adressed my addiction, that I got honest with myself that my life began to turn around. Ive had my struggles, and some relapses.....but I never returned to the streets, thank God. I moved into an apartment in the Tenderloin and lived there for several years until moving to where I now live.
I live in the SOMA district, in a small high-rise, on the top floor. The artwork posted here is my view. Ive lived here for 3 years, and I have 4 years of recovery and sobriety.
These.....are things that I am grateful for on a daily basis....I have tears in my eyes as I write this as I never want to forget that I was homeless and where I slept, and how if I idnt get into recovery, I would never be able to live in this beautiful space.......and I always think of when I was little.....dreaming of living in a big city.
Towards the end of my recent stay in Vietnam, I had to change hotels. While I first lived in my favorite neighborhood Thao Diem, my last hotel was in a rather brittle neighborhood, without shops and hardly any restaurants. The sobriety of the environment is also manifested in this image of a street wall, in front of which only one person passes by (out of the 9 million that HCMC has) and the two chairs and a small table that stand around somewhat unmotivated. However, the minimal furniture is typical for Vietnam. You'll love these miniature chairs! In every local restaurant, the guests sit around on such plastic parts. Of course, this also requires correspondingly small tables.
Ce remarquable édifice datant de 1050 est l'une des plus anciennes églises romanes du pays. C’est la seule à avoir conservé la pierre dédicatoire qui commémore la consécration de l’église le 20 juin 1050.
Le cadre extérieur est plaisant avec l’ancien cimetière qui entoure l’église et le tilleul séculaire tout proche. Le bâtiment est construit sur un plan très simple : une partie centrale et deux parties latérales moins élevées. L’église est conservée largement dans l’état originel des églises romanes primitives : petite taille, sobriété, simplicité de la construction, équilibre des proportions. Elle est classée patrimoine exceptionnel de Wallonie.
Elle contient un mobilier intéressant, notamment des œuvres du maître de Waha, des superbes statues de saints, la cuve baptismale, et, parmi les éléments contemporains, des vitraux réalisés par Louis-Marie Londot et ceux de Jean-Michel Folon qui rappellent le martyre de saint Etienne.
This remarkable building dating from 1050 is one of the oldest Romanesque churches in the country. It is the only one to have preserved the dedicatory stone which commemorates the consecration of the church on June 20, 1050.
The exterior setting is pleasant with the old cemetery which surrounds the church and the centuries-old lime tree nearby. The building is built on a very simple plan: a central part and two lower side parts. The church is largely preserved in the original state of primitive Romanesque churches: small size, sobriety, simplicity of construction, balanced proportions. It is classified as an exceptional heritage site in Wallonia.
It contains interesting furniture, notably works by the master of Waha, superb statues of saints, the baptismal font, and, among contemporary elements, stained glass windows made by Louis-Marie Londot and those of Jean-Michel Folon which recall the martyrdom of Saint Stephen.
De Marrakech a Merzouga
La belleza del Atlas con su sistema montañoso e inmensidad, la dureza de su clima, su escasa o nula vegetación, la sobriedad de la existencia y la austeridad de medios para la población. La grandiosidad del desierto, sus dunas. La tradición de sus pueblos, mercados y vendedores en los zocos. Sus típicos regateos previos al cierre de un trato. La dignidad de sus gentes, sus típicos atuendos para protegerse del excesivo calor. Todo ello hace esta experiencia especial e inolvidable.
From Marrakech to Merzouga
The beauty of the Atlas mountain range and its immensity, the hardness of its climate, little or no vegetation, sobriety of life and austerity of means for the population. The grandeur of the desert dunes. The tradition of their peoples, markets and sellers in the souks. Its typical prior to the closing of a deal haggling. The dignity of its people, their traditional clothing to protect themselves from excessive heat. All this makes this special and unforgettable experience.
So I've been a bit busy recently, working on some new writing projects, plus last week I celebrated 5 years sobriety, had me a bit distracted but now I am looking to get back to my photography. This butterfly I snapped a few weeks ago, it oddly stayed completely motionless as I got closer and closer with the Nikkor 55-200mm VR1, which was a surprise as they usually fly off right when you have the focus on.
It was something to note that I also saw several other photographers had take very similar captures and so I took it as a spiritual omen, hence the title.
I hope everyone is well and so as always, thank you! :)
Warnscale Bothy.
As a few of you know I have faced an ongoing battle with my mental health for a number of years and unfortunately this manifested itself in some heavy drinking until I no longer had control over it. I was a full blown alcoholic. I still am and always will be, I just choose not to drink now. I was the worst kind, licking the windows of Tesco at 6am, needing 4 cans just to get out of bed, having it dropped off by taxi when I was too ill to move off the sofa.
