Best Web For Your Kitchen Idea and Inspiration
Posted by Limbertink on 2006-12-20 00:02:12
Tagged: , house , doll , dollhouse , dollshouse , xmas , present , for , henry , home , homemade , made , hand , handmade , woodwork , wood , work , carpentry , paper , brick , christmas , toy , gift , child , 2006 , model , minature , red , door , brickwork , paint , blue , pink , purple , yellow , green , unfinished , progress , sean , d , limbert , mohawk , photography , wirral , photographer , liverpool , copyright , 2009 , limbertink
Transition from the soft shaped world of nature into the hard shaped industrial world… somehow they go well together 🙂
About:
This was shot a bit further up the Lysakerelven river, than this shot from Saturday. Fåbro Fossen or Granfossen waterfall that was utilized for industrial purposes for centuries, begins in the distance.
Discussion
Comments and critique are as always welcome. Let me hear your opinion, why do you like this, or even better, how would you approach this scenery. Give me your thoughts… not just a Wow!… only then I can improve :))
uberfischer and Gunnar Bangsmoen have spotted a halo in this shot….!!!! Hmmmm, not good :))))) They want to see a larger version to judge this matter better :))
So I uploaded a larger version (blurred foreground 🙂
What do think? Is there a halo in there…
Kane feels that the glow on the water might be over powering. I used a circular polarizer filter to reduce reflections, that’s why the river bottom is visible in the front. But I find it hard to reduce reflections in big surfaces when I’m shooting at 10mm (16mm fullframe eq).
Any suggestions?
Thanks
In and out of Explore, thanks to all for comments and faves :))
Use
This photo is Copyrighted 2010 © Morten Prom. All rights reserved.
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Posted by mortenprom on 2009-04-02 16:11:01
Tagged: , 2009 , architecture , b+w110 , blue , bridge , brown , color , day , fence , forest , granite , gray , ice , landscape , light , long exposure , march , mortenprom , natural density filter , nature , nd 1000x , nd 3.0 , nd1000 , norge , norway , oslo , plant , polarizer filter , rails , reflection , river , sigma 10-20mm , snow , stone , stream , sunny , tree , water , wet , white , wideangel , winter , wood , wood work , wideangle , explore , Noreg , Scandinavia , Skandinavia , Noorwegen , Noruega , Norwegen , Skandinavien , Canon EOS 40D
Het huis van de Hout- en Beenbewerker.
Vindplaats Delft, 11e t/m 13e eeuw.
Old Dutch house at museumpark Archeon. This house is a replica of a house built somewhere in the 11th / 13th century. (Delft, The Netherlands.)
It belonged to a woodworker. He also made all kinds of utensils from bones such as combs, dices, chess-pieces and other toys.
Under these circumstances the shutters were normally closed to keep the cold outside. Windows were too expensive for common people in the middle ages.
This photo was taken on December 21, 2009
Prettige Feestdagen!
Thank you so much for your support, the invites, comments and faves!
Don’t use this image on websites, blogs or other media
without my explicit permission.
© All rights reserved
Please…do NOT post your most interesting pictures in the comments!
Posted by okkibox on 2009-12-22 10:45:39
Tagged: , House , Medieval , Archeon , Gravendam , Alphen a/d Rijn , Netherlands , Pentax K10D , 2009 , okkibox , CopperCloud&SilvernSun , MagicUnicornVeryBest , MagicUnicornMasterpiece , BoxofHappyMemories
Theme: Light Box
Cento made some more pens in his workshop (magnificent looking pens I might add) and I took some more product shots for him. Actually, this little photo project is what motivated me to make the DIY light box in the first place and I’m sure happy I did! And man, I love how you can achieve such smooth, even highlights with this thing!
This is a shot from round two, I think I made some real lighting progress.
— Strobist —
1 Vivitar 285 HV @ 1/2 at about 12 o’clock over top of my DIY light box
— Critiques Welcome —
– www.comatosed.ca –
Posted by Greg Samborski on 2009-09-08 15:50:37
Tagged: , Okpo , Geoje , Gyeongsangnam-do , South Korea , 365 2009 , 365 , Days , 2009 , Self , Portrait , Daily , Greg , Pens , Pencil , Wood , Wood Shop , Finger , Smile , Frame , Wood Work , Craftsmanship , DIY , Light Box , Canon , Kiss , EOS , 350 , Canon 100mm f/2.8 , Strobist , Okpo, Geoje , KOR
United under her mantle
Thousands of Catholics turn out for Rosary Sunday
By Gina Keating | Oct. 24, 2009 | The Catholic Sun
From its humble beginnings in the church of St. Francis Xavier, Rosary Sunday has grown into an annual event that draws more than 5,000 people in devotion to Mary.
On Oct. 11, Catholics in the diocese marked the 34th year the faithful throughout the state gathered for adoration, confession, benediction and the recitation of the rosary.
Under her title, “Immaculate Heart of Mary,” and in honor of the Year for Priests, families and individuals entered the Phoenix Convention Center representing a multitude of ethnic communities and organizations.
Rudy and Barbara Martinez drove 240 miles one-way from Cameron to participate in the public prayer honoring the Blessed Mother.
“We come because we want to show her our love and gratitude,” Barbara said. This is the fifth year the couple has made the journey from the Navajo Indian Reservation in Northern Arizona. “It’s important for us to be here together in honor of Our Lady.”
The strong devotion to the mother of Jesus gave impetus to the Phoenix Diocese embracing an event that has attracted national attention.
Dorothy Westfall, the event’s coordinator and a Legion of Mary member, fields calls from other dioceses around the country each year on how to develop advisory committees in hopes of starting a Rosary Sunday.
“People come because they see this as an opportunity for grace,” Westfall said. “Not only for themselves, but for their family, the country and the world.”
The spirit, beauty and reverence of the afternoon was not lost on the keynote speaker.
“I am very impressed. We need one of these in the Rockford Diocese,” said Fr. James Parker. “When we pray those beads, we touch the heart of the Mother of God and simultaneously touch the heart of God.”
The Illinois priest used imagery and stories to emphasize Mary’s love, concern and protection of the faithful.
“When we pray the rosary, she wraps us in her mantle,” Fr. Parker said. “When we are close to her, we are able to maintain a peace of heart.”
The event proved to be an uplifting and spiritual opportunity for many families to pass the torch of faith and tradition on to their children.
