Now this took a long, long, long time, having to get every individual piece of the World Trade Center and the surrounding city, together with people, cars, boats, even the tiniest pebble!

 

But I feel it was worth the three-weeks of on/off effort!

 

Among the most iconic buildings in all of history, the Twin Towers of the World Trade Center stood for 28 years as symbols of many things, economic might, human innovation, American pride, and icons of New York. But their short period in existence was brought to an abrupt end on September 11th, 2001, where the two tallest buildings in the city of New York were left seething in peril, and reduced to smouldering rubble within two hours, on a day when evil truly showed its ugliest face, average citizens became heroes, and victims were made of us all.

 

Considerations for a 'World Trade Center' went back to the end of World War II in 1945, where it was intended to create a single centre for the major shipping companies of New York and the divisional offices of large foreign shipping firms to concentrate their activity to one place. However, the rise of the aviation industry and the decline of the traditional shipping companies in the face of rationalisation following developments such as the Shipping Container over the previous Box n' Crate system made it so that there were barely enough of these firms left to justify such a project. The idea wouldn't resurface again until the early 1960's, where after a decade of production and progress in the American economy, the larger number of firms required greater office space in New York's financial district in Lower Manhattan. Enter director of the Port Authority of New York & New Jersey, Austin J. Tobin, and newly elected New Jersey Governor Richard J. Hughes, who, together, were responsible for the final location of the World Trade Center.

 

Original plans from 1961 would have placed the World Trade Center on the former dockyards along the East River, what is today the historic South Street Dockyard. Tobin was convinced by Hughes to include the World Trade Center as part of a package deal to improve the services of the Hudson & Manhattan Railroad, an underground subway line that connected New Jersey to its terminus in Lower Manhattan. Built in 1909, the railroad was in a dire state of disrepair, and passenger numbers had dropped dramatically. Hughes felt that a major stimulus for the railroad's regrowth would be its direct connection to the new World Trade Center project, therefore solving two problems in one and being mutually beneficial to New York and New Jersey. Thus a 16 acre site of old low-rise buildings on the shores of the Hudson known as 'Radio Row' were chosen as the site of the new complex.

 

Design of the World Trade Center was handed to American-born Japanese architect, Minoru Yamasaki, who envisaged the World Trade Center as not just a simple collection of buildings, but a work of art. Taking design cues from the Piazza san Marco in Venice, he saw the WTC buildings surrounding a large plaza within which would be sculptures, artistic pieces and fountains, crowned by 'The Sphere', a Bronze sculpture stood in the middle of a large fountain at the centre of the Plaza that would depict World Trade and Peace. The commission was given to German sculptor Fritz Koenig, who designed and built it in his workshop in Germany before having it shipped to the WTC in 1971, where, upon its plinth, it would do a full rotation every 24 hours. The pièce de résistance however would be the two 1,360ft tall, 110 storey Twin Towers that would stand at a staggered angle to one another along the site's western side closest to the Hudson and the elevated West Side Highway. Yamasaki's original plan called for the towers to be 80 stories tall, but to meet the Port Authority's requirement for 10,000,000 square feet of office space, the buildings would each have to be 110 stories tall.

 

Yamasaki's design for the World Trade Center, unveiled to the public on January 18th, 1964, called for a square plan approximately 208ft in dimension on each side. The buildings were designed with narrow office windows 18in wide, which reflected Yamasaki's fear of heights as well as his desire to make building occupants feel secure. Yamasaki's design included building facades sheathed in aluminium-alloy. The result of this aluminium cladding was a translucent effect, with the two towers changing colours with the times of the day from a vibrant silver at midday, to a magnificent orange and pink in the evening or at sunrise.

 

Another problem the WTC faced were elevators, as with the greater height of the building, more elevators were required to serve it, taking up more floor space. The result was an ingenious new method involving 'Sky-Lobbies', a concept first put into practice on the John Hancock Center in Chicago. The idea was similar to that of trains on the New York Subway, with limited-stop express elevators running the entire length of the towers, whilst local elevators served individual floors or alternate floors. Sky-Lobbies were located on the 44th and 78th floors, and their implementation enabled the elevators to be used efficiently, increasing the amount of usable space on each floor from 62 to 75 percent by reducing the number of elevator shafts. Altogether, the World Trade Center had 95 express and local elevators.

 

The tower design consisted of a tube-frame, introduced by Fazlur Khan, and was a comparatively new one, done primarily to increase the amount of floor space when compared to the traditional design of evenly spaced steel columns in a stacked-box approach, as was implemented on the Empire State Building. The World Trade Center towers used high-strength, load-bearing perimeter steel columns called Vierendeel trusses that were spaced closely together to form a strong, rigid wall structure, supporting virtually all lateral loads such as wind loads, and sharing the gravity load with the core columns. The perimeter structure containing 59 columns per side was constructed with extensive use of prefabricated modular pieces, each consisting of three columns, three stories tall, connected by spandrel plates. The spandrel plates were welded to the columns to create the modular pieces off-site at fabrication shops, and were shipped to New York by train.

 

The core of the towers housed the elevator and utility shafts, restrooms, three stairwells, and other support spaces. The core of each tower had a rectangular area 87 by 135ft and contained 47 steel columns running from the bedrock to the top of the tower. The large, column-free space between the perimeter and core was bridged by prefabricated floor trusses. The floors supported their own weight as well as live loads, providing lateral stability to the exterior walls and distributing wind loads among the exterior walls. The floors consisted of 4in thick lightweight concrete slabs laid on a fluted steel deck. This rule was repeated for every floor with the exception of the 107th floor, which were fitted with Hat trusses to support a tall communications antenna. Both towers could have been fitted with antennas, but it was only ever implemented on the North Tower. The truss system consisted of six trusses along the long axis of the core and four along the short axis. This truss system allowed some load redistribution between the perimeter and core columns and supported the transmission tower.

 

Approval for the WTC was given in 1965, and properties on Radio Row were acquired by the Port Authority the same year. By 1966, Radio Row had been largely demolished and construction began on the World Trade Center towers. Before construction of the towers could begin though, the biggest issue that had to be confronted were the forces of nature, that being the Hudson only a few hundred feet away. Constructing the world's tallest buildings on a muddy marsh could have been likened to a silly man building his house upon the sand, it just couldn't work. As such, an innovative new concrete coffer dam was sunk along the West Side Highway and under the base of what would become the future Twin Towers in an oblong structure known as the Bathtub. Sunk to bedrock, the Bathtub held moisture in the surrounding soil and ground away from where the tower's foundations would be sunk, thus providing engineers with the equivalent of building a conventional skyscraper anywhere else into regular bedrock. With this problem sorted, construction began on the site.

 

The North Tower rose first between 1967 and 1970, followed closely by the South Tower between 1968 and 1971. The North Tower was topped out on December 23rd, 1970, proclaiming it officially as the tallest building in the world, toppling the Empire State Building from the title after its 37 year reign. The North Tower rose to 1,368ft, whilst the South Tower rose to 1,362ft, and would retain the title until the Sears Tower was topped out in 1973 at a height of 1,450ft. In addition to the Twin Towers, a set of smaller buildings surrounding the plaza were also constructed between 1970 and 1974, these being WTC 4, 5 and 6. WTC 4 and WTC 5 were 9-storeys tall, with WTC 4 being home to the largest Trading Floor in New York, whilst WTC 6 was 8-storeys tall and housed the U.S. Customhouse.

 

In addition to the WTC, the Hudson Railroad was given major modifications as well in the form of new trains and a refurbished 4-track station underneath the Plaza, accessible via WTC 5. The Hudson Railroad came under the ownership of the Port Authority, and was subsequently renamed the Port Authority Trans Hudson line, or PATH. Beneath the plaza too was an enormous shopping centre that stretched the entire complex and was, at the time, Manhattan's largest indoor shopping mall.

 

The official opening ceremony of the towers took place on April 4th, 1973, although the structures had yet to be completely finished, with tenants taking up occupancy on the lower, completed floors during the first year before final completion of the towers in 1975. 1975 saw the opening of the Top of the World Observatory, an observation deck located on the roof of the South Tower, which, until recently, held the title as the world's highest outdoor observation deck. This was joined by the opening of the North Tower's restaurant on the 106th and 107th floor, the Windows on the World and the Greatest Bar on Earth, which for years was one of the most exclusive and popular restaurants in the United States.

 

At first, the World Trade Center was not looked on favourably, with architectural criticism being made against the angular design of the Twin Towers and the 'Superblock' style of the WTC Plaza, with many of the original streets dating back as far as the mid-18th Century being truncated to make space for the site. The towers were also seen as huge 'White Elephants', primarily due to the stagnation of the economic market in the early 1970's which meant that barely any tenants initially moved into the site's 10,000,000 square feet of office space.

 

However, one person who looked on the towers favourably was Philippe Petit, a French high-wire artist who saw the Twin Towers in a similar fashion to two poles, just without a wire strung between them. Seeing them originally in a promotional pamphlet before their construction in the 1960's, he devised a scheme to sneak into the unfinished towers and string a wire between them so he could perform the greatest high-wire act in history. On the night of August 6th, 1974, he and several friends snuck into the towers disguised as construction workers, and spent the night setting up the next morning's act. Using a Bow & Arrow, they fired a line across the 200ft void between the Twin Towers, and after hours of securing and preparation, Petit stepped out onto the wire at around 7am as New Yorkers began their commute to work. Over the course of the next 45 minutes, Petit stunned the city and indeed the world as he balanced on a wire only a couple of inches across, 1,360ft above the ground, sitting and lying down on it, gesturing to the waiting policemen on either tower, and even stopping for a cigarette break. Upon returning to the roof of one of the towers, he was promptly arrested and sentenced to performing for children in Central Park for trespassing, and given a lifetime pass to the observation deck atop the South Tower by the Port Authority. Petit's act has been seen as making these looming towers seem much more human, and the later popularity of these buildings was due largely in part to his incredible feat.

 

Trouble struck however in 1975 when a fire caused by a faulty telephone switchboard ravaged the 11th floor of the North Tower for several hours, though no permanent damage was caused. But even before the Twin Towers had been finished they were quickly associated with fire, most prominently by the movie, and books it was based off, 'Towering Inferno', which depicted a hi-rise blaze in the fictional Glass Tower in San Francisco. In one of the books the movie was based off of, the Glass Inferno, the Glass Tower was situated adjacent to the World Trade Center, and a Breeches Buoy was suspended between the Glass Tower and the North Tower to rescue people from the disaster. All of these works were inspired by the construction of the World Trade Center, the first in a short spree of tall building construction, but with such a tragic and ironic end.

 

Nevertheless, the Twin Towers did live a charmed life throughout the remainder of the 1970's and 80's, and quickly became New York icons, appearing in movies, adverts, TV Shows, Music Videos and other forms of media. King Kong climbed them in the 1976 adaption of the legendary story, Kurt Russell lands his glider atop the North Tower in the 1981 dystopian future thriller Escape from New York, they were atomised in 1996’s Independence Day, yet, oddly enough, were the only things left standing, as they were in 1998’s Deep Impact, when they were swamped by a giant tidal wave following the impact of an asteroid. They were turned to Swiss Cheese in that eternal cheesefest known as 1998’s Armageddon, crashed into by a giant chunk of rock in another cheesefest trying to pass itself off as a good movie, Meteor, and provided the climactic ending to yet another notable cheesefest, Mazes and Monsters, where Tom Hanks attempts to fling himself from the roof of the South Tower thinking he'd ascend to some questionable plot device known as the 'Great Hall', although I'd like to have seen him get past the suicide fence between the observation deck and the edge of the building!

 

The WTC was also notable for many extreme events, including two climbs, the first in 1977 by George Willing, who scaled the South Tower, and the second by Dan Goodwin in 1983, who climbed the North Tower. In 1984, aspiring artist Joanna Gilman Hyde painted a 10,000 square foot painting known as the 'Self-Organizing Galaxy' on the roof of 5 World Trade Center, a piece that could only be seen and appreciated from the Twin Towers that loomed over it. The towers were also famous for Base Jumpers, who would manage to somehow sneak their way onto the roof of either building, usually the South Tower, and leap off with a parachute, huddling themselves into a waiting car in Battery Park before they could be arrested and hauled off by the NYPD for trespassing and reckless indulgence.

 

In 1978, the North Tower was fitted with a 598ft Television Antenna, which quickly became a home for a majority of New York's TV and Radio stations with its unobstructed line of sight to pretty much everywhere in the surrounding Tri-State area. In 1981 and 1987, the WTC was joined by two other buildings. The first was World Trade Center 3, also known as the Vista Hotel, a 22-storey structure built between the Twin Towers and the West Side Highway. The first hotel to open in Lower Manhattan since 1897, the Vista was one of the most luxury hotels in the city, providing guests with a myriad of restaurants, a top-floor Gym with views of the Hudson, direct access to the World Trade Center and later World Financial Center, as well as its proximity to Wall Street and the banks of Lower Manhattan. WTC 3 was the last building of the original proposal to be built, but had been modified from its original 9-storey design to increase capacity. The final addition to the World Trade Center was WTC 7, a 47-storey structure built between 1984 and 1987 to the north of the complex above a ConEd Substation. The tower was largely home to Salomon Brothers, which resulted in the building being affectionately dubbed the Salomon Brothers building.

 

However, disaster struck on February 26th, 1993, when a truck bomb planted by Islamic extremist, Ramsi Yousif, exploded in the underground parking lot beneath the North Tower. Yousif's intention was to destroy the supporting foundations of the tower so as to cause it to fall onto its twin. Thankfully this didn't occur, but 6 people were killed in the blast and over 1,000 injured, and it proved to the United States that it was now vulnerable to international terrorism. The Twin Towers were reopened in 20 days, but the Vista Hotel, later bought by Marriott, wouldn't reopen until 1994 after extensive renovation and a new front entrance. At the same time, evacuation and safety features in the towers were updated heavily. A major setback of the 1993 attack was the poorly implemented safety measures and evacuation procedures, with many unsure of where to go or what to do as they huddled into the tightly packed, smoke filled stairwells, some eventually being rescued by helicopter from the roof, whilst others had to endure hours in the dark of the powerless towers before they were led down by firefighters.

 

In 1999, the Plaza of the World Trade Center was rebuilt and repaved after years of wear and tear, and to rectify a common complaint about the wind that would rush across the open space, making it undesirable to be stood right in the centre. The floor was, as mentioned, repaved, benches were added as well as a small garden around the central fountain, and much greater use was made of the Plaza, including market stalls, outdoor rock concerts, charity events and other community events that gave the WTC a greater human feel. Other plans included an upgrade to the PATH station that would be completed by 2003, and a renovation of the Observation Deck for the 2002 Summer Season.

 

All this however was brought to an abrupt and tragic end on September 11th, 2001, when American Airlines Flight 11, a Boeing 767 hijacked by terrorists, was flown deliberately into the North Tower at 8:46am between the 93rd and 99th floors. 17 minutes later, United Airlines Flight 175, another Boeing 767, was flown into the South Tower between the 78th and 81st floors, with thousands trapped in both towers above the impact zones.

 

Confusion reigned as the towers burned, with people inside not knowing what had happened a few floors above or below them as the rest of the world watched in horror. In the North Tower, all stairwells through the impact zone had been destroyed, and for the estimated 1,300 people above, every last one of them would die, either through effects of the smoke, fire, the eventual collapse of the tower, or a tragic final option, where an estimated 200 people jumped the half-mile drop to their deaths on the street below, their last few moments immortalised in videos and pictures. The desperation of their situation was relayed through the final phone calls and emails from those trapped above. In the South Tower, although PA systems stated that workers should not evacuate prior to the impact of Flight 175, many had left the building by the time it did, although an estimated 630 remained above the flames after the crash. Unlike the North Tower, one stairwell remained accessible, but only 18 people were able to escape past this point from above. Many sought passage to the roof of either tower hoping for rescue by helicopter, but the doors to the roof were locked. In any case, the NYPD Aviation Units circling the stricken towers would not have been able to rescue people, the sea of antennas on the North Tower roof inhibiting landing, whilst the South Tower's roof was engulfed in smoke from its Twin.

 

At 9:59am, the unthinkable happened when after burning for 56 minutes, the South Tower of the World Trade Center collapsed. Although many reasons for such a catastrophic failure have circulated, and with many conspiracy theorists declaring that the collapse was done by way of controlled demolition, the generally accepted reason is that a mixture of the damage sustained, together with heavy fire and extreme heat, resulted in the floor trusses separating from the core and perimeter walls, resulting in the weight of the floors above no longer being sustained and the tower falling into itself. The top 35 floors of the structure above the crash site toppled towards the East River before crashing downwards into the rest of the building, killing hundreds both inside and outside. The North Tower followed suit at 10:28am, sinking straight downwards into itself, killing hundreds more in the chaos that ensued.

 

The results of both the crashes and the collapse of the towers was beyond estimation. 2,753 people died at the World Trade Center that day, together with 125 at the Pentagon in Washington, and 265 aboard the four planes hijacked, a total of 2,996. The remainder of the World Trade Center was destroyed or extensively damaged by the collapse of the Twin Towers. The Marriott WTC was split in half by the South Tower before its remains were crushed by the North Tower. WTC 4 was almost completely crushed, and WTC 6 had a hole burrowed into the basement. WTC 7 suffered heavy damage to its southern face, and after burning for hours it collapsed later that day at 5:20pm. The only WTC building to escape largely intact was WTC 5, furthest from the Twin Towers, with books in the Borders bookshop on the ground floor still sat on their shelves. The office floors above however were gutted by fire and damaged beyond repair. Only 18 people were dragged alive from the rubble of the Twin Towers, and after a majority of the bodies had been retrieved from the site, the remaining buildings were levelled in 2002.

 

A victory though from September 11th is that of the 17,000 people working in the towers at the time of the attacks, the best part of 14,000 were evacuated before they collapsed, thanks to the incredibly bravery of the rescue workers from the FDNY, the Port Authority and the NYPD who valiantly laid down their lives to save others. In total, 343 Firefighters, 71 law enforcement officers including 23 members of the New York City Police Department (NYPD), 37 members of the Port Authority Police Department (PAPD), five members of the New York State Office of Tax Enforcement (OTE), three officers of the New York State Office of Court Administration (OCA), one Fire Marshall of the New York City Fire Department (FDNY) who have sworn law enforcement powers (and was also among the 343 FDNY members killed), one member of the Federal Bureau of Investigation (FBI), and one member of the United States Secret Service (USSS), were killed, many of whom were in the North Tower, and didn't receive the evacuation order after the collapse of the South Tower due to radio problems.

 

But it wasn't just members of the emergency services who became heroes, as ordinary people plunged into disaster brought forward their strength and courage to save as many as they could themselves. These included Frank de Martini, from his office on the 88th floor of the North Tower, worked his way up to the impact zone of Flight 11 to rescue people trapped on the floors immediately below. Eventually, he was able to save over 70 people before he tragically lost his life in the collapse of the tower, his last reported location being on the 78th floor helping someone escape an elevator. Another was Rick Rescorla, originally from Hayle in Cornwall and a hero of the Vietnam War, who, aside from predicting both attacks on the World Trade Center, was able to safely evacuate 2,700 employees from the South Tower, motivating them and maintaining their morale by singing old British songs such as 'Men of Harlech', before he too was killed in the collapse of the South Tower, he being last reported on the 10th floor climbing back up to rescue others. But their tales were just some of many instances where humble office workers became true heroes, putting caution aside to save those in desperate need. Even a pair of Guide Dogs became heroes, rescuing their blind owners by leading them down hundreds of flights of stairs to safety.

 

There were also tales of survival that seemed to defy belief. George Sleigh, a British manager of technical consistency at the American Bureau of Shipping on the 91st floor of the North Tower, was only 25ft below where Flight 11 struck, and would be one of only a handful of people to climb down almost the entire height of the building and survive. Venessa Lawrence, a British artist, had quite literally stepped from an elevator on the 91st floor as Flight 11 struck, the car she had exited tumbling down into the dark void as explosions and fire ravaged the floors above. Stanley Praimnath is quite possibly the luckiest, his office on the 81st floor of the South Tower taking a direct hit by United Airlines Flight 175, the wing of which was lodged in his door on the other side of his office. He would eventually be rescued by Brian Clark from the 84th floor, and the pair would escape the South Tower with minutes to spare. Of course there was also the last survivor to be pulled free from the rubble of the World Trade Center, that being Genelle Guzman-McMillan, who was pinned under smouldering concrete and steel debris for 27 hours before being rescued, the last of 18 people.

 

For years the World Trade Center sat in a state of limbo, an empty lot of concrete foundations with no clear goal in mind. An opinion poll in 2002 among New Yorkers came to a vote of 82% in favour of rebuilding the Twin Towers as they were. Instead, developers came to the conclusion that the new World Trade Center would consist of several towers, topped by what was formerly known as the Freedom Tower at 1,776ft.

 

Even with the Twin Towers gone and with no sign of them ever returning, we can still look back upon them warmly, knowing that for 28 years they did grace the skyline of Manhattan and left imprints on the hearts of so many. Although most recognize their image with their destruction, and indeed one must never forget the tragedy that befell the Towers, the City and the World that day, myself and many others prefer to remember their lives before that dreadful day in 2001. I've never drawn a picture of the World Trade Center on fire or collapsing because, as my brother once exceptionally put it, it shows the towers in pain, suffering at the hands of evil people who see nothing but destruction in everything they do, people who can't make things, only break things, and it's up to us as the people who make things to make things right!

 

Sorry for the lengthy description, but summing up the history of these mighty buildings sadly can't be done in one sentence!

I took in consideration only the 2012 pictures ( otherwise it wld be very different lol)

 

So i was tagged by sami, poppybelle, and ivelin i think ;) maybe others but the tags doesnt show up for me lately so i dunno;) I tagged a few of my friends back ;) but if i forgot to tag you , Please do that cute game ( and let me know ;))

 

most views : A photoshop shot of day tripper poppy to see a change in eyeshadows ;)

most favs : the rainbow poppies ;)

most coms: Gördie is in love with USPS

my personal favorite: Tayra all natural.

 

it is been a wonderful year even tho i didnt take much pictures it was all fun !

Rockefeller Memorial Chapel at The University of Chicago.

 

Image Published at:

www.lightstalking.com/4-essential-considerations-to-make-...

  

nikon S2

nikkor SC 5cm 1.4

delta 100

xtol 1:1 10.5m

honolulu hawaii

Launching for another Trans-Atlantic voyage, British Airways Bae-Aerospatiale Concorde flagship G-BOAC let's loose the Afterburners to depart Runway 27R at Heathrow. Concorde was the world's first and only commercial airliner to be fitted with military style Afterburners, and were used to provide that extra bit of power to get this warhead with leather seats on the go!

 

The reason I love Concorde so much is the fact that it was, and still is, probably one of the most beautiful and sophisticated creations mankind has ever made, up there with the likes of the Saturn V Rocket. With smooth crisp lines and a long sweeping body, Concorde, although very much a plaything for the rich, showed the world that Supersonic travel is not just reserved for Fighter Pilots, but for the fare paying public as well, and took us to a place where I sadly feel we shan't return to, not in this day and age.

 

So where does Concorde's story begin? Well, our ability to break the Sound Barrier is a good start, with the early Spitfire pilots of World War II inadvertently doing so, and then a flight by the experimental Bell X-1, which was launched from the underbelly of a bomber and jetted off into a world very much of its own. Following these breakthroughs in speed, the first considerations for a passenger alternative were considered as far back as 1950, and in 1954 the first meeting of the Super Sonic Transport (SST) Committee was held.

 

Original intentions were to build passenger aircraft to similar principles as the X-1, but these were shelved due to impracticality. Instead, a new design known as the Delta-Wing was looked at, being used on the likes of the AVRO Vulcan. Ideas were created, and tests carried out on the similarly designed Handley Page HP.115, a purpose built aircraft for the intention of making the perfect testbed for the future SST. Eventually, the Delta design chosen was dubbed the Ogee Platform, derived from the Ogival Wing design. The most important intention of the design was to place the wing's centre of pressure as close as possible to the centre of gravity so as to lower the amount of control force required to pitch the aircraft, and the Ogee Platform came closest to this requirement.

 

Final design requirements came down to the design of the airframe itself outside of the wings. Essentially, the aircraft was similar in design to contemporary Delta-Wing fighter jets, with a long streamlined nose and a smooth body to reduce resistance as much as possible. Problems came with the actual operation of the aircraft's basic functions, most notably the cockpit, which had to be designed with streamlining in mind, but couldn't use conventional aircraft windows, with the strengthened window frame obscuring the view forward for takeoff and landing. In response, designers created a Drooping Nose, where the streamlined visor could be raised and lowered, with conventional aircraft windscreens behind to provide a view similar to that of a regular aircraft. Due to the length of the aircraft, the plane was fitted with a small wheel at the rear of the frame so as to absorb any potential tail-strikes during takeoff and landing.

 

During supersonic flight and transit through the Sound Barrier, fuel would be distributed between the forward fuel tanks and a small fuel tank in the rear whilst the aircraft was accelerating and decelerating so as to alter the centre of mass, essentially acting as an auxiliary trim control.

 

But one of the most endearing parts of the design was the point on the nose, which is not there for stylish flare, but for a very important reason. Without the point, aircraft attempting to transit the sound barrier would face much greater resistance as the airframe is much larger and more obtrusive, the point on the other hand breaks the sound barrier ahead of the actual aircraft itself, meaning the transit effect travels around the frame of the aircraft rather than against the hull.

 

Of course, the most difficult part when it came to getting the SST to go are the actual engines themselves. For the greatest efficiency, the new SST couldn't use conventional Turbofan engines as their cross-sectional area was too excessive. Instead, Rolls Royce was commissioned to build a set of Turbojet engines that could be slung in streamlined pods underneath the wings. The result was a quad set of Rolls Royce/Snecma Olympus 593 engines that had been developed from the Bristol engines used on the Vulcan bomber. In all, only 67 of these engines were ever built, and had an overall maximum thrust of 38,000lbf, pushing the SST to beyond the speed of sound.

