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Shoes Men Dress - Mr Angel Shoes offers some most innovative and visually stunning men's shoes you have ever seen. mrangelshoes.com/ From creative shoes for men to designer dress shoes, we offer shoes that you will love. We also have a large range of Red, Silver, Gold and Pink Dress Shoes for men that are cool and will blow your mind! Our shoes are perfect for all occasions - formals, dinner parties, parties, night clubs, events....even as Wedding Party Shoes. Why Shoes Are Vital to a Man's Success The modern businessman needs to be well-read when it comes to men's fashion. The way a man dresses is how he is identified by others in the office. Naturally, a traditional tie and well fitted suit are paramount. Yet, shoes sometimes get left in the shuffle. Shoes are equally important as the suit you wear to work. Shoes can make or break your outfit. If you are dressing to impress others, you better be wearing shoes that not only match your outfit, but are gleaming. With the world dressing in a more casual manner it has become increasingly difficult to distinguish between dress shoes and casual shoes. Still, some shoes can now be used for either dress or casual. The square toe and a wider shoe have become popular, replacing the thin rounder shoe. Further, this applies to both loafers and laced shoes. While many men's shoes still have the traditional heel, the wedge has suddenly become fashionable. These shoes provide a sole and heel in one mold, versus the standard heel which is separated from the sole. A good tip to follow for dressing-down is to wear a rubber soled shoe, and leave the wood soles for upscale occasions. As mentioned, many casual shoes can pass for dress shoes. How dressy your shoes are depends on where you work, and what your office expects. Still, if you work in an upscale office the classic heeled dress shoes are best. Ankle boots for men have indeed become popular casual ware and are available in either laced or Velcro style. Laces for both dress and casual shoes are thin. Stay away from sneaker type laces. Some offices allow sneakers to be worn on Casual Friday. However, this does not mean you can show up for work in the sneakers you use to mow the lawn. Yet, a casual sneaker will keep you comfortable, and you still can present the allure of passion and success. The best base colors are white, gray, and beige. This goes great with red, black and yellow for detailed colors, and does not present too loud a look. In the end, being away from the office still affords you the opportunity to wear a good-looking pair of shoes. Some of the latest hiking shoes compliment jeans and even Dockers nicely. There is no reason you cannot continue to wear great looking shoes on a Saturday night. While you might be casually dressed, you can still have an air of confidence and success. In an upscale office it is best to wear the classic heeled shoe, and make sure they are polished. Pohl is a writer for men's fashion. He also started several online tie retailers including is latest website: this site by the name of Bows-N-Ties.com that sorted ties by color. Article Source: EzineArticles.com/?expert=Hendrik_Pohl Article Source: EzineArticles.com/6031905
The 220a was succeeded in March 1956 by the 220S, which was externally almost identical, but had an upgraded version of the 2.2L inline-six (100 PS (74 kW; 99 hp), later 106 PS (78 kW; 105 hp)), due to the use of twin-carburettors.
Visually, the 220S featured a new one piece front bumper, instead of the 3-piece bumper used on the 220a. Also, the twin chrome and rubber strips running under the doors of the 220a were replaced with solid chrome strips. The most obvious difference is the addition of a chrome strip running along the front fenders and doors of the 220S.
The 220S was available with a 4-speed column shift manual transmission, with an optional Hydrak automatic clutch. This made use of small microswitches on the gear selector that automatically disengaged the clutch when the driver changed gears. Many cars have subsequently been converted to use a standard clutch, due to the high maintenece costs of continuing to use the Hydrak clutch.
Also introduced with the 220S was the W105 219, which from the a-pillar forward was essentially a single-carburettor 220a, but rearward from the a-pillar it used the shorter body of the W120/W121 180/190 models.
In July 1956 a Cabriolet (two doors, four seats) joined the line-up, and in October 1956 a Coupé version followed suit. Some Cabriolets were finished with folding rear seats to accommodate additional luggage.
Until October 1959, 55,279 220S saloons and 3,429 Cabriolets and Coupés were built.
The fuel-injected 220SE versions that officially bore the model code W128 were introduced in October 1958 and carried on until November 1960
(Wikipedia)
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Das 220 S Cabriolet wurde ab Juli 1956 angeboten. Das 220 S Coupé kam drei Monate später im Oktober 1956 auf den Markt. Es entsprach bis auf das feste Dach der offenen Version. Für beide Fahrzeuge, die auf der 220 S Limousine (W 180 II) basierten, wurden derselbe Preis von 21.500 DM berechnet.
Insbesondere die Fertigung des Ponton-Cabriolets darf als gelungene Entwicklungsarbeit gelten, war doch mit diesem Typ erstmals bei Daimler-Benz eine selbsttragende Karosserie ohne Dachstreben in Verwendung, die zur Vermeidung von Karosserie-Verwindungen eine extrem steife und damit schwerere Bodengruppe erfordert. Das Cabriolet war daher trotz kürzeren Radstands und den zwei Türen 100 kg schwerer als die Viertürer-Limousinen.
Der Motor mit 74 kW (100 PS) wurde unverändert übernommen. Mit diesem Aggregat waren die Wagen ansprechend motorisiert. Das Innere ist mit Edelholz-Armaturenbrett und Fenstereinfassungen, Lederpolsterung, Heizung und Lüftung mit Standgebläse sowie übersichtlich angeordneten Rundarmaturen ausgestattet.
Im August 1957 wurden von fast allen Typen des Personenwagen-Programms verbesserte Varianten präsentiert. Auch das 220 S Coupé und Cabriolet hatte man einer Modellpflege unterzogen, aus der beide Typen mit dezenten Modifikationen und einer auf 78 kW (106 PS) erhöhten Motorleistung hervorgingen. Äußerlich sichtbar war lediglich die Änderung der vorderen Stoßstange mit der Kennzeichenblende sowie die modifizierte Beleuchtung des hinteren Kennzeichens, die – wie bei den Limousinen – in die Stoßstangenhörner verlegt worden war.
Ab September 1958 wurden Coupé und Cabriolet wie auch die Limousine als 220 SE mit Benzineinspritzung angeboten.
(Wikipedia)
While visually these are amazing, they're impracticle and the upkeep is a chore:
-The plastic doesn't have breathability and your feet quickly become hot, making them unbearable for all day wear.
-The inside heel has only a thin strip of felt that is easily worn away and needs to be replaced often or the stitching behind can become frayed, splitting the shoe.
-The plastic as well will become cloudy over time. If left in light they will also yellow.
-High heat and humidity areas will eventually cause the plastic to become brittle and disintergrating.
*Unlike the Low-Top version, the Hi-Top has a double layer of plastic with the inner layer seperated from the stitching, perhaps to release any condensation that will build up from wear.
This visually dynamic 1960 Czech Republic badge promotes the famous International Engineering Fair (known as MSV Brno) that's been running annually from the Czech city of Brno since 1959. It is considered the premier industrial event in Central Europe with a world wide profile and reputation.
In its current format today, this major engineering Fair showcases and focuses on areas such as:
> mining, metallurgical, foundering, ceramic and glass engineering,
> material components for mechanical engineering,
> drives, hydraulics and pneumatics,
> cooling technology and air-conditioning,
> plastics, rubber technology and chemical industry,
> machining, forming and surface finishing,
> power engineering and heavy-current electrical engineering
> electronics, automation and measuring technology,
> ecological technology.
As well as hosting this particular engineering Fair, Brno, due in part to its important geographical location, has been holding Fairs since 1243. The catalyst behind the early Fairs was Brno's emerging textile industry with the first trade shows appearing in the 18th Century. Trade exhibitions since 1821 have included merchants from Vienna, Linz, Saxony, Hungary and Turkey.
Brno is synonymous with Trade Fairs reflecting its industrial, scientific and logistical hub profile within Central Europe. Along with the Brno's Industrial Engineering Fair, the city hosts multiple, diverse Fairs throughout the year embracing, for example, the areas of medical technology, automobiles, caravans, timber construction, minerals etc. Since 1928, the city has had a dedicated site for hosting trade fairs, an area that has radically grown in size throughout the subsequent decades.
From a graphic design perspective, the badge is one of those designs that is stylistically ahead of its time compared to the majority of branding work from this era. There is, primarily through the clarity of the sans serif typeface and colour scheme, an association with the 'clean' designs that emanated from the 1950s International Typographic Style (also known as Swiss Style). The typography works harmoniously with the bold directional arrows that allude to the trading exchange and transfer of knowledge between the 'East' and the 'West' (referencing Brno's pivotal geographical location). At the hub of the design is a gear or cogwheel, a well known device that symbolizes the notion of 'engineering' as well as the cycle of business, trade and knowledge generated by this Fair. The graphic on this badge is still used today (with very subtle modifications) as the brand for its International Engineering Fair - testimony to its visual durability and longevity for over 50 years... and still going strong.
Photography, layout and design: Argy58
(This image also exists as a high resolution jpeg and tiff - ideal for a variety of print sizes e.g. A4, A3, A2 and A1. The current uploaded format is for screen based viewing only:72pi)
Douglaston Hill Historic District, Douglaston Hill, Queens, New York City, New York, United States
About the district:
The Douglaston Hill Historic District consists of thirty-one wood frame houses constructed largely between 1890 and 1930. Well-preserved turn-of-the-century residential suburbs of free-standing wood-frame houses were once relatively common in New York City, but are now becoming increasingly rare due to newer development or inappropriate alterations. The majority of the houses were designed using either the Queen Anne, neo-Colonial, or Arts & Crafts styles, making the district visually coherent.
Douglaston Hill was laid out as a suburban development in 1853 in anticipation of the arrival of the Flushing & Northside Railroad.
Development proceeded slowly until the 1890s, when a small group of families acting as realtors, developers and home owners shaped the community. William J. and Josephine Hamilton, Denis and Ellen O’Leary, and several members of the Stuart family were among the first to build in the area and were all prominent residents. William Hamilton, described as the Awell-known builder of Douglaston, developed several lots. Denis O’Leary was a prominent attorney and politician who was active in civic affairs within and outside of Douglaston Hill, serving as an Assistant Corporation Counsel for New York City, Public Works Commissioner, U. S. Congressman and as a founding officer of the Douglaston Hose Company No. 1. The Stuarts were involved in different aspects of the building trades, including architect, contractor, carpenter, and painter.
Most of the houses in Douglaston Hill combine stylistic elements from architectural styles popular from 1890 to 1930. The picturesque qualities of the neo-Colonial, Queen Anne, and Arts & Crafts styles, with their intersecting rooflines, tall chimneys, clapboard and shingle cladding as well as spacious porches, link many of the houses. Nos. 240-25 43rd Avenue and 240-35 43rd Avenue were built in 1900-01 from plans by architect D. S. Hopkins by the O’Learys and the Hamiltons, respectively. They feature deep semi-elliptical porches with classical entry surrounds, Tuscan column porch supports, and complex treatment of the window groupings, including a Palladian window with decorative swags. The four houses at 240-24 to 240-42 42nd Avenue, built by the Hamiltons and the O’Learys in 1903-04, feature a complicated intersection of gables and multi-level eaves but are modestly-scaled. Homes continued to be built in the historic district through the 1920s including the 1925-26 neo-Colonial- style house at 24018 42nd Avenue, designed and built by Samuel Lindbloom, and the 1926-27 Arts and Crafts-style house at 240-11 43rd Avenue, designed by architect Aubrey Grantham.
