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The Panorama of the City of New York:
Scale model commissioned by Robert Moses for the 1964 World's Fair.
Designed and executed by Raymond Lester Associates.
Sporadically updated since.
"9,335 square foot architectural model includes every single building constructed before 1992 in all five boroughs; that is a total of 895,000 individual structures."
"The Panorama was built by a team of 100 people working for the great architectural model makers Raymond Lester Associates in the three years before the opening of the 1964 World’s Fair. In planning the model, Lester Associates referred to aerial photographs, insurance maps, and a range of other City material; the Panorama had to be accurate, indeed the initial contract demanded less than one percent margin of error between reality and the model. The Panorama was one of the most successful attractions at the ‘64 Fair with a daily average of 1,400 people taking advantage of its 9 minute simulated helicopter ride around the City."
"Until 1970 all of the changes in the City were accurately recreated in the model by Lester’s team. After 1970 very few changes were made until 1992, when again Lester Associates changed over 60,000 structures to bring it up-to-date. In the Spring of 2009 the Museum launched its Adopt-A-Building program with the installation of the Panorama’s newest addition, Citi Field, to continue for the ongoing care and maintenance of this beloved treasure."
www.queensmuseum.org/exhibitions/visitpanorama
www.queensmuseum.org/visi/donate/adopt-a-building
www.nytimes.com/2007/02/02/arts/design/02pano.html
www.flickr.com/groups/1025012@N21/
Red Lines Housing Crisis Learning Center:
2009 exhibition by Damon Rich of the Center for Urban Pedagogy, hosted by the Queens Museum of Art
Larissa Harris, Commissioning curator; Project Coordinator for Queens Museum Installation: Rana Amirtahmasebi
Museum Director: Tom Finkelpearl
"The Neighborhood Economic Development Advocacy Project collected the foreclosure information. . . . The Regional Plan Association, an independent planning group, then crunched the numbers using the Geographic Information System — a mapping program — to create maps of every inch of the city indicating where there had been foreclosures of single- to four-family homes in 2008."
"Red Lines Housing Crisis Learning Center is funded by grants from The Andy Warhol Foundation for the Visual Arts and Artists & Communities, a program of Mid Atlantic Arts Foundation, which is made possible by major funding from Johnson & Johnson, the New Jersey State Council on the Arts, and the JPMorgan Chase Foundation. A publication funded by The Graham Foundation for Advanced Studies in the Fine Arts will be available during the exhibition. Additional support provided by the New York City Department of Cultural Affairs and New York State Council on the Arts."
www.queensmuseum.org/2632/red-lines-housing-crisis-learni...
community.queensmuseum.org/lang/en/blog/corona-plaza/redl...
www.nytimes.com/2009/07/08/arts/design/08panorama.html?_r=0
www.cjr.org/the_audit/go_to_queens_museum_get_mad.php
www.flickr.com/photos/panoramaqueensmuseum/sets/721576210...
www.pbs.org/newshour/video/module.html?mod=0&pkg=1510...
www.citylimits.org/news/articles/3789/on-exhibit-housing
video.foxbusiness.com/v/3894109/ny-panorama-highlights-fo...
video.corriere.it/?vxSiteId=404a0ad6-6216-4e10-abfe-f4f69... (in Italian)
www.clairebarliant.com/artwriting/adaptive-reuse/
www.tandfonline.com/doi/abs/10.1080/08935691003625372
www.businessinsider.com/irvington-new-jersey-sub-prime-pr...
www.nytimes.com/2009/05/17/nyregion/new-jersey/17newarknj...
Queens Museum of Art:
Architect: Aymar Embury II
Opened: 1939
Renovated 1964 by Daniel Chait.
Renovated in 1994 by Rafael Viñoly.
Expansion scheduled in 2013, under the helm of Grimshaw Architects with Ammann & Whitney as engineers.
"Built to house the New York City Pavilion at the 1939 World’s Fair, where it housed displays about municipal agencies. . . . It is now the only surviving building from the 1939/40 Fair. After the World’s Fair, the building became a recreation center for the newly created Flushing Meadows Corona Park. The north side of the building, now the Queens Museum, housed a roller rink and the south side offered an ice rink. . . . From 1946 to 1950 . . . it housed the General Assembly of the newly formed United Nations. . . . In 1972 the north side of the New York City Building was handed to the Queens Museum of Art (or as it was then known, the Queens Center for Art and Culture)."
The other half of the building was an ice-skating rink from 1939–2009.
www.queensmuseum.org/about/aboutbuilding-history
en.wikipedia.org/wiki/Queens_Museum_of_Art
en.wikipedia.org/wiki/Aymar_Embury_II
en.wikipedia.org/wiki/Ammann_%26_Whitney
artsengaged.com/bcnasamples/chapter-fifteen-being-good-ne...
More than 1,300 Republic Airways Associates gathered for the 2020 Associate Celebration on Feb. 15, 2020, at the JW Marriott Indianapolis in downtown Indianapolis. The evening included dinner, live music and dancing and drew Associates from every base location across the Company's system. (Photos by Neil King)
The latest Amazon Associates email announcing reduced cost current gen gaming systems is revealing when viewed with out images (my Mail.app default). PS3 banners are properly alted with "PS3". The Xbox 360 image gets a "WHATEVER."
