View allAll Photos Tagged zigzag
Alex leaning against the modern zigzag exterior of the Liverpool Museum.
To view & purchase my best images please visit my website at www.jasonwells.co.uk.
I made this from extra pieces I had when making the zigzag block tutorial for my sampler quilt-along. It was super cute and sold in an instant! Made to fit a 14x14" pillow form.
Interior detail from the foyer area of the Lowry Theatre in Salford Quays, Manchester.
Fuji colour, eh? Who says you can't do bright and punchy with a Fuji camera :D
Thanks for visiting and I hope that you enjoy the work.
Regards
Cluke
Clicking on this link......
...will take you into a really nice viewer that I discovered recently where you can see the rest of my work (use Ctrl and your scroll wheel to change the number and size of thumbnails)
ZigZag Court was inspired by more of the 45degree A plates (15706), this time in dark bluish grey. I used them to organise the main parts of the build in a Z pattern, which once again seems to be backwards! Ref: D1580-078
Hmm, got to learn how to use the photo editing programme properly (Gimp and a little Picnic)!
All prints on the front (except the central non-repeated zigzag are from the Red Letter Day collection by Lizzy House. The central zigzag is an Amy Butler print, I don't know anything else about it.
I followed Amanda Jean's Zig Zag quilt tutorial (Crazy Mom Quilts blog).
福建南靖土楼--裕昌楼, 整座楼东倒西歪，其倾斜设计屹立了几百年，即使在地震中也不倒，令现代建筑设计师百思不得其解，其建筑设计之谜至今没有彻底揭开。
Yuchanglou has been nicknamed the "zigzag building", because the vertical wooden post structure is not straight and perpendicular, but zigzags left and right. It was built that way due to an error measuring the building materials. But in spite of this apparent infirmity, this tall tulou withstood 700 hundred years of natural elements and social turmoil. Yuchanglou's outer ring is 36 m in diameter and boasts five stories, with 50 rooms on each floor.
Each of the 25 kitchens on the ground floor at the back half of the circle has a private water well beside its stove. This is the only tulou in all Fujian with such convenient water supply.
There was a one story inner-ring house surrounding the ancestral hall as late as 2003. This part of the building stood nearly 700 years intact until, unfortunately, it was dismantled after 2003
Iris brevicaulis. Native to eastern Texas and the South. Usually more blue than red. Growing at the Wildflower Center, Austin.
www.flickriver.com/photos/cliffzener/
I can never get tired of Mt. Hood's Little ZigZag River. I absolutely love the character and size of this water. The absolute peacefulness of the area is also a big draw for me.
Decorative grillwork of National Museum of African American History and Culture contrasts the the Washington Monument obelisk.
"Five Things You Might Not Know About the Washington Monument": www.history.com/news/5-things-you-might-not-know-about-th...
Wikipedia entry: en.wikipedia.org/wiki/Washington_Monument
Architect: Robert Mills (1781-1855)
Tiny trees clinging onto crevices on the vertical canyon wall textured with zigzagging patterns. Taken last fall on the Observation Point Trail at Zion National Park.
The Metropolitan Cathedral of Saints Vitus, Wenceslaus and Adalbert (Czech: metropolitní katedrála svatého Víta, Václava a Vojtěcha) is a Roman Catholic metropolitan cathedral in Prague, the seat of the Archbishop of Prague. Until 1997, the cathedral was dedicated only to Saint Vitus, and is still commonly named only as St. Vitus Cathedral. This cathedral is a prominent example of Gothic architecture and is the largest and most important church in the country. Located within Prague Castle and containing the tombs of many Bohemian kings and Holy Roman Emperors, the cathedral is under the ownership of the Czech government as part of the Prague Castle complex.
The current cathedral is the third of a series of religious buildings at the site, all dedicated to St. Vitus. The first church was an early Romanesque rotunda founded by Wenceslaus I, Duke of Bohemia in 930. This patron saint was chosen because Wenceslaus had acquired a holy relic – the arm of St. Vitus – from Emperor Henry I. It is also possible that Wenceslaus, wanting to convert his subjects to Christianity more easily, chose a saint whose name (Svatý Vít in Czech) sounds very much like the name of Slavic solar deity Svantevit. Two religious populations, the increasing Christian and decreasing pagan community, lived simultaneously in Prague castle at least until the 11th century. In the year 1060, as the bishopric of Prague was founded, prince Spytihněv II embarked on building a more spacious church, as it became clear the existing rotunda was too small to accommodate the faithful. A much larger and more representative Romanesque basilica was built in its spot. Though still not completely reconstructed, most experts agree it was a triple-aisled basilica with two choirs and a pair of towers connected to the western transept. The design of the cathedral nods to Romanesque architecture of the Holy Roman Empire, most notably to the abbey church in Hildesheim and the Speyer Cathedral. The southern apse of the rotunda was incorporated into the eastern transept of the new church because it housed the tomb of St. Wenceslaus, who had by now become the patron saint of the Czech princes. A bishop's mansion was also built south of the new church, and was considerably enlarged and extended in the mid 12th-century. Construction of the present-day Gothic Cathedral began on 21 November 1344, when the see of Prague was elevated to an archbishopric. King John of Bohemia laid the foundation stone for the new building.[ The patrons were the chapter of cathedral (led by a Dean), the Archbishop Arnost of Pardubice, and, above all, Charles IV, King of Bohemia and a soon-to-be Holy Roman Emperor, who intended the new cathedral to be a coronation church, family crypt, treasury for the most precious relics of the kingdom, and the last resting place cum pilgrimage site of patron saint Wenceslaus. The first master builder was a Frenchman Matthias of Arras, summoned from the Papal Palace in Avignon. Matthias designed the overall layout of the building as, basically, an import of French Gothic: a triple-naved basilica with flying buttresses, short transept, five-bayed choir and decagon apse with ambulatory and radiating chapels. However, he lived to build only the easternmost parts of the choir: the arcades and the ambulatory. The slender verticality of Late French Gothic and clear, almost rigid respect of proportions distinguish his work today.