The period from 1900 to 1930 was one of enormous growth for the borough of Queens and Douglaston. One Douglaston observer noted: ABy 1910 the old farms are disappearing....by 1920 our village assumes an air of suburban dignity. The Douglaston Hill historic district preserves this now rapidly-disappearing era of the suburban development of Queens.
Historical and Architectural Development of the Douglaston Hill Historic District
42-09 240 Street (aka 42-09 – 42-11 240 Street and 16 – 240 Street) Block/Lot: 8106/12
Date: 1926 (NB 12897-1926) Architect: Samuel Lindbloom Original Owners: Samuel Lindbloom and M. Edwin Schultz Type: Free-standing house Style: neo-Colonial Stories: 2 Materials: Wood frame covered with wood shingles, painted blue; above a concrete foundation. Notable site features: Sloping lot; cobblestone gutters; bluestone curbs; mature shrubs; concrete steps; cobblestone retaining wall at the sidewalk; brick retaining wall at the rear (east side) of the lot. Related structure on the site: Wood-frame garage.
Description: Main Façade (overlooking 240 Street): Three bays; brick and concrete stoop; gabled portico with open pediment and Doric columns; sidelit main entryway with fanlight and historic hanging lamp; non-historic one-over-one vinyl sash with pane dividers; molded window surrounds; historic paneled wood shutters; historic copper downspouts from the roof. Roof: Asphalt-shingle-covered gables with overhanging eaves; gabled dormers on the west slope with returning eaves, flat pilasters, and fanlit windows; vented cupola with surmounting, wrought-iron weathervane; brick chimney, painted gray; shed dormer on the east slope. North Façade: Irregular bay arrangement; similar to the main façade; electrical conduit. South Façade: Two-story porch, enclosed at the first story; grouped fenestration; non-historic one-over-one vinyl sash with pane dividers; asphalt-shingle-covered shed roof; square columns and railings.
Rear (East) Façade: Three bays; similar to the main façade; secondary entryway with historic paneled wood and glass door; wood porch with square columns and surmounting, asphalt-shingle-covered shed roof; non-historic one-over-one wood sash with pane dividers; historic paneled wood shutters. Garage: Two bays; asphalt-shingle-covered gable roof; non-historic aluminum roll-up doors; louvered vent.
History: This neo-Colonial-style dwelling was designed by local architect/builder Samuel Lindbloom in 1926, and was built by Lindbloom in partnership with M. Edwin Schultz, an area contractor, during the enormous growth period of the 1920s, when the population of the Douglaston/Little Neck area increased from 2,000 to 8,000 and several new houses were constructed in the Douglaston Hill Historic District on new building sites created by the continuing subdivision of the original Marathon lots; this house occupies a portion of former Marathon lot 88. In addition, there was a growing interest in historic preservation and Colonial architecture in the 1920s, and Lindbloom was clearly a proponent, having produced three neo-Colonial-style houses in the historic district, as well as having moved and restored the adjacent house at 240-02 42 Avenue. This house features a symmetrical 2 ½-story, three-bay façade, plus a one-story side porch to the south.
It is distinguished by its gabled entry portico with an open pediment and Doric columns, a sidelit main entryway with a fanlight and paneled door, and molded window surrounds. The gabled roof has overhanging eaves and gabled dormers with eave returns, flat pilasters, and fanlit windows. The roof is surmounted by a vented cupola with a wrought-iron weathervane and a tall brick chimney. There is a one-story, wood-frame garage located, built at the same time as the house, at the rear of the lot, and entered via a driveway leading from 42 Avenue. The house’s neo-Colonial-style design reinforces the strong suburban character of the neighborhood. It is remarkably intact.
Introduction
The Douglaston Hill Historic District, located in northeastern Queens near the border with Nassau County, is significant for its principles of mid-nineteenth and early-twentiethcentury community planning and development, and as an example of an early twentieth century suburb. The district consists of thirty-one freestanding single-family homes that are fine examples of many late nineteenth and early twentieth century architectural styles, including Queen Anne, Colonial Revival, Shingle, Arts and Crafts and Tudor Revival. The district’s parklike setting, architectural expression and social history, represents the evolution of the commuter suburb, and is a precursor to the speculative suburban development which remade Queens in the twentieth century.
This transformation of Queens from colonial villages, estates, and small farms to commuter suburbs was typical of American settlement patterns in many parts of the country. The dramatic spatial change that this pattern of growth brought about – and the parallel development of a quintessential American lifestyle – were due to several factors. Rapid advances in transportation, particularly the steam railroad in the first half of the nineteenth century, made long-distance commuting possible. New levels of personal wealth following the Civil War, coupled with the pervasive cultural values of mainstream Victorian society, gave rise to a middle class that embraced virtues of domesticity, home ownership, and life in a sylvan setting. These values were made manifest in the commuter suburb, which placed the single-family house in a non-urban setting, convenient to the city by rail.
By 1939, the Federal Writers’ Project New York City Guide had designated Queens the “borough of homes,” a result of some fifty years of intensive speculative, mostly suburban, housing development. This development had its roots in planned developments of the 1870s and was greatly accelerated by the consolidation of New York City in 1898 – specifically by the public transportation improvements, large-scale middle-class migration, and public works it brought to the new Borough of Queens.
In the Douglaston Hill Historic District, this history of community planning and development, from the 1850s to the 1920s, can be read in the district’s topography, layout, and architecture. Most of the houses in the Douglaston Hill Historic District feature stylistic elements of popular architectural styles from the 1890s to the 1920s, which contribute to the district’s visual coherence. The historic district’s buildings display a high level of architectural quality, and constitutes a distinct sense of place. It is a significant reminder of the historic and cultural development of suburban Queens.
Early History
The Native American presence on the Little Neck peninsula, today known as Douglaston, included the Matinicoc, one of the Munsee-speaking groups of western Long Island. Their land during the contact period (1550 – ca. 1750) reputedly extended from Newtown eastward to the Nissequogue River and southward to the center of Long Island. Their name roughly translates to “at the hilly land.” The Munsee were a loosely-related Lenape group whose settlements included larger villages at river mouths and smaller camps in areas utilized for subsistence activities. By the mid-1600s, several English and Dutch colonial towns and farming villages had been established in what is now northeastern Queens, such as Mespat (Maspeth), founded in 1642, Vlissingen (Flushing), founded in 1643, and Jamaica, founded in 1650. Colonial settlement along the northeastern shore began near Alley Pond in 1647, and a decade later when, in 1656, the Dutch assigned to Thomas Hicks a peninsula then called “Little Madman’s Neck,” which encompassed much of the present-day Douglaston. Hicks evicted the Matinecoc Indian Tribe from its fishing ground on Little Neck Bay in the 1660s in what is the only such seizure of property documented in Flushing town records.
In 1683, Queens County was established as one of ten English counties, divided into five towns: Newtown, Jamaica, Flushing, Hempstead, and Oyster Bay, made up of various villages and settlements. The Alley Pond settlement, including present-day Douglaston, lay within the town of Flushing. Farming was the primary use of the land, with a few prominent families owning most of the land. A number of estates were built in the area prior to the Revolutionary war, including the Van Wyck House of 1735 (126 West Drive, aka 37-04 Douglaston Parkway, both an individually designated New York City Landmark and located within the Douglaston Historic District). During the Revolutionary War, Queens County served as a staging ground for British troops, and by the war’s end in 1783, the extensive tracts of primeval forest that had characterized the county had been devastated and many of its farms had been pillaged.Recovery and growth were slow in the first half of the nineteenth century, but transportation improvements, such as turnpikes and railroads, led the way for future settlements.
Origins of Douglaston Hill
In 1813, ownership of the land presently comprising the Douglaston Hill Historic District and its environs passed to Wynant Van Zandt III (1767-1831). A prominent New York City merchant, he had been a city alderman and a vestryman of Trinity Church in Manhattan before retiring to Little Neck as a gentleman farmer. He built a large manor in 1819, which survives as the Douglaston Club (600 West Drive, located in the Douglaston Historic District). Van Zandt kept his property in agricultural use. He also took an active interest in the civic affairs of the community around Alley Pond. In 1824, he financed the construction of a causeway across the marsh, creating a more direct and efficient route to Flushing. In 1829, he bequested land and funds for the construction of Zion Episcopal Church, which was completed the following year.
A few years after Van Zandt’s death in 1831, the family sold the estate. The waterfront peninsula portion of the property (which now partly comprises the Douglaston Historic District) was sold to George Douglas. The portion to the south, encompassing what is now Douglaston Hill, was sold in 1834 to Joseph DeForest. One year later, Cortland Van Beuren acquired the property from DeForest. Van Beuren sold it in 1843 to Jeremiah Lambertson, a local farmer, who held the property until 1853, when he laid it out in an urban grid, named the subdivision Marathon, and sold the lots at auction. The timing of Lambertson’s subdivision suggests that he was anticipating the arrival of passenger train service on the Flushing and Northside Railroad, which was being extended eastward at the time, reaching Flushing in 1854, with plans to reach Great Neck, Long Island, via Douglaston, by the late 1860s.
On February 15, 1853, the Flushing Journal reported that a party of sixteen persons arriving by omnibus had purchased the Lambertson farm with the intent of building country seats upon it. Property deed records show that title was transferred on July 23 and 27, 1853 to twenty-five buyers, with most buyers purchasing three or four lots each. Lambertson had laid out generous 200 foot by 200 foot lots on the sloping land, and named the streets for trees: Pine, Cherry, Poplar and Willow. The Lambertson family continued to be an important presence in the area, retaining their farmstead located at Northern Boulevard and Main Street (now Douglaston Parkway) into the 1870s.
Suburban Context
Because the Douglaston Hill subdivision was one of the earliest in northeastern Queens (Woodside and Bayside, both earlier stops on the Flushing and Northside Railroad, were not laid out until 1867 and 1872, respectively), its evolution from mapped lots to built form provides a window into how the commuter suburb developed as a physical and psychological manifestation of American middle class values. The ideas of a new and distinct form of community planning had their origins in the garden city movement of England of the 1820s, wherein the characteristics of rural, domestically-centered pre-industrial environments were consciously incorporated into new towns. These ideas were becoming more widely known around the time of the Lambertson subdivision. Their first expression in the United States was in the picturesque, semi-rural cemeteries created in the 1830s. City dwellers used these cemeteries as parks and picnic grounds. Many early suburban residential projects incorporated design elements of the cemeteries, such as contrived naturalistic landscapes and street names evoking natural features.
By mid-century, a group of writers and designers had created a “cult of domesticity,” proclaiming the moral virtues of family, home ownership and semi-rural living. Catherine Beecher’s widely read Treatise on Domestic Economy (1841), and Andrew Jackson Downing’s A Treatise on the Theory and Practice of Landscape Gardening (1841), were among the first books to offer house plans, and argue that gardens and home ownership were key to harmonious family life. These books were instrumental in formulating the American domestic ideal and the development of the American suburb. By the 1850s, many of Downing’s principles were being expressed in the suburban developments created by his partner Calvert Vaux, architect Alexander Jackson Davis, and the landscape designer Frederick Law Olmsted.
