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Necklaces are made from vintage knitting needles. The chain and findings were salvaged from my Uncle's jewellery business.
The topic of this photo is patterns. The pattern in this is all the triangles that make up the wall. I edited the photo to look darker. I was trying to show all the triangles that make up the wall, kind of like a jigsaw puzzle and I believe I achieved my aim.
Shot with Pentax K5 and 16-50mm © Craig Lindsay 2017. All rights reserved.
www.english-heritage.org.uk/visit/places/rushton-triangul...
Tant paper, 24 equilateral triangles.
A variation of windmill modular tessellation by Francis Ow. Thanks for sharing your great ideas.
Precious opal in ironstone concretion from the Cretaceous of Queensland, Australia. (5.8 cm across at its widest)
A mineral is a naturally-occurring, solid, inorganic, crystalline substance having a fairly definite chemical composition and having fairly definite physical properties. At its simplest, a mineral is a naturally-occurring solid chemical. Currently, there are over 5900 named and described minerals - about 200 of them are common and about 20 of them are very common. Mineral classification is based on anion chemistry. Major categories of minerals are: elements, sulfides, oxides, halides, carbonates, sulfates, phosphates, and silicates.
The silicates are the most abundant and chemically complex group of minerals. All silicates have silica as the basis for their chemistry. "Silica" refers to SiO2 chemistry. The fundamental molecular unit of silica is one small silicon atom surrounded by four large oxygen atoms in the shape of a triangular pyramid - this is the silica tetrahedron - SiO4. Each oxygen atom is shared by two silicon atoms, so only half of the four oxygens "belong" to each silicon. The resulting formula for silica is thus SiO2, not SiO4.
Opal is hydrous silica (SiO2·nH2O). Technically, opal is not a mineral because it lacks a crystalline structure. Opal is supposed to be called a mineraloid. Opal is made up of extremely tiny spheres (colloids - www.uwgb.edu/dutchs/acstalks/acscolor/OPALSPHR.jpg) that can be seen with a scanning electron microscope (SEM).
Gem-quality opal, or precious opal, has a wonderful rainbow play of colors (opalescence). This play of color is the result of light being diffracted by planes of voids between large areas of regularly packed, same-sized opal colloids. Different opalescent colors are produced by colloids of differing sizes. If individual colloids are larger than 140 x 10-6 mm in size, purple & blue & green colors are produced. Once colloids get as large as about 240 x 10-6 mm, red color is seen (Carr et al., 1979).
Not all opals have the famous play of colors, however. Common opal has a wax-like luster & is often milky whitish with no visible color play at all. Opal is moderately hard (H = 5 to 6), has a white streak, and has conchoidal fracture.
Several groups of organisms make skeletons of opaline silica, for example hexactinellid sponges, diatoms, radiolarians, silicoflagellates, and ebridians. Some organisms incorporate opal into their tissues, for example horsetails/scouring rushes and sawgrass. Sometimes, fossils are preserved in opal or precious opal.
Australia has a relatively high number of precious opal deposits. The sample shown above is from Queensland. The opal itself is hosted in an ironstone concretion from the mid-Cretaceous-aged Winton Formation, a unit that outcrops throughout much of western, southwestern, and southern Queensland.
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Photo gallery of opal:
www.mindat.org/gallery.php?min=3004
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Reference cited:
Carr et al. (1979) - Andamooka opal fields: the geology of the precious stones field and the results of the subsidised mining program. Geological Survey of South Australia Department of Mines and Energy Report of Investigations 51. 68 pp.
Triangular scar shows where former awning was jointed to the station. Rick Nowell photo. B&MRRHS Archives. Photo 382
Visita a las Reales Atarazanas de Sevilla.