After Matthias' death in 1352, 23-year-old Peter Parler assumed control of the cathedral workshop as master builder. He was son of the architect of the Heilig-Kreuz-Münster in Schwäbisch Gmünd. Initially, Parler only worked on plans left by his predecessor, building the sacristy on the north side of the choir and the chapel on the south. Once he finished all that Matthias left unfinished, he continued according to his own ideas. Parler's bold and innovative design brought in a unique new synthesis of Gothic elements in architecture. This is best exemplified in the vaults he designed for the choir. The so-called Parler's vaults or net-vaults have double (not single, as in classic High Gothic groin vaults) diagonal ribs that span the width of the choir-bay. The crossing pairs of ribs create a net-like construction (hence the name), which considerably strengthens the vault. They also give a lively ornamentation to the ceiling, as the interlocking vaulted bays create a dynamic zigzag pattern the length of the cathedral. While Matthias of Arras was schooled as a geometer, thus putting an emphasis on rigid systems of proportions and clear, mathematical compositions in his design, Parler was trained as a sculptor and woodcarver. He treated architecture as a sculpture, almost as if playing with structural forms in stone. Aside from his bold vaults, the peculiarities of his work can also be seen in the design of pillars (with classic, bell-shaped columns which were almost forgotten by High Gothic), the ingenious dome vault of new St Wenceslaus chapel, the undulating clerestory walls, the original window tracery (no two of his windows are the same, the ornamentation is always different) and the blind tracery panels of the buttresses. Architectural sculpture was given a considerable role while Parler was in charge of construction, as can be seen in the corbels, the passageway lintels, and, particularly, in the busts on the triforium, which depict faces of the royal family, saints, Prague bishops, and the two master builders, including Parler himself.
Work on the cathedral, however, proceeded slowly, because the Emperor commissioned Parler with many other projects, such as the construction of the new Charles Bridge in Prague and many churches throughout the Czech realm. By 1397, when Peter Parler died, only the choir and parts of the transept were finished. After Peter Parler's death in 1399 his sons, Wenzel Parler and particularly Johannes Parler, continued his work; they in turn were succeeded by a certain Master Petrilk, who by all accounts was also a member of Parler's workshop. Under these three masters, the transept and the great tower on its south side were finished. So was the gable which connects the tower with the south transept. Nicknamed 'Golden Gate' (likely because of the golden mosaic of Last Judgment depicted on it), it is through this portal that the kings entered the cathedral for coronation ceremonies.
The entire building process came to a halt with the beginning of Hussite War in the first half of 15th century. The war brought an end to the workshop that operated steadily over for almost a century, and the furnishings of cathedral, dozens of pictures and sculptures, suffered heavily from the ravages of Hussite iconoclasm. As if this was not enough, a great fire in 1541 heavily damaged the cathedral. In 1844, Václav Pešina, an energetic St. Vitus canon, together with Neo-Gothic architect Josef Kranner presented a program for renovation and completion of the great cathedral at the gathering of German architects in Prague. The same year a society under the full name "Union for Completion of the Cathedral of St. Vitus in Prague" was formed, whose aim was to repair, complete and rid the structure of everything mutilated and stylistically inimical. Josef Kranner headed the work from 1861 to 1866 which consisted mostly of repairs, removing Baroque decorations deemed unnecessary and restoring the interior. In 1870 workers finally laid the foundations of the new nave, and in 1873, after Kramer's death, architect Josef Mocker assumed control of the reconstruction. He designed the west façade in a typical classic Gothic manner with two towers, and the same design was adopted, after his death, by the third and final architect of restoration, Kamil Hilbert.
In the 1920s the sculptor Vojtěch Sucharda worked on the façade, and the famous Czech Art Nouveau painter Alfons Mucha decorated the new windows in the north part of nave. Frantisek Kysela designed the Rose Window 1925-7 which depicts scenes from the Biblical story of creation. By the time of St. Wenceslas jubilee in 1929, the St. Vitus cathedral was finally finished, nearly 600 years after it was begun. Despite the fact that entire western half of Cathedral is a Neo-Gothic addition, much of the design and elements developed by Peter Parler were used in the restoration, giving the Cathedral as a whole a harmonious, unified look.
This is the Little Zigzag between Rhododendron and Government camp on the flanks of Mount Hood in Oregon.
It rains here.
I had a blast visiting and shooting with my friends Scott and Sammy and Evan this evening.