Movies, Music, and More
Quick review of new house space - air and light
abound. Longer thread on the music documentary "Dig," with history, impressions
and comments. Lots of night shots of the city as I trekked into Capitol Hill
last Saturday night to catch the Seattle International Film Festival showing of
"Dig" and brought my camera. Presently it's raining and expected to do so for
the forseeable future - good for the ground and plants, bad for the work
crew.
We've had a few cloudy and somewhat rainy days in
the past few days and today - Wednesday - it's actually raining, a gentle,
light, ground-wetting rain of classic Eastern dimensions - not the spritzy,
sometimes on, sometimes off, usual rain of Puget Sound dimensions. This is good
since the ground needs to be refreshed and the plants could use the water.
'Course, it does somewhat hamper Todd's crew since they're doing the siding and
that means they'll be wearing layer upon layer of wet weather gear and using
their power tools in the outside muckness. The upside is that the siding is the
concrete-wood powder composition stuff - Hardy board - and the rain will keep
the dust down. The siding needs to be up by the end of the week since the
painters are due here on Thursday to prime coat the inside and then while it
dries and cures (it's a sealant coat) they'll start on the outside paint
job.
I've almost dug myself out of the hole caused by the drywall and spackle dust. Only three more bookcase's worth of books to vacuum. The rest of the living room, dining room, kitchen and pantry are done. I suppose one could argue that this was just a "Spring" cleaning anyway and would have had to be done irrespective. The house is looking sweet. The new living room alcove, even though the concrete floor still has to be stained and sealed and even though there's no paint anywhere yet, looks great. The space adds a great deal of character to the living room and adds back two new window views as well as expanding the volume considerably. We're not quite sure yet what to use this new space for, it would be a perfect office area if Katherine didn't already have a great office. My suspicion is that it will be a corner retreat spot, in easy talk distance to anyone in the living or dining area but somewhat removed. There's such great reflection space in the new design - the living room alcove, the aerie, the upstairs foyer. It's hard to imagine how easily we'll fill and use this new volume but I've no doubt that after a few months we'll feel like we've lived with this space the whole time.
Because the upstairs and the new downstairs are such non-linear spaces, it's also rather difficult to capture the area in photographs. It's also difficult to convey the amount of light and air which these new areas allow into the existing structure. That was, of course, part of the plan, and it's one of those great moments when plan and execution result in realization. The wind which courses through the upstairs is way out of proportion to the actual velocity of whatever wind is actually blowing. That is no doubt the result of the louvered effect of the casement windows and the odd angles upstairs. The aerie is beyond any question the pinnacle of the whole project. Not only are the views as expected and - actually - beyond, but the wind-catching capability of the tower and the altitude and the location on the crest of the hill with nothing between here and the sound - or even the Cascades - means that the aerie is one of those places where wind exists even when there is no wind. It's at the top of a 30-foot vertical shaft with no break between the top and the bottom and the venturi effect is definitely in full force at the top. It would make a perfect chimney, too.
Things are reaching the finishing stage with the painting and siding and trim going on. The remaining few weeks will be a return to the fun part as all the little touches get finished. We've actually got a functioning electric outlet upstairs. I'll have to revisit Lamps Plus and take a second look at the track light options. We've got three areas which will get track light treatment - the downstairs living room alcove, Adam's new play room, and my multimedia studio. In Adam's and my rooms, we've got two junction boxes on the ceiling in each room, on the east sides and again on the west sides. We'll run two linear tracks the length of the room and get lights, probably similar to downstairs, which swivel and rotate, and then leave it up to each of us to adjust the location and lighting angle. I've decided to go with the same track as downstairs, a Juno track. I'll probably get the WAC lights to go in the tracks as well - I've had really good experience with the existing set. They have a low-voltage transformer as part of the light package and use pin-plug halogen bulbs which come in 25, 35, 50 and 65 watt ratings - basically a very low, low, medium and high brightness factor. I'll also install dimmers on all five track switch circuits to further allow for adjustment. I think I could easily have made a career out of lighting as much as I enjoy working with lights, lamps, and illuminating spaces.