Gracias otra vez a Ricardo Acosta, por haber organizado esta gran visita.
three sheets of paper
1 square for each prism segment and 1 small rectangle for the pivot (Santee's Swivel)
Paper: 10 cm
Modules: 3 + 3 for box and lid
Model: Tomoko Fuse
Book: Beautiful Boxes 1 p. 34-36
A plain and easy to fold triangular box
Triangular cone of your mystery
Lingers in my bets from all directions confusing
Today I come tomorrow will prefer
Drinking with you listen to your Lakes
你三角錐狀的謎
盪漾在我從四面八方投注的迷惑
今日我慕名而來 明日將得償心願
與你共飲歲月 聆聽你的江湖
Yuba in a triangular cat house in the living room in California in February of 2016. He knew something was going on but not what (we were in the middle of fixing up the house to sell it and moving to Japan).
I still have some equilateral triangles lying around from folding dasa's beautiful knobby dodecahedron. and why not try a kirigami star from a triangle - let's see how it turns out...
During 1916 the British born Australian architect Walter Richmond Butler (1864 – 1949) designed a new Anglican Mission to Seamen to be built on an oddly shaped triangular block of land at 717 Flinders Street on the outskirts of the Melbourne central city grid, to replace smaller premises located in adjoining Siddeley Street, which had been resumed by the Harbour Trust during wharf extensions.
The Missions to Seamen buildings, built on reinforced concrete footings, are in rendered brick with tiled roofs. Walter Butler designed the complex using an eclectic mixture of styles, one of which was the Spanish Mission Revival which had become a prevalent style on the west coast of America, especially in California and New Mexico during the 1890s. The style revived the architectural legacy of Spanish colonialism of the Eighteenth Century and the associated Franciscan missions. The revival of the style is explicit in the Mission’s small, yet charming chapel with its rough-hewn timber trusses, in the bell tower with its pinnacles and turret surmounted by a rustic cross and in the monastic-like courtyard, which today still provides a peaceful retreat from the noisy world just beyond the Missions to Seamen’s doorstep. The chapel also features many gifts donated by members of the Harbour Trust and Ladies’ Harbour Lights Guild, including an appropriately themed pulpit in the shape of a ship's prow and two sanctuary chairs decorated with carved Australian floral motifs. Some of the stained glass windows in the chapel depict stories and scenes associated with the sea intermixed with those Biblical scenes more commonly found in such places of worship.
The adjoining Mission to Seamen’s administration, residential and recreational building shows the influence of English domestic Arts and Crafts architecture, with its projecting gable, pepper pot chimneys and three adjoining oriel windows. The lobby, with its appropriately nautically inspired stained glass windows, features a large mariner's compass inlaid in the terrazzo floor. Built-in timber cupboards, wardrobes, paneling and studded doors throughout the buildings evoke a ship's cabin.
Walter Butler, architect to the Anglican Diocese in Melbourne, had come to Australia with an intimate knowledge and experience of the Arts and Crafts movement and continued to use the style in his residential designs of the 1920s. The main hall has a reinforced concrete vaulted ceiling. Lady Stanley, wife of the Mission's patron, Governor Sir Arthur Lyulph Stanley, laid the foundation stone of the complex in November 1916. The buildings were financed partly by a compensation payment from the Harbour Trust of £8,500.00 and £3,000.00 from local merchants and shipping firms. The Ladies' Harbour Lights Guild raised over £800.00 for the chapel. Most of the complex was completed by late 1917 whilst the Pantheon-like gymnasium with oculus was finished soon afterwards. The substantially intact interiors, including extensive use of wall paneling in Tasmanian hardwood, form an integral part of the overall design.
The Missions to Seamen buildings are architecturally significant as a milestone in the early introduction of the Spanish Mission style to Melbourne. The style was to later find widespread popularity in the suburbs of Melbourne. The choice of Spanish Mission directly refers to the Christian purpose of the complex. The Missions to Seamen buildings are unusual for combining two distinct architectural styles, for they also reflect the imitation of English domestic architecture, the Arts and Crafts movement. Walter Butler was one of the most prominent and progressive architects of the period and the complex is one of his most unusual and distinctive works.
