View allAll Photos Tagged synthesis
SÍNTESE ASSIMÉTRICA DO SENSÍVEL
Asymmetric synthesis of the sensitive
[São Paulo, 2021]
[Street photography]
Folow me on Instagram too / Me siga no Instagram também: www.instagram.com/yuribittar/
O teatro da vida é representar, e não repetir. Captamos apenas um “resto” da realidade, um reflexo, algo assimétrico, impreciso, sensível.
#sinteseassimetrica #yb_sas #deleuze #fotografiaderua #fotoderua #fotografiacallejera #streetphotography #streetphoto #streetlovers #SPinternational #porlacalle #SPicollective #allacalle_spc #urbanlife #saopaulo #saopaulocity #sampa #sampalovers #sp_streets #brcolor #colorstreets #mobgrafia #mobgraphy #metrosp #transportepublico
SITIO HISTÓRICO DE WATERMILLS DE SAULT-AU-RÉCOLLET - Montreal, Canadá.
- Estructura conmemorativa que representa la ubicación original de la chimenea Watermills del pueblo de Sault-au-Récollet, así como a todos los propietarios del sitio Mills a lo largo de los años. Desde 1726 Simon Sicard construyó para los sulpicianos una presa y un aserradero en la Rivière des Prairies. Los molinos se utilizaron para diversos fines: molino de grano, trituradora, sierra, clavos, cardado y papel gris, algunos hasta 1970. El sitio histórico fue creado en 1998 por la Communauté urbaine de Montréal para resaltar todo el complejo industrial Watermill.
WATERMILLS HISTORICAL SITE OF SAULT-AU-RÉCOLLET - Montreal, Canada.
- Commemorative structure representing the original location of the Sault-au-Récollet village Watermills fireplace as well as all the owners of the Mills site through the years. Since 1726 Simon Sicard built for the Sulpicians a dam and a sawmill on the Rivière des Prairies. The mills were used for various purposes: grain mill, grist, saw, nails, carding and gray paper, some until 1970. The historical site was created in 1998 by Communauté urbaine de Montréal to highlight all of the Watermill industrial complex.
- SITE HISTORIQUE DES MOULINS DE SAULT-AU-RÉCOLLET à Montréal.
Structure commémorative représentant l'emplacement d'origine de la cheminée des Moulins à eau du village de Sault-au-Récollet, ainsi que tous les propriétaires du site au travers les années. En 1726, Simon Sicard débute la construction, d'une digue et d'un moulin à scie pour les Sulpiciens, sur la rivière des Prairies. Les moulins furent utilisés à des fins diverses: moulin à grains, à farine, à scie, à clous, à carder et à papier gris, certains jusqu'en 1970. Pour mettre en valeur l'ensemble de ce complexe industriel, la Communauté urbaine de Montréal crée en 1998 le site des moulins.
Abiding by the rules of synthesis, when standing in front of an interesting vista, stands as a guaranty that you will capture a most presentable frame ... One of those rules is to present your main theme from within a physical environmental framework ... This way, both your main theme is better exhibited and your frame's foreground acquires additional interest ...
Also when the ambient physical light calls for shutter speeds close to the area of 1 second for proper exposures. a monopod may prove extremely useful ... It's less heavy than a tripod and it adjusts easily to almost all ground inclinations ...
The above seen frame presents the eastern entrance of Potidea's canal at Chalkidiki on a lightless, rainy afternoon of spring 2017 ....
NIKON D90 DSLR with Tamron 18-200mm f/3.5-6.3 Di II VC lens, manual mode, shutter speed 1/10 s, ISO 100, f 8, focal length 22 mm, use of HOYA ND X 2 filter, manually adjusted white balance, center weighted average metering mode, HDR processing derived from only one RAW file, flash didn't go off, use of a monopod...
"Outstanding Universal "Value
"Brief synthesis
"Located in the Occitanie region, the Pont du Gard is the major element of a 50.02 km aqueduct built in the middle of the 1st century to supply the city of Nîmes, the ancient Roman colony of Nemausus, from the Eure source located near Uzès. A three-storey aqueduct bridge rising to nearly 48.77 m, it enabled the water conduit to cross the Gardon River.
"This triple bridge, whose longest floor, at the very top of the edifice, measured 360 m, is a feat and a masterpiece of Roman architectural technique, but also a work of art whose presence transfigures the landscape. Set in a natural site that enhances its imposing appearance and its lines of force, the Pont du Gard rests on a rocky base, notched by the river spanned by its major arch. The gentle and symmetrical tapering of the arches, the span of the lower arches and the regularity of the upper gallery give it an extraordinarily airy appearance for a work of such magnitude.