Bishop Thomas J. Olmsted’s very presence got the crowd to their feet, but it was his words of encouragement that rang true with many.
In his opening address, the bishop said Mary will help each person as they join with Christ by offering daily sacrifices.
John and Anita Usher of St. Mary Parish in Chandler brought their eight children to their fourth Rosary Sunday.
The home-schooling troupe was joyful to be among a “community of like believers,” despite having recently lost a job and their home.
“We feel so welcomed and so blessed to honor Mary this way,” Anita said. “When you have God, what else do you need?”
The festivities are a visual and auditory array of music, singing, dancing and drumming, but nothing holds a candle to the silence that befalls 5,000 people, many on bended knee, during the benediction.
For Westfall, Rosary Sunday is about Catholic tradition. She was only eight when she attended her first rosary event in downtown Phoenix, which was also sponsored by the Knights of Columbus.
Those early years have given way to a $50,000 production that needs hundreds of volunteers and sponsors.
With barely a breath taken from the moment Rosary Sunday ends, planning for next year begins.
“Each year we are blessed to have so many hands involved in this process,” Westfall said. “They come out of the woodwork to make sure it’s successful.”
Sam Marshall began praying the rosary after he was inspired by a group of women in Santa Fe, NM, more than a decade ago.
“More men need to pray the rosary, but they think it’s something women do,” he said. “We all want more, inside, than we realize. We just have all this worldly stuff that gets in the way.”
More: www.catholicsun.org
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Copyright 2006-2009 The Catholic Sun. All rights reserved. This photo and all photos on this Web site credited to The Catholic Sun are provided for personal use only and may not be published, broadcasted, transmitted or sold without the expressed consent of The Catholic Sun.
Posted by The Catholic Sun on 2009-11-05 17:10:12
Tagged: , Nov. 5, 2009 , The Catholic Sun , Catholic , newspaper , Arizona , October , November , 2009 , Phoenix Diocese , Diocese of Phoenix , religion , Catholicism , Phoenix , Rosary Sunday , Rosary , prayer , Phoenix Convention Center , Mary , Blessed Virgin , Mother of God
At dock, Queenstown, Lake Wakatipu, south island NZ
This beautiful steamship still plies Lake Wakatipu, now with tourists for dinner cruises etc. This is her setting off for an evening cruise in September 2009.
From the NZ maritime records (www.nzmaritime.co.nz/earnslaw.htm):
The Twin Screw Steam Ship Earnslaw of 1911
Specifications
Type: Siemens Martin Steel hulled twin screw steamer with Kauri decking.
Naval Architect: Hugh McRae of the New Zealand Government Railways Department, Dunedin.
Builders: John McGregor and Company Ltd., Dunedin.
Displacement: 329.55 gross registered tons, 155.43 net.
Registered Length: 165 feet, 7 inches or 50.47 metres.
Length overall: 168 feet 51.2 metres.
Beam: 24 feet or 7.315 metres.
Depth: 9 feet, 6 inches.
Draught: 6.6 feet.
Propulsion: Twin coal fired triple expansion, jet condensing vertical marine engines producing 500 horsepower at 145 r.p.m.; cylinder diameters, 13 inches (high pressure), 22 inches (intermediate), 34 inches (low pressure); cylinder stroke, 18 inches.
Boilers: Two locomotive-type boilers with double safety valves; grate area, 48 sq. ft.; heating surfaces, l98 sq. ft. (firebox), 1,420 sq. ft. (tubes); working pressure, 180 lb. per sq. in. (reduced to 160 lb. in 1961); steam steering.
Speed (1912): 13 knots normal, 16 knots under forced draught 19 knots maximum.
Average cruising speed: 12 knots (120 rpm at 160 lb. psi).
Bunker capacity: initially 12 tons, later expanded to 14 tons.
Coal consumption at cruising speed: one tonne per hour.
Passenger capacity: maximum, 1,035; cargo capacity, 100 tons (or 1,500 sheep, or 200 bales of wool, or 70 head of cattle).
Ship’s company 11.
Port of registry: Dunedin.
Livery: The 36 feet high funnel, originally Buff, was repainted Red with a Black top in July 1959, as the former light colour soon became smoke-stained. The colour was changed again in June 1962 to light Stone with a Black cap, to conform with the livery adopted for the new Wellington-Picton ferry Aramoana; monograms were added with the letters NZR in Yellow on a Green background on both sides of the funnel.
Introduction
The twin-screw steamer Earnslaw, boasting the venerable age of ninety-one years, is the last of a long line of coal burning steamers working on Lake Wakatipu from as early as 1863.
Following the establishment of sheep runs around the lake shores, it was the discovery of gold in the region that gave impetus to the number of vessels, sail and steam, on these Wakatipian waters. Once the supply of Gold started to decline, greater emphasis was put on the conveyance of goods and passengers to the runs around the lake shores. It was generally a roadless region, except for a wagon road from Queenstown via the Kawarau Gorge to Cromwell and on to Dunedin. The most convenient way to get goods in, and take Gold out, was via Kingston at the foot of the lake.
agon routes from Dunedin and Invercargill to Kingston were established, from whence the ships carried people and goods up the lake to Queenstown. This township was the principal one for the district, being located some 21 miles by water from Kingston or midway up the lake, which is 48 miles long with an average width of three miles. Kingston is 87 miles by rail from Invercargill and 174 from Dunedin.
The most well-known and long-lived steamers on Lake Wakatipu were the PS Antrim, 1869-1921; SS Ben Lomond, 1872-1952; and PS Mountaineer, 1879-1932 (the years given refer to the time in service). The purity of the Lake Wakatipu waters and atmosphere are the main reason for this longevity.
Rails reached Kingston from Invercargill in 1878, but there was still no road from there to Queenstown or to Glenorchy at the head of the lake so residents there were fully dependent on water transport. All heavy machinery for gold mining and dredging was brought in via the railway to Kingston. It was in 1880 that a more direct line between the lake and Dunedin was opened. This was from the main line at Gore and across the Waimea Plains to Lumsden on the Kingston line.