In 1853, Davis and Llewellyn Haskell, a developer, created Llewellyn Park, New Jersey, the first American suburb. Twelve miles from Manhattan, and just outside of the City of Newark, New Jersey, it was a 350-acre development with a strip of common parkland, curving streets, a consistent architectural expression, and a pastoral landscape. Llewellyn Park embodied the essence of what would become the characteristic suburb, except that it was several miles from a railroad station and thus impractical for all but the very wealthy. In the following years, Davis’s and Haskell’s concept was emulated and refined in new suburban developments throughout the eastern and mid-western United States. Often, these new communities were created around a town center and/or a railroad station, and included stipulations that ensured the creation and protection of a certain desired character through the use of restrictive covenants concerning the size of the lots and the siting of the houses.
Laid out around the same time as Llewellyn Park, the Lambertson subdivision at Douglaston Hill lacked the curving streets and instead consisted of a traditional street grid and lotting system, but the commodious lots were consistent with the suburban principles being advanced at the time. Douglaston Hill’s main development, however, occurred some forty years later, approximately between the years 1890 and 1930. Since restrictive covenants were not in place and most of the original lots were subsequently divided, the Douglaston Hill Historic District came to display greater density and architectural variety than many similar developments. It nevertheless maintains many of the design and social values of the suburban ideals of Downing, Davis, and the others.
Early Development
At the time of the 1853 Marathon subdivision, the Village of Alley Pond was a shipping and trading hub, its general store providing an immense variety of goods, “from needle to anchor.” A community of oystermen was thriving, with more than a dozen sloops and schooners operating on Little Neck Bay at the foot of Old House Landing Road (now Little Neck Parkway). Two possible oystermen cottages from the early or mid-nineteenth century may have
survived within the Douglaston Hill Historic District. No. 240-27 Depew Avenue (originally Willow Street) is a 1 ½-story, altered frame cottage with some vaguely Greek Revival-style detailing, such as the smaller second-story fenestration that are characteristic of rural house design in the first half of the nineteenth century. The house, which is situated very close to the front of the lot and below the grade of Depew Avenue, is currently three bays wide, and has a one-story wing on its west side that looks to have been added later in the nineteenth century, or possibly the early twentieth century. The building appears on the Beers Atlas of 1873, which is the earliest-available map of the area showing buildings. The house possibly predates the 1853 subdivision and sale, and could have been built by Jeremiah Lambertson or Cortland Van Beuren. Another possibility is that it was moved to its present location sometime before 1873, possibly by William Holland, one of the original purchasers in 1853. The neighboring house at 240-35 Depew Avenue may be of a similar origin, but was greatly expanded and appears to have been moved to the rear of the lot in the early-twentieth century. The house includes an original 1 ½-story wing, similar in proportion, material, and detail to 240-27 Depew Avenue.
In 1866-67, the Flushing and Northside Railroad reached the Little Neck area. William Douglas donated a farm building from his estate to serve as the railroad station; in exchange, he asked that the station and the village around be called Douglaston. The arrival of the railroad greatly reduced travel time to the city, but the trip still required taking a ferry from Long Island City to Manhattan. Douglaston remained relatively isolated, slowly attracting new residents. The house at 41-45 240 Street (originally Prospect Avenue) appears to date to period of the railroad’s arrival. This two-story frame, altered Italianate-style house, which appears on the 1873 Beers Atlas, still occupies its original 200 by 200 foot lot that was purchased by August Michan of New York in 1853. The way the house is positioned at the back of its lot reflects early suburban ideals. By 1873, the house was occupied by Alexander Taylor, who remained there and may have owned it until 1900.
Area census records from 1870 and 1880 portray a rural population comprised of farmers, farmhands, baymen, laborers, oystermen, house keepers, grooms, coachmen, wheelwrights, and stone masons, as well as a stockbroker and an insurance agent.
Suburban Growth 1890-1930
In 1887, just prior to Douglaston Hill’s key period of growth, the Flushing Journal reported on the area’s idyllic setting: “Possessing all of the requisite features which tend to make a place of sojourn acceptable, Douglaston, indeed, is the Elysium of restfulness and peace. From the old curbed wells that can be found in the yards of most of the farm houses to the stately trees that line the drives leading to the same – everything smacks of rural life in its most pleasing form.” By the turn of the century, new residents – both permanent and seasonal – were introducing a middle-class commuter population into this secluded hamlet community. Around
the turn of the century, many of the generous lots were being subdivided, wherein the 200-foot front to rear dimensions were retained, but the 200-foot side-to-side dimensions were reduced. Later, some lot widths were reduced even more. The houses were built mainly in the same plane, near the street and centered on their lots. Many of the houses were built speculatively, although some were erected specifically for occupancy by their owners. The houses modestly combine stylistic elements from popular styles, especially those found in the neo-Colonial style, although some of the turn-of-the-century houses display Queen Anne- and Shingle-style influences, while some from the 1920s have Tudor- and Arts-and-Crafts-style elements. The presence of porches, high chimneys, projecting eaves, and bays embrace the picturesque suburban ideals of the late nineteenth and early twentieth centuries.
Mass-produced construction components and rail transportation gave rise to the freer plans and excesses of late nineteenth and early twentieth century architectural styles. The picturesque qualities of weatherboard and wood-shingle cladding, intersecting rooflines, tall brick chimneys, and spacious porches link many of the houses in the Douglaston Hill Historic District. An eclectic use of classically-inspired detailing, characteristic of the neo-Colonial style, is prevalent: patterned shingle ornament, Palladian window groupings, molded window and door surrounds, and pedimented porticos. The historic district’s pre-World War I houses reflect a combination of stylistic influences – and particularly illustrate how such influences are incorporated into basic vernacular forms by local builders. They feature a complicated intersection of gables and multi-level eaves, but are modestly-scaled and otherwise simple in architectural expression. The houses maintain a vernacular simplicity, while also expressing a link to popular architectural styles.
Two new houses were completed by the turn of the century. The altered neo-Colonialstyle house at 240-44 43 Avenue was built c.1891-1900 by either local postmaster and gardener Albert Benz or box manufacturer Adolph Helmus. This house is 2 ½ stories and features a wraparound porch and intersecting gable roofs -- popular architectural forms during this period. The shingled Queen Anne-style house at 42-25 240 Street was built in 1899-1900 for Jeannie Clark. Featuring a polygonal corner tower and turret with paneled moldings and brackets, and a tall brick chimney, this 2 ½-story house was designed by architect John A. Sinclair and constructed by builder Herman Haak. The original siting of the houses, which included a large sideyards that were later developed reflect a continuation of the mid-nineteenth-century suburban ideals embodied in the original Marathon subdivision, while their picturesque roofline reinforce the strong suburban character of the neighborhood.
From 1900 until the First World War, fifteen of the historic district’s thirty-one houses were built. Of these, three families were responsible for at least twelve of the fifteen houses. This small group, whose actions as realtors, builders, and home owners shaped the community both physically and socially, were some of the area’s most prominent residents. William J. Hamilton and his wife, Josephine, were probably the first to develop houses speculatively in the Douglaston Hill area, and constructed six of the houses in the historic district. In his brother’s obituary in 1907, Hamilton was described as the “well-known builder of Douglaston.” Denis O’Leary and his wife, Ellen, also Douglaston Hill residents, built another four, while members of the Stuart family – John, Frederick, Charles, and James, Jr. – constructed three adjacent houses on 43 Avenue.
Denis and Ellen O’Leary were Douglaston Hill residents from about 1901 through 1943, the year that Denis O’Leary died. Denis O’Leary was typical of an early suburban commuter. A prominent attorney and politician, he was active in civic affairs. He served as an Assistant Corporation Counsel for New York City, Public Works Commissioner, Queens District Attorney, and United States Congressman. Locally, he was a founding officer of the Douglaston Hose Company No. 1, and was active in numerous charitable and fraternal organizations, including the Shinnecock Democratic Club of Flushing, the Flushing Council, the Catholic Benevolent Legion, and the Holy Name Society of Sacred Heart Church.
Each member of the Stuart family, also long-term Douglaston Hill and Little Neck residents, worked in differing areas of the building trades and appear to have collaborated in the construction of several houses. John Stuart of Little Neck, whose name often appeared as the architect of record on plans filed at the Department of Buildings, was listed as a building material supplier in early-twentieth-century city directories and censuses. His building plans were often noted in the local newspapers, such as the Flushing Daily Times. The same sources described James Stuart, Jr., as a contractor, Frederick Stuart as a painter, and Charles Stuart as a carpenter.
The Hamiltons’ involvement in the Douglaston Hill Historic District began in the 1890s with the Queen Anne-style house with Colonial Revival elements at 240-45 43 Avenue (originally Pine Street). He was listed as the house’s owner in the property tax rolls in the year 1900, the first year that complete tax records for this section of Queens were produced; however, the title for this property is incomplete and it is not known when he acquired it from the previous owner, Florence Wakeman. The house occupies a portion of the original Marathon lot 93, which Hamilton acquired from Wakeman along with lots 89 and 94, according reference in a deed for an adjacent property recorded in 1918. The design of this house, which features a wraparound porch, projecting attic pediment with decorative shingles and supporting brackets, and a Palladian window, is attributed to local architect/builder Samuel Lindbloom, who in 1890 designed and built the nearly identical rectory of the nearby Zion Episcopal Church, located at 242-02 44 Avenue (not in the historic district). The original siting of the house, which sat at the western third of the original 200-foot-wide lot and included a large, wooded side yard to the east (now occupied by two houses built in 1913-14 and 1958-62) and its Queen Anne- and Colonial Revival-style architecture reflect picturesque, mid-nineteenth century suburban ideals.
In 1898, the Hamiltons sold the western half of Marathon Lot 94 to Denis and Ellen O’Leary, and in 1900, both families began constructing nearly identical neo-Colonial style houses on these 100-foot-wide properties, located at 240-35 and 240-25 43 Avenue, respectively. The houses were designed by the architect D.S. Hopkins of Grand Rapids, Michigan, who published several books of house plans from the 1890s through the 1920s. The design chosen by the Hamiltons and the O’Learys was distinguished by two-story, paneled pilasters on the main façade (presently obscured by aluminum siding on 240-25) and by a semicircular front porch with turned columns on paneled bases, denticulated crown, and rooftop
balustrade. The asymmetrical rooflines consist of intersecting overhung gables and hips on scrolled brackets, a hipped dormer facing the front, and a tall brick chimney. The siting of the houses, set back on large, wooded lots, reflect the continuing influence of the ideals of bucolic suburban living that guided the creation of the original subdivision in the 1850s.
In 1901, the Hamiltons sold the western half of Marathon Lot 89 to the O’Learys, and in 1903, both parties began nearly-identical developments once again. This time, however, the lots were divided into narrower 50-foot frontages and four neo-Colonial-style houses were built from 240-24 through 240-42 42 Avenue. The designs were produced by the architectural firm, Frank
P. Allen & Son, another well-known producer of plan books, also based in Grand Rapids.These houses originally featured a variety of details, such as intersecting roof gables, overhanging eaves, wide front porches with turned columns, and wide window surrounds. The narrower building lots and siting of these houses closer to the street reflect the evolution of Douglaston Hill from an area of wooded country estates to a twentieth-century commuter suburb. The original, asymmetrical massing of these houses, as well as later alterations, lend visual interest to their nearly-identical designs.