 

By the mid-1960's the designs had been near enough perfected, and after signing up with Sud Aviation of France (later to become Aérospatiale), the combined efforts of British Aerospace and Aérospatiale resulted in the construction of two prototypes in 1965, these aircraft being dubbed 'Concorde', the French word for Harmony, Agreement, or Union. Concorde 001 was built in France at Aérospatiale's factory in Toulouse, whilst Concorde 002 was built at the BAC works in Filton near Bristol. The first flight of a Concorde aircraft took place on the 2nd March 1969, with Concorde 001 flying from Toulouse. On the 9th April, Concorde 002 made its first flight from Filton, and on October 1st, 001 made its first supersonic flight.

 

Both aircraft were presented at the Paris Airshow of June 1969, alongside one of their rivals, the Boeing 747. But Concorde was not the world's first supersonic commercial airliner, as the Soviet Union had beaten them to the punch in June of that year with the Tupolev Tu-144, an aircraft of almost exactly the same principles of Concorde that had been hastily put together between 1965 and 1968 after blueprints and designs had been obtained by Soviet Agent Sergei Fabiew. The Tu-144 made its first supersonic flight in June 1969, and made its first supersonic commercial flights with Aeroflot in May 1970.

 

However, the 'Concordski' (as it was known by the West), had many serious flaws, which came to bear in a series of horrendous crashes. The first major crash was at the 1973 Paris Air Show, where during a display flight, the first production Tu-144 aircraft broke apart over a suburb, killing 6 people on the aircraft and 8 on the ground. Another major incident took place in May 1978, when on a routine test flight an improved version of the aircraft known as the Tu-144D crashed on landing, resulting in the withdrawal of the 144's from commercial service after only 55 flights. They would remain cargo aircraft until 1983, after which they were used for the training of Soviet Cosmonauts for the Buran Space Shuttle project.

 

Concordski however did have a profound effect on Concorde, especially after its crash of 1973. Confidence in the Concorde was rumbled by the failure of the Tu-144, and thus many potential buyers pulled out. Originally, airlines such as American Airlines, Pan Am, Japan Airlines, Eastern Airlines, United Airlines, and Air Canada had all put in orders, but by 1975 only Air France and BOAC (later nationalised into British Airways) orders remained. At the same time, Boeing and Lockheed of the United States attempted to create their own SST's so as to combat Concorde, with Boeing creating the 2707, and Lockheed the L-2000, neither of which went beyond concept models.

 

Eventually, 14 production Concorde aircraft were handed over to their respective airlines between 1976 and 1980, with the first aircraft being delivered to British Airways on the 15th January, the first flight taking place to Bahrain on the 21st January. Simultaneously, Air France made its first flight to Rio de Janeiro via Dakar in Senegal. However, the Transatlantic routes to the United States were the main points of contention, as the fear of Sonic Booms caused protest, resulting in a ban being passed by Congress. Although permission was given to fly to Washington Dulles on the 24th May, the New York Port Authority continued to ban Concorde due to the noise. The result was a risky training program by Concorde pilots to land at JFK Airport without using any power at all, meaning that from the start of their descent over the New York area, no power could be applied so as to keep the noise levels to a minimum, doing the whole approach in one. Eventually the ban was lifted after it was found that Air Force One, a Boeing VC-137 (converted Boeing 707), was louder than Concorde, and thus commercial services to JFK began on November 22nd, 1977.

 

In addition to the British Airways and Air France flights to New York and Washington from Paris and London, a slew of other short lived ventures occurred at the same time. In 1977, British Airways jointly shared a Concorde for flights to Singapore via Bahrain with Singapore Airlines, painting G-BOAD in a BA/SA hybrid livery. These flights however were capped after only 3 runs due to noise complaints.

 

Another short lived venture was with the American airline Braniff, which leased 10 aircraft from both airlines to operate subsonic domestic services from Washington to Dallas-Fort Worth from 1978, with Braniff crews taking over from international crews after landing at Washington. These services ended in 1980 due to a lack of profitability, with only 50% bookings or less on most flights.

 

Over the years, Concorde also flew to a myriad of destinations off its usual Transatlantic services, including Mexico, Florida, the Caribbean, South America, Hong Kong, Australia and New Zealand, mostly on charter flights but sometimes for short demonstration flights for fun seekers. Usually, Air France would provide the charter aircraft as their Concorde fleet was used less than the BA fleet, only operating two flights a day as opposed to BA's four.

 

The 1980's though were the boom years of Concorde, as this was when the money makers really spread their wings. In the immortal words of Jeremy Clarkson "For the have not's, it wasn't much fun, but the have's were having a ball!" Wealth moved from the stars of stage and screen to the stock marketing men and women of Europe and America. Investments on oil shares, and other large multinational companies meant you and your house was worth more than most countries. Greed was endemic, and the super-rich had no shortage of that. They'd have Champagne for breakfast, eat nightly at the Ritz, have a fleet of chauffeur driven Rolls Royce's at their beck and call, and would make weekend trips across the Atlantic with Concorde like it was a commuter train!

 

It was thanks to Concorde that Phil Collins could perform two shows for the 1985 Live Aid in one night, the first at Wembley in London, the second at Philadelphia JFK stadium, picking up Cher along the way who would join him in the finale 'We are the World.' You could arrive before you departed, and probably bump into a selection of celebrities en-route. Ex-Beatles, Actors, Businessmen, Fashion Designers, you name it, they were probably there!

 

These years were wild, profitable, and turned Concorde from an airliner, into a rite of passage for the money makers of this world. If you could fly on Concorde, then you'd truly made it in life!

 

However, as the 90's began to blossom and boom, the end of the decade brought its headaches for Concorde, and when things went wrong, they really went wrong quickly!

 

The recession of 1992 damaged Concorde's sales as money became much harder to come by, and the explosive era of greed began to fade away in the face of austerity. Environmental considerations began to crop up, and Concorde was singled out by environmentalists as one of the biggest culprits for noise and air pollution.

 

But on July 25th, 2000, disaster struck when Air France Concorde F-BTSC, crashed upon take-off from Paris Charles de Gaulle, smashing into a nearby hotel and killing all 109 passengers, plus 4 people on the ground. The cause was later determined to have been debris left by a preceding Continental Airlines DC-10, which punctured the tyres of Concorde and ruptured the fuel tanks on the port-side wing. However, the crash resulted in the grounding of all Concorde aircraft for over a year. Although test flights were carried out, and some private charters, revenue earning service was intended to return in the summer of 2001.

 

G-BOAF made the first service flight of a Concorde aircraft across the Atlantic from London to New York on September 11th, 2001, landing at JFK airport 30 minutes before American Airlines Flight 11, hijacked by terrorists, was flown deliberately into the North Tower of the World Trade Center in Lower Manhattan, in what would turn out to be one of the darkest days in modern history. In the ensuing chaos, flights across America were grounded immediately, and Transatlantic services diverted, but this was just the beginning. Global markets collapsed and the aviation industry went into meltdown. Airlines such as TWA, Swissair, Sabena and Ansett Australia were just a few of the victims of this aviation downturn, and Concorde's return to service was delayed until November 7th, 2001.

 

Concorde may have stuttered back into life, but time had really caught up with this supersonic machine of the past. The maintenance costs of the aircraft were now much higher, with fuel prices rising and passenger levels dropping due to stagnation in the post-9/11 market. British Airways was making a loss on every single flight they made, and both this, with a mixture of discontinued support from Aérospatiale's successors, Airbus, meant that Concorde's fate was very much sealed.

 

On the 10th April, 2003, Air France and British Airways simultaneously announced the retirement of Concorde. Although the day after Virgin Atlantic and its founder Sir Richard Branson intended to purchase British Airways' Concorde fleet for a nominal fee of £1 each, citing a clause in the original agreement to operate the aircraft, the Government and British Airways denied allowing him to buy the aircraft for such a small price, demanding at least £1 million for every aircraft. This was further hampered by Airbus' refusal to continue maintenance support.

 

The end slowly came throughout 2003, with Air France's last Concorde flight taking place on 27th June, whilst British Airways conducted a series of farewell tours to a selection of destinations, including Toronto, Boston, Washington, Belfast, Manchester, Cardiff and Edinburgh. Concorde was officially retired from British Airways service on the 24th October, 2003, but continued to operate a small number of farewell charters until November 26th, when G-BOAF, the last Concorde to be built in 1979, flew to its home base of Filton, ending the supersonic age of passenger air travel.

 

In all, every one of these £125 million aircraft still exist apart from two. Aircraft 203, F-BTSC, was lost in the type's only ever fatal crash in 2000, whilst Aircraft 211, F-BVFD, was withdrawn in 1982 after only 5 years of service and used as a spares donor, being cut up for scrap in 1994. The 6 prototype and 12 remaining production aircraft are now scattered across the world in museums, including Barbados, Seattle, New York, Brooklands near London, Manchester, Le Bourget, Toulouse and Chantilly in Virginia.

 

So, what killed Concorde and can we ever go there again? Many things killed Concorde, and when they came, they came fast. The economic downturn of the 90's and the rising environmental considerations started to damage its image, but the Paris Crash, the September 11th attacks and the ensuing stagnation of the aviation market, an outdated design becoming more and more expensive to maintain, the discontinuation of maintenance by Airbus and the fact that they were making a loss on every single flight is truly what ended Concorde's reign.

 

As for returning to the world of supersonic travel for the fare paying customer, in this world of austerity and environmentally bound agendas, I highly doubt it. Although Boeing considered the idea with the Sonic Cruiser, the amount of fuel required to operate these aircraft and the overall lack of interest or money to fund a project solely aimed at the 1%, means that chances are we won't see the likes of Concorde ever again.

 

But either way, we can be glad to say that we did it, we built Concorde, we flew it, operated it for 27 glorious years, and in doing so brought nations and continents closer together. Concorde truly lived up to its name, an everlasting symbol of peace, prosperity, speed, design and human endeavour.

The Queensland Cultural Centre (QCC), located on the south bank of the Brisbane River opposite the central business district, is the state's principal cultural venue and an important example of late 20th century modernist architecture. Constructed between 1976 and 1998, this ambitious complex, a milestone in the history of the arts in Queensland and the evolution of the state, was designed by renowned Queensland architect Robin Gibson in conjunction with the Queensland Department of Public Works, for the people of Queensland.

 

The Cultural Centre includes the Queensland Art Gallery (1982), the Queensland Performing Arts Centre (1984), the Queensland Museum (1986), the State Library and The Fountain Room Restaurant and Auditorium (The Edge in 2015) (1988). The substantially altered State Library and the Gallery of Modern Art are part of the broader cultural precinct but are not included in the heritage register boundary.

 

South Brisbane before the Queensland Cultural Centre (QCC)

 

By the late 1960s, much of South Brisbane, especially along the river, was in economic decline. Prior to European settlement, the whole of the South Brisbane peninsula was known as Kurilpa, an important meeting place for the Yuggera/Jagera people. The tip of the South Brisbane peninsula was a traditional river crossing. After the establishment of the Moreton Bay Penal settlement in 1825, convicts cleared the river flats to grow grain for the settlement and during the 1830s, timber from the south bank was exported to Sydney.

 

From the 1840s, South Brisbane developed as one of Queensland's key location for portside activity, initially advantaged by its more direct access to the Darling Downs and Ipswich. As maritime trade expanded, wharfs and stores were progressively established adjacent to the river. Over time, a range of commercial, light industrial and manufacturing activities also occurred, along with civic and residential land uses. The area prospered in the 1880s and South Brisbane became a municipality in 1888. Along with the development boom, a dry dock was opened in 1881, coal wharves and associated rail links were constructed and South Brisbane was established as the passenger terminus for suburban and country train lines.

 

By the end of the 19th century, the area had evolved into a substantial urban settlement, with Stanley Street a major retail centre and thoroughfare. Such development however, could not arrest a gradual 20th century decline which accelerated after World War II, influenced by the reorientation of economic activity and transport networks in Brisbane. Post-war, wharves, stores and railway sidings closed and were subsequently demolished, with the progressive relocation of shipping downriver. The decline of such a centrally located area in the capital city presented an opportunity for significant urban renewal.

 

Impetus for the Queensland Cultural Centre

 

The pressure to address the lack of adequate cultural facilities in Queensland increased in the 1960s, as public awareness of the importance of the arts to the cultural health of the community was rising. At this time, the Queensland's principal cultural institutions were located in buildings and sites in Brisbane that did not meet their existing or future requirements. The first purpose-built Museum had opened in William Street in 1879 but proved inadequate from the outset. It was converted to the Public Library of Queensland (the State Library from 1971) in 1900-02, after the 1889 Exhibition Building at Bowen Hills was converted for use as a Museum in 1900. From 1895, the Queensland Art Gallery was housed in the Brisbane Town Hall, moving in 1905 to a purpose designed room on the third floor in the new Executive Building overlooking George Street. When the new City Hall was completed in 1930, the Concert Hall at the Museum building was remodelled to house the art gallery.

 

Until the opening of the Queensland Cultural Centre, there were no Queensland government-operated performing arts facilities. Most musical and theatrical performances were initially held in local venues such as schools of arts, church halls or town halls, of varying suitability. Purpose-built facilities were limited and only erected in major centres. By the 1880s, Brisbane had four theatres, with the Opera House (later Her Majesty's Theatre), erected in 1888, the most lavish and prestigious, with seating for 2700. The Exhibition Building was one of the first buildings specifically designed for musical performances and contained a concert hall complete with a four-manual pipe organ. It became the centre for major musical events until the opening of the Brisbane City Hall in 1930.

 

Across Australia, the post-war era saw governments on all tiers commit to large projects related to developing the arts, including standalone and integrated landmark projects for institutions such as libraries, theatres and art galleries. Sites for such projects were often in centrally located areas, where previous uses and activities were in decline, or had become redundant. This type of urban renewal offered a blank slate for development, where the existing layout could be reconfigured and the built environment transformed. The construction of Sydney's Opera House had commenced in 1959; preliminary investigations for Adelaide Festival Centre started in 1964; the National Gallery of Australia was established in 1967; the first stage of the Victorian Arts Centre, the National Gallery of Victoria, was completed in 1969 and Perth's Civic Centre was also developed during the 1960s.

 

In Queensland, an earlier phase of civic construction (mostly town halls and council chambers) occurred in the 1930s, often incorporating spaces for arts and cultural activities. By the early 1950s, architect and town planner Karl Langer was designing civic centre complexes for larger regional centres such as Mackay, Toowoomba and Kingaroy.

 

Several attempts were made to secure stately cultural facilities in Queensland's capital but each came to nothing. Construction of an art gallery and museum near the entrance to the Government Domain, on a site granted in 1863, never eventuated. In the 1890s a major architectural competition for a museum and art gallery on a site in Albert Park sought to address the need for sufficient premises. In 1934, on a nearby site along Wickham Park and Turbot Street, an ambitious urban design proposal to incorporate a public art gallery, library and dental hospital resulted only in the construction of the Brisbane Dental Hospital. Post-WWII plans to incorporate the art gallery in the extensions to the original Supreme Court Building did not eventuate. The Queensland Art Gallery Act 1959 paved the way for a new Board of Trustees to establish a gallery with public funds subsidized by Government. The proposal at that time, for a gallery and performance hall at Gardens Point, to mark Queensland's centenary, was not realised; however, an extension to the State Library proceeded and included an exhibition hall and reading rooms.

 

A proposal for a State Gallery and Centre for Allied Arts, on the former municipal markets site adjacent to the Roma Street Railway station, formed part of a government backed plan for the redevelopment of the Roma Street area. Prepared by Bligh Jessup Bretnall & Partners in 1967, this substantial development over a number of city blocks, inspired by the redevelopment of redundant inner city areas in Europe and new towns in America, incorporated a significant commercial component. The plan was abandoned in 1968 due to conflicting local and state interests, together with the lack of an acceptable tender.

 

The following year, the Treasury Department initiated a formal investigation into a suitable site for an art gallery, led by Treasurer, Deputy Premier and Liberal Party Leader, Gordon Chalk. An expert committee, including Coordinator-General Charles Barton as chair, Under-Secretary of Works David Mercer and Assistant Under-Secretary Roman Pavlyshyn, considered 12 sites, including those from previous proposals. Three sites were shortlisted: The Holy Name Cathedral site in Fortitude Valley; upstream of the Victoria Bridge at South Brisbane; and the BCC Transport Depot in Coronation Drive. The South Brisbane site was preferred, considered to be the most advantageous for the city and the most architecturally suitable. The recommendation was accepted and work on progressing a design commenced.

 

Architectural competition and concept (1289)

 

In April 1973, Robin Gibson and Partners Architects won a two-staged competition to design the new Queensland Art Gallery at South Brisbane, with a sophisticated scheme considered superior in its simplicity and presentation. While this design was never realised, the art gallery that was built as part of the Cultural Centre was in many ways very similar, including the palette of materials and modernist design details inspired by the 1969 Oaklands Museum in California. The original design occupied the block bounded by Melbourne, Grey, Stanley and Peel Streets. Over Stanley Street, a pedestrian walkway connected the gallery to the top of an amphitheatre leading to sculpture gardens along the river.

 

The development of cultural facilities was reconsidered during 1974, evolving into a much more ambitious project. In early November, Deputy Premier Sir Gordon Chalk (who had a real interest and commitment to developing the arts in Queensland) announced as an election policy, a proposal for a $45 million dollar cultural complex. While the development of the Art Gallery had been progressing, Chalk, with the assistance of Under Treasurer Leo Hielscher, had covertly commissioned Robin Gibson to produce a master plan for an integrated complex of buildings which would form the Queensland Cultural Centre (QCC). The plan included an Art Gallery, Museum, Performing Arts Centre, State Library and an auditorium and restaurant. The devastating floods of January, which had further hastened the decline of South Brisbane, provided a timely opportunity to utilise more space adjacent to the river, through resumptions of flood prone land.

 

When the proposal was submitted to Cabinet by Chalk in late November, it was initially opposed by Premier Joh Bjelke-Petersen. However, the support of Brisbane's Lord Mayor, Clem Jones, (who gifted council-owned allotments on what became the QPAC site); influential public servants Hielscher, Pavlyshyn; Mercer, and Sir David Muir, Director of the Department of Commercial and Industrial Development, helped the project gain momentum. After winning the December 7 election, the proposal was formally adopted by the Bjelke-Petersen government. Muir was appointed chairman of the planning committee and became the first chairman of the QCC Trust.

 

Gibson's November 1974 Cultural Centre master plan differed significantly from his winning competition design for the Gallery and gave Gibson the opportunity to further demonstrate his planning principles for inner city development. Stanley Street was to be diverted under the Victoria Bridge through to Peel Street, with the Art Gallery and Museum occupying one large block. The scheme included building forms with oblique angles to the street grid, to address the main approaches. The Performing Arts building, comprising a single, multi-purpose hall, and the Art Gallery, extending from the Museum to the river's edge, were aligned diagonally around a Melbourne Street axis to address the approach from the Victoria Bridge. Pedestrian bridges provided access across the site over Melbourne Street and to the South Brisbane Railway Station over Grey Street.

 

Gibson's design of the QCC sought to convey a relaxed atmosphere reflective of Queensland's lifestyle. A simple, disciplined palette of materials, and design elements was adopted and rigorously maintained throughout the lengthy construction program to unify the complex: off-white sandblasted concrete; cubic forms with deeply recessed glazing; a constancy of structural elements, fixtures and finishes; repetitive stepped profiles and extensive integrated landscaping.

 

A fundamental conceptual aspect of the Cultural Centre's design was its relationship to the Brisbane River and the natural environment. Gibson saw the Cultural Centre as an opportunity for ‘amalgamating a major public building with the river on the South Bank'. The external landscaping and built form was carefully articulated to ‘step up' from the river. The comparatively low form of the complex was consciously designed so that the profile of the Taylor Range behind would remain visible when viewed from the city.

 

Retaining the approved general placement of the individual buildings, subsequent changes to the complex plan included: the orthogonal realignment of each of the buildings; the duplication of the multipurpose hall to create separate purpose-built facilities for musical and theatrical performances; the extension of an existing diversion in Stanley Street upstream to Peel Street and under the Victoria Bridge, which was bridged by a wide plaza as a forecourt to the Gallery.

 

Robin Gibson & Partners

 

Robin Gibson (1930-2014) attended Yeronga State School and Brisbane State High before studying architecture at the University of Queensland (UQ). After graduating in 1954, Gibson travelled through Europe and worked in London in the offices of architects, Sir Hugh Casson, Neville Conder, and James Cubitt and Partners. Returning to Brisbane in 1957, he set up an architectural practice commencing with residential projects, soon expanding into larger commercial, public and institutional work. Notable Queensland architects employed by his practice included Geoffrey Pie, Don Winsen, Peter Roy, Allan Kirkwood, Bruce Carlyle and Gabriel Poole.

 

Gibson's creative, administrative and diplomatic talents were widely recognised. His buildings were consistently simple, refined, and carefully executed, often comprehensively detailed to include fabrics, finishes and furnishings. Characteristically crisp, logical and smoothly functional, his works employed a limited palette of materials and were carefully integrated into their setting.

 

Robin Gibson & Partners' contribution to Queensland's built environment is significant. Other major architectural projects include: Mayne Hall, University of Queensland (UQ) (1972), Central Library, UQ (1973) Library and Humanities building at Nathan Campus, Griffith University (1975), Post Office Square (1982), Queen Street Mall (1982), Wintergarden building (1984), Colonial Mutual Life (1984) and 111 George Street (1993). Over time, Gibson and his body of work has been highly acclaimed and recognised through numerous awards including: 1968 Royal Australian Institute of Architects (RAIA) Building of the Year award, Kenmore Church; 1982 RAIA Sir Zelman Cowen Award (for public buildings) QAG; 1982 RAIA Canberra Medallion - Belconnen Library, ACT; 1982 Queenslander of the Year; 1983 Order of Australia; 1986 Honorary Doctorate - Griffith University; 1988 Advance Australia Award; 1989 RAIA Gold Medal for outstanding performance and contributions; 2000, and the 2007 25 year RAIA award for Enduring Architecture.

 

Construction and completion

 

The design development, documentation and the multifaceted construction program for the entire complex was administered by Roman Pavlyshyn, Director of Building, Department of Public Works. Pavlyshyn had previously overseen the selection of the site and had run the competition for the Queensland Art Gallery. The Cultural Centre was to continue the Department of Public Works' tradition in providing buildings of high quality in design, materials and construction throughout the state.

 

The funding of the QCC came entirely from the government-owned Golden Casket. The revenue derived from the Golden Casket was effectively ‘freed up' from health funding after Medicare was introduced by the Whitlam government. The then annual income of $4 million was projected to fund the QCC's construction over 10 years. By the early 1980s, inflationary impacts had blown out the cost to $175 million. Under Hielscher's guidance, Treasury looked at other ways to raise revenue. In response, Instant Scratch-Its and mid-week lotto were introduced to Queensland. This successful increase in gambling revenue enabled the QCC to be built at no extra cost to the state's existing budget and without going into debt.

 

The construction of the Cultural Centre was a complex undertaking and involved a multifaceted program staged over 11 years with a workforce of thousands, from design consultants to onsite labourers. Pavlyshyn guided Stages One, Two and Three to completion and the commencement of Stage Four, before retiring in July 1985. With the number of contractors and suppliers involved, quality control was a critical factor for a successful outcome. For example, the consistent quality of the concrete finish was achieved by securing a guaranteed supply of the principal materials, South Australian white cement, Stradbroke Island sand and Pine River aggregates, for the duration of the project and the strict control of colour and mix for each contract.

 

The program commenced with the construction of the Art Gallery, the most resolved of the building designs. Stage One also included the underground carpark to the Gallery and Museum and the central services plant facility on the corner of Grey and Peel Streets. Contractors, Graham Evans & Co, commenced construction in March 1977 and the Art Gallery was officially opened by Premier Joh Bjelke-Petersen on 21 June 1982. When awarding the art gallery the Sir Zelman Cowen Award that year, the RAIA jury declared the art gallery would enrich the fabric of Brisbane for many years to come, praising: the sustained architectural expertise and masterly articulation of space; avoidance of rhetorical gestures and fussy details, noting the building would enrich the fabric of the city for many years to come.

 

A development plan for the largest component of the complex, the Queensland Performing Arts Centre (QPAC), built as Stage Two, was released in 1976. The project architect for the Centre was Allan Kirkwood from Robin Gibson and Partners and contributors to the development and design of the Centre were theatre consultants, Tom Brown and Peter Knowland, the Performing Arts Trust and user committees. Completed in November 1984 by contractors Barclay Bros Pty Ltd, a concert for workers and the first public performance were held in December ahead of the official opening by the Duke and Duchess of Kent on 20 April 1985.

 

The Centre comprised three venues, each specifically designed for particular performance types. The Lyric Theatre and Concert Hall shared an entrance off Melbourne Street with shared and mimicked foyers, bars, circulation and ancillary facilities. The Studio theatre, now the Cremorne, had a separate entrance and foyer off Stanley Street with its own discreet ancillary facilities.

 

The Lyric Theatre, (2200 seats) was designed for large-scale dramatic productions including opera, operettas, musicals, ballets and dance performances. It had an orchestra pit, stalls, two balconies and side aisles. The 1800 seat Concert Hall was designed for orchestral concerts, choral performances, chamber music, recitals, popular entertainment and ceremonies. A Klais Grand Organ, featuring 6500 pipes, was built into the stage area. Its ‘shoe box' form, designed to enhance natural acoustics, incorporated an orchestral pit, stalls, single balcony, side galleries and side aisles. The Studio Theatre was built to accommodate up to 300 seats for dramatic performances and could be configured in 6 different ways, from conventional set-ups to theatre-in-the-round. It had stalls and a balcony level with an internal connection to the other two theatres.

