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Statement of intent.
The abberation project.
In my previous project I created a monster, which could be a figure in a scary movie. I really enjoy this pathway of modelmaking, for my final major project I want to create a new monster and incorporate a more professional approach. I plan on including in-depth research prior to the making process. As a final result I want to be able to present a realistic sculpture of a monster I have created.
Influences, research, sources and ideas.
At the Arts University Bournemouth’s open day, I visited the modelmaking studios and saw some of the students’ best work. An amazing clay sculpture of a man/chicken figure really inspired me and made me want to do similar work. As sources for my research I plan on using the college’s library books such as “Start sculpting” by John Plowman. Sources that will also help me in my research are documentaries, YouTube tutorials and other helpful Internet sites with instructions about modelmaking. An additional idea I have is to write a story about the character I will be creating. Once my ideas form from my research I will start writing storylines and scenes for a movie script. I think a strong back-story will help the credibility of the personage.
Techniques, processes and timetables.
When good ideas start to come to mind for characters, I will start developing the features of the monsters by drawing them. I will do a few sketches to develop the creation and make its important features stand out. I plan on starting my drawings in the Easter holiday. Once I’ve decided on my favourite character, I will use modelling clay to sculpt a small figure. If I’m not completely happy with it yet I can make a few more small figures and eventually start on a bigger model. Making casts with plaster Paris and working with liquid latex is something I want to learn. Once I have finished shaping my final figure out of clay I will use it to make a cast and a latex figure. If there is an airbrush I can use I will research into how to use an airbrush, different kinds of paint and possible ways of painting the figure.
Method of evaluation
I plan on keeping a diary about my process and thoughts throughout my project. The development of the project will be fully recorded, if I put my thoughts down on paper after every progression. I will write it on paper different from the pages in the sketchbook so it will stand out and make it easy to see the overview.
Statement necklace made with the micro mosaic top from a pill box, part of an old lamp, Czech glass and Vintaj brass chain - by Joan Williams of lilruby jewelry
The monthly series
According to the statements of the Venetian historian Carlo Ridolfi (1648), a series of paintings representing the twelve months was sent to Rudolf in Prague: It is very likely that the works exhibited here are just those which belonged to the Emperor. The paintings correspond to the refined taste of an aristocratic authority: The high decorative value, the grandiosity of the iconographic program and sizeable dimensions suggest that they were intended for a great room.
In the inventory of the Archduke Leopold Wilhelm are to be found the twelve paintings recorded as works of the young Bassano: almost all are signed and have been created by Leandro towards the end of the nineties of the 16th century. The series has been preserved almost completely, and so we can still enjoy the unity of style and content. September and October are located in Prague, December is not yet reappeared. The image representing July was cut into two parts, probably for decorative considerations, but both fragments are preserved in Vienna.
The lovely hills surrounding Bassano provides the ambience in which take place the field works characterizing the respective month. The winter months of January, February and March, however - they represent a break in the rural task list - show other subjects: the return from the hunt, the carnival and a market scene. Each month is also provided with the corresponding sign of the zodiac, which appears in the middle of the clouds. The composition, wrapped in a dusky light, develops as parallel image into the landscape: the horizon forms the bluish massive of the mountain - probably the Monte Grappa - where the eye can rest.
Leandro describes the activities of the figures with great precision and carefulness in the reproduction of the details, from the working tools, en passant, the objects up to the clothes, so that the paintings in addition also represent a considerable documentary value. The artist intends to entertain the viewer in a pleasant manner and to dispel. Probably recognized some people themselves in the episodes again: for instance, in the richly-dressed lady who had served herself crops, or in the landlord who controls with his steward the works and the harvest. The monthly cycle, which has its roots in the fertile iconographic tradition of the Middle Ages, acquires in the interpretation of Leandros the character of a lively illustrated calendar, which is aimed at an aristocratic clientele.
The family of painters Bassano
Bassano, a small city, situated on the slopes of Monte Grappa in the northern Veneto, gave the family of painters Da Ponte not only the nickname, but also the fundamental inspirations for the art of the head of family Jacopo and his sons.
Jacopo Bassano was primarily active in the province, far away from the urban artists' centers, and is now considered one of the great masters of Venetian painting of the Cinquecento to the side of Titian, Veronese and Tintoretto. His fame he owes, i.a., the invention of a subject type, linking the pastoral scenes with biblical or allegorical motifs: for this reason he realized completely new and original compositions, enjoying such great popularity that the heirs of Jacopo continued to produce such paintings until the middle of the Seicento and beyond. Leandro, after Francesco the most gifted of the sons, was an irreplaceable support for the father in the workshop operation. With its vibrant and brilliant colors, he continued the fame of the Bassano family into the new century and has been, as a consequence, very successful, especially in the field of portraiture.