I'm sure this is just the result of an unchanged attribute in the email template but since it reflects my feelings about the 360 it gave me a chuckle.
is a large wading bird in the stork family Ciconiidae. Like other members of its genus, it has a bare neck and head. It is however more closely associated with wetland habitats where it is solitary and is less likely to scavenge than the related greater adjutant. It is a widespread species found from India through Southeast Asia to Java. IUCN: VU
www.mcm-interiors.blogspot.com
Incredible Rosewood Sideboard Designed By The Ole Wanscher Trained Designer Richard Young, For Merrow Associates, UK. Late 60's to Late 70's.
Associate professor Dana Warren, left, and other researchers explore a riparian zone at the Elliott State Research Forest (photo by Jeff Behan, Institute for Natural Resources.
"Red Lips" - six color print by John Wesley, at the Axelle Fine Arts Silkscreen Studio
Although he was part of the original group of POP Artists and was included
in the three Pop Art Print Portfolios, Wesley, a native Callifornian, has
been slow to gain the recognition he deserves. In POP ART: A Continuing
History, Marco Livingstone notes that Wesley used a "straightforward linear
technique associated with such non-art sources as cartoons, comics and
coloring books" (82-83) and used "gentle humor . . . framing devices,
symmetry, and tactics of repetition as essential ingrediants in the
production of paintings that appear to be innocent in an obviously childlike
way but are in fact meditative in atmosphere and sophisticated in their
formal construction" (208). Meditative they may be, but if innocence is
present it is often that of those who ought to know better. As a press
release foor the January-February 2001 exhibition of his work at the Harvard
University Art Museums points out, "Wesley has been painting acutely sexual,
intensely observed, narrative paintings for more than 40 years. The
conspicuous characteristics of his work since the early seventies-its
insistent flatness, powdered pastel palette, cartoon/cinematographic
narratives, embrace of the sexually charged encounter, sophisticated
anthropomorphism, and mannered drawing-have enormous appeal for younger
painters inspired by a digital revolution to rethink the medium: Wesley's
painting looks like nothing else out there.
A recent retrospective at the Museum of Modern Art's P.S.1, Wesley's first
in the United States, reflects this new interest in a painter who first came
into prominence in the early sixties. Staged against the backdrop of the
more extensive MoMA/P.S.1 retrospective, John Wesley: Love's Lust is
selective rather than comprehensive, featuring work from the sixties through
to the present in an effort to look more closely at Wesley's allegorical
subject matter and sophisticated formal innovations. 'Wesley's compelling
approach to painting encourages the viewer to question the reasons for his
eccentric creations and in doing so forces us all to ponder his intended
message,' said James Cuno, the Elizabeth and John Moors Cabot Director of
the Harvard University Art Museums. 'Wesley has never lacked for attention,'
said Linda Norden, the curator at the Fogg who organized the show. 'But
critics have been eager to characterize rather than analyze the art for fear
that looking too closely would kill off whatever it is that works. This
exhibition is meant to show that exactly the opposite is true. Wesley's
paintings can be frighteningly funny, poignant, and just plain weird; but
there is a complex pictorial intelligence driving this body of work.' "
The Harvard show "includes a wide selection of acrylic-on-paper paintings,
which Wesley usually enlarges on canvas. Two wall cases contain some of the
traced drawings he uses to compose his paintings. Surprisingly, these
tracings reveal how little is fixed by an apparently mechanical means of
reproduction: Instead, what becomes quickly apparent is Wesley's mastery of
subtle shifts in scale and placement. Over the last ten years, Wesley has
taken another turn in his paintings, opening spaces between figures,
substituting distance for repetition, and conveying character less through
facial expression than by developing a complex mannered line. This seems to
be John Wesley's moment: John Wesley: Love's Lust offers an overdue
opportunity to examine the work of an artist who has long been loved, but
never taken quite seriously enough."
The Curator of John Wesley: Paintings 1961-2000, a retrospective held during
the autmn of 2000 at P.S. 1, a branch of The Museum of Modern Art, has a
slightly different perspective. Alanna Heiss, P.S.1 Director, says"Wesley's
work stands eerily apart. He mixes images of traditional emblems, historical
figures, comic book personalities, animals, sexy women, athletes and
showgirls into surreal daydreams, prompting the viewer to rejoin her own
private dream-world." This exhibition includes works ranging from his
earliest paintings (Stamp, 1961) to his most recent-Showboat, 2000. To
accompany this retrospective, P.S.1 has produced a catalogue including new
essays by Brian O'Doherty and Carolyn Christov-Bakargiev, an interview with
the artist by Alanna Heiss, a chronology by Hannah Green, and an anthology
of other significant texts and color plates. Wesley is known for his
consistency of palette (baby blues, cotton-candy pinks), his use of painted
"frames" within his pictures, his early emblem paintings, his cartoon
Bumstead paintings, and ultimately for his representations of an inner
erotic voyage where we are both the voyager and the voyeur.
After moving from his native Los Angeles to New York in 1960, John Wesley
began showing his work at the Robert Elkon Gallery in 1963. Donald Judd
became an early supporter of Welsey's work at that time. In a review of that
first New York show he wrote "...the forms selected and shapes to which they
are unobtrusively altered, the order used, and the small details are
humorous and goofy." Initially considered in alignment with pop artists of
the early 60s, Wesley consistently produced works of such a subtle and
subversive nature as to put him in a category of his own. He used the early
tools of advertising production (tracing paper and stock photographs).
