View allAll Photos Tagged stability
I was watching these two play a game of hide and seek from my kayak. Not sure if the hide and seek was a mating ritual. The swell on the lake was high and I had to try and wedge my kayak against a tree to get just a little stability to try and get a sharper shot
Despite some stability in the west and north, this species has suffered a long-term decline in both distribution and population. The cessation of coppicing in woodlands, which creates the right habitat for the adult and that encourages vigorous growth of the foodplant, is believed to be a primary cause of the decline. This species is therefore a priority species for conservation efforts. (Butterfly Conservation)
Benedictine stability is the context in which we learn to sit still with whatever company arrives, in the confidence that God in Christ sits still with us; and the practice of this sitting still (which may actually be working together or singing together at least as much as praying silently together) slowly permits us to stay in one place long enough for us to open up to God’s gift in whatever is encountered.
-Rowan Williams, The Way of St. Benedict
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Tourist - Someone Else (Official Audio)
One of the many Staircases of the Chile House in Hamburg
The Chilehaus (Chile House) is a ten-story office building in Hamburg, Germany. It is located in the Kontorhausviertel. It is an exceptional example of the 1920s Brick Expressionism style of architecture. This large angular building is located on a site of approximately 6,000m², spanning the Fischertwiete Street in Hamburg. It was designed by the German architect Fritz Höger and finished in 1924.
The Chilehaus building is famed for its top, which is reminiscent of a ship's prow, and the facades, which meet at a very sharp angle at the corner of the Pumpen- and Niedernstrasse. The best view of the building is from the east. Because of the accentuated vertical elements and the recessed upper stories, as well as the curved facade on the Pumpen street, the building has, despite its enormous size, a touch of lightness.
The building has a reinforced concrete structure and has been built with the use of 4.8 million dark Oldenburg bricks.[1] The building is constructed on very difficult terrain, so to gain stability it was necessary to build on 16-meter-deep reinforced-concrete pilings.
The location's close vicinity to the Elbe River necessitated a specially sealed cellar, and heating equipment was constructed in a caisson that can float within the building, so the equipment can't be damaged in the event of flooding.
The sculptural elements in the staircases and on the facade were provided by the sculptor Richard Kuöhl.
The building hosts one of the few remaining working paternosters in the world.
History
The Chilehaus building was designed by the architect Fritz Höger and built between 1922 and 1924. It was commissioned by the shipping magnate Henry B. Sloman, who made his fortune trading saltpeter from Chile, hence the name Chile House. The cost of construction is difficult to determine, as the Chile House was built during the period of hyperinflation that struck Germany during the early 1920s, but is estimated to have been more than 10 million reichsmark.
Horizontal lines indicate a sense of motionless rest and peace. Vertical lines are seen as tall and represent grandeur. Horizontal and vertical lines used together in a square or rectangular shape convey structure and represent stability. Diagonal lines move the eye in a direction and indicate movement and fluidity.
Riding a motorcycle is more physically demanding than driving a car because it requires full-body coordination, balance, and constant engagement. Motorcyclists must use their entire body to steer, shift gears, and maintain stability, especially at low speeds or on uneven terrain. Unlike car drivers, who sit comfortably with minimal movement, riders must brace against wind resistance, manage changing road conditions, and remain alert to maintain control and safety. This level of physical involvement makes motorcycle riding a much more active and demanding experience.
Matlock Bath, Derbyshire, UK.
This was at one point a warehouse for a local furniture company. The facility also housed manufacturing. It’s in the river north historical industrial district in Saint Louis, MO. USA. Thanks for getting a look with me.
Traditions benefit people by providing a sense of belonging, connecting them to their family, friendship heritage and culture; traditions reinforce important values, creating shared memories. They foster that feeling of stability and continuity across generations; essentially acting as a link to the past while building a group sense of identity.
Created for Recreating Masters - Recreating Time Challenge:
www.flickr.com/groups/recreatingmasters/discuss/721577219...
Created in Stability Ai.
Clock, Eye, Cog, Leaves, Compass: pngwing.com.
His eyes created from one of my photos.
Thanks for your visit, faves, and kind comments!
A place I have been to many times, now comes alive as the late afternoon sun lights the west facing rocks. Taking advantage of the side lighting, many compositions were attempted. However, this is the one that best illustrates the moment.
That one short strip of cloud skirting the horizon, was the single item that made this shot balance. Without it, the image would not have equal weight. Such a small element, and yet the one touch that provides stability.
Explore #340
Magee says, "This work explores the fragility of peace and reminds us that lasting stability should never be taken for granted. Peace always requires hard work."