In 1907, the Hamiltons built a neo-Colonial-style house at 240-48 43 Avenue, designed by Frank P. Allen, on property they purchased from the Estate of Albert Benz that was part of the original Marathon lot 99. The house is characterized by its intersecting roof gables with a broad north slope that flares out to form the roof of the front porch, which is supported by tapered columns. The main entryway is recessed behind the porch. A wide gable sits on the roof, which is topped by a tall brick chimney. Also that year, Marathon Lots 97 and 98 were subdivided into four building lots and sold by owner W. Watson to four parties who completed houses on them in the following year. Among the developers were the Hamiltons and the O’Learys, who again built similar side-by side neo-Colonial-style houses with Arts and Crafts-style elements. However, the O’Learys built 240-34 43 Avenue from plans made by the Keith Corp. of Minneapolis, another prominent producer of architectural plan books, while William J. Hamilton was listed as the architect for 240-40 43 Avenue. Both houses feature symmetrical, three-baywide façades that are distinguished by a full-width front porch with segmental openings, topped by balcony at the second story. The houses are topped by a prominent hip roofs and tall brick chimneys. Their smaller lots reflect the neighborhood’s transition from an area of country estates to a commuter suburb in the early twentieth century, while their picturesque rooflines and spacious porches reinforce the strong suburban character of the historic district.
The other two other houses built on the former Watson property were developed by individual owners. No. 240-22 43 Avenue was built by Catherine T. Burne of Douglaston from plans filed by George W. Cornell, a Little Neck contractor. This 2 ½-story house consists of two intersecting wings creating an L-shaped plan that is unified by a full-width front porch that wraps around the front wing and fills the recess formed by the setback. The roof of the porch is supported by Doric columns and shades the sidelit main entryway. The façade features molded window surrounds, and an imposing hipped roof on curved brackets with exposed rafters, hipped dormers, and a corbelled brick chimney. No. 240-16 43 Avenue was built by Adolph Helmus of Douglaston from plans filed by Walter J. Halliday of Jamaica, Queens. This 2 ½-story house is distinguished by a wraparound front porch with Doric columns, a paneled wood-and-glass main entryway with a molded surround, wide window enframents, an overhung roof comprised of intersecting closed gables, round-arch windows in the gable-ends, and a corbelled brick chimney. Helmus and his wife, Otillie, occupied this house for many years. In 1915, meetings that led to the founding of St. Anastasia Roman Catholic Church were held at the Helmus residence. Masses, baptisms, and church meetings also took place in this home while the congregation was being formed.
The Stuart family developed three adjacent, neo-Colonial-style houses on 43 Avenue between 1903 and 1905. The first two were the nearly identical buildings constructed in 1903-04 at 242-09 43 Avenue and 242-19 43 Avenue, which were subsequently occupied by Frederick Stuart and Charles Stuart, respectively. These 2 ½ -story, two-bay-wide houses are distinguished by their full-width front porches, intersecting gable roofs, and tall brick chimneys. In 1904-05, John Stuart designed a much larger house at 242-03 43 Avenue for James Stuart, Jr. This fourbay-wide house is also two-and-a-half stories, but is distinguished by its wide, wraparound front porch with Tuscan columns, its molded window and door surrounds, prominent hip roof with flared and overhanging eaves, gabled dormers with eave returns, and tall, corbelled brick chimney. The neo-Colonial-style designs of the houses and their picturesque rooflines reinforce the strong suburban character of the neighborhood.
The Hamiltons’ last project in the district is the Arts and Crafts-style house at 242-01 43Avenue, which they built in 1913-14 from plans filed by contractor Isaac Beers of Little Neck. The three-bay-wide house features segmental first-story fenestration, recessed main entryway with a hooded surround, and the composition is dominated by the broadly-sloping roof with the building’s second story incorporated beneath a wide shed-roofed dormer. The house’s Arts and Crafts-style design and low roof profile reinforce the strong suburban image of the historic district. After the completion of this house, development in the Douglaston Hill Historic District halted until World War I was concluded.
In the first decade of the twentieth century, frequent reports by the Flushing newspapers recorded the comings and goings of seasonal and permanent residents in Douglaston, which included a mix of professional men and business owners. Census records from 1900, 1910 and 1920 show a range of occupational categories for Douglaston Hill – from professions such as chemist, lawyer, teacher, banker, builder, jeweler, merchant, post office and railroad stationmaster to laborers such as blacksmith, mason, shoemaker, domestic, factory worker and laundress.
Another period of enormous growth took place in the 1920s with the continuing subdivision and development of the original Marathon lots. Approximately 2,000 people lived in Douglaston-Little Neck in 1920. Just ten years later, the area’s population was 8,000. Houses built during this period reflected the continuing influence of Colonial precedents, as well as the new popularity of Tudor Revival and Arts and Crafts styles, and reinforce the strong suburban image of the historic district. Classicized detailing, symmetrical forms, formal entryways, and pediments continued to be found on the neo-Colonial-style houses. Deeply overhanging roofs, exposed rafters, and decorative brackets characterized the Arts and Crafts-style houses, while Tudor influences include steeply-pitched roofs, overlapping gables, and faux half-timbering.
In 1921, the neo-Colonial-style dwelling with Arts and Crafts-style elements at 240-01 42 Avenue (aka 41-53 240 Street), was built for Oscar Armbruster, vice-president of Chase Bank, from plans made by architect Henry A. Erdmann. It was constructed by S. Braithwaite, a builder based in Long Island City, who was listed as the building’s architect in records on file at the New York City Department of Buildings. Erdmann was a Manhattan architect who was in practice during the first decades of the twentieth century, and was in partnership with Henry C. Hahn during the 1910s (Erdmann & Hahn). This 2 ½-story frame and stucco house consists of a three-bay-wide main block with a one-story sideporch on the south side. The building is characterized by brick highlights at its base, first-story oriels, and an overhanging, slate-covered hip roof with copper seams and hipped dormers. The positioning of the house, which is set back from the street beyond a sloping, wooded expanse, reflects the continuing influence of the ideals of bucolic suburban living that guided the creation of the original subdivision in the 1850s. In 1922-23, owner David W. Barnes, an electrical engineer, erected a Tudor Revival-style dwelling at 42-17 240 Street from plans filed by A.F. Bruns of Corona, Queens, on a lot that the Barnes family owned since 1910. This 2 ½ story, frame and stucco house features half-timbered highlights, a wood entry porch with hewn columns, a first-story oriel, and a gabled roof with a broad west slope that flares out to form the roof of the porch. The building’s second story is partially formed by a wide, shed roof dormer. The house’s Tudor Revival-style design and picturesque roofline reinforce the strong suburban character of the neighborhood.
Between 1925 and 1927, the local architect/builder Samuel Lindbloom produced three of the five new houses in the historic district, and was responsible for the relocation, enlargement, and alteration of another. In 1925, Lindbloom built the neo-Colonial-style house at 240-17 43Avenue for A.R. Newman. It was designed by local architect Aubrey B. Grantham, whose frequent collaborations with Lindbloom included the new Zion Episcopal Church in 1924-25 (not located inside the historic district). This two-story house consists of an L-shaped plan topped by a roof composed of intersecting gables with overhanging eaves. The building’s second story is partially incorporated within shed-roofed wall dormer filled with multi-pane casements; the facades feature wide, molded window surrounds. The house is further characterized by the placement of its main entryway on the west side of the building, entered via a gabled porch with a built-in bench. A tall brick chimney projects from this façade and towers over the roof. In 1925-26, Lindbloom designed a neo-Colonial-style dwelling at 240-18 42 Avenue for Lynne Nicholas, wife of the silk manufacturer, Blaine J. Nicholas. This two-story house, which occupies a site that slopes to the west, is distinguished by the mannered use of the classical vocabulary and a dramatic westward-sloping roof which flares out over the main entryway and enclosed porch. The basement rises to full height below the entryway and porch and contains the house’s garage, which is entered via the west side. In addition, the house’s main entryway and paired fenestration are topped by curved pediments. In 1926, Lindbloom designed the neoColonial-style house at 42-09 240 Street, which he developed in partnership with M. Edwin Schultz, another area contractor. This time, Lindbloom composed a more traditional symmetrical façade for this 2 ½-story dwelling, plus a one-story side porch to the south. The three-bay-wide façade features a gabled entry portico with an open pediment and Doric columns, a sidelit main entryway with a fanlight and paneled door, and molded window surrounds. The gabled roof has overhanging eaves and gabled dormers with eave returns, flat pilasters, and fanlit windows. The roof is surmounted by a vented cupola with a wrought-iron weathervane and a tall brick chimney.
Lindbloom’s final-known contribution to the Douglaston Hill Historic District is perhaps his most interesting. The main wing of the sprawling house at 240-02 42 Avenue is an Italianate-style house, built c.1850, that was moved to this location in 1927, where it was renovated and enlarged. Lindbloom served as the architect, and is listed as part-owner of the property with M. Edwin Schultz; however, they transferred ownership during construction to Carra U. Alexander, wife of Gavin Alexander, the president of the Braithe Manufacturing Company. The house’s complex footprint consists of five attached sections of varying sizes and heights, visually unified by a large screened porch with a dramatically-sloping, concave roof, and by the approximation of the original, carved façade ornament of the c.1850 wing on the building’s later additions. It is topped by a prominent brick chimney. In the 1920s, it was fairly common to move older houses to new locations, usually to make way for more dense commercial or residential development on the original sites. In addition, interest in historic preservation and Colonial architecture produced many sympathetic rehabilitations of older houses, such as this one.
Three additional houses were constructed in the historic district in the 1920s. The Arts and Crafts-style dwelling at 240-11 43 Avenue was designed by Aubrey B. Grantham and built in 1926-27 by mason/builder Charles H. Platt for his own use. This 1 ½-story house features a wood porch at the main entryway with turned columns and a bracketed roof, paneled entry door with a molded surround, a wood-frame car port on the east side with a slatted roof and carved brackets, a broadly-sloping gable roof with overhanging and returning eaves, and a prominent brick chimney. The architect of the neo-Colonial-style house at 35 - 240 Street (aka 41-10 240 Street), built c. 1928, remains undetermined, while the developers were either Frederick E. & Caroline E. Hollweg, who purchased the property in 1924 or Herman I. Epstein, who acquired it from the Hollwegs in 1928. Hollweg was a bank president and area resident; Epstein, whose was retired, occupied the house into the 1930s. This three-bay-wide, frame and stucco dwelling has its main façade oriented toward the south rather than toward 240 Street. The house is distinguished by its steeply-pitched gable roof, gabled entry porch, shed dormers, and massive brick chimney. The neighboring house at 41-18 240 Street, also built c.1928, is a more conventional neo-Colonial-style design by an architect who remains unidentified. Its developer was either the Hollwegs, who had owned the lot since 1924 or Alexander H. Tompkins, a confectioner, who acquired the property in 1928. This three-bay-wide house contains a centrally-located main entryway beneath a gabled hood, molded window surrounds, multi-pane sash, a gabled roof covered with slate, and a prominent brick chimney.
As the 1920s drew to a close, so did major development in the Douglaston Hill Historic District, which by then had developed into a comfortable suburban community comprised of a substantial dwellings occupying many differently-sized properties. This environment remains largely intact to this day.