Influences on his work range from Surrealism to Art Nouveau, from ancient
Greek pottery to Matisse. Wesley's colorful and figurative style also
reflects the "flat" world of comics and posters. His secret life is ours;
the works uncover the private world of a dreamer, where the dreamer is the
protagonist, the artist, and the viewer. They are icons proclaiming the
sanctity of our subconscious wanderings.
Selected Bibliography: In addition to discussions of Wesley in such standard
works on the POP Art Movement as Judith Goldman, The Pop Image: Prints &
Multiples (NY: Marlboroush Graphics, 1994), Marco Livingstone, POP ART: A
Continuing History (NY: Abrams, 1990), see R. H. Fuchs, Kasper Konig, et al,
John Wesley : Paintings 1963-1992, Gouaches 1961-1992 (Frankfurt: Oktagon
Verlag, 1993-Catalogue of a travelling retrospective held in Frankfurt,
Amsterdam, Ludwigsburg, and Berlin between July & Oct. 1993); Alanna Heiss,
John Wesley: Paintings 1961-2000 (NY: P. S. 1-MoMA, 2000).
[Source]
Read: A Conversation with John Wesley by Marianne Stockebrand
Born in 1945, Denny Sorah spent his school days attending Northridge schools and graduated from Northridge High School in 1963. He worked for Dayton Press from 1963 to 1978. He earned an associate's degree from Sinclair in business administration in 1979. From 1979 to 1981 he worked for Fidelity Ambulance Service and then went to work for the Montgomery County Coroner's Office until 1995, when he began working at Wick's General Store.
Denny received paramedic training at Good Samaritan Hospital and began a 26 year career working with the Harrison Township Fire Department, retiring in 1996. During that time he received Dedicated Service Awards (1971 and 1974), Fireman of the Year Award (1977), and Paramedic of the Year Award (1978). He was the trainer for the Northridge football team from 1972 to 2002. For his service to the football team, he received an Appreciation Award (1981) and a Dedicated Service Award (1982). From 1970 to 2004 he was a parade marshal for the annual Northridge Parade, and in 1987 he was the Grand Marshal of the parade.
Denny also coached Little League baseball (1963-72) and Pee Wee football the first three years of its organization in Northridge.
"I'm a Northridge boy. I've moved out of the area, but they can't take Northridge out of me. Northridge offers the opportunity to every child to get a great education if they want it. I wish more parents would get involved in their kid's education and push their child to attend every day and study more so they can receive the education they need to be a success in life. … I've had a few health problems over the last few years, and I would like to thank a Northridge grad and a Hall of Fame member who has helped me a lot - my minister, Bobbie Predmore. She has been a real joy and inspiration to me."
Denny married his wife Fawnda in 1996. She is retired. Denny has two daughters - Pam (1965) and Denise (1971) and between them, they have five children. Pam and Denise both work at Timberlane Learning Center.
Premier Member of Landscape Design Advisor
Mark Scott and his team design some of the most elegant landscapes and homes in Southern California and beyond.
For more on this member, visit us at www.landscape-design-advisor.com and be sure to follow
Somehow I don't associate this expansive landscape with North Wales, where glaciation of volcanic bedrock means (inland) horizons tend to be closer. It may be an optical illusion, though, caused by haze; even at 782 m asl, the skyline's only 53 km away.
As the title rather suggests, the peaks in the centre of the image are the Moelwyn group, the pointy peak of Moelwyn Mawr becoming a ridge round to the right and craggy Craigysgafn, then Moelwyn Bach after a small gap.
Llyn Stwlan pumped-storage hydropower reservoir is on the far side, behind Craigysgafn.
On the right, the partly-forested Graig Wen lies in front of Arenig Fawr, 28 km away. Arenig Fach peeks out from behind Moelwyn Mawr. Further away to the left is Moel Emoel, with Moel y Henfaes behind on the south side of the upper Dee Valley.
The main ridge of the Berwyn Mountains is visible between the Moelwyns: Cadair Berwyn is 53 km away, midway between Bala and Oswestry, with Cadair Bronwen at the left end of the visible ridge and Moel Sych at the right.
[Until I post a photo from the Berwyns, I'll use this caption to mention that at 830 m asl, Cadair Berwyn is Wales' highest point outside a National Park. The presence of an trig pillar and corresponding spot height on the OS map might suggest it's 'only' 827 m tall but, surprisingly, the pillar is ~200 m from the true summit, which is marked by a standing stone.]
I am a bit disappointed with the photographs that I took today. Unfortunately because of space restrictions this church [and associated structures] is not easy to photograph even with a 25mm lens. I tried to create some composite images but the results were not useable. I will try again at a later date.
All the structures at this location are of significant historic importance and require conservation work to prevent further deterioration.
St. Columbas's Anglican Church Swords is located on the site of an old Monastery and was founded by St. Colmcille in the year 560. The Church was designed by Francis Johnson and was completed in the year 1818 at a cost of £2.500. The church is currently closed because it needs a new roof so I was unable to photograph the interior.
The Round Tower is said to have being build in the 9th century. The cross at the top of the tower was put there in the late 17th century to let people know that it was a Christian Tower.
The square clock tower dates back to the 14th century and added to the ancient abbey. There's an engraving which dates from 1791 which shows the belfry tower and the remains of the medieval church walls. These walls were taken down in 1830 when St. Columba's Church was being rebuilt.