Tourism began in earnest at the turn of the century and visitors to this majestic lake, located in an alpine setting likened to Switzerland’s famous Lake Lucerne, were not at all complimentary about the standard of comfort offered by those then privately owned steamers. Such were the complaints that in 1901 the Government bought out the company and immediately re-scheduled the steamer runs to coincide with the famous Kingston Flyer train services from Gore to Kingston. A better and bigger steamer, capable of carrying up to 1,000 passengers along with goods and servicing the lakeside run-holders, had become a pressing necessity.
In 1909 the Government announced that a new steamer was to be built with first preference being given to New Zealand shipbuilders. A naval architect, Mr H. McRae of Dunedin, submitted drawings for a paddle wheeler but the powers that be insisted on a twin-screw vessel. He came up with an acceptable design which was based along the lines of the Otago (Dunedin) Harbour ferries, Waireka and Waikana. Tenders were let to the builder of those ferries, Messrs John McGregor & Co Ltd, of Dunedin. Plans and patterns for the ferries’ engines, boilers etc were used for the new steamer with a resulting reduction in costs. The tender of £20,850 was accepted on the 22nd of September 1910 and McGregors set to work on a vessel with the following specifications: Length BP 160ft, breadth to amidships 24ft, depth moulded 9ft, forecastle about 33ft long. A forward hold was to carry 40 tons of cargo and the draught was not to exceed 6ft 6ins. The interior of the first class saloon was to be neatly framed in Kauri and figured Red Pine, the ceiling to be panelled in Lincrusta Walton or embossed steel picked out in gold (the ceiling ended up without this decoration). Uncut Moquette or Utrecht velvet was to cover the seats and back thereof, with the deck covered in Linoleum with a carpet runner up the centre. A second class saloon with a bar was located in the forecastle and a dining saloon was situated aft of the engine room space and below the main deck, with access down a companionway from the first class saloon. The crew’s quarters were located below the second class saloon.
Passenger capacity was 1,035, cargo 100 tons (or 1,500 sheep, 200 bales of wool or 70 head of cattle). Crew comprised eleven. Vessels owned by the Crown were not registered in the same way as those under private ownership, hence there was no listing in Lloyd’s Register.
Two locomotive-type marine boilers working at a pressure of 180 pounds per square inch (reduced to 160 in 1961) provided power for the two triple expansion, jet condensing vertical marine engines which produced 500 horsepower at 145 rpm. Cylinder diameters are 13, 22 and 34 inches respectively, with an 18-inch stroke. The speed of the steamer was to be 13 knots normal and 16+ knots on forced draught. The galley was located on the main deck under the bridge and hot food was carried in containers along the deck, to be lowered by means of a dumb waiter down to the dining saloon pantry.
At McGregors, the keel was laid on the 4th of July, 1911 and the frame and hull plates were fitted up to see if all parts fitted together by the 18th October (A commemorative plaque marks the site of the Earnslaw slipway). After this, all parts were railed to Kingston where the Earnslaw was erected on the lake shore (below).
Above: Just over three months later, on 24th February, 1912 the steamer was launched without any ceremony in the presence of a large crowd of people who had travelled down from Queenstown by special steamer for the occasion. Trials were commenced on 3rd August, 1912.
Above: the biggest day in the annals of Lake Wakatipu shipping was Friday, 18th October, 1912. It was the TSS Earnslaw’s official birthday, for she was commissioned on that day and also made her maiden voyage from Kingston to Queenstown. Among the passengers were numerous people of importance who had travelled by special trains from many parts of Otago and Southland. Two hundred people took advantage of this occasion. Several launches met the steamer at the beacon marking the reef at the Gardens end of Queenstown Bay and the nearby lake shores were crowded with people seeking their first glimpse of the giant of the fleet. A musical welcome was accorded the newcomer. A holiday was declared the next day in Queenstown, so that as many people as possible could travel the 17 miles up to the head of the Lake (Glenorchy and Kinloch). On this run Earnslaw came within view for the first time of the 9,250 foot high Mount Earnslaw, which was also named after the inevitable Dunedin politician.
Over the years, in her almost uneventful life, there were minor alterations, especially to passenger comfort, and in 1936 the promenade deck was covered in and canvas curtains fitted around the sides as protection from the elements. (Lake Wakatipu actually crosses the 45th meridian – halfway between the Equator and the South Pole.) The provision of hot meals ceased and the electric generator in the engine room was transferred to the galley space once the coal range and galley fittings had been removed. Refreshments such as tea, cakes and sandwiches were still provided in the dining saloon. At this time Earnslaw became a one-class ship which was much more satisfactory to all concerned.
A big blow to the Lake Wakatipu steamer service occurred in 1936 when the road, built by unemployed labour, was opened around the foot of the Remarkables from Kingston and Frankton and on to Queenstown. A year later rail passenger services, such as the Kingston Flyer from Gore via Lumsden to Kingston, were withdrawn. Buses replaced these trains and their introduction as a through service to Queenstown severely restricted the steamer service. Passenger trains were run during the holiday seasons and~ the steamers had their times of glory on such occasions.
During the years on the lake, Earnslaw’s most serious mishaps were two groundings on the water-smoothed shingle of the lake shores. She served all the lakeside run holders and their families by carrying goods, shepherds and their dogs, horses, farmers, tourists, shearers, wool and livestock, motor cars, and even buses to convey tourists from Kinloch to the magnificent Routeburn valley and from Glenorchy to Paradise. She has carried royalty on at least two occasions and many other famous people.
In 1952 Earnslaw became the only steamer on Lake Wakatipu when the 80-year-old Ben Lomond, the last of the early steamers, was scrapped. Her hull now sits in 600ft of water. Until 1968 Earnslaw carried on serving the people around the lake on a more or less thrice-weekly service to the head of the lake, with the occasional trip to Kingston for coaling and cargo purposes. In 1963 a road was opened from Queenstown to Glenorchy, thereby almost bringing about the demise of the runs to the head of the lake.
Such was the situation in 1968 that the Government Railways, her owners over the years, ceased operating Earnslaw and leased her to a private group from the 1st of January l969, with a view to purchase. However, this did not come to pass and Fiordland Travel took over the steamer on the 12th of December 1969 and ran her for short cruises around the lake.
The sound of a well maintained steam engine working is music to the ears of most ship enthusiasts. When the composer-musician Ron Goodwin took a trip on the steamer in 1978 he was so impressed by the rhythm of her twin triple expansion engines that he composed a piece of music that echoes their motion. Entitled the “SS Earnslaw’ Steam Theme”, it was first performed at Invercargill by the New Zealand Symphony Orchestra.
