View allAll Photos Tagged space-enhancing
Original, AI assisted digital abstract from Mage.Space. Enhanced with TouchRetouch and Procreate with Apple Pencil and iPad Pro.
The Broadgate Tower and 201 Bishopsgate stand prominently within the renowned Broadgate business district in the City of London. SOM has been active in the district since it began to take shape in the 1980s, designing public space enhancements and many key buildings.
At 33 stories, The Broadgate Tower ranks among London’s tallest structures. The office building features double-deck elevators and, thanks to side-mounted cores, desirable open floor plates. Located near Liverpool Street Station, the tower was built above rail tracks and shares a 2.3-acre deck with 201 Bishopsgate, its shorter counterpart. Structural steel struts crisscrossing the glass facades of both buildings give them a rigorous, expressive quality.
A covered passageway with shops and cafes stretches between the two structures. Trees in and around the galleria help create a relaxed atmosphere. Sustainable features in both buildings include heat-recovery systems and lighting that dims in response to daylight levels.
Source: www.som.com/projects/201-bishopsgate-and-the-broadgate-to...
Along the way I came across a logging mill. This is not a small section of colored dessert but rather a wind blown heap of sawdust. The bright sunlit color caught my eye from the highway and I had to pull over. At first I investigated with a 24-70 lens only to realize the 70-200 was the right one to get what I wanted.
Compressing the veins of dark and light in the sawdust with the mountains above would prove best. Then framing the image with the white in both the foreground and the background would complete the picture. The forest would provide a much needed negative space enhancing the shadow areas in the sawdust and draw one into the image.
Like I always say, "You never know till you go", 90% of success in life is just being there.
Crisp modern styling is the hallmark of the Avant range. The high gloss finish has space-enhancing qualities and is perfect for creating a light and airy contemporary interior #robertcharlesinteriors #contemporary #home #style #dreamkitchen
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Taxi down below
Sir John Everett Millais (1829-1896) English Artist
Historical Background from the Lady Lever Art Gallery:
The theme of "The Black Brunswicker" is an imaginative incident highlighting a historical moment. The Black Brunswickers were a special troop raised by Frederick William Duke of Brunswick (1771-1815) in 1809. The regiment consisted of the best German gentlemen and was known as the "Death or Glory," a name which was derived from their distinctive death’s head hat badge and their apparent devotion to duty. The troops suffered severe losses at the battle of Quatre Bras at Waterloo in 1815. In a letter to Effy, Millais described his idea and his enthusiasm for the subject:
"My subject appears to me, too, most fortunate, and Russell (the war correspondent of Times) thinks it first-rate… I have it all in my mind’s eye and feel confident that it will be a prodigious success. The costume and incident are so powerful that I am astonished it has never been touched upon before. Russell was quite struck with it, and he is the best man for knowing the public taste. Nothing could be kinder than his interest, and he is to set about getting all the information that is required."
Millais spent three months painting "The Black Brunswicker." Studies for the work exist both in the Lady Lever Art Gallery’s archives as well as in Tate Britain.
Millais used Charles Dickens’s daughter Kate as the model for the girl and a private in the Life Guards for the soldier. Each had to model separately for this passionate scene because of the strict Victorian morals of the time.
Millais wished to be historically accurate in making the girl’s dress look quite antique. (It is actually a compromise between the fashions of 1859 and 1815 when waists were still kept high). The intensity of emotions is well conveyed in the close encounter of the couple, the girl’s body attempting to obstruct the soldier from his task and prevent his destiny.
The dark and enclosed space enhances the tragedy of the scene. The work appeals both to spectators’ patriotism and sentimentality. The only distraction is perhaps the brilliant shine of the girl’s dress, its creases tempting spectators’ tactile senses. The dog at the soldier’s feet also draws attention to the humanity of the subject.
On the wall of the room an engraving of a painting by J.L. David (1748-1825), depicting Napoleon crossing the Alps serves as a reminder of Waterloo while also alluding to current events in 1860, when Napoleon III entered upon a war in Northern Italy in an attempt to expel the Austrians.
Crisp modern styling is the hallmark of the Avant range. The high gloss finish has space enhancing qualities and is perfect for creating a light and airy contemporary interior. #robertcharlesinteriors #contemporary #home #style #dreamkitchen
Comacchio, "the" little Venice ", is a lagoon city that enchants: it is polite and genuine, endowed with a vitality that finds life in respecting its history and the environment that surrounds it.
A widespread clarity recalls the proximity to the sea, whose light floods urban spaces, enhanced by the quiet surfaces of the canals. A treasure chest of particular naturalistic beauties and historical testimonies, Comacchio, today considered the capital of the Po Delta Park, is a small town that was born and lives between land and water.
Its seven Lidos are the ideal destination for a holiday to spend with family or friends, or even for a relaxing weekend, to rest in the sun or to celebrate in the fun night of the Lidos.
As for the typical recipes of the area, the eel cooked in a thousand ways triumphs on the laden table. The appetizers based on scallops, mantis shrimps, clams are very tasty; among the first courses, seafood risottos and spaghetti with shellfish. Finally, there are the exquisite grilled eels accompanied by polenta, together with sole, mullet, turbot, sea bream and stuffed cuttlefish. All washed down with the excellent D.O.C wines of Bosco Eliceo.
Comacchio, "the" little Venice ", is a lagoon city that enchants: it is polite and genuine, endowed with a vitality that finds life in respecting its history and the environment that surrounds it.
A widespread clarity recalls the proximity to the sea, whose light floods urban spaces, enhanced by the quiet surfaces of the canals. A treasure chest of particular naturalistic beauties and historical testimonies, Comacchio, today considered the capital of the Po Delta Park, is a small town that was born and lives between land and water.
Its seven Lidos are the ideal destination for a holiday to spend with family or friends, or even for a relaxing weekend, to rest in the sun or to celebrate in the fun night of the Lidos.
As for the typical recipes of the area, the eel cooked in a thousand ways triumphs on the laden table. The appetizers based on scallops, mantis shrimps, clams are very tasty; among the first courses, seafood risottos and spaghetti with shellfish. Finally, there are the exquisite grilled eels accompanied by polenta, together with sole, mullet, turbot, sea bream and stuffed cuttlefish. All washed down with the excellent D.O.C wines of Bosco Eliceo.
Adventure in Seeing - #37 - Space
Space enhances the subject we are photographing. The single subject makes this a minimalist image. It creates visual breathing space and it feels very calming to me. I also love the complementary colours of the pink and the aqua which makes the flower really shine. The soft focus on the water gives the flower definition.
St Mary, Aldborough, Norfolk
Aldborough is the biggest of the villages in the area between Cromer and Aylsham, a handsome village with a pub beside its pretty village green, a good place to sit and watch cricket on a sunny afternoon. And yet, there is something missing, for most unusually for East Anglia there is no village church in Aldborough. Instead, you can find no less than three medieval churches in a line along the nearby Holt to North Walsham road, each about half a mile apart and all very different from each other. The most easterly of the three is the parish church of St Mary, Aldborough, and the other two are the parish churches of Thwaite and Alby.
While Alby and Thwaite are landmarks, towerless St Mary hides behind hedges, and is fairly understated. The tower fell in the 18th century, and now the repointing of the flint and the early 20th century turret belies the fact that it is of great interest. And even as you step in, you feel that this is a busy, much-loved place, zealously taken care of by its community.
A low arcade separates the nave from the13th century north aisle, but otherwise the overwhelming feel is of the late 19th and early 20th Centuries. Six bold saints stand attendance in the aisle and the chancel, four of them in memorials to local lads lost in the Great War. The aisle windows are by Powell & Sons, and depict St Michael and St Francis from the 1920s, and St Peter and St John from the 1930s. But the best glass is in the chancel, depicting St George and St Edmund above a landscape of Suvla Bay, and is by William Aikman in 1925. It remembers Edmund Gay, who was one of the soldiers of the infamous 5th Battalion of the Norfolk Regiment. Recruited on estates in north Norfolk, they sailed for Gallipolli, and were wiped out during the attack on Anafarta in Suvla Bay on the 12th of August 1915.
Because they had fallen behind enemy lines, they were listed as missing, and a Norfolk legend grew up that they had vanished into a mysterious cloud and were taken up out of this world. This sounds bizarre, but it was of a piece with legends like the Angel of Mons leading the British troops to escape death in Flanders, and with the great rise in spiritualism in this country in the years immediately after the War. Perhaps it was the dust and heat of that day which gave rise to the legend.
As you might expect in this part of Norfolk, there are some good medieval figure brasses. They are mostly to members of the Herward family, and date from the 1480s. Two are to Robert Herward, in full armour, and his wife Anne, in a butterfly headdress. The other is to an unknown civilian of the same period.
Half a mile westwards down the road sits the lonely church of All Saints, Thwaite. Thwaite church is a landmark, its round tower peeping above the trees. There is no Thwaite village. The church sits at the highest point in the road, and the view from the churchyard is wide and open to the south, all high Norfolk spread out before you. The tower probably dates from the 12th century, with bell openings of a century later. It was built against an already existing church, although the defining features of that church now are newer. The south aisle can be dated by will evidence as from the 1440s, but it was the early 19th century which brought the large school room built onto the north side of the chancel.
You step into a church which is entirely rustic, a real church of the common people, with a brick floor and a font pressed in the medieval manner against a plillar of the arcade. The south aisle is full of light and old benches. The cut-down screen has deeply cut tracery painted red, gold and green. Mortlock detected the hand of the Aylsham screen maker. The beautiful pulpit with its tester is dated 1624 in a large inscription on the backboard. Best of all, and to be expected in this part of Norfolk, a fine figure brass, a double one, to John Puttok and his wife. Interestingly, they died almost thirty years apart, Puttok first in 1442. The previous year, there had been a bequest for the building of the south aisle, and Puttok's will of a year later asked that he should be buried in it. Was it already built by then? Whatever, that is where the brass is now.
The east window of the south aisle has a modern glass depicting the crowned Tudor royal arms of England and France. It probably came from the same collection as at neighbouring Alby. Faith and Charity are rich and elegant in the mid-Victorian manner in the nave, but the chancel is full of simple white light, and less cluttered and complex spaces than this chancel would be hard to find. If you have come here after enjoying the gorgeous Anglo-catholic riches of the churches to the south, this church will feel like a breath of fresh air.
A gentle half mile or so downhill brings us to the third of the three churches, St Ethelbert, Alby. The churches come so thick and fast in this area to the north of Aylsham, and the parishes are so scattered, that sometimes you have to look at the church noticeboard to find out exactly where you are. I had been here before, in 2005, but it was one of the very few East Anglian churches into which I had never set foot, because I had found it locked. I remembered its austere, rather forbidding exterior, quite different to that of its two neighbours, and this with the secretive, bowering churchyard made me wonder if I was to be disappointed again. But I was pleased to discover that Alby church is now open to pilgrims and strangers every day.
This is a wide church, but aisleless, creating a sense of space enhanced by the clear glass which is punctuated only by what appears to be a collection of off-cuts from late 19th and early 20th Century workshops. These include St Christopher carrying the Christ child, the head and shoulders of a grieving Blessed Virgin at the foot of the cross, and a crowned arms of medieval France to match the set at Thwaite. The most curious piece is a crucifixion, for the figure of the crucified Christ appears to be medieval, and has been set in 19th Century glass depicting the Blessed Virgin and St John in the same style.
Looking up, there is another curiosity, for the clerestory consists of just two two-light windows on each side, at the eastern and western ends.
Prada Aoyama Tokyo, a striking architectural icon in Tokyo’s fashion-forward Omotesando district, is the epitome of avant-garde design. Conceived by Swiss architects Herzog & de Meuron, this unique glass structure was completed in 2003 and quickly became a landmark of modern architecture in Japan. The six-story building stands out with its distinctive diamond-patterned glass façade, a design that not only elevates its aesthetic appeal but also symbolizes Prada’s commitment to innovation and luxury.
The diamond grid of glass panels is both concave and convex, creating an illusion of movement and depth, reflecting the surroundings in mesmerizing ways as natural light shifts throughout the day. This design provides glimpses into the luxurious interior, enticing passersby with a peek into Prada’s world while maintaining an air of exclusivity. Inside, the open layout and unconventional spaces enhance the shopping experience, allowing visitors to feel as though they’re exploring an art gallery rather than a conventional retail store.
Located in the Omotesando area, an upscale shopping and design hub, Prada Aoyama Tokyo stands amidst other architectural marvels, but its bold, futuristic design distinguishes it from neighboring structures. Herzog & de Meuron’s approach to creating a transparent yet complex structure represents a fusion of Japanese minimalism with global architectural trends, making Prada Aoyama not only a shopping destination but a cultural and artistic experience. For architecture enthusiasts, fashion lovers, and curious travelers alike, Prada Aoyama Tokyo offers a perfect snapshot of Tokyo’s blend of tradition, innovation, and style.
St Mary, Aldborough, Norfolk
Aldborough is the biggest of the villages in the area between Cromer and Aylsham, a handsome village with a pub beside its pretty village green, a good place to sit and watch cricket on a sunny afternoon. And yet, there is something missing, for most unusually for East Anglia there is no village church in Aldborough. Instead, you can find no less than three medieval churches in a line along the nearby Holt to North Walsham road, each about half a mile apart and all very different from each other. The most easterly of the three is the parish church of St Mary, Aldborough, and the other two are the parish churches of Thwaite and Alby.
While Alby and Thwaite are landmarks, towerless St Mary hides behind hedges, and is fairly understated. The tower fell in the 18th century, and now the repointing of the flint and the early 20th century turret belies the fact that it is of great interest. And even as you step in, you feel that this is a busy, much-loved place, zealously taken care of by its community.
A low arcade separates the nave from the13th century north aisle, but otherwise the overwhelming feel is of the late 19th and early 20th Centuries. Six bold saints stand attendance in the aisle and the chancel, four of them in memorials to local lads lost in the Great War. The aisle windows are by Powell & Sons, and depict St Michael and St Francis from the 1920s, and St Peter and St John from the 1930s. But the best glass is in the chancel, depicting St George and St Edmund above a landscape of Suvla Bay, and is by William Aikman in 1925. It remembers Edmund Gay, who was one of the soldiers of the infamous 5th Battalion of the Norfolk Regiment. Recruited on estates in north Norfolk, they sailed for Gallipolli, and were wiped out during the attack on Anafarta in Suvla Bay on the 12th of August 1915.
Because they had fallen behind enemy lines, they were listed as missing, and a Norfolk legend grew up that they had vanished into a mysterious cloud and were taken up out of this world. This sounds bizarre, but it was of a piece with legends like the Angel of Mons leading the British troops to escape death in Flanders, and with the great rise in spiritualism in this country in the years immediately after the War. Perhaps it was the dust and heat of that day which gave rise to the legend.
As you might expect in this part of Norfolk, there are some good medieval figure brasses. They are mostly to members of the Herward family, and date from the 1480s. Two are to Robert Herward, in full armour, and his wife Anne, in a butterfly headdress. The other is to an unknown civilian of the same period.
Half a mile westwards down the road sits the lonely church of All Saints, Thwaite. Thwaite church is a landmark, its round tower peeping above the trees. There is no Thwaite village. The church sits at the highest point in the road, and the view from the churchyard is wide and open to the south, all high Norfolk spread out before you. The tower probably dates from the 12th century, with bell openings of a century later. It was built against an already existing church, although the defining features of that church now are newer. The south aisle can be dated by will evidence as from the 1440s, but it was the early 19th century which brought the large school room built onto the north side of the chancel.
You step into a church which is entirely rustic, a real church of the common people, with a brick floor and a font pressed in the medieval manner against a plillar of the arcade. The south aisle is full of light and old benches. The cut-down screen has deeply cut tracery painted red, gold and green. Mortlock detected the hand of the Aylsham screen maker. The beautiful pulpit with its tester is dated 1624 in a large inscription on the backboard. Best of all, and to be expected in this part of Norfolk, a fine figure brass, a double one, to John Puttok and his wife. Interestingly, they died almost thirty years apart, Puttok first in 1442. The previous year, there had been a bequest for the building of the south aisle, and Puttok's will of a year later asked that he should be buried in it. Was it already built by then? Whatever, that is where the brass is now.
The east window of the south aisle has a modern glass depicting the crowned Tudor royal arms of England and France. It probably came from the same collection as at neighbouring Alby. Faith and Charity are rich and elegant in the mid-Victorian manner in the nave, but the chancel is full of simple white light, and less cluttered and complex spaces than this chancel would be hard to find. If you have come here after enjoying the gorgeous Anglo-catholic riches of the churches to the south, this church will feel like a breath of fresh air.
A gentle half mile or so downhill brings us to the third of the three churches, St Ethelbert, Alby. The churches come so thick and fast in this area to the north of Aylsham, and the parishes are so scattered, that sometimes you have to look at the church noticeboard to find out exactly where you are. I had been here before, in 2005, but it was one of the very few East Anglian churches into which I had never set foot, because I had found it locked. I remembered its austere, rather forbidding exterior, quite different to that of its two neighbours, and this with the secretive, bowering churchyard made me wonder if I was to be disappointed again. But I was pleased to discover that Alby church is now open to pilgrims and strangers every day.
