View allAll Photos Tagged visually
As we approach the winter solstice, the sun is setting at an angle which visually slows the movement of the sun below the horizon. Longer sunsets? We approve!
Photo: Kari Cieszkiewicz/USFWS
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.
The O2 arena, visually typeset in branding as The O2 arena, is a multi-purpose indoor arena located at the centre of The O2, a large entertainment complex on the Greenwich peninsula in South East London, United Kingdom. With a capacity of up to 23,000 depending on the event, it is one of the largest indoor arenas in Europe alongside the MEN Arena in Manchester. In 2008, The O2 arena took the crown of the Worlds Busiest Arena from the MEN Arena, a title which it held since 2001
Michael Jackson, who died from a fatal heart attack in June 2009, was scheduled to play 50 concerts from July 2009 to March 2010, making it the longest residency at the arena. All 50 dates sold out within a few hours of their release, for both the presale and general sale phases.
Source: Wikipedia
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.
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Toute utilisation ainsi autorisée devra mentionner le crédit photo (voir nom du fichier ci-dessus : “©…” ou métadonnées de la photo dans sa taille originale).
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Contact : photos [at] handisport.org
In February 1972, the facelifted LJ Torana was introduced with the six-cylinder models now visually associated with the larger Holden HQ series. Many mechanical components were shared with the LC, with the major changes limited to the choice of engines. The four-cylinder Torana retained its 1200 & 1600 engines but was now also available with a 1300 cc unit. The 2250 and 2850 engines carried over into the revised six-cylinder Torana models, and the 3300 engine (known as the 202 in the HQ range) was adopted as the engine for the LJ Torana GTR sedan. Gearbox choices remained the same across the range.
A race-bred version of the 3300 engine was also fitted to the LJ Torana GTR XU-1, producing well over 200 brake horsepower. By now equipping the XU-1 with the 202ci engine and larger 1.75in CD triple carburettors, as well as a new close ratio M21 4-speed Australian made transmission, this gave the nimble XU-1 the power boost it needed to seriously challenge the powerful Phase Three Ford XY Falcon GT-HO, which had won the 1971 Hardie-Ferodo 500 production car endurance race held annually at Bathurst.
In the somewhat wet 1972 Hardie-Ferodo 500, the lightweight HDT Torana GTR XU-1 was able to finally claim victory against the heavyweight GT-HO, driven solo for 500 miles (800 km) at the hands of Peter Brock. This would be the start of the 'Peter Perfect'/Torana legend, and the first of five Bathurst wins for the Torana in its colourful ten year racing career at Bathurst.
Holden also developed a 308ci V8-powered version of the GTR XU-1, often referred to as the GTR XU-2, but the car never made it past the prototype stage. This was due to the 'Supercar Scare' of 1972, which involved vast political pressure being placed upon Holden, Ford and Chrysler to abandon their proposed specially-built 'Bathurst Supercars', such as the XU-2. This was the result of a media frenzy that was reporting against these soon-to-be released "bullets on wheels" available to the general public. In effect, all three manufacturers bowed to this pressure, and Holden would postpone its introduction of a V8 Torana for two years until the release of the slightly larger LH series Torana in 1974.
A total of 81,813 LJ Toranas were built by Holden in Australia, with some exported to New Zealand, but only in 6-cylinder form, likely due to the similar 4-cylinder Vauxhall Viva HC range being sold there as well. The 2850SL model, with bucket seats and 4-speed floor shift, or Trimatic three-speed automatic was also shipped to New Zealand in CKD kit form for local assembly from 1973, becoming the first Kiwi-built Torana.
This lovely wine was from the 2 Lads Winery. I had it with a delicious plate of snacks that included crackers, cheese, white fish pate, smoked almonds and a tiny little raspberry chocolate. Yummy!
I also posted this because I realized I had little fall color in my stream and it bummed me out. So there's a little bit of what fall looked like, reflected in the bottom of the glass.
Bangkok's most unmissable attraction is of course the Grand Palace, and most specifically the temple complex of Wat Phra Kaew (Temple of the Emerald Buddha), famed for it's riot of coloured and gilded ornament, paintings and sculptures; quite simply, so visually stunning there is nothing quite like it anywhere else!
