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We started using the new kitchen today, although we haven't moved everything into it yet. The last paint went on the walls (around the windows) last night, and all the drawers are in. We are still waiting for hinges for the cabinet doors, but that's about it.
All Saints, Gazeley, Suffolk
All Saints at Gazeley, near Newmarket, was the first church that I visited after an international team of scientists conclusively proved that God did not exist. Thus begins the original article about Gazeley parish church that I wrote for the Suffolk Churches site, back in May 2003. At that stage, I had visited more than 600 Suffolk churches, and the site was moving towards a kind of completion. The entries were becoming longer and tending more towards the philosophical. The acquisition of a digital camera meant that I could already see I would need to do the whole lot again, but that would be in the future. For now, I had Norfolk in my sights, and there was an end-of-term feel to what I was writing about Suffolk. I am afraid that All Saints, Gazeley, took the full brunt of it.
The article generated a fair amount of correspondence, as you may imagine. It was discussed on BBC Radio Suffolk. I was questioned rather cautiously about it by someone in the Diocese.
The parish themselves took it rather well. To be honest, I had caught them at a low ebb, and they welcomed the publicity. I had also visited them immediately before a time of great change, when heads had fallen, but loins were about to be girded, and the Church of England was stirring itself again in that lovely village. One of the advantages of visiting every parish church in East Anglia is that you also get to see every parish, of course, and I soon fell in love with these sleepy, fat villages along the Cambridgeshire border. I would move there tomorrow, quite happily.
However, the article still makes the point I was originally trying to make, and the contrast between then and now shows this special place in a light it thoroughly deserves, for this is one of East Anglia's loveliest churches, and deserves all the visitors it can get. Anyway, I thought so then, and I certainly think so now.
Here is what I wrote in 2003: 'All Saints at Gazeley, near Newmarket, was the first church that I visited after an international team of scientists conclusively proved that God did not exist. I was intrigued to know how a wealthy, reasonably large Suffolk village would respond to this challenge. What would they do with their church? I had a theory. I suspected that the old church buildings would continue to find a community use. Small groups of people would still congregate on a Sunday mornings to sing comforting songs and feel good about each other. The churches would still be used by secular couples wanting a fancy wedding, and the local villagers would still want to be buried in the graveyard. But the building would no longer have a Christian use.
It was with some dismay, however, that I arrived in Gazeley to discover that the rot had already set in. The first sign of this was the way in which the large windows facing onto the road had holes the size of small rocks in them. This was disturbing, especially because the east window at Gazeley is one of the most remarkable Decorated windows in East Anglia. The head of the window consists of two elegant overlapping trefoils, but there is no head to the arch, the head itself having cusps. You can see it in the left hand column; Cautley thought it was unique.
I went and tried the door, but of course it was locked. Ever since the announcement of God's non-existence, heads have dropped in the Anglican community, and many of them no longer have the will to welcome strangers and visitors. I went next door to the Rectory. I knocked on the door, rang the bell. Nobody came. Perhaps the Rector had fled town. I had tried phoning several numbers I had taken from the Diocesan website, but nobody had answered. There were keyholders listed in the church porch, but no phone numbers. Gazeley is a fairly large village, and we didn't have a street map, but by driving around (sorry about the carbon monoxide, folks) we tracked some of the houses down. Several cars were on the driveways outside (as I said, this is a wealthy village) but nobody came to the door. Perhaps they had given up in despair. I felt Gazeley's strange torpor beginning to settle on me like snow.
We found the house where the last address was supposed to be. I went to the side door, and eventually someone answered. "Yes?" he was very curt, so I don't know who he was expecting. I, however, was a model of charm and good manners, and explained my mission to see inside Gazeley church, and that I understood he was a keyholder, a churchwarden in fact. His wife came to the kitchen door behind him, to see who it was. I could smell cooking, and I assumed that they were both about to eat, the time being 5pm on a Saturday.
"The church is locked", he said. I agreed that this was the case, and wondered if access was possible. "It was open earlier today, you should have come then", he observed. I concurred that it would have been better, but that we had been visiting other churches, and had only just arrived in Gazeley. He thought for a second. "I'll have to come with you." The man checked that the twenty minutes I had suggested would not deprive him of his tea, and walked with me up to the church. On the way, the man explained how he and his wife had spent the day preparing the church for the harvest festival. I made a mental note that this was another event that had survived the death of God, as would Christmas probably.
We walked across the wide open graveyard, and I looked up at the great ship of Gazeley church. There is no doubt which county you are in; here, the complete rebuilding of the nave with clerestory and aisles was at the start of the 16th century, and as at Blythburgh they didn't get around to rebuilding the tower before the Protestant Reformation intervened. The huge chancel had been built on the eve of the Black Death, and has similarities with the one at Mildenhall. Perhaps a rebuilding was planned, but it never happened. The tower was largely reconstructed in the 19th century.