"The Pont du Gard is an outstanding example of bridges built in ancient times. It achieves a triple performance with its three levels of arches of unequal dimensions and is characterized by the use, for the construction of the arches of the lower levels, of juxtaposed rollers composed of voussoirs bearing engraved positioning marks. In the series of Roman aqueducts, this exceptional edifice is the result of an extensive adaptation to the river regime of the Gardon whose floods are sudden and devastating. The lips installed in front of the piers are designed to resist high water, and the opening of the principal lower arch (24.52 m instead of 21.87 m for the arches of the extremes) facilitates the flow of water.
"Built, on the first two levels, of large stone blocks and, at the upper level, of small stone rubble which hold the abutting flagstones of the canal, the Pont du Gard is one of the most revealing monuments as to the construction processes of the early Imperial era. On the dressing of the stone can still be seen the marks of the quarrymen’s and stonecutters’ tools, and sometimes the coding of the stones, with figures and letters, showing their position in the assembly schema. The precision in execution meets to perfection a challenging design, and the Pont du Gard has, ever since the 16th century, been considered as one of the major accomplishments of the Roman civilization.
"Criterion (i): The Pont du Gard is a masterpiece of Roman technique and an outstanding artistic achievement which, by its presence, transfigures the landscape.
"Criterion (iii): An exceptional building in the series of Roman aqueduct works, the Pont du Gard bears unique witness to the technique of Roman engineers and builders in the service of urban and territorial development, which is one of the characteristics of this civilization.
"Criterion (iv): The Pont du Gard is one of the most representative works of the construction processes of the Roman imperial era.
"Integrity
"During the Middle Ages, the ancient structure lost a great number of stones; upstream of the upper arcade, twelve arches have disappeared. It was also during the Middle Ages that the bridge was adapted to the passage of men and beasts: a path was built and the piles of the second level were cut away over half of their thickness, threatening the stability of the edifice. Despite these spoliations, the remarkable state of conservation of the Pont du Gard must be emphasized. In the years 1699-1702, the piers were repaired, and corbels were built at the level of the piers to allow for the passage of the road.
"Finally, in 1746, the construction of a road bridge attached to the first level of the Roman bridge was entrusted to the engineer Henri Pitot, who had the concern to adjust his work as exactly as possible to the ancient bridge.
"Authenticity
"The exceptional ingenuity of the design of the Pont du Gard remains apparent in its slightly curvilinear layout, and the lips installed in front of the piers attest to the efforts made to adapt its construction to the river regime of the Gardon. The property is one with the richest information on the construction processes of the early Roman imperial period as shown by its refined stonework, the assembly of the blocks which still bear the marks of the quarrymen’s and stonecutters’ tools, as well as the coding for assembly. The quarry from which the stones were extracted is preserved some 600 metres from the site.
"The aqueduct of Nîmes ceased to function around the beginning of the 6th century and the Pont du Gard never regained its original use.
"Since the end of the 17th century and up to the present day, the Pont du Gard has been the subject of numerous restoration campaigns which have consecrated it in its splendid isolation as an insignia monument, witness of the Roman civilization. It is located at a distance from the villages that today are home to a population of 4500 inhabitants, and only two buildings were erected in its immediate vicinity in 1865 and 1901: a flour mill turned restaurant on the left bank, and a hotel on the right bank." UNESCO World Heritage Convention Website whc.unesco.org/en/list/344/ on 6 Dec 2023
Nikon D5300 + Sigma 17-50mm f/2.8 EX DC OS HSM
f/2.8 2.0s ISO100 50mm
www.facebook.com/Vita.Kapa.Photography/photos/a.984007895...
The Westerbork Synthesis Radio Telescope, WSRT for short, is a radio telescope consisting of fourteen separate parabolic antennas in the woods near Westerbork. The site where the antennas are located is next to the former 'Durgangslager' Westerbork. The WSRT was put into service in 1970. The telescopes are managed by the research institute ASTRON. Originally measured at a frequency of 1.4 GHz (or 21 cm), receivers at 0.6 GHz (50 cm) and 5 GHz (6 cm) were added within three years. In the 1990s, the telescope was greatly improved by applying the latest detection techniques: the multi-frequency front-ends (MFFEs), extended digital back-end (DZB), the pulsar machine (PuMa) and new software.