La idea de construir un temple expiatori (és a dir, a partir de donatius) dedicat a la Sagrada Família va partir del llibreter Josep Maria Bocabella, inspirat pel sacerdot Josep Manyanet —canonitzat el 2004—, fundador de la Congregació de Fills de la Sagrada Família i de la Congregació de Missioneres Filles de la Sagrada Família de Natzaret, encarregades de promoure el culte a la Sagrada Família i de fomentar l'educació cristiana de nens i joves.[6] El 1866, Bocabella va fundar l'Associació de Devots de Sant Josep, entitat dedicada entre altres qüestions a recaptar fons per a la construcció d'un temple. Per a la difusió de la seva tasca, va editar a partir del 1867 una revista, titulada inicialment El Propagador de la devoción a San José, inspirada en la revista francesa Le propagateur de la dévotion à Saint Joseph, publicada a Dijon pel pare Joseph Huguet.[7][b]
El 31 de desembre de 1881, Josep Bocabella va comprar per 172.000 pessetes uns terrenys situats a la zona del Poblet, aleshores una barriada de Sant Martí de Provençals.[8][9][c][10] Delimitats pels carrers de Mallorca, Provença, Marina i Sardenya, corresponien a una de les illes del Pla Cerdà, la qual, però, era més gran que les altres perquè, en principi, estava previst construir-hi un hipòdrom.[8]
El projecte fou encomanat a l'arquitecte Francesc de Paula Villar i Lozano, que va traçar un projecte neogòtic amb una església de tres naus amb creuer i un absis amb deambulatori, rebutjant la idea de Bocabella de fer una rèplica del santuari de Loreto, que se suposa va ser la casa de Josep i Maria a Natzaret.[11] El dia de Sant Josep de 1882, el bisbe Urquinaona posava la primera pedra,[12][13][14] coincidint amb la proclamació al Concili Vaticà I de sant Josep com a patró de l'Església Universal. Els desacords de Villar amb Bocabella van fer que aquest demanés assessorament a l'arquitecte Joan Martorell i Montells i van provocar la dimissió del primer. Aleshores, es va oferir el càrrec a Martorell, però aquest el va rebutjar i va recomanar Gaudí, que havia treballat per a ell com a ajudant, i el 1883, assumí la direcció de les obres.[15]
El desembre de 1884, Gaudí signà el projecte de la capella de Sant Josep a l'absis de la cripta, que fou inaugurat el 19 de març de 1885, en el qual intervingueren els escultors Llorenç Matamala i Piñol i Carles Mani.[16] Se sap que en aquest any hi treballaven un equip de vuit paletes, deu picapedrers, dotze escultors i un nombre indeterminat de fusters i serrallers.[17] El 1891 van començar les obres de la façana del Naixement,[cal citació] i des del 1895, la gestió del projecte va a càrrec de la Junta Constructora del Temple Expiatori de la Sagrada Família, una fundació canònica per a promoure la construcció del temple mitjançant donatius i iniciatives privades.[cal citació]
A partir de l'encàrrec de la casa Milà de l'any 1906, Gaudí pràcticament es concentraria només en l'obra de la Sagrada Família que, de fet, ocuparia tota la seva carrera, ja que feia un quart de segle que en dissenyava i dirigia la construcció i moriria fent-ho; així i tot, el temple només quedava embastat.[18] Va poder veure'n construïda una part del costat de l'Epístola amb la façana del Naixement, de la qual només la torre de sant Bernabé estava acabada totalment i una part del mur exterior de l'absis.[cal citació]
El 12 de juny de 1926, Antoni Gaudí va ser sepultat a la capella de la Mare de Déu del Carme de la cripta.[cal citació] A la seva època, hi van col·laborar molts dels seus deixebles i ajudants, com Francesc Berenguer, Josep Maria Jujol, Josep Francesc Ràfols, Cèsar Martinell, Joan Bergós, Francesc Folguera, Josep Canaleta i Joan Rubió, i a la seva mort, es va fer càrrec de les obres un altre dels seus deixebles, Domènec Sugrañes, que va finalitzar la construcció de les tres torres de la façana del Naixement que quedaven pendents.[cal citació]