 

Opened in 1986, the Queensland Museum, (Stage Three), was connected to the Art Gallery by a covered walkway and to the Performing Arts Complex by a footbridge over Melbourne Street. The entrance on the Melbourne Street side of the building was accessed from street level and the Melbourne Street footbridge. Built over the Stage One carpark, the six-level Museum building had four floors open to the public, with the two top levels dedicated to offices, laboratories , library and artefact storage. The first floor was designed for a variety of uses, including lecture halls, back of house, preparatory area and workshops. Levels 2 to 4 showcased collections in galleries situated on either side of a central circulation core comprising walkways, stairs, lifts and escalators. The outdoor area contained a geological garden on Grey Street side (in 2014 the Energex Playasaurus Place). Stage Four included the State Library and adjacent restaurant and auditorium building (The Edge) completed in 1988.

 

Public artworks

 

As part of the construction of the QCC, several pieces of public art were commissioned from Australian artists. Five outdoor sculptures were purchased and installed in 1985, the largest commission of public sculpture at one time in Australia. Four were directly commissioned: Anthony Pryor's Approaching Equilibrium (Steel, painted. River plaza-upper deck); Leonard and Kathleen Shillam's Pelicans (Bronze. QAG Water Mall); Ante Dabro's Sisters (Bronze. Melbourne Street plaza) and Rob Robertson-Swann's Leviathan Play (Steel, painted. Melbourne Street plaza). Clement Meadmore's Offshoot (Aluminium, painted. Gallery plaza) was an existing work.

 

Other public artworks commissioned at the time of construction are located at QPAC: Lawrence Daws' large interior mural, Pacific Nexus and Robert Woodward's Cascade Court Fountain.

 

Use and modifications

 

Since opening, the institutions of the QCC have played a dominant role in fostering and enabling cultural and artistic activities of Queensland - through performances, exhibitions, collections and events. The purpose built world class facilities of the complex, with their careful consideration of both front and back of house requirements, have enabled Queensland to host national and international performances, events and exhibitions, and expand and display collections, in a way that was not possible previously. In addition to the QCC's artistic endeavours, the role of the Queensland Museum in science disciplines has also been an important activity. The QCC (as part of the larger Cultural Precinct) is a major visitor destination in Brisbane; millions of people from Queensland and elsewhere have visited the site.

 

The successful development of the Cultural Centre was the catalyst for the broader renewal of South Brisbane along the Brisbane River. In 1983 Queensland won the right to hold the 1988 World Exposition (Expo 88). The site for Expo 88 was directly adjacent to the Cultural Centre and underwent a major transformation to host the event. Robin Gibson designed the Queensland Pavilion. Expo 88 was a highly successful for Brisbane and Queensland. After Expo, the site was again comprehensively redeveloped, opening in 1992 as the South Bank Parklands, now a major public space in Brisbane. More widely, the Cultural Centre's direct relationship with the Brisbane River influenced the way the city has come to engage with its dominant natural feature along its edges.

 

With the exception of The Edge, each of the buildings within the QCC retains its original use. Subsequent modifications to cater for changing requirements have altered the buildings within the complex to varying degrees. The most significant of these changes were the addition of the Playhouse to QPAC and the multimillion dollar Millennium Arts Project, which provided for a refurbishment of the entire complex.

 

QPAC was well utilised from the outset and the need for a mid-sized theatre was soon realised. Plans for Stage Five, a 750-850 seat Playhouse theatre, designed by Gibson, were produced with input from the same committees and advisers as Stage Two. Completed in 1998, the Playhouse, attached at the eastern end of QPAC, incorporated stalls, balcony, mid-stalls and balcony boxes for patron seating. It had a separate entrance off Russell Street and was separated from the rest of the complex by the loading dock. The Playhouse was refurbished between 2011-12.

 

The key features of the Millenium Arts Project (2002-2009) were: the addition of a new Gallery of Modern Art and public plaza; the major redevelopment of the SLQ including the addition of a fifth floor; a new entrance to the QAG, and refurbishment of the QM and QPAC.

 

At the north-western end of the complex, the Gallery of Modern Art, completed in 2006 was built to house Queensland's growing art collection and is linked to the rest of the complex by a public plaza.

 

The major refurbishment of the Library in 2006 included the addition of a fifth storey and substantial alterations to both the interior and exterior. A new entrance and new circulation patterns were established and the stepped terraces were removed, replaced by a large extension toward the river.

New entrances to QAG and QM were designed by Gibson and completed in 2009.

 

The new art gallery entrance provided alternative access from Peel Street and included the partial enclosure of the courtyard, a new staircase, and a lift. At the Museum, in addition to the new entrance provided on the eastern end of the Museum, a café was added to the western end, the internal circulation was rearranged and a new entrance on the Grey Street elevation was created to provide access to the Sciencentre, relocated from George Street to the ground floor of the museum in 2009.

 

In 2009 QPAC was refurbished to meet safety standards and to improve access. A setdown area was added along Grey Street to replace the drop off tunnel which was closed in 2001. Changes to circulation included the installation of lifts and the replacement and reorientation of staircases. The lobby book shop was replaced with a bar and other bars and lobbies were refurbished, removing the salmon colour scheme in higher traffic areas. Brown carpet was installed and the red marble bar finishes were replaced with black in the Lyric Theatre foyer and white in the Concert Hall foyer. Many seats were also replaced in the Lyric and Concert Hall. The Cremorne Theatre remains largely unchanged.

 

The Edge, operated and managed by SLQ, was reopened in 2010 as a new facility containing workshops, spaces for creative activities, events and exhibitions. The dropped restaurant floor was filled and new lifts installed. Wide scale changes were made to interior fit-out and finishes. The auditorium floor was replaced, and new openings were created in the rear and side elevations. The external structure was modified at ground level with changes to access and the loading dock which was made obsolete by changes to SLQ car park entry. The major external change was cosmetic and involved the enclosure of the open verandah with pre-fabricated steel window bays to create riverfront study and meeting spaces.

 

Source: Queensland Heritage Register.

Jacobello del Fiore - documented in Venice from 1400 to 1439

 

The triptych painted by Jacobello del Fiore in 1421 was painted for the Magistrato del Proprio, the judges concerned primarily with property disputes. Consideration of this panel leads us further into the associative mechanics of personifying Venice herself. The crowned figure of Justice is seated upon a leonine throne of Solomonic implications; she is flanked by the two archangels: to her right, on which she holds the sword of punishment, stands Michael, triumphant over the dragon of Satan and Evil; on her left, the side of the scales of judgement, Gabriel approaches, significantly gesturing to the regal woman. The inscription behind her declares that she "abides by the angels' admonitions and holy words."

Michael, traditional guardian of divine (and ultimate) justice, urges her to reward or punish according to merit, to "commend the purged souls to the benign scales." Gabriel, who exhorts her to lead humanity through the darkness, is explicitly identified as the "announcer of the virgin birth and peace among men."

 

The two lions bracketing the throne of Justice allude to the gilded throne of Solomon the wise judge, the sanctified seat of Justice and of Wisdom as Sedes Sapientiae, the throne of Divine Wisdom, it came to be identified with the body of the Virgin Mary, the support of the Incarnate Word of God and, as Jacobello's triptych makes clear, that throne was ultimately inherited - or, better, appropriated - with all its accumulated meanings, by Venice herself. Moreover, the convenient coincidence of the leonine decoration with the beast of St. Mark offered to Venetian iconography a special set of possibilities, of correspondences and cross-references, and a new range of resonance.

 

In Jacobello's panel, in the context of deliberate ambiguity, the archangel Gabriel's presence becomes resonantly significant. The heavenly messenger, companion of the Holy Spirit and announcer of the Incarnation, is traditionally associated with the Virgin Mary. And that association is pointedly acknowledged in Jacobello's painting: bearing the lily that is his attribute through his role in the Annunciation, the Archangel assumes a pose of direct address that intentionally evokes that role. His addressee, however, is ostensibly a different virgin, the virgin goddess of Justice...

The return of Justice to the world signals a new golden age, here being claimed by and for Venice herself. Gabriel's position in the painting and the allusions of his text encourage the kind of associative ambivalence that was central to the Venetian iconographic imagination. The Annunciation scene played out in Jacobello's panel automatically conflates those earlier events of March 25: the theological Incarnation that initiated the new era of Christian grace and that the political incarnation of the four-hundreth-and-twenty-first year of that era, the foundation of Venice.

The panel, in fact, is dated 1421 and thus commemorates, intentionally or not, the Republic's millennial birthdate.

 

["Myths of Venice, The Figuration of a State", by David Rosand]

To control Information Technology (IT) costs we think about and act within the enterprise as a whole, in part because we sell enterprise and mid-level solutions. We apply an Enterprise Architecture (EA) strategy which at the top level is comprised of infrastructure and communication considerations. This is not just about technical infrastructure, defined or designed by IT, because it is highly likely that such individual solutions (one offs) will not align to core business strategies (vertical needs verses horizontal needs spanning the whole company).

 

It is not really possible to do this, that is consider the entire company's needs, without significant participation by the business for which we use terms such as Solution Delivery or Product Management. Product and program managers from a solution delivery framework gather information, report back to the business, and return to apply the business strategies to align with short, medium, and especially long term business goals.

 

This business and implementation strategy focus is a change agent, to reduce siloed thinking, and achieve more horizontal capability across units. We reduce multiple applications, which take time to manage and maintain, and where it makes sense, fold them into one. Because we take security and privacy of our customers very seriously, any applications which may be at risk have been identified and are brought up into our standards. The process of combining risk management goals, application and data reduction streams saves money, although the process of so much change at once can be stressful at the unit, project, and personal levels.

 

We seek to empower self-service among our partners, customers and employees, for access to all kinds of information they need, and internally reduce redundant data stores, for example referring to customers by one identifier if possible. This is especially challenging in our partner relationships with multiple data stores that contain similar information about customers which are identified in completely different ways. This is the reason for serious data modeling and tight or loose coupling where needed – to retrieve and move information back to the partner systems. We leverage Microsoft software, and then buy, build, minimize or reuse existing systems.

 

In order to be more successful in our efforts to control IT costs we strive to increase flexibility among existing staff and provide rewards for strategic thinking – this strategic thinking aligns along company-wide goals. We need people with the right skills who work in efficient methods, only including the people who need to be included to make decisions or act. In fact we need to change confrontational and passive aggressive behaviors internally to collaborative personality styles – changing the organizations culture is doable but difficult. For more information I recommend reading "The Heart of Change" by Kotter and Cohen.

 

The technologies we invest in to help control IT costs are our own. We custom write stuff served up on Microsoft servers and plan to use SharePoint as the UI for our new change request tool. We are substantially reducing and eliminating the number of different applications (SQL stored procedures or XML Blobs mostly) we use and maintain on a daily basis. We are moving from C++ to C#/.NET (C Sharp and .Net technologies).

 

We use Microsoft software as our strategy to control IT costs - it is easy to manage, and has great support. Some team members keep an eye on relevant Open Source software as competitive analysis. When we use it, we know not only how but why.

 

Our company is getting the maximum value from its data center investment because we have not invested to the level we need for our infrastructure. We expect to remediate this lack of investment after deploying skilled, thoughtful product managers with the right combination of education and practical experience to assist in this effort through the next couple of years.

 

What is our organization doing to maximize the value from its data center investment? In addition to the other things mentioned we outsource development and support to India, Israel, and developing countries, etc. We also are making use of tax advantaged locations for large savings in transactions.

 

We are adding metrics and measurements by which we evaluate not just personal progress but internal and external customer satisfaction with our IT initiatives on a project by project basis to self-improve.

 

The practices which enable us to maximize value from our IT investment are varied and multifaceted. To maximize ongoing investment we are adding solution delivery strategies, planning ahead, and aligning IT with company-wide goals. Of course in our space we have some unique issues, and as a public company even more so. One thing that may surprise you is some of our projects we do end to end locally because of how critical success is. We leverage our best, most successful local managers to produce projects and design larger scale solutions if we determine it is the best strategy – so in this way we are flexible – we don't just out source everything.

 

We are in the process of reducing the number of applications we need to maintain, and where it is appropriate fold one into another so long as the user interface or back ends do not become unmanageable. We are making over our change request platform from top to bottom which we feel will enable quicker turnarounds on change requests – it is both loosely and tightly coupled where it needs to be. For the presentation layer we choose Microsoft SharePoint.

 

Conversely, what factors are inhibiting our organization from reaping the maximum value from its data center investments? The factors inhibiting the maximum value include a lack of foresight in strategic planning for long term goals –

 

1. Putting temporary things together to just meet immediate needs.

 

2. Focusing on small details and not seeing the big picture.

 

3. Lack of metrics to evaluate progress, process, and client / customer / partner success.

 

4. Unwillingness of team members to change or promote change even when it is in their and the companies' best interest.

 

5. Having too many data centers, identifying customers in too many ways.

 

How important is productivity within the IT function in our efforts to control IT costs and maximize our data center investment? Functionality, capacity, and reliability far outstrip productivity, but that is only because we have already hit very high productivity goals and exceeded them. Here are some of the metrics we examine:

 

Metrics

 

Percentage of project budgeted costs

Scope requirements

Total cost of ownership

Traceability

Defects rate (sev1, sev2, sev3 bugs - zero tolerance for sev1)

Completed requirements

Customer satisfaction scores (cust sats)

Schedule slippage

Flexibility of management styles

End-to-end throughput time per client-side user request

System extensibility

Scalability

Maintainability

Defects per thousand lines of code (KLOC or by function)

Support functionality and documentation availability, and completeness prior to launch

Rates of failure

Restoration (emergency)

Availability

Test effectiveness

Business acceptance

System acceptance (signoff)

Average turn around time for service and change requests

Number of security or privacy defects (last two should be zero tolerance in launch candidates)

Number of post freeze change requests

Among the mandatory metrics used are peer review effectiveness of code, and post mortems and overall customer satisfaction. In other words we do not consider just ontime delivery of products, enhancements, or new functionality.

 

What is our organization doing to improve productivity within its IT function?

Getting the right people – some people grew with us or came to us with deep knowledge from the school of hard knocks – work experience – we seek to capture the most knowledgeable and either increase their education or find those with both practical work experience and advanced degrees. Good thing this is Seattle with its heavily educated population. New programs at the university level such as Informatics and Information Management are producing the people we need – not just MBAs or Master of Comp Sci - because so much of our development work we outsource to India and developing countries, and IT is not traditionally closely aligned with marketing or sales. We do outsource much of the development work as is possible.

 

The undergrad Informatics and Master of Science in Information Management programs at the University of Washington are housed in Mary Gates' Hall, renovated and named in honor of Bill Gate's late mother, it's headed by Mike Crandall (Dublin Core, Microsoft, Boeing). So you can see this is the direction we are going regionally, because that is where the spend is. Another great information school is at the University of California at Berkeley, housed in one of the oldest and most architecturally beautiful collegiate buildings on the west coast, South Hall. On the physical level all Berkeley had to do is add wireless. Excellent academics such as the seminal thinker Dr Michael Buckland are there at Berkeley, and business leaders such as Mitch Kapor. Industry wide I think iSchools are having an effect, adding a more well rounded, even playful culture to high tech operations.

 

Improving and opening the culture is important. Having a shared lexicon is one of the benefits of educated people; those with MSIM (master of science in information management), Informatics, technical MBA degrees can comunicate effectively with highly technical people - this can produce enormous savings and long term cost benefits. Increased, clear, enthusiastic communication saves IT costs.

 

In strategy meetings, for example, we often include Enterprise Architects to assist in stack ranking program and project development, because this helps reduce redundant systems.

 

Our organization's ability to measure the return on investment (ROI) or success of its IT investments is “Fair but mixed,” we want ROI to be easily measureable and this means evaluating the correct things, asking the right questions in the first place, not following other organizations techniques, although we examine them as examples.

 

We are adding ways to evaluate our ROI – we do use business analysis methods. There is always an identifiable way to analyze and measure the relationship of what something costs even if it appears intangible such as Brand protection.

 

Considering the strategic and tactical stuff we are doing, at the core, creativity is what drives our success. Creativity is always a very difficult thing to measure. In fact it could be said that if you try, you are barking up the wrong tree. However creative thinking around practical goals has provided us success. This is where the ideas around flexibility and being very responsive come to play.

 

We have found very very high ROI around outsourced projects because they must be clearly defined within the Software Development Lifecycle (SDLC) and Sarbanes-Oxley Act of 2002 (SOX) compliance.

 

Those people who actually think out of the box are oftentimes not recognized by co-workers and management. Change is perceived as negative among full time staff. We seek to show support for both full time employees and consultants, and change this view and enhance their ability to communicate ideas. That is why our management keeps an open door policy. Unfortunately like any other policies the hazard is that individual managers must believe in our policies around openness and creativity; such self-selecting polices are impossible to enforce.

 

Our organization uses balanced scorecards, Six Sigma and other types of internally derived quantitative value measurement methods to measure the ROI or success of our IT investments.

 

The continued use of these methods we expect will substantially improve the management and measurement of our IT investments. Some of the metrics are at the discretion of the product or program manager, others are mandatory. In part we have some success- at issue is adopting metrics and measurement as well as Enterprise Architecture and engaging with open arms increased strategic thinking and planning.

 

Senior management must come together and present a unified strategy for the entire company – which is a top down management style but it must be embraced from the bottom up. This is within a framework of enforced change as we seek to achieve excellence in all of our business units, especially in core infrastructure – those units which either produce money, or cost money. Some of our key investments we know are lost leaders, but other research will more than make up for those. Enforced change in this context means business units receive minimum budget until they comply.

 

We are still feeling the effects of the changes the Web brings in enterprise directly and for our customers; we continue to learn from the effects of communities and communication via the Web. The opportunities for growth are so enormous that it is all the more important that we curb spending where it is not required and apply it as much as possible to grow in creative arenas which still have huge untapped profit potential. It is not just about money, among hard core technologists – those who really love it – money is secondary in many ways - it’s about the fun stuff technology can bring as well as the benefit to serve humanity that technology brings.

 

High tech, information technology, and software development have made some strides to maturity but we are still learning new things; it will be a learning industry, discovering and inventing stuff for a long time to come.

 

p.s.

Enforced Change is a radically different challenge, and promises different ways of looking at human-to-human, individual-to-corporation, corporate-to-corporate, human-to- computer interactions, etc, which I plan to cover in future articles, so stay tuned!

  

without conscious consideration we can get closer to the truth, that's why the techniques we use must be ingrained, second nature. to use a cockney expression

you can't be "pissballing about"

A year old tiger cub, soon to be an adult, looks out over their watery play area in contemplation. We kept rooting for her to jump in, but often she would take a more reserved route into the water to play with her siblings. These cubs were born and raised at the Bronx Zoo and were soon to be separated from their fellows since tigers are notoriously solitary creatures. © 2012-Current.

Capture from the corner of SW Sixth Avenue and Morrison Street in downtown Portland, Oregon.

Consideration of a distinguished road

  

Model: Ahmed, My brother.

 

Edit: No edit

 

© photographer: Me.

 

© All rights reserved.

© Permission to take the picture or conservation 2009-2010.

 

Are not allowed reply copy and paste

Or will be deleted Comment

Sorry

  

hope you like it guys :P

 

www.almawash.com

Take them into Consideration ..

    

* from the archive =/ took it while waiting fil airport

Part I

In civilizations of a traditional nature, intellectual intuition lies at the root of everything; in other words, it is the pure metaphysical doctrine that constitutes the essential, everything else being linked to it, either in the form of consequences or applications to the various orders of contingent reality.

 

Not only is this true of social institutions, but also of the sciences, that is, branches of knowledge bearing on the domain of the relative, which in such civilizations are only regarded as dependencies, prolongations, or reflections of absolute or principial knowledge.

 

Thus a true hierarchy is always and everywhere preserved: the relative is not treated as non-existent, which would be absurd; it is duly taken into consideration, but is put in its rightful place, which cannot but be a secondary and subordinate one; and even within this relative domain there are different degrees of reality, according to whether the subject lies nearer to or further from the sphere of principles.

 

Thus, as regards science, there are two radically different and mutually incompatible conceptions, which may be referred to respectively as traditional and modern. We have often had occasion to allude to the 'traditional sciences' that existed in antiquity and the Middle Ages and which still exist in the East, though the very idea of them is foreign to the Westerners of today. It should be added that every civilization has had 'traditional sciences' of its own and of a particular type. Here we are no longer in the sphere of universal principles, to which pure metaphysics alone belongs, but in the realm of adaptations.

(…)

 

By seeking to sever the connection of the sciences with any higher principle, under the pretext of assuring their independence, the modern conception robs them of all deeper meaning and even of all real interest from the point of view of knowledge; it can only lead them down a blind alley, by enclosing them, as it does, in a hopelessly limited realm.

 

Moreover, the development achieved in this realm is not a deepening of knowledge, as is commonly supposed, but on the contrary remains completely superficial, consisting only of the dispersion in detail already referred to and an analysis as barren as it is laborious; this development can be pursued indefinitely without coming one step closer to true knowledge.

 

It must also be remarked that it is not for its own sake that, in general, Westerners pursue science; as they interpret it, their foremost aim is not knowledge, even of an inferior order, but practical applications, as can be deduced from the ease with which the majority of our contemporaries confuse science and industry, and from the number of those for whom the engineer represents the typical man of science.

(…)

 

Modern experimentalism involves the curious illusion that a theory can be proven by facts, whereas in reality the same facts can always be equally well explained by several different theories; some of the pioneers of the experimental method, such as Claude Bernard, have themselves recognized that they could interpret facts only with the help of preconceived ideas, without which they would remain 'brute facts' devoid of all meaning and scientific value.

 

Since we have been led to speak of experimentalism, the opportunity may be taken to answer a question that may be raised in this connection: why have the experimental sciences received a development in modern civilization such as they never had in any other?

 

The reason is that these sciences are those of the sensible world, those of matter, and also those lending themselves most directly to practical applications; their development, proceeding hand in hand with what might well be called the 'superstition of facts', is therefore in complete accord with specifically modern tendencies, whereas earlier ages could not find sufficient interest in them to pursue them to the extent of neglecting, for their sake, knowledge of a higher order. It must be clearly understood that we are not saying that any kind of knowledge can be deemed illegitimate, even though it be inferior; what is illegitimate is only the abuse that arises when things of this kind absorb the whole of human activity, as we see them doing at present.

(…)

 

One of the characteristics of the present age is the exploitation of everything that had hitherto been neglected as being of insufficient importance for men to devote their time and energy to, but which nevertheless had to be developed before the end of the cycle, since the things concerned had their place among the possibilities destined to be manifested within it; such in particular is the case of the experimental sciences that have come into existence in recent centuries.

 

There are even some modern sciences that represent, quite literally, residues of ancient sciences that are no longer understood: in a period of decadence, the lowest part of these sciences became isolated from all the rest, and this part, grossly materialized, served as the starting-point for a completely different development, in a direction conforming to modern tendencies; this resulted in the formation of sciences that have ceased to have anything in common with those that preceded them. Thus, for example, it is wrong to maintain, as is generally done, that astrology and alchemy have respectively become modern astronomy and modern chemistry, even though this may contain an element of truth from a historical point of view; it contains, in fact, the very element of truth to which we have just alluded, for, if the latter sciences do in a certain sense come from the former, it is not by 'evo-lution' or 'progress' - as is claimed - but on the contrary, by degeneration.

(…)

 

These are the two complementary functions proper to the traditional sciences: on the one hand, as applications of the doctrine, they make it possible to link the different orders of reality and to integrate them into the unity of a single synthesis, and on the other, they constitute, at least for some, and in accordance with their individual aptitudes, a preparation for a higher knowledge and a way of approach to it - forming by virtue of their hierarchical positioning, according to the levels of existence to which they refer, so many rungs as it were by which it is possible to climb to the level of pure intellectuality.

 

It is only too clear that modern sciences cannot in any way serve either of these purposes; this is why they can be no more than 'profane science', whereas the 'traditional sciences', through their connection with metaphysical principles, are effectively incorporated in 'sacred science'.

 

The ways leading to knowledge may be extremely different at the lowest degree, but they draw closer and closer together as higher levels are reached. This is not to say that any of these preparatory degrees are absolutely necessary, since they are mere contingent methods having nothing in common with the end to be attained; it is even possible for some persons, in whom the tendency to contemplation is predominant, to attain directly to true intellectual intuition without the aid of such means; but this is a more or less exceptional case, and in general it is accepted as being necessary to proceed upward gradually.

 

The whole question may also be illustrated by means of the traditional image of the 'cosmic wheel': the circumference in reality exists only in virtue of the center, but the beings that stand upon the circumference must necessarily start from there or, more precisely, from the point thereon at which they actually find themselves, and follow the radius that leads to the center. Moreover, because of the correspondence that exists between all the orders of reality, the truths of a lower order can be taken as symbols of those of higher orders, and can therefore serve as 'supports' by which one may arrive at an understanding of these; and this fact makes it possible for any science to become a sacred science, giving it a higher or 'anagogical' meaning deeper than that which it possesses in itself.

 

Every science, we say, can assume this character, whatever may be its subject-matter, on the sole condition of being constructed and regarded from the traditional standpoint; it is only necessary to keep in mind the degrees of importance of the various sciences according to the hierarchical rank of the diverse realities studied by them; but whatever degree they may occupy, their character and functions are essentially similar in the traditional conception.

 

What is true of the sciences is equally true of the arts, since every art can have a truly symbolic value that enables it to serve as a support for meditation, and because it’s rules, like the laws studied by the sciences, are reflections and 'applications of fundamental principles: there are then in every normal civilization 'traditional arts', but these are no less unknown to the modern West than are the 'traditional sciences'. The truth is that there is really no 'profane realm' that could in any way be opposed to a 'sacred realm'; there is only a 'profane point of view', which is really none other than the point of view of ignorance.

