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Como complemento a los TECOs de Logitren a Castellón, también hubo algunas circulaciones desde Barcelona-Can Tunis a Valencia-FSL cubiertas principalmente por Renfe.
The James Webb Space Telescope just got its first look at Mars! 👀
Webb’s unique perspective is meant to complement the work that rovers and other missions do. From where it sits, Webb can study short-term events like dust storms, weather patterns, seasonal changes and more. Please note that these images are from Webb science in progress, which has not yet been through the peer-review process.
The left side of the graphic here shows a close-up of Mars as taken by Webb’s NIRCam instrument at shorter wavelengths of infrared light. Check out surface details of Mars like the Huygens Crater, dark volcanic Syrtis Major, and the brighter Hellas Basin.
The right side is a "heat map" taken by NIRCam at longer wavelengths of infrared light. It shows thermal emission, or the light given off by the planet as it loses heat. Here, the brightest spot is due to the Sun being nearly overhead. The planet’s poles receive less sunlight, while the northern hemisphere is experiencing winter, so they are all less bright.
Why do Webb's images of Mars look so different? Webb was built to detect faint light from distant galaxies. Mars, one of the brightest objects in the night sky, was challenging to observe! Scientists had to use special techniques to avoid Webb being flooded with infrared light.
Read more about Webb’s observations of Mars: blogs.nasa.gov/webb/2022/09/19/mars-is-mighty-in-first-we...
Credit: NASA, ESA, CSA, STScI, Mars JWST/GTO team
Image description: Graphic of Webb’s 2 NIRCam instrument images of Mars, taken on Sept. 5, 2022. The image on the left side, titled “Close-Up,” shows 2.1 micron reflected sunlight. This image is mostly mottled dark brown, with 3 lighter brown patches at the top right, top left, and bottom left corners. A gradient color code explains these lighter areas are brighter. Geographic features Syrtis Major, Huygens Crater and Hellas Basin are labeled. The image on the right, titled “Heat Map,” shows ~4.3 micron light that is being given off as heat is lost on Mars. Darker, cooler regions are represented by purple and red, with orange and yellow representing brighter, warmer regions. Mars’ poles and northern hemisphere are purple. There is a large yellow portion on the left half where the Sun is nearly overhead. A label that says “Subsolar Point” points to this region. A small orange patch within the yellow area is labeled as “Hellas Basin,” and it is darker due to atmospheric effects.
..complements the Pride of Maderia blossom
Black-chinned Hummingbird
Archilochus alexandri
Member of the Nature’s Spirit
Good Stewards of Nature
© 2015 Patricia Ware - All Rights Reserved
Como complemento a la foto de Jaro de un 121 en Linares-Baeza, la otra tarde, me pasó este 121 cerca de Peñalajo haciendo el Madrid a Jaén aunque en este caso si llevaba los logos de la Junta de Andalucia.
Video de esos dos dias: www.youtube.com/watch?v=1qwd1wVLaHM&hd=1
Cape Kennedy Space Center – The Crawler Transporter
Here to complement the story about the rocket launch pad a picture of the => Crawler Transporter.
This is the vehicle they transport the rockets in upward position from the => Vehicle Assemby Building (VAB) to the => Launch Complex.
The weight is 2'700 tons and the speed 1,5 km per hour!
From the VAB to the launch complex it's 5,5 km, so it takes ~3,6 hours to drive there.
To have an imagination how big this thing is you can see the yellow handrail below the upper platform, above the track roller. This is the space for a standing person.
(28.59011, -80.63517); [20°]
Island Brie is a soft bloomy rind cheese with a light golden creamy texture and some small "eyes" holes. It has a velvety white rind with scents of fresh grass complemented by earthy, mushroom overtones. The aromatics of the cheese work wonderfully with crackers and fruit as well as baked with nuts and brown sugar and rum on top
Complemento a la foto anterior, las locomotoras 252.013 y 321.011 accediendo a Clasificación de Villaverde Bajo después de haber estado de pruebas a Aranjuez.
17.10.2013
A full complement of Nickel Plate-style signals guard the control point and power switch at the east end of the passing siding in Miller City, Ohio in October 2012. CTC was originally installed here back in 1949.
Jon Roma has posted this interesting article on the installation of NKP's CTC signalling system: www.jonroma.net/media/signaling/railway-signaling/1949/Tr...
The State Library and Archives of Florida is the central repository for the archives of state government for the state of Florida. It is located at the R.A. Gray Building on 500 South Bronough Street in Tallahassee, Florida, Florida's capital.
Mandated by state law, the Florida State Archives is assigned to collect, preserve, and make available for research the historically significant records of Florida. It also stores and makes available private manuscripts and correspondence, local government records, photographs, maps, film clips, and materials that complement the official state records and Florida history.
Many photos from the Florida Photographic Collection are used frequently for articles on Wikipedia and assist users in describing events in Florida history. A selection of archival items from the State Library and Archives are available through the digital outreach program Florida Memory.
The State Library and Archives of Florida was a library of humble beginnings in the year 1845. Shortly after its admission as a state, the legislature began to realize the vital and crucial need to preserve, protect, and collect documents about the history of Florida. During that same legislative meeting, a statute was enacted naming the "Secretary of State" responsible for the care, collection, organization, and display of all "books and maps belonging to the state be collected together (Florida's 'State' Library, 1909). It was also said in the statute that all such documents be cataloged as thoroughly as possible. However, this task was neglected, and as a result, the library and archives suffered (Florida's 'State' Library, 1909).
According to the Florida Historical Society's article during the administration of Dr. Jno. L. Crawford, "a space in the upper corridor of the Capitol was partitioned off and furnished with shelving, and a large number of the (apparently) most valuable of the books, maps, etc., was deposited there; and many such occupied shelves are in the office of the Secretary" (Florida's 'State' Library, 1909). However, when the Capital was remodeled in 1902, the commissioners intended to create space to accommodate the growing library but failed to do so. H. Clay Crawford, Secretary of State at the time, placed shelving on the either side of the basement walls and moved several books unarranged and uncatalogued where they were left in the dusty damp air. It is undetermined just how many documents of historical value lay untouched and neglected in the basement of the State Library, and it was not until some sixty years later that the library flourished as a historical point or reference for its patrons.