To my surprise, he took us not to either south or north porch, but to the great west door. This led us beneath the tower and behind the organ, and we stepped into darkness. Daylight was fading, but here it must be always gloomy, among the broom cupboards and stacks of junk. The churchwarden found the light switches, and we walked around the organ into the body of the church.
Back in the days when God still existed, I had been to Gazeley church before. It had been a bright, cold February morning in 1999, and I was cycling from Newmarket to Ipswich. I'd arrived in Gazeley to find the church open, and had thought it lovely. There was a delicate balance between respect for the medieval and the demands of the modern liturgy. It felt at once a house of prayer and a spiritual touchstone to the long generations. However, the slight crimp in all this was that, at the time, the regular Sunday congregation of Gazeley church had been reduced to single figures. The same was true of neighbouring Kentford. The Rector may not have been to blame; he was very energetic in in his pastoral activities in the village, and people still turned up for the big occasions. But I wondered what effect all this had had, and asked the churchwarden.
He was very candid. He told me that they had had a terrible time of it. The electoral roll had fallen to just three people, and this is not a small village. Nobody wanted to come to church any more. He had lived in the village for years, and had seen all this happen. It was only in the last year or so that he felt the church had been turned around by the new Rector (the one I had suspected of leaving town). Now, there were more than twenty of them, and they felt like a proper community again, he said.
I found this interesting. The previous Rector had been a Forward in Faith-supporting Anglo-catholic, and such a tradition was not terribly popular with the suits at Diocesan House. The new Rector had moved the church back towards the mainstream.
I looked around the vast open nave. All Saints is one of the biggest churches in the west of the county, and it must take a good five hundred people to make it feel full. I tried to imagine what it must have been like here, just three in the congregation.
The warden and his wife had tried hard to decorate the church for the harvest festival, and it looked particularly lovely towards the east. The greenery on the tombchest and piscina was very well done. But inevitably the fruit and vegetables were sparse, and there was no disguising the general air of shabbiness and decay underneath the decoration. I felt a bit sorry for the churchwarden, for he had stuck with the place through thick and thin, and clearly loved it. The chancel and central eastern part of the nave were clean and tidy, but all around were the encroaching shadows, and here lurked the dust and dirt.
The higher you looked, the filthier it became. The clerestory windows were coated in grime, and the lower parts cloaked in decades of cobwebs. The medieval cross beams are still in place, but the Victorian roof above is leaky, and areas of damp showed above the high arcades. It seemed unlikely that all this could have happened in the short time since the Geneva declaration of 2007 announced all faith in a Supreme Being to be 'utterly null and void'. Mortlock had commented on the poor condition of the royal arms as long ago as 1988. Could it be that they were in this state when this building was still in use for Christian worship?
Having seen the stone holes in the windows, I was mightily relieved that the Victorians had reset the medieval glass up in the clerestory. This seems a curious thing to have done, since it defeats the purpose of a clerestory, but if they had not done so then we might have lost it. The glass matches the tracery in the north aisle windows, so that is probably where they came from. I had seen them on my previous visit, but could not remember where they were, and when I asked the keyholder he did not seem aware that the church had any medieval glass. Eventually I found it. There are angels, three Saints and some shields, most of which are heraldic but two show the instruments of the passion and the Holy Trinity. I would not be surprised to learn that some of the shields are 19th century, but the figures are all original late 15th or early 16th century. The Saints are an unidentified Bishop, the hacksaw-wielding St Faith and one of my favourites, St Apollonia. She it was who was invoked by medieval people against toothache.
It struck me as I gazed up that many parish churches had much less to lose than Gazeley. At one time, these places were vibrant hubs of spiritual communities, but now they would be left to wither and die. Some would become houses of course, but Gazeley's church is much too big. Some might be kept as examples of our redundant belief systems, but here at Gazeley there would be too much to tidy up and sort out. So All Saints at Gazeley must be considered merely as a treasure house. Here, then, is a guide to why it must survive the 2007 Geneva Declaration.
Firstly, the chancel. Here, the space created by the clearing of clutter makes it at once mysterious and beautiful. Above, the early 16th century waggon roof is Suffolk's best of its kind. Mortlock points out the little angels bearing scrolls, the wheat ears and the vine sprays, and the surviving traces of colour. The low side window on the south side still has its hinges, for here it was that updraught to the rood would have sent the candles flickering in the mystical church of the 14th century. On the south side of the sanctuary is an exquisitely carved arched recess, that doesn't appear to have ever had a door, and may have been a very rare purpose-built Easter sepulchre at the time of the 1330s rebuilding. Opposite is a huge and stunningly beautiful piscina, and beside it are sedilia that end in an arm rest carved in the shape of a beast. It is one of the most significant Decorated moments in Suffolk.