This is a wide church, but aisleless, creating a sense of space enhanced by the clear glass which is punctuated only by what appears to be a collection of off-cuts from late 19th and early 20th Century workshops. These include St Christopher carrying the Christ child, the head and shoulders of a grieving Blessed Virgin at the foot of the cross, and a crowned arms of medieval France to match the set at Thwaite. The most curious piece is a crucifixion, for the figure of the crucified Christ appears to be medieval, and has been set in 19th Century glass depicting the Blessed Virgin and St John in the same style.
Looking up, there is another curiosity, for the clerestory consists of just two two-light windows on each side, at the eastern and western ends.
Brisbane, AUSTRÀLIA 2023
The Queensland Art Gallery (QAG) is a major cultural institution located in the Cultural Precinct at South Bank in Brisbane. It houses an extensive collection of Australian and international art, spanning various periods and mediums. The gallery is dedicated to exhibiting, interpreting, and preserving works of art for the enjoyment and education of the public. It offers a diverse program of temporary exhibitions and permanent displays. QAG plays a crucial role in fostering art appreciation and creativity within the community. It organises educational events, talks, and workshops for all ages. Its modern architecture and well-designed exhibition spaces enhance the visitor experience. General admission to the permanent collection is free. It is a key cultural destination for residents and tourists interested in art.
St Mary, Aldborough, Norfolk
Aldborough is the biggest of the villages in the area between Cromer and Aylsham, a handsome village with a pub beside its pretty village green, a good place to sit and watch cricket on a sunny afternoon. And yet, there is something missing, for most unusually for East Anglia there is no village church in Aldborough. Instead, you can find no less than three medieval churches in a line along the nearby Holt to North Walsham road, each about half a mile apart and all very different from each other. The most easterly of the three is the parish church of St Mary, Aldborough, and the other two are the parish churches of Thwaite and Alby.
While Alby and Thwaite are landmarks, towerless St Mary hides behind hedges, and is fairly understated. The tower fell in the 18th century, and now the repointing of the flint and the early 20th century turret belies the fact that it is of great interest. And even as you step in, you feel that this is a busy, much-loved place, zealously taken care of by its community.
A low arcade separates the nave from the13th century north aisle, but otherwise the overwhelming feel is of the late 19th and early 20th Centuries. Six bold saints stand attendance in the aisle and the chancel, four of them in memorials to local lads lost in the Great War. The aisle windows are by Powell & Sons, and depict St Michael and St Francis from the 1920s, and St Peter and St John from the 1930s. But the best glass is in the chancel, depicting St George and St Edmund above a landscape of Suvla Bay, and is by William Aikman in 1925. It remembers Edmund Gay, who was one of the soldiers of the infamous 5th Battalion of the Norfolk Regiment. Recruited on estates in north Norfolk, they sailed for Gallipolli, and were wiped out during the attack on Anafarta in Suvla Bay on the 12th of August 1915.
Because they had fallen behind enemy lines, they were listed as missing, and a Norfolk legend grew up that they had vanished into a mysterious cloud and were taken up out of this world. This sounds bizarre, but it was of a piece with legends like the Angel of Mons leading the British troops to escape death in Flanders, and with the great rise in spiritualism in this country in the years immediately after the War. Perhaps it was the dust and heat of that day which gave rise to the legend.
As you might expect in this part of Norfolk, there are some good medieval figure brasses. They are mostly to members of the Herward family, and date from the 1480s. Two are to Robert Herward, in full armour, and his wife Anne, in a butterfly headdress. The other is to an unknown civilian of the same period.
Half a mile westwards down the road sits the lonely church of All Saints, Thwaite. Thwaite church is a landmark, its round tower peeping above the trees. There is no Thwaite village. The church sits at the highest point in the road, and the view from the churchyard is wide and open to the south, all high Norfolk spread out before you. The tower probably dates from the 12th century, with bell openings of a century later. It was built against an already existing church, although the defining features of that church now are newer. The south aisle can be dated by will evidence as from the 1440s, but it was the early 19th century which brought the large school room built onto the north side of the chancel.
You step into a church which is entirely rustic, a real church of the common people, with a brick floor and a font pressed in the medieval manner against a plillar of the arcade. The south aisle is full of light and old benches. The cut-down screen has deeply cut tracery painted red, gold and green. Mortlock detected the hand of the Aylsham screen maker. The beautiful pulpit with its tester is dated 1624 in a large inscription on the backboard. Best of all, and to be expected in this part of Norfolk, a fine figure brass, a double one, to John Puttok and his wife. Interestingly, they died almost thirty years apart, Puttok first in 1442. The previous year, there had been a bequest for the building of the south aisle, and Puttok's will of a year later asked that he should be buried in it. Was it already built by then? Whatever, that is where the brass is now.
The east window of the south aisle has a modern glass depicting the crowned Tudor royal arms of England and France. It probably came from the same collection as at neighbouring Alby. Faith and Charity are rich and elegant in the mid-Victorian manner in the nave, but the chancel is full of simple white light, and less cluttered and complex spaces than this chancel would be hard to find. If you have come here after enjoying the gorgeous Anglo-catholic riches of the churches to the south, this church will feel like a breath of fresh air.
A gentle half mile or so downhill brings us to the third of the three churches, St Ethelbert, Alby. The churches come so thick and fast in this area to the north of Aylsham, and the parishes are so scattered, that sometimes you have to look at the church noticeboard to find out exactly where you are. I had been here before, in 2005, but it was one of the very few East Anglian churches into which I had never set foot, because I had found it locked. I remembered its austere, rather forbidding exterior, quite different to that of its two neighbours, and this with the secretive, bowering churchyard made me wonder if I was to be disappointed again. But I was pleased to discover that Alby church is now open to pilgrims and strangers every day.
This is a wide church, but aisleless, creating a sense of space enhanced by the clear glass which is punctuated only by what appears to be a collection of off-cuts from late 19th and early 20th Century workshops. These include St Christopher carrying the Christ child, the head and shoulders of a grieving Blessed Virgin at the foot of the cross, and a crowned arms of medieval France to match the set at Thwaite. The most curious piece is a crucifixion, for the figure of the crucified Christ appears to be medieval, and has been set in 19th Century glass depicting the Blessed Virgin and St John in the same style.
Looking up, there is another curiosity, for the clerestory consists of just two two-light windows on each side, at the eastern and western ends.
Lens Canon EF-S10-22mm f/3.5-4.5 USM @12mm | ISO 320 | 1/100s @ f/5,0 | hand held
04.05.11 | 7.02 pm | 04052011_IMG_2141
Il mio spazio di lavoro, arricchito con il nuovo sfondo in carta di colore bianco (sarà anche banale ma non ce l'avevo).
My work space, enhanced with a new white paper background (will be trivial, but I did not have).
Strobist :
- Elinchrome D-Lite2 w/Softbox Rotalux Recta, on the left
- Elinchrome D-Lite2it w/Rotalux Deep Octa 70cm, on the right
- Triggered by Elinchrom Skyport Universal Speed Set
EXPLORE: 9 may 2011 #438
: : : about me : : :
Comacchio, "the" little Venice ", is a lagoon city that enchants: it is polite and genuine, endowed with a vitality that finds life in respecting its history and the environment that surrounds it.
A widespread clarity recalls the proximity to the sea, whose light floods urban spaces, enhanced by the quiet surfaces of the canals. A treasure chest of particular naturalistic beauties and historical testimonies, Comacchio, today considered the capital of the Po Delta Park, is a small town that was born and lives between land and water.
Its seven Lidos are the ideal destination for a holiday to spend with family or friends, or even for a relaxing weekend, to rest in the sun or to celebrate in the fun night of the Lidos.
As for the typical recipes of the area, the eel cooked in a thousand ways triumphs on the laden table. The appetizers based on scallops, mantis shrimps, clams are very tasty; among the first courses, seafood risottos and spaghetti with shellfish. Finally, there are the exquisite grilled eels accompanied by polenta, together with sole, mullet, turbot, sea bream and stuffed cuttlefish. All washed down with the excellent D.O.C wines of Bosco Eliceo.
36 STACKED VILLA’S - AMSTERDAM BUITNVELDERT - TANGRAM ARCHITECTS - 2008
Crystal Court is located on a relatively small site located between Amsterdamse Bos and Flevopark. A dense development was planned on this green site, made up of 36 villas above a car park. Maximizing the sense of openness and through views, the volumes are stacked — small ones below, big above — to create one continuous space between them with plenty of greenery and water. Despite the density, therefore, the complex blends harmoniously with its park-like setting, and all apartments enjoy optimal views, privacy and sunshine.
‘Un-built space’ combined with high density is an important aspect of the design. The volumetric configuration sets up an interplay between the stacked volumes, green surroundings and open space. Ensuring a transition between public and
private, collective spaces enhance the quality of the living environment in an urban setting that is increasing in density all the time.
Both the main entrance and car park entrance, as well as the shared facilities, are located in the collective atrium. The central garden and ponds enliven this in-between space. Most apartments have balconies that overlook this winter garden and others that face the surroundings.
A solitary silhouette in an empty street after the rain… With arms stretched towards the light, the figure captures the fragile line between freedom and loneliness. This black and white frame reflects emotions beyond time and space, enhanced by the dramatic power of monochrome.
Photo by Abby Chan
Life (in Progress) II
September 16-19
Performance Times: Wednesday, Thursday, Friday, Saturday at 8:00pm
Ticket Prices: $17, ($12 members, $14 students)
*Note: this production opens on a Wednesday evening.
Sliding down B’way from their Studio in Soho, Bill Young & Colleen Thomas invade DNA with 12 downtown dance/art scene luminaries transforming the theatre into the flipped-around, inside-out world of Life (in Progress) II. With an all-star cast of performers and guests artists they have created Episode 2 of their super hit from last year, taking the audience deeper into the crazy world introduced at the original performances at 100 Grand.
The theater is dressed as never before – with the audience gathered together as a 70’s loft party, the evening of personal vignettes plays out in a surround-stage of the nooks and crannies of the theater space, enhanced by Jason Somma's live/interactive video system that magnifies the action as it played out both before the viewer’s eyes, as well as behind closed doors. The site-specific design of the space is by Rebecca MK Makus, the costumes by Rachel Jones, and the sound design is by Georgios Kontos.
Choreographed by Bill Young & Colleen Thomas
Performed by Pedro Osorio, Julia Burrer, Anthony Phillips, Ted Johnson, Daniel Clifton, Marc Mann, Jenna Riegel & Megan McQuillan
Guest Artist Bryan Kepple
Sound Design by Georgios Kontos & Daniel Clifton
Costume Design by Rachel Jones
Site Specific Space Design by Rebecca MK Makus
Video Design by Jason Somma
*There will be a free preview of this performance Wednesday, September 9 at 2:15pm in DNA’s 2nd Floor Gallery. A brief Q&A session will follow.
These performances are supported in part by funds from the New York State Council for the Arts, and by the Harkness Foundation.
Bill Young/ Colleen Thomas & Co., (established in 1988 as Bill Young & Dancers), has been presented in New York City by the Joyce Theater, DTW, The Kitchen, Danspace Project, PS 122, Movement Research, Symphony Space and the 92nd St. Y (among others), and on repeated international tours, including performances in Austria, Estonia, Germany, Hungary, Poland, Canada, Italy, Czechoslovakia, Russia, Hong Kong, Taiwan, Finland, Mexico, Brazil, Peru and Venezuela. Now an international group of artists (with recent and current dancers hailing from the US, Greece, Africa, China, Albania & Venezuela), the company has received support from the Guggenheim Foundation, NYSCA, the National Endowment for the Arts, the New York Foundation for the Arts, the US Information Service and State Dept., Artslink, the Suitcase Fund, the Foundation for Contemporary Performance Arts, the Mary Duke Biddle, Joyce Mertz-Gilmore, Harkness and Greenwall Foundations, the Mary Flagler Cary Charitable Trust, the Fund for US Artists at International Festivals, and the Trust for Mutual Understanding.
Bill Young, winner of recent Guggenheim & NYFA fellowships, discovered dance through contact improvisation while studying classical music (bassoon) at Oberlin College. He showed early work in San Francisco, while dancing with Margaret Jenkins, and later moved to New York where he danced with Randy Warshaw, Merce Cunningham (on video), and Douglas Dunn (extensively). In 1988 he established Bill Young & Dancers, for which he has created over 60 works; his commissions include new works for the Estonian National Opera Ballet, Bratislava Dance Theater, Zenon Dance Company (Minneapolis), DanceArt Hong Kong, Core Performance Group (Atlanta), Wildspace Dance Company (Milwaukee), Compagnie de Danse L’Astragale (Montréal), Teória de Gravedad (Mexico), and the Madach Theater (Budapest). He has also choreographed and taught in Universities and Festivals throughout the US, Europe, Latin America and Asia, and has served as a panelist for Artslink, DTW, ACDFA and NYFA.
Colleen Thomas, since moving to New York 20 years ago, has danced with the Bill T. Jones/Arnie Zane Dance Company, Bebe Miller Company, Nina Wiener Dance Company, Donald Byrd/The Group, the Kevin Wynn Collection, and Sung Su Ahn among others. Her choreography has been seen at Danspace Project, Joyce SoHo, The Miller Theater, The Kumble Arts Center, Kaye Playhouse, SUNY Purchase, The Puffin Room, Hundred Grand, DNA, Meredith College in Raleigh NC, California State Long Beach, East Carolina University, The Ritz Theater in Minneapolis, and the University of Wisconsin, among others. Thomas began her education at SUNY Purchase, graduated with honors from SUNY Empire State College, and received an MFA in dance from the University of Wisconsin in Milwaukee. She has been an adjunct Professor at Skidmore College, Bates College, Long Island University's Brooklyn campus, and the New School. She is currently an Assistant Professor of Professional Practice at Barnard College of Columbia University.
St Ethelbert, Alby, Norfolk
Aldborough is the biggest of the villages in the area between Cromer and Aylsham, a handsome village with a pub beside its pretty village green, a good place to sit and watch cricket on a sunny afternoon. And yet, there is something missing, for most unusually for East Anglia there is no village church in Aldborough. Instead, you can find no less than three medieval churches in a line along the nearby Holt to North Walsham road, each about half a mile apart and all very different from each other. The most easterly of the three is the parish church of St Mary, Aldborough, and the other two are the parish churches of Thwaite and Alby.
While Alby and Thwaite are landmarks, towerless St Mary hides behind hedges, and is fairly understated. The tower fell in the 18th century, and now the repointing of the flint and the early 20th century turret belies the fact that it is of great interest. And even as you step in, you feel that this is a busy, much-loved place, zealously taken care of by its community.
A low arcade separates the nave from the13th century north aisle, but otherwise the overwhelming feel is of the late 19th and early 20th Centuries. Six bold saints stand attendance in the aisle and the chancel, four of them in memorials to local lads lost in the Great War. The aisle windows are by Powell & Sons, and depict St Michael and St Francis from the 1920s, and St Peter and St John from the 1930s. But the best glass is in the chancel, depicting St George and St Edmund above a landscape of Suvla Bay, and is by William Aikman in 1925. It remembers Edmund Gay, who was one of the soldiers of the infamous 5th Battalion of the Norfolk Regiment. Recruited on estates in north Norfolk, they sailed for Gallipolli, and were wiped out during the attack on Anafarta in Suvla Bay on the 12th of August 1915.
Because they had fallen behind enemy lines, they were listed as missing, and a Norfolk legend grew up that they had vanished into a mysterious cloud and were taken up out of this world. This sounds bizarre, but it was of a piece with legends like the Angel of Mons leading the British troops to escape death in Flanders, and with the great rise in spiritualism in this country in the years immediately after the War. Perhaps it was the dust and heat of that day which gave rise to the legend.
As you might expect in this part of Norfolk, there are some good medieval figure brasses. They are mostly to members of the Herward family, and date from the 1480s. Two are to Robert Herward, in full armour, and his wife Anne, in a butterfly headdress. The other is to an unknown civilian of the same period.
Half a mile westwards down the road sits the lonely church of All Saints, Thwaite. Thwaite church is a landmark, its round tower peeping above the trees. There is no Thwaite village. The church sits at the highest point in the road, and the view from the churchyard is wide and open to the south, all high Norfolk spread out before you. The tower probably dates from the 12th century, with bell openings of a century later. It was built against an already existing church, although the defining features of that church now are newer. The south aisle can be dated by will evidence as from the 1440s, but it was the early 19th century which brought the large school room built onto the north side of the chancel.
You step into a church which is entirely rustic, a real church of the common people, with a brick floor and a font pressed in the medieval manner against a plillar of the arcade. The south aisle is full of light and old benches. The cut-down screen has deeply cut tracery painted red, gold and green. Mortlock detected the hand of the Aylsham screen maker. The beautiful pulpit with its tester is dated 1624 in a large inscription on the backboard. Best of all, and to be expected in this part of Norfolk, a fine figure brass, a double one, to John Puttok and his wife. Interestingly, they died almost thirty years apart, Puttok first in 1442. The previous year, there had been a bequest for the building of the south aisle, and Puttok's will of a year later asked that he should be buried in it. Was it already built by then? Whatever, that is where the brass is now.
The east window of the south aisle has a modern glass depicting the crowned Tudor royal arms of England and France. It probably came from the same collection as at neighbouring Alby. Faith and Charity are rich and elegant in the mid-Victorian manner in the nave, but the chancel is full of simple white light, and less cluttered and complex spaces than this chancel would be hard to find. If you have come here after enjoying the gorgeous Anglo-catholic riches of the churches to the south, this church will feel like a breath of fresh air.