The State Library would prosper under William Thomas (W.T.) Cash. Cash had been a teacher and experience working in the Florida House of Representatives and the Florida Senate. He wrote several articles and books about Florida history. He would be appointed to be State Librarian in 1927. At this time the State Library was housed in the basement of the Capital building. Later in 1949, it would be moved to the Florida Supreme Court building once construction was complete. Cash would help grow the collection from 1,500 uncatalogued volumes to over 50,000 volumes, with a particular interest in rare books and volumes. He would eventually retire from the State Library in 1951.
The State Librarian of Florida is Amy L. Johnson, appointed in 2015. Previous State Librarians were Cecil Beach, 1971- 1977; Barratt Wilkins, 1977-2003; and Judith A. Ring, 2003-2015.
Credit for the data above is given to the following websites:
en.wikipedia.org/wiki/State_Library_and_Archives_of_Florida
www.dos.myflorida.com/library-archives/
search.leonpa.gov/Property/Details/2136253012115
© All Rights Reserved - you may not use this image in any form without my prior permission.
Complementing an earlier photo, this is the other half of a tractor gate. Photographed in the early summer before the weeds grew.
This space implements a fantastic modern design. It has a bay window and French door that tie in very well with the selected finishes, both for the walls and gypsum ceiling. The whole look is amazingly complemented by the timber flooring. The bay windows and French doors stand out architecturally and also help to draw in a lot of natural light. The heavy drapery is boxed to house the curtain tracks. It's a very inviting space.
— Avere (che cosa?) per essere (chi?)
Sognando la valigia del nonno
Tempo d’estate, tempo di partire.
Anche per qualche giorno,
con un bagaglio minimo.
Per scoprire il mondo e se stessi
Testo e Styling — Elisa Furlan
Fotografie — F38F
Ha collaborato — Alessandro Cardini
Infografica — Davide Mottes e Cristina Piotti
MARIA ELISABETTA MENEGHELLO e PETER SEELIG
[QUI NON E’ ADESSO] - IL GESTO COMPLEMENTARE
SPAZIO NATTA, Como, Via Natta 18
23.07.2016 - 02.09.2016
lunedi dalle 15:00 alle 19:00
martedi a domenica dalle 11:00 alle 19:00
Finissage
02.09.2016 18:30
Grey skies.
Skies that complemented the gloomy mood.
A mood formed for having missed sunset on the coast.
Sunset missed due to grey skies.
It was a vicious circle that plagued us through the third day of our road trip into Oregon. Cloudy skies which worked well to capture the lovely waterfalls of Columbia River Gorge played havoc and disrupted our plans for coastal shooting on the third day.
I guess this is something that I have to expect from Oregon.
Nevertheless, the drive on the coastal highway was amazing, almost mirroring California SR-1 sans the sunny weather!. But we did make use of the cloudy weather and the fog at some locations.
Here, deep within the Cape Lookout State Park, the road rose high enough for the forests around to get enveloped in the fog which made for a ghostly scene. We found a pullout, stopped and shot most of these using our telephoto lenses. The hardest part of setting up the shot: not getting any other vehicles on a crowded highway. Thankfully, a gap cleared up where I could get this shoot. Out of sight is another car parked just beyond the curve!
Mild post-processing to improve colors and levels was done, as was cropping, in order to correct the location of the road.
OR USA
Complementing my photo titled "In Thomas Bros' Footsteps - 2", this is another of Morris Travel's Solos operating Service 280 (Llandovery-Llangadog-Llandeilo-Nantgaredig-Carmarthen), which was a contract held by Thomas Bros until lost to SWT in 1990.
The contract, and its variant numbered 281, has been in the hands of a number of contractors for the former Dyfed County Council and current Carmarthenshire County Council since Thomas's days - SWT, Davies Bros and First Cymru - and is now held by Morris Travel.
Morris received six new Solos in 2009, but since then has added only second-hand examples to the fleet. However, earlier this year, four new examples - 8.5m YJ25 EHB & EHC and 9.2m YJ25 EHD & EHE - were purchased, possibly as a prelude to the model being phased out by Switch Mobility, as Optare's successor.
The straight stretch of the A40 south of Manordeilo is the location for this November 2025 shot of YJ25 EHE when heading for Carmarthen.
Complementando mi anterior, también hice otras tomas centrándome en los ejemplares rojos de arriba, así que de una tacada, satisfago a Maite, Joan y Miguel con sus acertados comentarios. He bajado un poco el alta de luces.
Complementing the previous image in this series. This time, however, we're looking downstream from the footbridge. Keep in mind that the confluence of the Cache River and Dutchman Creek is just a stone's toss behind us.
The much lighter and muddier water supplied by Dutchman Creek is still mostly keeping to the left side of the channel, though the mixing with the Cache has actually begun. Over on the right there are snaking bands of tan infiltrating the darker zone. They act like meandering streams moving within the greater stream.
To see the other photos and descriptions of this series, visit my
Para complementar la fotografía anterior, ahora los dejo con un momento de ajetreo en uno de los tantos puestos que se pueden encontrar en el interior de este gran mercado, donde los clientes pueden encontrar una gran variedad de frescos productos del mar.
Santiago Centro, Región Metropolitana.-
To complement Dean’s recent pic of our Francies altogether, here were my own shots of that set-up. He wanted to see how many Francies I had (I honestly didn’t know! LOL) so we got them all together along with the two gorgeous brunettes he brought along to my house – one of them is the brunette no-bangs in the back you see there! We had to leave my Caseys and Twiggy out due to space! :P
The Nepalese Peace Pagoda complemented the Nepalese Pavilion at the World Exposition 1988 (Expo 88), held at Southbank in Brisbane. The square, three-level replica of a traditional Nepalese temple is built of hand-carved wood, and has a double-tiered roof of brass with brass trimmings. It proved popular with the crowds who attended Expo 88, and the Peace Pagoda is the last international exhibit remaining on the Expo 88 site. It was originally sited near the Vulture Street entrance to Expo 88. In 1991 it was moved to its current location, amongst the rainforest near the northern riverbank entrance to the Southbank Parklands.