Today marked my 6 month anniversary of sobriety. I've been planning this day in my mind for a few weeks and was delighted to have a favourable forecast.
I have thrown myself into my photography in those six months and when I've been tempted I've picked up the camera, read Flickr or watched You Tube tutorials and various photography channels. It has helped me immensely to keep focused and with the aid of practicing mindfulness and bringing myself back to the here and now I'm beginning to discover and like me again.
I'm consistently humbled by the kind comments I receive from some truly inspirational and talented photographers and for that I can only thank you. It has helped me more than you will ever know.
I've been building up to a return to the mountains for a while doing some longish walks in the Peak District and low level walks in the Lakes. But I set myself the challenge that today I will walk up Haystacks and bag my 31st Wainwright. It's been 6 years and many bottles of Johnnie Walker since I got my 30th.
It might not be the hardest mountain to climb, or the highest, but as I'm sure you can imagine it meant the world to me. And I got to have the summit to myself for 20 glorious minutes. I just sat and listened and smelt and touched the rocks and pebbles strewn around the cairn. I made a cup of pine needle tea and let every emotion I'd been supressing for years flood over me. I even had a little Pied Wagtail land on a boulder less than ten feet from me and sing and tweet.
I'd already decided not to take any pics up there. I wanted that moment to remain just for me. Fairly emotional but the sound and sight of two burly scousers coming over the brow snapped me back to reality.
I made my way down to Warnscale Beck and then to Warnscale Bothy. I'd made a detour on the way up to ensure I could find it easily following the path down from Dub's Hut. I had a couple of hours before sunset and I just sat on the slate and watched the clouds dance across the fells as the light started to change and the shadows lengthened.
Once the light was golden I setup and stayed until just after sunset. Most of the cloud had left and it ended up quite flat but did I care? Not a jot!
Anyway enough of my ramblings. Thank you all once again.
'The mind, the mind has mountains
And I will lift up my eyes unto the hills, from where my strength cometh.'
Cloister
Built in the 17th century, it has a double cloister composed of thirty-six semicircular arches supported by rectangular pillars (nine per side), the upper cloister is closed by balconies. The sobriety of the cloister is attenuated by the sculptural decoration of the wainscots and the keys of the arches with vegetal decoration and fantastic animals.
Monastery of Ucles, Cuenca, Spain
Claustro
Construido en el siglo XVII, posee un doble claustro compuesto por treinta y seis arcos de medio punto apoyados en pilares rectangulares (nueve por lado), el claustro superior esta cerrado por balcones. La sobriedad del claustro queda atenuada por la decoración escultórica de las enjutas y las claves de los arcos con decoración vegetal y animales fantásticos.
Monasterio de Ucles, Cuenca, España
Il vecchio treno a vapore ha attraversato l’Europa da est a ovest. Dalla stazione principale di Praga alla costa olandese. Il porto di Hoek van Holland, dove la bocca spalancata di un traghetto giallo lo attende per adagiarlo sulle coste inglesi, è l’unica macchia di colore in una giornata piovosa di inizio di settembre. Destinazione Londra.
A bordo, qualche centinaio di passeggeri davvero speciali. Seduto su una poltroncina damascata da treno degli anni ’20 c’è un signore di cento anni.
Sir Nicholas Winton.
Distinto e dallo sguardo attento come ha solo chi conosce i segreti di quella longevità.
Il viaggio è lo stesso di quell’estate del ’39 e come sempre anche quell’estate iniziò dopo la primavera.
Winton allora è un brillante agente della borsa di Londra, trentenne aitante, che vuole concedersi, come di moda fra le persone moderatamente agiate, una vacanza in Svizzera.
Marzo: le truppe tedesche invadono la Cecoslovacchia.
In Europa si diffondono notizie devastanti. Per gli ebrei di Praga sta per iniziare la fine.
Nicholas Winton decide di cambiare rotta e punta su Praga dove lo colpiscono le centinaia e centinaia di bambini improvvisamente privati del loro presente e senza alcuna possibilità di futuro.
Li aiuta, sta loro vicino, fonda e gestisce a sue spese un’associazione che ha uno scopo geniale: affidare i piccoli ebrei cecoslovacchi alle famiglie britanniche.
Un lavoro frenetico di qualche mese, tanto durerà l’operazione “kindertransport”, per mettere in sicurezza 669 bambini.
Con l’autunno, sapevano tutti, i problemi sarebbero aumentati e si doveva correre.
Il treno, quella mattina del 1 settembre del ’39 partì immerso nel vapore e nella speranza.