On the floor of the chancel there is a tiny, perfect chalice brass, one of only two surviving in Suffolk. The other is at Rendham. Not far away is the indent of another chalice brass - or perhaps it was for the same one, and the brass has been moved for some reason. There are two chalice indents at Westhall, but nowhere else in Suffolk. Chalice brasses were popular memorials for Priests in the 15th and early 16th centuries, and thus were fair game for reformers. Heigham memorials of the late 16th century are on the walls. Back in the south aisle there is a splendid tombchest in Purbeck marble. It has lost its brasses, but the indents show us where they were, as do other indents in the aisle floors. Some heraldic brass shields survive, and show that Heighams were buried here. Brass inscriptions survive in the nave and the chancel, dating from the late 16th and early 17th centuries.
Piled up and decrepit in the south west corner are some extraordinary 14th century benches with pierced tracery backs. Some of them appear to spell out words, Mortlock thought one might say Salaman Sayet. The block of benches to the north appear to have been made using sections of the 15th century rood loft. Further north, the early 17th century benches may appear crude, but were almost certainly the work of the village carpenter.
The 14th century font is a stunning example of the tracery pattern series that appeared in the decades before the Black Death. They may have been intended to spread ideas at that time of great artistic and intellectual flowering before it was so cruelly snatched away. The cover is 17th century.
The place is absolutely glorious, but few people seem to know about it, and fewer seem to care. If it had been clean, tidy and open, Simon Jenkins England's Thousand Best Churches would not have been able to resist it. Should the survival of such a treasure store depend upon the existence of God or the continued practice of the Christian faith? Or might there be other reasons to keep this extraordinary building in something like its present integrity? It needs thousands spent on it, hundreds of thousands, but is this something that we as a nation or culture should consider worth doing? Will it be sufficient to photograph it all and then let it fall, or do we need to rescue this building before it is too late?
Increasingly, it seemed to me that what the parish needed was not condemnation for the state the building was in, but encouragement to put it right. I pointed out several of the features outlined above, but I think the poor man was beginning to register quite what a task he had on his hands, so I fell quiet. I did reassure him that the building really was the responsibility of us all, and not just the Church of England; it was the heart and touchstone of the whole village, and not just of his faith community.
We'd been there for nearly an hour. I took pity, and offered to lock up and return the key to his house. He thought about it for a moment. I guessed he was weighing up whether or not he trusted us to make the church secure, but he just said "you don't need to bring the key back, it's a yale lock. Just let yourself out, and let the door close behind you." And he said goodbye and went home - rather more thoughtfully, I fear, than he had left it.
It was dark. I put out the lights, and stood for a moment in the wide gloom, in the infinite stillness. I listened to the sound of my own breathing. I knew this was the most endangered building I had visited so far on my travels. But I'm determined we won't lose it.'
And that was that. At the end of the original article, I had pointed out that the 2007 Geneva Declaration on the non-existence of God was, of course, entirely fictitious. This was partly to reassure the good people of Gazeley, but also to save confusing any excitable Dawkinsites. Gazeley church was, after all, still in use for Christian worship. I also pointed out that the rest of the article was completely true as things had stood in May 2003. However, over the next few months I received a number of e-mails from people in the parish telling me how the church was being taken to task, tidied up, cleaned out, and, even more important, made accessible. Coming back in May 2008 I was delighted to discover than both the south and north doors were now open, and I stepped out of the sunlight into an interior which positively shouted its welcome to pilgrims and strangers. Perhaps it helped that it was such a beautiful day, for the interior was full of light falling across ancient stone and woodwork. Everything shone with love and care. Quite frankly, it lifted the heart. Perhaps the most moving sight was of the brightly coloured children's table and chairs, which have been given pride of place at the east end of the south aisle, rather than being tucked away under the tower or behind the font. Having once almost lost its congregation altogether, the community at Gazeley now puts its children's corner in a prominent position, where everyone can see it.
The wide open space of the chancel was still one of the loveliest interiors I knew in Suffolk, but now it had something else, a feeling of hope. Great things had happened here. I mentioned it afterwards to a Catholic Priest friend of mine, and he said he hoped I knew I'd seen the power of the Holy Spirit at work. And perhaps that is so. Certainly, the energy and imagination of the people here have been fired by something. I wanted to find someone to ask about it, to find out how things stood now. But there was no one, and so the building spoke for them.