The Palace and Temple complex were begun in 1782, the year the capital was moved to Bangkok, and parts of the palace buildings betray 18th century European influence combined with traditional Thai style, such as the breathtaking gilt spires on the roof. Most of the interiors of the Palace itself are off limits to visitors since, although no longer the main residence of the Thai monarchy, it is frequently used for state functions and ceremonies.
The Wat Phra Kaew complex however is the greatest draw, famed for it's stunning architecture and the famous 'Yaksha' guardian figures that flank all the main entrances to the complex. These towering figures, with their rich colours and tapering crowns, represent demonic characters from the mythological epic the 'Ramakien', and are identifiable as distinct individuals, all here serving a benign, protective role.
The Ramakien is also the subject for a stunning sequence of wall paintings within the cloister that encirlces the entire site, illustrating in minute detail the battles of the heroic monkey warriors, led by the monkey god Hanuman, against the demonic armies and kingdoms of Tosakan.
The Temple of the Emerald Buddha itself forms the largest structure and contains the venerated (though small) Buddha image. The complex contains several other iconic buildings clad in sumptuous decor, most notably the library or 'mondop' with it's gilt spire along with the great golden stupa.
The temple complex is technically a royal chapel rather than a working monastery like most Thai temples as it has no resident monks (the sheer volume of visitors leaves little room for anyone else anyway!).
We made two visits here on separate days; our first was with a group and far too rushed, we missed elements we'd wanted to see and the light was poor for photography, so we returned 2 days later with as much time and sunlight as we could want, which was well worth the effort!
The almost three-month-old cubs have been named Ernest, Evelyn, Marion and Miss Ellen, in honor of longtime San Diego Zoo Global supporters Ernest and Evelyn Rady and Marion Wilson, and in memory of Miss Ellen Browning Scripps, the San Diego Zoo's first benefactor. They are described by keepers to be very active, very vocal, curious and feisty, each with their own distinctive personalities. Keepers tell them apart by shaving a small patch of hair in a different place on each animal. Weighing approximately three-and-a-half pounds at birth, the cubs are healthy and growing well and currently weigh 22 pounds each. When full grown around three years of age, female lions can weigh around 300 pounds and male lions can weigh around 500 pounds.
The Safari Park's lion pride consists of Oshana and the four new cubs; the cub's father, Izu; adult female Mina; and two of Oshana's older offspring, Ken and Dixie. The cubs have been visually introduced to their father, Izu, and keepers will introduce them physically in the near future.
213/365
I have internet....finally!! Been without for well over a week and I'm suffering withdrawal symptoms from flickr :s I have still been taking pictures every single day and I will slowly be uploading them.
Work has been hectic as has moving house and so the stress has been plentiful, hopefully I can dedicate a large amount of time to flickr this weekend :)
This was taken on a mini stroll around my new local area, just a flower....anyone know what it is?
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).
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Contact : photos [at] handisport.org
I remember many years ago visually scanning the late night sky and thinking "wow, what is that??". Grabbing a pair of binoculars and later a telescope I again had the same reaction.
It was, of course, M34, a striking cluster that stands out well against the backdrop of the sky for any focal length that can contain it.
Equipment
Imaging Telescopes Or Lenses
Apertura 6" f/5 Imaging Newtonian
Imaging Cameras
QHYCCD QHY163C
Mounts
Vixen GPDX
Filters
Baader Neodymium Moon & Skyglow 2"
Accessories
OnStep Telescope Mount Goto Controller · Sharpstar 2" 0.95× coma corrector (CRC2095)
Software
Adobe Photoshop · Aries Productions Astro Pixel Processor (APP) · Stefan Berg Nighttime Imaging 'N' Astronomy (N.I.N.A. / NINA)
Acquisition details
Frames:
Baader Neodymium Moon & Skyglow 2": 148×120″(4h 56′)
Integration:
4h 56′
Basic astrometry details
Astrometry.net job: 8278073
RA center: 02h42m13s.2
DEC center: +42°45′00″
Pixel scale: 1.083 arcsec/pixel
Orientation: 78.943 degrees
Field radius: 0.867 degrees
Find images in the same area
Resolution: 3438x4622
File size: 16.4 MB
Data source: Backyard
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.