World Expositions (or Exhibitions) become increasingly popular after the 1851 Great Exhibition in London, but their frequency, and the standard of their facilities, was not regulated until after the 1928 Paris Convention on International Expositions. The Bureau International des Expositions (BIE) was established in 1931 to administer the Convention. Under BIE rules there are two types of international exposition: the Universal/Category A/General Exposition, and the International/Category B/Special Exposition. The former involves broad themes, and participants design their own pavilions from the ground up, based on the theme.
The International Exposition, which has a narrower theme, is much cheaper to host, and is usually limited to one branch of human endeavour. Participants rent prefabricated pavilions from the host country's committee. Brisbane's Expo 88 was an International Exposition, with the theme "Leisure in the Age of Technology". Most of the structures built on exposition sites are intended to be temporary, but some sites have become parks, incorporating surviving exposition elements, including the sites of Montreal 1967, Seville 1992, Taejon 1993, and Lisbon 1998. Some structures have gone on to become landmarks in their own right, such as the Royal Exhibition Building (Melbourne 1880), the Eiffel Tower (Paris 1889), and the Space Needle (Seattle 1962).
The first bid to bring an exposition to Brisbane in 1988 began with James Maccormick , the architect who had designed the Australian pavilions at Montreal 1967, Osaka 1970, and Spokane 1974. The Brisbane Chamber of Commerce was converted to the idea, and lobbied the Queensland State Government during 1977. However, the Queensland Government was worried about the cost of a Universal Exposition, and was preoccupied with its bid for the 1982 Commonwealth Games. A second Queensland bid was made in 1981. The Australian Bicentennial Authority (ABA), under John Reid, wanted an Universal Exposition in Australia as part of Bicentennial in 1988, and the Federal Government was prepared to fund half of the cost of an exposition in Melbourne or Sydney. However, when these states turned the offer down in January 1981, Reid approached the Queensland Government with a proposal for a cheaper International Exposition. In late 1981 the State Cabinet funded a study that identified South Brisbane as the preferred site. The State Cabinet approved the study on 5 November 1981, on the condition that the Federal Government share the capital costs, but Prime Minister Malcolm Fraser rejected this notion in December 1981.
Queensland made two more attempts in 1982 for an International Exposition. Frank Moore, Chairman of the Queensland Tourist and Travel Corporation (QTTC), believed that private enterprise could fund the exposition, and that it would benefit Queensland's tourism. Queensland's Premier Joh Bjelke-Petersen asked Prime Minister Fraser to get the BIE to keep a slot open for Brisbane in 1988. Fraser was willing to support this proposal, so long as there was no Federal financial commitment. However, Queensland private enterprise was not forthcoming, and Bjelke-Petersen withdrew the proposal in April 1982. November of 1982 witnessed a renewed bid by the State Government. The State would lend money to a statutory authority, which would be tasked with buying and developing the land, and managing the exposition. Brisbane's application was sent to the December 1982 meeting of the BIE in Paris, and was approved in June 1983.
The Brisbane Exposition and South Bank Redevelopment Authority (BESBRA) was established in February 1984 by an Act of the Queensland Parliament. BESBRA was soon referred to in the media as the Expo 88 Authority, or the Expo Authority. Sir Llewellyn Edwards, the Deputy Premier, was appointed as Chairman. In April 1984 the Expo 88 Authority's general manager, Bob Minnikin, claimed that Expo 88 would require $180 million to produce, including resumptions and development, and $90 million to run. It was hoped that gate takings and sponsorship would cover the running costs, and that the development cost would be recouped through selling off the site after Expo 88. Only 13 hectares of the Expo 88 site was private land, with the remainder of the 40 hectares belonging to either the State Government or the Brisbane City Council. Nonetheless, the last resumption did not occur until October 1984, as the owner of the heritage-listed residence 'Collins Place' fought a running legal battle with the Expo 88 Authority.
Grey and Stanley Streets were closed to traffic in July 1985, and demolition work began. Construction of the pavilions started in January 1986. The concept of the Expo 88 architects, Bligh Maccormick 88, included eight large shade-canopies, to protect the public from the Queensland sun. Landscaping began in March 1987, and the Monorail, which would circle the site on a 2.3 kilometre long track, was commissioned in June of that year. By January 1988, $90 million of the $136.8 million construction budget had been spent, and 7.8 million visitors were expected.
During 1987 developers had been asked to present their proposals for Southbank's redevelopment after Expo 88. In February 1988 the State Government announced that the redevelopment plan of the River City 2000 Consortium had been accepted. The Consortium, headed by Sir Frank Moore of the QTTC, had visions of a World Trade Centre on an island, and a casino. However, by early 1988 there was a growing call in the media for more of the site to be turned into public parkland. During March and April 1988 the National Trust protested the River City 2000 Consortium's scheme to move Collins Place, the Plough Inn, and the Allgas Building, three heritage listed buildings, to a historic village. Premier Mike Ahern eventually gave reassurances that this would not happen.
Expo 88 ran for seven days a week, between the hours of 10am-10pm, for six months. Between its opening on 30 April, attended by Queen Elizabeth II, and 30 October 1988, the Expo attracted 15,760,447 visitors, the majority of these being Australians. Most of the international visitors were Japanese, but 100,000 came from the United Kingdom and Europe, with 150,000 visitors from the United States. A total of 36 nations, two international organisations, 14 state and regional governments, and 34 corporations had exhibits.