Back outside in the graveyard, the dog daisies clustered and waved their sun-kissed faces in the light breeze. The ancient building must have known many late-May days like this over the centuries, but think of all the changes that it has known inside! The general buffeting of the winds of history still leaves room for local squalls and lightning strikes. All Saints has known these, but for now a blessed calm reigns here. Long may it remain so.
We held a ceremony to recognize the first cohort to complete our Nuclear Regulator Apprenticeship Network program. They are working as inspectors, technical reviewers, risk analysts, and program and project managers. To complete the program and land a permanent position, they successfully completed a significant number of technical training courses, seminars and assignments, finish a group project and complete several hands-on apprenticeships – including some at NRC-licensed nuclear facilities.
Visit the Nuclear Regulatory Commission's website at www.nrc.gov/.
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Transcription:
Gold Coast District.
Southport Inquiry Office.
9th February, 1979.
Relative to: Completion of 'Report of unusual Aerial Sightings' forms in respect to sighting on 2-1-79.
Gold Coast Dist. Ref.No. 79/5.
Sir,
I have to report with reference to the above and attached that 'Report of Unusual Aerial Sightings' forms were given to all members of Police who observed the sightings on 2-1-79, however only Constables D. KUSS, and I. Janson of Southport Police Station and Constable P.A. HATTEN of Task Force, Broadbeach Police Station were prepared to complete the forms.
The three forms are attached hereto for transmission to the Royal Australian Air Force through the Commissioner of Police.
D.E.V. Russell
Sergeant 1/c No.0375
The/
Superintendent of Police,
GOLD COAST DISTRICT.
B/c:
Commissioner of Police, BRISBANE.
Forwarded for your information.
Please find herewith Reports relating to Unusual Aerial Sightings completed by Constables KUSS and JANSON of Southport Police Station and Constable HATTEN of Task Force, Broadbeach.
The Reports have been requested by the Royal Australian Air Force.
The Constables were on duty at the time of the sighting.
R.G. WEISS
A/SUPERINTENDENT
12.2.1979
4
Des Moines, Iowa-based artist Gary Keenan moved nearer to completion on his bear carving in front of Wingo Hall at the University of Central Arkansas on Thursday. The large carving, done with a myriad of chainsaws, will be receiving a coat of stain to make its coloring closer to that of an actual bear.
Photo by Ryan Johnson
The completion of improvements at Murray Hill Community Center has made a big impact on the surrounding neighborhood.
Last fall, work began on the construction of a new press box, concession stand, outfield scoreboard, and most importantly, restrooms at the community center’s adjoining athletic field.
Previously, neighborhood and recreational events either had to forego restroom facilities or have portable toilets brought in to meet the needs of the attendees, limiting participation from the community. In addition, prior to two years ago, there were no youth athletics held within the neighborhood or the Murray Hill facility.
Today, the City’s Recreation Department has 135 participants in its Murray Hill youth baseball and softball programs and approximately 90 participants in its youth football program. The improvements to the facility are assisting in meeting the needs of the growing involvement from the community.
Completion of the reconstruction of RMA 37 at Shaftesbury, and its first day in service, leaving the Verwood Transport yard and taking up its duties from the Jessica Avenue terminus in Verwood; seen also in service at Christchurch.
Des Moines, Iowa-based artist Gary Keenan moved nearer to completion on his bear carving in front of Wingo Hall at the University of Central Arkansas on Thursday. The large carving, done with a myriad of chainsaws, will be receiving a coat of stain to make its coloring closer to that of an actual bear.
The completion of the work to rehabilitate seven stations along the D Line in Brooklyn was marked on August 2, 2012, with a ribbon-cutting ceremony attended by MTA leaders and local elected officials.
We installed great new artwork at each of the seven stations. Here are details for the artwork shown in this image and its location.
71st Street Station -
Artist: Joan Linder
Title: The Flora of Bensonhurst
Date: 2012
Medium: Laminated glass
Location: Platform windscreens
Fabricator: Tom Patti Design
Joan Linder’s artwork will provide an elegant and dynamic tribute to the natural landscape in Bensonhurst. Linder’s proposal presents drawings of flora taken from the actual wild vegetation from the streets and lots in the neighborhood. These botanical images also flow in the direction of the train as the visual indication of departure and arrival. The work will be installed in the windows above the stairways that can be seen from the platform and the street level. In the medium of glass, the work will be aided by the strong light available to this particular station.
For more information about art throughout the New York transit system, download the Meridian app.
Photo: MTA Arts for Transit and Urban Design.