In 2018 Apertif bi (a phased array feed (PAF) upgrade of the WSRT which has transformed this telescope into a high-sensitivity, ide field-of-view L-band imaging and transient survey instrument. Using novel PAF technology, up to 40 partially overlapping beams can be formed on the sky simultaneously, significantly increasing the survey speed of the telescope).. ASTRON is the Netherlands Institute for Radio Astronomy,. Their mission is to make discoveries in radio astronomy happen. They do this by developing new and innovative technologies, operating world-class radio astronomy facilities, and pursuing fundamental astronomical research.
Sphere (also called Sphere at the Venetian Resort) is a music and entertainment arena in Paradise, Nevada, United States, east of the Las Vegas Strip. Designed by Populous, the project was announced by the Madison Square Garden Company in 2018, known then as the MSG Sphere. The 18,600-seat auditorium is being marketed for its immersive video and audio capabilities, which include a 16K resolution wraparound interior LED screen, speakers with beamforming and wave field synthesis technologies, and 4D physical effects. The venue's exterior also features 580,000 sq ft (54,000 m2) of LED displays. Sphere measures 366 feet (112 m) high and 516 feet (157 m) wide. The arena cost $2.3 billion, making it the most expensive entertainment venue built in Las Vegas.
Anatomy of a otograph by Stefania Piccioni
The pre-production phase of my project is where all the planning takes place before the camera rolls. Whether its measured in minutes, hours or days, my planning phase sets the overall vision of my Project.
Can you explain us the idea or the story behind this image?
This photography is part of an all B/W series called “Still life part VII”. It can remind the theory of shadows of descriptive geometry, or something similar made with a camera or a smartphone, in substitution of a x-ray, with bottles instead of solids. I made this still life thanks to the morning light of the sun, which I used as the only bright source. The potentialities of light allow me to accentuate all the contrasts. I chose to use a white bottle both to highlight contrasts with the shadows and create an effect of positive/negative with the black background. This image represents a middle ground between a strict geometrical synthesis.
Tell us how it is taken from the most technical aspect.
I took this picture at 10am in the morning, when the sun was enough high to project the shadow of the bottle on the plan with the right grade, in a well defined way. I changed a bit the prospective by getting closer from to the bottom to the composition, thanks to wide angle.
What problems and challenges did you face when you took the shot of this image?
The most difficult thing to face was the speed of execution because of the sun, because it rotates rapidly, changing the conditions of light. We know well that we need time enough to focus every single detail of composition and light to make a good still life. Besides, I was conditioned by weather: if sun was covered, I could not work.
We are talking about the postproduction process. How do you get the final result?
I do my work in post-production with Adobe Photoshop. The first step was expanding the image, then I balanced the picture in a correct way, thanks to curves and other tools of Photoshop. Thanks to curves I also highlighted blacks and whites and this allowed me to obtain these contrasts in my picture.
I had a diptych with this photo...but it turned out "blah"
so I wanted to recreate it. However, I couldn't find the right photo to combine it with for a diptych so I ended up combining another photo with it. Now I have this...which is okay. I just realllly want to do a diptych though =/
Remnants of bill posters and adhesive on the window of an empty shop in Bilbao.
I have processed this photo very differently from empty words, another photo looking through the same window, shot a minute later than this photo.
UNESCO World Heritage Site
Outstanding Universal Value
Brief synthesis
Situated in North Yorkshire, the 18th century designed landscape of Studley Royal water garden and pleasure grounds, including the ruins of Fountains Abbey, is one harmonious whole of buildings, gardens and landscapes. This landscape of exceptional merit and beauty represents over 800 years of human ambition, design and achievement.
Studley Royal Park is one of the few great 18th century gardens to survive substantially in its original form, and is one of the most spectacular water gardens in England. The landscape garden is an outstanding example of the development of the ‘English’ garden style throughout the 18th century, which influenced the rest of Europe. With the integration of the River Skell into the water gardens and the use of ‘borrowed’ vistas from the surrounding countryside, the design and layout of the gardens is determined by the form of the natural landscape, rather than being imposed upon it. The garden contains canals, ponds, cascades, lawns and hedges, with elegant garden buildings, gateways and statues. The Aislabies’ vision survives substantially in its original form, most famously in the spectacular view of the ruins of Fountains Abbey itself.