 

This is why 'profane science', the science of the moderns, can as we have remarked elsewhere be justly styled 'ignorant knowledge', knowledge of an inferior order confining itself entirely to the lowest level of reality, knowledge ignorant of all that lies beyond it, of any aim more lofty than itself, and of any principle that could give it a legitimate place, however humble, among the various orders of knowledge as a whole. Irremediably enclosed in the relative and narrow realm in which it has striven to proclaim itself independent, thereby voluntarily breaking all connection with transcendent truth and supreme wisdom, it is only a vain and illusory knowledge, which indeed comes from nothing and leads to nothing.

 

This survey will suffice to show how great is the deficiency of the modern world in the realm of science, and how that very science of which it is so proud represents no more than a deviation and, as it were, a downfall from true science, which for us is absolutely identical with what we have called 'sacred' or 'traditional' science. Modern science, arising from an arbitrary limitation of knowledge to a particular order-the lowest of all orders, that of material or sensible reality-has lost, through this limitation and the consequences it immediately entails, all intellectual value; as long, that is, as one gives to the word 'intellectuality' the fullness of its real meaning, and refuses to share the 'rationalist' error of assimilating pure intelligence to reason, or, what amount to the same thing, of completely denying intellectual intuition.

 

The root of this error, as of a great many other modern errors - and the cause of the entire deviation of science that we have just described - is what may be called 'individualism', an attitude indistinguishable from the anti-traditional attitude itself and whose many manifestations in all domains constitute one of the most important factors in the confusion of our time; we shall therefore now study this individualism more closely.

 

----

 

excerpts from The Crisis of the Modern World by René Guenon

 

Chapter 4: Sacred and profane science

 

----

 

Dekoulou Monastery, Greece

 

Bangkok

Is your style of architecture German, Scandinavian, Russian, Polish, Baltic?

 

For a thousand years the borders have changed, with great regularity. The Viking influence from 750AD until the 13th century... the Hanseatic Federation and their influence as trading cities... Sweden ruled over much of the Baltic and North Sea for hundreds of years, as well as the Rus, the Poles, the Ukrainians, the Prussians, the Teutonic tribes, Bohemia, and Austro-Hungarians.

 

But anthropologically what has remained constant, well... taking into consideration invasions and movements of tribes and large groups... are the people. Above is a university study showing the prevalence of blue eyed peoples and the density of same.

 

And this indeed was the challenge and opportunity for our world-reknowned architects to come up with a style unique to this part of the world from which my Family comes. We very much love the 19th century alpine style known as Zakopane, named after the podhale village of the same name along the Polish/Slovak border. From this wonderful core of design with it's unique and dramatic alpine roof lines, we have embellished the architectural accoutrements and come up with what we refer to as .... Architecture from "the LAND of the BLUE EYES". Adding to that is inspiration from architectural gems in the Sierra Nevada Mtns of northern California. Vikingsholm, considered to be the finest rendition of Nordic alpine architecture in North America, on the shores of Lake Tahoe.... the Maybeck creation at the Hearst Compound called Wyntoon on the McLoud River, Rainbow Lodge in the Yuba Canyon, Thunderbird Lodge at Incline, and of course.... SugarBowl on the top of Donner Summit.

 

From the Viking days... carvings and portals as seen on the magical Stavkirke (Stave Churches) at Urnes, Heddal, and Gol in Norge, to the roof details of the Novgorod/north DVINA River Region of NW Russia, to the wonderful chip carvings of the Hutsells and Goral people of the Carpathian Mtns, Scandinavian rosemal'ing, magnificent doors from the Baltic area, bauernmalerai from Prussia and Bohemia, exposed hand hewn logs of Mecklanburg, and of course beautiful natural stone throughout the entire region.

 

Please enjoy the trip with us as you review many of the pictures in this Photostream. Nice to have made so many friends so far on a truly global scale. Thank you for the 10,000 views so far in just two weeks....

 

Architect: Larry Pearson, PEARSON DESIGN GROUP, Bozeman, Montana USA

www.pearsondesigngroup.com

 

www.pinterest.com/bertramsca/zakopane-in-the-sierras/paul...

  

Some background:

The VF-1 was developed by Stonewell/Bellcom/Shinnakasu for the U.N. Spacy by using alien Overtechnology obtained from the SDF-1 Macross alien spaceship. Its production was preceded by an aerodynamic proving version of its airframe, the VF-X. Unlike all later VF vehicles, the VF-X was strictly a jet aircraft, built to demonstrate that a jet fighter with the features necessary to convert to Battroid mode was aerodynamically feasible. After the VF-X's testing was finished, an advanced concept atmospheric-only prototype, the VF-0 Phoenix, was flight-tested from 2005 to 2007 and briefly served as an active-duty fighter from 2007 to the VF-1's rollout in late 2008, while the bugs were being worked out of the full-up VF-1 prototype (VF-X-1).

 

The space-capable VF-1's combat debut was on February 7, 2009, during the Battle of South Ataria Island - the first battle of Space War I - and remained the mainstay fighter of the U.N. Spacy for the entire conflict. Introduced in 2008, the VF-1 would be out of frontline service just five years later, though.

 

The VF-1 proved to be an extremely capable craft, successfully combating a variety of Zentraedi mecha even in most sorties which saw UN Spacy forces significantly outnumbered. The versatility of the Valkyrie design enabled the variable fighter to act as both large-scale infantry and as air/space superiority fighter. The signature skills of U.N. Spacy ace pilot Maximilian Jenius exemplified the effectiveness of the variable systems as he near-constantly transformed the Valkyrie in battle to seize advantages of each mode as combat conditions changed from moment to moment.

 

The basic VF-1 was deployed in four minor variants (designated A, D, J, and S) and its success was increased by continued development of various enhancements including the GBP-1S "Armored" Valkyrie, FAST Pack "Super" Valkyrie and the additional RÖ-X2 heavy cannon pack weapon system for the VF-1S for additional firepower.

The FAST Pack system was designed to enhance the VF-1 Valkyrie variable fighter, and the initial V1.0 came in the form of conformal pallets that could be attached to the fighter’s leg flanks for additional fuel – primarily for Long Range Interdiction tasks in atmospheric environment. Later FAST Packs were designed for space operations.

 

After the end of Space War I, the VF-1 continued to be manufactured both in the Sol system and throughout the UNG space colonies. Although the VF-1 would be replaced in 2020 as the primary Variable Fighter of the U.N. Spacy by the more capable, but also much bigger, VF-4 Lightning III, a long service record and continued production after the war proved the lasting worth of the design.

The versatile aircraft also underwent constant upgrade programs. For instance, about a third of all VF-1 Valkyries were upgraded with Infrared Search and Track (IRST) systems from 2016 onwards, placed in a streamlined fairing on the upper side of the nose, just in front of the cockpit. This system allowed for long-range search and track modes, freeing the pilot from the need to give away his position with active radar emissions, and it could also be used for target illumination and guiding precision weapons.

Many Valkyries also received improved radar warning systems, with receivers, depending on the systems, mounted on the wing-tips, on the fins and/or on the LERXs. Improved ECR measures were also mounted on some machines, typically in conformal fairings on the flanks of the legs/engine pods.

 

After joining the global U.N. Spacy union, Germany adopted the VF-1 in late 2008, it replaced the Eurofighter Typhoon interceptors as well as Tornado IDS and ECR fighter bombers. An initial delivery of 120 aircraft was completed until 2011, partially delayed by the outbreak of Space War One in 2009. This initial batch included 85 VF-1A single seaters, fourteen VF-1J fighters for commanders and staff leaders, and twenty VF-1D two-seaters for conversion training over Germany (even though initial Valkyrie training took place at Ataria Island). These machines were erratically registered under the tactical codes 26+01 to 26+99. Additionally, there was a single VF-1S (27+00) as a personal mount for the General der Luftwaffe.

 

The German single-seaters were delivered as multi-role fighters that could operate as interceptors/air superiority fighters as well as attack aircraft. Beyond the standard equipment they also carried a passive IRST sensor in front of the cockpit that allowed target acquisition without emitting radar impulses, a LRMTS (Laser Rangefinder and Marked Target Sensor) under the nose, a Weapon Delivery and Navigation System (WDNS) and an extended suite of radar warning sensors and ECM jammers.

After Space War I, attritions were replaced with a second batch of VF-1 single seaters in 2015, called VF-1L (for “Luftwaffe”). These machines had updated avionics and, among modifications, a laser target designator in a small external pod under the cockpit. About forty VF-1 survivors from the first batch were upgraded to this standard, too, and the VF-1Ls were registered under the codes 27+01 – 90.

 

The VF-1 was without doubt the most recognizable variable fighter of Space War I and was seen as a vibrant symbol of the U.N. Spacy even into the first year of the New Era 0001 in 2013. At the end of 2015 the final rollout of the VF-1 was celebrated at a special ceremony, commemorating this most famous of variable fighters. The VF-1 Valkryie was built from 2006 to 2013 with a total production of 5,459 VF-1 variable fighters with several variants (VF-1A = 5,093, VF-1D = 85, VF-1J = 49, VF-1S = 30, VF-1G = 12, VE-1 = 122, VT-1 = 68)

 

However, the fighter remained active in many second line units and continued to show its worthiness years later, e. g. through Milia Jenius who would use her old VF-1 fighter in defense of the colonization fleet - 35 years after the type's service introduction!

 

General characteristics:

All-environment variable fighter and tactical combat Battroid,

used by U.N. Spacy, U.N. Navy, U.N. Space Air Force

 

Accommodation:

Pilot only in Marty & Beck Mk-7 zero/zero ejection seat

 

Dimensions:

Fighter Mode:

Length 14.23 meters

Wingspan 14.78 meters (at 20° minimum sweep)

Height 3.84 meters

 

Battroid Mode:

Height 12.68 meters

Width 7.3 meters

Length 4.0 meters

 

Empty weight: 13.25 metric tons;

Standard T-O mass: 18.5 metric tons;

MTOW: 37.0 metric tons

 

Power Plant:

2x Shinnakasu Heavy Industry/P&W/Roice FF-2001 thermonuclear reaction turbine engines, output 650 MW each, rated at 11,500 kg in standard or in overboost (225.63 kN x 2)

4x Shinnakasu Heavy Industry NBS-1 high-thrust vernier thrusters (1 x counter reverse vernier thruster nozzle mounted on the side of each leg nacelle/air intake, 1 x wing thruster roll control system on each wingtip);

18x P&W LHP04 low-thrust vernier thrusters beneath multipurpose hook/handles

 

Performance:

Battroid Mode: maximum walking speed 160 km/h

Fighter Mode: at 10,000 m Mach 2.71; at 30,000+ m Mach 3.87

g limit: in space +7

Thrust-to-weight ratio: empty 3.47; standard T-O 2.49; maximum T-O 1.24

 

Design Features:

3-mode variable transformation; variable geometry wing; vertical take-off and landing; control-configurable vehicle; single-axis thrust vectoring; three "magic hand" manipulators for maintenance use; retractable canopy shield for Battroid mode and atmospheric reentry; option of GBP-1S system, atmospheric-escape booster, or FAST Pack system

 

Transformation:

Standard time from Fighter to Battroid (automated): under 5 sec.

Min. time from Fighter to Battroid (manual): 0.9 sec.

 

Armament:

2x internal Mauler RÖV-20 anti-aircraft laser cannon, firing 6,000 pulses per minute

1x Howard GU-11 55 mm three-barrel Gatling gun pod with 200 RPG, fired at 1,200 rds/min

4x underwing hard points for a wide variety of ordnance, including

12x AMM-1 hybrid guided multipurpose missiles (3/point), or

12x MK-82 LDGB conventional bombs (3/point), or

6x RMS-1 large anti-ship reaction missiles (2/outboard point, 1/inboard point), or

4x UUM-7 micro-missile pods (1/point) each carrying 15 x Bifors HMM-01 micro-missiles,

or a combination of above load-outs

  

The kit and its assembly:

This fictional VF-1 is more or less “only” a camouflage experiment, spawned by a recent discussion about the German Luftwaffe’s so-called “Norm ‘81” paint scheme that was carried by the F-4Fs during the Eighties and the early Nineties. It is one of the most complex standardized paint scheme I am aware of, consisting of no less than six basic shades of grey and applied in two different patterns (early variant with angled/splinter camouflage, later this was changed into more organic shapes).

 

I have built a fictional post-GDR MiG-21 with the Norm ’81 scheme some years ago, but had always been curious how a Macross VF-1 would look with it, or how it could be adapted to the F-14esque airframe?

 

Concerning the model, it’s another vintage ARII VF-1, in this case a VF-1J, built OOB and with the landing gear down and an open canopy. However, I added some small details like the sensors in front of the cockpit, RHAWS sensors and bulges for ECM equipment on the lower legs (all canonical). The ordnance was subtly changed, with just two AMM-1 missiles on each outer pylon plus small ECM pods on the lo hardpoint (procured from an 1:144 Tornado). The inner stations were modified to hold quadruple starters for (fictional) air-to-ground missiles, left over from a Zvezda 1:72 Ka-58 helicopter and probably depicting Soviet/Russian 9M119 “Svir” laser-guided anti-tank missiles, or at least something similar. At the model’s 1:100 scale they are large enough to represent domestic alternatives to AGM-65 Maverick missiles – suitable against Zentraedi pods and other large ground targets. The ventral GU-11 pod was modified to hold a scratched wire display for in-flight pictures. Some blade antennae were added as a standard measure to improve the simple kit’s look. The cockpit was taken OOB, I just added a pilot figure for the scenic shots and the thick canopy was later mounted on a small lift arm in open position.

 

Painting and markings:

This was quite a challenge: adapting the Norm’ 81 scheme to the swing-wing Valkyrie, with its folded legs and the twin tail as well as lacking the Phantom’s spine and bulged air intakes, was not easy, and I went for the most straightforward solution and simplified things on the VF-1’s short spine.

 

The Norm ‘81’s “official” colors are all RAL tones, and I decided to use these for an authentic lokk, namely:

RAL 7009 Grüngrau: Revell 67 (acrylic)

RAL 7012 Basaltgrau: Revell 77 (acrylic)

RAL 7039 Quarzgrau: Xtracolor X259 (enamel)

RAL 7037 Staubgrau: Xtracolor X258 (enamel)

RAL 7030 Steingrau: Revell 75 (enamel)

RAL 7035 Lichtgrau: Humbrol 196 (enamel)

 

This basically plan worked and left me with a very murky aircraft: Norm ’81 turned out to be a kind of all-propose camouflage that works well against both sky and ground, at least in the typical German climate, and especially good at medium to low altitude. RAL 7030, 7037 and 7039 appear like gradually darker shades of the basically same brownish grey hue, framed with darker contrast areas that appear either greenish or bluish.

 

However, the Xtracolor enamels turned out to be total sh!t: they lacked pigments in the glossy and translucent base and therefore ANY opacity, esp. on any edge, at least when you use a brush like me. Not certain if using an airbrush improves this? The result were uneven and rather thick areas of paint, not what I had hoped for. And the Revell 75 just did what I hate about the company's enamels: drying up prematurely with a gooey consistency, leaving visible streaks.

 

After a black ink wash, very light post-shading was added. I should have from the start tried to stick to the acrylics and also mix the Xtracolor tones from Revell acrylics, a stunt that turned during the weathering process (trying to hide the many blemishes) out to be quite feasible. RAL 7037 was mixed from Revell 47 plus 89 in a ~1:1 ratio, and RAL 7039 from Revell 47, 77 and 87 with a touch of 09. Nevertheless, the paint finish turned out sub-optimal, but some shading and weathering saved most of the mess – even I am not satisfied with the outcome, the model looks more weathered than intended (even though most operational German F-4Fs with this paint scheme looked quite shaggy and worn, making the different shades of grey almost undiscernible).

 

After some consideration I gave this German VF-1 full-color (yet small) "Kite" roundels, together with a German tactical code. German flags and a vintage JaboG 32 squadron badge decorate the fin - a plausible move, because there are British Valkyries in source books that carry RAF fin flashes. Stencils and other markings came from VF-1 OOB sheets.

Finally, after some typical highlights with clear paint over a silver base were added, and the small VF-1 was sealed with a coat of matt acrylic varnish.

  

A spontaneous interim project, with interesting results. The adapted Norm ’81 scheme works well on the VF-1, and it even is a contemporary design from the era when the original TV series was conceived and aired. With the authentic tones I’d call it quite ugly – even though I was amazed during the photo session how well the different shades of grey (four from above!) blend into each other and break up the aircraft’s outlines. If there were no red-and-white roundels or the orange pilot in the cockpit (chosen intentionally for some color contrast), the camouflage would be very effective! Not perfect, but another special member in my growing VF-1 model fleet. ^^

 

Portfolio Considerations via my Salem, MA trip

So much thought and consideration has been put into transforming this historical monument into very comfortable and warm, luxury accommodation, whilst retaining every bit of the building’s unique character and provenence. Cutting edge technology has been utilised to provide the comforts of 21st century living at the same time as having the unique experience of holidaying in a historic tower. For those visiting Alnwick to experience the history and majesty of this ducal town – and perhaps also the magic of the Harry Potter legacy, as Alnwick Castle provided the setting for Hogwart’s School of Witchcraft and Wizardry, there is no better place to experience Alnwick than with a stay at Pottergate Tower.

From Wikipedia, the free encyclopedia

 

Manufacturer Goodyear-Zeppelin Corporation, Akron, Ohio

Manufactured 31 October 1929 (commenced)

8 August 1931 (launched)

Serial ZRS-4

First flight 23 September 1931

Owners and operators United States Navy

In service 27 October 1931 (commissioned)

Last flight 4 April 1933

Flights 73

Total hours 1695.8

Aircraft carried 5 x Curtiss F9C 'Sparrowhawk',[1] Consolidated N2Y-1, Waco XJW-1

Fate Crashed off coast of New Jersey, 4 April 1933

 

USS Akron (ZRS-4) was a helium-filled rigid airship of the U.S. Navy, the lead ship of her class, which operated between September 1931 and April 1933. It was the world's first purpose-built flying aircraft carrier, carrying F9C Sparrowhawk fighter planes, which could be launched and recovered while it was in flight. With an overall length of 785 ft (239 m), Akron and her sister ship Macon were among the largest flying objects ever built. Although LZ 129 Hindenburg and LZ 130 Graf Zeppelin II were some 18 ft (5.5 m) longer and slightly more voluminous, the two German airships were filled with hydrogen, and so the two US Navy craft still hold the world record for the largest helium-filled airships.[2]

 

Akron was destroyed in a thunderstorm off the coast of New Jersey on the morning of 4 April 1933, killing 73 of the 76 crewmen and passengers. The accident involved the greatest loss of life in any airship crash.

Technical description

 

The airship's skeleton was built of the new lightweight alloy duralumin 17-SRT.[3] The frame introduced several novel features compared with traditional Zeppelin designs. Rather than being single-girder diamond trusses with radial wire bracing, the main rings of Akron were self-supporting deep frames: triangular Warren trusses 'curled' round to form a ring. Though much heavier than conventional rings, the deep rings promised to be much stronger, a significant attraction to the navy after the in-flight break up of the earlier conventional airships R38/ZR-2 and ZR-1 Shenandoah.[4] The inherent strength of these frames allowed the chief designer, Karl Arnstein, to dispense with the internal cruciform structure used by Zeppelin to support the fins of their ships. Instead, the fins of Akron were cantilevered: mounted entirely externally to the main structure.[5] Graf Zeppelin, Graf Zeppelin II, and Hindenburg used a supplementary axial keel along the hull centerline. However, the Akron used three keels, one running along the top of the hull and one each side, 45 degrees up from the lower centreline. Each keel provided a walkway running almost the entire length of the ship. The electric and telephone wiring, control cables, 110 fuel tanks, 44 water ballast bags, 8 engine rooms, engines, transmissions, and water-recovery devices were placed along the lower keels. The inert gas helium was used instead of flammable hydrogen, which improved streamlining by allowing the engines to be safely placed inside the hull. A generator room, with 2 Westinghouse d.c. generators powered by a 30-h.p. internal combustion engine, was forward of the No. 7 engine room.[6]: 36, 187–197 

 

The main rings were spaced at 22.5 m (74 ft) and between each pair were three intermediate rings of lighter construction. In keeping with conventional practice, 'station numbers' on the airship were measured in meters from zero at the rudder post, positive forward and negative aft. Thus the tip of the tail was at station −23.75 and the nose mooring spindle was at station 210.75. Each ring frame formed a polygon with 36 corners and these (and their associated longitudinal girders) were numbered from 1 (at the bottom centre) to 18 (at the top centre) port and starboard.[7] Thus a position on the hull could be referred to, for example, as "6 port at station 102.5" (the number 1 engine room).

 

While Germany, France and Britain used goldbeater's skin to gas-proof their gasbags, Akron used Goodyear Tire and Rubber's rubberised cotton, heavier but much cheaper and more durable. Half the gas cells used an experimental cotton-based fabric impregnated with a gelatin-latex compound. This was more expensive than the rubberised cotton but lighter than goldbeater's skin. It was so successful that all the gasbags of Macon were made from it.[8] There were 12 gas cells, numbered 0 to XI, using Roman numerals and starting from the tail.[9] While the 'air volume' of the hull was 7,401,260 cu ft (209,580 m3), the total volume of the gas cells at 100 percent fill was 6,850,000 cu ft (194,000 m3). At a normal 95 percent fill with helium of standard purity, the 6,500,000 cu ft (180,000 m3) of gas would yield a gross lift of 403,000 lb (183,000 kg). Given a structure deadweight of 242,356 lb (109,931 kg),[10] this gives a useful lift of 160,644 lb (72,867 kg) available for fuel, lubricants, ballast, crew, supplies and military load (including the skyhook airplanes)

 

Eight Maybach VL II 560 hp (420 kW) gasoline engines were mounted inside the hull.[11] Each engine turned a two-bladed, 16 ft 4 in (4.98 m) diameter, fixed pitch, wooden propeller via a driveshaft and bevel gearing which allowed the propeller to swivel from the vertical plane to the horizontal.[12] With the engines' ability to reverse, this allowed thrust to be applied forward, aft, up or down.[13] It appears from photographs that the four propellers on each side were contra-rotating, each one turning the opposite way to the one ahead of it. Thus it would appear that the designers were aware that running the propellers in the air disturbed by the one ahead was not ideal. While the external engine pods of other airships allowed the thrust lines to be staggered, placing all four engine rooms on each side of the ship along the lower keel resulted in Akron's propellers all being in line. This proved problematic in service, as it induced considerable vibration which was especially noticeable in the emergency control position in the lower fin. By 1933, Akron had two of her propellers replaced by more advanced, ground-adjustable, three-bladed, metal propellers.[14] These promised a performance increase and were adopted as standard for Macon.

 

The outer cover was of cotton cloth, treated with four coats of clear and two coats of aluminum pigmented cellulose dope. The total area of the skin was 330,000 sq ft (31,000 m2) and it weighed, after doping, 113,000 lb (51,000 kg).[15]

 

The prominent dark vertical bands on the hull were condensers of the system designed to recover water from the engines' exhaust for buoyancy compensation. In-flight fuel consumption continuously reduces an airship's weight and changes in the temperature of the lifting gas can do the same. Normally, expensive helium has to be released to compensate and any way of avoiding this is desirable. In theory, a water recovery system such as this can produce 1 lb of ballast water for every lb of fuel burned, though this is unlikely to be achieved in practice.[13]

 

Akron could carry up to 20,700 US gal (78,000 L) of gasoline (126,000 lb (57,000 kg)) in 110 separate tanks which were distributed along the lower keels to preserve the ship's trim, giving her a normal range of 5,940 nmi (6,840 mi; 11,000 km) at cruising speed.[16] Theoretical maximum ballast water capacity was 223,000 lb (101,000 kg) in 44 bags, again distributed along her length, though normal ballast load at unmasting was 20,000 lb (9,100 kg).[15] Maximum ballast was never an option, because a full fuel and ballast load would have left only 4,600 lb (2,100 kg) lifting capacity for aircraft, crew, and supplies, and each fully loaded F9C fighter alone weighed 2,800 lb (1,300 kg).

 

The heart of the ship, and her sole reason for existing, was the airplane hangar and trapeze system. Aft of the control car, in bay VII, between frames 125 and 141.25, was a compartment large enough to accommodate up to five F9C Sparrowhawk airplanes. However, two structural girders partially obstructed Akron's aftmost hangar bays, limiting its capacity to three airplanes (one in each forward corner of the hangar and one on the trapeze). A modification to remove this design flaw was pending at the time of the ship's loss.[17]

 

The F9C was not the ideal choice, being designed as a 'conventional' carrier-borne fighter. It was heavily built to withstand carrier landings, downward visibility was not very good and it initially lacked an effective radio. But the primary role of Akron's airplanes was long-range naval scouting. What was actually needed was a stable, fast, lightweight scouting airplane with a long range,[18] but none existed capable of fitting between the structural members and into the airship's hangar, as the F9C could.

