View allAll Photos Tagged uniquely
A purple tulip dusted with pollen sits in a field of yellow. This goes to show that we should celebrate the unique and different among us.
Happy Monday wherever you are.
B.UNIQUE - Thistle Rendezvous Cottage
Available July 28th - August 11th or until all 50 copies are sold!
maps.secondlife.com/secondlife/SwayLand/143/176/21
Do you want to be unique in SL?
Here's your chance!
B.UNIQUE gives you exclusive limited edition designs.
One new exclusive item, weekly, from one of the great designers at B.UNIQUE.
There will be a maximum of 50 copies of each item for sale and it will not be sold again after all copies have been sold, or the week is over!
The Rendezvous Cottage is a lovely weathered home with a front patio complete with pergola to shade us from these hot days. The interior is an interesting layout of three rooms below and one room above. This cottage comes with 5 interior custom wall textures to choose from via the Thistle House Paint menu. The exterior has 3 coordinating textures on the front entrance wall and each shutter is scripted so you can change the textures to mix or match. Wonderful light from two skylights fills the little bedroom in the top most peak of the house. As a B.Unique item you will be one of only 50 people to own a home with these unique and custom textures. With all the options it is possible that no two cottages among the 50 sold will ever be identical!
Run of 100 Cut Cover Slipcases for The Megaphonic Thrift / Club AC30 with blank inserts to be hand finished, 20 of each colour.
For more information check out www.acdsleeve.com
Uniquely fashioned 3 dimensional Chancay kupulwe or cradle board. Ultra rare to see this type of depiction from the Chancay culture using the combination of these simple materials. Laid upon a bed of reed slats, an unfired solid clay figurine (6.5”/16,51cm) is wrapped using a cotton textile blanket and secured with string between carved wooden beams. A substantial amount of personal care was given in its assembly. Coarse human hair is braided, then intertwined between wooden sticks to construct and secure the back platform. Exhibits warmth and quite possibly made to honor the loss of an immediate family member. A fascinating piece of Chancay artistry and history.
Freitag is a swiss company that sells bags and accessories made from used seatbelts and truck tarps. It is a great way to create unique designs with materials that would otherwise end up in a landfill or in the atmosphere.
When Freitag announced a new store in 2006, the architect proposed a building built from old shipping containers. A very fitting building material!
The Freitag Flagship store in Zurich is a unique building that serves both as a store and customer service center. The tower is an iconic landmark not only for the industrial character of its composition, but for the environmental message that the company wants to convey: both its products and its flagship store use recycled materials to deliver ingenuity and functionality.
This is a digital build. I've used custom decals for the sides of the containers. Built and rendered in Bricklink Studio.
Reference: www.freitag.ch/en/store/freitag-flagship-store-zuerich
Part I
In the exhibition "Golden Times" presents the Austrian National Library more than 80 unique exhibits from more than 200 years book culture. Large-sized luxury manuscripts of the Gothic, having been made for Emperor Frederick III, stand beside Renaissance masterpieces. Together, they document the transition from the medieval manuscript to the printed book of modern times.
The show is part of the international exhibition series "Masterpieces of book illumination of the 15th century in Central Europe"; a total of twelve libraries in Germany, Austria and Switzerland show there between September 2015 and March 2017 the highlights of their respective collections. The exhibitions themselves and their catalogs thus offer an unprecedented wealth of information on Central European book illumination in the Age of Gutenberg.
The exhibition in the State Hall takes its title from the gospels of John of Opava that was commissioned by Duke Albrecht III: The text of this magnificent manuscript is written in gold and its cover has been made of gilded silver. This work is considered the founding codex of the Imperial Court Library, and thus also the Austrian National Library; it is at the beginning of this exhibition for the first time since a long time to see again in the original. Another exhibition highlight is the Golden Bull in the form of that superb specimen that King Wenceslas I in Prague had produced for himself: This important legal document of the Holy Roman Empire was in 2013 included in the list of UNESCO world heritage documents.