St. Basil's Cathedral
The famous St. Basil's Cathedral was commissioned by Ivan the Terrible and
built on the edge of Red Square between 1555 and 1561. Legend has it that on
completion of the church the Tsar ordered the architect, Postnik Yakovlev,
to be blinded to prevent him from ever creating anything to rival its beauty
again. (He did in fact go on to build another cathedral in Vladimir despite
his ocular impediment!) The cathedral was built to commemorate Ivan the
Terrible's successful military campaign against the Tartar Mongols in 1552
in the besieged city of Kazan. Victory came on the feast day of the
Intercession of the Virgin, so the Tsar chose to name his new church the
Cathedral of the Intercession of the Virgin on the Moat, after the moat that
ran beside the Kremlin. The church was given the nickname "St. Basil's"
after the "holy fool" Basil the Blessed (1468-1552), who was hugely popular
at that time with the Muscovites masses and even with Ivan the Terrible
himself. St. Basil's was built on the site of the earlier Trinity Cathedral,
which at one point gave its name to the neighboring square.
St. Basil's is a delightful array of swirling colors and redbrick towers.
Its design comprises nine individual chapels, each topped with a unique
onion dome and each commemorating a victorious assault on the city of Kazan.
In 1588 the ninth chapel was erected to house the tomb of the church's
namesake, Basil the Blessed. The church's design is based on deep religious
symbolism and was meant to be an architectural representation of the New
Jerusalem - the Heavenly Kingdom described in the Book of Revelation of St.
John the Divine. The eight onion dome-topped towers are positioned around a
central, ninth spire, forming an eight-point star. The number eight carries
great religious significance; it denotes the day of Christ's Resurrection
(the eighth day by the ancient Jewish calendar) and the promised Heavenly
Kingdom - the kingdom of the eighth century, which will begin after the
second coming of Christ. The eight-point star itself symbolizes the
Christian Church as a guiding light to mankind, showing us the way to the
Heavenly Jerusalem and it represents the Virgin Mary, depicted in Orthodox
iconography with a veil decorated with three eight-pointed stars. The
cathedral's star-like plan carries yet more meaning - the star consisting of
two superimposed squares, which represent the stability of faith, the four
corners of the earth, the four Evangelists and the four equal-sided walls of
the Heavenly City.
The extravagant and brightly colored domes of the cathedral's exterior mask
a much more modestly decorated and somewhat less spectacular interior. Small
dimly lit chapels and maze-like corridors fill the inside of the church and
the walls are covered with delicate floral designs in subdued pastel colors
dating from the 17th century. Visitors can climb up a narrow, wooden spiral
staircase, set in one of the walls and discovered only in the 1970s during
restoration work, and marvel at the Chapel of the Intercession's priceless
iconostasis, dating back to the 16th century. There was so little room
inside the church to accommodate worshippers, that on special feast days
services were held outside on Red Square where the clergy communicated their
sermons to the milling masses from Lobnoye Mesto, using St. Basil's as an
outdoor altar.
The church has narrowly escaped destruction a number of times during the
city's tumultuous history. Legend has it that Napoleon was so impressed with
St. Basil's that he wanted to take it back to Paris with him, but lacking to
the technology to do so, ordered instead that it be destroyed with the
French retreat from the city. The French set up kegs of gunpowder and lit
their fuses, but a sudden, miraculous shower helped to extinguish the fuses
and prevent the explosion.
Early in this century the cathedral almost fell prey to the atheist
principles of the Bolshevik regime. In 1918 the communist authorities shot
the church's senior priest, Ioann Vostorgov, confiscated its property,
melted down its bells and closed the cathedral down. In the 1930s Lazar
Kaganovich, a close colleague of Stalin and director of the Red Square
reconstruction plan, suggested that St. Basil's be knocked down to create
space and ease the movement of public parades and vehicle movement on the
square. Thankfully Stalin rejected his proposal as he did a second plan to
destroy the cathedral. This time the courage of the architect and devotee of
Russian culture, P. Baranovsky, saved the church. When ordered to prepare
the cathedral for destruction he refused and threatened to cut his own
throat on the steps of the church, then sent a bluntly worded telegram to
the leader of the party himself relating the above. For some reason Stalin
cancelled the decision to knock the church down and for his efforts
Baranovsky was rewarded with five years in jail.
An extensive program of renovation is still being carries out on both the
exterior and interior of the church, but will not spoil that essential visit
to St. Basil's Cathedral, Moscow's moat famous and arguably most beautiful
ecclesiastical building.
In the small garden outside St. Basil's stands an impressive bronze Statue
to Minin and Pozharsky, who rallied Russia's volunteer army during the Time
of Troubles and drove out the invading Polish forces. They were an
interesting duo - Dmitry Pozharsky was a prince, while Kuzma Minin was a
butcher from Nizhny Novgorod. The statue was designed by the artist I.