The fountain, both visually and functionally, was in very poor condition for years, and its reconstruction in 2018 significantly improves the vision of this important part of the city. Behind the reconstruction was the City of Split and the Tourist Board of Split, and the actual reconstruction was carried out by Parks and Recreation.
The visually distinctive Tarboush Cafe in Loughborough town centre.
"Tarboush is a traditional yet modern Cafe with a menu inspired by the Middle East. Tarboush brings Loughborough some of the magic from the ancient world & is the ideal place to escape if you want a break from the norm. The menu offers an array of tantalizing tastes & light refreshing bites which will take you on a journey from Syria, Lebanon, Egypt, Morocco to Turkey and Greece (to name just a few) & back. The air is filled with the sweet scent of shisha, it's easy to forget where you are..."
Tarboush is the Arabic name for red hat or fez, which is traditionally worn in the Middle Eastern region as part of the traditional custom... Tommy Cooper being one of the most famous to wear this this hat.
I said to the chef, 'Why have you got your hand in the alphabet soup?' He said, 'I'm groping for words!'
I told the waiter, bring me a chicken. So he brought me a chicken. 'Just a minute,' I said, 'It's only got one leg. 'It's been in a fight.' I said, 'Well, bring me the winner.'
My wife said 'Take me in your arms and whisper something soft and sweet'. I said, 'chocolate fudge'.
Police arrested two kids yesterday, one was drinking battery acid, the other was eating fireworks. They charged one and let the other one off.
You know, somebody actually complimented me on my driving today. They left a little note on the windscreen, it said 'Parking Fine.'
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.
***UPDATE*** 7/2/13 Some things are meant to swim upstream. This is heading exactly that way, where it belongs. Thanks LC.
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 and if left in light will also yellow.
-High heat and humidity areas will eventually cause the plastic to become brittle, eventually disintergrating.
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.
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.
375 Water Street, Vancouver, BC.
Description of Historic Place:
The Kelly, Douglas and Co. Warehouse is a seven storey plus two lower levels, massive brick-faced warehouse building, located on the north side of Water Street on the western edge of the historic district of Gastown. This vast structure is the single largest building in Gastown, and visually anchors the west end of the district. The site slopes to the north; Water Street marked the edge of the original waterfront, and the lot was infilled to allow construction.
Heritage Value:
Gastown is the historic core of Vancouver, and is the city's earliest, most historic area of commercial buildings and warehouses. The Kelly, Douglas and Co. Warehouse is representative of the importance of Gastown as the trans-shipment point between the terminus of the railway and Pacific shipping routes, and the consequent expansion of Vancouver into western Canada's predominant commercial centre in the early twentieth century. As Vancouver prospered, substantial warehouses were built on piles on infilled water lots between Water Street and the Canadian Pacific Railway (CPR) trestle. Loading bays at the lower level faced the railway tracks, which allowed goods to be off-loaded directly from trains. The massive cubic form, high density, large clear-span floor-plate and notable height of this structure, built for a wholesale grocery firm, are a clear indication of the extent and prosperity of wholesale trade during this period. Kelly, Douglas and Co., co-founded by Robert Kelly and Frank Douglas in 1896, prospered by outfitting the Klondike gold seekers. Its location on the western edge of Gastown was also advantageous for direct sales to customers, as the central business district was developing to the west of Gastown. The original five storey section to the east was built as the Kelly and Burnett Building in 1905, and Kelly, Douglas moved there from their previous location on Water Street. The company then proceeded in 1907 with a large-scale expansion of the building to the west, which when it was complete was the largest warehouse in Canada devoted exclusively to produce. Gault Brothers moved into the original Kelly and Burnet portion of the building, but that space was again taken over as Kelly, Douglas continued their expansion in stages, eventually building out the entire site to a height of seven stories plus two basement levels. The current structure, the largest in Gastown, was completed by 1913.