Die Malerfamilie Bassano
Bassano, eine kleine, an den Hängen des Monte Grappa im nördlichen Veneto gelegene Stadt, gab der Malerfamilie Da Ponte nicht nur den Beinamen, sondern auch grundlegende Anregungen für die Kunst des Familienoberhauptes Jacopo und seiner Söhne.
Jacopo Bassano war vornehmlich in der Provinz aktiv, weit entfernt von den städtischen Künstlerzentren, und gilt heute als einer der großen Meister der venezianischen Malerei des Cinquecento an der Seite von Tizian, Veronese und Tintoretto. Seinen Ruhm verdankt er unter anderem der Erfindung eines Sujettypus, der die Pastoralszenen mit biblischen oder allegorischen Motiven verknüpfte: Er realisierte damit völlig neuartige und originelle Kompositionen, die so große Beliebtheit genossen, dass die Erben Jacopos derartige Gemälde bis über die Mitte des Seicento hinaus weiterproduzierten. Leandro, nach Francesco der begabteste der Söhne, war für den Vater im Werkstattbetrieb eine unersetzliche Stütze. Mit seiner lebendigen und brillanten Farbgebung setzte er den Ruhm der Familie Bassano bis ins neue Jahrhundert fort und war in der Folge vor allem auf dem Gebiet der Portraitmalerei sehr erfolgreich.
Die Monatsserie
Gemäß den Aussagen des venezianischen Historikers Carlo Ridolfi (1648) wurde eine die zwölf Monate darstellende Gemäldeserie an Rudolf II. nach Prag gesandt: Es ist sehr wahrscheinlich, dass die hier ausgestellten Werke eben jene sind, die dem Kaiser gehörten. Die Gemälde entsprechen dem raffinierten Geschmack eines aristokratischen Auftraggebers: Der hohe dekorative Wert, die Grandiosität des ikonographischen Programms und die ansehnlichen Dimensionen lassen vermuten, dass sie für einen großen Raum gedacht waren.
Im Inventar des Erzherzogs Leopold Wilhelm finden sich die zwölf Gemälde als Werke des jungen Bassano verzeichnet: Fast alle sind signiert und wurden von Leandro gegen Ende der neunziger Jahre des 16. Jahrhunderts geschaffen. Die Serie ist fast zur Gänze erhalten geblieben, und so können wir uns auch heute noch an der Einheit von Stil und Inhalt erfreuen. Der September und der Oktober befinden sich in Prag; der Dezember ist noch nicht wieder aufgetaucht. Das Bild, das den Juli darstellt, wurde in zwei Teile geschnitten, wohl aus dekorativen Überlegungen, aber beide Fragmente sind in Wien erhalten.
Die liebliche Hügellandschaft um Bassano liefert das Ambiente, in dem sich die den jeweiligen Monat charakterisierenden Landarbeiten abspielen. Die Wintermonate Januar, Februar und März hingegen - sie stellen eine Ruhepause in der ländlichen Arbeit dar - zeigen andere Sujets: die Rückkehr von der Jagd, den Karneval und eine Marktszene. Jeder Monat ist zudem mit dem entsprechenden Tierkreiszeichen versehen, das inmitten der Wolken erscheint. Die Komposition, in ein dämmriges Licht gehüllt, entwickelt sich bildparallel in die Landschaft hinein: Den Horizont bildet das bläuliche Massive des Gebirges - wahrscheinlich der Monte Grappa -, wo das Auge Ruhe findet.
Leandro beschreibt die Tätigkeiten der Figuren mit großer Präzision und Sorgfalt in der Wiedergabe der Details, von den Arbeitswerkzeugen über die Gegenstände bis hin zur Kleidung, sodaß die Gemälde zusätzlich auch einen beträchtlichen dokumentarischen Wert repräsentieren. Der Künstler beabsichtigt, den Betrachter in angenehmer Weise zu unterhalten und zu zerstreuen. Wahrscheinlich erkannte sich so mancher in den Episoden wieder: Etwa in der reich gekleideten Dame, die sich Feldfrüchte vorlegen läßt, oder im Grundherrn, der zusammen mit seinem Gutsverwalter die Arbeiten und die Ernte kontrolliert. Der Monatszyklus, der seine Wurzeln in der fruchtbaren ikonographischen Tradition des Mittelalters hat, nimmt in der Interpretation Leandros den Charakter eines lebendig illustrierten Kalenders an, der sich an ein aristokratisches Publikum richtet.