El 20 de juliol de 1936, tot just iniciada la Guerra Civil espanyola, grups d'exaltats anarquistes van incendiar el temple i van destruir bona part del taller en el qual Gaudí havia treballat i on hi havia els seus esbossos, maquetes i models. Tot i que es va perdre molt material van quedar restes de les maquetes, que es van restaurar, i la documentació que s'havia publicat en El Propagador, en l'Àlbum i que havia estat recollida pels seus deixebles, com Isidre Puig i Boada.[cal citació]
L'any 1944 es van reprendre les obres per un equip dirigit per Francesc de Paula Quintana i Vidal, Isidre Puig i Boada, Lluís Bonet i Garí, els quals, a la mort del primer l'any 1966, continuaren fins a l'any 1981, en què prengué el relleu Francesc Cardoner i Blanch.[19] El 1985 va ser nomenat director Jordi Bonet i Armengol,[20][21] amb un equip on figuraven Carles Buxadé, Joan Margarit i Jordi Faulí i Oller.[20] El 2012, Jordi Bonet va ser substituït per Jordi Faulí i Oller.[22]
El 18 de març de 2007 se'n va commemorar el 125è aniversari de la col·locació de la primera pedra amb una festa, concerts i ballant una sardana (La Santa Espina) encerclant tot el temple.[23]
Segons les darreres previsions, la torre de Jesús s'acabaria a finals del 2025, i el 2026 es faria la inauguració oficial, coincidint amb el centenari de la mort de Gaudí.[24]
The Basílica i Temple Expiatori de la Sagrada Família,[a] otherwise known as Sagrada Família, is a church under construction in the Eixample district of Barcelona, Catalonia, Spain. It is the largest unfinished Catholic church in the world. Designed by the Catalan architect Antoni Gaudí (1852–1926), in 2005 his work on Sagrada Família was added to an existing (1984) UNESCO World Heritage Site, "Works of Antoni Gaudí".[5] On 7 November 2010, Pope Benedict XVI consecrated the church and proclaimed it a minor basilica.[6][7][8]
On 19 March 1882, construction of Sagrada Família began under architect Francisco de Paula del Villar. In 1883, when Villar resigned,[5] Gaudí took over as chief architect, transforming the project with his architectural and engineering style, combining Gothic and curvilinear Art Nouveau forms. Gaudí devoted the remainder of his life to the project, and he is buried in the church's crypt. At the time of his death in 1926, less than a quarter of the project was complete.[9]
Relying solely on private donations, Sagrada Família's construction progressed slowly and was interrupted by the Spanish Civil War. In July 1936, anarchists from the FAI set fire to the crypt and broke their way into the workshop, partially destroying Gaudí's original plans.[10] In 1939, Francesc de Paula Quintana took over site management, which was able to go on with the material that was saved from Gaudí's workshop and that was reconstructed from published plans and photographs.[11] Construction resumed to intermittent progress in the 1950s. Advancements in technologies such as computer-aided design and computerised numerical control (CNC) have since enabled faster progress and construction passed the midpoint in 2010. In 2014, it was anticipated that the building would be completed by 2026, the centenary of Gaudí's death,[12] but this schedule was threatened by work slowdowns caused by the 2020–2021 depths of the COVID-19 pandemic.[13] In March 2024, an updated forecast reconfirmed a likely completion of the building in 2026, though the announcement stated that work on sculptures, decorative details and a controversial proposed stairway leading to what will eventually be the main entrance is expected to continue until 2034.[14]
Describing Sagrada Família, art critic Rainer Zerbst said "it is probably impossible to find a church building anything like it in the entire history of art",[15] and Paul Goldberger describes it as "the most extraordinary personal interpretation of Gothic architecture since the Middle Ages".[16]
Though sometimes[when?] described[by whom?] as a cathedral, the basilica is not the cathedral church of the Archdiocese of Barcelona; that title belongs to the Cathedral of the Holy Cross and Saint Eulalia (Barcelona Cathedral).
