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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?
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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
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.
Custom Helmet elegant, sporty and visually striking.
Airbrushed with metallic and sparkle colors on a full silver leaf background.
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.
Wheels Up Private Jets opb Mountain Aviation opf Ryan Air Cessna Citation X N938TX cn 750-0183 IAD - Flight WUP938 fly by number two to visually verify that the nose gear did not retract - About 30 minutes later this aircraft landed on runway 1C scrapping some paint on the nose
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.
Primary School: Sahdulahpur Chandni Panchayat- Karanpura, Block- Hajipur, Bihar, India, 16 May 2013:.6 years old Annu ( Visually impaired) studies in her first standard class in government primary school Sahdulapur Chandini, May 16, 2013. As part of the School Sanitation and Hygiene Education (SSHE) programme being implemented in partnership with Department of Education, Government of Bihar, UNICEF Bihar is supporting the construction of inclusive, child-friendly water and sanitation facilities in schools, with a focus on addressing needs of Ôdifferently abled childrenÕ. UNICEF India/2013/Prashanth Vishwanathan.
.
Coverage on Disability in Bihar.
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.
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.
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).
Negotiators meet to align the different language versions of an international treaty that will improve access to published works for blind, visually impaired and print disabled people. Agreement on the substantive provisions of a treaty was reached on June 25, 2013. It will be formally adopted in plenary session on June 27, 2013 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.
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.
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! :)
what the thing does (image returned by word search) | a drawing of a thing | visually similar (image returned by image search)
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.
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.
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.
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.
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.
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.
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.
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.
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
The Mermaid Whistles - Lillebælt, Fredericia, Denmark. A bathing facility for visually-impaired swimmers.
24 December 2019.
The only way to visually tell a male roadrunner from a female is by size, as females are slightly smaller:
Size: On average, females are 2 cm (3⁄4 in) shorter and 30 g (1.1 oz) lighter than males.
Bill: Females have shorter bills.
Male and female roadrunners have identical plumage, which includes:
Brown feathers with white streaks on the body and wings
A white edging along the tail
A patch of red and blue skin around the eyes
A crest of brown feathers on the head
A long, stout, grayish brown to gray beak with a hooked tip
Four toes on each zygodactyl foot, with two facing forward and two facing backward
Brown toes with pale gold spots
We were going to change the name to "Rhonda" as someone said this is a female, but based on Wikipedia, we think we'll keep "Rodney".
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.
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
***UPDATE*** 7/2/13 Some things are meant to swim upstream. This is heading exactly that way, where it belongs. Thanks LC.
Its the most impressive Windsor style chair on the planet, like a Windsor chair taking human growth hormones and deer antler spray.
Prominent footballers, coaches, international experts and representatives from sport organisations and clubs came together for the launch of ‘A Ball for All’ – a project to promote access to the practice of football for blind and visually impaired people.
The launch event, which was organised by Save the Dream, took place at Aspire Zone on the occasion of National Sport Day.
Run in collaboration with the Qatar Financial Centre (QFC), Sasol, under its Definitely Able initiative, Qatar Social & Cultural Centre for the Blind (QSCCB) and Aspire Zone Foundation (AZF), the event featured French ambassador to Qatar Eric Chevallier, Qatar Sports Club and former Inter Milan player Luis Jimenez and legendary international coach Bora Milutinovic.
Schoolhouse Quilters' Guild of Cumberland Maryland
Name of Panel" Reaching for the Stars"
Dream Theme: Science
Did you enjoy this project? "We all enjoyed this project. We had Dan Oates, coordinator of SCIVIS (Space Camp for Interested Visually Impaired Students) to speak to the group.
What could the next IFC project be? "How about a "garden" theme where everyone would send in fabric/fiber representations of plants - they could be arranged in a 'botanical fiber garden'! You could assign each participant a plant to represent - each plant could have a little tag telling about it and giving it's name."
Techniques & Materials Used: Machine Applique and Machine Quilting
Whats the story behind your panel? "When we were thinking about participating in the Dream Rocket project, one of our members told us that the students from the School for the Blind in Rommey, WV (a town in our reagon) had been participating in SCIVIS (Space Camp for Interested Visually Impaired Students) for the twenty years it's been in existance. SCIVIS began when a blind adult was turned away from Space Camp in Huntsville because of her blindness. Now for one week each year, Space Camp is transformed into a place where blind and visually impaired kids can come together and participate in a mock space mission. They come from all over the world and all over the US. They form life long friendships as they interact toward the common goal of the mission with other children who have similiar challenges in their lives. Our panel celebrates SCIVIS and it's positive effect on blind and visually impaired students."