St. Columba's Church Lodge was build in 1870 costing £140
Although previously in good condition the church building now requires repairs. There are signs of increasing conservation problems. There is no immediate danger of collapse but condition is such that unless urgent remedial works are carried out the building will sharply deteriorate. The community has vacated the structure following loose plaster which fell into area over font. Complex remedial works is now required.
by Internet Archive Book Images
An associate in accounting degree is the perfect degree to take if you want to gain entry level accounting positions in large and small firms. The degree course is a popular route for many Certified Public Accountants as you can gain the kind of experience you...
Andrew Davis, Investment Analyst and Associate Director of Equity Research, T. Rowe Price, and Hunter Keay, Managing Director, Senior Analyst: Airlines, Aerospace and Defense, Wolfe Research discuss Wall Street and aviation policy during “The Future of Flight: Aviation Policy Summit” sponsored by The Hill and Airlines for America at the National Press Club in Washington, D.C., on Tuesday, September 16, 2014.
Antonio Tillis, associate professor of African and African American Studies, at left, with Leading Voices speaker Ben Wildavsky, a senior fellow in Research and Policy at the Ewing Marion Kauffman Foundation.
Wildavsky lectured on "The Great Brain Race: Rise of the Global Education Marketplace." He is the author of "The Great Brain Race: How Global Universities Are Reshaping the World," which won the Frandson Award for Literature in the Field of Continuing Higher Education and is being translated into Chinese, Vietnamese, and Arabic. He is also co-editor of "Reinventing Higher Education: The Promise of Innovation," published by Harvard Education Press in April 2011.
For more information visit Dartmouth Now.
12th Annual Charity Golf Tournament
presented by
SNC LAVALIN Pacific Liaicon and Associates
Benefitting the Eureka Camp Society/Apex Secondary School
Hosted at the beautiful Westwood Plateau Golf & Country Club and Golf Academy
photos by Ron Sombilon Gallery
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Paul Carrese and Associate Justice of the Arizona Supreme Court Clint Bolick speaking with attendees at the 2017 Constitution Day Lecture at the University Club at Arizona State University in Tempe, Arizona.
Please attribute to Gage Skidmore if used elsewhere.
12th Annual Charity Golf Tournament
presented by
SNC LAVALIN Pacific Liaicon and Associates
Benefitting the Eureka Camp Society/Apex Secondary School
Hosted at the beautiful Westwood Plateau Golf & Country Club and Golf Academy
photos by Ron Sombilon Gallery
About Westwood Plateau
WESTWOOD PLATEAU…Experiences Above & Beyond
When award-winning golf architect Michael Hurdzan, Golf World Magazine’s 1997 Architect of the Year, sets out to design a course he says that he wants to “create a ‘Wow’ effect for golfers.” At his Westwood Plateau Golf & Country Club, named ‘Best New Course in Canada in 1996’ by SCOREGolf Magazine, Hurdzan created his patented “Wow” effect on virtually every hole.
As a result, there is no ‘signature’ hole at the spectacular layout on Eagle Mountain because each hole stands alone. Yet each hole bears Hurdzan’s distinctive signature. “This is a magical piece of ground,” said Hurdzan. “When we built the course, the whole intent was to keep the great views, keep the special ethereal feeling and still create as wide a course as we could so that the average golfer could enjoy it.” Hurdzan not only achieved his lofty goal, he exceeded it. On this magical Coquitlam plateau 30 minutes east and 1,300 feet above Vancouver, the golf values are as pure as the snow on the distant mountain peaks. Little wonder that in 1999, Golf Digest called Westwood Plateau: “The best game in town.”
Whether playing from the back tees at 6,770 yards or from any of the other three tee boxes that gradually shorten the course to 5,514 yards, players are confronted by a singular challenge on each hole – deciding whether the view is more striking from the tee or from the green. The ProShot GPS system on each power cart takes the pressure off club selection by displaying precise yardages on easy-to-read screens. It also provides yardages to the hazards; individual tips on playing the hole; updates on your tournament; and ProShot can quickly relay messages in case of emergencies. In addition to the on-cart GPS, you’ll also receive range balls, day locker, bottled water, tee gift, and continental breakfast included in your fees. Other available extras range from transportation via helicopter from downtown Vancouver to fully-stocked personal mini bars on your cart. These above and beyond services helped earn Westwood Plateau ‘5th Best Customer Service in North America’, as ranked by 6500 Golf Digest readers, and Golf Digest’s 4 1/2 - star rating in their Best Places to Play edition.
A fully public facility, Westwood Plateau offers 27 holes of outstanding golf, two distinct restaurants, a nationally recognized teaching academy and a 35,000 square foot clubhouse perfect for corporate entertaining and weddings.
Westwood Plateau’s mission statement is simple – To deliver Above & Beyond experiences through superior service and product quality! We look forward to serving you!
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Associates are lay people women and men who have made a non-vowed formal commitment to serve with the Sisters and other Associates in promoting their Charism and caring on the legacy and telling the stories and history of the Sisters service to Humanity.