Later History
During the 1930s and 40s, no additional houses were constructed in the Douglaston Hill Historic District, but several garages were built as automobiles became the prevalent mode of transportation. Also, a number of houses were modestly expanded in size with the addition of side and rear wings, and the enclosure of porches. Some siding and roofing were replaced, often with new, up-to-date materials, such as asphalt and asbestos shingles. These trends continued into the 1950s and 60s when aluminum siding was gaining in popularity as a replacement material.
The final house to be constructed in the historic district is the postwar Modern-style dwelling at 240-51 43 Avenue, which was designed and built by Thomas Arcidiacono in 195862, on a lot that formerly belonged to 240-45 43 Avenue. This 1 ½-story house consists of three wings of varying heights, including one which is offset to create the building’s asymmetrical plan. The house is further characterized by its flat roofs with wide overhangs, exposed joists, ribbon windows, and veneer brick highlights.
Minor alterations, window replacements, and additional residings took place during the remainder of the twentieth century. Vinyl siding joined aluminum as a favorite replacement material, and aluminum and vinyl replacement sash were installed on many of the houses. Some stoops and porches were rebuilt, and new paving materials were sometimes introduced. Nevertheless, a larger number of homeowners in the Douglaston Hill Historic District chose to maintain original building fabric during these years and to replace worn materials in kind, or even to restore lost detail. As a result, the district continues to evoke the nineteenth and early-twentieth century suburban ideals that guided its development and displays a distinct sense of place.
- From the 2004 NYCLPC Landmark Designation Report
Photo: Adrian Hopkins.
Published in: Revue de Santé Oculaire Communautaire Vol. 7 No. 8 Janvier 2010 www.revuesoc.com
A visually stunning badge that branded the 1958, European Women's Basketball Championship. Held in Łódź, Poland, it's a design that appears out of synch with typical graphics from the 1950s with a heavy emphasis on colour, pattern and spontaneity - more aligned to late 20th Century graphic design. The strong chromatic pattern, contrasts superbly with the raised, three dimensional FIBA basketball as it hovers invitingly over the net. The typography announces the event and location and has been handled sensitively, following the linear horizontal/diagonal of the pattern.
The 1958 event in Poland was the 6th championship held by 'FIBA Europe' for women. The competition in Łódź took place between 9th -18th May with Bulgaria winning gold, Soviet Union silver and Czechoslovakia bronze.
The FIBA abbreviation on the badge stands for the International Basketball Federation and emanates from its original French name, 'Fédération Internationale de Basketball Amateur.' In 1989, the word 'amateur' was dropped for the revised title of 'Fédération Internationale de Basketball' - the last two letters BA within FIBA now represent the first two letters of BAsketball. FIBA is the world governing body of basketball, defining the rules, equipment, appointment of international referees and the transfer of players across countries.
Photography, layout and design: Argy58
(This image also exists as a high resolution jpeg and tiff - ideal for a
variety of print sizes e.g. A4, A3, A2 and A1. The current uploaded
format is for screen based viewing only: 72pi)
Item on display at the “Multisensory Exhibition for the Blind and Visually Impaired Persons” that shows how visually impaired persons experience artwork via tactile plates and audio guides.
Curated by art historian and art educator Nataša Jovičić and the Modern Gallery, Zagreb, Croatia, the exhibition also sensitizes others to how people living with limited vision experience the world.
The exhibition was held on the sidelines of the Assemblies of WIPO Member States, which met from September 24 to October 2, 2018. WIPO co-organized the event with the government of Croatia.
Copyright: WIPO. Photo: Violaine Martin. This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 3.0 IGO License.
When you lose your sight, a white cane becomes an essential tool in your daily life. If you're blind or visually impaired, white cane is a tool that enables you greater independence. However, if you think that it's a very simple tool, think again.
First of all, there are different types of canes: long cane, guide cane, identification cane, and support cane. They can be folding, telescopic, or rigid.
Canes can also be made of different materials: wood, aluminum, graphite, etc.
Then, there are also different types of cane tips that you can choose from: pencil tip, jumbo roller tip, rural tip, marshmallow tip, etc.
Although the cane sounds like a very easy tool to use, it's actually not. To be able to travel with a white cane safely, you need to learn a few techniques. First, you have to know how to hold the cane correctly. Then, there are the techniques of walking:
"The most commonly used techniques are:
•Diagonal technique: The cane is held in front, and slightly diagonally across the body. The tip is in contact with the ground or just above.
•Touch technique: The cane tip is arced from side to side. When the left foot steps forward the cane sweeps to the right, and when the right foot steps forward the cane sweeps to the left. This technique allows safe travel in all environments by clearing the area for each step before it's taken.
•Constant contact technique: The cane is held in front and sweeps from side to side. The tip remains in contact with the ground.
•Shoreline technique: The cane is used to follow a line such as a wall, a fence or the edge of a footpath."
( Cane Q&A / Guide Dogs NSW/ACT)
As a tribute to the White Cane Safety Day 2012, I decided to make a few of these white cane bracelets from Hama beads and give them away as gifts to my friends.
Keep the comments clean! No banners, awards or invitations, please!
Photo: Mark Holtzman; www.photopilot.com
Portraits of Hope's unprecedented Los Angeles coastline public art and civic project involving more than 10,500 kids, adults and volunteers, which visually transformed all 156 Los Angeles County beach lifeguard towers on 31 miles of beach – including Malibu, Will Rogers, Santa Monica, Venice, Marina Del Rey, Playa Del Rey, El Segundo, Manhattan Beach, Hermosa Beach, Redondo Beach, Torrance, Palos Verdes, and San Pedro. www.portraitsofhope.org
Summer of Color -- A Portraits of Hope Project
Portraits of Hope's LA County Public Art and Civic Project – LA County Lifeguard Towers
Conceived and Developed by Ed Massey and Bernie Massey, Founders of Portraits of Hope
156 Los Angeles County Lifeguard Towers
31 Miles of Beach and Coastline
10,500 Children and Adults
118 Participating Schools, Hospitals, Social Service and Civic Institutions
350,000 Sq. Ft of Paintings
Youth and Program Sessions in Greater LA
Project-based learning: interdisciplinary contemporary issues and civic education and leadership sessions for schools, grades 2 -12
Creative therapy sessions for hospitalized children and persons with disabilities; including cancer, orthopedic ailments, burn trauma, brain and neck injuries, visual impairments, and other serious conditions
6-month program and collaborative phase
5-month Los Angeles County beach public art exhibition
Close Cooperation with LA County Supervisors Zev Yaroslavsky and Don Knabe and the LA County Department of Beaches and Harbors and LA County Lifeguards
Special thank you to Image Options, Laird Plastics and Recycling, Ford Motor Company
Benjamin Moore Paints, Skinny Cow, Verseidag Seemee US, EFI Vutek, Morley Builders, Vista Paint, The Weingart Foundation, CornerstoneOnDemand, Drumstick, Chris Bonas, Casa Del Mar, Tim Bennett, Andy Boyle, Nazdar Coatings, Adina Beverages, Robert Gore Rifkind Foundation, Helen and Peter Bing, Loren Philip Photography, Starbucks Volunteer Services,
Subversive Nature Designs, MACtac, The Barnes Family, Hasbro Studios, Wooster Brush, The Bachelor, UCLA, Mark Benjamin, Susan Kohlmann, Tomarco Fastening & Anchoring Solutions, AAA Flag & Banner, Jenner & Block, A.V.I. Construction, The Newberg Family, Debra Ricketts, The Penske Family, The Davidow Charitable Fund. Annie Barnes, UCLA Freshmen and Transfer Students, USC-UNICEF, LMU Students
WIPO Director General Francis Gurry (second from left), Morocco's Minister of Communications and Government Spokesperson Mustafa Khalfi (third from left), and members of the WIPO Secretariat applaud adoption of a new international treaty that will facilitate access to published works for blind, visually impaired and print-disabled persons. The treaty was formally adopted on June 27, 2013. The Kingdom of Morrocco hosted WIPO's Diplomatic Conference in Marrakesh from June 17 to 28, 2013.
Copyright: WIPO. Photo: Emmanuel Berrod. This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 3.0 IGO License.
Visually distilling what a family get-together can look like, for me.
Canon 5D Classic + Canon EF 50mm F1.8 v1
The guided tour shows visually impaired and blind people the manifold connections between art and technology.
Credit: Florian Voggeneder
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Bali is one of the few places on earth made visually stunning by its main economic activity. In no other locale of the island does this hold truer than in the Tabanan District of west Bali where the cascading rice terraces of Jatiluwih are the most striking feature of the agricultural landscape, claiming even slopes that look too formidable to be of any possible use.
Along with majestic Pekerisan River in Gianyar and the stately Taman Ayun Temple in Mengwi, Jatiluwih has been chosen as a new nominee as a World Heritage site. It’s a great honor for Bali to have its natural and cultural wonders included, as the sites will take their place right along side world-famous Borobudur, Prambanan, the Sangiran archaeological site, Ujung Kulon, Lorentz and Komodo national parks, and the tropical rainforests of Sumatra.
The achingly picturesque area of Jatiluwih actually comprises not only rice fields but also forests, lakes, springs, temples and a huge natural mountain reserve scattered over a wide area around the slopes Mount Batukaru, a sacred landscape whose boundaries are defined by a cluster of temples supported by traditional villages and farmlands administered by age-old subak organizations, the local water boards.
This site is among the most striking examples of terraced agriculture in the world and is arguably Bali’s oldest and most complex real-life model of the subak agricultural system which vividly reflects the intertwined, mutually beneficial relationship between the island’s traditional rice growing culture and its Bali Hindu spiritual belief system.
Bali’s terracing and irrigation practices are even more elaborate, sophisticated, and seasonably predictable than those on Java. Though beautiful rice field terraces also can also be found in Sumatra and Sulawesi, there is no irrigation organization in Indonesia comparable to Bali’s water conservation and distribution system. Only the 2000-year-old Ifugao rice terraces of the Philippines can hold a candle to Jatiluwih.
As it exemplifies such effective water usage over centuries, Bali’s famed environmentally friendly subak system itself is being considered for the World Heritage list. The effort to get the subak system listed to World Heritage status is especially urgent in the face of widespread diversion of agricultural lands. Over the past 20 years Bali lost more than 1,500 ha of precious rice fields to make way for the development of tourist resorts, restaurants, housing complexes, road construction and other commercial enterprises.
The Realm of Dewi Sri
Jatiluwih is one big sculpture. Because of the Tabanan area’s superb drainage pattern, the high volcanic ash content, and the island’s equable climate, conditions for traditional sawah cultivation exemplified by Jatiluwih’s terraces are perhaps the most ideal in all of Bali.
Rice growing is practiced as both an art and a science. Bali’s steep and narrow ravines, as typified especially in the western part of Jatiluwih, are not easy to dam. To remedy this problem, the area’s farmers have devised an ingenious system of hand-built aqueducts, small catchments, and underground canals to collect rainwater from Bali’s mountain lakes, spilling each farmer’s precious allotment of water onto tiers of paddy via thousands of tiny waterfalls.
Jatiluwih’s rice fields are irrigated by water that is sometimes channeled by tunnels through solid rock hillsides. Water needs high on the ridges often require tunnels two or three kilometers long. This complex irrigation system, continuously maintained, groomed, and plowed, has been developed over many centuries. The historical manuscript, the Bebetin, records that Balinese farmers have used the Subak system since at least 1071.