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★What IS THE INTERNATIONAL FIBER COLLABORATIVE?
As the leading voice for collaborative public art projects around the world, the International Fiber Collaborative is dedicated to promoting understanding and appreciation of contemporary art & craft through educational experiences. We are committed to developing vital education programs that elevate, expand, modernize and enhance the image of collaboration and education today.
★WHAT IS THE DREAM ROCKET PROJECT?
The Dream Rocket Team is collecting nearly 8,000 artworks from participants around the globe. The artwork will be assembled together to create a massive cover in which will wrap a 37 story Saturn V Moon Rocket at the U.S. Space & Rocket Center in Huntsville, Alabama. We will also be displaying submitted artwork in dozens of national venues prior to the wrapping of the Saturn V. Additionally, we are posting images of submitted artwork & their stories on our Website, Flickr, and Facebook.The Dream Rocket project uses the Saturn V Moon Rocket as a symbolism of universal values of the human spirit. Optimism, hope,
caring for our natural resources, scientific exploration, and harnessing technological advancements for a better quality of life while safeguarding our communities, are all common desires across national and international boundaries. Participants are able to express and learn about these values through this creative collaboration. With the completion of each artwork, participants are asked to write an essay explaining their artwork, and the dream theme in which they chose.
★How can I Participate & Have my Artwork Displayed?
The Dream Rocket project would like to challenge you to ‘Dare to Dream’. To dream about your future and the future of our world through dream themes such as health, community, conservation, science, technology, space, peace, and so on. We would like you to use your selected Dream Theme to express, explore, and create your vision on your section of the wrap. We hope that you are able to express and learn through this creative collaboration. With the completion of each artwork, you are asked to write a brief essay explaining your artwork, and the dream theme in which you chose.
“The Saturn V is the ideal icon to represent a big dream. This rocket was designed and built as a collaboration of nearly half-a-million people and allowed our human species to venture beyond our world and stand on ANOTHER - SURELY one of the biggest dreams of all time. ENABLING THE DREAMS of young people to touch this mighty rocket sends a powerful message in conjunction with creating an educational curriculum to engage students to embrace the power of learning through many important subjects”
-Neil deGrasse Tyson, Director of the Hayden Planetarium, New York
★I VALUE THE ARTS!!!!
The International Fiber Collaborative is able to share the power of a collaboration and art, thanks to the support of generous individual donors. We welcome any amount of donations and remember the International Fiber Collaborative is exempt under Section 501(c)(3) of the Internal Revenue Code, making this gift tax deductible.
Donate Today at: www.thedreamrocket.com/support-the-dream-rocket
See our Online Flickr Photo Album at: www.flickr.com/photos/thedreamrocket/
★★★SIGN UP AT WWW.THEDREAMROCKET.COM
Photo: Daniel Etya’ale.
Published in: Revue de Santé Oculaire Communautaire Vol. 4 No. 4 Août 2007 www.revuesoc.com
CHELTENHAM ART GALLERY AND MUSEUM COMPETITION REPORT September 07
Invitation: An inviting, open, accessible and visually engaging intervention in the streetscape
Journey: Creating a clear, logical and inspiring circulation route
Flexibility: Clear organisational strategy allowing for the flexible use of the building
Urban Strategy/Architectural form/ Invitation:
The new extension respects the general scale of Clarence Street and at the same time gives an expression of the functions contained at the various levels of the building.
The facade is open at the base to draw passers by into the folds of the building and experience glimpses of the exhibition objects signifying the nature of the building. The public facilities including the café and shop are also at this level. The café can spill out onto the street and to the covered loggia. The loggia is contained by the activity of the education suite on the ground floor and the more protected archive and study area on the first floor. These activities benefit from protected glazed walls looking onto the street.
A double height cut into the new facade, in conjunction with a projecting glass display, signifies the location of the main entrance. This entrance route connects through the building from Clarence Street to Chester Walk creating an important link though the site to the centre of town, extending the public domain.
The façade at the second floor level is generally solid as this contains the main exhibition galleries. The façade steps up above the entrance to reflect the location of a double height gallery space.
Roof terraces at the third floor level allow staff and visitors to the meeting room/hospitality area, a view over the city. This articulation of the façade allows for controlled daylighting into the upper level of the gallery.