A gentle half mile or so downhill brings us to the third of the three churches, St Ethelbert, Alby. The churches come so thick and fast in this area to the north of Aylsham, and the parishes are so scattered, that sometimes you have to look at the church noticeboard to find out exactly where you are. I had been here before, in 2005, but it was one of the very few East Anglian churches into which I had never set foot, because I had found it locked. I remembered its austere, rather forbidding exterior, quite different to that of its two neighbours, and this with the secretive, bowering churchyard made me wonder if I was to be disappointed again. But I was pleased to discover that Alby church is now open to pilgrims and strangers every day.
This is a wide church, but aisleless, creating a sense of space enhanced by the clear glass which is punctuated only by what appears to be a collection of off-cuts from late 19th and early 20th Century workshops. These include St Christopher carrying the Christ child, the head and shoulders of a grieving Blessed Virgin at the foot of the cross, and a crowned arms of medieval France to match the set at Thwaite. The most curious piece is a crucifixion, for the figure of the crucified Christ appears to be medieval, and has been set in 19th Century glass depicting the Blessed Virgin and St John in the same style.
Looking up, there is another curiosity, for the clerestory consists of just two two-light windows on each side, at the eastern and western ends.
St Mary, Aldborough, Norfolk
Aldborough is the biggest of the villages in the area between Cromer and Aylsham, a handsome village with a pub beside its pretty village green, a good place to sit and watch cricket on a sunny afternoon. And yet, there is something missing, for most unusually for East Anglia there is no village church in Aldborough. Instead, you can find no less than three medieval churches in a line along the nearby Holt to North Walsham road, each about half a mile apart and all very different from each other. The most easterly of the three is the parish church of St Mary, Aldborough, and the other two are the parish churches of Thwaite and Alby.
While Alby and Thwaite are landmarks, towerless St Mary hides behind hedges, and is fairly understated. The tower fell in the 18th century, and now the repointing of the flint and the early 20th century turret belies the fact that it is of great interest. And even as you step in, you feel that this is a busy, much-loved place, zealously taken care of by its community.
A low arcade separates the nave from the13th century north aisle, but otherwise the overwhelming feel is of the late 19th and early 20th Centuries. Six bold saints stand attendance in the aisle and the chancel, four of them in memorials to local lads lost in the Great War. The aisle windows are by Powell & Sons, and depict St Michael and St Francis from the 1920s, and St Peter and St John from the 1930s. But the best glass is in the chancel, depicting St George and St Edmund above a landscape of Suvla Bay, and is by William Aikman in 1925. It remembers Edmund Gay, who was one of the soldiers of the infamous 5th Battalion of the Norfolk Regiment. Recruited on estates in north Norfolk, they sailed for Gallipolli, and were wiped out during the attack on Anafarta in Suvla Bay on the 12th of August 1915.
Because they had fallen behind enemy lines, they were listed as missing, and a Norfolk legend grew up that they had vanished into a mysterious cloud and were taken up out of this world. This sounds bizarre, but it was of a piece with legends like the Angel of Mons leading the British troops to escape death in Flanders, and with the great rise in spiritualism in this country in the years immediately after the War. Perhaps it was the dust and heat of that day which gave rise to the legend.
As you might expect in this part of Norfolk, there are some good medieval figure brasses. They are mostly to members of the Herward family, and date from the 1480s. Two are to Robert Herward, in full armour, and his wife Anne, in a butterfly headdress. The other is to an unknown civilian of the same period.
Half a mile westwards down the road sits the lonely church of All Saints, Thwaite. Thwaite church is a landmark, its round tower peeping above the trees. There is no Thwaite village. The church sits at the highest point in the road, and the view from the churchyard is wide and open to the south, all high Norfolk spread out before you. The tower probably dates from the 12th century, with bell openings of a century later. It was built against an already existing church, although the defining features of that church now are newer. The south aisle can be dated by will evidence as from the 1440s, but it was the early 19th century which brought the large school room built onto the north side of the chancel.
You step into a church which is entirely rustic, a real church of the common people, with a brick floor and a font pressed in the medieval manner against a plillar of the arcade. The south aisle is full of light and old benches. The cut-down screen has deeply cut tracery painted red, gold and green. Mortlock detected the hand of the Aylsham screen maker. The beautiful pulpit with its tester is dated 1624 in a large inscription on the backboard. Best of all, and to be expected in this part of Norfolk, a fine figure brass, a double one, to John Puttok and his wife. Interestingly, they died almost thirty years apart, Puttok first in 1442. The previous year, there had been a bequest for the building of the south aisle, and Puttok's will of a year later asked that he should be buried in it. Was it already built by then? Whatever, that is where the brass is now.
The east window of the south aisle has a modern glass depicting the crowned Tudor royal arms of England and France. It probably came from the same collection as at neighbouring Alby. Faith and Charity are rich and elegant in the mid-Victorian manner in the nave, but the chancel is full of simple white light, and less cluttered and complex spaces than this chancel would be hard to find. If you have come here after enjoying the gorgeous Anglo-catholic riches of the churches to the south, this church will feel like a breath of fresh air.
A gentle half mile or so downhill brings us to the third of the three churches, St Ethelbert, Alby. The churches come so thick and fast in this area to the north of Aylsham, and the parishes are so scattered, that sometimes you have to look at the church noticeboard to find out exactly where you are. I had been here before, in 2005, but it was one of the very few East Anglian churches into which I had never set foot, because I had found it locked. I remembered its austere, rather forbidding exterior, quite different to that of its two neighbours, and this with the secretive, bowering churchyard made me wonder if I was to be disappointed again. But I was pleased to discover that Alby church is now open to pilgrims and strangers every day.
This is a wide church, but aisleless, creating a sense of space enhanced by the clear glass which is punctuated only by what appears to be a collection of off-cuts from late 19th and early 20th Century workshops. These include St Christopher carrying the Christ child, the head and shoulders of a grieving Blessed Virgin at the foot of the cross, and a crowned arms of medieval France to match the set at Thwaite. The most curious piece is a crucifixion, for the figure of the crucified Christ appears to be medieval, and has been set in 19th Century glass depicting the Blessed Virgin and St John in the same style.
Looking up, there is another curiosity, for the clerestory consists of just two two-light windows on each side, at the eastern and western ends.
LOS ANGELES — Officials from the U.S. Army Corps of Engineers Los Angeles District and Los Angeles County cut the ribbon opening the Tujunga Wash Ecosystem Restoration Project in Valley Glen, Calif., to the public Aug. 15.
The $7 million project was designed to restore degraded habitat along the sides of a 3/4-mile stretch of concrete channel carrying runoff from Hansen Dam to the Los Angeles River. Construction included a meandering stream with native riparian vegetation and pedestrian pathways along banks of the channel between Vanowen Street and Sherman Way in the San Fernando Valley. The project connects to the county’s Greenway project to the south, creating a riparian habitat corridor nearly 2.5 miles long.
LA County Supervisor Zev Yaroslavsky hosted the event and told the 50 people in attendance, including project partners and local residents, that open recreation space enhances quality of life but, more importantly, it improves the environment.
“It’s greening the environment. It’s taking an asset that’s been not only underutilized, but un-utilized, from an environmental point of view, and turning it into a real community asset that’s fully utilized,” said Yaroslavsky. “I know that the neighborhood’s going to love this and appreciate this.”
Yaroslavsky said one of the key features of the project is its water conservation component, where the meandering stream aids groundwater recharge.
“One way to reduce the reliance on imported water is by increasing the amount of rainwater that we capture and return to the groundwater table right here in the San Fernando Valley,” he said. “We need to continue to develop these kinds of innovative and cost effective environmentally sensitive projects to increase our local water supplies.”
LA County Department of Public Works operated and maintained the concrete-lined channel for the sole purpose of flood risk management. According to Director Gail Farber, the department welcomed the opportunity to collaborate with the Corps to bring environmental, recreational and educational benefits to this dense urban area.
“We’re extremely proud of our collaboration with the Army Corps of Engineers and the common vision we share with the urban waterways, like the LA River and its tributaries; to transform them into sustainable ecosystems that provide not only flood protection for our communities, but also habitats for plants, wildlife, open space and recreation for our residents,” said Farber. “So this project and the two habitat restoration projects downstream brings us even closer to our vision of sustainable communities.”
Los Angeles District Commander Col. Mark Toy talked about the growing momentum in the movement to restore portions of the LA River watershed with programs like the Urban Waters Federal Partnership and America’s Great Outdoors Initiative. Both programs share the goals of reconnecting people across the nation to their waterways and promoting water conservation. He said the Tujunga Wash restoration project, although relatively small, shows what is possible along the LA River and complements the river’s revitalization plan.
“This particular project here at Tujunga Wash has garnered a lot of interest from higher levels in Washington, D.C.,” said Toy. “They [Principal Deputy to the Assistant Secretary of the Army for Civil Works “Rock” Salt and Chief of Engineers Lt. Gen. Thomas Bostick] had heard what’s been going on in Los Angeles and what ecosystem restoration looked like and they wanted to see it for themselves.
All told, the Tujunga Wash Greenway created a total of 11.5 acres of native, drought-tolerant habitat, with 18 acres of open space and 3.2 miles of public pathways in a park-poor area of the San Fernando Valley.
St Mary, Aldborough, Norfolk
Aldborough is the biggest of the villages in the area between Cromer and Aylsham, a handsome village with a pub beside its pretty village green, a good place to sit and watch cricket on a sunny afternoon. And yet, there is something missing, for most unusually for East Anglia there is no village church in Aldborough. Instead, you can find no less than three medieval churches in a line along the nearby Holt to North Walsham road, each about half a mile apart and all very different from each other. The most easterly of the three is the parish church of St Mary, Aldborough, and the other two are the parish churches of Thwaite and Alby.
While Alby and Thwaite are landmarks, towerless St Mary hides behind hedges, and is fairly understated. The tower fell in the 18th century, and now the repointing of the flint and the early 20th century turret belies the fact that it is of great interest. And even as you step in, you feel that this is a busy, much-loved place, zealously taken care of by its community.
A low arcade separates the nave from the13th century north aisle, but otherwise the overwhelming feel is of the late 19th and early 20th Centuries. Six bold saints stand attendance in the aisle and the chancel, four of them in memorials to local lads lost in the Great War. The aisle windows are by Powell & Sons, and depict St Michael and St Francis from the 1920s, and St Peter and St John from the 1930s. But the best glass is in the chancel, depicting St George and St Edmund above a landscape of Suvla Bay, and is by William Aikman in 1925. It remembers Edmund Gay, who was one of the soldiers of the infamous 5th Battalion of the Norfolk Regiment. Recruited on estates in north Norfolk, they sailed for Gallipolli, and were wiped out during the attack on Anafarta in Suvla Bay on the 12th of August 1915.
Because they had fallen behind enemy lines, they were listed as missing, and a Norfolk legend grew up that they had vanished into a mysterious cloud and were taken up out of this world. This sounds bizarre, but it was of a piece with legends like the Angel of Mons leading the British troops to escape death in Flanders, and with the great rise in spiritualism in this country in the years immediately after the War. Perhaps it was the dust and heat of that day which gave rise to the legend.
As you might expect in this part of Norfolk, there are some good medieval figure brasses. They are mostly to members of the Herward family, and date from the 1480s. Two are to Robert Herward, in full armour, and his wife Anne, in a butterfly headdress. The other is to an unknown civilian of the same period.
Half a mile westwards down the road sits the lonely church of All Saints, Thwaite. Thwaite church is a landmark, its round tower peeping above the trees. There is no Thwaite village. The church sits at the highest point in the road, and the view from the churchyard is wide and open to the south, all high Norfolk spread out before you. The tower probably dates from the 12th century, with bell openings of a century later. It was built against an already existing church, although the defining features of that church now are newer. The south aisle can be dated by will evidence as from the 1440s, but it was the early 19th century which brought the large school room built onto the north side of the chancel.
You step into a church which is entirely rustic, a real church of the common people, with a brick floor and a font pressed in the medieval manner against a plillar of the arcade. The south aisle is full of light and old benches. The cut-down screen has deeply cut tracery painted red, gold and green. Mortlock detected the hand of the Aylsham screen maker. The beautiful pulpit with its tester is dated 1624 in a large inscription on the backboard. Best of all, and to be expected in this part of Norfolk, a fine figure brass, a double one, to John Puttok and his wife. Interestingly, they died almost thirty years apart, Puttok first in 1442. The previous year, there had been a bequest for the building of the south aisle, and Puttok's will of a year later asked that he should be buried in it. Was it already built by then? Whatever, that is where the brass is now.
The east window of the south aisle has a modern glass depicting the crowned Tudor royal arms of England and France. It probably came from the same collection as at neighbouring Alby. Faith and Charity are rich and elegant in the mid-Victorian manner in the nave, but the chancel is full of simple white light, and less cluttered and complex spaces than this chancel would be hard to find. If you have come here after enjoying the gorgeous Anglo-catholic riches of the churches to the south, this church will feel like a breath of fresh air.
A gentle half mile or so downhill brings us to the third of the three churches, St Ethelbert, Alby. The churches come so thick and fast in this area to the north of Aylsham, and the parishes are so scattered, that sometimes you have to look at the church noticeboard to find out exactly where you are. I had been here before, in 2005, but it was one of the very few East Anglian churches into which I had never set foot, because I had found it locked. I remembered its austere, rather forbidding exterior, quite different to that of its two neighbours, and this with the secretive, bowering churchyard made me wonder if I was to be disappointed again. But I was pleased to discover that Alby church is now open to pilgrims and strangers every day.
This is a wide church, but aisleless, creating a sense of space enhanced by the clear glass which is punctuated only by what appears to be a collection of off-cuts from late 19th and early 20th Century workshops. These include St Christopher carrying the Christ child, the head and shoulders of a grieving Blessed Virgin at the foot of the cross, and a crowned arms of medieval France to match the set at Thwaite. The most curious piece is a crucifixion, for the figure of the crucified Christ appears to be medieval, and has been set in 19th Century glass depicting the Blessed Virgin and St John in the same style.
Looking up, there is another curiosity, for the clerestory consists of just two two-light windows on each side, at the eastern and western ends.
All Saints, Thwaite, Norfolk
Aldborough is the biggest of the villages in the area between Cromer and Aylsham, a handsome village with a pub beside its pretty village green, a good place to sit and watch cricket on a sunny afternoon. And yet, there is something missing, for most unusually for East Anglia there is no village church in Aldborough. Instead, you can find no less than three medieval churches in a line along the nearby Holt to North Walsham road, each about half a mile apart and all very different from each other. The most easterly of the three is the parish church of St Mary, Aldborough, and the other two are the parish churches of Thwaite and Alby.
While Alby and Thwaite are landmarks, towerless St Mary hides behind hedges, and is fairly understated. The tower fell in the 18th century, and now the repointing of the flint and the early 20th century turret belies the fact that it is of great interest. And even as you step in, you feel that this is a busy, much-loved place, zealously taken care of by its community.
A low arcade separates the nave from the13th century north aisle, but otherwise the overwhelming feel is of the late 19th and early 20th Centuries. Six bold saints stand attendance in the aisle and the chancel, four of them in memorials to local lads lost in the Great War. The aisle windows are by Powell & Sons, and depict St Michael and St Francis from the 1920s, and St Peter and St John from the 1930s. But the best glass is in the chancel, depicting St George and St Edmund above a landscape of Suvla Bay, and is by William Aikman in 1925. It remembers Edmund Gay, who was one of the soldiers of the infamous 5th Battalion of the Norfolk Regiment. Recruited on estates in north Norfolk, they sailed for Gallipolli, and were wiped out during the attack on Anafarta in Suvla Bay on the 12th of August 1915.
Because they had fallen behind enemy lines, they were listed as missing, and a Norfolk legend grew up that they had vanished into a mysterious cloud and were taken up out of this world. This sounds bizarre, but it was of a piece with legends like the Angel of Mons leading the British troops to escape death in Flanders, and with the great rise in spiritualism in this country in the years immediately after the War. Perhaps it was the dust and heat of that day which gave rise to the legend.
As you might expect in this part of Norfolk, there are some good medieval figure brasses. They are mostly to members of the Herward family, and date from the 1480s. Two are to Robert Herward, in full armour, and his wife Anne, in a butterfly headdress. The other is to an unknown civilian of the same period.
Half a mile westwards down the road sits the lonely church of All Saints, Thwaite. Thwaite church is a landmark, its round tower peeping above the trees. There is no Thwaite village. The church sits at the highest point in the road, and the view from the churchyard is wide and open to the south, all high Norfolk spread out before you. The tower probably dates from the 12th century, with bell openings of a century later. It was built against an already existing church, although the defining features of that church now are newer. The south aisle can be dated by will evidence as from the 1440s, but it was the early 19th century which brought the large school room built onto the north side of the chancel.
You step into a church which is entirely rustic, a real church of the common people, with a brick floor and a font pressed in the medieval manner against a plillar of the arcade. The south aisle is full of light and old benches. The cut-down screen has deeply cut tracery painted red, gold and green. Mortlock detected the hand of the Aylsham screen maker. The beautiful pulpit with its tester is dated 1624 in a large inscription on the backboard. Best of all, and to be expected in this part of Norfolk, a fine figure brass, a double one, to John Puttok and his wife. Interestingly, they died almost thirty years apart, Puttok first in 1442. The previous year, there had been a bequest for the building of the south aisle, and Puttok's will of a year later asked that he should be buried in it. Was it already built by then? Whatever, that is where the brass is now.