Some scholars have postulated that it is due to the expertise of Bali’s rice farmers that the Balinese have been able to support such a refined civilization with such a theatrical and colorful religion. The discipline required to share water and resources has created a remarkably cooperative way of life. Rugged individualists cannot exist in communities where every farmer is utterly dependent on the cooperation of his neighbors.
The word for rice (nasi), a staple of the Balinese diet, is the same word for “meal”. A Balinese cannot imagine a meal without rice. Specialized vocabularies deal with every aspect of rice farming, and a huge amount of time, energy, and money go into petitioning the gods so the rice farmer’s work may yield good results. Popping up everywhere in Jatiluwih’s rice terraces you see small temples dedicated to Dewi Sri, the beloved goddess of rice.
Pretty in pink — and pink and pink! Tamera Mowry-Housley is on cloud nine following her baby shower earlier this month. The pregnant co-host of The Real, who is expecting a baby girl in July, dropped by Us Weekly’s New York office this week to gush about the co-ed affair (beer was...
fashionlifestyle.org/tamera-mowry-housley-gushes-about-vi...
Shawn O'Grady (center), a fabrication specialist in the University of Michigan 3D Lab, talks to blind and low-vision high school students during a tour of the lab in the Duderstadt Center in Ann Arbor, MI on November 1, 2018.
The tour was part of the program, “21st Century Transportation, Careers for Students Blind and Visually Impaired,” which covered emerging careers in autonomous transportation and what skills and education students would need for a future job in that field. The event was led by Clive D’Souza, an assistant professor of industrial and operations engineering, and also included talks by industry professionals.
Photo: Evan Dougherty/Michigan Engineering
The Drums of Africa is a visually expressed personal guidance system. Our ancestors have documented the lessons of life into profound proverbs that can be easily remembered and referred to in our approach to everyday life. The series
displays these proverbs as typographic compositions combined with tribal forms found in South Africa’s folk
arts and crafts. In fact, symbolic elements from the intricate beadwork of the Bantu-speaking tribes, the refined basketry of the Zulu, and the highly coloured, bold, geometric forms of the Ndebele, ordain the fragile hand-drawn Helvetica typeface.
The result is a combination of contemporary type,
decorated with traditional silhouettes. Upholding the lessons and motivations of African culture, the compositions serve as daily affirmations and motivations.
The original oil paintings are on display at Kozi’s : Meet ’n Eat, an African inspired restaurant in Athens, Greece. A limited edition of signed prints have been created to accompany the work and are also available online at www.dimitratzanos.com
This NASA/ESA Hubble Space Telescope image presents a visually striking collection of interstellar gas and dust. Named RCW 7, the nebula is located just over 5,300 light-years from Earth in the constellation Puppis.
Nebulae are areas rich in the raw material needed to form new stars. Under the influence of gravity, parts of these molecular clouds collapse until they coalesce into very young, developing stars, called protostars, which are still surrounded by spinning discs of leftover gas and dust. The protostars forming in RCW 7 are particularly massive, giving off strongly ionizing radiation and fierce stellar winds that transformed the nebula into a H II region.
H II regions are filled with hydrogen ions — H I refers to a normal hydrogen atom, while H II is hydrogen that lost its electron making it an ion. Ultraviolet radiation from the massive protostars excites the hydrogen in the nebula, causing it to emit light that gives this nebula its soft pinkish glow.
The Hubble data in this image came from the study of a particularly massive protostellar binary named IRAS 07299-1651, still in its glowing cocoon of gas in the curling clouds toward the top of the image. To expose this star and its siblings, astronomers used Hubble’s Wide Field Camera 3 in near-infrared light. The massive protostars in this image are brightest in ultraviolet light, but they emit plenty of infrared light too. Infrared light’s longer wavelength lets it pass through much of the gas and dust in the cloud allowing Hubble to capture it. Many of the larger-looking stars in this image are foreground stars that are not part of the nebula. Instead, they sit between the nebula and our solar system.
The creation of an H II region marks the beginning of the end for a molecular cloud like RCW 7. Within only a few million years, radiation and winds from the massive stars will gradually disperse the nebula’s gas — even more so as the most massive stars come to the end of their lives in supernova explosions. New stars in this nebula will incorporate only a fraction of the nebula’s gas, the rest will spread throughout the galaxy to eventually form new molecular clouds.
For more information: science.nasa.gov/missions/hubble/hubble-captures-infant-s...
Text credit: European Space Agency
Image credit: ESA/Hubble & NASA, J. Tan (Chalmers University & University of Virginia), R. Fedriani
Shown here is a visually stunning arrangement of Air Defence identity badges from the WW11 period. All three badges are beautifully illustrated with bold visual devices such as night skies, tail fins, airplane silhouettes and searchlights. The supporting acronyms of the UNPA and UNDA badges are noteworthy for their bold sans serif modernist fonts that compliment the geometric forms of both badges.
UNPA (left):
Italian National Union of Air-Raid Protection, (L'Unione Nazionale per la Protezione Anti-Aeria).
This badge was made by the well known Italian Milanese maker F.M. Lorioli Fratelli. The visual elements within this 1940s piece exude compositional excellence; the foreground detailing of the 3D cityscape, UNPA letterforms and imposing airplane tail fins suggests a threat to a city and its population. Members of the Italian National Union of Air-Raid Protection, UNPA (L'Unione Nazionale per la Protezione Anti-Aeria) would have worn this type of badge between the late 1930s and mid 1940s.
Under the control of the Italian Fascist Party, UNAP's role would have involved all matters relating to civilian defence such as assisting with evacuation procedures, dissemination of air defence information, checking safety of buildings and air raid shelters, enforcing civilian compliance with blackouts and assisting centres for those that were bombed out.
NASC (centre):
The National Association of Spotter Clubs evolved and developed from the Observer Corps
from WW1.
Formed in 1941, the NASC was the body that co-ordinated large numbers of aircraft spotters. Their duties were to man observation posts and to identify the approach of enemy aircraft. 'Spotters' were skilled in the art of identifying hostile aircraft from friendly aircraft and many 'Spotters' were indeed children. It was a crucial part of the war effort as it gave valuable minutes for civilians to take cover from enemy bombing.
The centre badge was an ideal symbol for the NASC as it shows a wonderful profile of an aircraft flying over a townscape or cityscape. The sublime blue of the sky and the raised profiling of the aircraft conveys a strong graphic message. Made by Roden (London), it is an exquisite example of a WW11 Homefront badge.
UNDA (right):
National Union of Air Defence UNDA. (Union Nationale pour la Défense Aérienne)
This striking French Art Deco WW11 badge would have been worn by a member of the National Union of Air Defence UNDA. (Union Nationale pour la Défense Aérienne). During WW11, the UNDA would have been instructed to train civil defence volunteers as well as publicising the threat from the air through magazines, exhibitions, and lectures. Its role would have been very similar to Italy's UNPA (L'Unione Nazionale per la Protezione Anti-Aeria).
The badge was made by the Parisian maker Rene Moutereau and is characterised by strong Art Deco traits within both illustration and letterforms. The searchlight graphic underpins the design as it beams across a silhouette graphic of an enemy aircraft. The dramatic scene is played out against a rich blue night sky.
Photography, layout and design: Argy58
(This image also exists as a high resolution jpeg and tiff - ideal for a variety of print sizes
e.g. A4, A3, A2 and A1. The current uploaded format is for screen based viewing only: 72pi)
Visually challenged people require braille books in order to read. However, not many books are available in braille due to cost and inefficiency. Translating a 500 page book into braille nearly doubles the thickness. EAP is a technology that can dynamically change the surface pattern by way of an electromagnetic signal – simulating braille text. Not exactly a new idea but a nice executive nonetheless.
Bali is one of the few places on earth made visually stunning by its main economic activity. In no other locale of the island does this hold truer than in the Tabanan District of west Bali where the cascading rice terraces of Jatiluwih are the most striking feature of the agricultural landscape, claiming even slopes that look too formidable to be of any possible use.
Along with majestic Pekerisan River in Gianyar and the stately Taman Ayun Temple in Mengwi, Jatiluwih has been chosen as a new nominee as a World Heritage site. It’s a great honor for Bali to have its natural and cultural wonders included, as the sites will take their place right along side world-famous Borobudur, Prambanan, the Sangiran archaeological site, Ujung Kulon, Lorentz and Komodo national parks, and the tropical rainforests of Sumatra.
The achingly picturesque area of Jatiluwih actually comprises not only rice fields but also forests, lakes, springs, temples and a huge natural mountain reserve scattered over a wide area around the slopes Mount Batukaru, a sacred landscape whose boundaries are defined by a cluster of temples supported by traditional villages and farmlands administered by age-old subak organizations, the local water boards.
This site is among the most striking examples of terraced agriculture in the world and is arguably Bali’s oldest and most complex real-life model of the subak agricultural system which vividly reflects the intertwined, mutually beneficial relationship between the island’s traditional rice growing culture and its Bali Hindu spiritual belief system.
Bali’s terracing and irrigation practices are even more elaborate, sophisticated, and seasonably predictable than those on Java. Though beautiful rice field terraces also can also be found in Sumatra and Sulawesi, there is no irrigation organization in Indonesia comparable to Bali’s water conservation and distribution system. Only the 2000-year-old Ifugao rice terraces of the Philippines can hold a candle to Jatiluwih.
As it exemplifies such effective water usage over centuries, Bali’s famed environmentally friendly subak system itself is being considered for the World Heritage list. The effort to get the subak system listed to World Heritage status is especially urgent in the face of widespread diversion of agricultural lands. Over the past 20 years Bali lost more than 1,500 ha of precious rice fields to make way for the development of tourist resorts, restaurants, housing complexes, road construction and other commercial enterprises.
The Realm of Dewi Sri
Jatiluwih is one big sculpture. Because of the Tabanan area’s superb drainage pattern, the high volcanic ash content, and the island’s equable climate, conditions for traditional sawah cultivation exemplified by Jatiluwih’s terraces are perhaps the most ideal in all of Bali.
Rice growing is practiced as both an art and a science. Bali’s steep and narrow ravines, as typified especially in the western part of Jatiluwih, are not easy to dam. To remedy this problem, the area’s farmers have devised an ingenious system of hand-built aqueducts, small catchments, and underground canals to collect rainwater from Bali’s mountain lakes, spilling each farmer’s precious allotment of water onto tiers of paddy via thousands of tiny waterfalls.
Jatiluwih’s rice fields are irrigated by water that is sometimes channeled by tunnels through solid rock hillsides. Water needs high on the ridges often require tunnels two or three kilometers long. This complex irrigation system, continuously maintained, groomed, and plowed, has been developed over many centuries. The historical manuscript, the Bebetin, records that Balinese farmers have used the Subak system since at least 1071.
Some scholars have postulated that it is due to the expertise of Bali’s rice farmers that the Balinese have been able to support such a refined civilization with such a theatrical and colorful religion. The discipline required to share water and resources has created a remarkably cooperative way of life. Rugged individualists cannot exist in communities where every farmer is utterly dependent on the cooperation of his neighbors.
The word for rice (nasi), a staple of the Balinese diet, is the same word for “meal”. A Balinese cannot imagine a meal without rice. Specialized vocabularies deal with every aspect of rice farming, and a huge amount of time, energy, and money go into petitioning the gods so the rice farmer’s work may yield good results. Popping up everywhere in Jatiluwih’s rice terraces you see small temples dedicated to Dewi Sri, the beloved goddess of rice.