I piccoli, col muso a punto interrogativo, non avevano la minima idea di quale sarebbe stata la loro destinazione, né, se avrebbero mai rivisto le proprie famiglie.
Passarono la guerra riparati dalla corona britannica e dal calore delle case che li avevano ospitati.
Alla fine del conflitto Mr. Winton fece un gran lavoro per ricongiungerli, ove possibile, con i parenti sopravvissuti e poi, con la sobrietà estrema che contraddistingue le persone di grande valore, mantenne la storia chiusa nella propria memoria.
Per cinquant’anni.
Fino a quando gli storici riuscirono a rimettere insieme le tessere del mosaico.
Oggi (2009) quei 669 bambini sono genitori, nonni e bisnonni. Viaggiano con quel funzionario di banca che divenne Sir su un treno che sta per entrare nella pancia di una balena gialla e che li porterà dritti nel ricordo della vita riconquistata.
The old steam train has crossed Europe from east to west. From Prague's main station to the Dutch coast. The port of Hoek van Holland, where the wide open mouth of a yellow ferry awaits him to lay it on the English coast, is the only color spot on a rainy day at the beginning of this September. Destination London. On board, a few hundred really special passengers. Sitting on a damask train chair from the 1920s is a hundred year old gentleman. Sir Nicholas Winton. Distinguished and attentive as it has only those who know the secrets of that longevity. The journey is the same as that summer of '39 and as always also that summer began after spring. Winton is then a brilliant agent of the London Stock Exchange, a thirty-year-old, who wants to allow himself a vacation in Switzerland as fashionable among moderately wealthy people. March: German troops invade Czechoslovakia. Disruptive news spread throughout Europe. For the Jews in Prague, the end is about to begin. Nicholas Winton decides to change course and focuses on Prague where hundreds and hundreds of children suddenly deprive him of their present and without any possibility of future. He helps them, is close to them, establishes and manages at his expense an association with a brilliant purpose: to entrust the small Czechoslovak Jews to the British families. A frenetic work of a few months, the "kindertransport" operation will last, to secure 669 children. With the autumn, everyone knew, the problems would increase and you had to run. The train, that morning of September 1, 1939, set off in steam and hope. The little ones, with their faces in question, had no idea what their destination would be. Nor, if they would ever see their families again. They passed the war sheltered by the British crown and by the warmth of the houses that had hosted them. At the end of the conflict Mr. Winton did a great job to reunite them, where possible, with the surviving relatives and then, with the extreme sobriety that distinguishes the people of great value, he kept the story closed in his memory. For fifty years. Until the historians managed to put together the mosaic tiles. Today those 669 children are parents, grandparents and great-grandparents. They travel with that bank official who became Sir on a train is about to enter the belly of a yellow whale that will take them straight in the memory of the reconquered life.
quella vela è carica di speranza ...
Visiting the beautiful Cathedral of Pamplona (Spain), I was surprised by the sobriety of this small chapel with an ancient sculptural carving.
La capilla
Visitando la preciosa Catedral de Pamplona (España), me sorprendió la sobriedad de esta pequeña capilla con una talla escultórica antigua.
© 2018 All rights reserved by Pacogranada.
Please don't use this image on websites, blogs or other media without my explicit permission.
A southbound BNSF manifest highballs Wocus siding near Klamath Falls, Oregon. When this unit showed up in Fall 1999, wags immediately suspected its number was part of a field sobriety test.
Ici, formes et couleurs contrastent avec la sobriété du parc. Crée par Berthe de Ganay dans les Années Folles, c’est plus exactement un jardin anglo-japonais. En effet, Berthe de Ganay l’a esquissé avec l’aide de Kitty Lloyd-Jones, une élève de Gertrude Jekyll, celle qui a inventé le principe du « mixed-border » anglais.
L’Extrême-Orient est seulement évoqué en jouant par exemple avec la taille nuages !
Here, forms and colors contrast with the sobriety of the park. Create by Berthe de Ganay in Roaring twenties, it is more exactly an English-Japanese garden. Indeed, Berthe de Ganay sketched it by means of Kitty Lloyd-Jones, a pupil of Gertrude Jekyll, the one who invented the principle of " mixed-border " English.
Far East is only evoked by playing for example with the "size clouds"
Située au nord de la Bourgogne, l’Abbaye de Fontenay a été fondée en 1118 par Saint Bernard de Clairvaux, un des plus grands saints français, et est la plus ancienne abbaye cistercienne conservée au monde.
Classée monument historique français dès 1862, elle a été inscrite au patrimoine mondial de l'Unesco en 1981. Elle a été l’un des premiers monuments français à figurer sur cette liste, qui a ainsi distingué la valeur exceptionnelle, tant de l’ensemble abbatial de Fontenay que de son environnement naturel.