The building is also valued for its association with prominent Canadian architect W.T. Whiteway (1856-1940), who also designed the Woodward's Department Store at Hastings and Abbott Streets (1903) and the World (Sun) Tower at Beatty and Pender Streets (1912), once the tallest commercial building in the British Empire. Prominent local contractor J.M. McLuckie built all of the later additions to the building. This warehouse was promoted as Vancouver's first 'skyscraper,' but despite its exterior masonry construction, was built using a massive heavy timber frame internal structure, which by the time the building was completed was an obsolete technology.
The Kelly, Douglas and Co. Warehouse is additionally valued as a representation of the rapid growth of the local food supply network, which developed in response to a booming economy and population. The utilitarian exterior is a clear indication of its original warehouse use. Now rehabilitated for contemporary office and retail uses, it contributes to the ambiance of the Gastown historic district as an illustration of the area's importance as a centre of trade and commerce for the city and the province. Its adaptive reuse within the context of the redevelopment of Gastown as a heritage area represents the changing nature of the local economy from warehousing and manufacturing to commercial, retail and residential uses.
Source: City of Vancouver, Heritage Planning Street Files
Character-Defining Elements:
The character-defining elements of the Kelly, Douglas and Co. Warehouse include:
- landmark location on the north side of Water Street at the western edge of Gastown, in close proximity to the waterfront of Burrard Inlet and the CPR station and rail yard
- spatial relationship to other Late Victorian and Edwardian era commercial buildings
- siting on the front and side property lines, with no setbacks
- cubic form and massing, evident in its consistent height, flat roof and massive floor-plate
- typical Edwardian era architectural features such as tripartite articulation into a base, shaft and capital, with expressed vertical pilasters, projecting sheet metal cornices at the storefront level (with dentils) and parapet (with block modillions), and a regular grid of structural openings
- masonry construction: brick exterior structural walls; tan pressed brick cladding on the two main facades; interior brick demising walls; rough-dressed sandstone facade elements, such as lintels, ground floor columns and capitals; and granite foundation blocks and bulkheads
- interior heavy timber frame construction, with massive wood posts tapering in size from 45 centimetres square on the lower floors to 20 centimetres square at the top; beams of similar dimensions; and solid wood floors, visible throughout the building
- large rectangular storefront openings on the two main facades, with iron I-beam headers with rosettes; and cast iron columns on the west facade
- irregular fenestration on the rear facade, with mixed segmental-arched and rectangular openings, indicating construction undertaken in stages
The National Disabled Veterans TEE Tournament is the brainchild of several employees of the Iowa City VA Medical Center, along with two visually impaired Iowa Veterans. These visionaries created the TEE Tournament, an acronym standing for TRAINING, EXPOSURE and EXPERIENCE. In 2008, it became one of six VA national rehabilitation programs for Veterans. The event expanded to include not only blind Veterans, but amputees, wheelchairbound Veterans, and those with other life changing disabilities. It takes place each year in Iowa City.
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.
Delegates 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.
Blind representatives and government delegates on June 25, 2013, celebrate agreement on the substantive provisions of an international treaty that will improve access to published works for blind, visually impaired and print disabled people. The treaty will be formally adopted in plenary session on June 27 and signed on June 28, 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.
This kindergarten in Tiraspol received support through two sub-projects: "Rehabilitation of visually impaired children from both banks of Nistru River" and "Enhancing capacities for pre-school education in the city of Tiraspol through reconstruction of the kindergarten no. 44 for visually impaired children", implemented within the “Support to Confidence Building Measures” Programme (Summer 2016).
Donations for the Blind and Visually Impaired
About Shri Radhe Maa:
Shri Radhe Maa Ji has lent 27 years of her life in serving mankind. She has helped more than 1000's of families in Mukeria, Punjab and Mumbai. She has made several donations like clothes, food, notebooks, computers, sewing machines, wheelchairs, blind sticks, sanitary machine to the people below the poverty line and the underprivileged. She has adopted a tribal village in Wada, Maharashtra (and has been serving there for the past 16 years). Solar panels and water pumps have been distributed free of cost. Radhe Maa is an ardent supporter of Beti Bachao Beti Padhao campaign thus she does every bit from her end to provide them with education, dressing, and basic amenities.