Journey:
The secondary space of circulation is the event of the building, as important to the overall experience of the building as the primary gallery spaces. This journey gives a sense of the unfolding experience and order of the building. The journey starts on Clarence Street with the signal and invitation proffered by the projecting glass display and continues through to the main reception in the full height foyer.
To aid orientation the vertical circulation revolves around this foyer with an open stair running parallel to the through route and a series of bridge crossings into the small galleries behind no. 51. The visual invitation to these various levels of gallery space is received in the entrance foyer.
Organisation/flexibility:
The activity of the education suite, located on the ground floor, is visible from the protected loggia. This function can be relocated to allow for public access to the ground floor of the existing library when this becomes available in the future.
The publicly accessible archive and storage area is located on the first floor. Further storage is located on the ground floor and in a basement area.
The temporary gallery, including the existing Arts and Crafts Gallery, occupies the whole of the second floor of both the new extension and the existing and revamped 1989 building. This allows for maximum flexibility in the use of the gallery and facilitates a natural connection in to the existing galleries in the library building.
Whilst not part of the competition site, the ground floor of No. 51 is ideal for use as the café and this has been included in the proposals. It is noted that No. 51 is to be used for artist’s studios. In this context it has been considered a possibility, while providing a new staircase for the new gallery that this could also double up as the stair for the artist’s studios. This would allow for the removal of the rather haphazard existing stair to create more useful studio space. This is, of course, subject to listed building approval.
Materials/services/sustainability:
It is important that the whole design contributes to the sustainable agenda. This includes:
street spaces (loggia) to encourage a range of informal activities
an efficient building form to reduce the amount of heat loss from the envelope
controlled daylighting to appropriate areas to reduce energy requirements
solar shading to south facing glazing
use of natural and renewable materials
habitable roof and rainwater harvesting
The façade is to be constructed of Bath stone laid in random ashlar courses. This stone façade turns into the building and forms one wall of the main public staircase culminating in the lift tower. This together with the stone flooring gives the appropriate signals to the public route through the building and up into the gallery. The internal walls will be a natural lime render in the circulation routes. Painted timber panels will be utilised in the exhibition spaces to allow for flexibility of hanging artworks.
To achieve a sustainable design to meet BREEAM excellent rating, it is proposed to use both natural and renewable materials. Prefabricated, cross laminated timber panels are proposed for floors walls and roof structure. These are from a renewable resource, eliminate site wastage and allow for ease of fixing for art works.
An accessible green roof is proposed for part of the new roofscape in conjunction with rainwater harvesting.
Due to the deep plan and the nature of the exhibits, the gallery will require constant artificial illumination. It is proposed to use a combined heat and power plant to replace the existing gas boilers in the roof space of the 1989 building. This will supply the electricity for the lighting system and the waste heat will be used for warm air space heating.
Accommodation:
From our interpretation of the brief and the answers to questions the following accommodation has been provided:
Gallery space (ground, 1st and 2nd floor)
Picture gallery (1st floor)100 m2
Arts and crafts Gallery200 m2
Temporary gallery300 m2
display (ground and 1st) 30 m2
display existing building (gf)35 m2
Education (ground floor)
Education suite69 m2
Education store50 m2
Museum take-away collection45 m2
Education toilets
Open archive/study (1st floor)150 m2
Storage
Basement240 m2
1st floor160 m2
Temporary exhibition store (gf)40 m2
Offices/workshops
Workshop/office (ground floor)50 m2
Conservation workshop(1st floor) 30 m2
Additional offices (3rd floor)2 x 25 m2
Reception (ground floor)
Café (ground floor no 51)70 m2
Shop (ground floor)46 m2
Toilets (ground floor)
Meeting room (3rd or 4th floor)60 m2
Corporate hospitality (3rd or 4th floor)60 m2
A visually striking plate, and Duffy’s third dish which paired a 118°poached-then-chilled-then-carmelized only on one side sea scallop with variations of tapioca (puffed and dusted with hibiscus salt, hibiscus-soaked tapioca chip and licorice-y Sambuca soaked tapioca balls), hibiscus (salt and beet-red hibiscus syrup) with toasted goats milk puree and licorice-flavoured elements (shaved fennel bulb, stalk, fronds and hoja santa leaves). Duffy explained that his use of the chewy tapioca balls (the type found in bubble tea) was not just for texture, but utilizing the unique component as a carrier of licorice-y Sambuca in a chilled scallop plate.