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The central plant beds in The Great Plat are an unusual triangular shape. The planting has been restored as closely as possible to Gertrude Jekyll's original planting plan.
Testing a pair of triangular rollers by placing a board and a coffee mug on them and pushing the board sideways.
A curve of constant width is a two-dimensional shape whose width, as measured with calipers, is the same, regardless of the orientation of the curve relative to the calipers. You can extrude such a curve into a three-dimensional roller that will have a constant height as you roll it around on a flat surface. A board supported by a pair of such rollers will move horizontally without any up and down motion. A circle is a curve of constant width, but it's not the only one; there are many others. A Reuleaux triangle (an equilateral triangle where each side is a circular arc centered on the opposite corner) also has constant width, and you can use it as the basis for rollers that look like they shouldn’t work at all. Inspired by my daughter's high school project I made an example out of wood.
Making triangular rollers. Step 1 - turning a glued-up stack of boards into a hexagonal prism, producing a big pile of wood shavings in the process.
A curve of constant width is a two-dimensional shape whose width, as measured with calipers, is the same, regardless of the orientation of the curve relative to the calipers. You can extrude such a curve into a three-dimensional roller that will have a constant height as you roll it around on a flat surface. A board supported by a pair of such rollers will move horizontally without any up and down motion. A circle is a curve of constant width, but it's not the only one; there are many others. A Reuleaux triangle (an equilateral triangle where each side is a circular arc centered on the opposite corner) also has constant width, and you can use it as the basis for rollers that look like they shouldn’t work at all. Inspired by my daughter's high school project I made an example out of wood.
Interesting to think that right up until the very end of mainstream Routemaster operation in London on route 159 in December 2005 former London General RML 2752 still retained its white plastic London Buses triangular radiator badge from its refurbishment by TBP Holdings of Birmingham in 1992 at a time when nearly all of these white London Buses radiator badges were long removed from the RML fleets still operating in everyday service following the privatisation of the former London Buses operating units in the autumn of 1994. Although by now treated to the Arriva fleetnames and the thin reflective yellow stripe on the lower panels, the only giveaway on RML 2752 being a former London General vehicle was the relief band being in pure white as opposed to being in the Arriva corporate sandstone colour. Upon its last major overhaul at Aldenham Works RML 2752 carries the former body from RML 2305.
With a population of just under 20,000, Arahal is one of the larger Andalucian towns in the area, situated about 45km to the east of the provincial capital, Seville, and lying on a relatively flat plain at a height of 117 metres above sea level. The town's history goes back to Roman times, whilst today it is renowned as Spain’s main producer of chamomile and apple flavoured table olives. There is much pleasure in walking around its narrow streets; some of which lead, inevitably, to the town's attractive main, triangular shaped square, the 'Plaza Corredera', bordered on one side by the Ayuntamiento (Town Hall). Other impressive buildings include two churches, the 'Parroquia Santa María Magdalena de Arahal' and the 'Parroquia Nuestra Señora De La Victoria'. Although somewhat off the beaten track for tourists, it's a charming, relaxed and unassuming place to visit. There are plenty more photos of Arahal and other Spanish towns/locations if you take a look at my 'Albums' page, www.flickr.com/photos/36623892@N00/sets/ - thank you.
The Bartholdi Fountain
The fountain was designed symmetrically in three identical sections. The triangular base with turtles and large shells rises to the pedestal, from which three identical nereids (sea nymphs) rise on thirds. Between their feet are fish and scattered sea shells and coral. The nymphs, with arched backs, are caryatids, following a tradition of sculpture founded in classical Greece. They seem to hold up the large basin, which is actually supported by the central column. The nymphs wear headdresses of leaves. Their clinging drapery, clasped by shells at the waist, reveals their supple figures. Despite its monumental size (it weighs approximately 40 tons and is 30 feet high, and the sculptured female figures are 11 feet tall), each element of the fountain is beautifully detailed.
The curved arms of the nereids lead the viewer's eye to the large basin above, which supports twelve lights. The fountain continues with three youthful tritons playfully holding out seaweed and is topped by a mural crown resembling a crenelated city wall. Water spills from the crown over the tritons and splashes into the upper basin, while jets shoot from the mouths of the fish and the turtles.