Statements und Podiumsdiskussion: "Aufstiegsorientierung und soziale Sicherung: Komplementäre Ansätze oder Widerspruch"
v.l.n.r.: Prof. Jörg Althammer, Trevor Phillips, Prof. Barbara John, Armin Laschet, Ralf Fücks
Foto: CC-BY-SA Stephan Röhl / www.boell.de
Media statement:
More than 400 residents from across NSW gathered outside AGL Energy's head office in North Sydney this morning to demand an end to AGL's controversial coal seam gas projects in Gloucester and Camden.
The residents, many who had travelled together by bus from Gloucester, were joined by concerned Sydneysiders and members of GetUp. Today marks the 100th consecutive week of community protests at AGL's head office demanding an end to CSG in NSW.
GetUp’s Better Power Campaign Director Lily Dempster, who is leading the organisation’s call for consumers to turn their backs on energy retailers still investing in dirty energy, said it was disappointing that CEO Andrew Vesey had refused an invitation from Groundswell Gloucester to address the gathering today.
“People from all walks of life have gathered outside of AGL today and over the past 100 weeks to show the community finds the threats of coal seam gas to our agricultural land, our precious water resources and our communities simply unacceptable,” she said.
“It’s risky business for communities such as Gloucester and Camden, and it’s increasingly risky business for investors too.
“The company is currently reviewing its coal seam gas investments and has a prime opportunity to get out of harmful coal seam gas projects for good.
“We know one of the most effective ways of placing pressure is through consumer action. If you are an AGL customer you're in a powerful position to help pressure this company to get out of CSG and start supporting cleaner, safer renewable energy instead," she said.
Professor Rufus Clarke is a former AGL customer who has switched power provider through the Better Power campaign.
“In April this year my wife and I became aware of the influence that companies like AGL have on public policy, for example in Prime Minister Abbott’s reneging on his pre-election promise not to cut the Renewable Energy Target, and his persistent attacks on the renewable energy industry.
“Ecological responsibility cuts no ice with these companies; the only thing they understand is losing market share. So we switched to Powershop for our electricity supply. We are paying no more per kilowatt hour than we were with AGL.
“I urge others to do as we have done, to switch their energy supplies away from those who pollute the atmosphere and the aquifers – it’s the only message that the companies that pollute, and their shareholders, will understand,” Prof Clarke said.
To date the Better Power campaign has switched 12,000 customers from AGL and other big polluting companies including EnergyAustralia and Origin Energy.
Media statement from Lock the Gate Alliance:
Queensland farmers and Senators visit Sydney to hold Tony Abbott to CSG promise
Two Queensland women have travelled to Sydney and joined forces with Queensland Senators Glenn Lazarus and Larissa Waters to deliver a petition to the Prime Minister’s Manly electorate office today asking him to deliver coal seam gas protections promised when he first took office.
The Prime Minister visited Tara in southern Queensland in November 2013 and promised Tara resident Debbie Orr that never again would a gas well be built so close to residential areas and that “nobody should be forced to have a gas well on their property.”
More than a year later, there is still no right for landholders to refuse gas wells on their property, there are gas wells being drilled near homes in Gloucester, and there are no routine health impact assessments of coal seam gas projects.
More than 9,000 people have signed a petition to Mr Abbott asking him to deliver on his promise and give landholders the right to say no to coal seam gas, introduce mandatory setbacks from homes and health impact assessments for unconventional gas.
Senators Lazarus has delivered the petition to Mr Abbott’s electorate office in Manly with Queensland farmer Shay Dougall and mother of eleven, Narelle Nothdurft along with Camden mother, Danielle Hodges.
Shay’s community at Hopeland are surrounded by gasfields, and have recently declared themselves “gasfield free” by direct community democracy.
Mrs Dougall said, “We up in Queensland know the worst of what coal seam gas can do. My community has declared itself gasfield free, and we think our Governments should respect that, and give us the right to say “no” to unconventional gas wells.”
Mrs Hodges said, “Camden is one of the State’s important residential growth areas, but we have an operating gasfield very close to homes and it is making our children sick, just as it does in Queensland. We want the Prime Minister to deliver his promise and make sure gas wells stay away from our kids, and that proper health assessments are done.”