L’abbatiale de Fontenay est une des plus anciennes églises cisterciennes dans le monde. Construite entre 1139 et 1147, elle est aussi l’une des rares abbatiales cisterciennes du XIIe siècle parvenue intacte jusqu’à nos jours.
Selon la volonté de Saint Bernard et du chapitre général de l’Ordre de Cîteaux, rien dans l’église ne vient distraire l’œil afin que tout l’être soit tourné vers Dieu lors des offices quotidiens. C’est pourquoi cet édifice fut construit dans une grande simplicité et constitue un modèle typique d’architecture romane bourguignonne : plan en croix latine, façade dépouillée, chapiteaux sculptés de motifs simples de feuillage, rang unique de fenêtres latérales.
Cette simplicité cache de nombreux détails et une attention particulière des moines bâtisseurs pour l’harmonie et la symbolique, notamment en ce qui concerne les proportions ou le nombre de baies.
Le chœur est couvert de carreaux émaillés des XIIe et XIIIe siècles. On y trouve également un remarquable retable sculpté du XIIIe siècle, ainsi qu’un ensemble de pierres tombales dont celle de l’évêque anglais Ebrard de Norwich, qui finança la construction de l’abbatiale.
L’abbatiale impressionne par son remarquable état de conservation, ses dimensions, sa sobriété rigoureuse et sa luminosité particulière. Il y règne une atmosphère de calme et de sérénité invitant à une contemplation admirative et au recueillement.
Located in northern Burgundy, Fontenay Abbey was founded in 1118 by Saint Bernard of Clairvaux, one of the greatest French saints, and is the oldest preserved Cistercian abbey in the world.
Classified as a French historic monument in 1862, it was listed as a UNESCO world heritage site in 1981. It was one of the first French monuments to appear on this list, which thus distinguished the exceptional value of both the whole abbey of Fontenay as well as its natural environment.
The Fontenay abbey church is one of the oldest Cistercian churches in the world. Built between 1139 and 1147, it is also one of the rare Cistercian abbey churches from the 12th century that has survived intact to this day.
According to the will of Saint Bernard and the general chapter of the Order of Cîteaux, nothing in the church distracts the eye so that the whole being is turned towards God during daily services. This is why this building was built with great simplicity and constitutes a typical model of Burgundian Romanesque architecture: Latin cross plan, bare facade, capitals sculpted with simple foliage motifs, single row of side windows.
This simplicity hides many details and a particular attention of the building monks to harmony and symbolism, particularly with regard to proportions or the number of bays.
The choir is covered with enameled tiles from the 12th and 13th centuries. There is also a remarkable sculpted altarpiece from the 13th century, as well as a set of tombstones including that of the English bishop Ebrard of Norwich, who financed the construction of the abbey church.
The abbey church impresses with its remarkable state of conservation, its dimensions, its rigorous sobriety and its particular luminosity. There reigns an atmosphere of calm and serenity inviting admiring contemplation and meditation.
in moderation :-)
Hate Will Not Make Us Great! Resist!!
prunus mume, pink japanese flowering apricot, 'Rosebud', j c raulston arboretum, ncsu, raleigh, north carolina
Institut Mental de la Santa Creu, Nou Barris, Barcelona.
Instituto Mental de la Santa Cruz es un edificio historicista de Barcelona que forma parte del Inventario del Patrimonio Arquitectónico de Cataluña.
El edificio, originalmente, estaba formado por doce pabellones aislados dispuestos perpendicularmente con dos crujías paralelas y que tenían en ambos extremos unos hemiciclos para el tratamiento de los enfermos con mayores dificultades. En total tenía una capacidad para ochocientos usuarios.
El hospital disponía de enfermerías, salas de reuniones, amplios comedores, salas de trabajo, biblioteca y baños. También había espacios dedicados por el recreo de los internos como una sala de billares, de música, teatro y unos amplios patios y jardines.
El 30 de septiembre de 1987, después de un siglo de existencia, el Mental cerró sus puertas. Hoy sólo quedan tres pabellones ocupados por la Seu del Districte y la Biblioteca de Nou Barris que permiten apreciar la monumentalidad y la sobriedad que caracterizó la obra, realizada en un estilo neoclásico muy sencillo.
Mental Institute of the Holy Cross is a historicist building in Barcelona that is part of the Inventory of the Architectural Heritage of Catalonia.
The building, originally, was made up of twelve isolated pavilions arranged perpendicularly with two parallel corridors and which had chambers at both ends for the treatment of patients with greater difficulties. In total it had a capacity for eight hundred users.