Fountains Abbey ruins is not only a key eye catcher in the garden scheme, but is of outstanding importance in its own right, being one of the few Cistercian houses to survive from the 12th century and providing an unrivalled picture of a great religious house in all its parts.
The remainder of the estate is no less significant. At the west end of the estate is the transitional Elizabethan/Jacobean Fountains Hall, partially built from reclaimed abbey stone. With its distinctive Elizabethan façade enhanced by a formal garden with shaped hedges, it is an outstanding example of its period.
Located in the extensive deer park is St Mary’s Church, a masterpiece of High Victorian Gothic architecture, designed by William Burges in 1871 and considered to be one of his finest works.
Criterion (i): Studley Royal Park including the ruins of Fountains Abbey owes its originality and striking beauty to the fact that a humanised landscape was created around the largest medieval ruins in the United Kingdom. The use of these features, combined with the planning of the water garden itself, is a true masterpiece of human creative genius.
Criterion (iv): Combining the remains of the richest abbey in England, the Jacobean Fountains Hall, and Burges’s miniature neo-Gothic masterpiece of St Mary’s, with the water gardens and deer park into one harmonious whole, Studley Royal Park including the ruins of Fountains Abbey illustrates the power of medieval monasticism and the taste and wealth of the European upper classes in the 18th century.
During a cold night in March i decided to drive 170km from Amsterdam to Westerbork in the east of Holland to make pictures of this radio telescope. It was a very cold night but the sky was clear with no moon. Light pollution in Holland is quite intense and it is clearly visible in those pictures. The Westerbork Synthesis Radio Telescope consists of a linear array of 14 antennas with a diameter of 25 meters arranged on a 2.7 km East-West line. It is located next to the Westerbork concentration camp, using by Nazis in WW2 as a transit camp and nowadays a museum.
What a rare and sublime opportunity this was! - to capture the union of waterfall and sea; the beauty of each uniting in a synthesis of motion and light.
The Westerbork Synthesis Radio Telescope, WSRT for short, is a radio telescope consisting of fourteen separate parabolic antennas in the woods near Westerbork. The site where the antennas are located is next to the former 'Durgangslager' Westerbork. The WSRT was put into service in 1970. The telescopes are managed by the research institute ASTRON. Originally measured at a frequency of 1.4 GHz (or 21 cm), receivers at 0.6 GHz (50 cm) and 5 GHz (6 cm) were added within three years. In the 1990s, the telescope was greatly improved by applying the latest detection techniques: the multi-frequency front-ends (MFFEs), extended digital back-end (DZB), the pulsar machine (PuMa) and new software.
In 2018 Apertif bi (a phased array feed (PAF) upgrade of the WSRT which has transformed this telescope into a high-sensitivity, ide field-of-view L-band imaging and transient survey instrument. Using novel PAF technology, up to 40 partially overlapping beams can be formed on the sky simultaneously, significantly increasing the survey speed of the telescope).. ASTRON is the Netherlands Institute for Radio Astronomy,. Their mission is to make discoveries in radio astronomy happen. They do this by developing new and innovative technologies, operating world-class radio astronomy facilities, and pursuing fundamental astronomical research.
UNESCO World Heritage Site
Outstanding Universal Value
Brief synthesis
Situated in North Yorkshire, the 18th century designed landscape of Studley Royal water garden and pleasure grounds, including the ruins of Fountains Abbey, is one harmonious whole of buildings, gardens and landscapes. This landscape of exceptional merit and beauty represents over 800 years of human ambition, design and achievement.
Studley Royal Park is one of the few great 18th century gardens to survive substantially in its original form, and is one of the most spectacular water gardens in England. The landscape garden is an outstanding example of the development of the ‘English’ garden style throughout the 18th century, which influenced the rest of Europe. With the integration of the River Skell into the water gardens and the use of ‘borrowed’ vistas from the surrounding countryside, the design and layout of the gardens is determined by the form of the natural landscape, rather than being imposed upon it. The garden contains canals, ponds, cascades, lawns and hedges, with elegant garden buildings, gateways and statues. The Aislabies’ vision survives substantially in its original form, most famously in the spectacular view of the ruins of Fountains Abbey itself.
Fountains Abbey ruins is not only a key eye catcher in the garden scheme, but is of outstanding importance in its own right, being one of the few Cistercian houses to survive from the 12th century and providing an unrivalled picture of a great religious house in all its parts.