I've had further discussions with my neighbors regarding the neon sculpture for the aerie, now that I've been able to invite them in and show off the space and the aerie. I've actually received significant encouragement from this group, nearly everyone thinking that a neon sculpture at the top of the tower would be a visual treat and not an intrusion. That's really pushed me and once the house is finished and we've signed off on the final payment and the city has passed the place for occupancy, I'll visit Western Neon with some finished photos and begin the discussions about what would make the most sense and be the most illuminating and interesting way to light the top with neon. I'm a fervent believer in allowing artists to take the lead when one is looking for custom art. I've had great success in the past with a few projects I've commissioned and am looking forward to seeing what Jay Blazek and his neon artists at Western Neon can do <http://www.westernneon.com/>.
Saturday night I headed downtown to take in the first of ten Seattle International Film festival movies which struck my fancy. This flick was playing at the Egyptian, a really wonderful venue. It was originally built in 1915 as a Masonic temple and is now an Art Deco (what else, Egyptian motifs everywhere) showcase for the Festival films, for retro-film festivals, for first runs, and things like Hitchcock film weeks. The stage is an actual stage, with underneath and side wings. The sound is a bit of an afterthought and consists of a set of amplified speakers placed in surround-sound mode around the side of the main mezzanine seats. It has a really tiny balcony, which like all movie houses with them, is usually closed. It's also right at the thick of things on Capitol Hill - at the intersection of Broadway with Pine where the daylife and nightlife of both streets can intersect.
In browsing the SIFF catalog, which covers 231 events, about 220 of them movies or collections of shorts, I found ten which seemed worth the nine bucks to see. The flicks are shown in one of four venues, the Egyptian, the primo venue, the Broadway Performance Hall on Capitol Hill which is an actual theater space and normally hosts music groups and plays, the Harvard Exit, also on Capitol Hill and also a former something-else and smallish, and the Pacific Place Cinemas, just down from Capitol Hill at 7th and Pine downtown and your usual super-multi-cinema blah.
The first flick playing in my list was "Dig," <http://www.digthemovie.com> a documentary by Ondi Timoner, who wrote, did a lot of the cinematography, directed and edited, with narration by the Dandy Warhols' founder and lead Courtney Taylor. It won the grand prize for documentaries at this year's Sundance Film Festival. Timoner is a cum laude graduate of Yale and has done a significant number of award-winning documentaries before starting on "Dig." The film covers the years 1995 through 2003 and Timoner, and her fellow co-producer and cinematographer Vasco Lucas Nunes, shot over 1500 hours of video during that period. The film is 105 minutes long, a significant job of editing. Following the screening, Ondi Timoner came out and entertained questions from the packed theater. One of the questions solicited the fact that if the flick is even moderately successful at the box office (it opens this October) then she will work with the releasing agency - Palm Pictures and Sundance Channel - to release a double-sided DVD which will include alternate narration tracks from all the participants including members of both bands which the film documents.
Now, what is this flick about and why did it draw my attention. The documentary is about the interplay between two alternative rock bands - the Brian Jonestown Massacre and the Dandy Warhols. Anton Newcomb moved from LA to San Francisco in 1989 and founded the BJM, leaping forward in his music from a love and base of SF and British psychedelic rock with an abiding hatred for the music industry and the commercialization of music. The band's name was created by Newcomb to draw attention to Rolling Stones original lead guitar Brian Jones who was found dead in a swimming pool in 1969, an accidental death attributed to the influence of drugs - downers and alcohol, and the cult mass suicide of Jim Jones and 912 others at Jonestown, Guyana. Anton Newcomb is a rebel - a vast understatement. His band became friends with the Dandy Warhols, founded in Portland in 1994 by Courtney Taylor. Taylor had used drugs in the early years and was equally opposed to the existing music establishment. The two - Taylor and Newcomb, became friends and their bands played together and played off each other for a few years following this friendship, and then all Hell broke loose - which the film captures.