Lock the Gate National Coordinator, Phil Laird, said, “People from around the country are facing the same challenges and the same lack of basic rights and protections. The Prime Minister took the trouble to visit Tara, but 9,000 people have signed this statement asking him to walk the walk and deliver on his promises.”
“We’re grateful to Senators Lazarus and Waters and to Shay and Narelle for travelling to Sydney to deliver this petition. If we work together across the country, we can stop this dangerous industry from damaging our land and water – and that’s what we plan to do.”
Local accession number: 13_05_000674
Title: Clara Huse [front]
Statement of responsibility: Jas. W. Turner, photographer, 47 Hanover Street, Boston
Genre: Photographs; Cartes de visite; Portraits
Date created: 1859-1870 (approximate)
Physical description: 1 photograph : print on card mount ; mount 11 x 7 cm (carte de visite format)
General notes: Title from item or from accompanying material.
Date notes: Date supplied by cataloger.
Collection: Cartes de Visite Collection
Location: Boston Public Library, Print Department
Rights: No known copyright restrictions.
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The Mayan ruins of Chichen Itza form Mexico's best known ancient site, as well as one of the most extensive. The monuments are hugely impressive and include some of the most iconic architectural statements surviving from Mayan culture, including the Temple of the Warriors, the enormous Ball Court and the great stepped pyramid known as El Castillo, the centrepiece of the first area of the city seen by the visitor from the site entrance.
The chief god worshipped here appears to have been Kukulkan (the Mayan form of Quetzelcoatl) whose open-jawed serpent heads adorn many of the main temple structures.
The city and it's monuments mostly date between 600-1200AD and thus exhibit a variety of styles, making this a kind of architectural open air museum or textbook on Mayan art, with most buildings following a more severe, monumental design (though often adorned with low relief), whilst a few in the southern group feature the lavish ornamentation of the Puuc style as seen at Uxmal.
Chichen Itza receives a far greater influx of visitors than Mexico's other ancient sites (being within easy shot of daytrippers from resorts like Cancun) and thus for their own protection most of the monuments are now roped off to prevent the wear and tear of thousands of feet climbing the pyramid and the many temple platforms. This was something of a disappointment to us having had so much more free reign to explore other sites, though having seen the numbers increase dramatically through the day can readily understand and support such measures.
Local accession number: 13_05_000330
Title: Capt. Semmes [front]
Statement of responsibility: Charles D. Fredericks & Co. "Specialit," 587 Broadway, New York
Creator/Contributor: Charles D. Fredricks & Co. (Photographer)
Genre: Photographs; Cartes de visite; Portraits
Date created: 1859-1870 (approximate)
Physical description: 1 photograph : print on card mount ; mount 11 x 7 cm (carte de visite format)
General notes: Title from item or from accompanying material.
Date notes: Date supplied by cataloger.
Subjects: Military officers; Semmes, Raphael, 1809-1877
Collection: Cartes de Visite Collection
Location: Boston Public Library, Print Department
Rights: No known copyright restrictions.
IAEA Director General Yukiya Amano delivers his opening statement at the first day of the International Conference on Nuclear Security: Enhancing Global Efforts. IAEA Headquarters, Vienna, Austria. 1 July 2013
Photo Credit: Dean Calma / IAEA
Statement by H.E. Mrs Katri Viinikka, Permanent Representative of the Republic of Finland to the OPCW at the 21st session of the Conference of the States Parties to the Chemical Weapons Convention. Held at the World Forum Conference Centre The Hague, the Netherlands. 29th November 2016. Photograph: CSP20161100 by HA-533
wall covered with posters of candidates for a local election - afternoon - Bagong Silang, Manila, The Philippines
Client: Art of Dance
Directed by 250K
Production: Art of Dance (Rene Wiegant)
Event Manager: Bjorn Wilbrink a.k.a. Beenham B
Stagedesign: 250K
Decor: Laygho & Harry
Videodesign: Eyesupply.tv
Lightdesign: 250K & TenFeet (Leon Driessen)
Motion: Purple/Flashlight (Jan ) & Distribution
Music Composer: Marc Out a.k.a. Outblast
Pyro: Rene Grooney
Laser: Mirage
Dave Cats: Head of Stagemanagment
Performance / Styling: Entertainment Matters
Video-Operator: Eyesupply
Light-Operator: TenFeet
Artist-Manager: Roy van der Heijden
Rigging/Lights/Audio: Purple Group
LED: Ledlease / Distribution
Registration: Stijn Verlinde
Pictures: Eyesupply / Nils
Cameraman/DOP: Jorrit Garretsen
Video-Edits: Eyesupply
Actors: Merel Naaijkens, Eelco Matrijn Meyer, Suradja Panchoe, Jorge Maas, Anthony Dap (Mc Tha Watcher), Dario Renzi (Amnesys), Filippo Calgani (Mad Dog), Angerfist, Marc Out (Outblast) & Robert ter Hammel (Dyprax)
Thanks to:
Fort Vechten
Jos van Duin
Bobby Richardson
Frans Jansen
Paul Konijn
Jan Koopman
Bob Koopman
Sanne van Amersfoort
Chris Koning
Tim van der Schinkel
Chervase van Leeuwen
Ophidian
Noize Suppressor
Korsakoff
The Playah
State of Emergency
Nitrogenetics
Negative A
Evil Activities
Tommyknocker
Karien Horsten
Cheverno Leiwakabessy
Angelo Isenia
Maarten Hoogland
Pim Elbers
Silvia Blankenburgh
12294 Harris Road, Pitt Meadows, BC.
Statement of Significance:
Description of Historic Place:
The Pitt Meadows General Store and Post Office is a two-storey Foursquare house, altered on the ground floor to accommodate a store, with later shed roof additions on three sides. Located on the east side of Harris Road, the historic commercial centre of the District of Pitt Meadows, this building is adjacent to a grouping of Pitt Meadows' most significant heritage sites.
Heritage Value:
The heritage value of the Pitt Meadows General Store and Post Office is associated with the earliest development of the original town centre of Pitt Meadows. This building is a landmark component of the Harris Road historic grouping, dating from the time when Pitt Meadows was developing rapidly as an agricultural town and Harris Road was its commercial, administrative and community centre. This location was close to the Canadian Pacific Railway, enabling the store to receive imported goods for resale.
The building is historically significant as Pitt Meadows' first General Store and Post Office, and its growth and development mirrors that of the community. The post office was located in the wing on the south side of the building. The Struthers family took over the business in 1921 and the building was used as a general store up until 1931, when they built a larger new store just to the south. This building remained a residence for some members of the family, and a storage facility for the new store. The Post Office continued to operate out of the building, with William Struthers as Post Master until 1944, when Robert Thorburn became the new Post Master and set up in a separate building at the corner of McMyn and Harris Roads.
Additionally, the Pitt Meadows General Store and Post Office is significant for its architectural evolution, from a two-storey Foursquare house to a general store and residence. In 1908, the partially constructed building was moved on log rollers from Herring Road to its present site, using a team of horses. The building evolved through utilitarian additions necessitated by the growth of the business. It has retained many exterior features that demonstrate its evolution, such as the recessed entrance and plate glass storefront windows from the 1908 conversion. Much of the interior spatial configuration has remained intact, including many interior finishes.
Additionally, the site is now valued for its interpretive and educational value as an integral part of the Pitt Meadows Museum and Archives, and demonstrates the value that the District of Pitt Meadows places on its heritage. From the mid 1990s the building remained unoccupied and in disrepair until the District of Pitt Meadows purchased the property in late in 1997, and undertook its restoration. In June 1998, the Pitt Meadows Heritage and Museum Society moved in and the building became the home of the Pitt Meadows Museum and Archives.
Source: Department of Development Services, District of Pitt Meadows
Character-Defining Elements:
Key elements that define the heritage character of the Pitt Meadows General Store and Post Office include its:
- location on Harris Road, adjacent to the CPR right-of-way
- relationship with the historic Hoffmann and Son Shop and House, which is located across Harris Road
- form, scale and massing, as expressed by its two-storey height and regular Foursquare plan with a rear two-storey addition and one-storey side extensions
- hipped roof with cedar shingles and shed roof extensions
- wood-frame construction with bevelled wooden siding and concrete foundation
- additional architectural details, such as recessed front entrance with double doors and plate glass windows, cantilevered canopy over entry, and internal red-brick chimney
- fenestration with double-hung 2-over-2 and 6-over-6 wooden sash windows, some with upper sash horns, and double-hung 1-over-1 wooden sash in the rear extension
- interior configuration with ground floor retail space, residential rooms to south side and upstairs, and kitchen at rear
- interior features, including wooden interior elements such as wainscoting, tongue-and-groove cladding and floors, and fireplace with glazed tile chimneypiece
This template is used for creating the statements of banks. It contains "Financial Position", "Operations and Changes" and "Cash Flow" statements. SpreadsheetWEB version of the template allows to publish the statements online easily.