For medical & educational help, we are a helping hand.
For more info, visit our website at radhemaa.com/
For any queries, You can contact Nandi Baba on : 9820969020
Photo: POH
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
I took this photo on First Friday of a man blowing glass. I like how the leaves in the foreground frame the subject. I edited the photo by darkening the background and lightening the subject. This photo is visually appealing because of the subject's actions and how he is framed in the photo.
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.
Photo: POH
Portraits of Hope's massive public art and civic project – involving more than 20,000 kids, adults and volunteers – that visually transformed Manhattan. By recruiting and utilizing more than 5,400 fully operational NYC taxis to participate in the unprecedented 4-month exhibition, the cabs and city streets of New York were transformed into a giant mobile canvas. The unprecedented event integrated two key characteristics that define the City: the saturation of the iconic taxis; and the vertical physicality of Manhattan. www.portraitsofhope.org
Garden in Transit -- A Portraits of Hope Project
Portraits of Hope's NYC Public Art and Civic Project -- NYC Taxis
Conceived and Developed by Ed Massey and Bernie Massey, Founders of Portraits of Hope
5,400+ New York City Taxis
23,000 Children and Adults
200+ Participating Schools, Hospitals, and NYC institutions
700,000 Sq. ft. of paintings
Youth and Program Sessions in NY, CA, NJ, OH, GA, PA
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, and other serious conditions
10-month program and collaborative phase
4-month New York City public art exhibition
Youth sessions and exhibition in Brooklyn, Bronx, Manhattan, Queens, Staten Island
Portraits of Hope rings NASDAQ opening bell
Special thank you to Helen Bing and Peter Bing, Vornado Realty, Hotel Pennsylvania, MACtac, Empire Blue Cross/Blue Shield
Port Authority of New York and New Jersey
Cordelia Corporation, Veriflora, Wooster Paint Company, Jenner & Block, Purdy-Bessemer Holdings, FedEx, Hudson River Park Trust, Susan Kohlmann, Debbie and Hal Jacobs, Nazdar, Abbot & Abbot Box Corp. AAA Flag & Banner, Bruce and Nancy Newberg Family Fund, Pillsbury Sutro Shaw Pittman, Davidow Charitable Fund, Joleen and Mitch Julis, Armstrong Nickoll Family Foundation, Polo Ralph Lauren Foundation, Ore Hill Partners LLC, Time Warner, Building Maintenance Services LLC, PTG Event Services, FedEx, NASDAQ
My apartment building has a large trash and recycling area that I can visually inspect from my unit. Generally, most of the larger articles of furniture are things like old mattresses and bed frame and most of the other home furnishings tend to be cheaper press board construction with the vinyl fake wood grain print on it. Once in a while, there's the odd table with solid wood legs made out of oak or pine and I try to grab those when I can actually spot them. But generally, finding anything made of decent solid wood that isn't completely damaged beyond hope is a rare find for my building. But a few days ago, this piece in the picture above, appeared on the scene sitting beside a shorter all wood cart that likely served as a TV stand with storage below. That piece was cheaply made and all I removed off of that were the lower doors, the one drawer and some of the metal hardware. It was not a Gibbard product!
This dresser, ready and waiting for the garbage truck to smash it to bits and haul it off to the landfill seemed to silently cry out to me; "Save me, Jeff! I want to live!" So I went back to my unit with the drawer and lower doors from the lesser unit, got my trusty old moving dolly, (with two extremely flat tires) and rescued this fine old girl from a stinky, toxic grave! :)
This likely depression era dresser was constructed of solid walnut with the exception of the drawer bottoms, which are a primitive plywood affair with a 1/8th" walnut slice glued to a 1/16th" slice of spruce for added rigidity.