The pavilions were mostly plain, modular, and temporary. However, the Nepalese Peace Pagoda is a distinctive building, and was easily noticed as the public came through the Vulture Street entrance to Expo 88. The Association to Preserve Asian Culture (APAC) commissioned the Peace Pagoda, which was built by 160 craftsmen of the Kathmandu Valley over two years, before being assembled in Brisbane. It is one of only three such temples outside Nepal, the others being at Munich and Osaka. Nepal has a long history of intricate woodcarving on buildings, and the Peace Pagoda was an attempt to showcase this skill to the world. The two small timber pavilions in front of the Peace Pagoda sold yoghurt lati, samosas, orange juice and lemon tea. Artisans demonstrated their crafts inside the ground floor of the Pagoda, and people could drink their tea and watch the Expo crowds from the teahouse on the first floor. The nearby Nepalese pavilion showcased traditional costumes, climbing dress, photographs, and artefacts.
Expo 88 was a turning point for Queensland's culture and economy, especially in Brisbane. On 30 May 1983 Joh Bjelke-Petersen had noted that if Brisbane's bid were successful, it would focus the world's spotlight on Queensland. Sir Frank Moore believed that the key to developing a major tourist industry in Queensland was a series of hallmark events, including the 1982 Commonwealth Games, which would focus attention on Queensland far better than any advertising campaign. Expo 88 was also intended to start Brisbane on a modernisation process, and towards becoming a 'global' city. The urban renewal of South Brisbane was just one aspect. In April 1984 Sir Llew stated that Queensland would never be the same again after Expo 88, and Brisbane would develop an image as a centre of trade, culture and entertainment. In April 1988 the Courier Mail claimed that Expo 88 was "bridging the yawning gap from a hayseed State to an urbane, international future". Sir Llew also claimed in April 1988 that the aim was for Expo 88 to be a catalyst for a change in lifestyle. Queenslanders had experienced extended opening hours and outdoor café dining, and had liked it.
While the crowds enjoyed Expo 88, controversy continued regarding future plans for the site. There were calls for more public input on redevelopment plans. About 4.5 hectares of land between Stanley Street and the river belonged to the Brisbane City Council (BCC), as Clem Jones Park, and had been lent to the Expo 88 Authority. In June 1988 it was decided to restore this land as parkland, and the River City 2000 Consortium lost its Preferred Developer status.
Government plans for a South Bank Development Corporation were announced, and in July 1988 an interim committee, headed by Sir Llew, was formed to oversee redevelopment. Sir Llew noted in October 1988 that more public funding was necessary to increase the parkland component of the new Southbank, as the land had been earmarked for development to repay for the cost of Expo 88. The draft redevelopment plans released in November 1988 included 12 hectares of parkland. Public submissions on the plan suggested that people wanted to be able to return to the Expo 88 site, to a public facility that had a similar combination of food, art and nature.
At the end of Expo 88, the APAC had planned to sell the Nepalese Peace Pagoda, and it appeared likely that it would be moved to Japan. However, 90,000 people had signed a petition during Expo 88 to keep the Peace Pagoda in Brisbane, and in late 1988 the BCC offered to provide land for the Peace Pagoda, if the Federal Government would pay for its cost and maintenance. A "Save the Pagoda Campaign" was active by February 1989. Public donations eventually totalled $52,000, with $30,000 coming from one couple, who wanted to "give Brisbane something to remember from Expo 88". The BCC provided $50,000, and the Federal Government supplied $100,000. "The Friends of the Pagoda Committee" also raised funds to buy several items that had complemented the Peace Pagoda, including a brass statue of the deity of compassion, a bronze bell and carved stone frame, and a stone lingam.
The Southbank Development Corporation was set up February 1989, with Vic Pullar as the Chairman. Approximately $200 million had been spent on developing the Expo site, and this money had to be recouped. The South Bank Corporation Act was passed in May 1989, and the former Clem Jones Park area was transferred to the Southbank Corporation, which was tasked with managing a new parkland precinct. In June 1989 submissions were sought from five architectural firms, and in August the "Media Five" concept of a mixed residential, commercial, and parkland development was chosen. Under Media Five's plans, the Peace Pagoda would be moved to the northern part of the parklands. The Media Five Chairman, Desmond Brooks, also suggested that Collins Place, the Plough Inn and the Allgas Building be removed to a historic village, but Vic Pullar rejected this idea. However, when the Southbank Corporation's Draft Development Plan was released in November 1989, it proposed to only keep the facades of the historic buildings. After protests by the National Trust, the State Government overruled the Southbank Corporation.
The proposed redevelopment included a waterway through the park, and a large lagoon, which was later downsized. In March 1990 the Final Plan was presented, after public submissions, and site redevelopment started in July 1990. The official Southbank Parklands opening occurred on 20 June 1992. The Waterway was later filled in and replaced with the Energex Arbour, which was officially opened in March 2000.
The transfer of the Peace Pagoda to its current site started on 24 September 1991. The deity of compassion was moved from the first floor to a glass case on the ground floor, the sides of the ground floor were encased in glass, and a display case was added inside. Access to the first floor was sealed off. The two smaller pavilions were also transferred, but their service windows were locked up. Two lion statues and two elephant statues were also relocated. The building was originally designed to be demountable, but it is currently set in a ceramic tiled floor. The Peace Pagoda was one of the best-loved exhibits at Expo 88, as visitors were able to relax in it away from the bustle of the crowds. Today it is still popular, both with tourists, and those who go there to meditate and reflect.
Source: Queensland Heritage Register.
This text is spread over three Gobate II images, and is a complement to the 'Peña Hueca' text (see below, for those reading from a computer). The texts look at issues relating to a potential local architectural response to amber deposits. I propose that these early architectures have the potential to be early human examples of building structures outside of functions such as habitat or issues such as ancestors and the dead. They would sit in a chronology aside a second early speciality late Neolithic structure I call the 'Boat Haven' and indeed in keeping, I name this class of Upper Ebro troglodytic structures 'Amber Havens'.