The east window of the south aisle has a modern glass depicting the crowned Tudor royal arms of England and France. It probably came from the same collection as at neighbouring Alby. Faith and Charity are rich and elegant in the mid-Victorian manner in the nave, but the chancel is full of simple white light, and less cluttered and complex spaces than this chancel would be hard to find. If you have come here after enjoying the gorgeous Anglo-catholic riches of the churches to the south, this church will feel like a breath of fresh air.
A gentle half mile or so downhill brings us to the third of the three churches, St Ethelbert, Alby. The churches come so thick and fast in this area to the north of Aylsham, and the parishes are so scattered, that sometimes you have to look at the church noticeboard to find out exactly where you are. I had been here before, in 2005, but it was one of the very few East Anglian churches into which I had never set foot, because I had found it locked. I remembered its austere, rather forbidding exterior, quite different to that of its two neighbours, and this with the secretive, bowering churchyard made me wonder if I was to be disappointed again. But I was pleased to discover that Alby church is now open to pilgrims and strangers every day.
This is a wide church, but aisleless, creating a sense of space enhanced by the clear glass which is punctuated only by what appears to be a collection of off-cuts from late 19th and early 20th Century workshops. These include St Christopher carrying the Christ child, the head and shoulders of a grieving Blessed Virgin at the foot of the cross, and a crowned arms of medieval France to match the set at Thwaite. The most curious piece is a crucifixion, for the figure of the crucified Christ appears to be medieval, and has been set in 19th Century glass depicting the Blessed Virgin and St John in the same style.
Looking up, there is another curiosity, for the clerestory consists of just two two-light windows on each side, at the eastern and western ends.
All Saints, Thwaite, Norfolk
Aldborough is the biggest of the villages in the area between Cromer and Aylsham, a handsome village with a pub beside its pretty village green, a good place to sit and watch cricket on a sunny afternoon. And yet, there is something missing, for most unusually for East Anglia there is no village church in Aldborough. Instead, you can find no less than three medieval churches in a line along the nearby Holt to North Walsham road, each about half a mile apart and all very different from each other. The most easterly of the three is the parish church of St Mary, Aldborough, and the other two are the parish churches of Thwaite and Alby.
While Alby and Thwaite are landmarks, towerless St Mary hides behind hedges, and is fairly understated. The tower fell in the 18th century, and now the repointing of the flint and the early 20th century turret belies the fact that it is of great interest. And even as you step in, you feel that this is a busy, much-loved place, zealously taken care of by its community.
A low arcade separates the nave from the13th century north aisle, but otherwise the overwhelming feel is of the late 19th and early 20th Centuries. Six bold saints stand attendance in the aisle and the chancel, four of them in memorials to local lads lost in the Great War. The aisle windows are by Powell & Sons, and depict St Michael and St Francis from the 1920s, and St Peter and St John from the 1930s. But the best glass is in the chancel, depicting St George and St Edmund above a landscape of Suvla Bay, and is by William Aikman in 1925. It remembers Edmund Gay, who was one of the soldiers of the infamous 5th Battalion of the Norfolk Regiment. Recruited on estates in north Norfolk, they sailed for Gallipolli, and were wiped out during the attack on Anafarta in Suvla Bay on the 12th of August 1915.
Because they had fallen behind enemy lines, they were listed as missing, and a Norfolk legend grew up that they had vanished into a mysterious cloud and were taken up out of this world. This sounds bizarre, but it was of a piece with legends like the Angel of Mons leading the British troops to escape death in Flanders, and with the great rise in spiritualism in this country in the years immediately after the War. Perhaps it was the dust and heat of that day which gave rise to the legend.
As you might expect in this part of Norfolk, there are some good medieval figure brasses. They are mostly to members of the Herward family, and date from the 1480s. Two are to Robert Herward, in full armour, and his wife Anne, in a butterfly headdress. The other is to an unknown civilian of the same period.
Half a mile westwards down the road sits the lonely church of All Saints, Thwaite. Thwaite church is a landmark, its round tower peeping above the trees. There is no Thwaite village. The church sits at the highest point in the road, and the view from the churchyard is wide and open to the south, all high Norfolk spread out before you. The tower probably dates from the 12th century, with bell openings of a century later. It was built against an already existing church, although the defining features of that church now are newer. The south aisle can be dated by will evidence as from the 1440s, but it was the early 19th century which brought the large school room built onto the north side of the chancel.
You step into a church which is entirely rustic, a real church of the common people, with a brick floor and a font pressed in the medieval manner against a plillar of the arcade. The south aisle is full of light and old benches. The cut-down screen has deeply cut tracery painted red, gold and green. Mortlock detected the hand of the Aylsham screen maker. The beautiful pulpit with its tester is dated 1624 in a large inscription on the backboard. Best of all, and to be expected in this part of Norfolk, a fine figure brass, a double one, to John Puttok and his wife. Interestingly, they died almost thirty years apart, Puttok first in 1442. The previous year, there had been a bequest for the building of the south aisle, and Puttok's will of a year later asked that he should be buried in it. Was it already built by then? Whatever, that is where the brass is now.
The east window of the south aisle has a modern glass depicting the crowned Tudor royal arms of England and France. It probably came from the same collection as at neighbouring Alby. Faith and Charity are rich and elegant in the mid-Victorian manner in the nave, but the chancel is full of simple white light, and less cluttered and complex spaces than this chancel would be hard to find. If you have come here after enjoying the gorgeous Anglo-catholic riches of the churches to the south, this church will feel like a breath of fresh air.
A gentle half mile or so downhill brings us to the third of the three churches, St Ethelbert, Alby. The churches come so thick and fast in this area to the north of Aylsham, and the parishes are so scattered, that sometimes you have to look at the church noticeboard to find out exactly where you are. I had been here before, in 2005, but it was one of the very few East Anglian churches into which I had never set foot, because I had found it locked. I remembered its austere, rather forbidding exterior, quite different to that of its two neighbours, and this with the secretive, bowering churchyard made me wonder if I was to be disappointed again. But I was pleased to discover that Alby church is now open to pilgrims and strangers every day.
This is a wide church, but aisleless, creating a sense of space enhanced by the clear glass which is punctuated only by what appears to be a collection of off-cuts from late 19th and early 20th Century workshops. These include St Christopher carrying the Christ child, the head and shoulders of a grieving Blessed Virgin at the foot of the cross, and a crowned arms of medieval France to match the set at Thwaite. The most curious piece is a crucifixion, for the figure of the crucified Christ appears to be medieval, and has been set in 19th Century glass depicting the Blessed Virgin and St John in the same style.
Looking up, there is another curiosity, for the clerestory consists of just two two-light windows on each side, at the eastern and western ends.
Skoda Yeti (Facelift) (2009-on) Engine 2000cc S4 TD
Decals: Securite Public - Public Safety
SKODA SET
www.flickr.com/photos/45676495@N05/sets/72157623722493201...
The Yeti is a compact SUV, introduced at the 2009 Geneva Motorshow, as Skodas first entry into the SUV market.. Praised for its interior space despite a smallish boxy appearance with interior space enhanced by what Skoda call Varioflex, the variable layout of the rear seats, a feature they introduced on the Skoda Roomster Most engines were offered with 6-speed manual transmissions, with a 5-speed manual being reserved for front-wheel drive only cars with the 81 kW TDI engine. The Volkswagen Group 7-speed Direct-Shift Gearbox (DSG) was option exclusively for the 1.2 TSI, while the 6-speed Direct-Shift Gearbox (DSG) was available for the 103 kW (140 PS) 2-litre common rail diesel engine. The four-wheel drive variants utilised the 4th-generation Haldex Traction multi-plate clutch to transmit the drive to the rear wheels, and all drive layouts include fully independent multi-link rear suspension
The Yeti was given a major facelift in 2013, the revised car is 1mm longer and is now available in two version the standard road verion, and a more rugged Outdoor model.The technology used has also been updated with a new generation Haldex four wheel drive system and new tranmission systems for most of the range.
The Yeti is built in the Czech Republic, Kazahstan, the Ukraine, Russia, India and China.
This Yeti was being used in an official capacity as a lead vehicle for crowd control.
Skoda is a long term sponsor and partner of the Tour de France, for the 2014 Tour they used 250 cars (Octavia, Superb and Yeti) which between them covered some 2.8 million Km.
Many Thanks for a fan'dabi'dozi 26,531,600 views
Shot 06:07:2014 at The Grande Depart of the Tour De France, Harewood House, W. Yorkshire REF 102-848
St Mary, Aldborough, Norfolk
Aldborough is the biggest of the villages in the area between Cromer and Aylsham, a handsome village with a pub beside its pretty village green, a good place to sit and watch cricket on a sunny afternoon. And yet, there is something missing, for most unusually for East Anglia there is no village church in Aldborough. Instead, you can find no less than three medieval churches in a line along the nearby Holt to North Walsham road, each about half a mile apart and all very different from each other. The most easterly of the three is the parish church of St Mary, Aldborough, and the other two are the parish churches of Thwaite and Alby.
While Alby and Thwaite are landmarks, towerless St Mary hides behind hedges, and is fairly understated. The tower fell in the 18th century, and now the repointing of the flint and the early 20th century turret belies the fact that it is of great interest. And even as you step in, you feel that this is a busy, much-loved place, zealously taken care of by its community.
A low arcade separates the nave from the13th century north aisle, but otherwise the overwhelming feel is of the late 19th and early 20th Centuries. Six bold saints stand attendance in the aisle and the chancel, four of them in memorials to local lads lost in the Great War. The aisle windows are by Powell & Sons, and depict St Michael and St Francis from the 1920s, and St Peter and St John from the 1930s. But the best glass is in the chancel, depicting St George and St Edmund above a landscape of Suvla Bay, and is by William Aikman in 1925. It remembers Edmund Gay, who was one of the soldiers of the infamous 5th Battalion of the Norfolk Regiment. Recruited on estates in north Norfolk, they sailed for Gallipolli, and were wiped out during the attack on Anafarta in Suvla Bay on the 12th of August 1915.
Because they had fallen behind enemy lines, they were listed as missing, and a Norfolk legend grew up that they had vanished into a mysterious cloud and were taken up out of this world. This sounds bizarre, but it was of a piece with legends like the Angel of Mons leading the British troops to escape death in Flanders, and with the great rise in spiritualism in this country in the years immediately after the War. Perhaps it was the dust and heat of that day which gave rise to the legend.
As you might expect in this part of Norfolk, there are some good medieval figure brasses. They are mostly to members of the Herward family, and date from the 1480s. Two are to Robert Herward, in full armour, and his wife Anne, in a butterfly headdress. The other is to an unknown civilian of the same period.
Half a mile westwards down the road sits the lonely church of All Saints, Thwaite. Thwaite church is a landmark, its round tower peeping above the trees. There is no Thwaite village. The church sits at the highest point in the road, and the view from the churchyard is wide and open to the south, all high Norfolk spread out before you. The tower probably dates from the 12th century, with bell openings of a century later. It was built against an already existing church, although the defining features of that church now are newer. The south aisle can be dated by will evidence as from the 1440s, but it was the early 19th century which brought the large school room built onto the north side of the chancel.
You step into a church which is entirely rustic, a real church of the common people, with a brick floor and a font pressed in the medieval manner against a plillar of the arcade. The south aisle is full of light and old benches. The cut-down screen has deeply cut tracery painted red, gold and green. Mortlock detected the hand of the Aylsham screen maker. The beautiful pulpit with its tester is dated 1624 in a large inscription on the backboard. Best of all, and to be expected in this part of Norfolk, a fine figure brass, a double one, to John Puttok and his wife. Interestingly, they died almost thirty years apart, Puttok first in 1442. The previous year, there had been a bequest for the building of the south aisle, and Puttok's will of a year later asked that he should be buried in it. Was it already built by then? Whatever, that is where the brass is now.
The east window of the south aisle has a modern glass depicting the crowned Tudor royal arms of England and France. It probably came from the same collection as at neighbouring Alby. Faith and Charity are rich and elegant in the mid-Victorian manner in the nave, but the chancel is full of simple white light, and less cluttered and complex spaces than this chancel would be hard to find. If you have come here after enjoying the gorgeous Anglo-catholic riches of the churches to the south, this church will feel like a breath of fresh air.
A gentle half mile or so downhill brings us to the third of the three churches, St Ethelbert, Alby. The churches come so thick and fast in this area to the north of Aylsham, and the parishes are so scattered, that sometimes you have to look at the church noticeboard to find out exactly where you are. I had been here before, in 2005, but it was one of the very few East Anglian churches into which I had never set foot, because I had found it locked. I remembered its austere, rather forbidding exterior, quite different to that of its two neighbours, and this with the secretive, bowering churchyard made me wonder if I was to be disappointed again. But I was pleased to discover that Alby church is now open to pilgrims and strangers every day.
This is a wide church, but aisleless, creating a sense of space enhanced by the clear glass which is punctuated only by what appears to be a collection of off-cuts from late 19th and early 20th Century workshops. These include St Christopher carrying the Christ child, the head and shoulders of a grieving Blessed Virgin at the foot of the cross, and a crowned arms of medieval France to match the set at Thwaite. The most curious piece is a crucifixion, for the figure of the crucified Christ appears to be medieval, and has been set in 19th Century glass depicting the Blessed Virgin and St John in the same style.
Looking up, there is another curiosity, for the clerestory consists of just two two-light windows on each side, at the eastern and western ends.
St Ethelbert, Alby, Norfolk
Aldborough is the biggest of the villages in the area between Cromer and Aylsham, a handsome village with a pub beside its pretty village green, a good place to sit and watch cricket on a sunny afternoon. And yet, there is something missing, for most unusually for East Anglia there is no village church in Aldborough. Instead, you can find no less than three medieval churches in a line along the nearby Holt to North Walsham road, each about half a mile apart and all very different from each other. The most easterly of the three is the parish church of St Mary, Aldborough, and the other two are the parish churches of Thwaite and Alby.
While Alby and Thwaite are landmarks, towerless St Mary hides behind hedges, and is fairly understated. The tower fell in the 18th century, and now the repointing of the flint and the early 20th century turret belies the fact that it is of great interest. And even as you step in, you feel that this is a busy, much-loved place, zealously taken care of by its community.
A low arcade separates the nave from the13th century north aisle, but otherwise the overwhelming feel is of the late 19th and early 20th Centuries. Six bold saints stand attendance in the aisle and the chancel, four of them in memorials to local lads lost in the Great War. The aisle windows are by Powell & Sons, and depict St Michael and St Francis from the 1920s, and St Peter and St John from the 1930s. But the best glass is in the chancel, depicting St George and St Edmund above a landscape of Suvla Bay, and is by William Aikman in 1925. It remembers Edmund Gay, who was one of the soldiers of the infamous 5th Battalion of the Norfolk Regiment. Recruited on estates in north Norfolk, they sailed for Gallipolli, and were wiped out during the attack on Anafarta in Suvla Bay on the 12th of August 1915.
Because they had fallen behind enemy lines, they were listed as missing, and a Norfolk legend grew up that they had vanished into a mysterious cloud and were taken up out of this world. This sounds bizarre, but it was of a piece with legends like the Angel of Mons leading the British troops to escape death in Flanders, and with the great rise in spiritualism in this country in the years immediately after the War. Perhaps it was the dust and heat of that day which gave rise to the legend.
As you might expect in this part of Norfolk, there are some good medieval figure brasses. They are mostly to members of the Herward family, and date from the 1480s. Two are to Robert Herward, in full armour, and his wife Anne, in a butterfly headdress. The other is to an unknown civilian of the same period.
Half a mile westwards down the road sits the lonely church of All Saints, Thwaite. Thwaite church is a landmark, its round tower peeping above the trees. There is no Thwaite village. The church sits at the highest point in the road, and the view from the churchyard is wide and open to the south, all high Norfolk spread out before you. The tower probably dates from the 12th century, with bell openings of a century later. It was built against an already existing church, although the defining features of that church now are newer. The south aisle can be dated by will evidence as from the 1440s, but it was the early 19th century which brought the large school room built onto the north side of the chancel.
You step into a church which is entirely rustic, a real church of the common people, with a brick floor and a font pressed in the medieval manner against a plillar of the arcade. The south aisle is full of light and old benches. The cut-down screen has deeply cut tracery painted red, gold and green. Mortlock detected the hand of the Aylsham screen maker. The beautiful pulpit with its tester is dated 1624 in a large inscription on the backboard. Best of all, and to be expected in this part of Norfolk, a fine figure brass, a double one, to John Puttok and his wife. Interestingly, they died almost thirty years apart, Puttok first in 1442. The previous year, there had been a bequest for the building of the south aisle, and Puttok's will of a year later asked that he should be buried in it. Was it already built by then? Whatever, that is where the brass is now.
The east window of the south aisle has a modern glass depicting the crowned Tudor royal arms of England and France. It probably came from the same collection as at neighbouring Alby. Faith and Charity are rich and elegant in the mid-Victorian manner in the nave, but the chancel is full of simple white light, and less cluttered and complex spaces than this chancel would be hard to find. If you have come here after enjoying the gorgeous Anglo-catholic riches of the churches to the south, this church will feel like a breath of fresh air.