At first glance, while still outside in the service yard, it was actually somewhat difficult to figure out what kind of wood it was because a dark brown stain was used on much of the exterior sides, legs and top of the dresser with several coats of varnish or shellac on the exterior drawer fronts. So a massive amount of the grain detail of the wood was essentially hidden and lost to the end user. I could see why they chose to do that as they weren't using quarter sawn, matched pieces to build it. There was more just a looser general visual match-up to get the planks together for the glue up of the larger top and side panels, which are all 13/16ths thick, 5, 7 and 8 inch wide planks; same size as all the drawer heights.
So on top of the engineered "camouflage factory stain", there were, and still are, decades of wear on the finish from its previous owner(s); the insides of a couple of the drawers were especially bad with some type of liquid goop that spilled open and left a hardened crust like residue that just looked nasty! lol There were additionally the usual dings, dents, gouges, broken off corners from careless use, paint splatter on all the places you'd expect to see when you don't properly cover over your stuff before the paint rollers fly into action on your walls and ceiling! You know...Wear!!! :)
But I've now completed the process of taking it completely apart and have started on the restoration process of refinishing the worst looking surfaces and cleaning up the rest, which are still in decent shape. I should probably also add that the factory dark brown finish was probably far less of a visual impedance when it was all new and decently clean with no obvious scratches or mars on the finish. Gibbard was said to have a 22 step finishing regiment on woods such as this type, wonderful walnut! So it no doubt gleamed when it was new.
At this point though, I'm of two minds on whether to simply put it all back together again, as designed or to make some modifications to it to build and re-purpose it into a fancy tool chest table stand/secondary prep station with lower storage bays and drawers for my fledgling woodworking hobby, and make use of the leftover solid walnut lumber for some of my other ongoing projects. I'm still working on early design stage of all that...stay tuned for ongoing developments! :).
Cheers! :)
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.
Very easily recognize, visually, when there is light in the night. And it's clear it's useful so that we can find our bindings, and know where we must go to.
But visually it's very easy. What about ourselves? Transparency and honesty are always a tremendous help, as it's cleanness always allows us to distinguish more light. And to get to this transparency and honesty the search for the Truth is quite needed. Not only when it's easy and evident. But especially when it is difficult and when an effort is needed. It is within this effort, or suffering as Gandhi (and so many more) would say, that we find a bigger human advance.
After all, ... darkness isn't anything else than absence of light. In all respects.
See where this picture was taken [?]
Bien reconocemos, visualmente, cuándo hay una luz durante la noche. Y bien nos sirve para orientarnos, y saber dónde estamos, o hacia dónde ir.
Pero visualmente es muy fácil. ¿Y nosotros mismos? La transparencia y honestidad siempre nos son de enorme ayuda, puesto que esa limpieza siempre permite distinguir más luz. Y para llegar a esta transparencia u honestidad siempre es necesaria una búsqueda fiel de la verdad. No tan sólo cuando sea fácil y evidente, sino especialmente cuando sea difícil y suponga un esfuerzo. Y es este esfuerzo, o sufrimiento como diría Gandhi (y tantos otros), el que permite un mayor avance humano.
Al fin y al cabo, ... la oscuridad no es nada más que la ausencia de luz. En todos los sentidos.
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.
Medieval stained glass in the north nave aisle of York Minster. Most of the nave windows preserve their original 14th century glass, though some scenes are patched and confused visually by the many repairs that have been required over the centuries. Most windows follow the format of two rows of three scenes set within plainer areas of quarries and rich borders.
York Minster is England's largest medieval cathedral and almost impossible to do justice to. It has an awesome presence that cannot fail to impress.
Uniquely the cathedral was spared the ravages of the Civil War that decimated the medieval art of most English cathedrals and churches, and it thus possesses the largest collection of medieval glass in Britain throughout most of it's vast windows.
Sadly this fortune was not matched by the Minster's vulnerability to fire which has ravaged the building in 3 major outbreaks, the worst in 1829 when a madman set fire to the precious medieval furniture of the choir, which was destroyed along with the organ and the high vaulted ceiling of the eastern half of the church. Only 11 years after this tragedy a careless workman accidentally set fire to the nave roof, which also lost it's vault. Both roofs were rebuilt in replica, but a further fire caused by lightning strike in 1984 destroyed the south transept roof (rebuilt 4 years later).