The hospital had infirmaries, meeting rooms, large dining rooms, work rooms, a library and bathrooms. There were also spaces dedicated to the recreation of the inmates, such as a billiards room, a music room, a theater and large patios and gardens.
On September 30, 1987, after a century of existence, the Mental closed its doors. Today only three pavilions remain, occupied by the Seu del Districte and the Nou Barris Library, which allow us to appreciate the monumentality and sobriety that characterized the work, carried out in a very simple neoclassical style.
LABIOMISTA, une œuvre évolutive sur le mélange de la vie.
Sur les fondements du passé minier et de l’ancien jardin zoologique de Zwartberg à Genk, se développe un projet qui reflète la vision unique de l’artiste Koen Vanmechelen, le fruit d’un travail de longue haleine sur l’identité, la fertilité et la diversité bio-culturelle. Un jardin de l’ordre et du chaos, une arène de la culture et de la nature. Le wonderlab de Vanmechelen.
The Ark est la porte d’accès au parc, la porte d’accès au monde. C’est un bâtiment d’accueil imposant en brique noire et béton poli. Les visiteurs y font connaissance avec le travail de Koen Vanmechelen et sont introduits au site.
The Ark rappelle par son style et sa dynamique The Battery, le studio de Vanmechelen, centre nerveux du site. Bâties dans la même pierre noire évocatrice du passé charbonnier du site, les deux constructions se distinguent par leur sobriété et la symétrie dans le jeu des volumes. Elles ont été conçues par l’architecte suisse Mario Botta (°1943) en collaboration avec l’artiste.
Localisation ancien porche d’accès à la villa du directeur
Fonction accueil des visiteurs, bureau d’information et vente de billets et de produits
Architecte Mario Botta (CH) en collaboration avec le bureau d’architecte de Genk Buro B
LABIOMISTA, an evolving work on the mixture of life.
On the foundations of the mining past and the former zoological garden of Zwartberg in Genk, a project is developing which reflects the unique vision of the artist Koen Vanmechelen, the fruit of a long-term work on identity, fertility and bio-cultural diversity. A garden of order and chaos, an arena of culture and nature. The Vanmechelen wonderlab.
The Ark is the gateway to the park, the gateway to the world. It is an imposing reception building in black brick and polished concrete. Visitors get to know the work of Koen Vanmechelen and are introduced to the site.
The Ark recalls by its style and its dynamics The Battery, the studio of Vanmechelen, nerve center of the site. Built in the same black stone evocative of the coal past of the site, the two constructions are distinguished by their sobriety and symmetry in the interplay of volumes. They were designed by the Swiss architect Mario Botta (°1943) in collaboration with the artist.
Location of the former access porch to the director's villa
Visitor reception, information desk and sale of tickets and products
Architect Mario Botta (CH) in collaboration with the architectural office of Genk Buro B
::: STING - An English man in New York :::...
I don't drink coffee, I take tea, my dear
I like my toast done on one side
And you can hear it in my accent when I talk
I'm an Englishman in New York
See me walking down Fifth Avenue
A walking cane here at my side
I take it everywhere I walk
I'm an Englishman in New York
If "manners make the man" as someone said
He's the hero of the day
It takes a man to suffer ignorance and smile
Be yourself no matter what they say
Oh, I'm an alien, I'm a legal alien
I'm an Englishman in New York
Modesty, propriety can lead to notoriety
You could end up as the only one
Gentleness, sobriety are rare in this society
At night a candle's brighter than the sun
Takes more than combat gear to make a man
Takes more than a license for a gun
Confront your enemies, avoid them when you can
A gentleman will walk but never run
All God's children need travelling shoes
Drive your problems from here
All good people read good books
Now your conscience is clear
I hear you talk girl
Now your conscience is clear
In the morning when I wipe my brow
Wipe the miles away
I like to think I can be so willed
And never do what you say
I'll never hear you
And never do what you say
Look my eyes are just holograms
Look your love has drawn red from my hands
From my hands you know you'll never be
More than twist in my sobriety
More than twist in my sobriety
More than twist in my sobriety
We've just poked a little empty pie
For the fun that people had at night
Late at night don't need hostility
The timid smile and pause to free
I don't care about their different thoughts
Different thoughts are good for me
Up in arms and chaste and whole
All God's children took their toll
Cup of tea, takes time to think, yeah
Time to risk a life, a life, a life
Sweet and handsome
Soft and porky
You peg out 'til you've seen the light
Peg out 'til you've seen the light
Half the people read the papers
Read them good and well
Pretty people, nervous people
People have got to sell
News you have to sell
The arabesque is a form of artistic decoration consisting of "surface decorations based on rhythmic linear patterns of scrolling and interlacing foliage, tendrils" or plain lines, often combined with other elements. Another definition is "Foliate ornament, used in the Islamic world, typically using leaves, derived from stylised half-palmettes, which were combined with spiralling stems". It usually consists of a single design which can be 'tiled' or seamlessly repeated as many times as desired. Within the very wide range of Eurasian decorative art that includes motifs matching this basic definition, the term "arabesque" is used consistently as a technical term by art historians to describe only elements of the decoration found in two phases: Islamic art from about the 9th century onwards, and European decorative art from the Renaissance onwards. Interlace and scroll decoration are terms used for most other types of similar patterns. Source Wikipedia.