The remainder of the estate is no less significant. At the west end of the estate is the transitional Elizabethan/Jacobean Fountains Hall, partially built from reclaimed abbey stone. With its distinctive Elizabethan façade enhanced by a formal garden with shaped hedges, it is an outstanding example of its period.
Located in the extensive deer park is St Mary’s Church, a masterpiece of High Victorian Gothic architecture, designed by William Burges in 1871 and considered to be one of his finest works.
Criterion (i): Studley Royal Park including the ruins of Fountains Abbey owes its originality and striking beauty to the fact that a humanised landscape was created around the largest medieval ruins in the United Kingdom. The use of these features, combined with the planning of the water garden itself, is a true masterpiece of human creative genius.
Criterion (iv): Combining the remains of the richest abbey in England, the Jacobean Fountains Hall, and Burges’s miniature neo-Gothic masterpiece of St Mary’s, with the water gardens and deer park into one harmonious whole, Studley Royal Park including the ruins of Fountains Abbey illustrates the power of medieval monasticism and the taste and wealth of the European upper classes in the 18th century.
Wartburg / Eisenach / Thuringia / Germany
Album of Germany: www.flickr.com/photos/tabliniumcarlson/albums/72157626068...
UNESCO World Heritage Site
Outstanding Universal Value
Brief synthesis
Situated in North Yorkshire, the 18th century designed landscape of Studley Royal water garden and pleasure grounds, including the ruins of Fountains Abbey, is one harmonious whole of buildings, gardens and landscapes. This landscape of exceptional merit and beauty represents over 800 years of human ambition, design and achievement.
Studley Royal Park is one of the few great 18th century gardens to survive substantially in its original form, and is one of the most spectacular water gardens in England. The landscape garden is an outstanding example of the development of the ‘English’ garden style throughout the 18th century, which influenced the rest of Europe. With the integration of the River Skell into the water gardens and the use of ‘borrowed’ vistas from the surrounding countryside, the design and layout of the gardens is determined by the form of the natural landscape, rather than being imposed upon it. The garden contains canals, ponds, cascades, lawns and hedges, with elegant garden buildings, gateways and statues. The Aislabies’ vision survives substantially in its original form, most famously in the spectacular view of the ruins of Fountains Abbey itself.
Fountains Abbey ruins is not only a key eye catcher in the garden scheme, but is of outstanding importance in its own right, being one of the few Cistercian houses to survive from the 12th century and providing an unrivalled picture of a great religious house in all its parts.
The remainder of the estate is no less significant. At the west end of the estate is the transitional Elizabethan/Jacobean Fountains Hall, partially built from reclaimed abbey stone. With its distinctive Elizabethan façade enhanced by a formal garden with shaped hedges, it is an outstanding example of its period.
Located in the extensive deer park is St Mary’s Church, a masterpiece of High Victorian Gothic architecture, designed by William Burges in 1871 and considered to be one of his finest works.
Criterion (i): Studley Royal Park including the ruins of Fountains Abbey owes its originality and striking beauty to the fact that a humanised landscape was created around the largest medieval ruins in the United Kingdom. The use of these features, combined with the planning of the water garden itself, is a true masterpiece of human creative genius.
Criterion (iv): Combining the remains of the richest abbey in England, the Jacobean Fountains Hall, and Burges’s miniature neo-Gothic masterpiece of St Mary’s, with the water gardens and deer park into one harmonious whole, Studley Royal Park including the ruins of Fountains Abbey illustrates the power of medieval monasticism and the taste and wealth of the European upper classes in the 18th century.
📍 La Habana
Havana is a synthesis of all Cuba, capital of the island and one of the most beautiful cities in Latin America.
The charm of the “Pearl of the Caribbean” continues to act, whoever knows it returns enriched and conquered.
Renewed, it offers everything imaginable in terms of colonial architecture.
Its most important neighborhoods, Old Havana, Vedado, Miramar, Centro Havana and the Malecón will make you enjoy the memories of the old architecture.
Havana is the tropical splendor, which gathers the best of Spain, the best of Africa and the best of the Antilles. Havana, with its old American cars, its hustle and bustle, its bare buildings, its history, its people and its rhythms leaves no one indifferent.
That being said, would you like to visit Cuba ?
If the answer is yes, so you may want to check my new Photography Tour !
This journey is completely different than any other trips. We will travel at the rhythm of light, and the focus is to take time to enjoy the place and meet people.No endless exhaustive excursions collection tourist sites. The Goal here is to be there, and live the country.
And the best part ?