The conclusion of the exhibition is made by valuable printed books and thus the "Gutenberg Revolution" of the 15th century: from this period stem the famous Viennese Heiltumsbuch (portfolio of salutary relics) and valuable prints, whose woodcuts are dating back to artists such as Lucas Cranach. "Golden Times", thus, is documenting simultaneously a media revolution that is comparable to the invention of the Internet.
Beginnings of Court art
From Duke Albrecht III to Frederick III
In the late Middle Ages Vienna experienced an impressive new beginning: churches were built, the university was founded and erected the residence. Of this boom benefited all areas of art - and also for book arts a "golden age" began. This flowering phase is closely related to Duke Rudolf IV, the founder (1339-1365), but even more so with his art-loving and bibliophile brother Duke Albrecht III. (1349-1395). The latter is also the principal of the famous Gospels of John of Opava from the year 1368. Written in gold and equipped with a cover made of gilded silver, the Gospels is the most precious and one of the oldest, still today in the stock of the library detectable manuscripts from Habsburg Possession. Therefore, it is rightly regarded as the establishing codex of the Imperial Court Library, and thus the Austrian National Library. This masterpiece is at the beginning of the exhibition after many years shown for the first time in the original before it is replaced in mid-December for reasons of conservation by a facsimile.
Gothic manuscripts like the Gospels heralded a book culture in which an elaborate decoration has become a central concern. The Habsburgs realized that not only the monumental buildings but also manuscripts and later prints are suitable for the consolidation of the Christian faith and for the princely imperial might representation. They appeared together with other members of the aristocracy as principals of sumptuously equipped manuscripts prominently; their works they had illustrated with coats of arms and portraits that should express their territorial claims as well as their pride of ownership.
Heyday of Gothic manuscripts
Book art at the time of Frederick III.
In the era of Emperor Frederick III (1415-1493) witnessed the courtly shaped book culture a new heyday. Was it so far dominated by individual interests and punctual "orders", so was with the appearance of Frederick a literally new dimension added: Friedrich ordered, apparently in connection with his royal election in 1440, large-format, richly decorated with body color initials and miniatures and provided with gold luxury manuscripts for their layout he called on the best book painters of the time. He surpassed his predecessors and contemporaries not only in terms of material opulence but also in the number of works produced for him. Nearly a dozen prayer books can be linked in the context with Friedrich as principal and "user". Characteristics of his prayer books are handwritten entries, the naming of his patron saint, the related to him book decoration, personalized prayers and his property notice AEIOU, which he had painted extensively on the inside of the front cover of a specimen that is shown in the exhibition. From another prayer book a side embellished in gorgeous colors and gold is exhibited depicting Leopold III, called the Holy, with a model of the abbey church of Klosterneuburg.
In der Ausstellung „Goldene Zeiten“ präsentiert die Österreichische Nationalbibliothek über 80 einzigartige Exponate aus über 200 Jahren Buchkultur. Großformatige Prachthandschriften der Gotik, die für Kaiser Friedrich III. angefertigt wurden, stehen neben Meisterwerken der Renaissance. Gemeinsam dokumentieren sie den Übergang von der mittelalterlichen Handschrift zum gedruckten Buch der Neuzeit.
Die Schau findet im Rahmen der internationalen Ausstellungsserie „Meisterwerke der Buchmalerei des 15. Jahrhunderts in Mitteleuropa“ statt; insgesamt zwölf Bibliotheken in Deutschland, Österreich und der Schweiz zeigen dabei zwischen September 2015 und März 2017 die Highlights ihrer jeweiligen Bestände. Die Ausstellungen selbst und ihre Kataloge bieten dadurch eine noch nie dagewesene Fülle an Informationen zur mitteleuropäischen Buchmalerei im Zeitalter Gutenbergs.