History
Origins
Sagrada Família was inspired by a bookseller, José María Bocabella [es], founder of Asociación Espiritual de Devotos de San José (Spiritual Association of Devotees of St. Joseph). After a visit to the Vatican in 1872, Bocabella returned from Italy with the intention of building a church inspired by the basilica at Loreto. The apse crypt of the church, funded by donations, was begun 19 March 1882, on the festival of St. Joseph, to the design of the architect Francisco de Paula del Villar, whose plan was for a Gothic revival church of a standard form. The apse crypt was completed before Villar's resignation on 18 March 1883, when Antoni Gaudí assumed responsibility for its design, which he changed radically.[17] Gaudi began work on the church in 1883 but was not appointed Architect Director until 1884.[citation needed]On the subject of the extremely long construction period, Gaudí is said to have remarked: "My client is not in a hurry."[18] When Gaudí died in 1926, the basilica was between 15 and 25 percent complete.[9][19] After Gaudí's death, work continued under the direction of his main disciple Domènec Sugrañes i Gras until interrupted by the Spanish Civil War in 1936. Parts of the unfinished basilica and Gaudí's models and workshop were destroyed during the war. The present design is based on reconstructed versions of the plans that were burned in a fire as well as on modern adaptations.[14] Since 1940, the architects Francesc Quintana, Isidre Puig Boada, Lluís Bonet i Garí and Francesc Cardoner have carried on the work. The illumination was designed by Carles Buïgas. The director until 2012 was the son of Lluís Bonet, Jordi Bonet i Armengol. Armengol began introducing computers into the design and construction process in the 1980s.[citatiThe central nave vaulting was completed in 2000 and the main tasks since then have been the construction of the transept vaults and apse. In 2002, the Sagrada Família Schools building was relocated from the eastern corner of the site to the southern corner, and began housing an exhibition. The school was originally designed by Gaudí in 1909 for the children of the construction workers.[20]
As of 2006, work concentrated on the crossing and supporting structure for the main steeple of Jesus Christ as well as the southern enclosure of the central nave, which will become the Glory façade. Computer-aided design technology has allowed stone to be shaped off-site by a CNC milling machine, whereas in the 20th century the stone was carved by hand.[21] In 2008, some renowned Catalan architects advocated halting construction[22] to respect Gaudí's original designs, which, although they were not exhaustive and were partially destroyed, have been partially reconstructed in recent years.[23]
Since 2013, AVE high-speed trains have passed near Sagrada Família through a tunnel that runs beneath the centre of Barcelona. The tunnel's construction, which began on 26 March 2010, was controversial. The Ministry of Public Works of Spain (Ministerio de Fomento) claimed the project posed no risk to the church.[24][25] Sagrada Família engineers and architects disagreed, saying there was no guarantee that the tunnel would not affect the stability of the building. The Board of the Sagrada Família (Patronat de la Sagrada Família) and the neighborhood association AVE pel Litoral (AVE by the Coast) led a campaign against this route for the AVE, without success.[citation needed] In October 2010, the tunnel boring machine reached the church underground under the location of the building's principal façade.[24] Service through the tunnel was inaugurated on 8 January 2013.[26] Track in the tunnel makes use of a system by Edilon Sedra in which the rails are embedded in an elastic material to dampen vibrations.[27]
The main nave was covered and an organ installed in mid-2010, allowing the still-unfinished building to be used for liturgies.[28] The church was consecrated by Pope Benedict XVI on 7 November 2010 in front of a congregation of 6,500 people.[29] A further 50,000 people followed the consecration Mass from outside the basilica, where more than 100 bishops and 300 priests were on hand to distribute Holy Communion.[30]In 2012, Barcelona-born Jordi Faulí i Oller took over as architect of the project.[31][32] Mark Burry of New Zealand serves as Executive Architect and Researcher.[33] Sculptures by J. Busquets, Etsuro Sotoo and Josep Maria Subirachs decorate the fantastical façades.
Chief architect Jordi Faulí announced in October 2015 that construction was 70 percent complete and had entered its final phase of raising six immense steeples. The steeples and most of the church's structure were planned to be completed by 2026, the centennial of Gaudí's death;[14] as of a 2017 estimate, decorative elements should be complete by 2030 or 2032.[34][failed verification] Visitor entrance fees of €15 to €20 finance the annual construction budget of €25 million.[35] Completion of the structure will use post-tensioned stone.[36]
Starting on 9 July 2017, an international mass is celebrated at the basilica every Sunday and holy day of obligation, at 9 a.m., and is open to the public (until the church is full). Occasionally, Mass is celebrated at other times, where attendance requires an invitation. When masses are scheduled, instructions to obtain an invitation are posted on the basilica's website. In addition, visitors may pray in the chapel of the Blessed Sacrament and Penitence.[37]
The stone initially used in its construction came from the Montserrat mountain, but it became clear that as quarrying there went deeper, the stone was increasingly fragile and an alternative source had to be found. Since 2018 stone of the type needed to complete the construction has been sourced from the Withnell Quarry in Brinscall, near Chorley, England.[3
C'est en regardant les belles photos de mon ami Flickr Thierry Musette que nous avons eu envie de nous y arrêter en nous rendant en Bretagne.
Elle a été élevée en l'honneur de sainte Thérèse de l'Enfant Jésus peu de temps après sa canonisation.
Imposant édifice de style néo-byzantin inspiré de la basilique du Sacré-Cœur de Montmartre, sa construction, sur une hauteur en limite de la ville, a débuté en 1929 et sa consécration a eu lieu en 1954. Aujourd'hui, l'édifice accueille plus de 600 000 visiteurs par an.