You'll be accompanied by a photographer (alias me 😁 ), that will give you all his secret tips to build award winning images that will Wow your friends and family !
What else could you dream about ?
🌎 Planet Cuba Photography Tour Workshop 2023 & 2024 🌎
👉 tristanphotos.com/tours/cuba-photo-tour/
👉 Link in Bio
And if you would like to learn more about La Habana , please check out my FREE travel guide full of valuable tips and beautiful photos
🌎 La Habana: Complete Travel Guide 2022 🌎
👉 wego-planet.com/havana-travel-guide/
👉 Link in Bio
Now your turn
Would you like to visit La Habana ? Or maybe do you have any question ? Either way let me know in the comments below ! 🎉
The Westerbork Synthesis Radio Telescope, WSRT for short, is a radio telescope consisting of fourteen separate parabolic antennas in the woods near Westerbork. The site where the antennas are located is next to the former 'Durgangslager' Westerbork. The WSRT was put into service in 1970. The telescopes are managed by the research institute ASTRON. Originally measured at a frequency of 1.4 GHz (or 21 cm), receivers at 0.6 GHz (50 cm) and 5 GHz (6 cm) were added within three years. In the 1990s, the telescope was greatly improved by applying the latest detection techniques: the multi-frequency front-ends (MFFEs), extended digital back-end (DZB), the pulsar machine (PuMa) and new software.
In 2018 Apertif bi (a phased array feed (PAF) upgrade of the WSRT which has transformed this telescope into a high-sensitivity, ide field-of-view L-band imaging and transient survey instrument. Using novel PAF technology, up to 40 partially overlapping beams can be formed on the sky simultaneously, significantly increasing the survey speed of the telescope).. ASTRON is the Netherlands Institute for Radio Astronomy,. Their mission is to make discoveries in radio astronomy happen. They do this by developing new and innovative technologies, operating world-class radio astronomy facilities, and pursuing fundamental astronomical research.
UNESCO World Heritage Site
Outstanding Universal Value
Brief synthesis
Situated in North Yorkshire, the 18th century designed landscape of Studley Royal water garden and pleasure grounds, including the ruins of Fountains Abbey, is one harmonious whole of buildings, gardens and landscapes. This landscape of exceptional merit and beauty represents over 800 years of human ambition, design and achievement.
Studley Royal Park is one of the few great 18th century gardens to survive substantially in its original form, and is one of the most spectacular water gardens in England. The landscape garden is an outstanding example of the development of the ‘English’ garden style throughout the 18th century, which influenced the rest of Europe. With the integration of the River Skell into the water gardens and the use of ‘borrowed’ vistas from the surrounding countryside, the design and layout of the gardens is determined by the form of the natural landscape, rather than being imposed upon it. The garden contains canals, ponds, cascades, lawns and hedges, with elegant garden buildings, gateways and statues. The Aislabies’ vision survives substantially in its original form, most famously in the spectacular view of the ruins of Fountains Abbey itself.
Fountains Abbey ruins is not only a key eye catcher in the garden scheme, but is of outstanding importance in its own right, being one of the few Cistercian houses to survive from the 12th century and providing an unrivalled picture of a great religious house in all its parts.
The remainder of the estate is no less significant. At the west end of the estate is the transitional Elizabethan/Jacobean Fountains Hall, partially built from reclaimed abbey stone. With its distinctive Elizabethan façade enhanced by a formal garden with shaped hedges, it is an outstanding example of its period.
Located in the extensive deer park is St Mary’s Church, a masterpiece of High Victorian Gothic architecture, designed by William Burges in 1871 and considered to be one of his finest works.
Criterion (i): Studley Royal Park including the ruins of Fountains Abbey owes its originality and striking beauty to the fact that a humanised landscape was created around the largest medieval ruins in the United Kingdom. The use of these features, combined with the planning of the water garden itself, is a true masterpiece of human creative genius.
Criterion (iv): Combining the remains of the richest abbey in England, the Jacobean Fountains Hall, and Burges’s miniature neo-Gothic masterpiece of St Mary’s, with the water gardens and deer park into one harmonious whole, Studley Royal Park including the ruins of Fountains Abbey illustrates the power of medieval monasticism and the taste and wealth of the European upper classes in the 18th century.
This picture is quite different from everything else that I have been doing lately, which is, to me, refreshing. At this point in my life, everything is a matter of synthesis. All of the thoughts, experiences, and impressions of my life are being accumulated and fused into a single system, into a single being. I feel a connection to my past (my ancestry in my body, my skin, my movements), a connection to the world around me (my sense of self disintegrating into a bigger picture), and a connection to the future (my vision for what is to come flying away from me, out of reach).