2022 Mickey Leland Research Associate Mychal Amoafo working in the lab with mentor Larry Shadle. Mychal is working on the Advanced Systems Integration Team and his project is Intelligent Sensors for Control. In this research, typical process data is analyzed in real time and used to infer other process factors: information from the associated chemistry and physics that can then be used to improve sensitivity, control, process stability. For example, a flame temperature sensor for the Hyper combustor based upon calculating the adiabatic flame temperature. Once this is calibrated against the process response, then we can determine the real-time equivalence ratios, flows, and heat fluxes. In the thermal energy storage model it will give us the driving force for the energy input and then the wall temperature can be used to characterize the inventory of stored energy. Approaches including PCA (Dynamic or sampled, unsupervised) and neural networks (supervised) will be applied for dimensionality reduction and fault detection. We can force neural networks to do dimensionality reduction by designing encoder (or even an autoencoder) and decoder network. The encoder will reduce the dimensionality and we can analyze this reduced dataset for insight into fault detection. The student may use python to obtain initial results and reproduce in MATLAB if time is still available.
One of the real pleasures of Flickr is finding out so much more about the areas you thought you knew.
I have been to Wymondham a few times, delivered beer to a hotel (more of that another time) and a friend used to run the Railway Inn near the station, but I hadn't really explored the town.
But having seen a friend's shots, I really thought I should go back and look at it anew. And then there was this building, the Abbey Church with two towers, ruins and all the associated history.
Whatever you think of the works inside, it is as a complete building, something to leave me, at least, in awe at the beauty. Of course, it might not please everyone, but it does me.
Many thanks to Sarah and Richard for taking me here.
--------------------------------------------
This massive church and its famous twin towers will be familiar to anyone who has ever been within five miles of Wymondham, pronounced Win-d'm; its presence always there above the roof tops, and still there on the horizon when the rooftops can no longer be seen. Closer to, it is like a mighty city on a hill. It is often referred to as Wymondham Abbey, which isn't entirely correct; but there was an Abbey here, and you can see a scattering of remains in the fields between the church and the river, gradually reduced over the centuries as the stone and rubble were taken away for use elsewhere.
We came to Wymondham on a day that was breathtakingly cold; although the temperature was hovering around freezing, there was a biting east wind that made it feel colder still. Hence, the clarity of the light in the photographs above. The top photograph, taken from the south on the far bank of the river, is worth a second glance, because it provides a number of clues as to how this extraordinary and magnificent building came to be the way it is today.
In the beginning, there was a Benedictine Priory, an offshoot of the Abbey of St Albans. It was founded here because, after the Conquest, William I granted the lands of Wymondham to the Duc d'Albini, and the Duke's brother was Abbot of St Albans. Part of the project consisted of building a massive Priory church, much bigger than the one you see today. In style, it was like the Abbey church of Bury St Edmund, or Ely Cathedral. It was a cruciform church about 70 metres long, and had twin west towers - you can see something similar today at Kings Lynn St Margaret. As at St Margaret, there was a third tower above the central crossing, the chancel extending a long way eastwards, and transepts that were as tall as the nave roof. It was completed during the 12th century.
You can see a surviving trace of the south-west tower in the photograph above. The base of its northern wall rises above the roofline at the western end of the clerestory, just beside the current west tower. The central crossing tower, however, was built to the east of the current east tower, the chancel extending eastwards beyond it.
D'Albini intended the church to serve the parish as well as the Priory, but this was not managed without recourse to the advice of Pope Innocent IV, who granted the people use of the nave and the north aisle, the Priory retaining the south aisle, transepts and chancel.
However, when the central crossing tower became unsafe in the late 14th century and had to be taken down, the Priory rebuilt it to the west of the crossing, actually within the nave. This is the east tower that you see today, now a shell. In turn, the parish extended the church further west, demolishing the two west towers and replacing them with the massive structure you see today. It really is huge; although it is not as tall as the church tower at Cromer, its solidity lends it a vastness not sensed there.
When the new east tower was built, the western face of it cut off the nave from the chancel, creating two separate spaces. When the west tower was built, it blocked off the former west window between the old towers. Because of this, Wymondham is the only medieval parish church in Norfolk, and one of the few in England, that has no window at either end.
Wymondham Priory became an Abbey in 1448, and seems to have lived its final century peaceably enough before being closed and asset-stripped by Henry VIII in the 1530s. The church then became solely the charge of the parish; the eastern parts, apart from the tower, were demolished.
Still without parapet or panelling, the west tower was never finished; but it features in the turbulent history of mid 16th century England because William Kett, one of the leaders of Kett's Rebellion, was hung from the top of it by Edward VI's thought police, a reminder of just how closely church and state became allied during the Reformation. It did give me pause for thought - hanging your enemy from a church tower seems such an obvious thing to do when you want to make a point. I wonder just how many more times it happened to less notable victims over the centuries, on church towers up and down the land?
You enter today through the great north porch, which is similar to that nearby at Hethersett, even to the extent of having an almost identical series of bosses. They depict rosary scenes in the life of Christ and the Blessed Virgin.
As I said, we came here on a spectacularly cold day, but I was delighted to discover that the interior of the church was heated, even on a Saturday. The church attracts a considerable number of visitors, as you might expect; but I still thought this was a nice gesture.
Wymondham church is above all else an architectural wonder; but in many ways this is a simple building, easy to explore and satisfying to visit. It has the feel of a small Anglican cathedral in that there is a pleasing mix of ancient Norman architecture and modern Anglican triumphalism; as in a cathedral, there are open spaces, and the old pews have been replaced with modern chairs, which almost always seems to work well. The glorious arcading, triforium and clerestory create a sense of great height; this, coupled with the lack of east or west windows, can make you feel rather boxed in, but I found I quite liked that; it made the place seem more intimate, despite its size.