Image Available for purchase from www.ballaratheritage.com.au
VHR Statement of Significance
What is significant?
The trustees for Melbourne's new public library were appointed in July 1853 and on 3 July the following year the foundation stone for the first section of building was laid. Opened in 1856, this building was the first of many constructed on the site to accommodate four institutions over a period of time. These included the Public Library, the National Gallery of Victoria, the Industrial and Technological Museum and the Natural History Museum.
The Chairman of Trustees, lawyer Redmond Barry, was the prime founder of the institution and the aspiration of the trustees was to create one great centre of learning. Initially a competition was held for the design of the library and this was won by Joseph Reed. The first building constructed comprised an entrance hall and upstairs reading room. By 1865 wings had been added to the north and south of the original building, extending the Queen's Hall reading room on the first floor, and in 1870 the portico was added to the front facade.
The National Gallery of Victoria began its association with the site in 1861 when a gallery was opened to display works of art in the south wing of the library. Various buildings and wings were added to display additional artworks in 1874 and again in 1887 and 1892. Despite the continual searching for another site, the National Gallery shared the library site until 1968 when it moved to the new gallery building in St Kilda Road.
The 1866-67 Intercolonial Exhibition, held at the library site led to the opening of the Industrial and Technological Museum on this site in 1870, with many of the exhibits forming the core of the collection. In 1899 the contents of the National Museum, formerly the Natural History Museum, were transferred from the University of Melbourne to the library site. The Museum of Victoria remained at the site until its relocation c2000. At this time the library became the sole occupant of the seven acre site.
Construction of buildings on the library site was almost continuous from 1854 until the construction of the La Trobe Library in the 1960s. Joseph Reed, or his subsequent firms and their descendents, was responsible for the design of a number of building phases, including the initial building, the international exhibition spaces in 1866, the portico in 1870, the various halls constructed for the museum and gallery from 1874 to 1906 and the domed reading room in 1913. Work undertaken in the 1920s-40s was undertaken by Irwin and Stevenson and later work by the Public Works Department.
The main Swanston Street facade of the library is built of sandstone in an English Palladian manner, with central Corinthian portico and flanking wings which terminate in projecting pavilions. A giant order, supporting an entablature and balustrading, runs across the undulating, two storey facade. The classical character continues in the interior of the Queen's Hall reading room, which was designed with a central space encircled by galleried aisles, delineated by a giant Ionic order colonnade.
The need for additional library space led to the construction of a large domed reading room, completedin 1913, to designs by Bates, Smart and Peebles, descendents of Joseph Reed's architectural firm. This octagonal building was built by J. W. and D. A. Swanson, using the English Truscon company for their structural detail. This included the first major local use of the Kahn Bar system of reinforcing. It resulted in the construction of the largest reinforced concrete dome in the world at the time, spanning 35.5 metres.
Other significant additions on the site include the Baldwin Spencer Hall, Russell Street in 1906 to create additional museum space and designed by Reed, Smart and Tappin in a flat stripped classical style; Bindon Hall, Little Lonsdale Street, designed by Irwin and Stevenson in 1927, and the La Trobe Library designed by the Public Works Department in 1961 and completed in 1965, in a minimalist manner with direct reference to the original Swanston Street facade in its represented trabeated system.
The first section of the library to be built was set well back from Swanston Street, forming a forecourt at the front of the building. Despite many alterations since the 1850s, particularly in 1939 when the diagonal entrances were added to the central stairs, the formality of the forecourt has been retained. Integral to the design of the forecourt are statues which have been added over time, including Sir Redmond Barry by 1887 (with gasoliers placed either side in 1891), St George and the Dragon, Joan of Arc and Driver and Wipers, which was relocated to the Shrine of Remembrance in 1998.
Two murals by significant Australian artists were acquired by the library in the 1920s. War, by H. Septimus Power, was installed over the entrance to Queen's Hall in 1924 and Peace after Victory, by renowned artist Napier Waller, was installed over the old entrance to the domed reading room in 1929.
Redevelopment of the State Library began in 1990 with the entire site being refurbished for library use.
How is it significant?
The State Library of Victoria buildings are of historical, architectural, scientific (technical) and aesthetic importance to the State of Victoria.
Why is it significant?