The movie picks up the two bands in 1995 and follows both of them, with a particular emphasis on BJM, through 2003. BJM never became commercially successful in the way that the Dandy Warhols did and that's mostly because Newcomb continued to sabotage all efforts to fit into the existing music industry structure. Plus, Newcomb continued to use and abuse heroin. The fact that he's still alive and producing great music is antithetical to the heroin use. Taylor and the Dandy Warhols, on the other hand, played their own game but WITH the music industry and have become extremely successful - first overseas and more recently here in the U.S.
The film is deeply engrossing on many levels. It's a commentary on drug use, drug abuse, the effects of drugs on brilliant minds and on friendships. It's a commentary on the dynamics of a group - in this case two bands as separate entities and the two bands as a collective. It's a commentary on the society around these bands and the years it covers. It's a commentary on the music industry and the unfortunate choking effect that industry has had on true musical talent and the Gerberization that industry has had on the entire world of contemporary music. It's also a commentary on the persistence of talent and the creative process associated with music creation.
It's also got some great music, from the Brian Jonestown Massacre and from the Dandy Warhols. It's a view into who we are also, since it covers the world outside as an influence on these bands and on their fans and followers. If you like music, if you like sociology, if you like psychology - especially the pathology of the mind - you should see this film and if you can't, hope the DVD comes out.
In keeping with his heartfelt basic idea about how music really is to be shared and more fundamentally - should be free - the Brian Jonestown Massacre has posted their entire discography as 128-kbit MP3's, free, broken into the 35 or so albums, studio and live, and outtakes which the band has produced <http://www.brianjonestownmassacre.com>. There's a huge collection of some amazing music out there, hosted by one user on the CalTech system servers. Download speeds are fantastic, the sound is fantastic, the MP3's come with complete TAG data embedded. To be fair, the Dandy Warhols have also posted their music, much less in actual output (four albums) on their website <http://www.dandywarhols.com/sounds.htm#>. The Dandy Warhols, though, have limited the MP3's to 40 seconds rather than the entire selection. But, then again, they have become commercially successful and it's still unclear if BJM will ever become successful in the music industry's terms.
Listen to some of the BJM stuff, there's sufficient numbers of tracks that there is bound to be a number which will appeal to you no matter what your tastes are in music.
Since I was downtown for the flick, I carried my camera and got a few night shots of the city as well as another photo essay, this one on the sun setting behind the Seattle Center's Space Needle, as seen from a variety of streets I crossed while walking up Pine from the downtown bus stop to the Egyptian theater. There's also a few shots of the interior of the house.
It's supposed to rain for the next few days so it's unlikely I'll get out on my bike. Not sure what I'll do to pass the time but if its anything interesting I'll post something and it not I'll leave it to your imagination.
Have a great Memorial Day weekend and just be safe as you travel about - this iss one of the worst weekends for traffic accidents - so be cautious and alert and aware.
Chas
Three views of the Space Needle from Pine Street moving eastward towards Capitol Hill from First Avenue and one
shot of the Needle heading west after the movie and much later at night.
Pine Street at the Interstate-5 overpass looking south toward the rest of downtown. Approximate
time was 11:30 pm.
The other side of the overpass look slightly southeast to catch the buildings which were
hidden in the previous view. The Canon Digital Elph, although just a point-and-shoot
camera, actually has a pretty good auto-exposure and when flash is turned off and the
camera mounted on a steady spot (in this case the bridge railing) it takes some pretty decent
night shots.
Just past the freeway overpass, on the downtown side of Pine Street, is this entryway for
the Metro Bus Tunnel. The red and blue neon posts are quite eye-catching as well as
serving to light the entrance and give pedestrians a beacon.
A closer look at the northern, blue, neon post.