Martos and erected in 1818 as the city's first monumental sculpture. It
originally stood in the center of Red Square in front of what is now the GUM
Department Store, with Minin symbolically indicating to Pozharsky that the
Poles were occupying the Kremlin and calling for its liberation. The Soviet
authorities felt that the statue had become an obstacle during parades and
after the construction of the Lenin Mausoleum Red Square, its position was
considered rather ambiguous and was eventually moved to the garden in front
of St. Basil's in 1936.
Douglas Stone
Completion of the enquiry office and offices behind. Space considerations and lack of photographs mean that the details of this area rely heavily on 'artistic interpretation'!
Also visible are some of the roof vents that have been fitted recently.
Des Moines, Iowa-based artist Gary Keenan moved nearer to completion on his bear carving in front of Wingo Hall at the University of Central Arkansas on Thursday. The large carving, done with a myriad of chainsaws, will be receiving a coat of stain to make its coloring closer to that of an actual bear.
Des Moines, Iowa-based artist Gary Keenan moved nearer to completion on his bear carving in front of Wingo Hall at the University of Central Arkansas on Thursday. The large carving, done with a myriad of chainsaws, will be receiving a coat of stain to make its coloring closer to that of an actual bear.
Des Moines, Iowa-based artist Gary Keenan moved nearer to completion on his bear carving in front of Wingo Hall at the University of Central Arkansas on Thursday. The large carving, done with a myriad of chainsaws, will be receiving a coat of stain to make its coloring closer to that of an actual bear. Keenan spent much of his day discussing his art to area children who came to the campus to see him work.
November 12, 2019 - Syracuse, NY - Governor Andrew M. Cuomo today announced the completion of the state supported 50-mile unmanned traffic management drone corridor, which runs from Central New York to the Mohawk Valley. The first-in-the-nation corridor is the most advanced drone testing corridor in the nation. With the needed infrastructure now in place, companies will be able to test both unmanned aerial systems platforms and UTM technologies in real world settings, generating data that will inform the industry and regulators and taking us one step closer towards the routine commercial use of drones. The completion of the corridor advances the regions' collective strategy to accelerate and support emerging uses of UAS in key industries, including agriculture and forest management, transportation and logistics, media and film development, utilities and infrastructure and public safety. At the Syracuse International Airport, the Governor today also announced that the home of the innovative GENIUS NY UAS competition, the Tech Garden in Downtown Syracuse, will undergo a major expansion project to include the addition of two floors to the existing facility. The increased visibility and street-scape will serve as the anchor of the Syracuse's City Center Innovation Hub, a core component of the Syracuse Surge strategy, and will serve as the gateway to the "Innovation Alley" on Warren Street in Syracuse. Empire State Development is assisting the expansion project with up to $12.5 million made available through the regionally designed CNY Rising Upstate Revitalization Initiative plan. (Mike Groll/Office of Governor Andrew M. Cuomo)
Des Moines, Iowa-based artist Gary Keenan moved nearer to completion on his bear carving in front of Wingo Hall at the University of Central Arkansas on Thursday. The large carving, done with a myriad of chainsaws, will be receiving a coat of stain to make its coloring closer to that of an actual bear.
Content description: Group of people in hard hats pose in front of a steel beam at 8 Cambridge Center foundation completion ceremony.
Local identifier: 020_01_03_013
Type of resource: still image
Genre/form: black-and-white prints (photographs)
Date: 1998-04
Physical description: 1 photograph : print, black and white ; 25.4 x 20.3 cm
Digital origin: reformatted digital
General notes: Title and content description from related item.
Date notes: Date from related item.
Acquisition notes: Donated by the Cambridge Redevelopment Authority in July 2014.
Description standard: dcrmg
Subject headings:
Cambridge Redevelopment Authority
Boston Properties, Inc.
Kendall Square (Cambridge, Mass.)
Construction industry
Urban renewal--Massachusetts--Cambridge
Host collection: Cambridge Redevelopment Authority Records, 1952-2000
Physical location: Cambridge Public Library
Conditions Governing Use: The material in this collection is subject to copyright and intellectual property restrictions. It is the responsibility of the researcher to understand and observe copyright law and to identify and satisfy the holders of all copyright. Researchers must obtain written permission from the copyright holder(s) if they wish to publish materials from this collection. Questions concerning copyright and permission to publish should be directed to the Cambridge Room, Cambridge Public Library Archives and Special Collections.
Please use the following format when citing materials from this collection: [Identification of item], Cambridge Redevelopment Authority Records, 1952-2000, 020, [Box#, Folder title], Cambridge Room, Cambridge Public Library Archives and Special Collections.
For more from this collection: cambridgeroomcollections.wordpress.com/2016/03/30/cambrid...