TD : 1/250 f/8 ISO 100 @20 mm
Située au nord de la Bourgogne, l’Abbaye de Fontenay a été fondée en 1118 par Saint Bernard de Clairvaux, un des plus grands saints français, et est la plus ancienne abbaye cistercienne conservée au monde.
Classée monument historique français dès 1862, elle a été inscrite au patrimoine mondial de l'Unesco en 1981. Elle a été l’un des premiers monuments français à figurer sur cette liste, qui a ainsi distingué la valeur exceptionnelle, tant de l’ensemble abbatial de Fontenay que de son environnement naturel.
L’abbatiale de Fontenay est une des plus anciennes églises cisterciennes dans le monde. Construite entre 1139 et 1147, elle est aussi l’une des rares abbatiales cisterciennes du XIIe siècle parvenue intacte jusqu’à nos jours.
Selon la volonté de Saint Bernard et du chapitre général de l’Ordre de Cîteaux, rien dans l’église ne vient distraire l’œil afin que tout l’être soit tourné vers Dieu lors des offices quotidiens. C’est pourquoi cet édifice fut construit dans une grande simplicité et constitue un modèle typique d’architecture romane bourguignonne : plan en croix latine, façade dépouillée, chapiteaux sculptés de motifs simples de feuillage, rang unique de fenêtres latérales.
Cette simplicité cache de nombreux détails et une attention particulière des moines bâtisseurs pour l’harmonie et la symbolique, notamment en ce qui concerne les proportions ou le nombre de baies.
Le chœur est couvert de carreaux émaillés des XIIe et XIIIe siècles. On y trouve également un remarquable retable sculpté du XIIIe siècle, ainsi qu’un ensemble de pierres tombales dont celle de l’évêque anglais Ebrard de Norwich, qui finança la construction de l’abbatiale.
L’abbatiale impressionne par son remarquable état de conservation, ses dimensions, sa sobriété rigoureuse et sa luminosité particulière. Il y règne une atmosphère de calme et de sérénité invitant à une contemplation admirative et au recueillement.
Located in northern Burgundy, Fontenay Abbey was founded in 1118 by Saint Bernard of Clairvaux, one of the greatest French saints, and is the oldest preserved Cistercian abbey in the world.
Classified as a French historic monument in 1862, it was listed as a UNESCO world heritage site in 1981. It was one of the first French monuments to appear on this list, which thus distinguished the exceptional value of both the whole abbey of Fontenay as well as its natural environment.
The Fontenay abbey church is one of the oldest Cistercian churches in the world. Built between 1139 and 1147, it is also one of the rare Cistercian abbey churches from the 12th century that has survived intact to this day.
According to the will of Saint Bernard and the general chapter of the Order of Cîteaux, nothing in the church distracts the eye so that the whole being is turned towards God during daily services. This is why this building was built with great simplicity and constitutes a typical model of Burgundian Romanesque architecture: Latin cross plan, bare facade, capitals sculpted with simple foliage motifs, single row of side windows.
This simplicity hides many details and a particular attention of the building monks to harmony and symbolism, particularly with regard to proportions or the number of bays.
The choir is covered with enameled tiles from the 12th and 13th centuries. There is also a remarkable sculpted altarpiece from the 13th century, as well as a set of tombstones including that of the English bishop Ebrard of Norwich, who financed the construction of the abbey church.
The abbey church impresses with its remarkable state of conservation, its dimensions, its rigorous sobriety and its particular luminosity. There reigns an atmosphere of calm and serenity inviting admiring contemplation and meditation.
La Collégiale Notre-Dame de Dinant est un édifice religieux catholique sis en bord de Meuse (rive droite) à Dinant (Belgique). Un premier édifice roman s'étant écroulé, il est remplacé au XIIIe siècle par un autre en style gothique. L'église est l'un des monuments les plus représentatifs de l'architecture gothique de style mosan qui s'est répandu dans l'ancienne principauté de Liège au XIIIe siècle.