A gentle half mile or so downhill brings us to the third of the three churches, St Ethelbert, Alby. The churches come so thick and fast in this area to the north of Aylsham, and the parishes are so scattered, that sometimes you have to look at the church noticeboard to find out exactly where you are. I had been here before, in 2005, but it was one of the very few East Anglian churches into which I had never set foot, because I had found it locked. I remembered its austere, rather forbidding exterior, quite different to that of its two neighbours, and this with the secretive, bowering churchyard made me wonder if I was to be disappointed again. But I was pleased to discover that Alby church is now open to pilgrims and strangers every day.
This is a wide church, but aisleless, creating a sense of space enhanced by the clear glass which is punctuated only by what appears to be a collection of off-cuts from late 19th and early 20th Century workshops. These include St Christopher carrying the Christ child, the head and shoulders of a grieving Blessed Virgin at the foot of the cross, and a crowned arms of medieval France to match the set at Thwaite. The most curious piece is a crucifixion, for the figure of the crucified Christ appears to be medieval, and has been set in 19th Century glass depicting the Blessed Virgin and St John in the same style.
Looking up, there is another curiosity, for the clerestory consists of just two two-light windows on each side, at the eastern and western ends.
All Saints, Thwaite, Norfolk
Aldborough is the biggest of the villages in the area between Cromer and Aylsham, a handsome village with a pub beside its pretty village green, a good place to sit and watch cricket on a sunny afternoon. And yet, there is something missing, for most unusually for East Anglia there is no village church in Aldborough. Instead, you can find no less than three medieval churches in a line along the nearby Holt to North Walsham road, each about half a mile apart and all very different from each other. The most easterly of the three is the parish church of St Mary, Aldborough, and the other two are the parish churches of Thwaite and Alby.
While Alby and Thwaite are landmarks, towerless St Mary hides behind hedges, and is fairly understated. The tower fell in the 18th century, and now the repointing of the flint and the early 20th century turret belies the fact that it is of great interest. And even as you step in, you feel that this is a busy, much-loved place, zealously taken care of by its community.
A low arcade separates the nave from the13th century north aisle, but otherwise the overwhelming feel is of the late 19th and early 20th Centuries. Six bold saints stand attendance in the aisle and the chancel, four of them in memorials to local lads lost in the Great War. The aisle windows are by Powell & Sons, and depict St Michael and St Francis from the 1920s, and St Peter and St John from the 1930s. But the best glass is in the chancel, depicting St George and St Edmund above a landscape of Suvla Bay, and is by William Aikman in 1925. It remembers Edmund Gay, who was one of the soldiers of the infamous 5th Battalion of the Norfolk Regiment. Recruited on estates in north Norfolk, they sailed for Gallipolli, and were wiped out during the attack on Anafarta in Suvla Bay on the 12th of August 1915.
Because they had fallen behind enemy lines, they were listed as missing, and a Norfolk legend grew up that they had vanished into a mysterious cloud and were taken up out of this world. This sounds bizarre, but it was of a piece with legends like the Angel of Mons leading the British troops to escape death in Flanders, and with the great rise in spiritualism in this country in the years immediately after the War. Perhaps it was the dust and heat of that day which gave rise to the legend.
As you might expect in this part of Norfolk, there are some good medieval figure brasses. They are mostly to members of the Herward family, and date from the 1480s. Two are to Robert Herward, in full armour, and his wife Anne, in a butterfly headdress. The other is to an unknown civilian of the same period.
Half a mile westwards down the road sits the lonely church of All Saints, Thwaite. Thwaite church is a landmark, its round tower peeping above the trees. There is no Thwaite village. The church sits at the highest point in the road, and the view from the churchyard is wide and open to the south, all high Norfolk spread out before you. The tower probably dates from the 12th century, with bell openings of a century later. It was built against an already existing church, although the defining features of that church now are newer. The south aisle can be dated by will evidence as from the 1440s, but it was the early 19th century which brought the large school room built onto the north side of the chancel.
You step into a church which is entirely rustic, a real church of the common people, with a brick floor and a font pressed in the medieval manner against a plillar of the arcade. The south aisle is full of light and old benches. The cut-down screen has deeply cut tracery painted red, gold and green. Mortlock detected the hand of the Aylsham screen maker. The beautiful pulpit with its tester is dated 1624 in a large inscription on the backboard. Best of all, and to be expected in this part of Norfolk, a fine figure brass, a double one, to John Puttok and his wife. Interestingly, they died almost thirty years apart, Puttok first in 1442. The previous year, there had been a bequest for the building of the south aisle, and Puttok's will of a year later asked that he should be buried in it. Was it already built by then? Whatever, that is where the brass is now.
The east window of the south aisle has a modern glass depicting the crowned Tudor royal arms of England and France. It probably came from the same collection as at neighbouring Alby. Faith and Charity are rich and elegant in the mid-Victorian manner in the nave, but the chancel is full of simple white light, and less cluttered and complex spaces than this chancel would be hard to find. If you have come here after enjoying the gorgeous Anglo-catholic riches of the churches to the south, this church will feel like a breath of fresh air.
A gentle half mile or so downhill brings us to the third of the three churches, St Ethelbert, Alby. The churches come so thick and fast in this area to the north of Aylsham, and the parishes are so scattered, that sometimes you have to look at the church noticeboard to find out exactly where you are. I had been here before, in 2005, but it was one of the very few East Anglian churches into which I had never set foot, because I had found it locked. I remembered its austere, rather forbidding exterior, quite different to that of its two neighbours, and this with the secretive, bowering churchyard made me wonder if I was to be disappointed again. But I was pleased to discover that Alby church is now open to pilgrims and strangers every day.
This is a wide church, but aisleless, creating a sense of space enhanced by the clear glass which is punctuated only by what appears to be a collection of off-cuts from late 19th and early 20th Century workshops. These include St Christopher carrying the Christ child, the head and shoulders of a grieving Blessed Virgin at the foot of the cross, and a crowned arms of medieval France to match the set at Thwaite. The most curious piece is a crucifixion, for the figure of the crucified Christ appears to be medieval, and has been set in 19th Century glass depicting the Blessed Virgin and St John in the same style.
Looking up, there is another curiosity, for the clerestory consists of just two two-light windows on each side, at the eastern and western ends.
St Mary, Aldborough, Norfolk
Aldborough is the biggest of the villages in the area between Cromer and Aylsham, a handsome village with a pub beside its pretty village green, a good place to sit and watch cricket on a sunny afternoon. And yet, there is something missing, for most unusually for East Anglia there is no village church in Aldborough. Instead, you can find no less than three medieval churches in a line along the nearby Holt to North Walsham road, each about half a mile apart and all very different from each other. The most easterly of the three is the parish church of St Mary, Aldborough, and the other two are the parish churches of Thwaite and Alby.
While Alby and Thwaite are landmarks, towerless St Mary hides behind hedges, and is fairly understated. The tower fell in the 18th century, and now the repointing of the flint and the early 20th century turret belies the fact that it is of great interest. And even as you step in, you feel that this is a busy, much-loved place, zealously taken care of by its community.
A low arcade separates the nave from the13th century north aisle, but otherwise the overwhelming feel is of the late 19th and early 20th Centuries. Six bold saints stand attendance in the aisle and the chancel, four of them in memorials to local lads lost in the Great War. The aisle windows are by Powell & Sons, and depict St Michael and St Francis from the 1920s, and St Peter and St John from the 1930s. But the best glass is in the chancel, depicting St George and St Edmund above a landscape of Suvla Bay, and is by William Aikman in 1925. It remembers Edmund Gay, who was one of the soldiers of the infamous 5th Battalion of the Norfolk Regiment. Recruited on estates in north Norfolk, they sailed for Gallipolli, and were wiped out during the attack on Anafarta in Suvla Bay on the 12th of August 1915.
Because they had fallen behind enemy lines, they were listed as missing, and a Norfolk legend grew up that they had vanished into a mysterious cloud and were taken up out of this world. This sounds bizarre, but it was of a piece with legends like the Angel of Mons leading the British troops to escape death in Flanders, and with the great rise in spiritualism in this country in the years immediately after the War. Perhaps it was the dust and heat of that day which gave rise to the legend.
As you might expect in this part of Norfolk, there are some good medieval figure brasses. They are mostly to members of the Herward family, and date from the 1480s. Two are to Robert Herward, in full armour, and his wife Anne, in a butterfly headdress. The other is to an unknown civilian of the same period.
Half a mile westwards down the road sits the lonely church of All Saints, Thwaite. Thwaite church is a landmark, its round tower peeping above the trees. There is no Thwaite village. The church sits at the highest point in the road, and the view from the churchyard is wide and open to the south, all high Norfolk spread out before you. The tower probably dates from the 12th century, with bell openings of a century later. It was built against an already existing church, although the defining features of that church now are newer. The south aisle can be dated by will evidence as from the 1440s, but it was the early 19th century which brought the large school room built onto the north side of the chancel.
You step into a church which is entirely rustic, a real church of the common people, with a brick floor and a font pressed in the medieval manner against a plillar of the arcade. The south aisle is full of light and old benches. The cut-down screen has deeply cut tracery painted red, gold and green. Mortlock detected the hand of the Aylsham screen maker. The beautiful pulpit with its tester is dated 1624 in a large inscription on the backboard. Best of all, and to be expected in this part of Norfolk, a fine figure brass, a double one, to John Puttok and his wife. Interestingly, they died almost thirty years apart, Puttok first in 1442. The previous year, there had been a bequest for the building of the south aisle, and Puttok's will of a year later asked that he should be buried in it. Was it already built by then? Whatever, that is where the brass is now.
The east window of the south aisle has a modern glass depicting the crowned Tudor royal arms of England and France. It probably came from the same collection as at neighbouring Alby. Faith and Charity are rich and elegant in the mid-Victorian manner in the nave, but the chancel is full of simple white light, and less cluttered and complex spaces than this chancel would be hard to find. If you have come here after enjoying the gorgeous Anglo-catholic riches of the churches to the south, this church will feel like a breath of fresh air.
A gentle half mile or so downhill brings us to the third of the three churches, St Ethelbert, Alby. The churches come so thick and fast in this area to the north of Aylsham, and the parishes are so scattered, that sometimes you have to look at the church noticeboard to find out exactly where you are. I had been here before, in 2005, but it was one of the very few East Anglian churches into which I had never set foot, because I had found it locked. I remembered its austere, rather forbidding exterior, quite different to that of its two neighbours, and this with the secretive, bowering churchyard made me wonder if I was to be disappointed again. But I was pleased to discover that Alby church is now open to pilgrims and strangers every day.
This is a wide church, but aisleless, creating a sense of space enhanced by the clear glass which is punctuated only by what appears to be a collection of off-cuts from late 19th and early 20th Century workshops. These include St Christopher carrying the Christ child, the head and shoulders of a grieving Blessed Virgin at the foot of the cross, and a crowned arms of medieval France to match the set at Thwaite. The most curious piece is a crucifixion, for the figure of the crucified Christ appears to be medieval, and has been set in 19th Century glass depicting the Blessed Virgin and St John in the same style.
Looking up, there is another curiosity, for the clerestory consists of just two two-light windows on each side, at the eastern and western ends.
The city of Coimbra, Portugal, on the river Mondego. Downstream you can see a bit of Figueira da Foz's beach.
A cidade de Coimbra, Portugal, e o rio Mondego. Vê-se também um pouco da praia da Figueira da Foz.
Color correction: this shot had a terrible blue cast (as most aerial photos do). It was first decomposed to LAB color space, enhanced the greens and yellows (in A and B channels) and applied unsharp mask with large radius on the L channel. Then, back in RGB, reduced blues everywhere except in high values (color of the sea and clouds). Enhanced reds in the rooftop shades and greens in the forest areas. Final slight unsharp mask everywhere. Processing was done from JPG all the way, could perhaps make it better in RAW, but not by much really.
St Mary, Aldborough, Norfolk
Aldborough is the biggest of the villages in the area between Cromer and Aylsham, a handsome village with a pub beside its pretty village green, a good place to sit and watch cricket on a sunny afternoon. And yet, there is something missing, for most unusually for East Anglia there is no village church in Aldborough. Instead, you can find no less than three medieval churches in a line along the nearby Holt to North Walsham road, each about half a mile apart and all very different from each other. The most easterly of the three is the parish church of St Mary, Aldborough, and the other two are the parish churches of Thwaite and Alby.
While Alby and Thwaite are landmarks, towerless St Mary hides behind hedges, and is fairly understated. The tower fell in the 18th century, and now the repointing of the flint and the early 20th century turret belies the fact that it is of great interest. And even as you step in, you feel that this is a busy, much-loved place, zealously taken care of by its community.
A low arcade separates the nave from the13th century north aisle, but otherwise the overwhelming feel is of the late 19th and early 20th Centuries. Six bold saints stand attendance in the aisle and the chancel, four of them in memorials to local lads lost in the Great War. The aisle windows are by Powell & Sons, and depict St Michael and St Francis from the 1920s, and St Peter and St John from the 1930s. But the best glass is in the chancel, depicting St George and St Edmund above a landscape of Suvla Bay, and is by William Aikman in 1925. It remembers Edmund Gay, who was one of the soldiers of the infamous 5th Battalion of the Norfolk Regiment. Recruited on estates in north Norfolk, they sailed for Gallipolli, and were wiped out during the attack on Anafarta in Suvla Bay on the 12th of August 1915.
Because they had fallen behind enemy lines, they were listed as missing, and a Norfolk legend grew up that they had vanished into a mysterious cloud and were taken up out of this world. This sounds bizarre, but it was of a piece with legends like the Angel of Mons leading the British troops to escape death in Flanders, and with the great rise in spiritualism in this country in the years immediately after the War. Perhaps it was the dust and heat of that day which gave rise to the legend.
As you might expect in this part of Norfolk, there are some good medieval figure brasses. They are mostly to members of the Herward family, and date from the 1480s. Two are to Robert Herward, in full armour, and his wife Anne, in a butterfly headdress. The other is to an unknown civilian of the same period.
Half a mile westwards down the road sits the lonely church of All Saints, Thwaite. Thwaite church is a landmark, its round tower peeping above the trees. There is no Thwaite village. The church sits at the highest point in the road, and the view from the churchyard is wide and open to the south, all high Norfolk spread out before you. The tower probably dates from the 12th century, with bell openings of a century later. It was built against an already existing church, although the defining features of that church now are newer. The south aisle can be dated by will evidence as from the 1440s, but it was the early 19th century which brought the large school room built onto the north side of the chancel.
You step into a church which is entirely rustic, a real church of the common people, with a brick floor and a font pressed in the medieval manner against a plillar of the arcade. The south aisle is full of light and old benches. The cut-down screen has deeply cut tracery painted red, gold and green. Mortlock detected the hand of the Aylsham screen maker. The beautiful pulpit with its tester is dated 1624 in a large inscription on the backboard. Best of all, and to be expected in this part of Norfolk, a fine figure brass, a double one, to John Puttok and his wife. Interestingly, they died almost thirty years apart, Puttok first in 1442. The previous year, there had been a bequest for the building of the south aisle, and Puttok's will of a year later asked that he should be buried in it. Was it already built by then? Whatever, that is where the brass is now.
The east window of the south aisle has a modern glass depicting the crowned Tudor royal arms of England and France. It probably came from the same collection as at neighbouring Alby. Faith and Charity are rich and elegant in the mid-Victorian manner in the nave, but the chancel is full of simple white light, and less cluttered and complex spaces than this chancel would be hard to find. If you have come here after enjoying the gorgeous Anglo-catholic riches of the churches to the south, this church will feel like a breath of fresh air.
A gentle half mile or so downhill brings us to the third of the three churches, St Ethelbert, Alby. The churches come so thick and fast in this area to the north of Aylsham, and the parishes are so scattered, that sometimes you have to look at the church noticeboard to find out exactly where you are. I had been here before, in 2005, but it was one of the very few East Anglian churches into which I had never set foot, because I had found it locked. I remembered its austere, rather forbidding exterior, quite different to that of its two neighbours, and this with the secretive, bowering churchyard made me wonder if I was to be disappointed again. But I was pleased to discover that Alby church is now open to pilgrims and strangers every day.
This is a wide church, but aisleless, creating a sense of space enhanced by the clear glass which is punctuated only by what appears to be a collection of off-cuts from late 19th and early 20th Century workshops. These include St Christopher carrying the Christ child, the head and shoulders of a grieving Blessed Virgin at the foot of the cross, and a crowned arms of medieval France to match the set at Thwaite. The most curious piece is a crucifixion, for the figure of the crucified Christ appears to be medieval, and has been set in 19th Century glass depicting the Blessed Virgin and St John in the same style.
Looking up, there is another curiosity, for the clerestory consists of just two two-light windows on each side, at the eastern and western ends.
All Saints, Thwaite, Norfolk
Aldborough is the biggest of the villages in the area between Cromer and Aylsham, a handsome village with a pub beside its pretty village green, a good place to sit and watch cricket on a sunny afternoon. And yet, there is something missing, for most unusually for East Anglia there is no village church in Aldborough. Instead, you can find no less than three medieval churches in a line along the nearby Holt to North Walsham road, each about half a mile apart and all very different from each other. The most easterly of the three is the parish church of St Mary, Aldborough, and the other two are the parish churches of Thwaite and Alby.
While Alby and Thwaite are landmarks, towerless St Mary hides behind hedges, and is fairly understated. The tower fell in the 18th century, and now the repointing of the flint and the early 20th century turret belies the fact that it is of great interest. And even as you step in, you feel that this is a busy, much-loved place, zealously taken care of by its community.