In 1982 Earnslaw was sold to her lessees, Fiordland Travel Ltd. The new owners proceeded to establish a bar in the former second class saloon up forward, glassed in the sides around the promenade deck where passengers and special cruise parties were catered for, ceased serving teas in the original dining saloon and hired it out as a souvenir stall. A feature of the promenade deck is the removal of the engine room skylights and their replacement with a balustrade so that passengers can see the working of those famous triple expansion engines and associated activities such as the stokers at work. However, a net had to be installed to catch articles mischievously dropped.
The open bridge had a wheelhouse fitted at long last, to protect the crew from the elements and Earnslaw was registered for the first time. Apart from the replacement of three hull plates that showed corrosion because of soapy water from the dining saloon sink, she is basically the same as built. Some while ago TSS Earnslaw was declared to be an ‘Historic Place’ under the New Zealand Historic Places Act, and as such her future is ensured even when she no longer works.
During the New Zealand winter of 1986 TSS Earnslaw was slipped for her survey and overhaul at Kelvin Heights across the Frankton Arm of Lake Wakatipu. Whilst there, the hull below the water line was stripped of its paint and new coatings applied. Work also commenced on the overhaul of her twin boilers and on her triple expansion engines. Sixty-five tubes were replaced in her original boiler and work commenced to reduce the coal smoke emission from her funnel.
Many coats of paint have been removed from her interior and exterior woodwork to reveal the delightful original timber panelling of the saloon. Plush velvet was installed along with vintage style lighting, to aid the return of the old world charm of this steamer. New toilets were installed and they discharge into another 4,800 litre tank fitted in the original cargo hold. From this the contents are pumped into Queenstown’s sewerage system at the Town Wharf.
Her design was not without its faults and the vessel is said to handle poorly at low speed; “like steering a brick across an ice rink.”
Still in service she now makes several ninety-minute cruises on Lake Wakatipu each day, with a further two on Summer evenings.
Bibliography
Mackay, Malcolm
Lady of the Lake The TSS Earnslaw story
Queenstown: M. Mackay, 1999. Pictorial card covers, 48 pp. Illustrated: colour and B&W plates, line drawings.
Meyer, R. J.
All Aboard The ships and trains that served Lake Wakatipu
Wellington: NZ Railway and Locomotive Society, 1980. 196 pp. Colour frontis. Illustrated: B&W plates and line drawings. Index.
Posted by Photography by Odille on 2011-02-20 21:13:24
Tagged: , TSS Earnslaw , Lake Wakatipu , Queenstown , NewZealand , PhotographybyOdille , steam , ship , 2009
Extended the bracing to support further level.
Space under the second level for holding unused pots/stones.
Plans: cid-d128dfce35a0fd6e.office.live.com/self.aspx/Public/ben…
Posted by jeremy_norbury on 2009-05-08 06:51:37
Tagged: , bonsai , bench , table , display , woodwork , hardwood , sketchup , bonsai bench , 2009 , trees , Jerry Norbury
contact
Posted by Limbertink on 2006-12-20 00:02:12
Tagged: , house , doll , dollhouse , dollshouse , xmas , present , for , henry , home , homemade , made , hand , handmade , woodwork , wood , work , carpentry , paper , brick , christmas , toy , gift , child , 2006 , model , minature , red , door , brickwork , paint , blue , pink , purple , yellow , green , unfinished , progress , sean , d , limbert , mohawk , photography , wirral , photographer , liverpool , copyright , 2009 , limbertink
Pedestrian plaza is part of the Calvin S. Hamilton Pedway:
"The Calvin S. Hamilton Pedway, as the system is formally known, is a network of elevated walkways that was first presented in the 1970 Concept Los Angeles: The Concept for the Los Angeles General Plan. Hamilton was the city planning director at the time, having taken the position in 1964. The plan, adopted by the city in 1974, promoted dense commercial developments connected to one another by a rapid transit system. The plan was abandoned in 1981 when federal funding for the project was eliminated. Hamilton stepped down from his position in 1985 after a criminal investigation."
www.kcet.org/socal/departures/landofsunshine/block-by-blo…
"The pedways fall within the Downtown Center Business Improvement District, but the organization’s CEO says its strained resources can only cover maintenance crews on the pedways about once a week."
articles.latimes.com/2013/may/23/opinion/la-ed-pedways-20…
—-
Bunker Hill Towers (aka Bunker Hill Apartments aka Bunker Hill Residential Towers):
Built ca. 1966–68.
Architect: Robert Evans Alexander.
www.you-are-here.com/los_angeles/bunker_hill.html
www.essexapartmenthomes.com/apartment/bunker-hill-towers-…
www.yelp.com/biz/bunker-hill-towers-apartments-los-angeles
www.apartmentratings.com/rate/CA-Los-Angeles-Bunker-Hill-…
laforum.org/content/articles/downtown-again-by-peter-zellner
ZIMAS data:
Central City Community Plan Area, Freeway Adjacent Advisory Notice for Sensitive Uses, Greater Downtown Housing Incentive Area, Los Angeles State Enterprise Zone, General Plan Land Use= "Regional Center Commercial", Downtown Adaptive Reuse Incentive Area, Bunker Hill Redevelopment Project, w/in 500 feet of USC Hybrid High, Downtown Center Business Improvement District, Central City Revitalization Zone.
Assessment:
Assessed Land Val.: $15,262,053
Assessed Improvement Val.: $30,664,155
Last Owner Change: 04/01/98
Last Sale Amount: $18,080,180
…
Year Built: 1968
"The 19-story, Robert Evans Alexander-designed Bunker Hill Towers opened in 1968. After the demolition of 7,310 pre-existing homes and forced relocation of their residents, Bunker Hill Towers became the residence for nearly all of Bunker Hill’s remaining residents. More than a decade would pass before the nearby residential Angelus Plaza and Promenade Towers opened. Long before the redeveloped loft crowd discovered downtown thousands lived in such residences, including Cathay Manor, Little Tokyo Towers, and hardest to ignore, on the streets."
www.kcet.org/socal/departures/landofsunshine/block-by-blo…
Robert Evans Alexander:
rmc.library.cornell.edu/EAD/htmldocs/RMM03087.html
digital.lib.washington.edu/architect/architects/180/
www.modernsandiego.com/RobertAlexander.html
archive.org/details/architectureplan01alex
archive.org/details/architectureplan02alex
articles.latimes.com/1992-12-02/news/mn-1120_1_r-e-alexander
joshtonies.com/?p=79
babel.hathitrust.org/cgi/pt?id=mdp.39015027871386;seq=3;v…
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Walt Disney Concert Hall:
111 South Grand Avenue
Project search announced: 1987.