Architecte : Louis Marie Cordonnier.
Précédé d'un vaste parvis qui laisse un espace libre de 76 mètres de largeur devant l'escalier menant à son entrée principale, le monument se trouve sur une colline, en limite de la cité qu'il domine de sa masse imposante. C'est une des plus grandes églises construites au XXe siècle[
De style composite (dit romano-byzantin), l'architecture de la basilique est fortement inspirée par celle de la basilique du Sacré-Cœur de Montmartre à Paris. Par ses dimensions, l'édifice, construit en béton armé et granit appelé Bleu de Vire, peut accueillir 3 000 personnes et se compare aux plus grandes cathédrales :
longueur : 104 m ;
largeur du transept : 45 m ;
largeur de la nef : 30 m ;
hauteur du dôme : 97 m ;
diamètre du dôme : 28 m ;
hauteur de la coupole : 50 m ;
la croix monolithe surmontant l'ensemble mesure 1,70 m et pèse près d'une tonne ;
hauteur des voûtes : 37 m ;
superficie : 4 500 m2.
Compte tenu de la nature du sol qui est argileux sur une épaisseur de trente mètres et de sa situation sur la pente d'une colline, les fondations de l'édifice reposent sur 130 piliers cylindriques de diamètres variés (de 1,4 à 5 m) atteignant le niveau de la couche calcaire sous-jacente afin d'établir sa stabilité.
It was while looking at the beautiful photos of my Flickr friend Thierry Musette that we decided to stop there on our way to Brittany.
It was built in honor of Saint Thérèse of the Child Jesus shortly after her canonization.
An imposing Neo-Byzantine style building inspired by the Sacré-Cœur Basilica in Montmartre, its construction, on a hill overlooking the city, began in 1929 and it was consecrated in 1954. Today, the building welcomes more than 600,000 visitors a year.
Architect: Louis Marie Cordonnier.
Preceded by a vast forecourt that leaves a 76-meter-wide open space in front of the staircase leading to its main entrance, the monument sits on a hill, on the edge of the city, which it dominates with its imposing mass. It is one of the largest churches built in the 20th century.
In a composite style (known as Romano-Byzantine), the basilica's architecture is strongly inspired by that of the Sacré-Cœur Basilica in Montmartre, Paris. Constructed of reinforced concrete and Bleu de Vire granite, the building can accommodate 3,000 people and is comparable in size to the largest cathedrals:
length: 104 m;
transept width: 45 m;
nave width: 30 m;
dome height: 97 m;
dome diameter: 28 m;
cupola height: 50 m;
the monolithic cross surmounting the structure measures 1.70 m and weighs nearly a ton;
vault height: 37 m;
area: 4,500 m².
Given the nature of the soil, which is clayey to a depth of thirty meters, and its location on the slope of a hill, the foundations of the building rest on 130 cylindrical pillars of varying diameters (from 1.4 to 5 m) reaching the level of the underlying limestone layer in order to establish its stability.
Barli Village, Rajasthan, India. A local young man returns in the early evening heat with sheep fleece, possibly bedding for the family!
Swahili racing teams come together several times a year to compete in traditional handcrafted, Arabic-styled Mashua dhows in the Lamu Archipelago off Kenya's northern Swahili Coast.
The finest dhows are selected from each village to compete and race under sail through a complicated series of buoys, combining speed and balance with elaborate tacking and maneuvering competence.
Intense village rivalries build over the years, often reaching pitch fever on race day. The winners will return with team bragging rights and a certain village swagger that may last several months until the next race.
About sixteen young men are crowded together into each of these traditional wooden dhows to give the necessary weight, balance, and stability against a stiff monsoon wind.
These four magnificent racing dhows are in near-perfect formation, positioned towards the noonday equator sun on the first day of the New Year. They are in the lead as they prepare to tack around the buoy (top left). Several dhows capsized at this critical point in the race.
The art of Swahili dhow racing requires considerable team skill as the vessels manoeuvre back and forth through the Manda Channel and the open waters of the Indian Ocean before turning back to the starting point at Shela, a small Muslim fishing settlement on the island of Lamu.
The races are organized yearly, usually in conjunction with a Swahili cultural festival or an Islamic religious holiday in the archipelago. This Shela-based race on the island of Lamu is organized yearly by Peponi's on New Year's Day.
For centuries, these vessels have connected the ancient ports and maritime cultures of the East African coast, driven by seasonal monsoon winds linking the Swahili Coast with the Arabian Peninsula, the Persian Gulf, India, and the Far East expl#49
© All rights to these photos and descriptions are reserved.