Frederic Auguste Bartholdi (1834-1904) created the fountain for the 1876 International Centennial Exhibition in Philadelphia. The design was based on a model he had created in 1867. Bartholdi was also working on his design for the Statue of Liberty at the same time. The fountain, cast in Paris by A. Durenne, was painted to look like bronze and placed at a focal point near the main entrance of the Exhibition grounds in Fairmount Park.
At the close of the Exhibition, the fountain was purchased for $6,000 (half of its estimated value) by the United States government at the suggestion of Frederick Law Olmsted, the famous landscape architect who designed the Capitol Grounds. It was moved to Washington, D.C., in 1877 and placed at the base of Capitol Hill near the center line of the Mall, on what was then the Botanic Garden grounds.
When it was created, the fountain fused modern gas-lighting and cast-iron technologies with water and was intended to allegorically represent Light and Water. Bartholdi saw this work as symbolically appropriate for the modern city, and he hoped that many cities throughout the country would purchase castings. Actually only Reims, France, acquired one in 1885, and it is no longer extant.
The gas lamps made the fountain a popular attraction since it was one of the first monuments in the city of Washington to be brightly illuminated at night. The lights surrounding the basin were added in 1886, and the round glass globes replaced the original gas fixtures when the fountain was fitted for electric lighting in 1915.
During the 1927 relocation of the Botanic Garden, the fountain was dismantled and stored. In 1932, it was re-erected in its present location. The park where the fountain stands was renamed in honor of Frederic Auguste Bartholdi in 1985.
The Bartholdi Fountain was restored in 1986. The rusted supporting bolts and rods and the plumbing and wiring were replaced. Dozens of layers of paint were sandblasted from the cast-iron surface, which was then given a new protective coating. The basins were repaired and leveled so that the water now falls evenly. The top coat of paint was renewed in 1996.
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Bartholdi Park @ United States Botanic Garden
R 8
Dypsis decaryi (Triangle Palm) in the palm dome at the Marjorie McNeely Conservatory, Como Park, St. Paul, MN.
The Triangular Lodge is a folly, designed and constructed between 1593 and 1597 by Sir Thomas Tresham(whose eldest son, Francis, was later executed for his part in the Gunpowder Plot) near Rushton, Northamptonshire, England.
It is a testament to Tresham’s Roman Catholicism: the number three, symbolising the Holy Trinity, is apparent everywhere in the Lodge: 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. Three Latin texts, each 33 letters long, run around the building on each facade.
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This image is the result of a very intensive second day at the CTDG Summer School at Christleton with tutor Sarah Brownie.
On the first day we looked at the difference between the artist terms of primary colours, hue, contrast and saturation and the same terms as applied to digital colours.
At the start of the second session we undertook a short but intensive photography lesson using the white balance setting on the camera in an unusual way. Briefly we photographed a primary colour( digital- RGB) and then set this as our white balance. When we photographed our chosen triangular image ( mine was torn white paper with a black drawing on it) we achieved some amazing colourful images.
These were then transferred to the computer where we tried to achieve warm and cold layers using digital manipulation. To do this I added a layer image taken from a watercolour painting I did in the morning session on the first day. This involved fine tuning the image using some of the knowledge gained from my look at digital hues and saturation.
Sarah asked me to focus on how my image contrasted with the layers below and above and to show how a colour which sits on top of other colours can change from warm to cold. By this time I needed to sit in a dark room for a while to gather my thoughts!
A challenging and thought provoking two days which has given me the skills to take forward into my next piece of art work.
dgj071_Minihaus_New_Exteriror_J4368x2912-00529
dgj071 Minihaus I - Minimum Impact House, Frankfurt am Main, D , 2008
English
Minimum-Impact-House is a holistic approach for the reduction of the overall-impact of residential housing by creating a new type of residential house by densifying the city centre. In the design project a prototype mini-house has been developed to explore the potential of so far uninhabitable urban niches. A triangular site of only 29sqm was chosen to built a Mini-house in size comparable to a family house of 150sqm. This strategy avoids the further use of land and the need of building of new infrastructure like streets and public buildings. The city centre is denser an environment so that the inhabitants won’t to travel so often to work, shopping, education, or cultural events.