Titelgebend für die Ausstellung im Prunksaal ist das von Herzog Albrecht III. im Jahr 1368 beauftragte Evangeliar des Johannes von Troppau: Der Text dieser Prachthandschrift ist in Gold geschrieben und ihr Einband wurde aus vergoldetem Silber gefertigt. Dieses Werk gilt als Gründungscodex der kaiserlichen Hofbibliothek und damit auch der Österreichischen Nationalbibliothek; es ist am Beginn dieser Ausstellung erstmals seit langem wieder im Original zu sehen. Ein weiterer Ausstellungshöhepunkt ist die Goldene Bulle in Gestalt jenes Prachtexemplars, das König Wenzel I. in Prag für sich anfertigen ließ: Dieses bedeutende Rechtsdokument des Heiligen Römischen Reiches wurde 2013 in die Liste des UNESCO-Weltdokumentenerbes aufgenommen.
Den Abschluss der Ausstellung bilden wertvolle Buchdrucke und damit die „Gutenberg-Revolution“ des 15. Jahrhunderts: Aus dieser Epoche stammen das berühmte Wiener Heiltumsbuch und wertvolle Drucke, deren Holzschnitte auf Künstler wie Lucas Cranach zurückgehen. „Goldene Zeiten“ dokumentiert damit zugleich eine Medienrevolution, die vergleichbar mit der Erfindung des Internets ist.
Anfänge der Hofkunst
Von Herzog Albrecht III. bis Friedrich III.
Im Spätmittelalter erlebte Wien einen beeindruckenden Neuanfang: Kirchen wurden ausgebaut, die Universität wurde gegründet und die Residenz errichtet. Von diesem Boom profitierten sämtliche Sparten der Kunst – und auch für die Buchkunst brachen „goldene Zeiten“ an. Diese Blütephase ist eng mit Herzog Rudolf IV., dem Stifter (1339–1365), mehr aber noch mit seinem kunstliebenden und bibliophilen Bruder Herzog Albrecht III. (1349–1395) verbunden. Letzterer ist auch der Auftraggeber für das berühmte Evangeliar des Johannes von Troppau aus dem Jahr 1368. In Gold geschrieben und mit einem Einband aus vergoldetem Silber ausgestattet, ist das Evangeliar die kostbarste und eine der ältesten, noch heute im Bestand der Bibliothek nachweisbaren Handschriften aus habsburgischem Besitz. Es gilt daher zu Recht als Gründungscodex der kaiserlichen Hofbibliothek und damit der Österreichischen Nationalbibliothek. Dieses Glanzstück wird zu Ausstellungsbeginn nach vielen Jahren erstmals wieder im Original gezeigt, bevor es Mitte Dezember aus konservatorischen Gründen durch ein Faksimile ersetzt wird.
Gotische Handschriften wie das Evangeliar läuteten eine Buchkultur ein, in der eine aufwändige Ausschmückung zentrales Anliegen geworden ist. Die Habsburger erkannten, dass nicht nur die monumentalen Bauten, sondern auch Handschriften und später Drucke für die Festigung des christlichen Glaubens und für die fürstliche Herrschaftsrepräsentation geeignet sind. Sie traten gemeinsam mit anderen Angehörigen des Adels als Auftraggeber von prachtvoll ausgestatteten Handschriften prominent in Erscheinung; ihre Werke ließen sie mit Wappendarstellungen und Porträts illustrieren, die ihre territorialen Ansprüche ebenso wie ihren Besitzerstolz zum Ausdruck bringen sollten.
Hochblüte der gotischen Handschriften
Buchkunst zur Zeit Friedrichs III.