Moonlight and pier lights combine to brighten the sky, clouds, and sea surrounding the Palapa Bar and Grill in San Pedro, Ambergris Caye, Belize.
The reef is approximately a 10 minute boat ride from the shore at this position on the Caye, and its eons of coral effectively quell the storm driven waves of the Caribbean most of the time. The relatively calm waters on the shoreward side of the reef make it possible to establish a viable business like this one. My oldest son and I came out here with our cameras after dinner to drink in the tropical, nighttime atmosphere. The patrons of the Palapa belted forth some spirited Karaoke, and the Belikin appeared to be happily flowing. As we stared into the clear water, several Eagle Rays (family Myliobatidae) moved purposefully and effortlessly through their crystalline medium, searching for sustenance along the sandy bottom.
Technical notes: Single exposure with a small Joby travel tripod for stability. The LEDs behind me made the water appear extremely green in the photograph, which is not how it looked to me when I was standing on the pier. I corrected the color of the foreground water in Lightroom CC to make the water appear as close to my memory of the moment as possible.
Near the entrance in the annex to the antechamber, Queen Nefertari makes offerings to Ptah, the deity of craftsmen and architechs. Ptah is depicted as a mummified man holding the was-sceptre, representing power and dominion which is over a djed pillar, associated with the god Osirus and symbolizing stability.
Depuis mai 2015, la municipalité de Tielt-Winge -Belgium, dans le Brabant flamand, est un lieu qui témoigne de la singularité de l'architecture de paysage. Une structure fascinante qui atténue la distinction entre une tour et un escalier flotte au-dessus du célèbre Kabouterbos ( forêt de conte de fées) et attire la curiosité de nombreux résidents et passants de Tielt. Le volume fascinant de l’acier est revêtu d’acier inoxydable de haut en bas.
Les exigences du cahier des charges reflétaient cet objectif: la nouvelle tour devait être entièrement construite en métal, mesurer au moins dix mètres de haut, comporter un abri et résister à toute forme de vandalisme.
Au lieu d'une construction classique avec un escalier en colimaçon, le designer a conçu un volume suspendu sans trop de fioritures décoratives. Le «Vlooybergtoren», comme on l'appelle, mesure 11, 28 mètres de haut (la plate-forme supérieure déborde de 10, 08 mètres + mur de rambarde de 1, 20 mètre) et est construit sur une sous-structure galvanisée revêtue d'acier patiné, une allusion subtile au typique brun-rouge. couleur de la pierre de fer dans la région de Hageland. Au total, l’imposante tour d’escalier ne pèse pas moins de treize tonnes.
Selon les propres mots du concepteur, la modélisation de la tour Vlooyberg était «une guerre contre son propre poids». Pour s'assurer que la structure serait suffisamment solide et ne s'affaisserait pas, il calculait manuellement les forces agissant sur chaque élément. Ses conclusions ont donné à la tour d'escalier sa forme et ses dimensions ultimes. La structure évolue de grande, lourde et forte, à petite, légère et mince. Le mur de garde-corps fonctionne comme une poutre structurelle qui confère à la structure en acier une solidité et une stabilité suffisantes pour résister aux forces agissant sur elle. Deux amortisseurs de vibrations garantissent que la tour d'escalier ne commence pas à vibrer sous le pied.
La structure a été entièrement préfabriquée et assemblée sur le site section par section. En fin de compte, l'installation n'a duré qu'une demi-journée. En tant que monument à forte valeur iconique, la tour Vlooyberg met en valeur, au sens propre et figuré, le profil de la belle région autour de Tielt-Winge. Les habitants de Tielt, les passants fortunés et les amateurs d'architecture moderne apprécient énormément ce monument fascinant.
Since May 2015, the municipality of Tielt-Winge -Belgium, in Flemish Brabant, has been a place that bears witness to the uniqueness of landscape architecture. A fascinating structure that softens the distinction between a tower and a staircase floats above the famous Kabouterbos (fairytale forest) and attracts the curiosity of many residents and passers-by of Tielt. The fascinating volume of the steel is coated with stainless steel from top to bottom.
The specifications reflected this objective: the new tower had to be constructed entirely of metal, be at least ten meters high, include a shelter and be resistant to all forms of vandalism.
Instead of a classic construction with a spiral staircase, the designer designed a suspended volume without too many decorative frills. The "Vlooybergtoren", as it is called, is 11.28 meters high (the upper platform overhangs 10.08 meters + guardrail wall of 1.20 meters) and is built on a coated galvanized substructure. of patinated steel, a subtle allusion to the typical brown-red. color of the iron stone in the Hageland region. In total, the imposing staircase tower weighs no less than thirteen tons.