The modern, triumphant feel to the place is largely owing to the vast reredos by Ninian Comper. This is generally considered to be his finest single work, and forms the parish war memorial. It was built and gilded during the 1920s and 1930s, and you have to say it is magnificent. It consists of three tiers of saints, with a glorious Christ in Majesty topping the tiers under the great tester. It was never completed; the space where the retable should be is now hidden by curtains.
The rood and beam, a bay to the west, is also Comper's work, and it is hard to conceive that work of this kind and to this scale will ever again be installed in an English church. The low sun, slanting through the south windows of the clerestory, picked out the gilding, and clever lighting from underneath helped to put Comper's vision of Heaven into practice. The row of candlesticks on the altar leaves you in no doubt in which wing of the Church of England Wymondham finds itself.
Comper's glory shouldn't distract you from the early 16th century facade above the sedilia. It is terracotta, and probably from the same workshop as the Bedingfield tombs at Oxborough. Here you see what might have happened to English church architecture if theReformation hadn't intervened. Looking west from the sanctuary, the original west window is clearly discernible, now home to the organ.
If Comper's work is a little rich for you, you may prefer the north aisle, which is wide enough to be a church in itself. Cleared of clutter, a few rows of chairs face a gorgeous early 20th century triptych depicting Mary and John at the foot of the cross. The Madonna and child towards the west is also Comper's, but the 1930s towering font cover on the typical East Anglian 15th century font is not; it is by Cecil Upcher. The south aisle is truncated, the eastern bays now curtained off; but here are the few medieval survivals in glass. From slightly later, but the other side of the Reformation divide, is an Elizabethan text on the arcade. It probably marks the point to which the pulpit was moved by the Anglicans in the 16th century.
St Mary and St Thomas of Canterbury is a church that it is easy to admire, and it certainly impressed me. Perhaps, it is not so easy a building to love. Inevitably, there is something rather urban in its grandeur, and even the warmth of the heating couldn't take the edge off the remoteness and anonymity you inevitably find in such a space.
However, the friendliness of the people on duty helped to make up for this. The area beneath the west tower has been converted into a shop, and the nice lady working there was very chatty and helpful. I have to say that I think it would concentrate my mind a bit, knowing that mighty weight was above me. The shop itself is good of its kind, selling books and religious items rather than just souvenirs, and more icons and rosaries than you would normally expect to find in an establishment of the Church of England.
The lady said that she was a Methodist really, and found the services rather formal, but she'd started coming to the Abbey because her daughter went there. "You ought to come, Mum, we're just like real Catholics!", she giggled, as she recalled her daughter's words. As a 'real Catholic' myself, I couldn't help thinking that we would have stripped out Comper's reredos long ago, and Masses would be accompanied by guitars and percussion, possibly with a modicum of clapping and the help of an overhead projector screen; but I kept my counsel.
Simon Knott, January 2006
St. Nahi is an 18th-century church in Dundrum, Dublin, Ireland
The name Taney derives from Tigh Naithi meaning the house or place of Nahi, and who may also be associated with Tobarnea, a seashore well that near Blackrock. The current church is still in use by the local Church of Ireland community and is one of two churches in the Parish of Taney (historically encompassing the whole area around Dundrum). It is built on the site of an early Irish monastery founded by Saint NahÍ.
St. Nahi's stands on the grounds of the original monastery, having been refurbished several times, most recently in 1910, after a period when it was in use as the local boy's national school. Following storm damage to the roof, a major refurbishment was carried out by the then Rector of the Parish, Canon William Monk Gibbon (father of the poet of the same name), who is buried in the grounds of the church. A plaque erected after the refurbishment reads:
"The entrance gate to this Churchyard was erected by the parishioners of Taney Parish to the memory of William Monk Gibbons, Canon of Christ Church Cathedral by whose impression and effort the restoration of this church was accomplished. He repaired the alter of the Lord".
Cremated remains are interred to the left of the entrance gates. This area was originally a mass famine grave and later used for patients of the Dundrum Central Mental Hospital. Old records refer to this area as the Asylum Plot.
A back gate to the church was only recently uncovered under much overgrowth. Although it had been used by teachers as a shortcut between the Church (when it was being used as a boys national school) and the nearby girls national school, its original function is said to have been as an entrance for Roman Catholics when attending funerals at a time when they were barred from entering the main gates of a Protestant church.
Many Irish Republican graves lie within the graveyard, including the gravestones of Lorcain McSuibhne, a member of the Irish Republican Army killed in 1922 in Kildare (his funeral occurred at St. Nahi's and there exists photographic evidence of Eamon DeValera in attendance) and of James Burke, who was killed in Croke Park on Bloody Sunday. There is also a 1798 plot where some fatalities of the 1798 uprising are buried.
The graveyard also contains many Royal Irish Constabulary Officers and Freemasons. Just one casualty of the Second World War is recorded there. Sgt. William Anthony Kavanagh, RAF Volunteer Reserve, age 24, died 23 sept 1944, son of William and Mary Kavanagh of Dundrum.