The Missions to Seamen buildings have historical and social significance as tangible evidence of prevailing concerns for the religious, moral, and social welfare of seafarers throughout most of the Nineteenth and Twentieth Centuries. The complex has a long association with the Missions to Seamen, an organisation formed to look after the welfare of seafarers, both officers and sailors, men "of all nationalities". It had its origins in Bristol, England when a Seamen's Mission was formed in 1837. The first Australian branch was started in 1856 by the Reverend Kerr Johnston, a Church of England clergyman, and operated from a hulk moored in Hobsons Bay; later the Mission occupied buildings in Williamstown and Port Melbourne. In 1905 the Reverend Alfred Gurney Goldsmith arrived at the behest of the London Seamen's Mission to establish a city mission for sailors working on the river wharves and docks. The building reflects the diverse role played by the Mission with its chapel, hall and stage, billiards room, reading room, dining room, officers' and men’s quarters, chaplain's residence, and gymnasium. It is still in use to this day under the jurisdiction of a small, but passionate group of workers, providing a welcome place of refuge to seamen visiting the Port of Melbourne.
Walter Butler was considered an architect of great talent, and many of his clients were wealthy pastoralists and businessmen. His country-house designs are numerous and include “Blackwood” (1891) near Penshurst, for R. B. Ritchie, “Wangarella” (1894) near Deniliquin, New South Wales, for Thomas Millear, and “Newminster Park” (1901) near Camperdown, for A. S. Chirnside. Equally distinguished large houses were designed for the newly established Melbourne suburbs: “Warrawee” (1906) in Toorak, for A. Rutter Clark; “Thanes” (1907) in Kooyong, for F. Wallach; “Kamillaroi” (1907) for Baron Clive Baillieu, and extensions to “Edzell” (1917) for George Russell, both in St Georges Road, Toorak. These are all fine examples of picturesque gabled houses in the domestic Queen Anne Revival genre. Walter Butler was also involved with domestic designs using a modified classical vocabulary, as in his remodelling of “Billilla” (1905) in Brighton, for W. Weatherley, which incorporates panels of flat-leafed foliage. Walter Butler also regarded himself as a garden architect.
As architect to the diocese of Melbourne from 1895, he designed the extensions to “Bishopscourt” (1902) in East Melbourne. His other church work includes St Albans (1899) in Armadale, the Wangaratta Cathedral (1907), and the colourful porch and tower to Christ Church (c.1910) in Benalla. For the Union Bank of Australia he designed many branch banks and was also associated with several tall city buildings in the heart of Melbourne’s central business district such as Collins House (1910) and the exceptionally fine Queensland Insurance Building (1911). For Dame Nellie Melba Butler designed the Italianate lodge and gatehouse at “Coombe Cottage” (1925) at Coldstream.
The Triangular Lodge is a folly, designed and constructed between 1593 and 1597 by Sir Thomas Tresham near Rushton, Northamptonshire. Tresham was a Roman Catholic, and was imprisoned for refusing to become a Protestant. Upon his release in 1593, he designed the Lodge as a protestation of his faith. His belief in the Holy Trinity is represented everywhere in the Lodge by the number three: it has three walls 33 feet long, each with three triangular windows and surmounted by three gargoyles. The building has three floors, upon a basement, and a triangular chimney. The windows on each floor are of different designs, all equally ornate. The largest, those on the first floor, are in the form of a trefoil, which was the emblem of the Tresham family. The basement windows are small trefoils with a triangular pane at their centre. The windows on the ground floor are of a lozenge design, each having 12 small circular openings surrounding a central cruciform slit. Heraldic shields of various families surround these windows.
“What is Creative Mondays?
Monday’s are always a drag. The start of a new week, you have to go back to that routine of going to bed early/get up early. If (like me) you have to commute then you prepare for that long journey into work and that long journey back for the first time after a nice two day break.
So to kick off those lousy Mondays, I’m going to get my creative mind flowing in a positive way. Creative Mondays. A chance for me to show off something unfinished or finished that I’ve been working on throughout the previous week.”