Initial design approved: 1988.
"Final" design approved: 1991.
Ground broken for the garage: 1992.
Hall actually built: 1999–2003.
Architect: Frank Gehry / Gehry Partners, LLP / Frank O. Gehry & Associates (“FOG/A”)
Executive Architect: Dan Dworsky / Dworsky Architects (at least initially, off the project by ’94)
Project Designers: Michael Maltzan (at least initially, left to start his own firm in ’95), Craig Webb (I believe).
Acoustic Design: Yasuhisa Toyota for Nagata Acoustics, with preliminary work by Minoru Nagata
Overall Project Management: Fred Stegeman for Stegeman/Kastner Inc. (initially until ca. ’95, I think)
Project Management w/in Gehry’s Firm: James Glymph (at least initially)
Structural Engineering: CBM Engineering (at least initially)
Garden Design: Melinda Taylor
Woodwork: Columbia Showcase (headed by Joe Patterson)
Software: Catia (by Dassault). (Primary responsibility for pushing for use of this software in Gehry’s office goes to partner James Glymph. During the later construction phase [2001–3], a 4D scheduling modeling system was also used that was developed by CIFE at Stanford and Walt Disney Imagineers, using Catia as its base, I think.)
Software consultants: C-Cubed (ca. 1991–94)
Client: A seven-member architectural search committee was set up by the Music Center in 1987 and chaired by Richard Koshalek, with Daniel Commins as acoustic advisor. In 1989, the twelve-member Walt Disney Concert Hall Committee was formally established and thereupon headed by Frederick M. Nicholas on a volunteer basis until about 1995. The land ("Parcel K") was owned by Los Angeles County and the County was represented in negotiations by attorney Richard S. Volpert, at least from 1989 to 1995. Sally Reed was CAO of the county for much of this period until 1995, but I’m not sure how directly involved she was with this project. The Philharmonic was initially represented by Ernest Fleischmann, managing director, with input from Esa-Pekka Salonen, the music director. (In 2001, Debra Borda became the new head at the Philharmonic, Esa-Pekka Salonen remained music director.) Lillian Disney represented herself and her family as the single largest private donor until her death in 1998, with Diane Disney Miller also on the committee and serving as its vice-chair at one point. Sharon Disney Lund was also involved in the negotiations until her death in 1993. They also acted through the family attorney, Ron Gother. From 1995 to 1997, Harry Hufford served as volunteer full-time CEO of the committee, with Suzanne Marx his vice-president for development, and a mandate to save the project and recapitalize it. At various points, other committee members included Stuart Ketchum, James A. Thomas, and Ronald J. Arnault. Mayor Riordan was also heavily involved. Riordan brought in Eli Broad to help finance the completion. In 1996, Andrea Van De Kamp became the new chair of the Music Center. (Sheldon G. Stanfill was president of the Music Center in the early 1990s.) In 1997, a new oversight committee was formed, with Eli Broad and Diane Disney Miller as chief guiding members. In 1998, William Siart, a member of the oversight committee, became chair of the main committee (the legal entity at the center of this confusion).
Financial auditing/oversight: Hines Interests (beginning in ’94, with Bruce Frey heading this work).
Owner: The County of Los Angeles, with the facility operated by a nonprofit under a Master Lease Agreement. (I believe this is an accurate summary of the situation, but I am not fully certain. The agreement is complicated and I believe it involves a sublease back to the County that obliges it to provide building and grounds maintenance, and then another subsublease to the organization that runs programming, which has subleases to the Philharmonic and the Music Center. So if I’ve made a muddle of that, I apologize.)
Major Donors: Lilian Disney, Eli Broad, The Disney Corporation, Ron Burkle, The Ralphs/Food4Less Foundation, Wells Fargo, Bank of America, The Times Mirror Foundation, Richard Riordan, Roy E. Disney (specifically for REDCAT), Pacific Bell Foundation, and Deloitte & Touche. (The County also provided significant funds to the parking garage.)
Seats 2,265.
Current home of the Los Angeles Philharmonic.
Features an organ with 72 stops, 109 ranks, and 6,125 pipes, co-designed by Frank Gehry and Manuel Rosales, with assistance from Kevin Gilchrist, and built by Caspar Glatter-Götz, with engineering assistance from Heinz Kremnitzer. Early in the process, a special committee was formed (with Cherry Rhodes, Robert Anderson, and Michael Barone serving)—just for finding the right organ designer, settling on Manuel Rosales in 1990. Michael Barone also served as a consultant during the final design process.
www.gg-organs.com/eng/projects/images/Aprcovfeat.pdf
"In 1982, the family company, Retlaw Enterprises, sold the rights to Walt Disney’s name and likeness to the Walt Disney Co. for $47 million. That money was put aside for an unspecified charitable gift. . . . In 1987, Music Center then-Chairman F. Daniel Frost, who had been Walt Disney’s tax attorney, presented Lillian Disney with Los Angeles Times articles detailing the Music Center’s desire for a new concert hall. Disney readily agreed to donate her funds. At the time, Frost was the son-in-law of Music Center founder Dorothy Chandler and was a board member of Times Mirror, parent company of The Times. He has since divorced and has left the Times Mirror board."
articles.latimes.com/1995-02-27/news/mn-36686_1_disney-hall (’95)
The 1987/88 idea to use Parcel K for a new Philharmonic was not without significant opposition, including that out the outgoing CAO of the county, Jim Hankla, and architect Barton Myers, who both proposed that the new concert hall be built on the L.A. mall:
articles.latimes.com/1987-02-22/local/me-5387_1_music-cen…
"Lillian Disney made an initial gift of $50 million in 1987 to build a performance venue as a gift to the people of Los Angeles and a tribute to Walt Disney’s devotion to the arts and to the city. . . . Upon completion in 2003, the project cost an estimated $274 million; the parking garage alone cost $110 million. The remainder of the total cost was paid by private donations, of which the Disney family’s contribution was estimated to $84.5 million with another $25 million from The Walt Disney Company. By comparison, the three existing halls of the Music Center cost $35 million in the 1960s (about $190 million in today’s dollars). . . . The walls and ceiling of the hall are finished with Douglas-fir while the floor is finished with oak. The Hall’s reverberation time is approximately 2.2 seconds unoccupied and 2.0 seconds occupied."
en.wikipedia.org/wiki/Walt_Disney_Concert_Hall
It is worth pointing out that the final building hardly resembles the competition designs and models from the invited design competition in 1988 and substantially deviated from the 1991 designs and models in several key areas such as cladding and landscaping.