 

The trapeze was lowered through the T-shaped door in the bottom of the ship and into the slipstream, with an airplane attached to the crossbar by the 'skyhook' above its top wing, its pilot on board and its engine running. The pilot tripped the hook and the airplane fell away from the ship. On his return, he positioned himself beneath the trapeze and climbed up until he could fly his skyhook onto the crossbar, at which point it automatically latched shut. Now, with the engine idling, the trapeze and airplane were raised into the hangar, the pilot cutting his engine as he passed through the door. Once inside, the airplane was transferred from the trapeze to a trolley, running on an overhead 'monorail' system by which it could be shunted into one of the four corners of the hangar to be refueled and re-armed. Having a single trapeze raised two problems: it limited the rate at which airplanes could be launched and recovered and any fault in the trapeze would leave any airborne scouts with nowhere to land. The solution was a second, fixed trapeze permanently rigged further aft along the bottom of the ship at station 102.5 and known as the 'perch'. By 1933 a perch was fitted and in use. Three more perches were planned (at stations 57.5, 80 and 147.5) but these were never fitted.[17]

 

Akron revived an idea used, and eventually rejected, by the German Navy zeppelins during World War I: the spähkorb or 'spy basket'.[19] The "angel basket" or "sub-cloud observation car", allowed the airship to remain hidden in a cloud layer, while still observing the enemy below. The small car, rather like an airplane fuselage without wings, could be lowered on a 1000 foot long cable. The observer on board communicated with the ship by telephone. In practice, the device was unstable, almost looping over the airship during its only test flight.[6]

 

During the design stage, in 1929, the navy requested an alteration to the fins. It was considered desirable for the bottom of the lower fin to be visible from the control car. Charles E. Rosendahl had witnessed, from the control room, Graf Zeppelin almost snagging her fin on high-tension power lines during her heavy take off into an unsuspected but very marked temperature inversion from Mines Field, Los Angeles at the start of the last leg of her round-the-world flight earlier that year.[20] The design change would also allow direct vision between the main control car and the emergency control position in the lower fin. The control car was moved 8 ft (2.4 m) aft and all the fins were shortened and deepened. The leading edge root of the fins no longer coincided with a main (deep) ring and instead the foremost attachment was now to an intermediate ring at frame 28.75. This achieved the required visibility, improved low-speed controllability, due to the increased span of the control surfaces, and simplified stress calculations, by reducing the number of fin attachment points. The designers and the navy's inspectors, led by the very experienced Charles P Burgess, were entirely satisfied with the revised stress calculations. However, this alteration has been the subject of much criticism as an "inherent defect" in the design and is often alleged to have been a major factor in the loss of Akron's sister ship Macon.[21] Construction for both ships amounted to $8,800,000 (in 1931 dollars) with the Akron accounting $5,538,400 of the total.[22]

Construction and commissioning

 

Construction of ZRS-4 was begun on 31 October 1929 at the Goodyear Airdock in Akron, Ohio by the Goodyear-Zeppelin Corporation.[23] Because it was larger than any airship previously built in the US, a special hangar was constructed.[24] Chief Designer Karl Arnstein and a team of experienced German airship engineers instructed and supported design and construction of both U.S. Navy airships USS Akron and USS Macon.[25]

 

On 7 November 1929, Rear Admiral William A. Moffett, the Chief of the U.S. Navy's Bureau of Aeronautics, drove the "golden rivet" into the main ring of "ZRS4". Erection of the hull sections began in March 1930. Secretary of the Navy Charles Francis Adams chose the name Akron (for the city near where it was being built), and Assistant Secretary of the Navy Ernest Lee Jahncke announced it in May 1930.[6]: 33 

Sample of the duralumin from which the frame of USS Akron was built

 

On 8 August 1931, Akron was launched (floated free of the hangar floor) and christened by First Lady Lou Henry Hoover, the wife of the President of the United States, Herbert Clark Hoover. The maiden flight of Akron took place around Cleveland on the afternoon of 23 September with Secretary of the Navy Adams and Rear Admiral Moffett on board. The airship made ten trial flights, including a 2000-mile journey, over 48 hours, to St. Louis, Chicago, and Milwaukee. On 21 October Akron left the Goodyear Zeppelin Air Dock for the Lakehurst Naval Air Station (NAS), with Lieutenant Commander Charles E. Rosendahl in command, arriving the next day. On Navy Day, 27 October 1931, the Akron was commissioned as a Navy vessel.[6]: 37–43 

History of service

.

Maiden voyage

 

On 2 November 1931, Akron departed on her first cruise down the eastern seaboard to Washington, D.C. On 3 November the Akron took to the air with 207 persons on board. This demonstration was to prove that in an emergency airships could provide limited but high speed airlift of troops to outlying possessions. Over the weeks that followed, some 300 hours aloft were logged in a series of flights, including a 46-hour endurance flight to Mobile, Alabama, and back. The return leg of the trip was made via the valleys of the Mississippi River and the Ohio River.[6]: 47–49 

Participation in a search exercise (January 1932)

 

On the morning of 9 January 1932, Akron departed from Lakehurst to work with the Scouting Fleet on a search exercise. Proceeding to the coast of North Carolina, Akron headed out over the Atlantic where it was assigned to find a group of destroyers bound for Guantánamo Bay, Cuba. Once these were located, the airship was to shadow them and report their movements. Leaving the coast of North Carolina at about 7:21 on the morning of 10 January, the airship proceeded south, but bad weather prevented sighting the destroyers (contact with them was missed at 12:40 EST, although their crews had sighted Akron) and eventually shaped a course toward the Bahamas by late afternoon. Heading northwesterly into the night, Akron then changed course shortly before midnight and proceeded to the southeast. Ultimately, at 9:08 am on 11 January, the airship succeeded in spotting the light cruiser USS Raleigh and 12 destroyers, positively identifying them on the eastern horizon two minutes later. Sighting a second group of destroyers shortly thereafter, Akron was released from the evaluation about 10:00 a.m., having achieved a "qualified success" in the initial test with the Scouting Fleet, but the performance could have been better with radio detection finding equipment, and scout planes.[6]: 49–51 

 

As the historian Richard K Smith wrote in his definitive study, The Airships Akron and Macon, "...consideration given to the weather, duration of flight, a track of more than 3,000 mi (4,800 km) flown, her material deficiencies, and the rudimentary character of aerial navigation at that date, the Akron's performance was remarkable. There was not a military airplane in the world in 1932 which could have given the same performance, operating from the same base."[26]

First accident (February 1932)

 

Akron was to have taken part in Fleet Problem XIII, but an accident at Lakehurst on 22 February 1932 prevented her participation. While the airship was being taken from her hangar, the tail came loose from her moorings, was caught by the wind, and struck the ground.[27] The heaviest damage was confined to the lower fin area, which required repair. Also, ground handling fittings had been torn from the main frame, necessitating further repairs. Akron was not certified as airworthy again until later in the spring. Her next operation took place on 28 April, when it made a nine-hour flight with Rear Admiral Moffett and Secretary of the Navy Adams aboard.[6]: 53–55 

 

As a result of this accident, a turntable with a walking beam on tracks powered by electric mine locomotives was developed to secure the tail and turn the ship even in high winds so that it could be pulled into the massive hangar at Lakehurst.[28]

Testing of the "spy basket"

 

Soon after returning to Lakehurst to disembark her distinguished passengers, Akron took off again to conduct a test of the "spy basket"—something like a small airplane fuselage suspended beneath the airship that would enable an observer to serve as the ship's "eyes" below the clouds while the ship herself remained out of sight above them. The first time the basket was tried (with sandbags aboard instead of a man), it oscillated so violently that it put the whole ship in danger. The basket proved "frighteningly unstable", swooping from one side of the airship to the other before the startled gaze of Akron's officers and men and reaching as high as the ship's equator.[19] Though it was later improved by adding a ventral stabilizing fin, the spybasket was never used again.[29]

 

Akron and Macon (which was still under construction) were regarded as potential "flying aircraft carriers", carrying parasite fighters for reconnaissance. On 3 May 1932, Akron cruised over the coast of New Jersey with Rear Admiral George C. Day, and the Board of Inspection and Survey, on board, and for the first time tested the "trapeze" installation for in-flight handling of aircraft. The aviators who carried out those historic "landings"—first with a Consolidated N2Y trainer and then with the prototype Curtiss XF9C-1 Sparrowhawk—were Lieutenant D. Ward Harrigan and Lieutenant Howard L. Young. The following day, Akron carried out another demonstration flight, this time with members of the House Committee on Naval Affairs on board; this time, Lieutenants Harrigan and Young gave the lawmakers a demonstration of Akron's aircraft hook-on ability.[6]: 55–56 

 

Following the conclusion of those trial flights, Akron departed from Lakehurst, New Jersey on 8 May 1932, for the American west coast. The airship proceeded down the eastern seaboard to Georgia and then across the southern gulf states, continuing over Texas and Arizona. En route to Sunnyvale, California, Akron reached Camp Kearny in San Diego on the morning of 11 May and attempted to moor. Since neither trained ground handlers nor specialized mooring equipment were present, the landing at Camp Kearny was fraught with danger. By the time the crew started the evaluation, the helium gas had been warmed by sunlight, increasing lift. Lightened by 40 short tons (36 t), the amount of fuel spent during the transcontinental trip, Akron was now uncontrollably light.[6]: 56–57 

 

The mooring cable was cut to avert a catastrophic nose-stand by the errant airship which floated upwards. Most of the mooring crew—predominantly "boot" seamen from the Naval Training Station San Diego—released their lines although four did not. One let go at about 15 ft (4.6 m) and suffered a broken arm while the three others were carried further aloft. Of these, Aviation Carpenter's Mate 3rd Class Robert H. Edsall and Apprentice Seaman Nigel M. Henton soon plunged to their deaths while Apprentice Seaman C. M. "Bud" Cowart held on to his line and then secured himself to it[30] before being hoisted on board the airship an hour later.[31] Akron moored at Camp Kearny later that day before proceeding to Sunnyvale, California. Footage from the accident appears in the film Encounters with Disaster, released in 1979 and produced by Sun Classic Pictures.

West Coast flights

 

Over the weeks that followed, Akron "showed the flag" on the West Coast of the United States, ranging as far north as the Canada–US border before returning south in time to exercise once more with the Scouting Fleet. Serving as part of the "Green Force", the Akron attempted to locate the "White Force". Although opposed by Vought O2U Corsair floatplanes from "enemy" warships, the airship located the opposing forces in just 22 hours, a fact not lost upon some of the participants in the exercise in subsequent critiques.[6]: 58–59 

 

In need of repairs, Akron departed from Sunnyvale on 11 June 1932 bound for Lakehurst, New Jersey, on a return trip that was sprinkled with difficulties, mostly because of unfavorable weather, and having to fly at pressure height while crossing the mountains. Akron arrived on 15 June after a "long and sometimes harrowing" aerial voyage.[6]: 61–62 

 

Akron next underwent a period of voyage repairs before taking part in July in a search for Curlew, a yacht which had failed to reach port at the end of a race to the island of Bermuda. The yacht was later discovered safe off Nantucket.[32] It then resumed operations capturing aircraft on the "trapeze" equipment. Admiral Moffett again boarded Akron on 20 July, but the next day left the airship in one of her N2Y-1s which took him back to Lakehurst after a severe storm had delayed the airship's own return to base.[6]: 65–66 

Further tests as "flying aircraft carrier"

 

Akron entered a new phase of her career that summer of 1932, engaging in intense experimentation with the revolutionary "trapeze" and a full complement of F9C-2s. A key element of the entrance into that new phase was a new commanding officer, Commander Alger Dresel.[6]: 63–65 

Third accident (August 1932)

 

Another accident hampered training on 22 August when Akron's tail fin became fouled by a beam in Lakehurst's massive Hangar No 1 after a premature order to commence towing the ship out of the mooring circle. Nevertheless, rapid repairs enabled eight more flights over the Atlantic during the last three months of 1932. These operations involved intensive work with the trapeze and the F9C-2s, as well as the drilling of lookouts and gun crews.[6]: 66–67 

 

Among the tasks undertaken were the maintenance of two aircraft patrolling and scouting on Akron's flanks. During a seven-hour period on 18 November 1932, the airship and a trio of planes searched a sector 100 mi wide.[6]: 67 

Return to the fleet

 

After local operations out of Lakehurst for the remainder of 1932, Akron was ready to resume operations with the fleet. On the afternoon of 3 January 1933, Commander Frank C. McCord relieved Commander Dresel as commanding officer, the latter becoming the first commanding officer of Akron's sister ship Macon, whose construction was almost complete. Within hours, Akron headed south down the eastern seaboard toward Florida where, after refueling at the Naval Reserve Aviation Base, Opa-locka, Florida, near Miami, the next day proceeded to Guantánamo Bay for an inspection of base sites. At this time the N2Y-1s were used to provide aerial "taxi" service to ferry members of the inspection party back and forth.[6]: 73 

 

Soon thereafter, Akron returned to Lakehurst for local operations which were interrupted by a two-week overhaul and poor weather. In March, it carried out intensive training with an aviation unit of F9C-2s, honing hook-on skills. During the course of these operations, an overfly of Washington DC was made 4 March 1933, the day Franklin D. Roosevelt first took the oath of office as President of the United States.[6]: 74 

 

On 11 March, Akron departed Lakehurst bound for Panama stopping briefly en route at Opa-locka before proceeding on to Balboa where an inspection party looked over a potential air base site. While returning northward, the airship paused at Opa-locka again for local operations exercising gun crews, with the N2Y-1s serving as targets, before getting underway for Lakehurst on 22 March.[6]: 74–75 

Loss

 

Location of crash

 

On the evening of 3 April 1933, Akron cast off from the mooring mast to operate along the coast of New England, assisting in the calibration of radio direction finder stations. Rear Admiral Moffett was again on board along with his aide, Commander Henry Barton Cecil, Commander Fred T. Berry, the commanding officer of NAS Lakehurst, and Lieutenant Colonel Alfred F. Masury, U.S. Army Reserve, a guest of the admiral, the vice-president of Mack Trucks, and a strong proponent of the potential civilian uses of rigid airships.[6]: 77–78 

 

After casting off at 19:28, Akron soon encountered fog and then severe weather, which did not improve when the airship passed over Barnegat Light, New Jersey,[33] at 22:00. According to Richard Smith, "Unknown to the men on board the Akron, they were flying ahead of one of the most violent stormfronts to sweep the North Atlantic States in ten years. It would soon envelop them." Enveloped in fog, increased lightning and heavy rain, it became extremely turbulent at 00:15. The Akron began a rapid nose-down descent, reaching 1100 feet while still falling. Ballast was dumped, which stabilized the ship at 700 feet, and climbed back to 1600 feet cruising altitude. Then a second violent descent sent the Akron downwards at 14 feet per second. "Landing stations" alerted the crew, as the ship descended tail-down. The lower fin struck the sea, water entered the fin, and the stern was dragged under. The engines pulled the ship into a nose-high attitude, then the Akron stalled, and crashed into the sea.[6]: 78–80 

 

Akron broke up rapidly and sank in the stormy Atlantic. The crew of the nearby German merchant ship Phoebus saw lights descending toward the ocean at about 00:23 and altered course to starboard to investigate, with her captain believing that he was witnessing an airplane crash. At 00:55, executive officer Lieutenant Commander Herbert V. Wiley was pulled from the water while the ship's boat picked up three more men: Chief Radioman Robert W. Copeland, Boatswain's Mate Second Class Richard E. Deal, and Aviation Metalsmith Second Class Moody E. Erwin. Despite artificial respiration, Copeland never regained consciousness, and he died aboard Phoebus.[6]: 80  Although the German sailors spotted four or five other men in the water, they did not know their ship had chanced upon the crash of Akron until Lt. Commander Wiley regained consciousness half an hour after being rescued. The crew of Phoebus combed the ocean in boats for over five hours in a fruitless search for more survivors. The Navy blimp J-3—sent out to join the search—also crashed, with the loss of two men.[34]

 

The U.S. Coast Guard cutter Tucker—the first American vessel on the scene—arrived at 06:00, taking the airship's survivors and the body of Copeland on board. Among the other ships combing the area for survivors were the heavy cruiser Portland, the destroyer Cole, the Coast Guard cutter Mojave, and the Coast Guard destroyers McDougal and Hunt, as well as two Coast Guard aircraft. The fishing vessel Grace F from Gloucester, Massachusetts, also assisted in the search, using her seining gear in an effort to recover bodies.[35] Most casualties had been caused by drowning and hypothermia, since the crew had not been issued life jackets, and there had not been time to deploy the single life raft. The accident left 73 dead, and only three survivors. Wiley, standing next to the two other survivors, gave a brief account on 6 April.[36]

Aftermath of loss

See also: Cathedral of the Air

 

Akron's loss spelled the beginning of the end for the rigid airship in the U.S. Navy, especially since one of her leading proponents, Rear Admiral William A. Moffett, was among the dead. President Roosevelt said, "The loss of the Akron with her crew of gallant officers and men is a national disaster. I grieve with the Nation and especially with the wives and families of the men who were lost. Ships can be replaced, but the Nation can ill afford to lose such men as Rear Admiral William A. Moffett and his shipmates who died with him upholding to the end the finest traditions of the United States Navy." The loss of the Akron was the largest loss of life in any airship crash.[37]

 

Macon and other airships received life jackets to avert a repetition of this tragedy. When Macon was damaged in a storm in 1935 and subsequently sank after landing in the sea, 70 of the 72 crew were saved.

 

The songwriter Bob Miller wrote and recorded a song, "The Crash of the Akron", within one day of the disaster.[38]

 

In 2003, the U.S. submarine NR-1 surveyed the wreck site and performed sonar imaging of the Akron's girders.[39]

Assessment

 

For numerous reasons, in the opinion of U.S. naval aviation historian Richard K. Smith,[40] Akron never got the chance to show what it was capable of. Initially, the idea had been to use her as a scout for the fleet, just as the German Navy zeppelins had been used during World War I, with her airplanes being simply useful auxiliaries capable of extending her range of vision or of defending her against attacking enemy aircraft.[41] Gradually, in the minds of the more forward-thinking officers familiar with airship and scouting fleet operations, that was reversed, it and Macon came to be regarded as aircraft carriers, whose sole job was to get the scouting airplanes to the search area and then to support them in their flights.[42][43] The mothership herself should stay in the background, out of sight of enemy surface units, and act merely as a mobile advanced base for the airplanes, which should do all of the actual searching.[44] Any aircraft carrier could do that, but only an airship could do it so quickly since her speed was at least twice that of a surface ship, enabling her to get to the scene or be switched from flank to flank quickly. However, it was an experimental ship, a prototype, and it took time for the doctrine and suitable tactics to evolve. It also took time to develop the techniques of navigating, controlling, and coordinating the scouts. At first, developments were hampered by inadequate radio equipment,[45] as well as the difficulties encountered by the scout pilots in navigating, scouting, and communicating from their cramped open cockpits.[46]

 

Some politicians, some senior officers, and some sections of the press seemed predisposed to judge the airship experiment a failure without regard to the evidence.[47] Even within the Navy's Bureau of Aeronautics, many opposed spending so much on a single asset.[40] Smith also asserts that political pressure inside and outside the navy led to the ship being pushed too early to attempt too much.[48] Little allowance seems to have been made for the fact that this was a prototype, an experimental system, and that tactics for her use were being developed "on the hoof." As a result, the airship's performance in fleet exercises was not all that some had hoped and gave an exaggerated impression of the ship's vulnerability and failed to demonstrate her strengths.[49]

Specifications (as built)

 

Data based on the book The Story of the Airship by Hugh Allen.[50]

 

General characteristics

 

Crew: 60

Length: 785 ft (239 m)

Diameter: 132 ft 11 in (40 m)

Height: 146.5 ft (44.7 m)

Volume: 6,500,000 cu ft (180,000 m3)

Gross weight: 403,000 lb (182,798 kg)

Useful lift: 182,000 lb (83,000 kg)

Powerplant: 8 × Maybach VL II 60 deg. V12 water-cooled engines, 560 hp (420 kW) each

Propellers: 2-bladed fixed-pitch, rotatable wooden propellers

 

Performance

 

Maximum speed: 73 kn (84 mph, 135 km/h)

Cruise speed: 43 kn (50 mph, 80 km/h)

Range: 9,190 nmi (10,580 mi, 17,030 km) at 50 miles per hour (80 km/h)

 

Armament

 

Guns: 8 x.30-cal machine guns

a people's sacrifice is acceptance of all other people throughout Humanity...as part of life-giving a place called Earth...

www.wijnandschouten.com

".....all the other squirrels are models of industry and consideration.

 

Nutkin, on the other hand, goofs off the whole time, and with a wooded acreage such as this, who can blame him...collecting nary a single nut ! ...

 

.....Plying the boss with riddles rather than work, he is essentially that annoying know-it-all "prancing about " kind of squirrel.......... who has been talked about fondly for years... "

  

Partial copy of a review of a Beatrix Potter children's book titled The Tale of Squirrel Nutkin.... 1903

Upon further consideration, I think this guy is a grizzly. Note the pronounced shoulder hump.

www.bearsmart.com/about-bears/know-the-difference/

(Photos by M)

Sketch from 2009 to illustrate complexities of webfonts

Carte de visite by J. Good of Trenton, N.J. When the Civil War began, the young man pictured here, 14-year-old William Frederick Allen, watched his father become colonel of the 9th New Jersey Infantry. Col. Joseph W. Allen, a peacetime militia officer and civil engineer, accompanied his men on Maj. Gen. Ambrose E. Burnside's expedition to North Carolina. On Jan. 13, 1862, only days into the operation, Allen drowned off the coast while attempting to secure drinking water for his men.

 

His death deprived William and two older siblings of a father, and his mother, Sarah, a husband.

 

William did not follow his late father into the war. But he did have a military connection through the Anderson Cadets, a Bordentown, N.J., militia company. His father once served as its commander. Young William, according to a period pencil inscription on a corresponding album page, is pictured here as captain of the Anderson Cadets.

 

The same inscription notes that he was not a member. This statement is verified through New Jersey records, which list only his father's name. One of these records, a quartermaster's report dated June 24, 1861, is an inventory of arms and equipment for the Anderson Cadets. It lists 40 rifles on hand, likely one for each member. It also includes two references to Zouaves, which may explain William's leggings.

 

Taking avaialable evidence into consideration, one explanation for this portrait is that William's father granted him an honorary and unofficial rank in the Anderson Cadets in 1861. His youthful look supports an 1861 date.

 

An alternative explanation appears in the finding aid for a collection of William's papers in the Historical Society of Pennsylvania: "Aged just 14 when the war began, Allen nonetheless enlisted in the military around 1861 and was given command of 'Anderson’s Cadets.'" But searches of military service records does not support this statement.

 

A sketch of William's life in the Memorial Cyclopedia of New Jersey also supports the 1861 date of this portrait. It states "In 1862, after his father's death, he became a rodman on the Camden & Amboy railroad, and in 1863 was promoted to be assistant engineer. He engaged in several roads then in course of construction in New Jersey, and in 1868 was appointed resident engineer of the West Jersey railroad, and founded the town of Wenonah, New Jersey."

 

Thus began William's railroad career, which grew from state and regional interests to national scope in 1872 when he became assistant editor of the influential monthly Travelers’ Official Guide.

 

Three years later, in 1875, he was elected to the position of permanent secretary of the General Time Convention. This group, which included representatives of the nation's major railroads, took on a major industry challenge: how to make rail transportation and travel more efficient in a large country that observed more than 144 time zones. These zones benefited local jurisdictions, but proved a hindrance as demand for more punctual interstate commerce and passenger travel times increased.

 

Fearing intervention by the federal government and under pressure to develop a coordinated approach to time, Convention membership discussed and debated options. They ultimately adopted a detailed plan proposed by William: Four standard time zones based upon the Greenwich meridian, or prime meridian.

 

We still follow William's plan today: Eastern, Central, Mountain and Pacific.

 

William's efforts were recognized by the membership: "By unanimous resolutions of the conventions, he was accorded their thanks for the accomplishment of the practical part of the work which was principally done between August 15 and November 18, 1883."

 

Some number of local jurisdictions condemned the move as taking away their rights.

 

The following year, President Chester A. Arthur appointed William as one of five delegates to represent the U.S. at the International Meridian Conference held in Washington. William's address, "Standard Time as Adopted in the United States" was entered into the official printed proceedings and translated into many languages. A number of countries in Europe and Asia soon adopted standardization of time, and William provided them with information to assist in the transition.

 

This accomplishment led to his appointment to numerous associations, councils, and societies, in which he remained active until, his death in 1915 at age 69. His wife, Caroline, who he married in 1871, and four sons survived him.

 

I encourage you to use this image for educational purposes only. However, please ask for permission.

An architect without aesthetic is an architect without ethic.

---

Massimiliano and Doriana Fuksas directed the Biennale of Venice 2000 with the title “Less Aesthetics, More Ethics”.

 

The urban transformation occurred in the last thirty years has no equal both in terms of dimension of the phenomenon and the size of the areas involved.

The first idea was to use the 2000 Biennial as a workshop for analyzing and trying to give an intelligible shape to the new planetary dimension of urban behaviours and transformations. The considerations, investigations and intuitions over the evolution of the cities took shape as a need for “something else”. “Something else” from architecture – whose troubled life we try to prolong every day – which we share our entire life with, and “something else” from successful architecture schemes: it was about recovering the awareness according to which the quality of architects and works was no longer enough. At such point, the 2000 Biennial edition had a main theme.

 

“CITIES: LESS AESTHETICS, MORE ETHICS”, the theme of the seventh Biennial of Architecture tries to communicate the deep unease of fast-transforming societies, where the data and reference points of an architect have utterly changed.

 

The exhibition, set at “Le Corderie”, draws the visitor’s attention to the “big” 280 X 5 metre screen whose images posit questions about megalopolis, areas contaminated by contradictions, conflicts, pollution, refugees’ dramatic condition, about new social aggregation centres like stations, airports and shopping centres, as well as a series of interviews with fifty architects.

 

For the first time, the Venice Biennial of Architecture uses simultaneously l’Arsenale, that is le Corderie, le Artiglierie and le Gaggiandre, in addition to i Giardini, the exhibition’s traditional location.

 

So this is pretty different. First time I use a texture! It's one of ghostbones' textures, which I saw Imogen use. I quite like it :)

 

This is my friend Heiða. It's taken in the end of my street. Today was and is a foggy day...and it's been drizzling more or less all day. It's calm and beautiful. :)

  

Oh and sorry people if I haven't been commenting a lot the last....few weeks. I haven't really had the time to look at all my contacts' photos, so I mostly just visit random pages. Finals are almost finished!