A scattered line of sites can be seen from the north east within the Basque region's piedmont, through the amber deposits aside Las Yurdinas 2, the Peñacerrada and other Urizaharra deposits, and down to the feathered edges of the great River Ebro's valley. The distance between Gobate and the Chalcolithic villages associated with the physical extraction of the amber mineral deposits is as low as five straight kilometres. Gobat is at an altitude of 650m and a sharp rise to around 1000m provides a qualitative ridge for the amber deposits to hide behind. Whilst the ridge climbs just 300m, it is steep enough to take the zest from hasty gaits - a natural pause for thought.
Along this scattered 'line', and towards its southern end, are the close-by Gobate and La Llana sites in addition to occasional dolmen and necropolis of monolithic sarcophagi in a range of styles including of those witnessed in and around the Gobate and La Llana sites. [I will later argue that these sarcophagi can be reappropriated, and that their origins need to be stretched back in chronology].
Carved stone spaces are cleaned and swept and the archaeological record may not be as laminated as it is for non-ritual family fed rock abris. Ploughing has also occurred up to the edges of many sites.
This diagonal of artificial caves runs out from the plane of the upper Ebro and is a potential subset of the Upper Ebro group of troglodytic ritual sites. Understanding this subset is a task that will require hypothesis, and the hypothesis I use for Gobate and La Llana is one that develops from ideas I presented for Peña Hueca up on the plateau and equally buffered on the other side of the amber deposits.
Before looking at the line of artificial caves and late prehistoric sites, it is important to see that there are striking similarities between the La Llana sites and the potentially slightly older Gobate sites. Each loci may consist of two separated elements, the first element a 'hubub' around at least three different 'warm water forms' and the second, a 'quiet' site with little space for more than a handful of people. For each site, the 'warm water form' clusters are within shouting distance (drum distance) but not within sight (111m and 250m apart respectively). Were it not for the artificial cave under the 'warm water forms' of the 'Gobate I' site, the similar 'footprint' of the adjacent sites would be blatant and indubitable. Accepting that the La Llana sight is slightly younger, It may seem that La Llana was either an improved and newer version of an aged Gobate cluster, or that La Llana was a second example of a function, i.e. there was an activity that required a combination of 'quietness' and 'hubub' that was locally successful, and thus could sustain a second example (a town with one big biscuit factory attracts a second...). For either scenario, it is worth trying to imagine what sort of activity could thrive and sustain over time from a duality between calm and hubub.
Exposed rock surfaces melt away with weathering and any forms added by man are today shrunk by the constant tick of ablation's clock. If Gobate was the first version, then its carved 'warm water forms' should be less edgy and worn out, and indeed this is the case.
Happenstance can cause the most wonderful links, but here we have two sites between the River Ebro 'highway' and a low mountain zone rich in amber and I think that before the face of happenstance is called upon to reply, an attempt should be made to see how the exact configuration might have helped man key into landscape from an optic of 5000 years before present.
'Warm water forms' might be used for many procedures from detanning acorns to softening fibres before weave, and from vegetal dying and cleaning to perfume production. A group of visitors who arrive from the River Ebro highway - keen to trade for stones of amber - might be taken to the 'warm water forms' to relax and chat in friendly states of semi nudity. Each 'warm water form' would have had a deeper shallow pool, and stretching out in a warm 'paddling pool' of perfumed water would occupy, as would plunging into the deeper 'collection pool'. It is safe to say that a visiting trade party from between 12 people and 24 people might here be soothed after days of walking, welcomed by the 'warm water form' facilities of La Llana and Gobate. All tools that might double for weapons have thus been pacified by this memorable moment and even rite. Once an ambience of mutual trust and common heath is assured, then a 'bigman' might ask the visiting group's 'leader/negotiator' to come aside for 'talks' and barters over amber. Walking 1 or 2 hundred metres to the smaller artificial cave, be it La Llana or Gobat I, and the pacified party has been 'diffused' as a potential threat to amber resources via Epicurian pleasure, goodwill and trust. Implicit with this visualisation is the cultural detail that the water in the 'warm water forms' must have been kept to a standard of cleanliness for it to keep its status and allure. If the water is a perfume of, lets imagine, local lavender and rosemary, then giving the water a symbolic status, and asking that people leave for a change of perfumed waters, would be a cultural detail and imply roles for specific individuals. The implication of location specific protocols and roles associated with a category of monument being a potentially interesting aside.
Amber as a mineral was highly desired and traded throughout the Neolithic and Chalcolithic. Here our group leader must leave behind his travelling companions - and we will imagine a self contained group with selected people from crofts and villages associated with a far-off valley cluster. Our visiting negotiator is 300m below a protective ridge that hides the actual deposits, and is told that were his group to venture to try to see the actual quarries, the worst would be guaranteed !(and indeed skeletons with arrow damage from the Chalcolithic period have been discovered in this upper amber quarry zone). Here the amber quarries are sites protected by cultural design.
Any transformed or raw amber held down in La Llana or Gobat II, on its approximative level with the Ebro plane, is also relatively secure and disassociated from the dynamic potential power of the visiting group. Tucked onto their 'warm water forms' and inside the rare musky fragrances, the rest of the visiting group cannot see the place or even direction of the place of negotiation and exchange. They are in a perfect hubub.
One representative man steps inside a small man-made cave on a cusp of a slight ridge, sits down on a stone chair (above left?) in a corner shade, and waits to see the mythical amber stones they have all travelled so far to acquire. The different sizes of stone will be taken to him and an exchange will be negotiated. He is alone fixed to a stone or carved chair, and representatives from the La Llana site or the Gobat site are slipping in and out of the low doorway. Stones of amber appear in hands and leather wraps as if from nowhere.
The goods the group carried to be exchanged are with the main party aside the 'warm water forms' - perhaps pots of grain, textiles, early metal tools, bags of nuts, wooden tools and other ways that might help the local region escape some elements of the domesticated Neolithic revolution. The goods are held in the artificial cave of the 'Gobate II' site, or in a temporary building long gone that was central in a waiting space in the 'warm water form' cluster of La Llana.