In the designer's own words, the modeling of the Vlooyberg Tower was "a war against its own weight". To ensure that the structure would be strong enough and not sag, he would manually calculate the forces acting on each element. His findings gave the staircase tower its ultimate shape and dimensions. The structure evolves from big, heavy and strong, to small, light and thin. The guardrail wall functions as a structural beam which gives the steel structure sufficient strength and stability to withstand the forces acting on it. Two vibration dampers ensure that the stair tower does not start to vibrate underfoot.
The structure was completely prefabricated and assembled on site section by section. In the end, the installation only took half a day. As a monument of high iconic value, the Vlooyberg Tower highlights, literally and figuratively, the profile of the beautiful region around Tielt-Winge. Tielt residents, wealthy passers-by and lovers of modern architecture greatly appreciate this fascinating monument.
Excerpt from cgcc.org.hk:
Founded in 1900, the Chinese General Chamber of Commerce (CGCC) is one of the oldest and largest such chambers in Hong Kong. CGCC aims to serve the community and, advancing with time, to maintain Hong Kong’s prosperity and stability, reaching out to the world with its roots in Hong Kong and backing from the Motherland.
Anchored in Hong Kong, CGCC strives to build a business, economic and trading platform and safeguard business interests. At present, it has a membership of nearly 6,000, comprising association, company, individual and affiliate members. With businesses covering a wide spectrum of industrial and commercial activities, CGCC’s members form a strong and broad business network.
Excerpt from hongkongoffice.com:
The Chinese Bank Building (9 storey) is located at Prime Central district with 2 passenger lifts. Located at Connaught Road Central , 10 minutes walk from exit A of Central MTR Station. Tenant mix of The Chinese Bank Building is mostly professional firms and retail firms.
It is sometimes said that at the end of a rainbow lies a pot of gold. There can be little doubt that the power station at Wylfa created opportunity, wealth and some economic stability to the community of Anglesey. Its closure caused knock on impact to many other large employers in the region and damaged the smaller businesses that supported the workforce. It sits on the Wylfa headland and generally I try to exclude it from my landscape images. The beautiful coastline can normally do without this ugly man made intrusion but today the rainbow and shape of Llanbadrig headland all seemed to make a rather nice image.. so here it is.
I went back to Ireland in mid-March to see my Dad, and although I took the camera with me, the light was generally awful, the weather even more terrible, and I was very tired. But on my last full day I went to visit a friend in Armagh City and the weather was decent, a typical March mix of sunshine and showers, with a gusty breeze.
On the way back, I took a detour to one of my favourite spots to shoot the Mourne Mountains from, the Windy Gap near Dromara. Conditions weren’t spectacular, as the cloud deck was much too low down on the hills, but the blustery weather made for some interestingly wild clouds especially for long exposure shots. I didn’t have a tripod with me given it costs to take on one an aeroplane these days, so I used the wall for some stability. Ironically, the best of the shots in the sequence, in my view, was the short exposure one I used to try and get my framing right.
Die V-1 Custom in Trans Purple ist ein echter Klassiker. Der Korpus besteht aus Mahagoni mit einer edlen Flamed Maple Decke. Der Mahagonihals ist als Set-Neck konstruiert. Den Sound erzeugen ein Schecter USA Pasadena Plus™ Bridge-Pickup und ein USA Pasadena™ Hals-Pickup. Eine TonePros T3BT Tune-O-Matic Brücke mit T1Z Tailpiece dürfen für eine optimale Saitenstabilität und Resonanzübertragung nicht fehlen. 😎👌
The V-1 Custom in Trans Purple is a true classic. The body is made of mahogany with a beautiful flamed maple top. The mahogany neck is a set neck. The sound is produced by a Schecter USA Pasadena Plus™ bridge pickup and a USA Pasadena™ neck pickup. A TonePros T3BT Tune-O-Matic bridge with a T1Z tailpiece is essential for optimal string stability and resonance transfer. 😎👌
n the realm of philosophy, the term "Dark Emperor" does not generally refer to a single, standardized concept. However, the phrase is frequently employed as a potent metaphor or allegory within political philosophy, existentialism, and nihilism to depict the pinnacle of corrupt absolute power, amoral domination, and the manifestation of irrational human impulses.
Supreme authority is often fearsome, serving to prevent humans from killing one another in the "state of nature." However, when the ruler devolves into an absolute tyrant who stifles freedom of thought—such as the suppression of science during the Dark Ages—they become a "Dark Emperor" figure.