By the end, the design process apparently included over 30,000 drawings and models.
www.mediabistro.com/unbeige/disney-hall-turns-a-corner_b1653
From an initial field of ca. 80 entrants, then winnowed to a list of 25, the other three finalists in 1988 were Gottfried Böhm, Hans Hollein, and James Stirling.
From 1990 to 1991, the project faced a lawsuit brought by a group called A Local and Regional Monitor, represented by Sabrina Schiller, which alleged that there had not been a sufficient review of environmental and traffic impacts. Gary Justice, Pamela Schmidt, and Helen Parker represented the project and defeated the lawsuit and appeal.
www.gibsondunn.com/fstore/documents/pubs/AForbes_Eye_For_…
Another set of delays in 1990 came from a newer demand from the county that the site incorporate a hotel, in order to raise further revenue in the form of hotel taxes. Gemtel was to be the hotel developer and they were to bring in Ritz Carlton as operator. This was scrapped in 1991 when Ritz Carlton refused to agree to hire unionized labor and/or take on a living wage rule (the exact disagreement is somewhat unclear to me).
The 1991 models and other mock-ups premiered at the Fifth International Exhibition of Architecture at the Venice Biennale in 1991 to great acclaim, before being submitted for approval.
These mock-ups for the models were designed using Catia, "a 3D modeler made for the aerospace industry by Dassault, a French software company associated with IBM."
larrybarrow.com/assets/dissertation/Vol-2-back/A4-FOGA.pdf
"At one point, someone estimated that the project had over 90 consultants."
www.economist.com/node/86629 (’97)
During the first phase of the project, "a consortium of General Contracting firms, (Peck Jones, Turner Construction, and Obayashi) were selected to form the building entity, Concert Hall Builders." Yet I am not sure who the final constructing firms were.
larrybarrow.com/assets/dissertation/Vol-2-back/A4-FOGA.pdf
In 1994, the cost estimate skyrocketed by $50 million and the project was put on hold pending auditing and financial review by Hines.
"According to committee budgets, some of the biggest increases in construction and material costs were in the steel framing, $8.6 million more than originally thought; in wood purchases and millwork, up $7 million, partly because of a decision to add interior wood; and in drywalling and plaster, up $4.9 million. ‘The drywall designed for this hall has curves and movement that don’t have any comparison to anything else that’s been built in this city,’ Nicholas said. ‘The people who were bidding the drywall had never seen anything like it, hadn’t had any experience with it. So they put a lot of contingencies in it and they bid it very, very high. A bright spot is the purchasing, cutting and installation of the exterior Italian limestone–a process Gehry has closely supervised. Bids on that stonework are reported to be $325,000 below its original $22.6-million estimate.’"
articles.latimes.com/1994-08-27/news/mn-31646_1_disney-ha…
As described above, a major shake-up of operations occurred ca. 1995.
"Dworsky indicated, as a matter of tracking what happened to whom, it is quite simple, of all the major original participants (i.e. architects, engineers, builders, and project managers), no one survived except FOGA."
larrybarrow.com/assets/dissertation/Vol-2-back/A4-FOGA.pdf
The garden, initially a major feature of the design brief, has all but disappeared. It is supposedly partially on the roof? I have no idea. I never much noticed a garden during any of my visits to Disney Hall, although I didn’t mind the landscaping I did notice. In any case, Melinda Taylor was a fairly late addition to the project.
"She came in after a number of other designers, including Philadelphia landscape architect Laurie Olin and Nancy Goslee Powers, who did the Norton Simon Museum’s garden, had come and gone on the job."
articles.latimes.com/2002/mar/21/news/lv-disney21
“‘Wow! Did I do that? Holy shit! Did I do that?’ Sometimes you look at it that way,” Gehry says, taking in the flowing ribbons of steel at street level and then gazing up at the luffing “mainsails” at the center of the building—forms which seem to defy engineering, and which were conceived by Gehry as squiggly lines on a piece of paper more than 16 years ago. . . . Gehry, probably the most famous architect in the world right now, and arguably the most important and influential, is a modest figure in a profession known for its massive egos."
www.vanityfair.com/culture/features/2003/09/disney-concer… (2003)
"If Gehry lived in Idaho, we would see snowmobiles in his designs; he is an architect stuck in a feedback loop with his surroundings. As it is, he lives by the Pacific and owns a sailboat, and so it is seagoing vessels we see in his buildings: the boat-shaped main gallery of the Guggenheim Bilbao, the concert hall in Disney. ‘When I started Disney Hall,’ says Gehry, ‘I saw a show at the Toledo Museum in Ohio called In Praise of Ships in the Sea, and I got really excited about these shapes. I saw them in the wood ceiling I was already doing, and I brought them in.’ A metaphor took hold of Gehry: A concert was a journey, the hall would be a boat, the steel forms that shot into the air over L.A. its sails."