Today the 'warm water forms' of La Llana are disassociated from the La Llana 'amber haven' by a small road. The impact of modern roads on prehistoric landscapes can deeply effect the reading and 'living' of a vista, and I think that hiding roads in tunnels may seem expensive or even destructive, but is a vital way to return man's deeper appreciations to landscape. The La Llana road is quiet with infrequent traffic, and landscaping and ochre coloured surfacing and even a short section of cobble strip may be enough - elsewhere, where traffic noise, colour and pollution is ever present, deeper tunnels must be welcomed and 'pseudo' pseudo-druids challenged.
On the above image it is possible to see examples of modern petroglyphs next to a space apt for taking a negotiator to wait between amber stone samples.
As with the Gobate I site, the monolithic sarcophagi do not systematically respect E/W orientations common with dolmen openings and early Christian burial.
AJM 28.01.21
To complement the IFA wagons, I thought it would be good to build a JNA open ballast wagon too. Having looked at my old design from 2016 (see here), it clearly needed an overhaul, as presented above. Much happier with these improvements...
Como complemento a esta otra imagen, subo ésta para que se aprecie mejor el acople de la 319.253 al Alaris 490.006
Según tengo entendido, están haciendo pruebas de enganche y desenganche con los Schafemberg de estos automotores.
album cover complements of patgoltz
www.flickr.com/photos/18353215@N00/
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MARIA ELISABETTA MENEGHELLO e PETER SEELIG
[QUI NON E’ ADESSO] - IL GESTO COMPLEMENTARE
SPAZIO NATTA, Como, Via Natta 18
23.07.2016 - 02.09.2016
lunedi dalle 15:00 alle 19:00
martedi a domenica dalle 11:00 alle 19:00
Finissage
02.09.2016 18:30
Como complemento a la foto de ayer, delante de la habitual composicion. Circulaba la Arganda con un tren ambientado con motivos de la Guerra Civil y que mejor lugar que a las orillas del Jarama, donde hubo una intensa batalla en 1937 y donde aun se pueden algunos bunkers a lo largo de la linea. Ayer hicieron un hospital de campaña en la Laguna e hicieron varios viajes transportando "heridos" a la Poveda. Para recrear este tren se utilizo la inconfundible Arganda, seguido por un furgon de jefe de tren F5, un vagon potasero serie Ow de FGC y por ultimo otro furgon de jefe de tren F2. La Poveda 21/04/13.
complement for almost any meal.
Desi style Kachumbar Salad we often enjoy with daal chawal or just plain daal.
My Kind of Kachumbar Salad :
~ 1 firm tomato finely chopped.
~ 1 small red onion chopped.
~ 1/2 seedless cucumber finely diced.
~ Pinch of salt.
~ 1/2 tsp roasted ground cumin seeds.
~ 1tbs lemon juice.
~ Fresh coriander/cilantro leaves finely chopped.
~ 1 finely chopped green chili for spicy version ;)
Mix all the ingredients well together except salt, lemon juice and ground cumin seeds. Leave it for sometime, when you are ready to serve add salt, cumin seeds, lemon juice and enjoy. You can always add fresh mango in summer time. Add everything double or as required for big servings.
Inspired by a request/challenge from my friend Andy Lin (who has an affinity for fractals)... This model is essentially a cluster of octahedra of various sizes. It represents the parts removed from the starting tetrahedron to form a sierpinski's tetrahedron. Each octahedron takes 4 units.
Blue = 1 octahedron = 4 units
Green = 4 octahedra = 16 units
Yellow = 4 x 4 octahedra = 64 units
Pink = 4 x 4 x 4 octahedra = 256 units
4 + 16 + 64 + 256 = 340 units
The locks holding the octahedra together is so strong that you can pick up the entire model from the top small pink octahedron without anything coming apart.
It took me a lot of chem lectures to fold this one... I have made diagrams for this model which can be found in the OUSA Annual Collection book from '06.
Diagrams here:
www.flickr.com/photos/8303956@N08/650685427/
(Photography by Shue-Yu Kwan, my dad)
Shelburne, Vermont: I was on my way to the ferry and stopped to take this shot from the road...quickly!!
ODC3: Complementary colors (orange and green: does this work?)
Processed in Topaz
Flickr friends: Sorry if I can't comment--I only have 1/2 hour on days when the local library is open for my internet connection--and sometimes less because of the line of people. I'll catch up ASAP: Promise!!
The exploitation rights for this text are the property of the Vienna Tourist Board. This text may be reprinted free of charge until further notice, even partially and in edited form. Forward sample copy to: Vienna Tourist Board, Media Management, Invalidenstraße 6, 1030 Vienna; media.rel@wien.info. All information in this text without guarantee.
Author: Andreas Nierhaus, Curator of Architecture/Wien Museum
Last updated January 2014
Architecture in Vienna
Vienna's 2,000-year history is present in a unique density in the cityscape. The layout of the center dates back to the Roman city and medieval road network. Romanesque and Gothic churches characterize the streets and squares as well as palaces and mansions of the baroque city of residence. The ring road is an expression of the modern city of the 19th century, in the 20th century extensive housing developments set accents in the outer districts. Currently, large-scale urban development measures are implemented; distinctive buildings of international star architects complement the silhouette of the city.
Due to its function as residence of the emperor and European power center, Vienna for centuries stood in the focus of international attention, but it was well aware of that too. As a result, developed an outstanding building culture, and still today on a worldwide scale only a few cities can come up with a comparable density of high-quality architecture. For several years now, Vienna has increased its efforts to connect with its historical highlights and is drawing attention to itself with some spectacular new buildings. The fastest growing city in the German-speaking world today most of all in residential construction is setting standards. Constants of the Viennese architecture are respect for existing structures, the palpability of historical layers and the dialogue between old and new.