The completion of the work to rehabilitate seven stations along the D Line in Brooklyn was marked on August 2, 2012, with a ribbon-cutting ceremony attended by MTA leaders and local elected officials.
We installed great new artwork at each of the seven stations. Here are details for the artwork shown in this image and its location.
18th Avenue Station -
Artist: Francesco Simeti
Title: Bensonhurst Gardens
Date: 2012
Medium: Laminated glass
Location: Platform windscreens
Fabricator: Tom Patti Design
Francesco Simeti’s artwork entitled “Bensonhurst Gardens” for the 18th Avenue Station illustrates a selection of plants and flowers that are culturally meaningful to the community around the station. Bensonhurst Gardens depicts imaginary landscapes comprised of native plants with an unexpected array of flowers growing side by side. Simeti selected plants and flowers that are culturally meaningful to the three main ethnic groups currently found in Bensonhurst: Chinese, Italian, and Jewis. The 32 laminated glass panels were created through a process of collage.
One of these examples includes the rose and lilly which reference the Santa Rosalia Festival which is highly celebrated in the neighborhoods served by the station. The artist’s aim is not to make the individual panels immediately recognizable to a specific culture but to function as a framework, creating surreal compositions that belong to different times, cultures and habitats. In addition, Simeti’s “light-box” compositions comment on society’s relationship to nature by showing the soil which nurtures the plants also collecting society’s cast-off detritus.
For more information about art throughout the New York transit system, download the Meridian app.
Photo: MTA Arts for Transit and Urban Design.
This year our volunteer project involved renovating and upgrading Woodland Basic School in a remote community in the the jungle-covered mountains of rural Jamaica. The impoverished and ramshackle school was given an extensive makeover and now has a new classroom addition, a functional domestic water delivery and storage system, new picnic tables, a new paint job, and a new bathroom with toilets, sinks and running water. Our group also donated lots of school supplies.
All too frequently in tourist destinations like Jamaica, the only thing the local population ever gets to see are rich, fat Americans getting drunk and lounging on the beach in luxury. I don't mind being part of that too, as it does help drive the country's economy, but I also feel strongly about giving back directly to those who are much less fortunate. Tourist dollars don't do much for places out in the boonies, far away from the fancy hotels and resorts. Working on projects like this makes you feel you're really doing some good for the world and makes one grateful for what we often take for granted in the US. The smiles on the kids faces and the immense gratitude from the teachers and parents says it all - Hanover Parish, Jamaica
Lonza P.E.A.C.H. Project 2017
"People Extending A Caring Hand"
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Celebrating the completion of the tunnel boring work is a great milestone for the project and for the communities this line will serve. The Evergreen Line project is more than 75% complete, and the work to finish the line, including the tunnel, is well underway. Once Evergreen is complete, BC will have the longest, fully automated rapid transit network in the world.
Learn more: news.gov.bc.ca/releases/2015TRAN0165-001980
Sagrada Família Barcelona, Spain - situation 2017
Construction of the Temple Expiatori de la Sagrada Família began in 1882. The temple is still under construction, with completion expected in 2026. It is perhaps the best known structure of Catalan Modernism, drawing over three million visitors annually. Architect Antoni Gaudi worked on the project until his death in 1926, in full anticipation he would not live to see it finished.
Gaudi was appointed architect in 1883 at 31 years of age, following disagreements between the temple’s promoters and the original architect, Francisco de Paula del Villar y Lozano. He maintained del Villar’s Latin cross plan, typical of Gothic cathedrals, but departed from the Gothic in several significant ways. Most notably, Gaudi developed a system of angled columns and hyperbolical vaults to eliminate the need for flying buttresses. Rather than relying on exterior elements, horizontal loads are transferred through columns on the interior. La Sagrada Familia utilizes three-dimensional forms comprised of ruled surfaces, including hyperboloids, parabolas, helicoids, and conoids. These complex shapes allow for a thinner, finer structure, and are intended to enhance the temple’s acoustics and quality of light. Gaudi used plaster models to develop the design, including a 1:10 scale model of the main nave measuring five meters in height and width by two meters in depth. He also devised a system of strings and weights suspended from a plan of the temple on the ceiling. From this inverted model he derived the necessary angles of the columns, vaults, and arches. This is evident in the slanted columns of the Passion facade, which recall tensile structures but act in compression.