This photo went through several stages of being, and at one point I even threatened to burn a hole in it, so as to add text and a more literal perspective. I had a lit match in my hand, this photo in the other, and was about to bring the two together when suddenly my subconscious screamed for me to stop. I always complain about when an artist's "message" becomes too obvious, when it overpowers the creation. An artwork's message is, I think, an entity that should always be left subjective to the viewer, and to add text to this particular image would only serve to defeat that purpose.
Niterói / Brazil
[EXPLORE - 2014-05-14]
Album of Brazil: www.flickr.com/photos/tabliniumcarlson/albums/72157643060...
Excerpt from the brochure:
9 Stratigraphic Column by Lachlan Sheldrick
This sculpture’s form evokes both the industrial and the geological, and speaks to how Earth’s landscapes and geologic record are increasingly shaped by human actions. It might resemble an architectural pier if not for the layered strata. Equally, illusions of a geologic origin are broken by the presence of steel re-enforcement. Ultimately its identity is both – a synthesis of nature and infrastructure.
Synthesis of the forest. Each piece of fruit is turned from a different wood.
The Apple is Yew. The right side Pear is Banskia(Seed Pod) and the far pear is Burr Elm
UNESCO World Heritage Site
Outstanding Universal Value
Brief synthesis
Situated in North Yorkshire, the 18th century designed landscape of Studley Royal water garden and pleasure grounds, including the ruins of Fountains Abbey, is one harmonious whole of buildings, gardens and landscapes. This landscape of exceptional merit and beauty represents over 800 years of human ambition, design and achievement.
Studley Royal Park is one of the few great 18th century gardens to survive substantially in its original form, and is one of the most spectacular water gardens in England. The landscape garden is an outstanding example of the development of the ‘English’ garden style throughout the 18th century, which influenced the rest of Europe. With the integration of the River Skell into the water gardens and the use of ‘borrowed’ vistas from the surrounding countryside, the design and layout of the gardens is determined by the form of the natural landscape, rather than being imposed upon it. The garden contains canals, ponds, cascades, lawns and hedges, with elegant garden buildings, gateways and statues. The Aislabies’ vision survives substantially in its original form, most famously in the spectacular view of the ruins of Fountains Abbey itself.
Fountains Abbey ruins is not only a key eye catcher in the garden scheme, but is of outstanding importance in its own right, being one of the few Cistercian houses to survive from the 12th century and providing an unrivalled picture of a great religious house in all its parts.
The remainder of the estate is no less significant. At the west end of the estate is the transitional Elizabethan/Jacobean Fountains Hall, partially built from reclaimed abbey stone. With its distinctive Elizabethan façade enhanced by a formal garden with shaped hedges, it is an outstanding example of its period.
Located in the extensive deer park is St Mary’s Church, a masterpiece of High Victorian Gothic architecture, designed by William Burges in 1871 and considered to be one of his finest works.
Criterion (i): Studley Royal Park including the ruins of Fountains Abbey owes its originality and striking beauty to the fact that a humanised landscape was created around the largest medieval ruins in the United Kingdom. The use of these features, combined with the planning of the water garden itself, is a true masterpiece of human creative genius.
Criterion (iv): Combining the remains of the richest abbey in England, the Jacobean Fountains Hall, and Burges’s miniature neo-Gothic masterpiece of St Mary’s, with the water gardens and deer park into one harmonious whole, Studley Royal Park including the ruins of Fountains Abbey illustrates the power of medieval monasticism and the taste and wealth of the European upper classes in the 18th century.
Westhafen, Frankfurt am Main, Germany
Frankfurt’s new Westhafen quarter marks the border between the inner-city Main area and its suburbs. This ensemble of building complexes forms a novel synthesis of residential and office buildings in connection with a park. Situated directly on the banks of the River Main, the Westhafen Tower (112,3 m from 2004 by Architects Schneider + Schumacher) functions as a landmark in the new quarter. At the foot of the Tower, the flat, dynamic bridge building forms an architectural counterweight to it and is also an important link to the banking district. The MainForum emphasises the quarter’s overall urban development
UNESCO World Heritage Site
Outstanding Universal Value
Brief synthesis
Situated in North Yorkshire, the 18th century designed landscape of Studley Royal water garden and pleasure grounds, including the ruins of Fountains Abbey, is one harmonious whole of buildings, gardens and landscapes. This landscape of exceptional merit and beauty represents over 800 years of human ambition, design and achievement.