www.lamag.com/features/2003/10/12/how-disney-hall-redeeme… (quote on page 5)
For a student’s perspective on the use of nautical forms, see: couplarchideas.wordpress.com/2012/11/28/similarity-betwee…
books.google.com/books?id=WWl29hn0C9gC&lpg=PA72&v…
www.latimes.com/news/local/cl-ca-uroussoff19oct19,0,64916… (Ouroussoff, 2003)
www.nytimes.com/2003/10/23/arts/architecture-review-a-moo… (Muschamp, 2003)
www.slate.com/articles/arts/architecture/2003/10/epic_arc… (Hawthorne, 2003)
www.npr.org/templates/story/story.php?storyId=1264860 (Stamberg, 2003)
www.thedailybeast.com/newsweek/2003/08/17/a-mighty-monume… (McGuigan, 2003)
www.latimes.com/entertainment/news/arts/cl-et-swed1jul01,… (Swed, 2003)
www.businessweek.com/stories/2003-10-05/frank-gehrys-high… (Palmieri, 2003)
www.nybooks.com/articles/archives/2003/oct/23/victory-at-… (Filler, 2003, paywall)
www.riprense.com/Silverstunt.htm (contrarian view, ca. 2003)
articles.latimes.com/2003/oct/25/entertainment/et-fisher25 (blurb round-up, 2003)
books.google.com/books?id=c2Kwa-EZR2IC&lpg=PA106&… (photo of opening night, 2003)
articles.latimes.com/1988-04-29/news/vw-2468_1_concert-hall (1988)
articles.latimes.com/1991-09-05/local/me-2333_1_walt-disn… (Isenberg, ’91)
articles.latimes.com/1991-09-15/realestate/re-3191_1_disn… (’91)
www.nytimes.com/1992/12/13/arts/architecture-view-gehry-s… (Muschamp, ’92)
articles.latimes.com/1992-11-22/magazine/tm-2024_1_disney… (’92)
articles.latimes.com/1994-11-03/news/mn-58297_1_concert-hall (1994)
books.google.com/books?id=rF0EAAAAMBAJ&pg=PT72&lp… (’96, scroll back a page or two for the start of the article titled "Why L.A. Hates Frank Gehry")
www.newyorker.com/archive/1997/07/07/1997_07_07_038_TNY_C… (’97)
www.laphil.com/philpedia/about-walt-disney-concert-hall
www.laphil.com
www.aia.org/cities/los-angeles/all-stories/disneyconcerth…
www.arcspace.com/features/gehry-partners-llp/walt-disney-…
www.laweekly.com/2003-10-30/music/organomics/ (on the organ, 2003)
www.latimes.com/entertainment/news/arts/la-et-disneyhall6… (Swed, 2008)
illumin.usc.edu/177/
interactive.wttw.com/tenbuildings/walt-disney-concert-hall
en.wikiarquitectura.com/index.php/Walt_Disney_Concert_Hall
www.nbm.org/exhibitions-collections/exhibitions/symphony-…
www.johnmartin.com/publications/Disney%20Concert%20Hall/D…
books.google.com/books?id=CooTi-asobIC&lpg=PA48&o…
Frank Gehry:
www.foga.com
en.wikipedia.org/wiki/Frank_Gehry
www.gehrytechnologies.com
www.getty.edu/pacificstandardtime/explore-the-era/people/…
www.getty.edu/pacificstandardtime/explore-the-era/archive…
www.latimesmagazine.com/2008/10/frank-gehry-annie-gilbar….
www.kcet.org/arts/artbound/counties/los-angeles/frank-geh… (Frances Anderton)
larrybarrow.com/assets/dissertation/Vol-2-back/A4-FOGA.pdf
www.youtube.com/watch?v=zQ-Kf3sJfok (ca. 5 minutes)
www.youtube.com/watch?v=fRjnoNkaJUs (+1 hour long talk with Frank Gehry and others about him and the Los Angeles arts community)
Catia:
www.3ds.com/products/catia/
en.wikipedia.org/wiki/CATIA
worldcadaccess.typepad.com/blog/2012/05/whats-the-price-o…
www.mcadcentral.com/catia-software-development/
www.caddigest.com/subjects/aec/select/022304_day_gehry.htm
4D modeling:
cife.stanford.edu/sites/default/files/WP064.pdf
James Glymph:
Was a partner at Gehry’s firm for 19 years (ca. 1989–2008) and was founding CEO of Gehry Technologies.
"In the 1980s, he worked with LMN Architects in downtown Seattle, heading the team that designed the San Diego Convention Center."
www.aiaseattle.org/KBD/about_glymph.htm
www.laiserin.com/laiserinlive/speakers/glymph.php
www.miamialum.org/s/916/interior-3-col.aspx?sid=916&g… (scroll down to "Edges Torn Open")
archrecord.construction.com/innovation/1_TechBriefs/0310G…
businessmodelalchemist.com/blog/2010/09/on-business-model… (scroll down for video)
Dan Dworksy:
I feel the need to point out that though Dan Dworsky is currently rather maligned within the Los Angeles architectural community, especially for his involvement in this project, he’s directly responsible for my favorite Bunker Hill buildings, the Angelus Plaza senior housing complex, as well as the very decent Figueroa Courtyard. The vision of a revived Bunker Hill with more than just tall glass boxes of office space owes a great deal to his efforts over the years.
digital.lib.washington.edu/architect/architects/273/
en.wikipedia.org/wiki/Dan_Dworsky
sma.sciarc.edu/subclip/takeyama-minourou-and-daniel-dwors…
Michael Maltzan:
A rising star in the California architectural scene, recently garnering praise and awards for his New Carver Apartments for the Skid Row Housing Trust. A building that provides transitional housing for the recently formerly homeless, it’s one I don’t like for a number of nit-picky reasons, but whose social conscience I credit. One of his most prominent commissions was for another performance hall—Mashouf Performing Arts Center for SF State. My favorite of his works is the Billy Wilder Theatre at the Hammer, which is a great size for films they screen and makes me think every time that I’ve snuck inside a fancy, sexy lipstick holder from the late 1980s: hot pink, sleek black, kiss kiss. I also think he did a wonderful job with MoMA QNS, the temporary (and more fun) home of MoMA while the main building was being revamped during the early 2000s.
"Michael Maltzan established his independent practice in Los Angeles in 1995. After graduating from the Rhode Island School of Design (1985) and Harvard’s Graduate School of Design (1988), he worked briefly in Boston for Schwartz/Silver Architects and then for Machado and Silvetti Associates. . . Then in 1988, Maltzan moved to California, where he joined the office of Frank Gehry. . . In Gehry’s office, Maltzan worked on the initial design stages of the acclaimed Walt Disney Concert Hall (1988–2004) for Los Angeles and was project designer for the tautly elegant Vontz Center for Molecular Studies (1993–1999) at the University of Cincinnati."
www.mmaltzan.com/essays/essay-alternate-ground/
www.mmaltzan.com
www.mmaltzan.com/profile/michael-maltzan/
www.arcspace.com/features/michael-maltzan-architecture/
www.arcspace.com/the-architects-studio/michael-maltzan-sk…
places.designobserver.com/feature/no-more-play/26888/
Yasuhisa Toyota:
en.wikipedia.org/wiki/Yasuhisa_Toyota
live.stanford.edu/bingconcerthall/files/ch-na.pdf
www.time.com/time/magazine/article/0,9171,543822,00.html
www.nagata.co.jp/e_index.html
en.wikipedia.org/wiki/Nagata_Acoustics
Craig Webb:
Senior partner (currently?) at Gehry Partners and the main designer assigned to Disney Hall after Michael Maltzan left the firm.