Most medieval cathedrals were provided with stone vaulted ceilings precisely to avoid the problems suffered here, but York's builders found that building on such an unprecedentedly large scale brought limitations, thus all the Minster's high ceilings had to be built of wood in imitation of stone. An Achilles' Heel, but a beautiful one!
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.
The National Disabled Veterans TEE Tournament is the brainchild of several employees of the Iowa City VA Medical Center, along with two visually impaired Iowa Veterans. These visionaries created the TEE Tournament, an acronym standing for TRAINING, EXPOSURE and EXPERIENCE. In 2008, it became one of six VA national rehabilitation programs for Veterans. The event expanded to include not only blind Veterans, but amputees, wheelchairbound Veterans, and those with other life changing disabilities. It takes place each year in Iowa City.
Recording legend Stevie Wonder (center) congratulates international negotiators who concluded a new treaty easing access to books for the blind, and urged national lawmakers to swiftly ratify the accord and unlock its benefits for hundreds of millions of people around the world who are blind, visually impaired and print-disabled. WIPO Director General Francis Gurry (left) and Morocco's Minister of Communications and Government Spokesperson Mustafa Khalfi (right) also called for a quick ratification of the treaty. 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 the cupcakes are quite stunning, and look incredible. Tastewise they leave something to be desired. Some were bland, and didn't leave much of an impression on me, except for the one in the center which was supposed to be a chocolate mint, that one I remember cause it tasted like toothpaste.
All photos in this set taken by JEX, all text written by me, unless otherwise noted.
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: Hicham Rachidi. This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 3.0 IGO License.
Humm.. Visually our engine didn't seem to be running through the flight. The blades were not turning. When we deplaned I asked the pilot if he flew in on one engine and said no it was normal for these blades on this engine model (JT8D-17) not to turn. I'm not a technical expert of any sort.. I always thought the purpose of engine blades was to turn so as to generate suction into the engine to create thrust... Does anyone know what these "blades" are for on this engine if in fact they don't move in flight? Obviously they are not real engine blades. Some sort of protection in front of the actual blades running behind them perhaps? It kinda creeped me out a little especially since the plane kind of listed to my side for most of the flight.
An illustration of why the new design is flawed from a basic usability point of view.
1) Presenting on a black screen may be quite a nice way to view a photograph, but then why have the system/flickr menu (which is irrelevant to the photograph) and a second copy of the buddy icon.
2) All the picture useful items are now crammed into one menu, not even labelled (except with ... ) on the bottom right of the screen. To be honest this is an understandable interface design in mobile interfaces, but it makes no sense here where most of the screen is wasted anyway.
3) The metadata, comments, labels etc. are most useful if seen WITH the photograph, not on a separate scrolled part of the page. Basically this one decision makes flickr just another picture website. You already had a scrolling slide show, which was not very useful, now you have made the whole interface into something that isnt very useful.
4) Basically the POINT of flickr is the metadata, tagging, sets, groups etc. Now you have focussed on the image to the exclusion of everything else. Its a bit like someones idea of a website in the early nineties...
I have used flickr a lot in my teaching, but these changes make the site considerably less useful... Basic Usability Design: (a) know your users (and that they are not all the same) (b) know what your users want to do (and realise that different users want to do different things) (c) think of the context in which a computer system is used.
Basically you have lost the basic values that made Flickr successful. The changes make it harder to do many of things that many of your users want to do. Also the over busy design simply distracts for some of the beautiful photographs. The basic idea of sharing sites is that they are as UNINTRUSIVE as possible, but still provide a lot of organisational structure, which allows users to generate semantic structures. Your redesign has in effect downgraded the organisation, and made the corporate Flickr stuff very intrusive. Its the content that users put in that makes the value of sites like Flickr, and what you have done is almost like a company telling its shareholders that it doesn't want their investment.
Photo: Daniel Etya’ale.
Published in: Revue de Santé Oculaire Communautaire Vol. 4 No. 4 Août 2007 www.revuesoc.com