I love to break images down into shapes and often I’ll simply start with a shape and expand upon the idea. Playing with space, shapes and composition can let me know what works and what doesn’t providing me with ideas for future projects. I reckon this could make a nice poster set with ‘Circular’ and ‘Rectangular’ to follow it up!
You can see more on my site here: creativejuus.com/2013/01/14/creative-mondays-60-triangular/
for Week#227 - we went to a classic car show today, there are triangles everywhere when you start looking. This looks to be a car horn.
After coffee and cake in the gallery garden I had a look around for triangles and found this painting by Karen Nordsø Lundberg. Well, found and found, Karen showed it to me.
Morteratsch Glacier, Graubünden, Switzerland. View to S from the Morteratsch Valley path, with Jill lower L.
(This photo has notes.)
Scale of the glacier is given by people near snout, lower left. This view plays visual tricks. Even so, the scale of the glacier is much greater than it appears.
This is a popular walk of about 2-3 Km from Morteratsch train station, on an easy, well-maintained path with explanatory notices and marker posts showing the successive points of rapid retreat of the glacier from the station area over the last two centuries (Gletscherlehrpfad). Foreground was under glacier ice in 2000 and downstream from the snout there are posts along the valley indicating that it has retreated by as much as 10s of metres a year.
A second glacier (Pers Glacier) joins the Morteratsch Glacier below the rib of dark rock (Isla Persa) upper centre L. Skyline follows Swiss-Italian frontier. Peaks (L-R at top of photo): flanks of Bellavista (3922 m), Piz Zupó (3996 m) in cloud, Piz Argient (3945 m), dark peak Crast'Agüzza (3854 m) and massive cliffed flanks of Piz Bernina (4049 m) (See also notes on photo.)
This is one of the major glacier systems of the Alps, and the largest in this region of Switzerland. Further details: en.wikipedia.org/wiki/Morteratsch_Glacier
GEOLOGICAL NOTES
Glacial geology: This is a classic valley glacier. Rocky scree to R is combination of lateral moraine and recessional moraine (débris left from the body of the glacier as it retreated). Snout proper is out of sight to L. Nearest crevasses indicate collapse of ice close to snout. Crevasse fields elsewhere on steeper parts of the glacier. Rocky flank of Piz Morteratsch is a triangular facet.
Bed rock geology: Mostly Permo-Carboniferous (c.250-360 Ma) Variscan crystalline basement (granite, diorite, granodiorite, gabbro, gneiss), belonging to allochthonous thrust sheet (Err-Bernina Nappe), part of Lower Austro-Alpines. These have been thrust northwards (regionally) in Eocene from Adriatic/Apulian Plate over former floor of Alpine trough.
Altogether, huge dynamic earth processes, all 'frozen' in the time frame of this snap-shot.
GGRJ2010(---)
ID: DSC_1166_2.JPG
Triangular Ring tessellation
Several views for my new tessellation and more (box, omiyage)
- Tessellation: EH paper, hexagon from 30x030 cm square, 64 division grid, rhombus and triangle twists. Different views, front and back, backlit with and without flash.
- Box: same design, hexagon from 20x20 cm square.
- Omiyage: sandwich paper, hexagon from 15x15 cm. 32 division grid, final size when closed 4.5 cm.
- CP and folding test for one molecule.
All my images are All Rights Reserved. They should not be reproduced in any way and unauthorized use is strictly prohibited. If you wish to use any of my images for any reason/purpose please contact me at blgunee@yahoo.com
This triangular building was designed by Sir Thomas Tresham (father of one of the Gunpowder Plotters) and constructed between 1593 and 1597. It is a testament to Tresham's Roman Catholicism: the number three, symbolising the Holy Trinity, is apparent everywhere. There are three floors, trefoil windows and three triangular gables on each side
It's the Triangular Cloth texture created in the Filter Forge plugin. It can be seamless tiled and rendered in any resolution without loosing details.
You can see the presets and download this texture for free on the Filter Forge site here — www.filterforge.com/filters/8644.html (created by rctdeclan)
To use this texture download Filter Forge 30-day trial version for free here — www.filterforge.com/download/