An effective ruler is better feared than loved. The Dark Emperor is the embodiment of this principle—ruling through fear, manipulation, and domination to maintain stability or enforce his personal will.
that the true ruler of this universe is neither reason nor a wise God, but rather a blind, wild, and insatiable irrational drive known as the Will to Live.
It is this force of "darkness" that relentlessly dictates and subjugates human consciousness, compelling us to ceaselessly pursue desires that lead only to suffering and eternal restlessness. Metaphorically speaking, the Will is the emperor of darkness that controls human life.
The strong individual is not bound by the traditional morality of the masses (slave morality).
In philosophical fiction, the "Dark Emperor" character often reflects a distortion of the *Übermensch* concept—an individual who transcends the boundaries of good and evil to establish their own laws in pursuit of a grand objective, even if they appear ruthless to the outside world.
From an existential perspective, darkness symbolizes the absence of meaning in the universe (nihilism). A Dark Emperor is a figure who recognizes this existential void; yet, rather than succumbing to despair, he chooses to conquer it by imposing his own will and power upon that emptiness.
Purple is said to combine the calm stability of blue and the fierce energy of red. I could buy that!
I've visited this wood many times over the last 18 months as it always gives something new.
This latest find was taken after 9 pm on a dark and dull Friday night just as I was about to give up.
Four portrait shots combined to form a square crop.
I liked the lone seagull up there, using the rock outcropping as its perch...
Please press 'L' for enhanced viewing :)
There is a lovely man-made lagoon and waterfall at Bay Beach Wildlife Sanctuary in Green Bay, Wisconsin.
It was high noon, so very bright and I had no polarizing filter or 3-stop darkening filter to blur the water. So I put the aperture opening as small as possible, f/40, and then slowed the shutter speed to 1/13th of a second while I propped my lens on a rail fence for stability and sharpness. I was fairly happy with the result, though the water could be dreamier with a slower shutter speed...
. . . on our way to the Khao Yai national park.
Double A is a Thai company and brand that is currently available in more than 100 countries worldwide and recently started in the U.S.. According Double A their business also serves as a major economic benefit for the citizens of Thailand. The farmed trees are harvested by more than 1.5 million local farmers who receive training and stability amongst Thailand's agricultural crops that can cause seasonal labor migrations and income fluctuations. Double A uses pulp from farmed trees in Thailand, a sustainable and innovative harvesting method that reduces environmental impacts. Made from farmed Eucalyptus trees grown throughout agricultural communities in Thailand, Double A's pulp harvesting method significantly reduces environmental impacts while making a high-quality paper product. Planted alongside existing rice paddies, corn and other crops that would otherwise be unused, the paper from farmed trees does not require land clearing or the destruction of forests, avoiding impact to the environment. Additionally, the trees significantly diminish harmful greenhouse gases by reducing more than two million tons of CO2 emissions each year.
photo of the Eucalyptus trees taken at the border of the Khao Yai National park in Thailand. A sign near the trees mentioned "Double A paper". Last year there were my advertisements on television with the slogan " Double A paper, double quality paper". I didn't know it was a Thai company.
De conventionele pulp- en papierindustrie is volledig afhankelijk van bomen die meer dan 50 jaar oud zijn. En die bovendien gekapt worden in natuurlijke bossen.Bij Double A doen ze het anders. Zij gebruiken 3 tot 5 jaar oude bomen. Deze worden speciaal gekweekt in het geografisch en klimatologisch gunstig gelegen Thailand. En dankzij de expertise en jarenlange ervaring van Thaise boeren worden bomen geplant en gekapt zonder daarbij de natuurlijke bossen te vernietigen of te beschadigen. Op die manier behouden ze dus het ecologisch evenwicht. De bijzondere kwaliteit van Double A Paper is allereerst te danken aan een speciale eucalyptusboom. Deze snelgroeiende boom wordt gekweekt op hun eigen plantages in Thailand. Deze bomen worden vervolgens met minimaal water verbruik verwerkt in een van de meest moderne fabrieken van Azië. De capaciteit van de pulp (de eerste verwerking) fabriek is ruim 427.000 ton. Deze fabriek is overigens vrij te bezoeken op afspraak.
The skate park in front of the European Central Bank a week ago. It was so dark I could harldy see the kids zipping by, and I had forgotten my camera was still set to ISO 200, but the miracles of IBIS kept the stage sharp. In the end I liked the effect.
Thank you everyone for your visits, faves and comments, they are always appreciated :)