In a research project the prototype was compared to a typical suburban house. A life-cycle-analysis quantified the amounts of energy, material, and investment for the construction, and consumed during an estimated life-span of the buildings of 50 years. The analysis for which a software was developed was also used as a design-tool for optimising the prototype-building in terms of energy-consumption, construction, and materials. For the building construction renewable resources, mainly timbre, had been used which reduces the energy content and emissions.
Deutsch
Das Minimum Impact House wurde von einem Verbundforschungsprojekt begleitet mit Drexler Guinand Jauslin Architekten GmbH und Fachgebiet Entwerfen und Energieeffizientes Bauen Prof. Manfred Hegger der TU Darmstadt. Gefördert von der Deutschen Bundesstiftung Umwelt DBU.
Das Minihaus ist ein Prototyp für innerstädtische Nachverdichtung. Statt einer Zersiedlung der Landschaft zur Schaffung von Wohnraums können Nischen und Restflächen in der Stadt genutzt werden. So wird die bestehende Infrastruktur besser ausgelastet und das sozio-kulturelle Gefüge der Stadt gestärkt.
Durch eine umfassende Ökobilanzierung wurde das Gebäude ganzheitlich optimiert. Dabei wurde sowohl die Herstellung (Holzbauweise, natürliche nachwachsende Ressourcen) als auch der Betrieb (Passivhaus-Standard, erneuerbare Energien) als auch Instandhaltung und Rückbau analysiert.
Makro-ökonomisch werden durch den geringen Landverbrauch und die Vermeidung von Investitionskosten in Straßen, Leitungen, öffentliche Gebäude vermieden. Bei dem Gebäude wurden durch geringe Betriebkosten und günstige Finanzierung (KFW40) die Lebenszykluskosten optimiert.
______________________________
All rights reserved:
Drexler Guinand Jauslin Architekten GmbH
Dipl. Arch. ETH Hans Drexler M. Arch (Dist.)
______________________________
Drexler Guinand Jauslin Architekten GmbH
Sitz und Handelsregister Frankfurt am Main, HR. Nr. HRB 74237
Geschäftsführer Dipl. Arch. ETH Hans Drexler M. Arch.
Walter-Kolb-Strasse 22
D-60594 Frankfurt am Main
TEL +49 69 96 20 62 34
FAX +49 69 96 23 17 78
Strands Salon and Spa
3271 Folsom Blvd
Sacramento, California
This salon and the neighboring Cafe Capricho are mostly built into the ground level--more like a daylight basement created by raising the original house structure, I think--of the bungalow on the corner of Folsom Blvd and 33rd Street, but obviously the commercial space was expanded to the sidewalk which resulted in this triangular addition.
The Bay of Bengal, the largest bay in the world, forms the northeastern part of the Indian Ocean. Roughly triangular in shape, it is bordered mostly by India and Sri Lanka to the west, Bangladesh to the north, and Burma (Myanmar) and the Andaman and Nicobar Islands to the east.
The Bay of Bengal occupies an area of 2,172,000 km². A number of large rivers – the Ganges and its distributaries such as Padma and Hooghly, Brahmaputra and its distributaries such as Jamuna, Meghna, Irrawaddy River, Godavari, Mahanadi, Krishna and Kaveri – flow into the Bay of Bengal. Among the important ports are Cuddalore, Ennore, Chennai, Karaikal, Pondicherry, Tuticorin, Kakinada, Machilipatnam, Visakhapatnam, Gangavaram, Krishnapatnam, Paradip, Kolkata, Mongla, Chittagong and Yangon.
Mandarmani is a seaside resort village in the state of West Bengal, India, lies in East Midnapore district and at the northern end of the Bay of Bengal. It is one of the large and fast developing seaside resort village of West Bengal. It is almost 180 km from Kolkata Airport on the Kolkata - Digha route. Red crabs crawling around the 13 km long beach is a special attraction of Mandarmani. It is argued to be the longest driveable beach in India.
Geomorphologically, this area has relatively low waves than nearer tourist beach of Digha. However still this beach is deposition with formation of neo dunes in several areas specially around Dadanpatrabar.
Ravenna over Shelton 24-26, 25-18, 25-18
Wood River over Shelton 25-7, 25-12
Wood River over Ravenna 25-12, 25-15
Created with fd's Flickr Toys.
Shawl in home dyed wool, and a few ends of left-over-mohair.
Swedish pattern
Mönster på svenska från sticka.org
Trekantig sjal med uddkant
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