Culmination of medieval architecture: the Stephansdom
The oldest architectural landmark of the city is St. Stephen's Cathedral. Under the rule of the Habsburgs, defining the face of the city from the late 13th century until 1918 in a decisive way, the cathedral was upgraded into the sacral monument of the political ambitions of the ruling house. The 1433 completed, 137 meters high southern tower, by the Viennese people affectionately named "Steffl", is a masterpiece of late Gothic architecture in Europe. For decades he was the tallest stone structure in Europe, until today he is the undisputed center of the city.
The baroque residence
Vienna's ascension into the ranks of the great European capitals began in Baroque. Among the most important architects are Johann Bernhard Fischer von Erlach and Johann Lucas von Hildebrandt. Outside the city walls arose a chain of summer palaces, including the garden Palais Schwarzenberg (1697-1704) as well as the Upper and Lower Belvedere of Prince Eugene of Savoy (1714-22). Among the most important city palaces are the Winter Palace of Prince Eugene (1695-1724, now a branch of the Belvedere) and the Palais Daun-Kinsky (auction house in Kinsky 1713-19). The emperor himself the Hofburg had complemented by buildings such as the Imperial Library (1722-26) and the Winter Riding School (1729-34). More important, however, for the Habsburgs was the foundation of churches and monasteries. Thus arose before the city walls Fischer von Erlach's Karlskirche (1714-39), which with its formal and thematic complex show façade belongs to the major works of European Baroque. In colored interior rooms like that of St. Peter's Church (1701-22), the contemporary efforts for the synthesis of architecture, painting and sculpture becomes visible.
Upgrading into metropolis: the ring road time (Ringstraßenzeit)
Since the Baroque, reflections on extension of the hopelessly overcrowed city were made, but only Emperor Franz Joseph ordered in 1857 the demolition of the fortifications and the connection of the inner city with the suburbs. 1865, the Ring Road was opened. It is as the most important boulevard of Europe an architectural and in terms of urban development achievement of the highest rank. The original building structure is almost completely preserved and thus conveys the authentic image of a metropolis of the 19th century. The public representational buildings speak, reflecting accurately the historicism, by their style: The Greek Antique forms of Theophil Hansen's Parliament (1871-83) stood for democracy, the Renaissance of the by Heinrich Ferstel built University (1873-84) for the flourishing of humanism, the Gothic of the Town Hall (1872-83) by Friedrich Schmidt for the medieval civic pride.
Dominating remained the buildings of the imperial family: Eduard van der Nüll's and August Sicardsburg's Opera House (1863-69), Gottfried Semper's and Carl Hasenauer's Burgtheater (1874-88), their Museum of Art History and Museum of Natural History (1871-91) and the Neue (New) Hofburg (1881-1918 ). At the same time the ring road was the preferred residential area of mostly Jewish haute bourgeoisie. With luxurious palaces the families Ephrussi, Epstein or Todesco made it clear that they had taken over the cultural leadership role in Viennese society. In the framework of the World Exhibition of 1873, the new Vienna presented itself an international audience. At the ring road many hotels were opened, among them the Hotel Imperial and today's Palais Hansen Kempinski.
Laboratory of modernity: Vienna around 1900
Otto Wagner's Postal Savings Bank (1903-06) was one of the last buildings in the Ring road area Otto Wagner's Postal Savings Bank (1903-06), which with it façade, liberated of ornament, and only decorated with "functional" aluminum buttons and the glass banking hall now is one of the icons of modern architecture. Like no other stood Otto Wagner for the dawn into the 20th century: His Metropolitan Railway buildings made the public transport of the city a topic of architecture, the church of the Psychiatric hospital at Steinhofgründe (1904-07) is considered the first modern church.
With his consistent focus on the function of a building ("Something impractical can not be beautiful"), Wagner marked a whole generation of architects and made Vienna the laboratory of modernity: in addition to Joseph Maria Olbrich, the builder of the Secession (1897-98) and Josef Hoffmann, the architect of the at the western outskirts located Purkersdorf Sanatorium (1904) and founder of the Vienna Workshop (Wiener Werkstätte, 1903) is mainly to mention Adolf Loos, with the Loos House at the square Michaelerplatz (1909-11) making architectural history. The extravagant marble cladding of the business zone stands in maximal contrast, derived from the building function, to the unadorned facade above, whereby its "nudity" became even more obvious - a provocation, as well as his culture-critical texts ("Ornament and Crime"), with which he had greatest impact on the architecture of the 20th century. Public contracts Loos remained denied. His major works therefore include villas, apartment facilities and premises as the still in original state preserved Tailor salon Knize at Graben (1910-13) and the restored Loos Bar (1908-09) near the Kärntner Straße (passageway Kärntner Durchgang).
Between the Wars: International Modern Age and social housing
After the collapse of the monarchy in 1918, Vienna became capital of the newly formed small country of Austria. In the heart of the city, the architects Theiss & Jaksch built 1931-32 the first skyscraper in Vienna as an exclusive residential address (Herrengasse - alley 6-8). To combat the housing shortage for the general population, the social democratic city government in a globally unique building program within a few years 60,000 apartments in hundreds of apartment buildings throughout the city area had built, including the famous Karl Marx-Hof by Karl Ehn (1925-30). An alternative to the multi-storey buildings with the 1932 opened International Werkbundsiedlung was presented, which was attended by 31 architects from Austria, Germany, France, Holland and the USA and showed models for affordable housing in greenfield areas. With buildings of Adolf Loos, André Lurçat, Richard Neutra, Gerrit Rietveld, the Werkbundsiedlung, which currently is being restored at great expense, is one of the most important documents of modern architecture in Austria.
Modernism was also expressed in significant Villa buildings: The House Beer (1929-31) by Josef Frank exemplifies the refined Wiener living culture of the interwar period, while the house Stonborough-Wittgenstein (1926-28, today Bulgarian Cultural Institute), built by the philosopher Ludwig Wittgenstein together with the architect Paul Engelmann for his sister Margarete, by its aesthetic radicalism and mathematical rigor represents a special case within contemporary architecture.