About the design:
Punk'ed pays homage to London being the birthplace of Punk, visually realised and conveyed to the viewer by the inclusion of iconic elements associated with the music and fashion genre. Inspired by the Sex Pistols' promo posters for their 1976 debut single, a distressed Union Flag provides the design's dominant feature. Appearing as two Union Flags jaggedly pinned together with punk-esque safety pins, they drape across the bus roof, falling over to cover its sides.
Glimpses into the 1970s world of London Punk are seen through 'rips' in the flag. These include imagery such as: the era when Punk emerged in London; album covers by famous punk bands; the infamous 'God Save the Queen' newspaper image; punk fashion tartan, leather stud belts and spiked pink Mohicans as well as a 'printed' tee shirt to reflect Vivienne Westward and Malcolm McClaren's influence on the movement, namely the King's Road boutique 'SEX' which specialised in clothing that gave Punk its visual definition.
In true 'anti-establishment' torn-newspaper Punk style - often used on albums and posters artwork and in particular by the Sex Pistols - a Punk'ed slogan is sprayed across both sides of the bus. Having dual purpose, it both visually states that the bus design is inspired by Punk while also playing on the phrase 'to be punk'd', meaning to play a trick on someone or something. In this instance a regular London Bus has been 'punk'ed' with art.
About the artist:
Valerie Osment is a professional visual artist based in Essex whose work has painting and illustration at its core. With a BA Hons in Graphic Design and Illustration, she exploits multimedia and visual art forms to create work in 2D or 3D form.
Sponsored by Tesco.
2014 saw a number of anniversaries which will help us tell this story. It's been 60 years since the creation of the iconic Routemaster, 75 years since the launch of the RT-Type bus and 100 years since the world's first mass-produced motor bus, the B-Type 'Battle Bus' that carried soldiers to the frontline during the First World War.
Our buses are the arteries of the capital, moving large numbers of people around the city - across the centre and to the extremities. They have affected great social change and continue to offer a lifeline to a diverse range of Londoners. Buses also support the needs of our growing city and in turn help London to function as the engine room of the UK's economy.
London is naturally proud of its bus network, one of the largest and most accessible in the world. Despite its size, the bus network remains flexible and able to adapt to the challenges of operating in a constantly changing streetscape.
To meet the future needs of the city, while minimising the environmental impact, we are using innovation and new green technology. Our fleet is already one of the cleanest in the UK, but we're constantly striving to see how new technology can further reduce our impact on the environment.
The bus sculptures, which are 2.5m long, 1m high and 0.5m wide, are painted and adorned by well-known and aspiring artists to showcase the vital role that London’s buses play in the life and economy of the city and the UK as a whole.
Londoners and visitors to the city will get the chance to discover the bus sculptures, which will be organised in clusters, on foot by following public art trails in four areas of the capital – three in central London and one in outer London.
Visually describing eigenvectors with associated Legendre polynomials. Made with Shodor's AssocLegendre class - www.shodor.org/refdesk/Resources/Libraries/AssocLegendre/...
Chan Lap Hin (Leslie) visually narrates another side of the ego, that of a supposed loser, a delivery person for a local Cha Chaan Teng (茶餐廳), someone with a low level of education who nevertheless takes a kind of clever revenge on his customers and his employer.
Ego Systems / 身份實例
Featuring the work of:
劉英傑 Lau Ying Kit (Rijk), 林安琪 Lam On Kit (Kristin), 陳立憲 Chan Lap Hin (Leslie), 余展宏 Yu Chin Wang (SteveCow), 陳卓嘉 Chan Cheuk Kar (Carmen), Siu Tsz Kuen (Patrick), 陳綺婷 Chan Yee Ting (Jill), Fan Chun Kit (Roy), 潘柬芝 Poon Kan Chi (Kit), 吳綺玲 Ng Yee Ling (Elaine), 梁家寶 Leung Ka Po (Dez)
Curated by:
Tse Ming Chong, Andrew Guthrie
These artworks are the result and apex of 3 different semester’s final assignments to Poly U students attending Andrew Guthrie’s Digital Imaging class, part of the SPEED program at The Hong Kong Art School.
The final assignment of these classes required students to create an alternate, or “fake” identity, using themselves as the subject or model. This identity was presented in the form of an Artist Book, a much-disputed genre, as no one is quite sure what that name fully indicates.
Nevertheless, this identity was presented as a sequence of images, something like pages in a book, a series of photographs, or indeed, a movie.
Toute reproduction sur un support imprimé ou publication sur internet devra faire l'objet d'une demande expresse auprès du service communication de la Fédération Française Handisport.
–
Toute utilisation ainsi autorisée devra mentionner le crédit photo (voir nom du fichier ci-dessus : “©…” ou métadonnées de la photo dans sa taille originale).
–
Contact : photos [at] handisport.org
About the design:
Punk'ed pays homage to London being the birthplace of Punk, visually realised and conveyed to the viewer by the inclusion of iconic elements associated with the music and fashion genre. Inspired by the Sex Pistols' promo posters for their 1976 debut single, a distressed Union Flag provides the design's dominant feature. Appearing as two Union Flags jaggedly pinned together with punk-esque safety pins, they drape across the bus roof, falling over to cover its sides.
Glimpses into the 1970s world of London Punk are seen through 'rips' in the flag. These include imagery such as: the era when Punk emerged in London; album covers by famous punk bands; the infamous 'God Save the Queen' newspaper image; punk fashion tartan, leather stud belts and spiked pink Mohicans as well as a 'printed' tee shirt to reflect Vivienne Westward and Malcolm McClaren's influence on the movement, namely the King's Road boutique 'SEX' which specialised in clothing that gave Punk its visual definition.
In true 'anti-establishment' torn-newspaper Punk style - often used on albums and posters artwork and in particular by the Sex Pistols - a Punk'ed slogan is sprayed across both sides of the bus. Having dual purpose, it both visually states that the bus design is inspired by Punk while also playing on the phrase 'to be punk'd', meaning to play a trick on someone or something. In this instance a regular London Bus has been 'punk'ed' with art.
About the artist:
Valerie Osment is a professional visual artist based in Essex whose work has painting and illustration at its core. With a BA Hons in Graphic Design and Illustration, she exploits multimedia and visual art forms to create work in 2D or 3D form.
Sponsored by Tesco.
2014 saw a number of anniversaries which will help us tell this story. It's been 60 years since the creation of the iconic Routemaster, 75 years since the launch of the RT-Type bus and 100 years since the world's first mass-produced motor bus, the B-Type 'Battle Bus' that carried soldiers to the frontline during the First World War.
Our buses are the arteries of the capital, moving large numbers of people around the city - across the centre and to the extremities. They have affected great social change and continue to offer a lifeline to a diverse range of Londoners. Buses also support the needs of our growing city and in turn help London to function as the engine room of the UK's economy.
London is naturally proud of its bus network, one of the largest and most accessible in the world. Despite its size, the bus network remains flexible and able to adapt to the challenges of operating in a constantly changing streetscape.
To meet the future needs of the city, while minimising the environmental impact, we are using innovation and new green technology. Our fleet is already one of the cleanest in the UK, but we're constantly striving to see how new technology can further reduce our impact on the environment.
The bus sculptures, which are 2.5m long, 1m high and 0.5m wide, are painted and adorned by well-known and aspiring artists to showcase the vital role that London’s buses play in the life and economy of the city and the UK as a whole.
Londoners and visitors to the city will get the chance to discover the bus sculptures, which will be organised in clusters, on foot by following public art trails in four areas of the capital – three in central London and one in outer London.
Visually, my favourite scene from the 'Impression - Liu Sanjie' show in Yangshuo, Guangxi province (China).
The show is co-directed by Zhang Yimou of the Beijing Oympics opening (and closing) ceremony fame.
The performance utilizes the natural surroundings to create a spectacular outdoor theatre which is the largest of its kind. The Li River itself is the stage and 12 karst mountains serve as the backdrop.
The show includes modern and classical music composed by famous musicians in China. There are also over 600 performers - all locals.
The show gives the viewer impressions of the life of people living around the river. It also provides an insight into the dress and music of the ethnic minorities of the area.
Bali is one of the few places on earth made visually stunning by its main economic activity. In no other locale of the island does this hold truer than in the Tabanan District of west Bali where the cascading rice terraces of Jatiluwih are the most striking feature of the agricultural landscape, claiming even slopes that look too formidable to be of any possible use.
Along with majestic Pekerisan River in Gianyar and the stately Taman Ayun Temple in Mengwi, Jatiluwih has been chosen as a new nominee as a World Heritage site. It’s a great honor for Bali to have its natural and cultural wonders included, as the sites will take their place right along side world-famous Borobudur, Prambanan, the Sangiran archaeological site, Ujung Kulon, Lorentz and Komodo national parks, and the tropical rainforests of Sumatra.
The achingly picturesque area of Jatiluwih actually comprises not only rice fields but also forests, lakes, springs, temples and a huge natural mountain reserve scattered over a wide area around the slopes Mount Batukaru, a sacred landscape whose boundaries are defined by a cluster of temples supported by traditional villages and farmlands administered by age-old subak organizations, the local water boards.
This site is among the most striking examples of terraced agriculture in the world and is arguably Bali’s oldest and most complex real-life model of the subak agricultural system which vividly reflects the intertwined, mutually beneficial relationship between the island’s traditional rice growing culture and its Bali Hindu spiritual belief system.
Bali’s terracing and irrigation practices are even more elaborate, sophisticated, and seasonably predictable than those on Java. Though beautiful rice field terraces also can also be found in Sumatra and Sulawesi, there is no irrigation organization in Indonesia comparable to Bali’s water conservation and distribution system. Only the 2000-year-old Ifugao rice terraces of the Philippines can hold a candle to Jatiluwih.
As it exemplifies such effective water usage over centuries, Bali’s famed environmentally friendly subak system itself is being considered for the World Heritage list. The effort to get the subak system listed to World Heritage status is especially urgent in the face of widespread diversion of agricultural lands. Over the past 20 years Bali lost more than 1,500 ha of precious rice fields to make way for the development of tourist resorts, restaurants, housing complexes, road construction and other commercial enterprises.
The Realm of Dewi Sri
Jatiluwih is one big sculpture. Because of the Tabanan area’s superb drainage pattern, the high volcanic ash content, and the island’s equable climate, conditions for traditional sawah cultivation exemplified by Jatiluwih’s terraces are perhaps the most ideal in all of Bali.
Rice growing is practiced as both an art and a science. Bali’s steep and narrow ravines, as typified especially in the western part of Jatiluwih, are not easy to dam. To remedy this problem, the area’s farmers have devised an ingenious system of hand-built aqueducts, small catchments, and underground canals to collect rainwater from Bali’s mountain lakes, spilling each farmer’s precious allotment of water onto tiers of paddy via thousands of tiny waterfalls.
Jatiluwih’s rice fields are irrigated by water that is sometimes channeled by tunnels through solid rock hillsides. Water needs high on the ridges often require tunnels two or three kilometers long. This complex irrigation system, continuously maintained, groomed, and plowed, has been developed over many centuries. The historical manuscript, the Bebetin, records that Balinese farmers have used the Subak system since at least 1071.