 

Explored pretty high! Yay!

One arm drivers know there are lots of places where residents sandwich their bins. As careful as an operator might be at picking one bin away from another or trying to get between two bins with the grabbers, eventually you’re going to fail. A good operator will do the right thing by getting out and upstanding the knocked over bin or bins, maybe even going the extra mile by spacing them all out properly. Unfortunately not all operators are courteous though, even the ones which are half decent, instead they’re just selfish lazy arseholes who don’t give a fuck about their fellow one arm drivers. This is another problem with most of the council drivers in Randwick! What perplexes me is that they’ll knock your bin over, sometimes even in your vision, then they’ll have the nerve to wave at you as they pass, like they’ve done nothing wrong. It really makes you boil after a while, especially when they knock over multiple bins in a street. You just want to go and knock all their bins over in retaliation, but the problem there is that you become as good as them and chances are the wrong person will be watching. Although one of the other Randwick boys told me he cracked the shits one day and went on a rampage, knocking over every greens bin he passed around a block - fucking good on him! Even guys who I work with, on the same team as me, have knocked my bins over and don’t pick them up... well actually some do pick the bins up with the lifter and spill half the contents in the process.

Another frame from this great morning, but a bit wider and rendered in monochrome this time for your consideration.

 

The Union Railroad was another goal for our trip and a place I’d longed to see. There is arguably no other railroad company in the land more closely associated with the American steel industry and no better place to watch that show than right here. This location a bit over 10 miles up river along the Monongahela from downtown Pittsburgh provides an overlook into US Steel Corporations Edgar Thompson Works, the last integrated steel mill in the greater Pittsburgh area.

 

Edgar Thompson is part of the larger Mon Valley Works complex an integrated steelmaking operation that includes four separate facilities: Clairton Plant, Edgar Thomson Plant, Irvin Plant and Fairless Plant all of which are connected by the Union Railroad. In the summer of 1872, while in Europe, Andrew Carnegie learned about the Bessemer process the first inexpensive industrial method for the mass production of steel. In the process, air blowing through the molten iron removed impurities via oxidation. This took place in the Bessemer converter, a large ovoid steel container lined with clay or dolomite. He returned to Pittsburgh with plans to build his own Bessemer plant and broke ground on January 1, 1873 in Braddock Township. On August 22, 1875, the Edgar Thomson (named in honor of the president of the Pennsylvania Railroad) Steel Works' hulking Bessemer converter produced its first heat of liquid steel, destined to become 2,000 steel rails for the Pennsylvania Railroad. Carnegie would sell his company in 1901 including the Edgar Thomson Works, to J. P. Morgan, Elbert H. Gary and other investors, as part of the foundation of U.S. Steel.

 

Surviving the collapse of the steel industry in the 1980s that saw the shuttering of many other famous plants along the river currently, two blast furnaces (Furnaces No. 1 and No. 3) continue in operation at the plant. From US Steel’s web site: Raw materials are combined in blast furnaces to produce liquid iron, which is then refined to create steel. Steel slabs from the facility are sent by rail to the nearby Irvin Plant in West Mifflin, Pa., where they are rolled into a number of different sheet products that serve customers in the appliance, automotive, metal building and home construction industries. Mon Valley Works has an annual raw steel production capability of 2.9 million net tons. The future for this first and last mill seems secure because in May 2019, US Steel announced it was investing more than $1 billion to the Mon Valley Works. The upgrades will include a sustainable endless casting and rolling facility at the Thomson Plant, and a cogeneration facility at the Clairton Plant. The Mon Valley Works will be the first facility in the United States to incorporate technology combining thin slab casting and hot rolled band production into one continuous process. To learn more about this check out this link: www.ussteel.com/locations/mon-valley-works-investment

 

As for the railroad connecting this great industrial enterprise. The original URR extended from East Pittsburgh to Hays, a distance of six miles, and was constructed in the years 1894-1907. During the same period, 13 branches, with an aggregate length of 14 miles were built. Operations began on June 1, 1896, with 241 employees, 25 steam locomotives and no cars. On October 26, 1897, the first train was interchanged with the Pittsburgh, Bessemer & Lake Erie Railroad at East Pittsburgh. This 30-car ore train from North Bessemer was consigned to Edgar Thomson. According to the URR’s own web site During 1897, the URR handled approximately 5 million tons of freight. The tonnage increased through the years, until a peak was reached in 1951, when an all-time high of 74,440,776 net tons of revenue freight were handled!

 

The volume of traffic has declined sharply from that level in conjunction with the retrenchment of the steel industry, but the road is still a sight to behold. Operating more than 65 miles of mainline and over 200 track miles in crammed into the Mon Valley the road is, as it’s always been, a whole owned subsidiary of US Steel. Since 1988 the URR has been a component of USS’ rail operations holding company, Transtar. To learn more about the history and operations of the road check out the company’s own page here: tinyurl.com/y6hq2xbz

 

The modern day Union consists of an all EMD end cab switcher roster of about 30 second generation units in a variety of paint schemes. Their generally long heavy trains of coal, coke, ore, and steel result in impressive sights of three, four, or five of them MUed together and that was our goal on this morning.

 

So here we waited on a little side road off of Braddock Ave. looking down on the yard where the URR accesses Edgar Thompson along side Turtle Creek. We were told that every morning between 0730 and 0830 train 076 would shove up out of the mill with a train load of hot slabs to reverse direction and cross the big Port Perry Bridge across the river for a run up the mainline to Irvin Works where those slabs would be rolled into finished steel for delivery to USS’ customers. The warm morning light offers an impressive view into the facility as the crew goes about running around their train and positioning the caboose on the rear end to lead as they shove up the ramp. Visible here is MP15DC 11 built new for the URR in Jul 1974.

 

East Pittsburgh, Pennsylvania

Thursday August, 20 2020

The Glasshouse is an international centre for musical education and concerts on the Gateshead bank of Quayside in northern England. Opened in 2004 as Sage Gateshead and occupied by North Music Trust The venue's original name honours a patron: the accountancy software company The Sage Group.

 

History

Planning for the centre began in the early 1990s, when the orchestra of Sage Gateshead, Royal Northern Sinfonia, with encouragement from Northern Arts, began working on plans for a new concert hall. They were soon joined by regional folk music development agency Folkworks, which ensured that the needs of the region's traditional music were taken into consideration and represented in Sage Gateshead's programme of concerts, alongside Rock, Pop, Dance, Hip Hop, classical, jazz, acoustic, indie, country and world, Practice spaces for professional musicians, students and amateurs were an important part of the provision.

 

The planning and construction process cost over £70 million, which was raised primarily through National Lottery grants. The contractor was Laing O'Rourke. The centre has a range of patrons, notably Sage Group which contributed a large sum of money to have the building named after it. Sage plc has helped support the charitable activities of Sage Gateshead since its conception. The venue opened over the weekend 17–19 December 2004.

 

Sage Gateshead was developed by Foster and Partners following an architectural design competition launched in 1997 and managed by RIBA Competitions. Over 100 architects registered their interest and 12 – a mixture of local, national and international talent – were invited to prepare concept designs. A shortlist of six was then interviewed with Foster and Partners unanimously selected as the winner. The Design has gone on to win a number of awards: the RIBA Inclusive Design Award, Civic Trust Award and The Journal North East Landmark of the Year Award.

 

As a conference venue, the building hosted the Labour Party's Spring conference in February 2005 and the Liberal Democrat Party conference in March 2012. On 18 August 2009, Sage Gateshead was selected to host the 2010 and 2011 National Union of Students annual conference. The 2010 Annual Conference took place 13–15 April 2010.

 

In 2022 The Sage Group announced that they were also sponsoring a new development that is being built next to Sage Gateshead which will be called The Sage. Sage Gateshead announced that they will be finding a new name for the venue prior to The Sage opening in 2024. On 13 September 2023 the venue announced its new name, The Glasshouse International Centre for Music.

 

Building

The centre occupies a curved glass and stainless steel building designed by Foster and Partners, Buro Happold (structural engineering), Mott MacDonald (engineering consultants) and Arup (acoustics), with views of Newcastle and Gateshead Quaysides, the Tyne Bridge and the Gateshead Millennium Bridge.

 

The Glasshouse contains three performance spaces; a 1,700-seater, a 450-seater, and a smaller rehearsal and performance hall, the Northern Rock Foundation Hall. The rest of the building was designed around these three spaces to allow for maximum attention to detail in their acoustic properties. Structurally it is three separate buildings, insulated from each other to prevent noise and vibration travelling between them. The gaps between them may be seen as one walks around inside. A special 'spongy' concrete mix was used in the construction, with a higher-than-usual air capacity to improve the acoustic. These three buildings are enclosed (but not touched) by the now-famous glass and steel shell. Sage One was intended as an acoustically perfect space, modelled on the Musikverein in Vienna. Its ceiling panels may be raised and lowered and curtains drawn across the ribbed wooden side walls, changing the sound profile of the room to suit any type of music. Sage Two is a smaller venue, possibly the world's only ten-sided performance space.

 

The building is open to the public throughout the day.

 

Concerts

The Glasshouse will host concerts from a wide range of internationally famous artists, and those who have played at the venue include Above and Beyond, Blondie, James Brown, Bonobo, Andy Cutting, De La Soul, Nick Cave, George Clinton, Bill Callahan, Crosby, Stills & Nash, Dillinger, Grace Jones, Gretchen Peters, Elbow, Explosions in the Sky, the Fall, Herbie Hancock, Mogwai, Morrissey, Mumford & Sons, Pet Shop Boys, Sunn O))), Nancy Sinatra, Snarky Puppy, Sting, Yellowman, Shane Filan of Westlife and others. In February 2015, it was one of the hosts of the second annual BBC Radio 6 Music Festival.

 

It is also home to Royal Northern Sinfonia, of which The Guardian wrote there is "no better chamber orchestra in Britain", and frequently hosts other visiting orchestras from around the world. The current music director for Royal Northern Sinfonia is the pianist and conductor Lars Vogt. In late 2014, Royal Northern Sinfonia collaborated with John Grant, performing at Sage Gateshead, and other venues throughout the UK. Recordings from this tour were made available as a limited edition CD and 12" record via Rough Trade Records in 2015.

 

Opinion

There has been popular debate surrounding what was Sage Gateshead. The venue is popular in the local area because of its concerts, and also its accessible learning courses for all ages and its constant interaction with local schools and academies through programmes such as Sing Up and the option of school visits.

 

Awards

2019: UK National Lottery 25th Birthday Award - Best Arts, Culture and Film

2019: Julie's Bicycle Creative Green 2 Star

2019: Gold Standard - Attitude is Everything

2018: Gold Award for Inclusive Tourism (North East Tourism Awards)

2018: Gold Award for Business Tourism (Visit England Awards for Excellence)

2005: Local Authority Building of the Year

2005: British Construction Industry Awards

2005: RIBA Award for Inclusive Design

 

Gateshead is a town in the Gateshead Metropolitan Borough of Tyne and Wear, England. It is on the River Tyne's southern bank. The town's attractions include the twenty metre tall Angel of the North sculpture on the town's southern outskirts, The Glasshouse International Centre for Music and the Baltic Centre for Contemporary Art. The town shares the Millennium Bridge, Tyne Bridge and multiple other bridges with Newcastle upon Tyne.

 

Historically part of County Durham, under the Local Government Act 1888 the town was made a county borough, meaning it was administered independently of the county council.

 

In the 2011 Census, the town had a population of 120,046 while the wider borough had 200,214.

 

History

Gateshead is first mentioned in Latin translation in Bede's Ecclesiastical History of the English People as ad caput caprae ("at the goat's head"). This interpretation is consistent with the later English attestations of the name, among them Gatesheued (c. 1190), literally "goat's head" but in the context of a place-name meaning 'headland or hill frequented by (wild) goats'. Although other derivations have been mooted, it is this that is given by the standard authorities.

 

A Brittonic predecessor, named with the element *gabro-, 'goat' (c.f. Welsh gafr), may underlie the name. Gateshead might have been the Roman-British fort of Gabrosentum.

 

Early

There has been a settlement on the Gateshead side of the River Tyne, around the old river crossing where the Swing Bridge now stands, since Roman times.

 

The first recorded mention of Gateshead is in the writings of the Venerable Bede who referred to an Abbot of Gateshead called Utta in 623. In 1068 William the Conqueror defeated the forces of Edgar the Ætheling and Malcolm king of Scotland (Shakespeare's Malcolm) on Gateshead Fell (now Low Fell and Sheriff Hill).

 

During medieval times Gateshead was under the jurisdiction of the Bishop of Durham. At this time the area was largely forest with some agricultural land. The forest was the subject of Gateshead's first charter, granted in the 12th century by Hugh du Puiset, Bishop of Durham. An alternative spelling may be "Gatishevede", as seen in a legal record, dated 1430.

 

Industrial revolution

Throughout the Industrial Revolution the population of Gateshead expanded rapidly; between 1801 and 1901 the increase was over 100,000. This expansion resulted in the spread southwards of the town.

 

In 1854, a catastrophic explosion on the quayside destroyed most of Gateshead's medieval heritage, and caused widespread damage on the Newcastle side of the river.

 

Sir Joseph Swan lived at Underhill, Low Fell, Gateshead from 1869 to 1883, where his experiments led to the invention of the electric light bulb. The house was the first in the world to be wired for domestic electric light.

 

In the 1889 one of the largest employers (Hawks, Crawshay and Company) closed down and unemployment has since been a burden. Up to the Second World War there were repeated newspaper reports of the unemployed sending deputations to the council to provide work. The depression years of the 1920s and 1930s created even more joblessness and the Team Valley Trading Estate was built in the mid-1930s to alleviate the situation.

 

Regeneration

In the late noughties, Gateshead Council started to regenerate the town, with the long-term aim of making Gateshead a city. The most extensive transformation occurred in the Quayside, with almost all the structures there being constructed or refurbished in this time.

 

In the early 2010s, regeneration refocused on the town centre. The £150 million Trinity Square development opened in May 2013, it incorporates student accommodation, a cinema, health centre and shops. It was nominated for the Carbuncle Cup in September 2014. The cup was however awarded to another development which involved Tesco, Woolwich Central.

 

Governance

In 1835, Gateshead was established as a municipal borough and in 1889 it was made a county borough, independent from Durham County Council.

 

In 1870, the Old Town Hall was built, designed by John Johnstone who also designed the previously built Newcastle Town Hall. The ornamental clock in front of the old town hall was presented to Gateshead in 1892 by the mayor, Walter de Lancey Willson, on the occasion of him being elected for a third time. He was also one of the founders of Walter Willson's, a chain of grocers in the North East and Cumbria. The old town hall also served as a magistrate's court and one of Gateshead's police stations.

 

Current

In 1974, following the Local Government Act 1972, the County Borough of Gateshead was merged with the urban districts of Felling, Whickham, Blaydon and Ryton and part of the rural district of Chester-le-Street to create the much larger Metropolitan Borough of Gateshead.

 

Geography

The town of Gateshead is in the North East of England in the ceremonial county of Tyne and Wear, and within the historic boundaries of County Durham. It is located on the southern bank of the River Tyne at a latitude of 54.57° N and a longitude of 1.35° W. Gateshead experiences a temperate climate which is considerably warmer than some other locations at similar latitudes as a result of the warming influence of the Gulf Stream (via the North Atlantic drift). It is located in the rain shadow of the North Pennines and is therefore in one of the driest regions of the United Kingdom.

 

One of the most distinguishing features of Gateshead is its topography. The land rises 230 feet from Gateshead Quays to the town centre and continues rising to a height of 525 feet at Queen Elizabeth Hospital in Sheriff Hill. This is in contrast to the flat and low lying Team Valley located on the western edges of town. The high elevations allow for impressive views over the Tyne valley into Newcastle and across Tyneside to Sunderland and the North Sea from lookouts in Windmill Hills and Windy Nook respectively.

 

The Office for National Statistics defines the town as an urban sub-division. The latest (2011) ONS urban sub-division of Gateshead contains the historical County Borough together with areas that the town has absorbed, including Dunston, Felling, Heworth, Pelaw and Bill Quay.

 

Given the proximity of Gateshead to Newcastle, just south of the River Tyne from the city centre, it is sometimes incorrectly referred to as being a part of Newcastle. Gateshead Council and Newcastle City Council teamed up in 2000 to create a unified marketing brand name, NewcastleGateshead, to better promote the whole of the Tyneside conurbation.

 

Economy

Gateshead is home to the MetroCentre, the largest shopping mall in the UK until 2008; and the Team Valley Trading Estate, once the largest and still one of the larger purpose-built commercial estates in the UK.

 

Arts

The Baltic Centre for Contemporary Art has been established in a converted flour mill. The Glasshouse International Centre for Music, previously The Sage, a Norman Foster-designed venue for music and the performing arts opened on 17 December 2004. Gateshead also hosted the Gateshead Garden Festival in 1990, rejuvenating 200 acres (0.81 km2) of derelict land (now mostly replaced with housing). The Angel of the North, a famous sculpture in nearby Lamesley, is visible from the A1 to the south of Gateshead, as well as from the East Coast Main Line. Other public art include works by Richard Deacon, Colin Rose, Sally Matthews, Andy Goldsworthy, Gordon Young and Michael Winstone.

 

Traditional and former

The earliest recorded coal mining in the Gateshead area is dated to 1344. As trade on the Tyne prospered there were several attempts by the burghers of Newcastle to annex Gateshead. In 1576 a small group of Newcastle merchants acquired the 'Grand Lease' of the manors of Gateshead and Whickham. In the hundred years from 1574 coal shipments from Newcastle increased elevenfold while the population of Gateshead doubled to approximately 5,500. However, the lease and the abundant coal supplies ended in 1680. The pits were shallow as problems of ventilation and flooding defeated attempts to mine coal from the deeper seams.

 

'William Cotesworth (1668-1726) was a prominent merchant based in Gateshead, where he was a leader in coal and international trade. Cotesworth began as the son of a yeoman and apprentice to a tallow - candler. He ended as an esquire, having been mayor, Justice of the Peace and sheriff of Northumberland. He collected tallow from all over England and sold it across the globe. He imported dyes from the Indies, as well as flax, wine, and grain. He sold tea, sugar, chocolate, and tobacco. He operated the largest coal mines in the area, and was a leading salt producer. As the government's principal agent in the North country, he was in contact with leading ministers.

 

William Hawks originally a blacksmith, started business in Gateshead in 1747, working with the iron brought to the Tyne as ballast by the Tyne colliers. Hawks and Co. eventually became one of the biggest iron businesses in the North, producing anchors, chains and so on to meet a growing demand. There was keen contemporary rivalry between 'Hawks' Blacks' and 'Crowley's Crew'. The famous 'Hawks' men' including Ned White, went on to be celebrated in Geordie song and story.

 

In 1831 a locomotive works was established by the Newcastle and Darlington Railway, later part of the York, Newcastle and Berwick Railway. In 1854 the works moved to the Greenesfield site and became the manufacturing headquarters of North Eastern Railway. In 1909, locomotive construction was moved to Darlington and the rest of the works were closed in 1932.

 

Robert Stirling Newall took out a patent on the manufacture of wire ropes in 1840 and in partnership with Messrs. Liddell and Gordon, set up his headquarters at Gateshead. A worldwide industry of wire-drawing resulted. The submarine telegraph cable received its definitive form through Newall's initiative, involving the use of gutta-percha surrounded by strong wires. The first successful Dover–Calais cable on 25 September 1851, was made in Newall's works. In 1853, he invented the brake-drum and cone for laying cable in deep seas. Half of the first Atlantic cable was manufactured in Gateshead. Newall was interested in astronomy, and his giant 25-inch (640 mm) telescope was set up in the garden at Ferndene, his Gateshead residence, in 1871.

 

Architecture

JB Priestley, writing of Gateshead in his 1934 travelogue English Journey, said that "no true civilisation could have produced such a town", adding that it appeared to have been designed "by an enemy of the human race".

 

Victorian

William Wailes the celebrated stained-glass maker, lived at South Dene from 1853 to 1860. In 1860, he designed Saltwell Towers as a fairy-tale palace for himself. It is an imposing Victorian mansion in its own park with a romantic skyline of turrets and battlements. It was originally furnished sumptuously by Gerrard Robinson. Some of the panelling installed by Robinson was later moved to the Shipley Art gallery. Wailes sold Saltwell Towers to the corporation in 1876 for use as a public park, provided he could use the house for the rest of his life. For many years the structure was essentially an empty shell but following a restoration programme it was reopened to the public in 2004.

 

Post millennium

The council sponsored the development of a Gateshead Quays cultural quarter. The development includes the Gateshead Millennium Bridge, erected in 2001, which won the prestigious Stirling Prize for Architecture in 2002.

 

Former brutalism

The brutalist Trinity Centre Car Park, which was designed by Owen Luder, dominated the town centre for many years until its demolition in 2010. A product of attempts to regenerate the area in the 1960s, the car park gained an iconic status due to its appearance in the 1971 film Get Carter, starring Michael Caine. An unsuccessful campaign to have the structure listed was backed by Sylvester Stallone, who played the main role in the 2000 remake of the film. The car park was scheduled for demolition in 2009, but this was delayed as a result of a disagreement between Tesco, who re-developed the site, and Gateshead Council. The council had not been given firm assurances that Tesco would build the previously envisioned town centre development which was to include a Tesco mega-store as well as shops, restaurants, cafes, bars, offices and student accommodation. The council effectively used the car park as a bargaining tool to ensure that the company adhered to the original proposals and blocked its demolition until they submitted a suitable planning application. Demolition finally took place in July–August 2010.

 

The Derwent Tower, another well known example of brutalist architecture, was also designed by Owen Luder and stood in the neighbourhood of Dunston. Like the Trinity Car Park it also failed in its bid to become a listed building and was demolished in 2012. Also located in this area are the Grade II listed Dunston Staithes which were built in 1890. Following the award of a Heritage Lottery Fund grant of almost £420,000 restoration of the structure is expected to begin in April 2014.

 

Sport

Gateshead International Stadium regularly holds international athletics meetings over the summer months, and is home of the Gateshead Harriers athletics club. It is also host to rugby league fixtures, and the home ground of Gateshead Football Club. Gateshead Thunder Rugby League Football Club played at Gateshead International Stadium until its purchase by Newcastle Rugby Limited and the subsequent rebranding as Newcastle Thunder. Both clubs have had their problems: Gateshead A.F.C. were controversially voted out of the Football League in 1960 in favour of Peterborough United, whilst Gateshead Thunder lost their place in Super League as a result of a takeover (officially termed a merger) by Hull F.C. Both Gateshead clubs continue to ply their trade at lower levels in their respective sports, thanks mainly to the efforts of their supporters. The Gateshead Senators American Football team also use the International Stadium, as well as this it was used in the 2006 Northern Conference champions in the British American Football League.

 

Gateshead Leisure Centre is home to the Gateshead Phoenix Basketball Team. The team currently plays in EBL League Division 4. Home games are usually on a Sunday afternoon during the season, which runs from September to March. The team was formed in 2013 and ended their initial season well placed to progress after defeating local rivals Newcastle Eagles II and promotion chasing Kingston Panthers.

 

In Low Fell there is a cricket club and a rugby club adjacent to each other on Eastwood Gardens. These are Gateshead Fell Cricket Club and Gateshead Rugby Club. Gateshead Rugby Club was formed in 1998 following the merger of Gateshead Fell Rugby Club and North Durham Rugby Club.

 

Transport

Gateshead is served by the following rail transport stations with some being operated by National Rail and some being Tyne & Wear Metro stations: Dunston, Felling, Gateshead Interchange, Gateshead Stadium, Heworth Interchange, MetroCentre and Pelaw.

 

Tyne & Wear Metro stations at Gateshead Interchange and Gateshead Stadium provide direct light-rail access to Newcastle Central, Newcastle Airport , Sunderland, Tynemouth and South Shields Interchange.

 

National Rail services are provided by Northern at Dunston and MetroCentre stations. The East Coast Main Line, which runs from London Kings Cross to Edinburgh Waverley, cuts directly through the town on its way between Newcastle Central and Chester-le-Street stations. There are presently no stations on this line within Gateshead, as Low Fell, Bensham and Gateshead West stations were closed in 1952, 1954 and 1965 respectively.

 

Road

Several major road links pass through Gateshead, including the A1 which links London to Edinburgh and the A184 which connects the town to Sunderland.

 

Gateshead Interchange is the busiest bus station in Tyne & Wear and was used by 3.9 million bus passengers in 2008.

 

Cycle routes

Various bicycle trails traverse the town; most notably is the recreational Keelmans Way (National Cycle Route 14), which is located on the south bank of the Tyne and takes riders along the entire Gateshead foreshore. Other prominent routes include the East Gateshead Cycleway, which connects to Felling, the West Gateshead Cycleway, which links the town centre to Dunston and the MetroCentre, and routes along both the old and new Durham roads, which take cyclists to Birtley, Wrekenton and the Angel of the North.

 

Religion

Christianity has been present in the town since at least the 7th century, when Bede mentioned a monastery in Gateshead. A church in the town was burned down in 1080 with the Bishop of Durham inside.[citation needed] St Mary's Church was built near to the site of that building, and was the only church in the town until the 1820s. Undoubtedly the oldest building on the Quayside, St Mary's has now re-opened to the public as the town's first heritage centre.

 

Many of the Anglican churches in the town date from the 19th century, when the population of the town grew dramatically and expanded into new areas. The town presently has a number of notable and large churches of many denominations.

