Mars crater - 98’ diameter — recently formed(impact was sometime within the four years between 2012 and 2016)
The crater is surrounded by a large, rayed blast zone. In examining the distribution of ejecta scientists determined the impact that created this crater threw ejecta as far as 9.3 miles (15 kilometers).
photographed by HiRISE Camera on Mars Reconnaissance Orbiter - NASA/JPL-Caltech/University of Arizona - 2016
Lyon-based artist EmEmEm repairs holes in sidewalks and walls with colorful mosaics. EmEmEm’s first mosaic dates back 10 years when he found himself in a damaged alley in Lyon.
Cannon Beach, Oregon - Haystack Rock - written in the artist’s hand on reverse: “Wind velocity 30 MPH to 125 MPH during stormy weather, sunny days about 5 months per year, however an unusual beautiful landscape” - oil on canvas - not dated, but given to me by the artist —my Grandfather— in 1967.
“I am a self-educated artist, who stepped on the art path at the age of 19. My love of classical Russian literature and unfinished journalistic education greatly influenced me as an artist. For me, the visual component and the meaning of the picture are equally important. I like to take a personal story and show the timeless aspect of it.”
A photograph of the gargoyle at Paisley Abbey in Glasgow which looks like the alien from the 1979 movie went viral on Facebook and Twitter.
The Reverend Alan Birss said most of the gargoyles were replaced during a refurbishment in the early 1990s.
Mr Birss, minister at the abbey, said that 12 medieval gargoyles which had been on the abbey for hundreds of years had to be taken down in 1991 because they had “crumbled and were in a very bad state”.
“I think it was a stonemason having a bit of fun,” he said.
“I’m sure he wasn’t deliberately copying the alien in the film. It was just a concept of an alien.”
One of the eleven other gargoyles replaced at Paisley Abbey
Charlotte Perriand (French, 1903-1999) and Pierre Jeanneret (Swiss,1896-1967) - Le Refuge Tonneau (Barrel Refuge) - architectural model - 1938
Charlotte Perriand was a French architect and designer. Her work aimed to create functional living spaces in the belief that better design helps in creating a better society.
Pierre Jeanneret studied architecture in Geneva before joining the firm of his cousin, Charles Edouard Jeanneret, better known by his sobriquet Le Corbusier.
Starting off as a young furniture designer in Paris in the late 1920s, Perriand was one of very few women in the field at a time when society was often unwelcoming to working women. Le Corbusier, a giant of modern architecture, famously dismissed her when she first turned up at his office in search of a job after completing her studies. “We don’t do embroidery here,” he quipped condescendingly. A year later, Le Corbusier reneged on his snap judgement when he saw Perriand’s work on display at an annual fair for young artists, the Salon d'Automne, in 1929. Her installation, “Bar sous le Toit”(Bar in the Attic), a simple staging of modern, industrial-looking interior design, caught his eye and was her ticket to join his team.
Around 1928 Corbusier and Pierre collaborated with Charlotte Perriand to design a line of furniture that incorporated modern simplicity and industrial materials.
Charlotte Perriand reclining in Chaise longue basculante (Tilting lounge chair) - designed byLe Corbusier, P.Jeanneret, C.Perriand -1928
Charlotte Perriand - Fauteuil pivotant(Swivel chair) - chrome-plated tubular steel, metal springs, sheepskin cover, down padding - 28⅝”x 24 ⅝”x 21⅞” - 1927
“Art is in everything,” insisted Charlotte Perriand, the pioneering French architect, designer, and multidisciplinary creative force. “It is in a gesture, a vase, a cooking pan, a glass, a sculpture, a piece of jewelry, a way of carrying yourself. Making love is an art.”
Le Corbusier holding a plate like a halo behind Perriand’s head - in her atelier and apartment in an attic on the place Saint-Sulpice, Paris - 1928