A low arcade separates the nave from the13th century north aisle, but otherwise the overwhelming feel is of the late 19th and early 20th Centuries. Six bold saints stand attendance in the aisle and the chancel, four of them in memorials to local lads lost in the Great War. The aisle windows are by Powell & Sons, and depict St Michael and St Francis from the 1920s, and St Peter and St John from the 1930s. But the best glass is in the chancel, depicting St George and St Edmund above a landscape of Suvla Bay, and is by William Aikman in 1925. It remembers Edmund Gay, who was one of the soldiers of the infamous 5th Battalion of the Norfolk Regiment. Recruited on estates in north Norfolk, they sailed for Gallipolli, and were wiped out during the attack on Anafarta in Suvla Bay on the 12th of August 1915.
Because they had fallen behind enemy lines, they were listed as missing, and a Norfolk legend grew up that they had vanished into a mysterious cloud and were taken up out of this world. This sounds bizarre, but it was of a piece with legends like the Angel of Mons leading the British troops to escape death in Flanders, and with the great rise in spiritualism in this country in the years immediately after the War. Perhaps it was the dust and heat of that day which gave rise to the legend.
As you might expect in this part of Norfolk, there are some good medieval figure brasses. They are mostly to members of the Herward family, and date from the 1480s. Two are to Robert Herward, in full armour, and his wife Anne, in a butterfly headdress. The other is to an unknown civilian of the same period.
Half a mile westwards down the road sits the lonely church of All Saints, Thwaite. Thwaite church is a landmark, its round tower peeping above the trees. There is no Thwaite village. The church sits at the highest point in the road, and the view from the churchyard is wide and open to the south, all high Norfolk spread out before you. The tower probably dates from the 12th century, with bell openings of a century later. It was built against an already existing church, although the defining features of that church now are newer. The south aisle can be dated by will evidence as from the 1440s, but it was the early 19th century which brought the large school room built onto the north side of the chancel.
You step into a church which is entirely rustic, a real church of the common people, with a brick floor and a font pressed in the medieval manner against a plillar of the arcade. The south aisle is full of light and old benches. The cut-down screen has deeply cut tracery painted red, gold and green. Mortlock detected the hand of the Aylsham screen maker. The beautiful pulpit with its tester is dated 1624 in a large inscription on the backboard. Best of all, and to be expected in this part of Norfolk, a fine figure brass, a double one, to John Puttok and his wife. Interestingly, they died almost thirty years apart, Puttok first in 1442. The previous year, there had been a bequest for the building of the south aisle, and Puttok's will of a year later asked that he should be buried in it. Was it already built by then? Whatever, that is where the brass is now.
The east window of the south aisle has a modern glass depicting the crowned Tudor royal arms of England and France. It probably came from the same collection as at neighbouring Alby. Faith and Charity are rich and elegant in the mid-Victorian manner in the nave, but the chancel is full of simple white light, and less cluttered and complex spaces than this chancel would be hard to find. If you have come here after enjoying the gorgeous Anglo-catholic riches of the churches to the south, this church will feel like a breath of fresh air.
A gentle half mile or so downhill brings us to the third of the three churches, St Ethelbert, Alby. The churches come so thick and fast in this area to the north of Aylsham, and the parishes are so scattered, that sometimes you have to look at the church noticeboard to find out exactly where you are. I had been here before, in 2005, but it was one of the very few East Anglian churches into which I had never set foot, because I had found it locked. I remembered its austere, rather forbidding exterior, quite different to that of its two neighbours, and this with the secretive, bowering churchyard made me wonder if I was to be disappointed again. But I was pleased to discover that Alby church is now open to pilgrims and strangers every day.
This is a wide church, but aisleless, creating a sense of space enhanced by the clear glass which is punctuated only by what appears to be a collection of off-cuts from late 19th and early 20th Century workshops. These include St Christopher carrying the Christ child, the head and shoulders of a grieving Blessed Virgin at the foot of the cross, and a crowned arms of medieval France to match the set at Thwaite. The most curious piece is a crucifixion, for the figure of the crucified Christ appears to be medieval, and has been set in 19th Century glass depicting the Blessed Virgin and St John in the same style.
Looking up, there is another curiosity, for the clerestory consists of just two two-light windows on each side, at the eastern and western ends.
Chalon will prepare a selection of complimentary colours that blend and harmonise with your space, enhancing your mood and your lifestyle.
Butler Library's lobby is an expansive, light-filled space enhanced with greenery and exhibit cases featuring creative work and informational displays from students, faculty, staff, and the community. Busy patrons can take a study break and enjoy food and drinks under the lobby trees!
St Ethelbert, Alby, Norfolk
Aldborough is the biggest of the villages in the area between Cromer and Aylsham, a handsome village with a pub beside its pretty village green, a good place to sit and watch cricket on a sunny afternoon. And yet, there is something missing, for most unusually for East Anglia there is no village church in Aldborough. Instead, you can find no less than three medieval churches in a line along the nearby Holt to North Walsham road, each about half a mile apart and all very different from each other. The most easterly of the three is the parish church of St Mary, Aldborough, and the other two are the parish churches of Thwaite and Alby.
While Alby and Thwaite are landmarks, towerless St Mary hides behind hedges, and is fairly understated. The tower fell in the 18th century, and now the repointing of the flint and the early 20th century turret belies the fact that it is of great interest. And even as you step in, you feel that this is a busy, much-loved place, zealously taken care of by its community.
A low arcade separates the nave from the13th century north aisle, but otherwise the overwhelming feel is of the late 19th and early 20th Centuries. Six bold saints stand attendance in the aisle and the chancel, four of them in memorials to local lads lost in the Great War. The aisle windows are by Powell & Sons, and depict St Michael and St Francis from the 1920s, and St Peter and St John from the 1930s. But the best glass is in the chancel, depicting St George and St Edmund above a landscape of Suvla Bay, and is by William Aikman in 1925. It remembers Edmund Gay, who was one of the soldiers of the infamous 5th Battalion of the Norfolk Regiment. Recruited on estates in north Norfolk, they sailed for Gallipolli, and were wiped out during the attack on Anafarta in Suvla Bay on the 12th of August 1915.
Because they had fallen behind enemy lines, they were listed as missing, and a Norfolk legend grew up that they had vanished into a mysterious cloud and were taken up out of this world. This sounds bizarre, but it was of a piece with legends like the Angel of Mons leading the British troops to escape death in Flanders, and with the great rise in spiritualism in this country in the years immediately after the War. Perhaps it was the dust and heat of that day which gave rise to the legend.
As you might expect in this part of Norfolk, there are some good medieval figure brasses. They are mostly to members of the Herward family, and date from the 1480s. Two are to Robert Herward, in full armour, and his wife Anne, in a butterfly headdress. The other is to an unknown civilian of the same period.
Half a mile westwards down the road sits the lonely church of All Saints, Thwaite. Thwaite church is a landmark, its round tower peeping above the trees. There is no Thwaite village. The church sits at the highest point in the road, and the view from the churchyard is wide and open to the south, all high Norfolk spread out before you. The tower probably dates from the 12th century, with bell openings of a century later. It was built against an already existing church, although the defining features of that church now are newer. The south aisle can be dated by will evidence as from the 1440s, but it was the early 19th century which brought the large school room built onto the north side of the chancel.
You step into a church which is entirely rustic, a real church of the common people, with a brick floor and a font pressed in the medieval manner against a plillar of the arcade. The south aisle is full of light and old benches. The cut-down screen has deeply cut tracery painted red, gold and green. Mortlock detected the hand of the Aylsham screen maker. The beautiful pulpit with its tester is dated 1624 in a large inscription on the backboard. Best of all, and to be expected in this part of Norfolk, a fine figure brass, a double one, to John Puttok and his wife. Interestingly, they died almost thirty years apart, Puttok first in 1442. The previous year, there had been a bequest for the building of the south aisle, and Puttok's will of a year later asked that he should be buried in it. Was it already built by then? Whatever, that is where the brass is now.
The east window of the south aisle has a modern glass depicting the crowned Tudor royal arms of England and France. It probably came from the same collection as at neighbouring Alby. Faith and Charity are rich and elegant in the mid-Victorian manner in the nave, but the chancel is full of simple white light, and less cluttered and complex spaces than this chancel would be hard to find. If you have come here after enjoying the gorgeous Anglo-catholic riches of the churches to the south, this church will feel like a breath of fresh air.
A gentle half mile or so downhill brings us to the third of the three churches, St Ethelbert, Alby. The churches come so thick and fast in this area to the north of Aylsham, and the parishes are so scattered, that sometimes you have to look at the church noticeboard to find out exactly where you are. I had been here before, in 2005, but it was one of the very few East Anglian churches into which I had never set foot, because I had found it locked. I remembered its austere, rather forbidding exterior, quite different to that of its two neighbours, and this with the secretive, bowering churchyard made me wonder if I was to be disappointed again. But I was pleased to discover that Alby church is now open to pilgrims and strangers every day.
This is a wide church, but aisleless, creating a sense of space enhanced by the clear glass which is punctuated only by what appears to be a collection of off-cuts from late 19th and early 20th Century workshops. These include St Christopher carrying the Christ child, the head and shoulders of a grieving Blessed Virgin at the foot of the cross, and a crowned arms of medieval France to match the set at Thwaite. The most curious piece is a crucifixion, for the figure of the crucified Christ appears to be medieval, and has been set in 19th Century glass depicting the Blessed Virgin and St John in the same style.
Looking up, there is another curiosity, for the clerestory consists of just two two-light windows on each side, at the eastern and western ends.
St Mary, Aldborough, Norfolk
Aldborough is the biggest of the villages in the area between Cromer and Aylsham, a handsome village with a pub beside its pretty village green, a good place to sit and watch cricket on a sunny afternoon. And yet, there is something missing, for most unusually for East Anglia there is no village church in Aldborough. Instead, you can find no less than three medieval churches in a line along the nearby Holt to North Walsham road, each about half a mile apart and all very different from each other. The most easterly of the three is the parish church of St Mary, Aldborough, and the other two are the parish churches of Thwaite and Alby.
While Alby and Thwaite are landmarks, towerless St Mary hides behind hedges, and is fairly understated. The tower fell in the 18th century, and now the repointing of the flint and the early 20th century turret belies the fact that it is of great interest. And even as you step in, you feel that this is a busy, much-loved place, zealously taken care of by its community.
A low arcade separates the nave from the13th century north aisle, but otherwise the overwhelming feel is of the late 19th and early 20th Centuries. Six bold saints stand attendance in the aisle and the chancel, four of them in memorials to local lads lost in the Great War. The aisle windows are by Powell & Sons, and depict St Michael and St Francis from the 1920s, and St Peter and St John from the 1930s. But the best glass is in the chancel, depicting St George and St Edmund above a landscape of Suvla Bay, and is by William Aikman in 1925. It remembers Edmund Gay, who was one of the soldiers of the infamous 5th Battalion of the Norfolk Regiment. Recruited on estates in north Norfolk, they sailed for Gallipolli, and were wiped out during the attack on Anafarta in Suvla Bay on the 12th of August 1915.
Because they had fallen behind enemy lines, they were listed as missing, and a Norfolk legend grew up that they had vanished into a mysterious cloud and were taken up out of this world. This sounds bizarre, but it was of a piece with legends like the Angel of Mons leading the British troops to escape death in Flanders, and with the great rise in spiritualism in this country in the years immediately after the War. Perhaps it was the dust and heat of that day which gave rise to the legend.
As you might expect in this part of Norfolk, there are some good medieval figure brasses. They are mostly to members of the Herward family, and date from the 1480s. Two are to Robert Herward, in full armour, and his wife Anne, in a butterfly headdress. The other is to an unknown civilian of the same period.
Half a mile westwards down the road sits the lonely church of All Saints, Thwaite. Thwaite church is a landmark, its round tower peeping above the trees. There is no Thwaite village. The church sits at the highest point in the road, and the view from the churchyard is wide and open to the south, all high Norfolk spread out before you. The tower probably dates from the 12th century, with bell openings of a century later. It was built against an already existing church, although the defining features of that church now are newer. The south aisle can be dated by will evidence as from the 1440s, but it was the early 19th century which brought the large school room built onto the north side of the chancel.
You step into a church which is entirely rustic, a real church of the common people, with a brick floor and a font pressed in the medieval manner against a plillar of the arcade. The south aisle is full of light and old benches. The cut-down screen has deeply cut tracery painted red, gold and green. Mortlock detected the hand of the Aylsham screen maker. The beautiful pulpit with its tester is dated 1624 in a large inscription on the backboard. Best of all, and to be expected in this part of Norfolk, a fine figure brass, a double one, to John Puttok and his wife. Interestingly, they died almost thirty years apart, Puttok first in 1442. The previous year, there had been a bequest for the building of the south aisle, and Puttok's will of a year later asked that he should be buried in it. Was it already built by then? Whatever, that is where the brass is now.
The east window of the south aisle has a modern glass depicting the crowned Tudor royal arms of England and France. It probably came from the same collection as at neighbouring Alby. Faith and Charity are rich and elegant in the mid-Victorian manner in the nave, but the chancel is full of simple white light, and less cluttered and complex spaces than this chancel would be hard to find. If you have come here after enjoying the gorgeous Anglo-catholic riches of the churches to the south, this church will feel like a breath of fresh air.
A gentle half mile or so downhill brings us to the third of the three churches, St Ethelbert, Alby. The churches come so thick and fast in this area to the north of Aylsham, and the parishes are so scattered, that sometimes you have to look at the church noticeboard to find out exactly where you are. I had been here before, in 2005, but it was one of the very few East Anglian churches into which I had never set foot, because I had found it locked. I remembered its austere, rather forbidding exterior, quite different to that of its two neighbours, and this with the secretive, bowering churchyard made me wonder if I was to be disappointed again. But I was pleased to discover that Alby church is now open to pilgrims and strangers every day.
This is a wide church, but aisleless, creating a sense of space enhanced by the clear glass which is punctuated only by what appears to be a collection of off-cuts from late 19th and early 20th Century workshops. These include St Christopher carrying the Christ child, the head and shoulders of a grieving Blessed Virgin at the foot of the cross, and a crowned arms of medieval France to match the set at Thwaite. The most curious piece is a crucifixion, for the figure of the crucified Christ appears to be medieval, and has been set in 19th Century glass depicting the Blessed Virgin and St John in the same style.
Looking up, there is another curiosity, for the clerestory consists of just two two-light windows on each side, at the eastern and western ends.
LOS ANGELES — Officials from the U.S. Army Corps of Engineers Los Angeles District and Los Angeles County cut the ribbon opening the Tujunga Wash Ecosystem Restoration Project in Valley Glen, Calif., to the public Aug. 15.
The $7 million project was designed to restore degraded habitat along the sides of a 3/4-mile stretch of concrete channel carrying runoff from Hansen Dam to the Los Angeles River. Construction included a meandering stream with native riparian vegetation and pedestrian pathways along banks of the channel between Vanowen Street and Sherman Way in the San Fernando Valley. The project connects to the county’s Greenway project to the south, creating a riparian habitat corridor nearly 2.5 miles long.
LA County Supervisor Zev Yaroslavsky hosted the event and told the 50 people in attendance, including project partners and local residents, that open recreation space enhances quality of life but, more importantly, it improves the environment.
“It’s greening the environment. It’s taking an asset that’s been not only underutilized, but un-utilized, from an environmental point of view, and turning it into a real community asset that’s fully utilized,” said Yaroslavsky. “I know that the neighborhood’s going to love this and appreciate this.”
Yaroslavsky said one of the key features of the project is its water conservation component, where the meandering stream aids groundwater recharge.
“One way to reduce the reliance on imported water is by increasing the amount of rainwater that we capture and return to the groundwater table right here in the San Fernando Valley,” he said. “We need to continue to develop these kinds of innovative and cost effective environmentally sensitive projects to increase our local water supplies.”
LA County Department of Public Works operated and maintained the concrete-lined channel for the sole purpose of flood risk management. According to Director Gail Farber, the department welcomed the opportunity to collaborate with the Corps to bring environmental, recreational and educational benefits to this dense urban area.
“We’re extremely proud of our collaboration with the Army Corps of Engineers and the common vision we share with the urban waterways, like the LA River and its tributaries; to transform them into sustainable ecosystems that provide not only flood protection for our communities, but also habitats for plants, wildlife, open space and recreation for our residents,” said Farber. “So this project and the two habitat restoration projects downstream brings us even closer to our vision of sustainable communities.”
Los Angeles District Commander Col. Mark Toy talked about the growing momentum in the movement to restore portions of the LA River watershed with programs like the Urban Waters Federal Partnership and America’s Great Outdoors Initiative. Both programs share the goals of reconnecting people across the nation to their waterways and promoting water conservation. He said the Tujunga Wash restoration project, although relatively small, shows what is possible along the LA River and complements the river’s revitalization plan.
“This particular project here at Tujunga Wash has garnered a lot of interest from higher levels in Washington, D.C.,” said Toy. “They [Principal Deputy to the Assistant Secretary of the Army for Civil Works “Rock” Salt and Chief of Engineers Lt. Gen. Thomas Bostick] had heard what’s been going on in Los Angeles and what ecosystem restoration looked like and they wanted to see it for themselves.