 

Judaism

The Bensham district is home to a community of hundreds of Jewish families and used to be known as "Little Jerusalem". Within the community is the Gateshead Yeshiva, founded in 1929, and other Jewish educational institutions with international enrolments. These include two seminaries: Beis Medrash L'Morot and Beis Chaya Rochel seminary, colloquially known together as Gateshead "old" and "new" seminaries.

 

Many yeshivot and kollels also are active. Yeshivat Beer Hatorah, Sunderland Yeshiva, Nesivos Hatorah, Nezer Hatorah and Yeshiva Ketana make up some of the list.

 

Islam

Islam is practised by a large community of people in Gateshead and there are 2 mosques located in the Bensham area (in Ely Street and Villa Place).

 

Twinning

Gateshead is twinned with the town of Saint-Étienne-du-Rouvray near Rouen in France, and the city of Komatsu in Japan.

 

Notable people

Eliezer Adler – founder of Jewish Community

Marcus Bentley – narrator of Big Brother

Catherine Booth – wife of William Booth, known as the Mother of The Salvation Army

William Booth – founder of the Salvation Army

Mary Bowes – the Unhappy Countess, author and celebrity

Ian Branfoot – footballer and manager (Sheffield Wednesday and Southampton)

Andy Carroll – footballer (Newcastle United, Liverpool and West Ham United)

Frank Clark – footballer and manager (Newcastle United and Nottingham Forest)

David Clelland – Labour politician and MP

Derek Conway – former Conservative politician and MP

Joseph Cowen – Radical politician

Steve Cram – athlete (middle-distance runner)

Emily Davies – educational reformer and feminist, founder of Girton College, Cambridge

Daniel Defoe – writer and government agent

Ruth Dodds – politician, writer and co-founder of the Little Theatre

Jonathan Edwards – athlete (triple jumper) and television presenter

Sammy Johnson – actor (Spender)

George Elliot – industrialist and MP

Paul Gascoigne – footballer (Newcastle United, Tottenham Hotspur, Lazio, Rangers and Middlesbrough)

Alex Glasgow – singer/songwriter

Avrohom Gurwicz – rabbi, Dean of Gateshead Yeshiva

Leib Gurwicz – rabbi, Dean of Gateshead Yeshiva

Jill Halfpenny – actress (Coronation Street and EastEnders)

Chelsea Halfpenny – actress (Emmerdale)

David Hodgson – footballer and manager (Middlesbrough, Liverpool and Sunderland)

Sharon Hodgson – Labour politician and MP

Norman Hunter – footballer (Leeds United and member of 1966 World Cup-winning England squad)

Don Hutchison – footballer (Liverpool, West Ham United, Everton and Sunderland)

Brian Johnson – AC/DC frontman

Tommy Johnson – footballer (Aston Villa and Celtic)

Riley Jones - actor

Howard Kendall – footballer and manager (Preston North End and Everton)

J. Thomas Looney – Shakespeare scholar

Gary Madine – footballer (Sheffield Wednesday)

Justin McDonald – actor (Distant Shores)

Lawrie McMenemy – football manager (Southampton and Northern Ireland) and pundit

Thomas Mein – professional cyclist (Canyon DHB p/b Soreen)

Robert Stirling Newall – industrialist

Bezalel Rakow – communal rabbi

John William Rayner – flying ace and war hero

James Renforth – oarsman

Mariam Rezaei – musician and artist

Sir Tom Shakespeare - baronet, sociologist and disability rights campaigner

William Shield – Master of the King's Musick

Christina Stead – Australian novelist

John Steel – drummer (The Animals)

Henry Spencer Stephenson – chaplain to King George VI and Queen Elizabeth II

Steve Stone – footballer (Nottingham Forest, Aston Villa and Portsmouth)

Chris Swailes – footballer (Ipswich Town)

Sir Joseph Swan – inventor of the incandescent light bulb

Nicholas Trainor – cricketer (Gloucestershire)

Chris Waddle – footballer (Newcastle United, Tottenham Hotspur and Sheffield Wednesday)

William Wailes – stained glass maker

Taylor Wane – adult entertainer

Robert Spence Watson – public benefactor

Sylvia Waugh – author of The Mennyms series for children

Chris Wilkie – guitarist (Dubstar)

John Wilson - orchestral conductor

Peter Wilson – footballer (Gateshead, captain of Australia)

Thomas Wilson – poet/school founder

Robert Wood – Australian politician

Spent a couple of hours on the banks of the River Stour and waited for the tide to usher in the birds.

 

After an hour and a half they were just coming in to the range of my lens when as usually happens a dog walker with no control over the rampant Labrador came along and his dog frightened the birds and they flew off.

 

Trying to be charitable I thought that maybe he did not see what his dog had done and that I was standing there clearly visible with tripod and camera but then I gained the distinct impression that he did know what his dog was doing and could not care less.

 

OK so he had every right to be there and to let his dog off the lead but surely there must be a sense of consideration of what other people are doing and behave accordingly.

 

Maybe I should learn nit to have expectations of consideration or just not visit the location. .

 

Often think the time is fast approaching when the cameras will remain in their bags.

 

However before the predictable disruption I did mange a few shots and here they are of these migrants striding out on the disappearing mud flats

 

A beautiful artist’s concept of an earth-orbiting Apollo Applications Program (AAP) configuration, possibly of an experimental micro-gravity biology module…maybe… ¯\_(ツ)_/¯…docked to the Apollo Command/Service Module (CSM).

The scientist-astronaut seems – I think – to be using a snazzy microscope of some sort, although I’m having some perspective issues regarding it, to include what the large rectangular component with the conical appendage is being used for. Photomicrography? And how it correlates with the other components in the immediate vicinity, which may include dual/binocular eyepieces?

Note also the item that looks like a bubble helmet on the half shelf to the left of the scientist-astronaut. I think I see the vague, barely perceptible features of a human head inside it. Do you see it??? GOOD GOD, what kind of unholy experiments were under consideration?!? 😲😉

And, I can’t seem to identify the rough, textured, metallic(?)…’mass’ depicted on the other side of the module, across from the scientist-astronaut. And, it looks like there’s a fixed stool in front of it.

 

Based on the strong similarity of this CSM to that in another work I’ve linked to below, which is also from this series of works (based on photo ID no. sequence), I really think it, and this one is by Raymond Bruneau. That other one has the letters “RB”, with an arrow adjacent to it, depicted as if it were part of the surface markings on the exterior of the Service Module. That, and the fact that Mr. Bruneau chose to use actual photographs of the earth in a number of his earth orbit depictions, such as this one, gives me confidence in my identification.

 

Finally, although I haven’t been able to find a match from the exemplars available online, I’m sure the Neil Armstrong signature is an autopen.

According to the CBC:

 

When Moshe Safdie was commissioned to build the new National Gallery of Canada, lighting was a major consideration. His decision to flip the traditional windowless design and erect a building surrounded by glass produced dramatic results. CBC's David Gilmour tours the new gallery with renowned photographer Yousuf Karsh. According to Karsh, the new National Gallery is a “celebration of light.” Karsh says the single best feature of the new building is the play of light — something that Safdie worked very hard to achieve in his design.

 

I really needed to use a nodal head, as there are too many parallax artifacts in this panorama. I hadn't taken my tripod and camera bag, being uncertain what the rules were for bags and cameras. (I figured my small bag is the size of a large handbag, and contains enough other stuff — medicine, glasses, notebook, pens, iPod and earphones, etc. — that I could argue it was one if the museum decided to give me a hard time.) As well, I'd never been in winter and so didn't realize just how wonderful the light would be in the great hall.

 

This 360° High Dynamic Range panorama was stitched from 92 hand-held bracketed photographs with PTGUI Pro, tone-mapped with Photomatix, processed with Color Efex, then touched up in Aperture.

 

Original size: 20000 × 10000 (200.0 MP; 1.04 GB).

 

Location: Ottawa, Ontario, Canada

As a long exposure photographer, my camera considerations are usually related to image quality and noise performance. I tend to discount the “lesser” cameras based on those points. However, one new (ish) feature in mirrorless cameras, called Live Bulb mode, has got me caught in two minds. Long exposure photographers tend to shoot on bulb mode most of the time since our exposure times are so long (in the minutes rather than seconds). What Live Bulb mode does is it shows you what the image looks like as it’s shooting. That blows my mind! It means photographers can now watch the image, live, as it’s forming, and stop the exposure as soon as it looks right. No more uncertainty on what you’re going to get at the end of the exposure!

 

Now, I did say I’m caught in two minds because, even though there’s huge potential here, I actually kind of like the uncertainty. There’s something quite exciting about waiting to see what comes out of a long exposure. It forces you to slow down and to be patient. In today’s world of instant gratification, there’s something quite refreshing about that. I guess the bottom line is, it’s just another tool and if it helps you produce better art, then why the hell not.

  

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just for your consideration, my friends. forgive me if i close comment box, or even note. don't know what happened with me. perhaps i got mad. but don't worry, as i have said, i'm still here, with my own way. actually i want to close favorite box also, but i couldn't. and you are really, i don't know.

this is the hamsters i've captured several days ago. those pink hamsters became like this. maybe this is my only comforter, i mean beside Him. don't worry, again, i'm just fine. and i wish you, all of you just fine.

With it now 5 months since lockdown restrictions were implemented due to COVID-19, airlines are very slowly starting to see demand returning although this maybe scuppered in part due to spikes in cases being reported.

British Airways unsurprisingly has been affected by COVID-19 which has seen the premature withdrawal of their entire Boeing 747-400 fleet as well as the solitary Airbus A318 no longer in use following the cancellation of their unique London City to New York-John F. Kennedy flight.

The saving grace has been cargo which has seen select Boeing 777-200ERs seeing their World Traveller seats removed for more cargo capacity, as well as their Boeing 777-200ER/300ERs, Boeing 787-8/9/10s and Airbus A350-1000s providing the lion-share of long-haul flights, with Boeing 787-8s making appearances on European short-haul flights in order to ensure social distancing is complied with.

Very recently, British Airways has published its upcoming W20 schedule which sees considerable amount of changes, taking into consideration Boeing 747-400s no longer form their long-haul network and London Gatwick long-haul flights slowly being reinstated.

Given the huge amount of changes, this will be split into three separate posts...

As per Airline Route, here are the following changes which are heavily subject to change effective 26th October 2020 unless stated otherwise:

-Abu Dhabi: Daily flight (BA72/73) cancelled throughout the entire W20 schedule.

-Atlanta (Hartsfield-Jackson Atlanta): BA226/227 reduced from daily to 4 weekly flights, retaining Boeing 787-9s.

-Austin-Bergstrom: BA190/191 remains daily, with 5 weekly flights operated by Airbus A350-1000s and 2 weekly flights operated by Boeing 777-300ERs.

-Bahrain then Dammam: BA124/125 reduced reduced from daily to 5 weekly flights, with Boeing 787-8s replacing Boeing 777-200ER operation. Section between Bahrain and Dammam has been cancelled.

-Baltimore/Washington: BA228/229 reduced from daily to 4 weekly flights, utilising Boeing 787-8/9s.

-Bangkok-Suvarnabhumi: BA9/10 continues to operate daily, 3-class Boeing 777-200ERs replaced by Boeing 78-9s.

-Beijing-Daxing: BA38/39 remains daily, Boeing 787-9s replaced by Boeing 777-300ERs.

-Bengaluru: BA118/119 reduced from daily to 5 weekly flights, 3-class Boeing 777-200ERs replaced by Airbus A350-1000s.

-Boston-Logan: Substantial changes sees 25 weekly flights cut to 14 weekly or twice daily flights. 4 times weekly BA202/203 and daily BA238/239 have been cancelled. BA212/213 utilises Boeing 787-9s replacing Boeing 747-400s, and BA214/215 utilises Airbus A350-1000s replacing 4-class Boeing 777-200ERs.

-Buenos Aires-Ezeiza: BA244/245 reduced from daily to 5 weekly flights, Boeing 787-8s replaces 3-class Boeing 777-200ERs.

-Cape Town: BA58/59 remains daily utilising Boeing 777-300ERs instead of Boeing 747-400s. BA42/43 continues to show Boeing 747-400s but is expected to be cancelled.

-Chennai: BA35/36 reduced from daily to 5 weekly flights utilising Boeing 787-8/9s.

-Chicago-O'Hare: Remains twice daily; BA294/295 utilises Boeing 787-9s instead of Boeing 747-400s, and BA296/297 utilising 3-class Boeing 777-200ERs instead of 4-class Boeing 777-200ERs.

-Dallas-Fort Worth: BA192/193 continues to operate daily utilising Boeing 787-9s instead of Boeing 747-400s.

-Delhi-Indira Ghandi: Remains twice daily, BA142/143 utilises Boeing 787-8s instead of Boeing 787-9s, and BA256/257 utilises 3-class Boeing 777-200ERs instead of 4-class Boeing 777-200ERs.

-Denver: BA218/219 remains daily utilising Boeing 787-9s instead of Boeing 747-400s.

-Dubai-International: Reduced from thrice to twice daily with the cancellation of BA108/109. BA104/105 utilises Boeing 787-9s instead of 4-class Boeing 777-200ERs, and BA106/107 initially operated by 3-class Boeing 777-200ERs until 31st December 2020, going over to Boeing 787-9 operation from 1st January 2021.

-Durban: Thrice weekly BA40/41 cancelled.

-Hong Kong-Chek Lap Kok: Reduced from twice daily to single daily with BA31/32 cancelled. BA27/28 remains operated by Boeing 777-300ERs.

-Houston-George Bush Intercontinental: Reduced from twice daily to single daily with BA196/197 cancelled. BA194/195 utilises 4-class Boeing 777-200ERs.

-Hyderabad: BA276/277 reduced from daily to 5 weekly flights with one weekly flight operated by Boeing 787-9s alongside Boeing 787-8s for the remaining 4 weekly flights.

-Islamabad: BA260/261 operates daily instead of thrice weekly utilising Boeing 787-8s.

-Jeddah-King Abdulaziz: 5 times weekly BA132/133 cancelled until 14th December 2020.

-Kuala Lumpur-Sepang: BA34/35 continues to operate daily utilising Boeing 787-8s instead of Boeing 787-9s.

The changes are noticeable, especially those which featured multiple frequencies having had around 50% slashed off as British Airways does not expect demand to return for the next 2-3 years.

Currently, British Airways operates 32 Boeing 787s, which includes 12 Boeing 787-8s (one currently in short-term storage), 18 Boeing 787-9s (one in long-term storage awaiting new Rolls-Royce engines) and 2 Boeing 787-10s. British Airways have 10 Boeing 787-10s on-order.

Zulu Bravo Juliet Kilo is one of 12 Boeing 787-8s in service with British Airways, delivered new to the flag-carrier on 13th September 2018 and she is powered by 2 Rolls-Royce Trent 1000 engines.

Boeing 787-8 Dreamliner G-ZBJK on final approach into Runway 27R at London Heathrow (LHR) on BA246 from São Paulo-Guarulhos (GRU).

Violet saber wing hummingbird, Poasito, Costa Rica

+ Consideration + February 23, 2016 at 10:33PM More Pics & Details : ift.tt/1p2Hl7F Flickr: ift.tt/1rLiH6C Facebook: ift.tt/1FmDnZQ via Blogger

Tower Grove Park is a rectangular tract of almost 285 acres located in the south-central part of the City of St. Louis, Missouri. Although Tower Grove Park has about 8,000 trees of over one hundred varieties, it takes its greatest distinction from its buildings, structures, and objects — its pavilions, gateways, and statues (like the one above). All four of the major entrances to the park are distinguished by monumental gateways, while more modest gates are placed at other points. A dozen ornamental pavilions dot the grounds, along with four major sculptures, an artificial ruin, a conservatory, two gate lodges, a caretaker's house and stable, two other residences, a tennis club, and a community center. The great majority of these features were built during the lifetime of Henry Shaw (1800-1889), a retired hardware merchant of St. Louis & the founder of the park and thus contribute to the park's historic significance. Tower Grove Park was described in 1892 as "one of the most beautifully artistic and classically adorned places of its kind, of such limited area, that any city in the land can boast of" by Theo Brumsfeld of the Missouri Historical Society. Today, it appears to be the largest and best preserved nineteenth-century park in the Gardenesque Style in the United States, although this is difficult to state categorically in the absence of a national inventory of municipal parks. The Gardenesque Style derived from the writings of John Claudius Loudon and the practical example of public parks abroad, particularly in England and France. It is characterized by winding paths, sometimes arranged in conjunction with more formal symmetrical features, and richly adorned with native & exotic plants.

 

As previously mentioned, Tower Grove Park is nationally significant in the areas of architecture and landscape architecture to the extent that those two areas encompass the design of public parks and park facilities in the nineteenth century. Included in the list of significant 'structures' within the park are six busts of composers surrounding the Music Stand and three monumental bronze statues to occupy key points along the Main Drive that were all commissioned by Henry Shaw. All of the bronze statues were created by Ferdinand von Miller of Munich (1842-1929), with individually designed pedestals of polished red granite by George I. Barnett. William Shakespeare (in the photograph above) and Alexander von Humboldt, both erected in 1878, face each other from the 3rd & 2nd circles respectively. The 15-ft high pedestals were designed with bronze reliefs. Below Shakespeare are reliefs of his characters Falstaff (Ben de Bar as Falstaff), Hamlet, Queen Katherine (of Aragon), and Lady Macbeth. The latter two are signed "P. Soyer."

 

This statue, among many other fantastic features of Tower Grove Park, contributed to the parks listing as a National Historic Landmark (NHL) on December 20, 1989 as well as on the National Register of Historic Places (NRHP) on March 17, 1972. All the information above, and much more, was found on the original documents submitted to the NRHP for listing consideration and can be viewed here: npgallery.nps.gov/NRHP/AssetDetail/50377c59-7e71-418c-aee...

 

Three bracketed photos were taken with a handheld Nikon D7200 and combined with Photomatix Pro to create this HDR image. Additional adjustments were made in Photoshop CS6.

 

"For I know the plans I have for you", declares the LORD, "plans to prosper you and not to harm you, plans to give you hope and a future." ~Jeremiah 29:11

 

The best way to view my photostream is through Flickriver with the following link: www.flickriver.com/photos/photojourney57/

Graffiti (plural; singular graffiti or graffito, the latter rarely used except in archeology) is art that is written, painted or drawn on a wall or other surface, usually without permission and within public view. Graffiti ranges from simple written words to elaborate wall paintings, and has existed since ancient times, with examples dating back to ancient Egypt, ancient Greece, and the Roman Empire (see also mural).

 

Graffiti is a controversial subject. In most countries, marking or painting property without permission is considered by property owners and civic authorities as defacement and vandalism, which is a punishable crime, citing the use of graffiti by street gangs to mark territory or to serve as an indicator of gang-related activities. Graffiti has become visualized as a growing urban "problem" for many cities in industrialized nations, spreading from the New York City subway system and Philadelphia in the early 1970s to the rest of the United States and Europe and other world regions

 

"Graffiti" (usually both singular and plural) and the rare singular form "graffito" are from the Italian word graffiato ("scratched"). The term "graffiti" is used in art history for works of art produced by scratching a design into a surface. A related term is "sgraffito", which involves scratching through one layer of pigment to reveal another beneath it. This technique was primarily used by potters who would glaze their wares and then scratch a design into them. In ancient times graffiti were carved on walls with a sharp object, although sometimes chalk or coal were used. The word originates from Greek γράφειν—graphein—meaning "to write".

 

The term graffiti originally referred to the inscriptions, figure drawings, and such, found on the walls of ancient sepulchres or ruins, as in the Catacombs of Rome or at Pompeii. Historically, these writings were not considered vanadlism, which today is considered part of the definition of graffiti.

 

The only known source of the Safaitic language, an ancient form of Arabic, is from graffiti: inscriptions scratched on to the surface of rocks and boulders in the predominantly basalt desert of southern Syria, eastern Jordan and northern Saudi Arabia. Safaitic dates from the first century BC to the fourth century AD.

 

Some of the oldest cave paintings in the world are 40,000 year old ones found in Australia. The oldest written graffiti was found in ancient Rome around 2500 years ago. Most graffiti from the time was boasts about sexual experiences Graffiti in Ancient Rome was a form of communication, and was not considered vandalism.

 

Ancient tourists visiting the 5th-century citadel at Sigiriya in Sri Lanka write their names and commentary over the "mirror wall", adding up to over 1800 individual graffiti produced there between the 6th and 18th centuries. Most of the graffiti refer to the frescoes of semi-nude females found there. One reads:

 

Wet with cool dew drops

fragrant with perfume from the flowers

came the gentle breeze

jasmine and water lily

dance in the spring sunshine

side-long glances

of the golden-hued ladies

stab into my thoughts

heaven itself cannot take my mind

as it has been captivated by one lass

among the five hundred I have seen here.

 

Among the ancient political graffiti examples were Arab satirist poems. Yazid al-Himyari, an Umayyad Arab and Persian poet, was most known for writing his political poetry on the walls between Sajistan and Basra, manifesting a strong hatred towards the Umayyad regime and its walis, and people used to read and circulate them very widely.

 

Graffiti, known as Tacherons, were frequently scratched on Romanesque Scandinavian church walls. When Renaissance artists such as Pinturicchio, Raphael, Michelangelo, Ghirlandaio, or Filippino Lippi descended into the ruins of Nero's Domus Aurea, they carved or painted their names and returned to initiate the grottesche style of decoration.

 

There are also examples of graffiti occurring in American history, such as Independence Rock, a national landmark along the Oregon Trail.

 

Later, French soldiers carved their names on monuments during the Napoleonic campaign of Egypt in the 1790s. Lord Byron's survives on one of the columns of the Temple of Poseidon at Cape Sounion in Attica, Greece.

 

The oldest known example of graffiti "monikers" found on traincars created by hobos and railworkers since the late 1800s. The Bozo Texino monikers were documented by filmmaker Bill Daniel in his 2005 film, Who is Bozo Texino?.

 

In World War II, an inscription on a wall at the fortress of Verdun was seen as an illustration of the US response twice in a generation to the wrongs of the Old World:

 

During World War II and for decades after, the phrase "Kilroy was here" with an accompanying illustration was widespread throughout the world, due to its use by American troops and ultimately filtering into American popular culture. Shortly after the death of Charlie Parker (nicknamed "Yardbird" or "Bird"), graffiti began appearing around New York with the words "Bird Lives".

 

Modern graffiti art has its origins with young people in 1960s and 70s in New York City and Philadelphia. Tags were the first form of stylised contemporary graffiti. Eventually, throw-ups and pieces evolved with the desire to create larger art. Writers used spray paint and other kind of materials to leave tags or to create images on the sides subway trains. and eventually moved into the city after the NYC metro began to buy new trains and paint over graffiti.

 

While the art had many advocates and appreciators—including the cultural critic Norman Mailer—others, including New York City mayor Ed Koch, considered it to be defacement of public property, and saw it as a form of public blight. The ‘taggers’ called what they did ‘writing’—though an important 1974 essay by Mailer referred to it using the term ‘graffiti.’

 

Contemporary graffiti style has been heavily influenced by hip hop culture and the myriad international styles derived from Philadelphia and New York City Subway graffiti; however, there are many other traditions of notable graffiti in the twentieth century. Graffiti have long appeared on building walls, in latrines, railroad boxcars, subways, and bridges.

 

An early graffito outside of New York or Philadelphia was the inscription in London reading "Clapton is God" in reference to the guitarist Eric Clapton. Creating the cult of the guitar hero, the phrase was spray-painted by an admirer on a wall in an Islington, north London in the autumn of 1967. The graffito was captured in a photograph, in which a dog is urinating on the wall.

 

Films like Style Wars in the 80s depicting famous writers such as Skeme, Dondi, MinOne, and ZEPHYR reinforced graffiti's role within New York's emerging hip-hop culture. Although many officers of the New York City Police Department found this film to be controversial, Style Wars is still recognized as the most prolific film representation of what was going on within the young hip hop culture of the early 1980s. Fab 5 Freddy and Futura 2000 took hip hop graffiti to Paris and London as part of the New York City Rap Tour in 1983

 

Commercialization and entrance into mainstream pop culture

Main article: Commercial graffiti

With the popularity and legitimization of graffiti has come a level of commercialization. In 2001, computer giant IBM launched an advertising campaign in Chicago and San Francisco which involved people spray painting on sidewalks a peace symbol, a heart, and a penguin (Linux mascot), to represent "Peace, Love, and Linux." IBM paid Chicago and San Francisco collectively US$120,000 for punitive damages and clean-up costs.

 

In 2005, a similar ad campaign was launched by Sony and executed by its advertising agency in New York, Chicago, Atlanta, Philadelphia, Los Angeles, and Miami, to market its handheld PSP gaming system. In this campaign, taking notice of the legal problems of the IBM campaign, Sony paid building owners for the rights to paint on their buildings "a collection of dizzy-eyed urban kids playing with the PSP as if it were a skateboard, a paddle, or a rocking horse".

 

Tristan Manco wrote that Brazil "boasts a unique and particularly rich, graffiti scene ... [earning] it an international reputation as the place to go for artistic inspiration". Graffiti "flourishes in every conceivable space in Brazil's cities". Artistic parallels "are often drawn between the energy of São Paulo today and 1970s New York". The "sprawling metropolis", of São Paulo has "become the new shrine to graffiti"; Manco alludes to "poverty and unemployment ... [and] the epic struggles and conditions of the country's marginalised peoples", and to "Brazil's chronic poverty", as the main engines that "have fuelled a vibrant graffiti culture". In world terms, Brazil has "one of the most uneven distributions of income. Laws and taxes change frequently". Such factors, Manco argues, contribute to a very fluid society, riven with those economic divisions and social tensions that underpin and feed the "folkloric vandalism and an urban sport for the disenfranchised", that is South American graffiti art.

 

Prominent Brazilian writers include Os Gêmeos, Boleta, Nunca, Nina, Speto, Tikka, and T.Freak. Their artistic success and involvement in commercial design ventures has highlighted divisions within the Brazilian graffiti community between adherents of the cruder transgressive form of pichação and the more conventionally artistic values of the practitioners of grafite.