Im Zeitalter Kaiser Friedrichs III. (1415–1493) erlebte die höfisch geprägte Buchkultur eine neue Blüte. War sie bislang von Einzelinteressen und punktuellen „Bestellungen“ bestimmt, so kam mit dem Auftreten Friedrichs eine im wörtlichen Sinne neue Dimension hinzu: Friedrich bestellte, offenbar im Zusammenhang mit seiner Königswahl im Jahre 1440, großformatige, reichlich mit Deckfarbeninitialen und -miniaturen geschmückte und mit Gold versehene Prachthandschriften, für deren Ausstattung er die besten Buchmaler der Zeit heranzog. Er übertraf seine Vorgänger und Zeitgenossen nicht nur im Bezug auf die materielle Opulenz, sondern auch in der Anzahl der für ihn hergestellten Werke. Fast ein Dutzend Gebetbücher können mit Friedrich als Auftraggeber und „Benutzer“ in Zusammenhang gebracht werden. Merkmale seiner Gebetbücher sind handschriftliche Eintragungen, die Nennung seines Namenspatrons, auf ihn bezogener Bildschmuck, personalisierte Gebete und sein Eigentumsvermerk AEIOU, den er bei einem in der Ausstellung gezeigten Exemplar großflächig auf die Innenseite eines Vorderdeckels malen ließ. Aus einem weiteren Gebetbuch ist eine in prächtigen Farben und Gold ausgeschmückte Seite ausgestellt, die Leopold III., genannt der Heilige, mit einem Modell der Stiftskirche Klosterneuburg abbildet.
Als einer der ersten Fürsten bemühte sich Friedrich auch intensiv um das Erbe seiner Vorfahren und gelangte so an die berühmten Handschriften König Wenzels von Böhmen. Zu deren Glanzstücken zählt etwa die Goldene Bulle aus der Zeit um 1400, für die er einen neuen Einband herstellen ließ, der ebenfalls mit seiner Devise AEIOU versehen wurde. Diese Prachtabschrift zählt gemeinsam mit den Originalen aus dem Jahr 1356 zu den wichtigsten Rechtsdokumenten des Heiligen Römischen Reiches, wurde 2013 in die UNESCO-Liste des Weltdokumentenerbes aufgenommen und kann im Rahmen der Ausstellung erstmals seit langem wieder besichtigt werden.
In der zweiten Hälfte des 15. Jahrhunderts entstanden für Maximilian, den 1459 geborenen Sohn Friedrichs, insgesamt drei Lehrbücher, die sowohl Texte enthalten, die für den elementaren Unterricht gedacht sind, als auch solche, die sich an den erwachsenen Regenten richten. In der Ausstellung werden etwa das prachtvolle Abecedarium, das von allen Lehrbüchern den reichsten Deckfarbenschmuck aufweist, und das mit verspielten Ranken versehene Lehrbuch der Grammatik des Donat präsentiert.
Der moderne Buchdruck wird erfunden
Medienrevolution unter Kaiser Maximilian I.
Neben den weiterhin „aktuellen“ Gebet- und Lehrbüchern traten zur Zeit Kaiser Maximilians I. (1459–1519) vollkommen neue Textgattungen ins Rampenlicht wie etwa autobiografische und allegorische Werke, gemalte Inventare von Festungen und Kriegsgerät, Klassiker der römischen Antike und „wissenschaftliche“ Arbeiten zur Genealogie und Heiligenverehrung. Von Maximilians Großprojekten werden in der Ausstellung der Triumphzug, die biografischen Werke Theuerdank und Weißkunig, die Zeughausbücher, illustrierte allegorische Texte sowie das um 1500 entstandene Grabmal Maximilians, eines seiner größten und langwierigsten Projekte, präsentiert.
Die prachtvoll ausgestatteten Pergamentcodices wurden unter Maximilian zusehends von auf Papier ausgemalten Handschriften abgelöst, das Repräsentationsbedürfnis des Auftraggebers drückte sich weniger im materiellen Erscheinungsbild als in inhaltlicher und thematischer Opulenz aus. Maximilian war auch der erste Habsburger, der bewusst die Möglichkeiten des aufkommenden Buchdruckes nutzte: Für die beeindruckenden Holzschnitte seiner Werke beauftragte er die bedeutendsten Künstler der Zeit, darunter auch niemand Geringeren als Albrecht Dürer. Größen wie Lucas Cranach oder Albrecht Altdorfer bekamen Aufträge, um in Büchern Maximilians Herrschaft zu legitimieren und sein Andenken über seinen Tod hinaus zu bewahren.