All told, the Tujunga Wash Greenway created a total of 11.5 acres of native, drought-tolerant habitat, with 18 acres of open space and 3.2 miles of public pathways in a park-poor area of the San Fernando Valley.
St Mary, Aldborough, Norfolk
Aldborough is the biggest of the villages in the area between Cromer and Aylsham, a handsome village with a pub beside its pretty village green, a good place to sit and watch cricket on a sunny afternoon. And yet, there is something missing, for most unusually for East Anglia there is no village church in Aldborough. Instead, you can find no less than three medieval churches in a line along the nearby Holt to North Walsham road, each about half a mile apart and all very different from each other. The most easterly of the three is the parish church of St Mary, Aldborough, and the other two are the parish churches of Thwaite and Alby.
While Alby and Thwaite are landmarks, towerless St Mary hides behind hedges, and is fairly understated. The tower fell in the 18th century, and now the repointing of the flint and the early 20th century turret belies the fact that it is of great interest. And even as you step in, you feel that this is a busy, much-loved place, zealously taken care of by its community.
A low arcade separates the nave from the13th century north aisle, but otherwise the overwhelming feel is of the late 19th and early 20th Centuries. Six bold saints stand attendance in the aisle and the chancel, four of them in memorials to local lads lost in the Great War. The aisle windows are by Powell & Sons, and depict St Michael and St Francis from the 1920s, and St Peter and St John from the 1930s. But the best glass is in the chancel, depicting St George and St Edmund above a landscape of Suvla Bay, and is by William Aikman in 1925. It remembers Edmund Gay, who was one of the soldiers of the infamous 5th Battalion of the Norfolk Regiment. Recruited on estates in north Norfolk, they sailed for Gallipolli, and were wiped out during the attack on Anafarta in Suvla Bay on the 12th of August 1915.
Because they had fallen behind enemy lines, they were listed as missing, and a Norfolk legend grew up that they had vanished into a mysterious cloud and were taken up out of this world. This sounds bizarre, but it was of a piece with legends like the Angel of Mons leading the British troops to escape death in Flanders, and with the great rise in spiritualism in this country in the years immediately after the War. Perhaps it was the dust and heat of that day which gave rise to the legend.
As you might expect in this part of Norfolk, there are some good medieval figure brasses. They are mostly to members of the Herward family, and date from the 1480s. Two are to Robert Herward, in full armour, and his wife Anne, in a butterfly headdress. The other is to an unknown civilian of the same period.
Half a mile westwards down the road sits the lonely church of All Saints, Thwaite. Thwaite church is a landmark, its round tower peeping above the trees. There is no Thwaite village. The church sits at the highest point in the road, and the view from the churchyard is wide and open to the south, all high Norfolk spread out before you. The tower probably dates from the 12th century, with bell openings of a century later. It was built against an already existing church, although the defining features of that church now are newer. The south aisle can be dated by will evidence as from the 1440s, but it was the early 19th century which brought the large school room built onto the north side of the chancel.
You step into a church which is entirely rustic, a real church of the common people, with a brick floor and a font pressed in the medieval manner against a plillar of the arcade. The south aisle is full of light and old benches. The cut-down screen has deeply cut tracery painted red, gold and green. Mortlock detected the hand of the Aylsham screen maker. The beautiful pulpit with its tester is dated 1624 in a large inscription on the backboard. Best of all, and to be expected in this part of Norfolk, a fine figure brass, a double one, to John Puttok and his wife. Interestingly, they died almost thirty years apart, Puttok first in 1442. The previous year, there had been a bequest for the building of the south aisle, and Puttok's will of a year later asked that he should be buried in it. Was it already built by then? Whatever, that is where the brass is now.
The east window of the south aisle has a modern glass depicting the crowned Tudor royal arms of England and France. It probably came from the same collection as at neighbouring Alby. Faith and Charity are rich and elegant in the mid-Victorian manner in the nave, but the chancel is full of simple white light, and less cluttered and complex spaces than this chancel would be hard to find. If you have come here after enjoying the gorgeous Anglo-catholic riches of the churches to the south, this church will feel like a breath of fresh air.
A gentle half mile or so downhill brings us to the third of the three churches, St Ethelbert, Alby. The churches come so thick and fast in this area to the north of Aylsham, and the parishes are so scattered, that sometimes you have to look at the church noticeboard to find out exactly where you are. I had been here before, in 2005, but it was one of the very few East Anglian churches into which I had never set foot, because I had found it locked. I remembered its austere, rather forbidding exterior, quite different to that of its two neighbours, and this with the secretive, bowering churchyard made me wonder if I was to be disappointed again. But I was pleased to discover that Alby church is now open to pilgrims and strangers every day.
This is a wide church, but aisleless, creating a sense of space enhanced by the clear glass which is punctuated only by what appears to be a collection of off-cuts from late 19th and early 20th Century workshops. These include St Christopher carrying the Christ child, the head and shoulders of a grieving Blessed Virgin at the foot of the cross, and a crowned arms of medieval France to match the set at Thwaite. The most curious piece is a crucifixion, for the figure of the crucified Christ appears to be medieval, and has been set in 19th Century glass depicting the Blessed Virgin and St John in the same style.
Looking up, there is another curiosity, for the clerestory consists of just two two-light windows on each side, at the eastern and western ends.
St Ethelbert, Alby, Norfolk
Aldborough is the biggest of the villages in the area between Cromer and Aylsham, a handsome village with a pub beside its pretty village green, a good place to sit and watch cricket on a sunny afternoon. And yet, there is something missing, for most unusually for East Anglia there is no village church in Aldborough. Instead, you can find no less than three medieval churches in a line along the nearby Holt to North Walsham road, each about half a mile apart and all very different from each other. The most easterly of the three is the parish church of St Mary, Aldborough, and the other two are the parish churches of Thwaite and Alby.
While Alby and Thwaite are landmarks, towerless St Mary hides behind hedges, and is fairly understated. The tower fell in the 18th century, and now the repointing of the flint and the early 20th century turret belies the fact that it is of great interest. And even as you step in, you feel that this is a busy, much-loved place, zealously taken care of by its community.
A low arcade separates the nave from the13th century north aisle, but otherwise the overwhelming feel is of the late 19th and early 20th Centuries. Six bold saints stand attendance in the aisle and the chancel, four of them in memorials to local lads lost in the Great War. The aisle windows are by Powell & Sons, and depict St Michael and St Francis from the 1920s, and St Peter and St John from the 1930s. But the best glass is in the chancel, depicting St George and St Edmund above a landscape of Suvla Bay, and is by William Aikman in 1925. It remembers Edmund Gay, who was one of the soldiers of the infamous 5th Battalion of the Norfolk Regiment. Recruited on estates in north Norfolk, they sailed for Gallipolli, and were wiped out during the attack on Anafarta in Suvla Bay on the 12th of August 1915.
Because they had fallen behind enemy lines, they were listed as missing, and a Norfolk legend grew up that they had vanished into a mysterious cloud and were taken up out of this world. This sounds bizarre, but it was of a piece with legends like the Angel of Mons leading the British troops to escape death in Flanders, and with the great rise in spiritualism in this country in the years immediately after the War. Perhaps it was the dust and heat of that day which gave rise to the legend.
As you might expect in this part of Norfolk, there are some good medieval figure brasses. They are mostly to members of the Herward family, and date from the 1480s. Two are to Robert Herward, in full armour, and his wife Anne, in a butterfly headdress. The other is to an unknown civilian of the same period.
Half a mile westwards down the road sits the lonely church of All Saints, Thwaite. Thwaite church is a landmark, its round tower peeping above the trees. There is no Thwaite village. The church sits at the highest point in the road, and the view from the churchyard is wide and open to the south, all high Norfolk spread out before you. The tower probably dates from the 12th century, with bell openings of a century later. It was built against an already existing church, although the defining features of that church now are newer. The south aisle can be dated by will evidence as from the 1440s, but it was the early 19th century which brought the large school room built onto the north side of the chancel.
You step into a church which is entirely rustic, a real church of the common people, with a brick floor and a font pressed in the medieval manner against a plillar of the arcade. The south aisle is full of light and old benches. The cut-down screen has deeply cut tracery painted red, gold and green. Mortlock detected the hand of the Aylsham screen maker. The beautiful pulpit with its tester is dated 1624 in a large inscription on the backboard. Best of all, and to be expected in this part of Norfolk, a fine figure brass, a double one, to John Puttok and his wife. Interestingly, they died almost thirty years apart, Puttok first in 1442. The previous year, there had been a bequest for the building of the south aisle, and Puttok's will of a year later asked that he should be buried in it. Was it already built by then? Whatever, that is where the brass is now.
The east window of the south aisle has a modern glass depicting the crowned Tudor royal arms of England and France. It probably came from the same collection as at neighbouring Alby. Faith and Charity are rich and elegant in the mid-Victorian manner in the nave, but the chancel is full of simple white light, and less cluttered and complex spaces than this chancel would be hard to find. If you have come here after enjoying the gorgeous Anglo-catholic riches of the churches to the south, this church will feel like a breath of fresh air.
A gentle half mile or so downhill brings us to the third of the three churches, St Ethelbert, Alby. The churches come so thick and fast in this area to the north of Aylsham, and the parishes are so scattered, that sometimes you have to look at the church noticeboard to find out exactly where you are. I had been here before, in 2005, but it was one of the very few East Anglian churches into which I had never set foot, because I had found it locked. I remembered its austere, rather forbidding exterior, quite different to that of its two neighbours, and this with the secretive, bowering churchyard made me wonder if I was to be disappointed again. But I was pleased to discover that Alby church is now open to pilgrims and strangers every day.
This is a wide church, but aisleless, creating a sense of space enhanced by the clear glass which is punctuated only by what appears to be a collection of off-cuts from late 19th and early 20th Century workshops. These include St Christopher carrying the Christ child, the head and shoulders of a grieving Blessed Virgin at the foot of the cross, and a crowned arms of medieval France to match the set at Thwaite. The most curious piece is a crucifixion, for the figure of the crucified Christ appears to be medieval, and has been set in 19th Century glass depicting the Blessed Virgin and St John in the same style.
Looking up, there is another curiosity, for the clerestory consists of just two two-light windows on each side, at the eastern and western ends.
Skoda Yeti (Facelift) (2009-on) Engine 2000cc S4 TD
Registration Number DF 663 XR
Decals: Tour de France
SKODA SET
www.flickr.com/photos/45676495@N05/sets/72157623722493201...
The Yeti is a compact SUV, introduced at the 2009 Geneva Motorshow, as Skodas first entry into the SUV market.. Praised for its interior space despite a smallish boxy appearance with interior space enhanced by what Skoda call Varioflex, the variable layout of the rear seats, a feature they introduced on the Skoda Roomster Most engines were offered with 6-speed manual transmissions, with a 5-speed manual being reserved for front-wheel drive only cars with the 81 kW TDI engine. The Volkswagen Group 7-speed Direct-Shift Gearbox (DSG) was option exclusively for the 1.2 TSI, while the 6-speed Direct-Shift Gearbox (DSG) was available for the 103 kW (140 PS) 2-litre common rail diesel engine. The four-wheel drive variants utilised the 4th-generation Haldex Traction multi-plate clutch to transmit the drive to the rear wheels, and all drive layouts include fully independent multi-link rear suspension
The Yeti was given a major facelift in 2013, the revised car is 1mm longer and is now available in two version the standard road verion, and a more rugged Outdoor model.The technology used has also been updated with a new generation Haldex four wheel drive system and new tranmission systems for most of the range.
The Yeti is built in the Czech Republic, Kazahstan, the Ukraine, Russia, India and China.
This Yeti was being used in an official capacity as a lead vehicle for crowd control.
Skoda is a long term sponsor and partner of the Tour de France, for the 2014 Tour they used 250 cars (Octavia, Superb and Yeti) which between them covered some 2.8 million Km.
Many Thanks for a fan'dabi'dozi 26,585,700 views
Shot 06:07:2014 at The Grande Depart of the Tour De France, Harewood House, W. Yorkshire REF 102-878
LOS ANGELES — Officials from the U.S. Army Corps of Engineers Los Angeles District and Los Angeles County cut the ribbon opening the Tujunga Wash Ecosystem Restoration Project in Valley Glen, Calif., to the public Aug. 15.
The $7 million project was designed to restore degraded habitat along the sides of a 3/4-mile stretch of concrete channel carrying runoff from Hansen Dam to the Los Angeles River. Construction included a meandering stream with native riparian vegetation and pedestrian pathways along banks of the channel between Vanowen Street and Sherman Way in the San Fernando Valley. The project connects to the county’s Greenway project to the south, creating a riparian habitat corridor nearly 2.5 miles long.
LA County Supervisor Zev Yaroslavsky hosted the event and told the 50 people in attendance, including project partners and local residents, that open recreation space enhances quality of life but, more importantly, it improves the environment.
“It’s greening the environment. It’s taking an asset that’s been not only underutilized, but un-utilized, from an environmental point of view, and turning it into a real community asset that’s fully utilized,” said Yaroslavsky. “I know that the neighborhood’s going to love this and appreciate this.”
Yaroslavsky said one of the key features of the project is its water conservation component, where the meandering stream aids groundwater recharge.
“One way to reduce the reliance on imported water is by increasing the amount of rainwater that we capture and return to the groundwater table right here in the San Fernando Valley,” he said. “We need to continue to develop these kinds of innovative and cost effective environmentally sensitive projects to increase our local water supplies.”
LA County Department of Public Works operated and maintained the concrete-lined channel for the sole purpose of flood risk management. According to Director Gail Farber, the department welcomed the opportunity to collaborate with the Corps to bring environmental, recreational and educational benefits to this dense urban area.
“We’re extremely proud of our collaboration with the Army Corps of Engineers and the common vision we share with the urban waterways, like the LA River and its tributaries; to transform them into sustainable ecosystems that provide not only flood protection for our communities, but also habitats for plants, wildlife, open space and recreation for our residents,” said Farber. “So this project and the two habitat restoration projects downstream brings us even closer to our vision of sustainable communities.”
Los Angeles District Commander Col. Mark Toy talked about the growing momentum in the movement to restore portions of the LA River watershed with programs like the Urban Waters Federal Partnership and America’s Great Outdoors Initiative. Both programs share the goals of reconnecting people across the nation to their waterways and promoting water conservation. He said the Tujunga Wash restoration project, although relatively small, shows what is possible along the LA River and complements the river’s revitalization plan.
“This particular project here at Tujunga Wash has garnered a lot of interest from higher levels in Washington, D.C.,” said Toy. “They [Principal Deputy to the Assistant Secretary of the Army for Civil Works “Rock” Salt and Chief of Engineers Lt. Gen. Thomas Bostick] had heard what’s been going on in Los Angeles and what ecosystem restoration looked like and they wanted to see it for themselves.
All told, the Tujunga Wash Greenway created a total of 11.5 acres of native, drought-tolerant habitat, with 18 acres of open space and 3.2 miles of public pathways in a park-poor area of the San Fernando Valley.
St Ethelbert, Alby, Norfolk
Aldborough is the biggest of the villages in the area between Cromer and Aylsham, a handsome village with a pub beside its pretty village green, a good place to sit and watch cricket on a sunny afternoon. And yet, there is something missing, for most unusually for East Anglia there is no village church in Aldborough. Instead, you can find no less than three medieval churches in a line along the nearby Holt to North Walsham road, each about half a mile apart and all very different from each other. The most easterly of the three is the parish church of St Mary, Aldborough, and the other two are the parish churches of Thwaite and Alby.
While Alby and Thwaite are landmarks, towerless St Mary hides behind hedges, and is fairly understated. The tower fell in the 18th century, and now the repointing of the flint and the early 20th century turret belies the fact that it is of great interest. And even as you step in, you feel that this is a busy, much-loved place, zealously taken care of by its community.
A low arcade separates the nave from the13th century north aisle, but otherwise the overwhelming feel is of the late 19th and early 20th Centuries. Six bold saints stand attendance in the aisle and the chancel, four of them in memorials to local lads lost in the Great War. The aisle windows are by Powell & Sons, and depict St Michael and St Francis from the 1920s, and St Peter and St John from the 1930s. But the best glass is in the chancel, depicting St George and St Edmund above a landscape of Suvla Bay, and is by William Aikman in 1925. It remembers Edmund Gay, who was one of the soldiers of the infamous 5th Battalion of the Norfolk Regiment. Recruited on estates in north Norfolk, they sailed for Gallipolli, and were wiped out during the attack on Anafarta in Suvla Bay on the 12th of August 1915.
Because they had fallen behind enemy lines, they were listed as missing, and a Norfolk legend grew up that they had vanished into a mysterious cloud and were taken up out of this world. This sounds bizarre, but it was of a piece with legends like the Angel of Mons leading the British troops to escape death in Flanders, and with the great rise in spiritualism in this country in the years immediately after the War. Perhaps it was the dust and heat of that day which gave rise to the legend.
As you might expect in this part of Norfolk, there are some good medieval figure brasses. They are mostly to members of the Herward family, and date from the 1480s. Two are to Robert Herward, in full armour, and his wife Anne, in a butterfly headdress. The other is to an unknown civilian of the same period.
Half a mile westwards down the road sits the lonely church of All Saints, Thwaite. Thwaite church is a landmark, its round tower peeping above the trees. There is no Thwaite village. The church sits at the highest point in the road, and the view from the churchyard is wide and open to the south, all high Norfolk spread out before you. The tower probably dates from the 12th century, with bell openings of a century later. It was built against an already existing church, although the defining features of that church now are newer. The south aisle can be dated by will evidence as from the 1440s, but it was the early 19th century which brought the large school room built onto the north side of the chancel.