Currently over 10,000 burials have been recorded, with the earliest visible gravestone dating back to 1734. The Parish of Taney: a History of Dundrum, Near Dublin, and its Neighbourhood published in 1895, claims that there are “tens of thousands” of burials within the graveyard, a credible figure considering its age.
As the churchyard predates the disestablishment of the Church of Ireland in 1869, it is open for burial to all those who live within the boundaries of the Parish of Taney, whatever their denomination.
The church contains some interesting artefacts including the baptismal font of the Duke of Wellington who was baptised in 1769, donated to Taney Parish in 1914 by the closing of St. Kevin’s Church in Camden Row, and altar tapestries depicting scenes from the Bible. The tapestries illustrating the Last Supper were made by the two Yeats sisters Lily and Lolly Yeats, both of whom are interred in the graveyard.
Two Rathdown Slabs are displayed inside the church. These ornate burial slabs date back 1,000 years to the Viking-Christian era. Such slabs have only been found in the barony of Rathdown (the area roughly covering Churchtown to Bray). Only about 30 of these slabs have been discovered to date, these two were discovered in 2002 in the graveyard by archaeologist Chris Corlett, who had missed his bus from Dundrum and decided to explore the cemetery. Aided by Dúchas, the slabs were relocated inside the church.
An insight into life expectancy for the area can be gleaned from the "Index to the Register of Burials" for the parish between January 1897 and April 1917 show 1,836 people buried during this period, of which 551 were children under 6 years of age.
2022 EERE-ES Research associate Ruben Galicia-Avila, a physics major from Old Dominion University, working on controlled conductivity to enhance control of thermal energy storage by studying heat pipes in Albany, Oregon.
Heat Pipes (en.wikipedia.org/wiki/Heat_pipe) can be used to increase and control heat-transfer into and out of thermal masses. This project will compare the performance of power systems which use thermal energy storage with and without the operation of heat-pipes. Ruben will work through the summer will be to show how, and how much, taking control of the effective conductivity of a thermal mass contributes the flexibility of a power system and/or a combined heat & power system. Ruben will learn the functional limits of heat-pipes and apply them to system models provided by the mentor. By applying heat-pipe behavior to these models, and by investigating design changes which would improve functionality or ease of operation, the intern will help define the merit and scope of adding a "conductivity control" to a power system using thermal energy storage.
Sailboat Specifications
Hull Type: Keel/Cbrd.
Rigging Type: Gaffhead Sloop
Length overall: 22’6″ 6.858m
Length over deck: 19’3” 5.867m
Length of waterline: 17’7″ 5.334m
Beam: 7’2” 2.184m
Draught:1’6” – 4’0”0.457m – 1.219m
Displacement:2350lb1065kg
Ballast: 700 lb / 318 kg
Sail area:194ft218.02m2
Approx towing weight:3300lb1500kg
RCD categoryC
S.A./Disp.: 17.60
Bal./Disp.: 29.79
Disp./Len.: 195.75
Construction: GRP
Designer: Roger Dongray
First Built: 1979
# Built: 1000
Builder
Cornish Crabbers LLP
Unit 5, Bess Park Road
Wadebridge
Cornwall
PL27 6HB
Telephone: +44 (0)1208 862 666
Email: info@cornishcrabbers.co.uk
Auxiliary Power/Tanks (orig. equip.)
Make: Yanmar (opt.)
Model: Yanmar 1GM10 9hp
Type: Diesel
Sailboat Calculations
S.A./Disp.: 17.60
Bal./Disp.: 29.79
Disp./Len.: 195.75
Comfort Ratio: 14.60
Capsize Screening Formula: 2.16
Shrimper 19 standard sail away specification
Hull Construction: Hand laid solid GRP hull with no foam core. Integral centerplate case laminated as part of the complete hull structure. Internal bunk and
forepeak moulding bonded into hull with internal structural bulkheads bonded to both hull and deck mouldings. Standard colours are off white, dark blue
or dark green. The hull and deck joint is by way of an overlap or ‘Biscuit Tin Lid’ with GRP bonding.
Rudder: The rudder is transom hung on two stainless steel hangings bolted through the transom with Hardwood backing pads. The rudder is constructed
from laminated plywood with a stainless steel lifting drop plate.
Engine Beds: Engine beds are incorporated in the GRP bunk moulding with mild steel mounts bonded into the bed design which incorporates an oil drip tray.
Ballast: Ballast is by way of iron punchings encapsulated in resin inside the hull keel moulding. A galvanised steel centerplate forms part of the ballast
with a stainless steel lifting wire leading to a winch lifting system operated from the cockpit.
Boot Top: A single boot top moulded in gel coat located above antifouling level. Colour in contrast to main hull and normally matching the deck.
Deck Construction: Hand laid GRP with Balsa core in way of horizontal load areas. Hard wood pads under deck fittings and stress points.
Cockpit : Cockpit locker lids are hand laid with Balsa core. There is integrated non slip on horizontal surfaces with an optional two tone colour. A cockpit
drain is located in the center of the main foot well with additional drainage from the seats. A central watertight locker offers general storage or houses the
diesel engine when fitted.
Deck Fittings: Bespoke deck fittings including bowsprit, tabernacle and chain plates are made from stainless steel. 4 aluminium deck cleats are positioned
aft & amidships with two fairleads feeding a teak Sampson post forward. All sail controls are led aft to rope clutches / jammers with a single halyard
winch to starboard. Adjustable jib & mainsheet cars. Access below is via a teak lined sliding companionway hatch and split plywood / Perspex washboards.