And a closer look at the southerly red neon post. Simple but effective. Something like this
but with probably green, blue and maybe a different green or blue is what I'm thinking of for
the neon sculpture in the aerie. And, rather than being vertically aligned, I'm thinking of
the aerie sculpture being horizontally aligned with the different neon tubes being offset over
their length so the whole appears to "move" as one walks around the area.
The Tiffany's on Pine Street with its characteristic clock and statue in front. These are above
the doorway, which I didn't capture since it's just a fancy door.
Looking south at WestLake Plaza, corner of Fourth and Pine. The item to the right is a vertical
wall of water - a cascading waterfall. The attractive skyscraper in the distance is the headquarters
for Washington Mutual bank.
Looking south at the intersection of Pine and Second Avenue. Second and First were
completely car jammed, folks out cruising downtown. Time was approaching midnight.
A view down Pine Street towards the Market buildings with Elliott Bay beyond and the lights
from West Seattle providing backdrop.
A different view of the same location, from the corner of Pine and First Avenue. Decided my
bus was going to take too long to arrive so began to walk south on First to see what other
photos I could capture while waiting for the bus ride home.
A 180-degree panorama of the plaza at the main entrance to Pike Place Market, at Pike Place just west of First Avenue. The market closes at
6:00 pm but the lights stay on all night, and since it was slightly drizzling, the brick pavement was illuminated and reflecting the various neon signs.
Still further south on First Avenue, at Seneca Street, there's this overlook to the harbor area and Elliott Bay, this shot is
taken from that overlook and is a 120-degree panorama. West Seattle is much more evident in this view, beyond the
cranes of the harbor, as a string of lights along Alki and Harbor Avenues.
This is a glass "wave" sculpture which was featured in the front window of one of the
galleries along First Avenue. I've removed the rest of the items which shared the window
space - but you can see their internal reflections in this item. Glass captures light so well,
especially if it's in the odd shape of this and several other "wave" sculptures.
Slight panorama of the living room with the alcove in the distance behond leather chair. The wall angles away from
the square of the living room right where the yellow pole is leaning. It's a sixteen degree angle, making the two windows
in the alcove space face north-northeast and east-southeast respectively. The stairs rise in the area where it's obvious
and there's a closet underneath the stairs, starting about where the middle tape line is in the wall.
The same space as seen from the southeast corner of the dining room. The new door is reflecting the flash and the
stairs are not visible, though the stairwell is. The triangular cutout in the wall area was my idea to give light back to the
dining room from the new alcove space - it works wonderfully well and provides a small platform to place things as well.
I've almost dug myself out of the hole caused by the drywall and spackle dust. Only three more bookcase's worth of books to vacuum. The rest of the living room, dining room, kitchen and pantry are done. I suppose one could argue that this was just a "Spring" cleaning anyway and would have had to be done irrespective. The house is looking sweet. The new living room alcove, even though the concrete floor still has to be stained and sealed and even though there's no paint anywhere yet, looks great. The space adds a great deal of character to the living room and adds back two new window views as well as expanding the volume considerably. We're not quite sure yet what to use this new space for, it would be a perfect office area if Katherine didn't already have a great office. My suspicion is that it will be a corner retreat spot, in easy talk distance to anyone in the living or dining area but somewhat removed. There's such great reflection space in the new design - the living room alcove, the aerie, the upstairs foyer. It's hard to imagine how easily we'll fill and use this new volume but I've no doubt that after a few months we'll feel like we've lived with this space the whole time.
Because the upstairs and the new downstairs are such non-linear spaces, it's also rather difficult to capture the area in photographs. It's also difficult to convey the amount of light and air which these new areas allow into the existing structure. That was, of course, part of the plan, and it's one of those great moments when plan and execution result in realization. The wind which courses through the upstairs is way out of proportion to the actual velocity of whatever wind is actually blowing. That is no doubt the result of the louvered effect of the casement windows and the odd angles upstairs. The aerie is beyond any question the pinnacle of the whole project. Not only are the views as expected and - actually - beyond, but the wind-catching capability of the tower and the altitude and the location on the crest of the hill with nothing between here and the sound - or even the Cascades - means that the aerie is one of those places where wind exists even when there is no wind. It's at the top of a 30-foot vertical shaft with no break between the top and the bottom and the venturi effect is definitely in full force at the top. It would make a perfect chimney, too.