The State Library of Victoria is of historical significance as the principal educational and cultural centre for the people of Victoria for more than 150 years. The early buildings are of significance as the first purpose built, free public library in Australia and one of the first in the world. Successive buildings are of importance as the first homes of the National Gallery of Victoria and the Museum of Victoria.
The State Library of Victoria is of historical significance for its associations with its visionary founder, Sir Redmond Barry, who established one of the great library collections of the world before his death in 1880, and its associations with Bernard Hall, the influential Director of the National Gallery of Victoria from 1891-1934, and Sir Baldwin Spencer, the first Director of the Museum of Victoria.
The State Library of Victoria is of architectural significance as the first major building by prolific Melbourne architect Joseph Reed, and as an early example of public architecture in Victoria. Queen's Hall is of particular note for its elaborate interior and as an early example in library design.
The State Library of Victoria is of scientific (technical) significance for the early and innovative use of reinforced concrete construction used in the domed building to create the largest dome in the world at the time of construction.
The State Library of Victoria is of aesthetic significance for its forecourt which provided the public setting to Melbourne's first cultural institution. Despite many alterations since its inception, it retains its formal approach to the building. The array of sculptures and plantings add to the aesthetic landscape.
The State Library of Victoria is of aesthetic significance for its murals by H. Septimus Power, official war artist with the Australian Imperial Force from 1917, and Napier Waller, a leading neo-classical mural painter of the Inter-War period. The works are two of Melbourne's major murals and key works of Australian art of the 1920s.
[Online Data Upgrade Project 2008]
Year Construction Started 1854
Architect / Designer Bates Peebles & Smart; Reed, Joseph
Architectural Style Victorian Period (1851-1901) Academic Classical
I made my second visit to the Texas Renaissance Festival (TRF) in November 2011 - what a blast! The TRF is huge, very spread out, with so many shows and performers to check out. Another very enjoyable part of the TRF is just watching the cast members and faces in the crowd - some many people come in costume - and about 99.9% let me take their photos - what a nice bunch!
I hope to be there again in 2012 for more good shooting.
This magnificent residence commands stunning panoramas and offers the ultimate in luxury deep waterfront living.
A statement in style and sophistication on 917m2 approx of land and located in a prestige cul-de-sac this exquisite home of impressive proportions ticks all the right boxes.
Offering multiple living areas with each capturing magical waterviews, not a cent has been spared in the creation of this 5 bedroom sanctuary.
• 5 bedrooms or 4 bedrooms plus office (all with built-ins)
• 3 bathrooms & powder room at pool area
• Main bedroom with ensuite, balcony and sweeping views
• State of the art kitchen flowing to open plan living, dining, bar and snooker area
• 3 car garage with cedar remote door, internal access and coded keypad entry, separate workshop/storeroom
• Fully equipped movie room with 2.9 metre screen providing the ultimate at home cinematic experience
• Solar heated pool and entertaining area with pergola, all backdropped with sweeping bay views
• Video security at entry, alarm system, ducted vacuum system, 5000L rainwater tank
• Wharf and remote control cradle for boat
• Music sound system throughout, ducted reverse cycle air conditioning/heating
Natalie Vials 0433 111 319
Beach & Bay Realty 9527 0008
Not sure exactly what the statement is, but he's certainly making it at the Lake GEorge Polar Plunge
Julie
Digital Photography Artist Statement
I am a rather contemplative, curious person, who loves humor and terror with equal devotion. I have always been deeply intrigued by the secrets of things, by the hidden stories and meanings behind everything I see, whatever those stories and meanings may be. I am an avid reader who wants to be drawn into stories, or at least given the chance to discover a story. Perhaps this is why, once I found that many of the types of stories I would like to read did not yet exist, I started writing in order to make up my own. I am an aspiring artist who has studied in a couple of high school level art courses and who has a painting shown in the school anniversary celebration display at my school. Perhaps this is why, once I found that much of the artwork I like most tells stories like books do, I started making my own artwork to tell my stories. I have been taking pictures and studying the artistic aspects of photography for years, but it was only recently that I learned the technical skills with a camera that I needed in order to pursue this passion seriously. Now, I am focusing on bringing my love of art, my love of stories, and my love of the unusual together with my photography.