You step into a church which is entirely rustic, a real church of the common people, with a brick floor and a font pressed in the medieval manner against a plillar of the arcade. The south aisle is full of light and old benches. The cut-down screen has deeply cut tracery painted red, gold and green. Mortlock detected the hand of the Aylsham screen maker. The beautiful pulpit with its tester is dated 1624 in a large inscription on the backboard. Best of all, and to be expected in this part of Norfolk, a fine figure brass, a double one, to John Puttok and his wife. Interestingly, they died almost thirty years apart, Puttok first in 1442. The previous year, there had been a bequest for the building of the south aisle, and Puttok's will of a year later asked that he should be buried in it. Was it already built by then? Whatever, that is where the brass is now.
The east window of the south aisle has a modern glass depicting the crowned Tudor royal arms of England and France. It probably came from the same collection as at neighbouring Alby. Faith and Charity are rich and elegant in the mid-Victorian manner in the nave, but the chancel is full of simple white light, and less cluttered and complex spaces than this chancel would be hard to find. If you have come here after enjoying the gorgeous Anglo-catholic riches of the churches to the south, this church will feel like a breath of fresh air.
A gentle half mile or so downhill brings us to the third of the three churches, St Ethelbert, Alby. The churches come so thick and fast in this area to the north of Aylsham, and the parishes are so scattered, that sometimes you have to look at the church noticeboard to find out exactly where you are. I had been here before, in 2005, but it was one of the very few East Anglian churches into which I had never set foot, because I had found it locked. I remembered its austere, rather forbidding exterior, quite different to that of its two neighbours, and this with the secretive, bowering churchyard made me wonder if I was to be disappointed again. But I was pleased to discover that Alby church is now open to pilgrims and strangers every day.
This is a wide church, but aisleless, creating a sense of space enhanced by the clear glass which is punctuated only by what appears to be a collection of off-cuts from late 19th and early 20th Century workshops. These include St Christopher carrying the Christ child, the head and shoulders of a grieving Blessed Virgin at the foot of the cross, and a crowned arms of medieval France to match the set at Thwaite. The most curious piece is a crucifixion, for the figure of the crucified Christ appears to be medieval, and has been set in 19th Century glass depicting the Blessed Virgin and St John in the same style.
Looking up, there is another curiosity, for the clerestory consists of just two two-light windows on each side, at the eastern and western ends.
LOS ANGELES — Officials from the U.S. Army Corps of Engineers Los Angeles District and Los Angeles County cut the ribbon opening the Tujunga Wash Ecosystem Restoration Project in Valley Glen, Calif., to the public Aug. 15.
The $7 million project was designed to restore degraded habitat along the sides of a 3/4-mile stretch of concrete channel carrying runoff from Hansen Dam to the Los Angeles River. Construction included a meandering stream with native riparian vegetation and pedestrian pathways along banks of the channel between Vanowen Street and Sherman Way in the San Fernando Valley. The project connects to the county’s Greenway project to the south, creating a riparian habitat corridor nearly 2.5 miles long.
LA County Supervisor Zev Yaroslavsky hosted the event and told the 50 people in attendance, including project partners and local residents, that open recreation space enhances quality of life but, more importantly, it improves the environment.
“It’s greening the environment. It’s taking an asset that’s been not only underutilized, but un-utilized, from an environmental point of view, and turning it into a real community asset that’s fully utilized,” said Yaroslavsky. “I know that the neighborhood’s going to love this and appreciate this.”
Yaroslavsky said one of the key features of the project is its water conservation component, where the meandering stream aids groundwater recharge.
“One way to reduce the reliance on imported water is by increasing the amount of rainwater that we capture and return to the groundwater table right here in the San Fernando Valley,” he said. “We need to continue to develop these kinds of innovative and cost effective environmentally sensitive projects to increase our local water supplies.”
LA County Department of Public Works operated and maintained the concrete-lined channel for the sole purpose of flood risk management. According to Director Gail Farber, the department welcomed the opportunity to collaborate with the Corps to bring environmental, recreational and educational benefits to this dense urban area.
“We’re extremely proud of our collaboration with the Army Corps of Engineers and the common vision we share with the urban waterways, like the LA River and its tributaries; to transform them into sustainable ecosystems that provide not only flood protection for our communities, but also habitats for plants, wildlife, open space and recreation for our residents,” said Farber. “So this project and the two habitat restoration projects downstream brings us even closer to our vision of sustainable communities.”
Los Angeles District Commander Col. Mark Toy talked about the growing momentum in the movement to restore portions of the LA River watershed with programs like the Urban Waters Federal Partnership and America’s Great Outdoors Initiative. Both programs share the goals of reconnecting people across the nation to their waterways and promoting water conservation. He said the Tujunga Wash restoration project, although relatively small, shows what is possible along the LA River and complements the river’s revitalization plan.
“This particular project here at Tujunga Wash has garnered a lot of interest from higher levels in Washington, D.C.,” said Toy. “They [Principal Deputy to the Assistant Secretary of the Army for Civil Works “Rock” Salt and Chief of Engineers Lt. Gen. Thomas Bostick] had heard what’s been going on in Los Angeles and what ecosystem restoration looked like and they wanted to see it for themselves.
All told, the Tujunga Wash Greenway created a total of 11.5 acres of native, drought-tolerant habitat, with 18 acres of open space and 3.2 miles of public pathways in a park-poor area of the San Fernando Valley.
1900 Pacific Avenue's 3-acre landscaped park will replace a surface parking lot and will include an underground parking garage for 1,000 cars.
The park is immediately at the base of the sleek 700 foot tall 57 story skyscraper that is to be constructed as the centerpiece to the 1900 Pacific Avenue project, seen on the left side of the park in this rendering.
With the urban park already constructed a few blocks away on Main Street, called Main Street Gardens, the 5.2 acre Woodall Rodgers Urban Deck Park under construction capping Woodall Rodgers Freeway for several blocks and seamlessly linking the Downtown Financial District with the Uptown District, and the urban park currently under construnction on the western side of Downtown Dallas on Commerce Street, called Belo Gardens, Downtown Dallas will have a lot of green space.
It is very gratifying to see the "greening" of Downtown Dallas with the various urban parks either completed, under construction or planned that will replace acres of parking lots with lush green spaces enhancing the urban experience for office workers, residents, and visitors alike.
Comacchio, "the" little Venice ", is a lagoon city that enchants: it is polite and genuine, endowed with a vitality that finds life in respecting its history and the environment that surrounds it.
A widespread clarity recalls the proximity to the sea, whose light floods urban spaces, enhanced by the quiet surfaces of the canals. A treasure chest of particular naturalistic beauties and historical testimonies, Comacchio, today considered the capital of the Po Delta Park, is a small town that was born and lives between land and water.
Its seven Lidos are the ideal destination for a holiday to spend with family or friends, or even for a relaxing weekend, to rest in the sun or to celebrate in the fun night of the Lidos.
As for the typical recipes of the area, the eel cooked in a thousand ways triumphs on the laden table. The appetizers based on scallops, mantis shrimps, clams are very tasty; among the first courses, seafood risottos and spaghetti with shellfish. Finally, there are the exquisite grilled eels accompanied by polenta, together with sole, mullet, turbot, sea bream and stuffed cuttlefish. All washed down with the excellent D.O.C wines of Bosco Eliceo.
All Saints, Thwaite, Norfolk
Aldborough is the biggest of the villages in the area between Cromer and Aylsham, a handsome village with a pub beside its pretty village green, a good place to sit and watch cricket on a sunny afternoon. And yet, there is something missing, for most unusually for East Anglia there is no village church in Aldborough. Instead, you can find no less than three medieval churches in a line along the nearby Holt to North Walsham road, each about half a mile apart and all very different from each other. The most easterly of the three is the parish church of St Mary, Aldborough, and the other two are the parish churches of Thwaite and Alby.
While Alby and Thwaite are landmarks, towerless St Mary hides behind hedges, and is fairly understated. The tower fell in the 18th century, and now the repointing of the flint and the early 20th century turret belies the fact that it is of great interest. And even as you step in, you feel that this is a busy, much-loved place, zealously taken care of by its community.
A low arcade separates the nave from the13th century north aisle, but otherwise the overwhelming feel is of the late 19th and early 20th Centuries. Six bold saints stand attendance in the aisle and the chancel, four of them in memorials to local lads lost in the Great War. The aisle windows are by Powell & Sons, and depict St Michael and St Francis from the 1920s, and St Peter and St John from the 1930s. But the best glass is in the chancel, depicting St George and St Edmund above a landscape of Suvla Bay, and is by William Aikman in 1925. It remembers Edmund Gay, who was one of the soldiers of the infamous 5th Battalion of the Norfolk Regiment. Recruited on estates in north Norfolk, they sailed for Gallipolli, and were wiped out during the attack on Anafarta in Suvla Bay on the 12th of August 1915.
Because they had fallen behind enemy lines, they were listed as missing, and a Norfolk legend grew up that they had vanished into a mysterious cloud and were taken up out of this world. This sounds bizarre, but it was of a piece with legends like the Angel of Mons leading the British troops to escape death in Flanders, and with the great rise in spiritualism in this country in the years immediately after the War. Perhaps it was the dust and heat of that day which gave rise to the legend.
As you might expect in this part of Norfolk, there are some good medieval figure brasses. They are mostly to members of the Herward family, and date from the 1480s. Two are to Robert Herward, in full armour, and his wife Anne, in a butterfly headdress. The other is to an unknown civilian of the same period.
Half a mile westwards down the road sits the lonely church of All Saints, Thwaite. Thwaite church is a landmark, its round tower peeping above the trees. There is no Thwaite village. The church sits at the highest point in the road, and the view from the churchyard is wide and open to the south, all high Norfolk spread out before you. The tower probably dates from the 12th century, with bell openings of a century later. It was built against an already existing church, although the defining features of that church now are newer. The south aisle can be dated by will evidence as from the 1440s, but it was the early 19th century which brought the large school room built onto the north side of the chancel.
You step into a church which is entirely rustic, a real church of the common people, with a brick floor and a font pressed in the medieval manner against a plillar of the arcade. The south aisle is full of light and old benches. The cut-down screen has deeply cut tracery painted red, gold and green. Mortlock detected the hand of the Aylsham screen maker. The beautiful pulpit with its tester is dated 1624 in a large inscription on the backboard. Best of all, and to be expected in this part of Norfolk, a fine figure brass, a double one, to John Puttok and his wife. Interestingly, they died almost thirty years apart, Puttok first in 1442. The previous year, there had been a bequest for the building of the south aisle, and Puttok's will of a year later asked that he should be buried in it. Was it already built by then? Whatever, that is where the brass is now.
The east window of the south aisle has a modern glass depicting the crowned Tudor royal arms of England and France. It probably came from the same collection as at neighbouring Alby. Faith and Charity are rich and elegant in the mid-Victorian manner in the nave, but the chancel is full of simple white light, and less cluttered and complex spaces than this chancel would be hard to find. If you have come here after enjoying the gorgeous Anglo-catholic riches of the churches to the south, this church will feel like a breath of fresh air.
A gentle half mile or so downhill brings us to the third of the three churches, St Ethelbert, Alby. The churches come so thick and fast in this area to the north of Aylsham, and the parishes are so scattered, that sometimes you have to look at the church noticeboard to find out exactly where you are. I had been here before, in 2005, but it was one of the very few East Anglian churches into which I had never set foot, because I had found it locked. I remembered its austere, rather forbidding exterior, quite different to that of its two neighbours, and this with the secretive, bowering churchyard made me wonder if I was to be disappointed again. But I was pleased to discover that Alby church is now open to pilgrims and strangers every day.
This is a wide church, but aisleless, creating a sense of space enhanced by the clear glass which is punctuated only by what appears to be a collection of off-cuts from late 19th and early 20th Century workshops. These include St Christopher carrying the Christ child, the head and shoulders of a grieving Blessed Virgin at the foot of the cross, and a crowned arms of medieval France to match the set at Thwaite. The most curious piece is a crucifixion, for the figure of the crucified Christ appears to be medieval, and has been set in 19th Century glass depicting the Blessed Virgin and St John in the same style.
Looking up, there is another curiosity, for the clerestory consists of just two two-light windows on each side, at the eastern and western ends.
St Ethelbert, Alby, Norfolk
Aldborough is the biggest of the villages in the area between Cromer and Aylsham, a handsome village with a pub beside its pretty village green, a good place to sit and watch cricket on a sunny afternoon. And yet, there is something missing, for most unusually for East Anglia there is no village church in Aldborough. Instead, you can find no less than three medieval churches in a line along the nearby Holt to North Walsham road, each about half a mile apart and all very different from each other. The most easterly of the three is the parish church of St Mary, Aldborough, and the other two are the parish churches of Thwaite and Alby.
While Alby and Thwaite are landmarks, towerless St Mary hides behind hedges, and is fairly understated. The tower fell in the 18th century, and now the repointing of the flint and the early 20th century turret belies the fact that it is of great interest. And even as you step in, you feel that this is a busy, much-loved place, zealously taken care of by its community.
A low arcade separates the nave from the13th century north aisle, but otherwise the overwhelming feel is of the late 19th and early 20th Centuries. Six bold saints stand attendance in the aisle and the chancel, four of them in memorials to local lads lost in the Great War. The aisle windows are by Powell & Sons, and depict St Michael and St Francis from the 1920s, and St Peter and St John from the 1930s. But the best glass is in the chancel, depicting St George and St Edmund above a landscape of Suvla Bay, and is by William Aikman in 1925. It remembers Edmund Gay, who was one of the soldiers of the infamous 5th Battalion of the Norfolk Regiment. Recruited on estates in north Norfolk, they sailed for Gallipolli, and were wiped out during the attack on Anafarta in Suvla Bay on the 12th of August 1915.
Because they had fallen behind enemy lines, they were listed as missing, and a Norfolk legend grew up that they had vanished into a mysterious cloud and were taken up out of this world. This sounds bizarre, but it was of a piece with legends like the Angel of Mons leading the British troops to escape death in Flanders, and with the great rise in spiritualism in this country in the years immediately after the War. Perhaps it was the dust and heat of that day which gave rise to the legend.
As you might expect in this part of Norfolk, there are some good medieval figure brasses. They are mostly to members of the Herward family, and date from the 1480s. Two are to Robert Herward, in full armour, and his wife Anne, in a butterfly headdress. The other is to an unknown civilian of the same period.
Half a mile westwards down the road sits the lonely church of All Saints, Thwaite. Thwaite church is a landmark, its round tower peeping above the trees. There is no Thwaite village. The church sits at the highest point in the road, and the view from the churchyard is wide and open to the south, all high Norfolk spread out before you. The tower probably dates from the 12th century, with bell openings of a century later. It was built against an already existing church, although the defining features of that church now are newer. The south aisle can be dated by will evidence as from the 1440s, but it was the early 19th century which brought the large school room built onto the north side of the chancel.
You step into a church which is entirely rustic, a real church of the common people, with a brick floor and a font pressed in the medieval manner against a plillar of the arcade. The south aisle is full of light and old benches. The cut-down screen has deeply cut tracery painted red, gold and green. Mortlock detected the hand of the Aylsham screen maker. The beautiful pulpit with its tester is dated 1624 in a large inscription on the backboard. Best of all, and to be expected in this part of Norfolk, a fine figure brass, a double one, to John Puttok and his wife. Interestingly, they died almost thirty years apart, Puttok first in 1442. The previous year, there had been a bequest for the building of the south aisle, and Puttok's will of a year later asked that he should be buried in it. Was it already built by then? Whatever, that is where the brass is now.
The east window of the south aisle has a modern glass depicting the crowned Tudor royal arms of England and France. It probably came from the same collection as at neighbouring Alby. Faith and Charity are rich and elegant in the mid-Victorian manner in the nave, but the chancel is full of simple white light, and less cluttered and complex spaces than this chancel would be hard to find. If you have come here after enjoying the gorgeous Anglo-catholic riches of the churches to the south, this church will feel like a breath of fresh air.
A gentle half mile or so downhill brings us to the third of the three churches, St Ethelbert, Alby. The churches come so thick and fast in this area to the north of Aylsham, and the parishes are so scattered, that sometimes you have to look at the church noticeboard to find out exactly where you are. I had been here before, in 2005, but it was one of the very few East Anglian churches into which I had never set foot, because I had found it locked. I remembered its austere, rather forbidding exterior, quite different to that of its two neighbours, and this with the secretive, bowering churchyard made me wonder if I was to be disappointed again. But I was pleased to discover that Alby church is now open to pilgrims and strangers every day.
This is a wide church, but aisleless, creating a sense of space enhanced by the clear glass which is punctuated only by what appears to be a collection of off-cuts from late 19th and early 20th Century workshops. These include St Christopher carrying the Christ child, the head and shoulders of a grieving Blessed Virgin at the foot of the cross, and a crowned arms of medieval France to match the set at Thwaite. The most curious piece is a crucifixion, for the figure of the crucified Christ appears to be medieval, and has been set in 19th Century glass depicting the Blessed Virgin and St John in the same style.
Looking up, there is another curiosity, for the clerestory consists of just two two-light windows on each side, at the eastern and western ends.