Things are reaching the finishing stage with the painting and siding and trim going on. The remaining few weeks will be a return to the fun part as all the little touches get finished. We've actually got a functioning electric outlet upstairs. I'll have to revisit Lamps Plus and take a second look at the track light options. We've got three areas which will get track light treatment - the downstairs living room alcove, Adam's new play room, and my multimedia studio. In Adam's and my rooms, we've got two junction boxes on the ceiling in each room, on the east sides and again on the west sides. We'll run two linear tracks the length of the room and get lights, probably similar to downstairs, which swivel and rotate, and then leave it up to each of us to adjust the location and lighting angle. I've decided to go with the same track as downstairs, a Juno track. I'll probably get the WAC lights to go in the tracks as well - I've had really good experience with the existing set. They have a low-voltage transformer as part of the light package and use pin-plug halogen bulbs which come in 25, 35, 50 and 65 watt ratings - basically a very low, low, medium and high brightness factor. I'll also install dimmers on all five track switch circuits to further allow for adjustment. I think I could easily have made a career out of lighting as much as I enjoy working with lights, lamps, and illuminating spaces.
I've had further discussions with my neighbors regarding the neon sculpture for the aerie, now that I've been able to invite them in and show off the space and the aerie. I've actually received significant encouragement from this group, nearly everyone thinking that a neon sculpture at the top of the tower would be a visual treat and not an intrusion. That's really pushed me and once the house is finished and we've signed off on the final payment and the city has passed the place for occupancy, I'll visit Western Neon with some finished photos and begin the discussions about what would make the most sense and be the most illuminating and interesting way to light the top with neon. I'm a fervent believer in allowing artists to take the lead when one is looking for custom art. I've had great success in the past with a few projects I've commissioned and am looking forward to seeing what Jay Blazek and his neon artists at Western Neon can do <http://www.westernneon.com/>.
Saturday night I headed downtown to take in the first of ten Seattle International Film festival movies which struck my fancy. This flick was playing at the Egyptian, a really wonderful venue. It was originally built in 1915 as a Masonic temple and is now an Art Deco (what else, Egyptian motifs everywhere) showcase for the Festival films, for retro-film festivals, for first runs, and things like Hitchcock film weeks. The stage is an actual stage, with underneath and side wings. The sound is a bit of an afterthought and consists of a set of amplified speakers placed in surround-sound mode around the side of the main mezzanine seats. It has a really tiny balcony, which like all movie houses with them, is usually closed. It's also right at the thick of things on Capitol Hill - at the intersection of Broadway with Pine where the daylife and nightlife of both streets can intersect.
In browsing the SIFF catalog, which covers 231 events, about 220 of them movies or collections of shorts, I found ten which seemed worth the nine bucks to see. The flicks are shown in one of four venues, the Egyptian, the primo venue, the Broadway Performance Hall on Capitol Hill which is an actual theater space and normally hosts music groups and plays, the Harvard Exit, also on Capitol Hill and also a former something-else and smallish, and the Pacific Place Cinemas, just down from Capitol Hill at 7th and Pine downtown and your usual super-multi-cinema blah.
The first flick playing in my list was "Dig," <http://www.digthemovie.com> a documentary by Ondi Timoner, who wrote, did a lot of the cinematography, directed and edited, with narration by the Dandy Warhols' founder and lead Courtney Taylor. It won the grand prize for documentaries at this year's Sundance Film Festival. Timoner is a cum laude graduate of Yale and has done a significant number of award-winning documentaries before starting on "Dig." The film covers the years 1995 through 2003 and Timoner, and her fellow co-producer and cinematographer Vasco Lucas Nunes, shot over 1500 hours of video during that period. The film is 105 minutes long, a significant job of editing. Following the screening, Ondi Timoner came out and entertained questions from the packed theater. One of the questions solicited the fact that if the flick is even moderately successful at the box office (it opens this October) then she will work with the releasing agency - Palm Pictures and Sundance Channel - to release a double-sided DVD which will include alternate narration tracks from all the participants including members of both bands which the film documents.