Before joining Gehry, Webb worked at Albert C. Martin & Associates and Barton Myers Associates.
"The 125-employee office is structured like a pyramid, with Gehry delegating creative work to two principal architects: Webb and Edwin Chan, who oversee design and direct project teams. . . . And while Bilbao was the defining project for Chan, Disney Hall belongs to Webb. ‘There’s a lot of him in there,’ says Gehry. . . . ‘They’re different personalities,’ says Gehry. ‘When Craig makes stuff, it’s more real. Edwin is more outgoing with people,’ he continues. ‘He seems to enjoy dealing with clients, the personal stuff. It’s different than how Craig does it. He is a little shy or reticent, not as gregarious. He gets a little fussy sometimes. Like everybody else, he gets insecure.’ . . . Gehry describes the younger architect as intuitive, with good communication and analytical skills and what he calls excellent ‘hand-eye coordination’ — the ability to see, explore and realize Gehry’s ideas. ‘He can play with me on that level.’"
articles.latimes.com/2003/sep/17/entertainment/et-roug17
Manuel Rosales:
en.wikipedia.org/wiki/Manuel_Rosales_(organ_builder)
Caspar Glatter-Götz:
www.gg-organs.com
www.gg-organs.com/eng/projects/disney.htm
www.gg-organs.com/eng/projects/images/Aprcovfeat.pdf
books.google.com/books?id=cgDJaeFFUPoC&lpg=PA225&…
Melinda Taylor:
Landscape designer, married to Craig Webb. This seems to have been her single largest project, although she has also worked on smaller projects and private gardens in Los Angeles.
www.melindataylor.com
articles.latimes.com/2002/mar/21/news/lv-disney21
Frederick M. Nicholas:
"Frederick M. Nicholas, an attorney licensed to practice law in the State of California since 1952, is a specialist in Real Estate Development and Leases. He is President of The Hapsmith Company, a Real Estate Development Firm with major interests in Northern and Southern California."
www.frederickmnicholas.com
www.frederickmnicholas.com/400_images/wdchpdfs/1993%20fal…
www.gibsondunn.com/fstore/documents/pubs/AForbes_Eye_For_…
Frederick Stegeman (d. 2009):
www.s-and-k.com/about/index.html
Harry Hufford:
"Hufford served as the chief administrator for Los Angeles County from 1974 to 1985 and worked as interim chief administrative officer in Ventura County from December 1999 to [2001]."
articles.latimes.com/2001/may/13/local/me-62999
"As CAO, Hufford was responsible for preparation and presentation of the County budget to the Board of Supervisors; administrative supervision of County departments; and management studies."
ceo.lacounty.gov/pdf/bio/hlh.pdf
Prior to being named acting CAO in 1974, Hufford had spent almost his entire career, with some interruptions, working in the staff of the CAO office, beginning initially in 1953.
He also served as an administrative officer at Gibson Dunn, and as a past president of the Music Center.
In 2001, he won the Earl Warren Public Service Award.
In 2003, there was a settlement in a sexual harassment suit against him.
articles.latimes.com/2003/apr/23/local/me-hufford23
articles.latimes.com/keyword/harry-hufford
—-
A discussion on the 1979 Bunker Hill CRA competition and Gehry’s participation in that. Most of the proposed projects mentioned did not get built:
www.youtube.com/watch?v=9rUrkUi2GKM
Posted by jann_on on 2009-09-03 05:37:21
Tagged: , iphone , summer , 2009 , 2000s , los angeles , california , architecture , evening , downtown , downtown los angeles , modernism , modern , bunker hill , windows , pedestrianism , light , metal , lights , high-rise , central city community plan area , los angeles state enterprise zone , sez , greater downtown housing incentive area , downtown adaptive reuse incentive area , bunker hill redevelopment project , downtown center business improvement district , housing , apartments , bunker hill towers , bunker hill apartments , bunker hill residential towers , 1960s , 1966 , 1967 , 1968 , robert evans alexander , robert e. alexander , bunker hill towers apartments , walt disney concert hall , disney hall , 111 South Grand Avenue , 111 S Grand Ave , 111 South Grand , 1980s , 1987 , 1988 , 1989 , 1990s , 1990 , 1991 , 1992 , 1993 , 1994 , 1995 , 1996 , 1997 , 1998 , 1999 , 2000 , 2001 , 2002 , 2003 , frank gehry , gehry , gehry partners , frank o. gehry & associates , fog/a , dan dworsky , daniel dworsky , dworksy architects , michael maltzan , yasuhisa toyota , nagata acoustics , fred stegeman , stegeman/kastner
contact
Posted by Limbertink on 2006-12-20 00:02:12
Tagged: , house , doll , dollhouse , dollshouse , xmas , present , for , henry , home , homemade , made , hand , handmade , woodwork , wood , work , carpentry , paper , brick , christmas , toy , gift , child , 2006 , model , minature , red , door , brickwork , paint , blue , pink , purple , yellow , green , unfinished , progress , sean , d , limbert , mohawk , photography , wirral , photographer , liverpool , copyright , 2009 , limbertink
Blimey, old skool. They’re coming out of the woodwork!
This is one of the first promo shoots I did, back in Autumn 2007, I think..? Had this great idea to use green bits of cardboard to swap all their heads round. Wasn’t quite as easy as I thought it’d be!
Brilliant idea even if the final result isn’t all that amazing.
Bit of a shocker…but lovely surprise! This was explored on October 14th
Posted by Marianne Harris – UK music + portrait photographer on 2009-10-14 21:13:52
Tagged: , Marianne Harris , attack attack , Attack , wales , welsh , rock , band , music , promo , faces , composite , pop , dopamine , merthyr , uk , 2009 , eos 30d , canon , marianneharrisphotography