Studley Royal Park is one of the few great 18th century gardens to survive substantially in its original form, and is one of the most spectacular water gardens in England. The landscape garden is an outstanding example of the development of the ‘English’ garden style throughout the 18th century, which influenced the rest of Europe. With the integration of the River Skell into the water gardens and the use of ‘borrowed’ vistas from the surrounding countryside, the design and layout of the gardens is determined by the form of the natural landscape, rather than being imposed upon it. The garden contains canals, ponds, cascades, lawns and hedges, with elegant garden buildings, gateways and statues. The Aislabies’ vision survives substantially in its original form, most famously in the spectacular view of the ruins of Fountains Abbey itself.
Fountains Abbey ruins is not only a key eye catcher in the garden scheme, but is of outstanding importance in its own right, being one of the few Cistercian houses to survive from the 12th century and providing an unrivalled picture of a great religious house in all its parts.
The remainder of the estate is no less significant. At the west end of the estate is the transitional Elizabethan/Jacobean Fountains Hall, partially built from reclaimed abbey stone. With its distinctive Elizabethan façade enhanced by a formal garden with shaped hedges, it is an outstanding example of its period.
Located in the extensive deer park is St Mary’s Church, a masterpiece of High Victorian Gothic architecture, designed by William Burges in 1871 and considered to be one of his finest works.
Criterion (i): Studley Royal Park including the ruins of Fountains Abbey owes its originality and striking beauty to the fact that a humanised landscape was created around the largest medieval ruins in the United Kingdom. The use of these features, combined with the planning of the water garden itself, is a true masterpiece of human creative genius.
Criterion (iv): Combining the remains of the richest abbey in England, the Jacobean Fountains Hall, and Burges’s miniature neo-Gothic masterpiece of St Mary’s, with the water gardens and deer park into one harmonious whole, Studley Royal Park including the ruins of Fountains Abbey illustrates the power of medieval monasticism and the taste and wealth of the European upper classes in the 18th century.
UNESCO World Heritage Site
Outstanding Universal Value
Brief synthesis
Situated in North Yorkshire, the 18th century designed landscape of Studley Royal water garden and pleasure grounds, including the ruins of Fountains Abbey, is one harmonious whole of buildings, gardens and landscapes. This landscape of exceptional merit and beauty represents over 800 years of human ambition, design and achievement.
Studley Royal Park is one of the few great 18th century gardens to survive substantially in its original form, and is one of the most spectacular water gardens in England. The landscape garden is an outstanding example of the development of the ‘English’ garden style throughout the 18th century, which influenced the rest of Europe. With the integration of the River Skell into the water gardens and the use of ‘borrowed’ vistas from the surrounding countryside, the design and layout of the gardens is determined by the form of the natural landscape, rather than being imposed upon it. The garden contains canals, ponds, cascades, lawns and hedges, with elegant garden buildings, gateways and statues. The Aislabies’ vision survives substantially in its original form, most famously in the spectacular view of the ruins of Fountains Abbey itself.
Fountains Abbey ruins is not only a key eye catcher in the garden scheme, but is of outstanding importance in its own right, being one of the few Cistercian houses to survive from the 12th century and providing an unrivalled picture of a great religious house in all its parts.
The remainder of the estate is no less significant. At the west end of the estate is the transitional Elizabethan/Jacobean Fountains Hall, partially built from reclaimed abbey stone. With its distinctive Elizabethan façade enhanced by a formal garden with shaped hedges, it is an outstanding example of its period.
Located in the extensive deer park is St Mary’s Church, a masterpiece of High Victorian Gothic architecture, designed by William Burges in 1871 and considered to be one of his finest works.
Criterion (i): Studley Royal Park including the ruins of Fountains Abbey owes its originality and striking beauty to the fact that a humanised landscape was created around the largest medieval ruins in the United Kingdom. The use of these features, combined with the planning of the water garden itself, is a true masterpiece of human creative genius.
Criterion (iv): Combining the remains of the richest abbey in England, the Jacobean Fountains Hall, and Burges’s miniature neo-Gothic masterpiece of St Mary’s, with the water gardens and deer park into one harmonious whole, Studley Royal Park including the ruins of Fountains Abbey illustrates the power of medieval monasticism and the taste and wealth of the European upper classes in the 18th century.