Now, what is this flick about and why did it draw my attention. The documentary is about the interplay between two alternative rock bands - the Brian Jonestown Massacre and the Dandy Warhols. Anton Newcomb moved from LA to San Francisco in 1989 and founded the BJM, leaping forward in his music from a love and base of SF and British psychedelic rock with an abiding hatred for the music industry and the commercialization of music. The band's name was created by Newcomb to draw attention to Rolling Stones original lead guitar Brian Jones who was found dead in a swimming pool in 1969, an accidental death attributed to the influence of drugs - downers and alcohol, and the cult mass suicide of Jim Jones and 912 others at Jonestown, Guyana. Anton Newcomb is a rebel - a vast understatement. His band became friends with the Dandy Warhols, founded in Portland in 1994 by Courtney Taylor. Taylor had used drugs in the early years and was equally opposed to the existing music establishment. The two - Taylor and Newcomb, became friends and their bands played together and played off each other for a few years following this friendship, and then all Hell broke loose - which the film captures.
The movie picks up the two bands in 1995 and follows both of them, with a particular emphasis on BJM, through 2003. BJM never became commercially successful in the way that the Dandy Warhols did and that's mostly because Newcomb continued to sabotage all efforts to fit into the existing music industry structure. Plus, Newcomb continued to use and abuse heroin. The fact that he's still alive and producing great music is antithetical to the heroin use. Taylor and the Dandy Warhols, on the other hand, played their own game but WITH the music industry and have become extremely successful - first overseas and more recently here in the U.S.
The film is deeply engrossing on many levels. It's a commentary on drug use, drug abuse, the effects of drugs on brilliant minds and on friendships. It's a commentary on the dynamics of a group - in this case two bands as separate entities and the two bands as a collective. It's a commentary on the society around these bands and the years it covers. It's a commentary on the music industry and the unfortunate choking effect that industry has had on true musical talent and the Gerberization that industry has had on the entire world of contemporary music. It's also a commentary on the persistence of talent and the creative process associated with music creation.
It's also got some great music, from the Brian Jonestown Massacre and from the Dandy Warhols. It's a view into who we are also, since it covers the world outside as an influence on these bands and on their fans and followers. If you like music, if you like sociology, if you like psychology - especially the pathology of the mind - you should see this film and if you can't, hope the DVD comes out.
In keeping with his heartfelt basic idea about how music really is to be shared and more fundamentally - should be free - the Brian Jonestown Massacre has posted their entire discography as 128-kbit MP3's, free, broken into the 35 or so albums, studio and live, and outtakes which the band has produced <http://www.brianjonestownmassacre.com>. There's a huge collection of some amazing music out there, hosted by one user on the CalTech system servers. Download speeds are fantastic, the sound is fantastic, the MP3's come with complete TAG data embedded. To be fair, the Dandy Warhols have also posted their music, much less in actual output (four albums) on their website <http://www.dandywarhols.com/sounds.htm#>. The Dandy Warhols, though, have limited the MP3's to 40 seconds rather than the entire selection. But, then again, they have become commercially successful and it's still unclear if BJM will ever become successful in the music industry's terms.
Listen to some of the BJM stuff, there's sufficient numbers of tracks that there is bound to be a number which will appeal to you no matter what your tastes are in music.
Since I was downtown for the flick, I carried my camera and got a few night shots of the city as well as another photo essay, this one on the sun setting behind the Seattle Center's Space Needle, as seen from a variety of streets I crossed while walking up Pine from the downtown bus stop to the Egyptian theater. There's also a few shots of the interior of the house.