Extra ventilation provided by an aluminium forward hatch.
Ports: 2 aluminium fixed ports are fitted one each in the hull topsides.
Chain plates: Chain plates are in stainless steel and through bolted on the hull sides.
Vents: Ventilation is via a washboard vent and opening forward hatch.
Miscellaneous Equipment: Fuel filler &tank vent.(Inboard version only), Life harness attachment point by the companionway, Rope tidies for halyards.
Cockpit Lockers: Two main watertight lockers with latches and padlocks are provided. A padlock is also provided for the companionway hatch.
Mainmast: Laminated in Sitka Spruce and treated with Sikkens Cetol including a stainless steel mast band to take Cap shrouds, jib and mainsail halyards.
All deck mounted on a substantial stainless steel tabernacle.
Main Boom: Laminated in Sitka Spruce and treated with Sikkens Cetol including a Stainless steel gooseneck fitting, kicker and mainsheet bands and all
associated reefing line leads / terminals.
Bowsprit: Laminated in Sitka Spruce and treated with Sikkens Cetol including a Stainless steel pivot fitting, end plate and bobstay take off points.
Gaff: Laminated in Sitka Spruce and treated with Sikkens Cetol including a Stainless steel gaff collar with rubber protection on bearing surface. Wire hoist
span and block.
Standing Rigging: Cap shrouds, lower shrouds & forestay in 4mm 1 x 19 stainless steel wire with swagged ends. Chromed rigging screws. Jib mounted on
reefing spar and controls led aft to cockpit.
Running Rigging: Main throat / peak halyards – 6mm braid. Jib &Staysail halyards – 6mm braid. Main topping lift – 6mm braid. Mainsail reefing lines –
6mm braid. Mainsail outhaul – 6mm braid. Mainsheet & Jib sheets – 10mm sheet rope. All associated blocks for purchase tackles.
Mainsail: Dacron in tan or cream. 2 reef points with tie in lacing. Luff and gaff lacing as required.
Jib: Dacron in tan or cream with wire luff and tell tails.
Boom Cover: In maroon, or cream acrylic. Fixings to allow for topping lift and mainsheet take off. All sails supplied with, sail numbers, logo and ties.
Engineering
Outboard Version
Outboard well: A teak engine mounting with stainless brackets. Engine well hull blank. GRP moulded fuel tank stowage and fuel lead splitter through aft
locker compartment. (fuel lead not supplied as standard)
Inboard Version
Stern Gear: A 1” stainless steel shaft is fitted, connected to the engine via a coupling and fitted with a Tides Marine ‘lip seal’ gland. The shaft drives a fixed
2-bladed propeller.
Engine: Yanmar 1GM10 9hp marine diesel engine. A 55 amp (12V) alternator is fitted to the engine.
Engine Instruments and Controls: The engine instruments are located at the rear of the cockpit coaming and are recessed with a clear cover. Instruments
include audible alarm, alternator warning light, start switch and stop control. A single lever engine control is supplied and fitted in the cockpit well.
Engine Cooling: The engine is directly salt water cooled. A 1/2″ diameter pipe leads from the main seawater inlet through a strainer to the engine and
discharges overboard through the exhaust.
Engine Exhaust: A flexible exhaust hose connects the exhaust via a swan neck with water trap to the outlet fitting through the transom.
Fuel System: A plastic diesel tank with a capacity of approximately 18 litres, breather and integrated fuel gauge. The tank is fitted with flow and return
lines, the flow line having a manual shut off valve.
Plumbing
Bilge System: 1 x Manual bilge pump operated from the cockpit with a handle stored in the aft locker.
Fresh Water Tanks: 2 x 10ltr plastic jerry cans with manual hand pump. Also a bucket / sink.
Soil System: When fitted the heads discharge directly to sea via a vent loop and skin fitting.
Inlet / Outlet Fittings: Engine: In through a single skin fitting with a valve and strainer, out via the exhaust system.
Gas System: There is a double burner hob cooker attached to a separately stored gas bottle.
12 volt DC system
Batteries: Engine – one 12 volt 55 amp/hour. (Optional on outboard version)
Charging: Via main engine – a 35 amp (at 12 volt) alternator.
Switchboard: An optional switch panel is fitted to boats that have additional electronics fitted.
Miscellaneous Standard Equipment
Deck: 1 x winch handle. 1 x bilge pump handle. Stowed in aft cockpit locker. 1 x fire extinguisher – situated down below.
Joinery: The interior joinery is constructed from high quality materials and in accordance with good yacht practice. Bulkheads and side back linings are
from plywood.
Finish: All cabin woodwork is finished in a mix of painted bulkheads and varnished trim.
Soles: Rubber textured sole throughout.
Upholstery: A choice of soft or wipe down plastic upholstery is available.
Portrait of Associate Dean for Graduate & Professional Education for the College of Engineering Omolola (Lola) Eniola-Adefeso in the North Campus Research Complex Building 28, at the University of Michigan, in Ann Arbor on Thursday, July 7, 2022.
Eniola-Adefeso is currently a Professor and Miller faculty Scholar in the University of Michigan's Chemical Engineering department and the primary investigator of the Eniola-Adefeso Lab.
Photo: Brenda Ahearn/University of Michigan, College of Engineering, Communications and Marketing