La collégiale est longue de 50 mètres et large de 30 au transept. Le vaisseau central de la nef a une hauteur de 22 mètres, tandis que les bas-côtés ou collatéraux ont environ 14 mètres. Les colonnes des grandes arcades de la nef sont cylindriques.
Malgré les dimensions restreintes imposées par l'exiguïté de l'emplacement, l'intérieur produit une impression de grandeur et de sobriété caractéristiques de l'école mosane. L'unité du plan en croix latine est obtenue grâce à l'ordonnance de l'élévation, identique dans l'ensemble de l'édifice : les colonnes monostyles aux chapiteaux octogonaux à feuilles strictes de style régional soutiennent de grandes arcades moulurées, un triforium à arcades trilobées, et de hautes fenêtres au remplage flamboyant.
The Collegiate Church of Our Lady of Dinant is a Catholic religious building located on the banks of the Meuse River (right bank) in Dinant, Belgium. After an earlier Romanesque building collapsed, it was replaced in the 13th century by a Gothic one. The church is one of the most representative monuments of the Mosan Gothic style of architecture that spread throughout the former principality of Liège in the 13th century.
The collegiate church is 50 meters long and 30 meters wide at the transept. The central nave is 22 meters high, while the side aisles are approximately 14 meters. The columns of the nave's large arcades are cylindrical.
Despite the limited dimensions imposed by the cramped location, the interior creates an impression of grandeur and sobriety characteristic of the Mosan school. The unity of the Latin cross plan is achieved through the arrangement of the elevation, which is identical throughout the building: the monostyle columns with octagonal capitals with strict leaves in the regional style support large molded arcades, a triforium with trilobed arcades, and tall windows with flamboyant tracery.
Le cloître est le cœur du monastère. Alors que beaucoup de cloîtres ont été détruits, celui de Fontenay est resté intact depuis le XIIe siècle.
Cette merveille de l’art roman a été conçue aussi bien comme espace de communication entre toutes les salles du monastère que comme lieu de méditation. Les galeries forment un rectangle de 36 m sur 38 m dégageant une grande impression d’homogénéité, malgré une variété de piliers, colonnettes et chapiteaux qui témoignent tous de la sobriété de l’architecture cistercienne.
À toute heure de la journée et tout au long de l’année, le cloître est baigné de lumière. C’est un lieu unique qui inspire dessinateurs et photographes, et invite le visiteur à la méditation
The cloister is the heart of the monastery. While many cloisters have been destroyed, that of Fontenay has remained intact since the 12th century.
This marvel of Romanesque art was designed both as a space for communication between all the rooms of the monastery and as a place for meditation. The galleries form a rectangle of 36 m by 38 m giving off a great impression of homogeneity, despite a variety of pillars, columns and capitals which all testify to the sobriety of Cistercian architecture.
At any time of the day and throughout the year, the cloister is bathed in light. It is a unique place that inspires designers and photographers, and invites the visitor to meditation.
Walter Schrempf's blueprint of the building was the winner of an architecture competition in the year 1963. Then, he invited Otto Herbert Hajek to reshape his draft artificially to overcome the comtemporary paradigmatic sobriety of the 1960's. The realisation of the building started in 1966, after Hajek had presented his version to the commission of the university.
The result of the architect’s and sculptor’s collaboration is a functional modern architecture, which opens up to the technical age and uses new materials, and is also a space sculpture at the same time. Naked concrete contrasts with a vivid coloration through yellow, red and blue surfaces. Geometric elements, which are arranged like a box, determine the spatial effect. The interior is divided by plastic concrete elements in various large levels and units.
The building has been built as a "Student House" in which all services for the students are included: dining hall, administration for the students services like financial support, recreational facility, theatre hall, café, event room. All these functions are still existing today.
The building is a historical monument.
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Spring has coaxed out of cold land on the edge of a Meuse levee our pretty, frilled Lent Daffodil. Sometimes it's curiously called a 'Pseudonarcissus'. With its exuberant trumpet it would seem to defy the sobriety of Lent...
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If "Manners maketh man" as someone said
Then he's the hero of the day
It takes a man to suffer ignorance and smile
Be yourself no matter what they say
I'm an alien, I'm a legal alien
I'm an Englishman in New York
Modesty, propriety can lead to notoriety
You could end up as the only one
Gentleness, sobriety are rare in this society
At night a candle's brighter than the sun
Takes more than combat gear to make a man
Takes more than a license for a gun
Confront your enemies, avoid them when you can
A gentleman will walk but never run
I'm an alien, I'm a legal alien
I'm an Englishman in New York
Située au nord de la Bourgogne, l’Abbaye de Fontenay a été fondée en 1118 par Saint Bernard de Clairvaux, un des plus grands saints français, et est la plus ancienne abbaye cistercienne conservée au monde.