Maximilian war es auch, der die mittelalterlich geprägte und noch immer in großen Truhen verwahrte Büchersammlung der Habsburger nach und nach zu einer geordneten und zumindest eingeschränkt benutzbaren Bibliothek ausbaute. Sie wurde der Kernbestand der späteren Hofbibliothek und damit der Österreichischen Nationalbibliothek.
Wien um 1500
Lucas Cranach und Johannes Winterburger
In den für Maximilian angefertigten Werken begegnet man einer ganz neuen Künstlergeneration. Stammten die Buchmaler seiner Werke bislang hauptsächlich aus Wien und Umgebung, wurden sie um 1500 zunehmend von Malern und Druckern abgelöst, die vorwiegend in Tirol und Süddeutschland tätig waren. Die Donaumetropole stand offenbar im Schatten der qualitativ und quantitativ dominierenden Bücherzentren des süddeutschen Raums. Erst als der im Rheinland geborene Drucker Johannes Winterburger (um 1460–1519) im Jahr 1492 nach Wien zog, konnte sich der Wiener Buchdruck etablieren und die Texte erreichten bald einen deutlich größeren Leserkreis. Aus Winterburgers berühmter Druckwerkstatt ist 1502 das besonders aufwändig gestaltete Wiener Heiltumsbuch hervorgegangen, das am Ende der Ausstellung steht: Dieser Meilenstein der Buchdruckgeschichte präsentiert Heiltümer, also den Reliquienschatz einer Kirche, in mehr als 260 einzigartigen Holzschnitten. Darüber hinaus gibt es Anweisungen, wie sich das Volk bei der Heiltumsschau zu verhalten hat und ermahnt zur Andacht, um in den Genuss eines Ablasses zu kommen. Ebenfalls darin enthalten ist eine der ältesten Darstellungen des Wiener Stephansdoms.
Eine weitere interessante Entwicklung in der Zeit Maximilians stellen die Holzschnitte dar, die sich auf Lucas Cranach den Älteren (um 1472–1553) zurückführen lassen. Cranach ist einer der bedeutendsten Künstler der Renaissance in Deutschland; er hatte sich um die Jahrhundertwende in Wien aufgehalten und im Auftrag Winterburgers etliche Holzschnitte entworfen. Meisterwerke dieser Renaissance-Buchkunst wie etwa die in der Passauer Missale enthaltene Darstellung des Gekreuzigten sind erstmals in dieser Ausstellung zu sehen.
Two tier cowgirl unique creative birthday cake with handmade edible boots topper, pink belt, fence, flowers and name in cow print
Art Eats Bakery
Greenville, SC, 29607
Phone: 864-232-4808
Email: sales@arteats.com
We specialize in gourmet unique custom artist designed creative modern cakes that taste as fantastic as they look. Anything you can dream of can be created in edible art. Make you wedding, birthday, shower or other event unique and memorable with one of our designer cake ideas. Your friends and family will be impressed with the professional quality look and taste of the cake you serve.
All of our cakes and icings are made from scratch with the highest quality natural ingredients available. We even make our own fondant and it taste great. We only bake to order.
I've never quite seen a barn this shape before, it was so charming!
Update: This picture ended up being shared a lot on Pinterest, even though it doesn't have many comments, others seemed to really like the unique style of this barn too! : )
Location: Chicago, IL (Roosevelt Rd.)
Railroad: Metra
Symbol: 2016
One of Metra's unique F40PHM-3s shoves 2016 into Union Station.
The Pearl (Perlan) is a remarkable building, built in 1988, unique in Iceland and probably in the whole world. On Oskjuhlid hill, atop the huge tanks in which natural hot water is stored for heating the city, a glass dome has been constructed: under the dome is a rotating restaurant serving fine cuisine.