 

Graffiti in the Middle East has emerged slowly, with taggers operating in Egypt, Lebanon, the Gulf countries like Bahrain or the United Arab Emirates, Israel, and in Iran. The major Iranian newspaper Hamshahri has published two articles on illegal writers in the city with photographic coverage of Iranian artist A1one's works on Tehran walls. Tokyo-based design magazine, PingMag, has interviewed A1one and featured photographs of his work. The Israeli West Bank barrier has become a site for graffiti, reminiscent in this sense of the Berlin Wall. Many writers in Israel come from other places around the globe, such as JUIF from Los Angeles and DEVIONE from London. The religious reference "נ נח נחמ נחמן מאומן" ("Na Nach Nachma Nachman Meuman") is commonly seen in graffiti around Israel.

 

Graffiti has played an important role within the street art scene in the Middle East and North Africa (MENA), especially following the events of the Arab Spring of 2011 or the Sudanese Revolution of 2018/19. Graffiti is a tool of expression in the context of conflict in the region, allowing people to raise their voices politically and socially. Famous street artist Banksy has had an important effect in the street art scene in the MENA area, especially in Palestine where some of his works are located in the West Bank barrier and Bethlehem.

 

There are also a large number of graffiti influences in Southeast Asian countries that mostly come from modern Western culture, such as Malaysia, where graffiti have long been a common sight in Malaysia's capital city, Kuala Lumpur. Since 2010, the country has begun hosting a street festival to encourage all generations and people from all walks of life to enjoy and encourage Malaysian street culture.

 

The modern-day graffitists can be found with an arsenal of various materials that allow for a successful production of a piece. This includes such techniques as scribing. However, spray paint in aerosol cans is the number one medium for graffiti. From this commodity comes different styles, technique, and abilities to form master works of graffiti. Spray paint can be found at hardware and art stores and comes in virtually every color.

 

Stencil graffiti is created by cutting out shapes and designs in a stiff material (such as cardboard or subject folders) to form an overall design or image. The stencil is then placed on the "canvas" gently and with quick, easy strokes of the aerosol can, the image begins to appear on the intended surface.

 

Some of the first examples were created in 1981 by artists Blek le Rat in Paris, in 1982 by Jef Aerosol in Tours (France); by 1985 stencils had appeared in other cities including New York City, Sydney, and Melbourne, where they were documented by American photographer Charles Gatewood and Australian photographer Rennie Ellis

 

Tagging is the practice of someone spray-painting "their name, initial or logo onto a public surface" in a handstyle unique to the writer. Tags were the first form of modern graffiti.

 

Modern graffiti art often incorporates additional arts and technologies. For example, Graffiti Research Lab has encouraged the use of projected images and magnetic light-emitting diodes (throwies) as new media for graffitists. yarnbombing is another recent form of graffiti. Yarnbombers occasionally target previous graffiti for modification, which had been avoided among the majority of graffitists.

 

Theories on the use of graffiti by avant-garde artists have a history dating back at least to the Asger Jorn, who in 1962 painting declared in a graffiti-like gesture "the avant-garde won't give up"

 

Many contemporary analysts and even art critics have begun to see artistic value in some graffiti and to recognize it as a form of public art. According to many art researchers, particularly in the Netherlands and in Los Angeles, that type of public art is, in fact an effective tool of social emancipation or, in the achievement of a political goal

 

In times of conflict, such murals have offered a means of communication and self-expression for members of these socially, ethnically, or racially divided communities, and have proven themselves as effective tools in establishing dialog and thus, of addressing cleavages in the long run. The Berlin Wall was also extensively covered by graffiti reflecting social pressures relating to the oppressive Soviet rule over the GDR.

 

Many artists involved with graffiti are also concerned with the similar activity of stenciling. Essentially, this entails stenciling a print of one or more colors using spray-paint. Recognized while exhibiting and publishing several of her coloured stencils and paintings portraying the Sri Lankan Civil War and urban Britain in the early 2000s, graffitists Mathangi Arulpragasam, aka M.I.A., has also become known for integrating her imagery of political violence into her music videos for singles "Galang" and "Bucky Done Gun", and her cover art. Stickers of her artwork also often appear around places such as London in Brick Lane, stuck to lamp posts and street signs, she having become a muse for other graffitists and painters worldwide in cities including Seville.

 

Graffitist believes that art should be on display for everyone in the public eye or in plain sight, not hidden away in a museum or a gallery. Art should color the streets, not the inside of some building. Graffiti is a form of art that cannot be owned or bought. It does not last forever, it is temporary, yet one of a kind. It is a form of self promotion for the artist that can be displayed anywhere form sidewalks, roofs, subways, building wall, etc. Art to them is for everyone and should be showed to everyone for free.

 

Graffiti is a way of communicating and a way of expressing what one feels in the moment. It is both art and a functional thing that can warn people of something or inform people of something. However, graffiti is to some people a form of art, but to some a form of vandalism. And many graffitists choose to protect their identities and remain anonymous or to hinder prosecution.

 

With the commercialization of graffiti (and hip hop in general), in most cases, even with legally painted "graffiti" art, graffitists tend to choose anonymity. This may be attributed to various reasons or a combination of reasons. Graffiti still remains the one of four hip hop elements that is not considered "performance art" despite the image of the "singing and dancing star" that sells hip hop culture to the mainstream. Being a graphic form of art, it might also be said that many graffitists still fall in the category of the introverted archetypal artist.

 

Banksy is one of the world's most notorious and popular street artists who continues to remain faceless in today's society. He is known for his political, anti-war stencil art mainly in Bristol, England, but his work may be seen anywhere from Los Angeles to Palestine. In the UK, Banksy is the most recognizable icon for this cultural artistic movement and keeps his identity a secret to avoid arrest. Much of Banksy's artwork may be seen around the streets of London and surrounding suburbs, although he has painted pictures throughout the world, including the Middle East, where he has painted on Israel's controversial West Bank barrier with satirical images of life on the other side. One depicted a hole in the wall with an idyllic beach, while another shows a mountain landscape on the other side. A number of exhibitions also have taken place since 2000, and recent works of art have fetched vast sums of money. Banksy's art is a prime example of the classic controversy: vandalism vs. art. Art supporters endorse his work distributed in urban areas as pieces of art and some councils, such as Bristol and Islington, have officially protected them, while officials of other areas have deemed his work to be vandalism and have removed it.

 

Pixnit is another artist who chooses to keep her identity from the general public. Her work focuses on beauty and design aspects of graffiti as opposed to Banksy's anti-government shock value. Her paintings are often of flower designs above shops and stores in her local urban area of Cambridge, Massachusetts. Some store owners endorse her work and encourage others to do similar work as well. "One of the pieces was left up above Steve's Kitchen, because it looks pretty awesome"- Erin Scott, the manager of New England Comics in Allston, Massachusetts.

 

Graffiti artists may become offended if photographs of their art are published in a commercial context without their permission. In March 2020, the Finnish graffiti artist Psyke expressed his displeasure at the newspaper Ilta-Sanomat publishing a photograph of a Peugeot 208 in an article about new cars, with his graffiti prominently shown on the background. The artist claims he does not want his art being used in commercial context, not even if he were to receive compensation.

 

Territorial graffiti marks urban neighborhoods with tags and logos to differentiate certain groups from others. These images are meant to show outsiders a stern look at whose turf is whose. The subject matter of gang-related graffiti consists of cryptic symbols and initials strictly fashioned with unique calligraphies. Gang members use graffiti to designate membership throughout the gang, to differentiate rivals and associates and, most commonly, to mark borders which are both territorial and ideological.

 

Graffiti has been used as a means of advertising both legally and illegally. Bronx-based TATS CRU has made a name for themselves doing legal advertising campaigns for companies such as Coca-Cola, McDonald's, Toyota, and MTV. In the UK, Covent Garden's Boxfresh used stencil images of a Zapatista revolutionary in the hopes that cross referencing would promote their store.

 

Smirnoff hired artists to use reverse graffiti (the use of high pressure hoses to clean dirty surfaces to leave a clean image in the surrounding dirt) to increase awareness of their product.

 

Graffiti often has a reputation as part of a subculture that rebels against authority, although the considerations of the practitioners often diverge and can relate to a wide range of attitudes. It can express a political practice and can form just one tool in an array of resistance techniques. One early example includes the anarcho-punk band Crass, who conducted a campaign of stenciling anti-war, anarchist, feminist, and anti-consumerist messages throughout the London Underground system during the late 1970s and early 1980s. In Amsterdam graffiti was a major part of the punk scene. The city was covered with names such as "De Zoot", "Vendex", and "Dr Rat". To document the graffiti a punk magazine was started that was called Gallery Anus. So when hip hop came to Europe in the early 1980s there was already a vibrant graffiti culture.

 

The student protests and general strike of May 1968 saw Paris bedecked in revolutionary, anarchistic, and situationist slogans such as L'ennui est contre-révolutionnaire ("Boredom is counterrevolutionary") and Lisez moins, vivez plus ("Read less, live more"). While not exhaustive, the graffiti gave a sense of the 'millenarian' and rebellious spirit, tempered with a good deal of verbal wit, of the strikers.

 

I think graffiti writing is a way of defining what our generation is like. Excuse the French, we're not a bunch of p---- artists. Traditionally artists have been considered soft and mellow people, a little bit kooky. Maybe we're a little bit more like pirates that way. We defend our territory, whatever space we steal to paint on, we defend it fiercely.

 

The developments of graffiti art which took place in art galleries and colleges as well as "on the street" or "underground", contributed to the resurfacing in the 1990s of a far more overtly politicized art form in the subvertising, culture jamming, or tactical media movements. These movements or styles tend to classify the artists by their relationship to their social and economic contexts, since, in most countries, graffiti art remains illegal in many forms except when using non-permanent paint. Since the 1990s with the rise of Street Art, a growing number of artists are switching to non-permanent paints and non-traditional forms of painting.

 

Contemporary practitioners, accordingly, have varied and often conflicting practices. Some individuals, such as Alexander Brener, have used the medium to politicize other art forms, and have used the prison sentences enforced on them as a means of further protest. The practices of anonymous groups and individuals also vary widely, and practitioners by no means always agree with each other's practices. For example, the anti-capitalist art group the Space Hijackers did a piece in 2004 about the contradiction between the capitalistic elements of Banksy and his use of political imagery.

 

Berlin human rights activist Irmela Mensah-Schramm has received global media attention and numerous awards for her 35-year campaign of effacing neo-Nazi and other right-wing extremist graffiti throughout Germany, often by altering hate speech in humorous ways.

 

In Serbian capital, Belgrade, the graffiti depicting a uniformed former general of Serb army and war criminal, convicted at ICTY for war crimes and crimes against humanity, including genocide and ethnic cleansing in Bosnian War, Ratko Mladić, appeared in a military salute alongside the words "General, thank to your mother". Aleks Eror, Berlin-based journalist, explains how "veneration of historical and wartime figures" through street art is not a new phenomenon in the region of former Yugoslavia, and that "in most cases is firmly focused on the future, rather than retelling the past". Eror is not only analyst pointing to danger of such an expressions for the region's future. In a long expose on the subject of Bosnian genocide denial, at Balkan Diskurs magazine and multimedia platform website, Kristina Gadže and Taylor Whitsell referred to these experiences as a young generations' "cultural heritage", in which young are being exposed to celebration and affirmation of war-criminals as part of their "formal education" and "inheritance".

 

There are numerous examples of genocide denial through celebration and affirmation of war criminals throughout the region of Western Balkans inhabited by Serbs using this form of artistic expression. Several more of these graffiti are found in Serbian capital, and many more across Serbia and Bosnian and Herzegovinian administrative entity, Republika Srpska, which is the ethnic Serbian majority enclave. Critics point that Serbia as a state, is willing to defend the mural of convicted war criminal, and have no intention to react on cases of genocide denial, noting that Interior Minister of Serbia, Aleksandar Vulin decision to ban any gathering with an intent to remove the mural, with the deployment of riot police, sends the message of "tacit endorsement". Consequently, on 9 November 2021, Serbian heavy police in riot gear, with graffiti creators and their supporters, blocked the access to the mural to prevent human rights groups and other activists to paint over it and mark the International Day Against Fascism and Antisemitism in that way, and even arrested two civic activist for throwing eggs at the graffiti.

 

Graffiti may also be used as an offensive expression. This form of graffiti may be difficult to identify, as it is mostly removed by the local authority (as councils which have adopted strategies of criminalization also strive to remove graffiti quickly). Therefore, existing racist graffiti is mostly more subtle and at first sight, not easily recognized as "racist". It can then be understood only if one knows the relevant "local code" (social, historical, political, temporal, and spatial), which is seen as heteroglot and thus a 'unique set of conditions' in a cultural context.

 

A spatial code for example, could be that there is a certain youth group in an area that is engaging heavily in racist activities. So, for residents (knowing the local code), a graffiti containing only the name or abbreviation of this gang already is a racist expression, reminding the offended people of their gang activities. Also a graffiti is in most cases, the herald of more serious criminal activity to come. A person who does not know these gang activities would not be able to recognize the meaning of this graffiti. Also if a tag of this youth group or gang is placed on a building occupied by asylum seekers, for example, its racist character is even stronger.

By making the graffiti less explicit (as adapted to social and legal constraints), these drawings are less likely to be removed, but do not lose their threatening and offensive character.

 

Elsewhere, activists in Russia have used painted caricatures of local officials with their mouths as potholes, to show their anger about the poor state of the roads. In Manchester, England, a graffitists painted obscene images around potholes, which often resulted in them being repaired within 48 hours.

 

In the early 1980s, the first art galleries to show graffitists to the public were Fashion Moda in the Bronx, Now Gallery and Fun Gallery, both in the East Village, Manhattan.

 

A 2006 exhibition at the Brooklyn Museum displayed graffiti as an art form that began in New York's outer boroughs and reached great heights in the early 1980s with the work of Crash, Lee, Daze, Keith Haring, and Jean-Michel Basquiat. It displayed 22 works by New York graffitists, including Crash, Daze, and Lady Pink. In an article about the exhibition in the magazine Time Out, curator Charlotta Kotik said that she hoped the exhibition would cause viewers to rethink their assumptions about graffiti.

 

From the 1970s onwards, Burhan Doğançay photographed urban walls all over the world; these he then archived for use as sources of inspiration for his painterly works. The project today known as "Walls of the World" grew beyond even his own expectations and comprises about 30,000 individual images. It spans a period of 40 years across five continents and 114 countries. In 1982, photographs from this project comprised a one-man exhibition titled "Les murs murmurent, ils crient, ils chantent ..." (The walls whisper, shout and sing ...) at the Centre Georges Pompidou in Paris.

 

In Australia, art historians have judged some local graffiti of sufficient creative merit to rank them firmly within the arts. Oxford University Press's art history text Australian Painting 1788–2000 concludes with a long discussion of graffiti's key place within contemporary visual culture, including the work of several Australian practitioners.

 

Between March and April 2009, 150 artists exhibited 300 pieces of graffiti at the Grand Palais in Paris.

 

Spray paint has many negative environmental effects. The paint contains toxic chemicals, and the can uses volatile hydrocarbon gases to spray the paint onto a surface.

 

Volatile organic compound (VOC) leads to ground level ozone formation and most of graffiti related emissions are VOCs. A 2010 paper estimates 4,862 tons of VOCs were released in the United States in activities related to graffiti.

  

In China, Mao Zedong in the 1920s used revolutionary slogans and paintings in public places to galvanize the country's communist movement.

 

Based on different national conditions, many people believe that China's attitude towards Graffiti is fierce, but in fact, according to Lance Crayon in his film Spray Paint Beijing: Graffiti in the Capital of China, Graffiti is generally accepted in Beijing, with artists not seeing much police interference. Political and religiously sensitive graffiti, however, is not allowed.

 

In Hong Kong, Tsang Tsou Choi was known as the King of Kowloon for his calligraphy graffiti over many years, in which he claimed ownership of the area. Now some of his work is preserved officially.

 

In Taiwan, the government has made some concessions to graffitists. Since 2005 they have been allowed to freely display their work along some sections of riverside retaining walls in designated "Graffiti Zones". From 2007, Taipei's department of cultural affairs also began permitting graffiti on fences around major public construction sites. Department head Yong-ping Lee (李永萍) stated, "We will promote graffiti starting with the public sector, and then later in the private sector too. It's our goal to beautify the city with graffiti". The government later helped organize a graffiti contest in Ximending, a popular shopping district. graffitists caught working outside of these designated areas still face fines up to NT$6,000 under a department of environmental protection regulation. However, Taiwanese authorities can be relatively lenient, one veteran police officer stating anonymously, "Unless someone complains about vandalism, we won't get involved. We don't go after it proactively."

 

In 1993, after several expensive cars in Singapore were spray-painted, the police arrested a student from the Singapore American School, Michael P. Fay, questioned him, and subsequently charged him with vandalism. Fay pleaded guilty to vandalizing a car in addition to stealing road signs. Under the 1966 Vandalism Act of Singapore, originally passed to curb the spread of communist graffiti in Singapore, the court sentenced him to four months in jail, a fine of S$3,500 (US$2,233), and a caning. The New York Times ran several editorials and op-eds that condemned the punishment and called on the American public to flood the Singaporean embassy with protests. Although the Singapore government received many calls for clemency, Fay's caning took place in Singapore on 5 May 1994. Fay had originally received a sentence of six strokes of the cane, but the presiding president of Singapore, Ong Teng Cheong, agreed to reduce his caning sentence to four lashes.

 

In South Korea, Park Jung-soo was fined two million South Korean won by the Seoul Central District Court for spray-painting a rat on posters of the G-20 Summit a few days before the event in November 2011. Park alleged that the initial in "G-20" sounds like the Korean word for "rat", but Korean government prosecutors alleged that Park was making a derogatory statement about the president of South Korea, Lee Myung-bak, the host of the summit. This case led to public outcry and debate on the lack of government tolerance and in support of freedom of expression. The court ruled that the painting, "an ominous creature like a rat" amounts to "an organized criminal activity" and upheld the fine while denying the prosecution's request for imprisonment for Park.

 

In Europe, community cleaning squads have responded to graffiti, in some cases with reckless abandon, as when in 1992 in France a local Scout group, attempting to remove modern graffiti, damaged two prehistoric paintings of bison in the Cave of Mayrière supérieure near the French village of Bruniquel in Tarn-et-Garonne, earning them the 1992 Ig Nobel Prize in archeology.

 

In September 2006, the European Parliament directed the European Commission to create urban environment policies to prevent and eliminate dirt, litter, graffiti, animal excrement, and excessive noise from domestic and vehicular music systems in European cities, along with other concerns over urban life.

 

In Budapest, Hungary, both a city-backed movement called I Love Budapest and a special police division tackle the problem, including the provision of approved areas.

 

The Anti-social Behaviour Act 2003 became Britain's latest anti-graffiti legislation. In August 2004, the Keep Britain Tidy campaign issued a press release calling for zero tolerance of graffiti and supporting proposals such as issuing "on the spot" fines to graffiti offenders and banning the sale of aerosol paint to anyone under the age of 16. The press release also condemned the use of graffiti images in advertising and in music videos, arguing that real-world experience of graffiti stood far removed from its often-portrayed "cool" or "edgy'" image.

 

To back the campaign, 123 Members of Parliament (MPs) (including then Prime Minister Tony Blair), signed a charter which stated: "Graffiti is not art, it's crime. On behalf of my constituents, I will do all I can to rid our community of this problem."

 

In the UK, city councils have the power to take action against the owner of any property that has been defaced under the Anti-social Behaviour Act 2003 (as amended by the Clean Neighbourhoods and Environment Act 2005) or, in certain cases, the Highways Act. This is often used against owners of property that are complacent in allowing protective boards to be defaced so long as the property is not damaged.

 

In July 2008, a conspiracy charge was used to convict graffitists for the first time. After a three-month police surveillance operation, nine members of the DPM crew were convicted of conspiracy to commit criminal damage costing at least £1 million. Five of them received prison sentences, ranging from eighteen months to two years. The unprecedented scale of the investigation and the severity of the sentences rekindled public debate over whether graffiti should be considered art or crime.

 

Some councils, like those of Stroud and Loerrach, provide approved areas in the town where graffitists can showcase their talents, including underpasses, car parks, and walls that might otherwise prove a target for the "spray and run".

 

Graffiti Tunnel, University of Sydney at Camperdown (2009)

In an effort to reduce vandalism, many cities in Australia have designated walls or areas exclusively for use by graffitists. One early example is the "Graffiti Tunnel" located at the Camperdown Campus of the University of Sydney, which is available for use by any student at the university to tag, advertise, poster, and paint. Advocates of this idea suggest that this discourages petty vandalism yet encourages artists to take their time and produce great art, without worry of being caught or arrested for vandalism or trespassing.[108][109] Others disagree with this approach, arguing that the presence of legal graffiti walls does not demonstrably reduce illegal graffiti elsewhere. Some local government areas throughout Australia have introduced "anti-graffiti squads", who clean graffiti in the area, and such crews as BCW (Buffers Can't Win) have taken steps to keep one step ahead of local graffiti cleaners.

 

Many state governments have banned the sale or possession of spray paint to those under the age of 18 (age of majority). However, a number of local governments in Victoria have taken steps to recognize the cultural heritage value of some examples of graffiti, such as prominent political graffiti. Tough new graffiti laws have been introduced in Australia with fines of up to A$26,000 and two years in prison.

 

Melbourne is a prominent graffiti city of Australia with many of its lanes being tourist attractions, such as Hosier Lane in particular, a popular destination for photographers, wedding photography, and backdrops for corporate print advertising. The Lonely Planet travel guide cites Melbourne's street as a major attraction. All forms of graffiti, including sticker art, poster, stencil art, and wheatpasting, can be found in many places throughout the city. Prominent street art precincts include; Fitzroy, Collingwood, Northcote, Brunswick, St. Kilda, and the CBD, where stencil and sticker art is prominent. As one moves farther away from the city, mostly along suburban train lines, graffiti tags become more prominent. Many international artists such as Banksy have left their work in Melbourne and in early 2008 a perspex screen was installed to prevent a Banksy stencil art piece from being destroyed, it has survived since 2003 through the respect of local street artists avoiding posting over it, although it has recently had paint tipped over it.

 

In February 2008 Helen Clark, the New Zealand prime minister at that time, announced a government crackdown on tagging and other forms of graffiti vandalism, describing it as a destructive crime representing an invasion of public and private property. New legislation subsequently adopted included a ban on the sale of paint spray cans to persons under 18 and increases in maximum fines for the offence from NZ$200 to NZ$2,000 or extended community service. The issue of tagging become a widely debated one following an incident in Auckland during January 2008 in which a middle-aged property owner stabbed one of two teenage taggers to death and was subsequently convicted of manslaughter.

 

Graffiti databases have increased in the past decade because they allow vandalism incidents to be fully documented against an offender and help the police and prosecution charge and prosecute offenders for multiple counts of vandalism. They also provide law enforcement the ability to rapidly search for an offender's moniker or tag in a simple, effective, and comprehensive way. These systems can also help track costs of damage to a city to help allocate an anti-graffiti budget. The theory is that when an offender is caught putting up graffiti, they are not just charged with one count of vandalism; they can be held accountable for all the other damage for which they are responsible. This has two main benefits for law enforcement. One, it sends a signal to the offenders that their vandalism is being tracked. Two, a city can seek restitution from offenders for all the damage that they have committed, not merely a single incident. These systems give law enforcement personnel real-time, street-level intelligence that allows them not only to focus on the worst graffiti offenders and their damage, but also to monitor potential gang violence that is associated with the graffiti.

 

Many restrictions of civil gang injunctions are designed to help address and protect the physical environment and limit graffiti. Provisions of gang injunctions include things such as restricting the possession of marker pens, spray paint cans, or other sharp objects capable of defacing private or public property; spray painting, or marking with marker pens, scratching, applying stickers, or otherwise applying graffiti on any public or private property, including, but not limited to the street, alley, residences, block walls, and fences, vehicles or any other real or personal property. Some injunctions contain wording that restricts damaging or vandalizing both public and private property, including but not limited to any vehicle, light fixture, door, fence, wall, gate, window, building, street sign, utility box, telephone box, tree, or power pole.

 

To help address many of these issues, many local jurisdictions have set up graffiti abatement hotlines, where citizens can call in and report vandalism and have it removed. San Diego's hotline receives more than 5,000 calls per year, in addition to reporting the graffiti, callers can learn more about prevention. One of the complaints about these hotlines is the response time; there is often a lag time between a property owner calling about the graffiti and its removal. The length of delay should be a consideration for any jurisdiction planning on operating a hotline. Local jurisdictions must convince the callers that their complaint of vandalism will be a priority and cleaned off right away. If the jurisdiction does not have the resources to respond to complaints in a timely manner, the value of the hotline diminishes. Crews must be able to respond to individual service calls made to the graffiti hotline as well as focus on cleanup near schools, parks, and major intersections and transit routes to have the biggest impact. Some cities offer a reward for information leading to the arrest and prosecution of suspects for tagging or graffiti related vandalism. The amount of the reward is based on the information provided, and the action taken.

 

When police obtain search warrants in connection with a vandalism investigation, they are often seeking judicial approval to look for items such as cans of spray paint and nozzles from other kinds of aerosol sprays; etching tools, or other sharp or pointed objects, which could be used to etch or scratch glass and other hard surfaces; permanent marking pens, markers, or paint sticks; evidence of membership or affiliation with any gang or tagging crew; paraphernalia including any reference to "(tagger's name)"; any drawings, writing, objects, or graffiti depicting taggers' names, initials, logos, monikers, slogans, or any mention of tagging crew membership; and any newspaper clippings relating to graffiti crime.