Classée monument historique français dès 1862, elle a été inscrite au patrimoine mondial de l'Unesco en 1981. Elle a été l’un des premiers monuments français à figurer sur cette liste, qui a ainsi distingué la valeur exceptionnelle, tant de l’ensemble abbatial de Fontenay que de son environnement naturel.
L’abbatiale de Fontenay est une des plus anciennes églises cisterciennes dans le monde. Construite entre 1139 et 1147, elle est aussi l’une des rares abbatiales cisterciennes du XIIe siècle parvenue intacte jusqu’à nos jours.
Selon la volonté de Saint Bernard et du chapitre général de l’Ordre de Cîteaux, rien dans l’église ne vient distraire l’œil afin que tout l’être soit tourné vers Dieu lors des offices quotidiens. C’est pourquoi cet édifice fut construit dans une grande simplicité et constitue un modèle typique d’architecture romane bourguignonne : plan en croix latine, façade dépouillée, chapiteaux sculptés de motifs simples de feuillage, rang unique de fenêtres latérales.
Cette simplicité cache de nombreux détails et une attention particulière des moines bâtisseurs pour l’harmonie et la symbolique, notamment en ce qui concerne les proportions ou le nombre de baies.
Le chœur est couvert de carreaux émaillés des XIIe et XIIIe siècles. On y trouve également un remarquable retable sculpté du XIIIe siècle, ainsi qu’un ensemble de pierres tombales dont celle de l’évêque anglais Ebrard de Norwich, qui finança la construction de l’abbatiale.
L’abbatiale impressionne par son remarquable état de conservation, ses dimensions, sa sobriété rigoureuse et sa luminosité particulière. Il y règne une atmosphère de calme et de sérénité invitant à une contemplation admirative et au recueillement.
Located in northern Burgundy, Fontenay Abbey was founded in 1118 by Saint Bernard of Clairvaux, one of the greatest French saints, and is the oldest preserved Cistercian abbey in the world.
Classified as a French historic monument in 1862, it was listed as a UNESCO world heritage site in 1981. It was one of the first French monuments to appear on this list, which thus distinguished the exceptional value of both the whole abbey of Fontenay as well as its natural environment.
The Fontenay abbey church is one of the oldest Cistercian churches in the world. Built between 1139 and 1147, it is also one of the rare Cistercian abbey churches from the 12th century that has survived intact to this day.
According to the will of Saint Bernard and the general chapter of the Order of Cîteaux, nothing in the church distracts the eye so that the whole being is turned towards God during daily services. This is why this building was built with great simplicity and constitutes a typical model of Burgundian Romanesque architecture: Latin cross plan, bare facade, capitals sculpted with simple foliage motifs, single row of side windows.
This simplicity hides many details and a particular attention of the building monks to harmony and symbolism, particularly with regard to proportions or the number of bays.
The choir is covered with enameled tiles from the 12th and 13th centuries. There is also a remarkable sculpted altarpiece from the 13th century, as well as a set of tombstones including that of the English bishop Ebrard of Norwich, who financed the construction of the abbey church.
The abbey church impresses with its remarkable state of conservation, its dimensions, its rigorous sobriety and its particular luminosity. There reigns an atmosphere of calm and serenity inviting admiring contemplation and meditation.
Le cloître est le cœur du monastère. Alors que beaucoup de cloîtres ont été détruits, celui de Fontenay est resté intact depuis le XIIe siècle.
Cette merveille de l’art roman a été conçue aussi bien comme espace de communication entre toutes les salles du monastère que comme lieu de méditation. Les galeries forment un rectangle de 36 m sur 38 m dégageant une grande impression d’homogénéité, malgré une variété de piliers, colonnettes et chapiteaux qui témoignent tous de la sobriété de l’architecture cistercienne.
À toute heure de la journée et tout au long de l’année, le cloître est baigné de lumière. C’est un lieu unique qui inspire dessinateurs et photographes, et invite le visiteur à la méditation
The cloister is the heart of the monastery. While many cloisters have been destroyed, that of Fontenay has remained intact since the 12th century.
This marvel of Romanesque art was designed both as a space for communication between all the rooms of the monastery and as a place for meditation. The galleries form a rectangle of 36 m by 38 m giving off a great impression of homogeneity, despite a variety of pillars, columns and capitals which all testify to the sobriety of Cistercian architecture.
At any time of the day and throughout the year, the cloister is bathed in light. It is a unique place that inspires designers and photographers, and invites the visitor to meditation.