The dome also houses a café, while around the outside is a viewing platform with panoramic 360 degree views of the city and its surroundings. Access to the viewing platform is free of charge.
Below the dome, between the hot-water tanks, is a spacious atrium where various exhibitions and other events are held. Inside the building is a small artificial geyser which spouts every few minutes. Interestingly, one of the tanks contains not hot water, but a museum: at the Saga Museum, waxwork figures bring Viking-age Iceland to life. The museum, like the Pearl itself, is open from 10am.
Close to the Pearl, to the left of the car park, is Strokkur, a man-made geyser that imitates the natural spouting hot springs at Geysir in the highlands of southwest Iceland.
Oskjuhlid hill, on which the Pearl is located, is a pleasant wooded area with many footpaths, ideal for a relaxing walk. At the bottom of the hill lies Nautholsvik geothermal beach, a popular place on a sunny day.
PAD 31/365
At Doodlebuckets, we have just what you need to send to the new bouncing baby boy after he arrives and is welcomed into his family! High quality baby boy gifts are what you will find here with a huge variety and many and varied themes. We have baby boy gift baskets that are sports-themed, some that are safari and jungle themed, and some with puppies and frogs that will be the delight of the little man for years to come. We have wagons for “baskets” that are wonderful to cart around his treasures once he is up and walking or would be super for decorating his room or storing baby items for mom. No matter what you are looking for, we have a gift that will fit the bill perfectly.
Lovies, baby blankets, and baby clothes, most with the option to personalize with baby boy’s name– these gifts will be treasured keepsakes for a long, long time.
The new $19.7-million Crosstown Elementary school officially opened today, creating more classroom space for the rapidly growing city centre and providing students with a unique urban learning environment.
MLA for Vancouver-False Creek Sam Sullivan made the announcement at the school and toured the new facility on behalf of Education Minister Mike Bernier, alongside Vancouver School Board official trustee Dianne Turner, students, parents and staff.
The school is located in the downtown core of Vancouver across from Rogers Arena and Andy Livingstone Park and near the Georgia Viaduct. The unique, four-storey school is built on top of a parkade and surrounded by condo buildings, making it the first of its kind in B.C.
Learn more:
Unique Brown and Stone Glass knobs and pulls by Uneek Glass Fusions. Art glass cabinet hardware in custom sizes, colors, and designs.
Unique swimming pool construction in Ridgewood NJ. Here is the most
recent photo of the gunite being applied.
Christmas is coming and for many students at Laney it is a difficult time. Konya has no money to buy presents for her kids. I am going to sponsor her and several teachers do the same for other students.
Read her page on our website:
www.daysofmylife.ch/2005/laney_05/0520/photos_pages/konya...
A unique resort hotel in San Luis Obispo, CA, the Madonna Inn has 110 outlandishly lavish "themed" rooms, European gardens, and an overall pink vibe that is charming. We stopped particularly to see the Inn's public restrooms -a Roadside America must-see.
For the bathrooms... :)
Alex & Phyllis Madonna created the Inn, and apparently Mrs. Madonna took over the decor. She designed the ladies' restroom like an extravagant palace. Mr. Madonna apparently felt it was time the men around there had a say, and he one-upped her by designing a mens' room equally lavish, but with a unique addition. The urinal appears to be just a rock wall over a marbled floor. Once a man begins peeing, though, his "stream" activates a laser that starts a waterfall cascading down the rocks....