Some scholars have postulated that it is due to the expertise of Bali’s rice farmers that the Balinese have been able to support such a refined civilization with such a theatrical and colorful religion. The discipline required to share water and resources has created a remarkably cooperative way of life. Rugged individualists cannot exist in communities where every farmer is utterly dependent on the cooperation of his neighbors.
The word for rice (nasi), a staple of the Balinese diet, is the same word for “meal”. A Balinese cannot imagine a meal without rice. Specialized vocabularies deal with every aspect of rice farming, and a huge amount of time, energy, and money go into petitioning the gods so the rice farmer’s work may yield good results. Popping up everywhere in Jatiluwih’s rice terraces you see small temples dedicated to Dewi Sri, the beloved goddess of rice.
Photo Title: Visually Impaired kid wearing binocular telescope
Submitted by: Ansa Benazir
Category: Amateur
Country: Pakistan
Organisation: Khyber teaching Hospital
Photo Caption: a cute kid of 6 years wearing pink frock is putting on binocular telescopes.
--
Photo uploaded from the #HopeInSight Photo Competition on photocomp.iapb.org held for World Sight Day 2020
About the design:
Punk'ed pays homage to London being the birthplace of Punk, visually realised and conveyed to the viewer by the inclusion of iconic elements associated with the music and fashion genre. Inspired by the Sex Pistols' promo posters for their 1976 debut single, a distressed Union Flag provides the design's dominant feature. Appearing as two Union Flags jaggedly pinned together with punk-esque safety pins, they drape across the bus roof, falling over to cover its sides.
Glimpses into the 1970s world of London Punk are seen through 'rips' in the flag. These include imagery such as: the era when Punk emerged in London; album covers by famous punk bands; the infamous 'God Save the Queen' newspaper image; punk fashion tartan, leather stud belts and spiked pink Mohicans as well as a 'printed' tee shirt to reflect Vivienne Westward and Malcolm McClaren's influence on the movement, namely the King's Road boutique 'SEX' which specialised in clothing that gave Punk its visual definition.
In true 'anti-establishment' torn-newspaper Punk style - often used on albums and posters artwork and in particular by the Sex Pistols - a Punk'ed slogan is sprayed across both sides of the bus. Having dual purpose, it both visually states that the bus design is inspired by Punk while also playing on the phrase 'to be punk'd', meaning to play a trick on someone or something. In this instance a regular London Bus has been 'punk'ed' with art.
About the artist:
Valerie Osment is a professional visual artist based in Essex whose work has painting and illustration at its core. With a BA Hons in Graphic Design and Illustration, she exploits multimedia and visual art forms to create work in 2D or 3D form.
Sponsored by Tesco.
2014 saw a number of anniversaries which will help us tell this story. It's been 60 years since the creation of the iconic Routemaster, 75 years since the launch of the RT-Type bus and 100 years since the world's first mass-produced motor bus, the B-Type 'Battle Bus' that carried soldiers to the frontline during the First World War.
Our buses are the arteries of the capital, moving large numbers of people around the city - across the centre and to the extremities. They have affected great social change and continue to offer a lifeline to a diverse range of Londoners. Buses also support the needs of our growing city and in turn help London to function as the engine room of the UK's economy.
London is naturally proud of its bus network, one of the largest and most accessible in the world. Despite its size, the bus network remains flexible and able to adapt to the challenges of operating in a constantly changing streetscape.
To meet the future needs of the city, while minimising the environmental impact, we are using innovation and new green technology. Our fleet is already one of the cleanest in the UK, but we're constantly striving to see how new technology can further reduce our impact on the environment.
The bus sculptures, which are 2.5m long, 1m high and 0.5m wide, are painted and adorned by well-known and aspiring artists to showcase the vital role that London’s buses play in the life and economy of the city and the UK as a whole.
Londoners and visitors to the city will get the chance to discover the bus sculptures, which will be organised in clusters, on foot by following public art trails in four areas of the capital – three in central London and one in outer London.
Last week at RNIB in London we learned first hand which tools and tricks visually impaired musicians use to read sheet music. Very inspirational.
Toute reproduction sur un support imprimé ou publication sur internet devra faire l'objet d'une demande expresse auprès du service communication de la Fédération Française Handisport.
–
Toute utilisation ainsi autorisée devra mentionner le crédit photo (voir nom du fichier ci-dessus : “©…” ou métadonnées de la photo dans sa taille originale).
–
Contact : photos [at] handisport.org
Bali is one of the few places on earth made visually stunning by its main economic activity. In no other locale of the island does this hold truer than in the Tabanan District of west Bali where the cascading rice terraces of Jatiluwih are the most striking feature of the agricultural landscape, claiming even slopes that look too formidable to be of any possible use.
Along with majestic Pekerisan River in Gianyar and the stately Taman Ayun Temple in Mengwi, Jatiluwih has been chosen as a new nominee as a World Heritage site. It’s a great honor for Bali to have its natural and cultural wonders included, as the sites will take their place right along side world-famous Borobudur, Prambanan, the Sangiran archaeological site, Ujung Kulon, Lorentz and Komodo national parks, and the tropical rainforests of Sumatra.
The achingly picturesque area of Jatiluwih actually comprises not only rice fields but also forests, lakes, springs, temples and a huge natural mountain reserve scattered over a wide area around the slopes Mount Batukaru, a sacred landscape whose boundaries are defined by a cluster of temples supported by traditional villages and farmlands administered by age-old subak organizations, the local water boards.
This site is among the most striking examples of terraced agriculture in the world and is arguably Bali’s oldest and most complex real-life model of the subak agricultural system which vividly reflects the intertwined, mutually beneficial relationship between the island’s traditional rice growing culture and its Bali Hindu spiritual belief system.
Bali’s terracing and irrigation practices are even more elaborate, sophisticated, and seasonably predictable than those on Java. Though beautiful rice field terraces also can also be found in Sumatra and Sulawesi, there is no irrigation organization in Indonesia comparable to Bali’s water conservation and distribution system. Only the 2000-year-old Ifugao rice terraces of the Philippines can hold a candle to Jatiluwih.
As it exemplifies such effective water usage over centuries, Bali’s famed environmentally friendly subak system itself is being considered for the World Heritage list. The effort to get the subak system listed to World Heritage status is especially urgent in the face of widespread diversion of agricultural lands. Over the past 20 years Bali lost more than 1,500 ha of precious rice fields to make way for the development of tourist resorts, restaurants, housing complexes, road construction and other commercial enterprises.
The Realm of Dewi Sri
Jatiluwih is one big sculpture. Because of the Tabanan area’s superb drainage pattern, the high volcanic ash content, and the island’s equable climate, conditions for traditional sawah cultivation exemplified by Jatiluwih’s terraces are perhaps the most ideal in all of Bali.
Rice growing is practiced as both an art and a science. Bali’s steep and narrow ravines, as typified especially in the western part of Jatiluwih, are not easy to dam. To remedy this problem, the area’s farmers have devised an ingenious system of hand-built aqueducts, small catchments, and underground canals to collect rainwater from Bali’s mountain lakes, spilling each farmer’s precious allotment of water onto tiers of paddy via thousands of tiny waterfalls.
Jatiluwih’s rice fields are irrigated by water that is sometimes channeled by tunnels through solid rock hillsides. Water needs high on the ridges often require tunnels two or three kilometers long. This complex irrigation system, continuously maintained, groomed, and plowed, has been developed over many centuries. The historical manuscript, the Bebetin, records that Balinese farmers have used the Subak system since at least 1071.
Some scholars have postulated that it is due to the expertise of Bali’s rice farmers that the Balinese have been able to support such a refined civilization with such a theatrical and colorful religion. The discipline required to share water and resources has created a remarkably cooperative way of life. Rugged individualists cannot exist in communities where every farmer is utterly dependent on the cooperation of his neighbors.
The word for rice (nasi), a staple of the Balinese diet, is the same word for “meal”. A Balinese cannot imagine a meal without rice. Specialized vocabularies deal with every aspect of rice farming, and a huge amount of time, energy, and money go into petitioning the gods so the rice farmer’s work may yield good results. Popping up everywhere in Jatiluwih’s rice terraces you see small temples dedicated to Dewi Sri, the beloved goddess of rice.
This image can be used by the press. To obtain permission to use this image please download and complete a permission form from www.electoralcommission.org.uk/news-and-media/media-resou... or contact the Media Relations Team on 020 7271 0704 or press@electoralcommission.org.uk.
Visually one of my favorite looking guitars in my collection...it just SCREAMS "1980s heavy metal hair bands"...the Warlock shape...the snakeskin...the pink color...the matching headstock...this one had me at "hello"...and it plays beautifully.
Chan Lap Hin (Leslie) visually narrates another side of the ego, that of a supposed loser, a delivery person for a local Cha Chaan Teng (茶餐廳), someone with a low level of education who nevertheless takes a kind of clever revenge on his customers and his employer.
Ego Systems / 身份實例
Featuring the work of:
劉英傑 Lau Ying Kit (Rijk), 林安琪 Lam On Kit (Kristin), 陳立憲 Chan Lap Hin (Leslie), 余展宏 Yu Chin Wang (SteveCow), 陳卓嘉 Chan Cheuk Kar (Carmen), Siu Tsz Kuen (Patrick), 陳綺婷 Chan Yee Ting (Jill), Fan Chun Kit (Roy), 潘柬芝 Poon Kan Chi (Kit), 吳綺玲 Ng Yee Ling (Elaine), 梁家寶 Leung Ka Po (Dez)
Curated by:
Tse Ming Chong, Andrew Guthrie
These artworks are the result and apex of 3 different semester’s final assignments to Poly U students attending Andrew Guthrie’s Digital Imaging class, part of the SPEED program at The Hong Kong Art School.
The final assignment of these classes required students to create an alternate, or “fake” identity, using themselves as the subject or model. This identity was presented in the form of an Artist Book, a much-disputed genre, as no one is quite sure what that name fully indicates.
Nevertheless, this identity was presented as a sequence of images, something like pages in a book, a series of photographs, or indeed, a movie.
This visually distinctive silver hallmarked badge was designed Eric Gill, one of the most well know British artists of the early 20th century. In January 1937, Gill received the sum of 3 guineas for his design work; it showcases his forte for letterform design with the prominent, statuesque initials, ARP. The letters are nicely balanced with inter-points (dots), and this gives the acronym a strong visual presence. Gill used the King's 'Imperial Crown' to complete the overall regal effect. The first orders for this badge from the Royal Mint had crescent lapel fittings (for men), followed by the later issued brooch fittings (for women).
The badge emerged of course during the period leading up to WW11, as the British government created plans for a number of civilian volunteer services such as air raid wardens, first aid centres, report centres to support and help towns and cities deal with the potential devastating fall out from bombs, poisonous gasses and fires. The overarching name given to these civilian volunteer services was Air Raid Precautions (ARP) and by February 1939, over 800,000 government issued ARP badges, similar to the one above, had been shipped to local authorities.
After volunteers completed a period of training, they received a badge identical to the one shown here. Again, like this example, early issue ARP badges were silver hallmarked, but by 1940 these badges were made of white metal. By 1943, this particular type of government ARP badge ceased being made as most volunteers had, by this time, a uniform.
Photography, layout and design: Argy58
(This image also exists as a high resolution jpeg and tiff - ideal for a
variety of print sizes e.g. A4, A3, A2 and A1. The current uploaded
format is for screen based viewing only: 72pi)