Expulsion, war and reconstruction
After the "Anschluss (Annexation)" to the German Reich in 1938, numerous Jewish builders, architects (female and male ones), who had been largely responsible for the high level of Viennese architecture, have been expelled from Austria. During the Nazi era, Vienna remained largely unaffected by structural transformations, apart from the six flak towers built for air defense of Friedrich Tamms (1942-45), made of solid reinforced concrete which today are present as memorials in the cityscape.
The years after the end of World War II were characterized by the reconstruction of the by bombs heavily damaged city. The architecture of those times was marked by aesthetic pragmatism, but also by the attempt to connect with the period before 1938 and pick up on current international trends. Among the most important buildings of the 1950s are Roland Rainer's City Hall (1952-58), the by Oswald Haerdtl erected Wien Museum at Karlsplatz (1954-59) and the 21er Haus of Karl Schwanzer (1958-62).
The youngsters come
Since the 1960s, a young generation was looking for alternatives to the moderate modernism of the reconstruction years. With visionary designs, conceptual, experimental and above all temporary architectures, interventions and installations, Raimund Abraham, Günther Domenig, Eilfried Huth, Hans Hollein, Walter Pichler and the groups Coop Himmelb(l)au, Haus-Rucker-Co and Missing Link rapidly got international attention. Although for the time being it was more designed than built, was the influence on the postmodern and deconstructivist trends of the 1970s and 1980s also outside Austria great. Hollein's futuristic "Retti" candle shop at Charcoal Market/Kohlmarkt (1964-65) and Domenig's biomorphic building of the Central Savings Bank in Favoriten (10th district of Vienna - 1975-79) are among the earliest examples, later Hollein's Haas-Haus (1985-90), the loft conversion Falkestraße (1987/88) by Coop Himmelb(l)au or Domenig's T Center (2002-04) were added. Especially Domenig, Hollein, Coop Himmelb(l)au and the architects Ortner & Ortner (ancient members of Haus-Rucker-Co) by orders from abroad the new Austrian and Viennese architecture made a fixed international concept.
MuseumQuarter and Gasometer
Since the 1980s, the focus of building in Vienna lies on the compaction of the historic urban fabric that now as urban habitat of high quality no longer is put in question. Among the internationally best known projects is the by Ortner & Ortner planned MuseumsQuartier in the former imperial stables (competition 1987, 1998-2001), which with institutions such as the MUMOK - Museum of Modern Art Foundation Ludwig, the Leopold Museum, the Kunsthalle Wien, the Architecture Center Vienna and the Zoom Children's Museum on a wordwide scale is under the largest cultural complexes. After controversies in the planning phase, here an architectural compromise between old and new has been achieved at the end, whose success as an urban stage with four million visitors (2012) is overwhelming.
The dialogue between old and new, which has to stand on the agenda of building culture of a city that is so strongly influenced by history, also features the reconstruction of the Gasometer in Simmering by Coop Himmelb(l)au, Wilhelm Holzbauer, Jean Nouvel and Manfred Wehdorn (1999-2001). Here was not only created new housing, but also a historical industrial monument reinterpreted into a signal in the urban development area.
New Neighborhood
In recent years, the major railway stations and their surroundings moved into the focus of planning. Here not only necessary infrastructural measures were taken, but at the same time opened up spacious inner-city residential areas and business districts. Among the prestigious projects are included the construction of the new Vienna Central Station, started in 2010 with the surrounding office towers of the Quartier Belvedere and the residential and school buildings of the Midsummer quarter (Sonnwendviertel). Europe's largest wooden tower invites here for a spectacular view to the construction site and the entire city. On the site of the former North Station are currently being built 10,000 homes and 20,000 jobs, on that of the Aspangbahn station is being built at Europe's greatest Passive House settlement "Euro Gate", the area of the North Western Railway Station is expected to be developed from 2020 for living and working. The largest currently under construction residential project but can be found in the north-eastern outskirts, where in Seaside Town Aspern till 2028 living and working space for 40,000 people will be created.
In one of the "green lungs" of Vienna, the Prater, 2013, the WU campus was opened for the largest University of Economics of Europe. Around the central square spectacular buildings of an international architect team from Great Britain, Japan, Spain and Austria are gathered that seem to lead a sometimes very loud conversation about the status quo of contemporary architecture (Hitoshi Abe, BUSarchitektur, Peter Cook, Zaha Hadid, NO MAD Arquitectos, Carme Pinós).
Flying high
International is also the number of architects who have inscribed themselves in the last few years with high-rise buildings in the skyline of Vienna and make St. Stephen's a not always unproblematic competition. Visible from afar is Massimiliano Fuksas' 138 and 127 meters high elegant Twin Tower at Wienerberg (1999-2001). The monolithic, 75-meter-high tower of the Hotel Sofitel at the Danube Canal by Jean Nouvel (2007-10), on the other hand, reacts to the particular urban situation and stages in its top floor new perspectives to the historical center on the other side.
Also at the water stands Dominique Perrault's DC Tower (2010-13) in the Danube City - those high-rise city, in which since the start of construction in 1996, the expansion of the city north of the Danube is condensed symbolically. Even in this environment, the slim and at the same time striking vertically folded tower of Perrault is beyond all known dimensions; from its Sky Bar, from spring 2014 on you are able to enjoy the highest view of Vienna. With 250 meters, the tower is the tallest building of Austria and almost twice as high as the St. Stephen's Cathedral. Vienna, thus, has acquired a new architectural landmark which cannot be overlooked - whether it also has the potential to become a landmark of the new Vienna, only time will tell. The architectural history of Vienna, where European history is presence and new buildings enter into an exciting and not always conflict-free dialogue with a great and outstanding architectural heritage, in any case has yet to offer exciting chapters.
Info: The folder "Architecture: From Art Nouveau to the Presence" is available at the Vienna Tourist Board and can be downloaded on www.wien.info/media/files/guide-architecture-in-wien.pdf.