Unique liveried 66623 'Bill Bolsover' passes Bournemouth on the 6M42 Wool to Neasden loaded Sand train
Perhaps the most unique building on campus, this church is home to the School of Media and Public Affairs' Electronic Media program. The cornerstone for the Union Methodist Church was laid July 1, 1843 and the church was founded February 13, 1846. After it was construction, church administrators began renting the building for use as a private school for a neighboring church. The building was also used as a hospital during the Civil War. The stained glass windows were installed in 1910. By the 1930s GW students were filling both the choir and the pews, as the university move to Foggy Bottom in 1912 had brought new members to the church. The church provided a social room for students, and even rooms for classes, meetings and music rehearsals. The 1960s and ‘70s brought social changes that affected the church. Over time the church's congregation dwindled and the church merged with Concordia Church (1920 G Street, N.W.) January 1, 1975. In 1985 the University began leasing the building from the United Church. An article in the October 30, 2000 Hatchet, reproduced below, suggested that ghosts inhabit the building.
Hatchet article:
Occasionally I get a chill down my back when I walk down the halls of Building XX, junior electronic media major Clark Harding said. Many faculty members and students believe Building XX, the laboratory for Electronic Media Program at 814 20th Street is haunted. The off-white building standing between Tower Video and Building YY of the Electronic Media Program features a large circular stained-glass window and ancient-looking architecture — easily explained by the building’s history.
The unusual academic structure was built in 1854 as a Union Methodist Episcopal Church. In 1862 the church was used as a hospital for Confederate soldiers during the Civil War, and a year later as a shelter for the Union army. People who have worked in the building for years say they believe the spirits that fill the old church date back to its days as a hospital. GW started leasing the building in 1985 and gutted it about 10 years ago to make room for new production facilities, according to Wendy Harmic, chief engineer for the Electronic Media Program. That is when strange things began happening, said Harmic, who believes whatever spirits resided within or beneath the walls of the building were disturbed when GW remodeled it.
Strange apparitions have mysteriously appeared before faculty members and rumors have recently begun circulating among students. Harding said there have been instances of the building’s elevator door opening and closing when no one was around to push the buttons. Rumors of hearing doors open and close when the building is completely locked, smelling a distinct type of tobacco smoke across the hall from room 114 and coughing noises have also surfaced, Harding said. Pamela O’Brien, assistant professor of electronic media, said she smelled smoke in the back stairwell of the building on different occasions. O’Brien said she also heard a strong, continuous cough behind her while she set up for a morning class in the building’s second-floor production studio. Upon turning around O’Brien said she saw no one behind her. O’Brien said it was then that she realized the rumors of ghosts her colleagues had told her were in fact true.
Harmic said she was grabbed by a spirit while working alone in Building XX at about 11 p.m. one night a few years ago. She said while she was leaning back in her chair she felt a man’s hands grab her shoulders. “I looked back and nobody was there,” Harmic said. Harmic said it then began to feel as if she was sitting on the lap of a person. “The entity then wrapped his arms around me,” she said. Petrified, Harmic tried to get up out of the chair but was held down by the strange force, she said. It was not until Harmic pleaded with the spirit to let her go that she was released, she said. For more than a year after her experience with what Harmic swears was a spirit, she said she would not stay in the building after hours.
One night while Harmic and another co-worker were working on some recordings and joking that ghosts did not want them in the building, Harmic said she heard footsteps and “strange things.” Harmic said she played back the recording they were dubbing when they heard the sound to discover a strange murmuring in the background. Cranking the play-back to full volume Harmic played the recording again and a forceful voice said, “Get out, get out, get out!”
That is exactly what Harmic and her co-worker did, as they fled the building as quickly as they could, Harmic said. Building YY, located adjacent to building XX, houses EMDA professor’s offices. The building’s original capacity was a parsonage that housed members of the clergy. Kerric Harvey, associate professor for the School of Media and Public Affairs, said she may have seen an apparition in Building YY. Also working late at night in her office, Harvey said she was tired but she cannot deny what she saw. Harvey was sitting at her desk when she looked into the hallway to see what appeared to be a tall woman dressed in mid-19th century garb, she said. The apparition was in a hurry and quickly fled down the stairs by Harvey’s office door, Harvey said.