It's supposed to rain for the next few days so it's unlikely I'll get out on my bike. Not sure what I'll do to pass the time but if its anything interesting I'll post something and it not I'll leave it to your imagination.
Have a great Memorial Day weekend and just be safe as you travel about - this iss one of the worst weekends for traffic accidents - so be cautious and alert and aware.
Chas
Three views of the Space Needle from Pine Street moving eastward towards Capitol Hill from First Avenue and one
shot of the Needle heading west after the movie and much later at night.
Pine Street at the Interstate-5 overpass looking south toward the rest of downtown. Approximate
time was 11:30 pm.
The other side of the overpass look slightly southeast to catch the buildings which were
hidden in the previous view. The Canon Digital Elph, although just a point-and-shoot
camera, actually has a pretty good auto-exposure and when flash is turned off and the
camera mounted on a steady spot (in this case the bridge railing) it takes some pretty decent
night shots.
Just past the freeway overpass, on the downtown side of Pine Street, is this entryway for
the Metro Bus Tunnel. The red and blue neon posts are quite eye-catching as well as
serving to light the entrance and give pedestrians a beacon.
A closer look at the northern, blue, neon post.
And a closer look at the southerly red neon post. Simple but effective. Something like this
but with probably green, blue and maybe a different green or blue is what I'm thinking of for
the neon sculpture in the aerie. And, rather than being vertically aligned, I'm thinking of
the aerie sculpture being horizontally aligned with the different neon tubes being offset over
their length so the whole appears to "move" as one walks around the area.
The Tiffany's on Pine Street with its characteristic clock and statue in front. These are above
the doorway, which I didn't capture since it's just a fancy door.
Looking south at WestLake Plaza, corner of Fourth and Pine. The item to the right is a vertical
wall of water - a cascading waterfall. The attractive skyscraper in the distance is the headquarters
for Washington Mutual bank.
Looking south at the intersection of Pine and Second Avenue. Second and First were
completely car jammed, folks out cruising downtown. Time was approaching midnight.
A view down Pine Street towards the Market buildings with Elliott Bay beyond and the lights
from West Seattle providing backdrop.
A different view of the same location, from the corner of Pine and First Avenue. Decided my
bus was going to take too long to arrive so began to walk south on First to see what other
photos I could capture while waiting for the bus ride home.
A 180-degree panorama of the plaza at the main entrance to Pike Place Market, at Pike Place just west of First Avenue. The market closes at
6:00 pm but the lights stay on all night, and since it was slightly drizzling, the brick pavement was illuminated and reflecting the various neon signs.
Still further south on First Avenue, at Seneca Street, there's this overlook to the harbor area and Elliott Bay, this shot is
taken from that overlook and is a 120-degree panorama. West Seattle is much more evident in this view, beyond the
cranes of the harbor, as a string of lights along Alki and Harbor Avenues.
This is a glass "wave" sculpture which was featured in the front window of one of the
galleries along First Avenue. I've removed the rest of the items which shared the window
space - but you can see their internal reflections in this item. Glass captures light so well,
especially if it's in the odd shape of this and several other "wave" sculptures.
Slight panorama of the living room with the alcove in the distance behond leather chair. The wall angles away from
the square of the living room right where the yellow pole is leaning. It's a sixteen degree angle, making the two windows
in the alcove space face north-northeast and east-southeast respectively. The stairs rise in the area where it's obvious
and there's a closet underneath the stairs, starting about where the middle tape line is in the wall.
The same space as seen from the southeast corner of the dining room. The new door is reflecting the flash and the
stairs are not visible, though the stairwell is. The triangular cutout in the wall area was my idea to give light back to the
dining room from the new alcove space - it works wonderfully well and provides a small platform to place things as well.
Posted: Wed - May 26, 2004 at 01:32 PM
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Published On: Jul 04, 2005 05:41 PM
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Published On: Jul 04, 2005 05:41 PM