When I take any picture, I mean it to tell you a story the moment you look at it. Sometimes, I take several photos that work together to tell a story, expanding my vision and allowing my viewers to go on a journey with me. It doesn’t have to be the same journey; the images are only signs along a path, and if you choose to follow some signs rather than others or end up in a destination entirely different from the one I reached, that is extremely gratifying to me. If you choose to follow every sign letter for letter, that is just as gratifying. I would never want to tell you where your mind wants to go or what you want to think, as that leaves no room for humor, fun, or discovery on anyone’s part. I try to put most of my focus on taking clear photos with strong composition, framing, and lighting that set a mood and tell a story. I also believe in the use of Photoshop to fix small technicalities that interfere with the story I wish to tell. Sometimes, Photoshop even becomes an additional storytelling tool with which I can take the images I have created and bring them to a level of fantasy that I could never find, or even create, in the physical world. In this way, I can make something beyond my wildest dreams into a visible reality that my viewers can share and explore as I do.
In my “realistic” self-portrait, I wanted to display as many symbolic/subtle hints about my personality and my story as were possible. In the image, I chose to be surrounded by books because they can be so diverse and say so much about the one who reads them. The titles on the spines of the books, the way they are stacked, and the piles’ sheer height speak volumes for themselves. The raven was added in to hint at Edgar Allan Poe, one of the greatest inspirations for both my writing and my art. The classic-looking vase with the red feather in it represents the emergence of new creativity and ideas from old traditions. The shell is nature and solitude, the unlit candle is potential, the lace is simplicity and elegance, and the blank notebook is the rest of my life. How these symbols come together and what I am telling you with them is for you to find for yourself. My “alter-ego” self-portrait is actually several self-portraits arranged through the magic of Photoshop in a way that tells a story. One of me, dressed like a coach or team manager of some sort and holding a clipboard, is taking a roll call of all of the various facets of my personality. In the meantime, all the parts of me are interacting, going about their daily business, goofing off, showing off, or even, horror of all horrors, actually paying attention. Many of these portions of me are hinted at in the symbols of my self-portrait. In fact, you can think of the alter-ego self-portrait as an event occurring within my mind as I was setting up my self-portrait. The parts of me that the coach is viewing are, from left to right: independence, tradition, prissiness and femininity, happiness, anger and fear, drama, intelligence and introversion, responsibility, and dependence on others. Yes, I realize that I am a mess. I hope it stays that way for a very long time.
This morning, checking my latest bank statement, I opened the file to remove a page but pulled open the bottom ring and not one of the centre rings. That ring closed on my finger, where you see the piece of wood in this re-enactment.
Were I a more dedicated photographer, I would have got my 'phone, lying on the table beside me, and snapped the moment. However, my only thought was to open the file and extract my finger – it was very painful 😟
Doorstep statement by NATO Secretary General Jens Stoltenberg at the start of the meetings of NATO Defence Mninisters in Brussels
No doubt the minute I stick a for sale sign on my house pink tubs and avocado appliances will be the big ticket rage again!
My walls are that construction that always makes me smile. It was during that period when they used 2' x 8' drywall instead of wood lath and hand plastered over that. Not sure at what point some guy said why not make this stuff 4' x 8' , tape the joints and do away with the hand plaster.
Date: 1893
Source Type: Letterhead
Collection: Steven R. Shook
LETTER TRANSCRIPTION:
STATEMENT
Messrs. Gemmill & Olson
Palouse, Wash.
IN ACCOUNT WITH M. J. Shields Company.
WHOLESALE & RETAIL DEALERS IN
HARDWARE, FARM AND MILL MACHINERY, OF ALL KINDS.
STOVE & TINWARE, BUILDING MATERIAL OF EVERY DESCRIPTION.
OWNERS & OPERATORS OF MOSCOW PLANING MILL.
HARNESS & SADDLERY GOODS.
Moscow, Idaho, Nov. 8th, 1893
INTEREST AT THE RATE OF 1 1/4 PER CENT PER MONTH WILL BE CHARGED ON ALL ACCOUNTS AFTER MATURITY
Statement Rend. $146.10
REMARKS:
Michael J. Shields was an important pioneer of Moscow, Idaho. Shields opened a farming implement store on Main Street in Moscow and was also a building contractor, constructing many of the early residences in Moscow.
Copyright 2011. Some rights reserved. The associated text may not be reproduced or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without prior written permission of Steven R. Shook.
A new free crochet pattern offered by Stitch Diva Studios in our very own glistening Studio Silk.
Make a statement with some inexpensive flat decorative marbles, basic crochet skills and some pretty yarn.
This project is fast enough for you to make a few of these very trendy statement necklace pieces - explore using more or fewer marbles or varying the configuration of the stones for your very own creation!