Faculty members are not the only ones seeing and feeling the presence of unknown beings. According to Harmic, several years ago during a production class an umbrella sitting on one of the tables jumped up off the table and started opening and closing itself. The electronic media building is moving to the new SMPA building on the corner of 21st and H streets in January. Building XX will once again be turned into a different venue, causing more disruption for the spirits that live there. Who knows what will be awaiting the students who have the opportunity to study in Building XX, or whether they will be studying alone.
161.253.158.31/gwencyclopedia/index.php/Union_Methodist_E...
It is a brief-cut strapless short bridal wedding gown throughout a bow ornamented on the neck. The pleated silhouette throughout a ruffled hem above gives such wedding gown a sense of womanish.
Model: Simple Wedding dresses56
www.sleeveweddinggown.com/unique-strapless-soft-fluted-ru...
A shot of E68000 the unique 1000hp 3rd rail motor luggage van at Newcastle Central .. date and photographer unknown. This would later transfer to the Liverpool to Southport lines as M68000 before being scrapped in 1968. Similar in some respects to the Southern Region Class 419 but this was fitted with four traction motors and lacked traction batteries. I have seen one reference to a test on the Brighton Line prior to it being withdrawn. It is likely that its traction motors were salvaged for reuse.
Another case of a single unique Lego piece inspiring a build! I had a couple of the 2x2x5 Lattice Pillars (part no. 2580c01) in my collection, and looking at them, I thought they would make a nifty stand-in for the box girders on the corners of a GSC bulkhead flatcar. These support pieces are quite rare and expensive, so the project sat on a shelf for several months until I got around to collecting four of each color of the lattice-work pillar. Should have been smooth-sailing after that, yes?
Well, not exactly. My first plan was to make the floor of the cars entirely out of old-light-gray plates. However, I didn’t like how the studs looked (which surprised me, as I’m not usually bothered by studs) so I tried using all tiles, which was also unsatisfying. Frustrated, I did some more research into the prototype, and in doing so realized I had made a massive oversight; my plan was to use these cars for pulpwood service, and the GSC bulkheads WERE designed for pulpwood service… except that cars in pulpwood service do not have wood decking.
I briefly considered ordering a ton of red and black tiles for my models, but that would take yet more time for parts to arrive, and I felt these two cars had been sitting unfinished long enough. Thankfully, the GSC 53’ bulkhead flats DID have wood floors in conventional bulkhead service, and going for a mix of tiles and plates meant that not only did I have enough pieces to finish the floors of both cars, but I found the resulting texture to be a happy middle ground between the two extremes. Building the cars for general use instead of specifically for pulpwood also freed me from having to design a pulpwood load, a portion of the build I was quite stuck on.
This brings us on to the topic of color: the colors of the frames of each car were predetermined for me by the fact that the lattice-work pillar is only available in red and black (well, also light gray, but I’m not paying $10 apiece for them, $4 apiece for the other two colors was steep enough). I was initially leaning towards light gray for both decks, but changed the red one to have brown decking, both for contrast between the two, AND for a color experiment: many many years ago I read an article in the NMRA bulletin about open autoracks. The author had bought some cheap toy cars from the toy aisle at WalMart to fill his autoracks, and, being toys, some of them came in rather garish colors. Instead of repainting the bright ones, he found that loading the dull colors on the top row and the loud colors in the middle and bottom rows helped balance the appearance of the car. This would draw the eye in without subsequently abusing the viewer’s vision by having the garish colors on the open top row. I’ve since kept this tip in the back of my mind, and on these two bulkhead flatcars, I saw an opportunity to try the concept in both directions. I gave the black car a light gray deck and no load so it would “pop” a bit more. On the other hand, the (bright, garish) red car got a brown deck and a black load, to give it less “pop.” That said, the chains do seem to stick out a bit against the black dimensional steel load, but I’m good with that!
Decals will come for these cars one day, but they’re very low on the decal priority list. A higher priority project is to build some bulkhead flats that ARE meant for pulpwood service! Once I finish designing the pulpwood load, that is…