284 research outputs found
Egestion of plant propagules by turtles in a small Massachusetts river
No full textPadgett, Donald J., Quirk, Sydney, Joyal, Meghan, Surasinghe, Thilina D. (2019): Egestion of plant propagules by turtles in a small Massachusetts river. Journal of Natural History 53 (31): 2011-2021, DOI: 10.1080/00222933.2019.168153
DESA1002 'Continuous City' <Tim Quirk>
No full textThe Musical Cube is located in the city of Paris, France. The site is the Place Vendome, an area rich with culture, art and theatre. It is a very exclusive part of Paris, consisting of The Ritz Carlton Hotel and several expensive fashion and jewelery stores. The cube is located on the north/west corner of the Place Vendome along the main road axis that cuts through the square. The entry to the muscial cube is clearly idenified by the roof that overhangs out into the square. There is a strong visual connection with views from the studio rooms and larger practice rooms into the Place Vendome. Part of the design brief that was developed at the start of the semester was to design a place that would bring youth into the Place Vendome. The Musical Cube is a school that achieves just that. It is a place where students are encouraged to learn there craft, at an affordable price, in a space that meets the particular needs of musicians. The spaces within the cube consist of several studio rooms, 2 larger practice rooms and a theatre. These 3 key spaces encourage students to concieve, develop and perform their work
BDES2020 - Decorated Shed <Tim, Quirk>
No full textThe program was split into three sections; garage, services and offices. There placement was derived from the "engine floor plan." meaning that the small spaces are arranged together and the large spaces are left to be whatever. The three sections are placed around a central void. The offices are on the first floor and look down into the void and garage area. The facade was derived from an earlier exercise, "the screen." This screen was applied to the building, creating interesting internal spaces
Lena Murdaca, Prickly Pear Orchard, Rouse Hill, Sydney, New South Wales, 2005 [picture] /
No full textTitle devised by cataloguer based on information from vendor.; Acquired in digital format; access copy available online.; Mode of access: Internet via World Wide Web.; Purchased from the photographer, 2007
Australian artist Brett Whiteley working on his artwork in his Surry Hills studio, Sydney, ca. 1988 [picture] /
No full textTitle devised by cataloguer based on information from acquisitions documentation.; Acquired in digital format; access copy available online.; Mode of access: Internet via World Wide Web.; Purchased from the photographer, 2009
Australian artist Brett Whiteley adding detail with a paint brush to his artwork in his Surry Hills studio, Sydney, ca. 1988 [picture] /
No full textTitle devised by cataloguer based on information from acquisitions documentation.; Acquired in digital format; access copy available online.; Mode of access: Internet via World Wide Web.; Purchased from the photographer, 2009
A new Gray’s anatomy of English grammar : review article on R. Huddleston and G. Pullum, ‘The Cambridge grammar of the English language’, 2002.
No full textThis article reviews Huddleston & Pullum (2002) from the viewpoint of a co-author of Quirk, Greenbaum, Leech & Svartvik (1985). (This author, however, makes no claim whatsoever to represent the views of the other authors of Quirk et al.) Particular attention is paid to some of the more controversial aspects of Huddleston & Pullum's analysis. It is argued that the two grammars, although similar in their comprehensively wide coverage of English, are not strictly comparable, in that Huddleston & Pullum's grammar is more theory-oriented and Quirk et al.'s grammar is more observation-oriented. These different orientations go with different strengths and weaknesses. In some areas Huddleston & Pullum's more up-to-date account has manifest advantages over that of Quirk et al., but there are also arguably areas where Huddleston & Pullum have not moved with the times
Oxford street profile
No full textOxford Street Profile (OSP) is a visual narrative of a Sydney street in the early 21st century.
How do we relate to the streets we are most familiar with? Citizens use the street for their specific needs, whether it be for business, pleasure, shopping or traversing the suburbs, with a familiarity that assumes everything will be the same and often it is. However, change is inevitable and ongoing. OSP argues that the more we use our streets, the less we perceive them as they are.
The purpose of this document is to observe Oxford Street from a pedestrian’s point of view, to note the human occupation on the street, and to record the street as it is in the second decade of the 21st century.
The proposition of this thesis is that people have an image of Oxford Street that is set in their minds, and perhaps such perceptions differ between various users of the street. This work challenges that image by creating a continuous profile, which became the basis of this typological documentation of the street.
In 2009 this researcher set out to photograph every building on both sides of Oxford Street from Queen Street, Woollahra to Taylor Square, Darlinghurst. The resulting images illustrate the continuity of one streetscape in inner Sydney. This sequential profile provides a different way of visualising a street in Australia by combining 130 photographs into one photographic record of Oxford Street.
How OSP was conceived is explained and the artists whose works were important in realising the sequential profile of Oxford Street is acknowledged and summarised.
OSP is a document that is as much about a Sydney street today as it will be for another generation considering the built environment in the future. OSP links the fundamental structures of the street, defining their spatial relationships in a typology. From this point of view Oxford Street Profile is a significant example of a place in time
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