Gaudi embedded religious symbolism in each aspect of La Sagrada Familia, creating a visual representation of Christian beliefs. He designed three iconic facades for the basilica, the Glory, Nativity, and Passion facades, facing south, east, and west, respectively. The sculpting of the Nativity facade recalls smooth, intricate corbelling and was overseen by Gaudi. The Passion Facade is characterized by the work of Josep Maria Subirachs, whose angular sculptures extend the modernist character of the temple. The sculptor Etsuro Sotoo is responsible for the window ornaments and finials, which symbolize the Eucharist. The central nave soars to a height of 45 meters, and is designed to resemble a forest of multi-hued piers in Montjuïc and granite. The piers change in cross section from base to terminus, increasing in number of vertices from polygonal to circular. The slender, bifurcating columns draw the eye upward, where light filters through circular apertures in the vaults. These are finished in Venetian glass tiles of green and gold, articulating the lines of the hyperboloids.
Once completed, La Sagrada Familia will feature eighteen towers. Four bell towers representing the Apostles crown each facade, reaching approximately 100 meters in height. At the north end, a tower representing the Virgin Mary will stand over the apse. The central tower will reach 72 meters in height and symbolize Christ, surrounded by four towers representing the Evangelists. Even as construction continues, older portions are undergoing cleaning and restoration. The temple has relied entirely on private donations since its inception, and has seen many delays due to lack of funding. A particularly significant setback occurred during the Spanish Civil War, when Gaudi’s workshop was destroyed, including much of the documentation he left behind. Subsequent generations of craftsman and architects have relied on the remaining drawings and plaster models to advance the project, adhering to Gaudi’s vision as closely as possible. As a result, the design of the temple is a collaboration spanning centuries. Gaudi himself viewed the project as the collective work of generations. "I will grow old but others will come after me. What must always be conserved is the spirit of the work, but its life has to depend on the generations it is handed down to and with whom it lives and is incarnated."
In recent decades, La Sagrada Familia has adopted contemporary digital design and construction technologies. Architects and craftsmen use Rhinoceros, Cadds5, Catia, and CAM to understand the complex geometries and visualize the building as a whole. Plaster models are still used as a design tool, now generated by a 3-D printer to accelerate the process.
Architect: Antoni Gaudi
Present Chief Architect: Jordi Fauli
Former Chief Architects: Jordi Bonet, Francesc de Paula Quintana i Vidal, Isidre Puig i Boada, Lluís Bonet i Garí, , Francesc de Paula del Villar y Lozano
Deputy Chief Architects: Carles Buxadé, Joan Margarit, Josep Gómez Serrano
Technical Consultants: Universitat Politècnica de Catalunya, Royal Melbourne Institute of Technology
Project Department: Jordi Coll, Andrés de Mesa
Sculptors: Etsuro Sotoo, Josep Maria Subirachs
Stained Glass: Joan Vila-Grau
Area: 4.500 m2
Prayers were said prior to the certificate presentations during the ALOY Completion Ceremony at RMC.
The ALOY Completion Ceremony 2014 was held at RMC square on 20 June 2014. The Commander of the Canadian Army is also the Canadian Armed Forces and Department of National Defence Champion for Aboriginal Peoples. The Aboriginal Leadership Opportunity Year program offered at the Royal Military College of Canada in Kingston, Ontario is a unique one-year youth development program which exposes Aboriginal youth to academics, military skills, leadership, and athletics while respecting their cultural heritage.©2014 DND-MDN Canada
Photo by Ryan Johnson
The completion of improvements at Murray Hill Community Center has made a big impact on the surrounding neighborhood.
Last fall, work began on the construction of a new press box, concession stand, outfield scoreboard, and most importantly, restrooms at the community center’s adjoining athletic field.
Previously, neighborhood and recreational events either had to forego restroom facilities or have portable toilets brought in to meet the needs of the attendees, limiting participation from the community. In addition, prior to two years ago, there were no youth athletics held within the neighborhood or the Murray Hill facility.
Today, the City’s Recreation Department has 135 participants in its Murray Hill youth baseball and softball programs and approximately 90 participants in its youth football program. The improvements to the facility are assisting in meeting the needs of the growing involvement from the community.
After the completion in 1910 the old Pier was a popular venue amongst Capetonians wanting to 'get out'
A touch of old Hollywood meets modern chic. This home came with extra personality in each space. We had fun creating her vision and the results were nothing short of glamorous!
Photo by Ryan Johnson
The completion of improvements at Murray Hill Community Center has made a big impact on the surrounding neighborhood.
Last fall, work began on the construction of a new press box, concession stand, outfield scoreboard, and most importantly, restrooms at the community center’s adjoining athletic field.
Previously, neighborhood and recreational events either had to forego restroom facilities or have portable toilets brought in to meet the needs of the attendees, limiting participation from the community. In addition, prior to two years ago, there were no youth athletics held within the neighborhood or the Murray Hill facility.
Today, the City’s Recreation Department has 135 participants in its Murray Hill youth baseball and softball programs and approximately 90 participants in its youth football program. The improvements to the facility are assisting in meeting the needs of the growing involvement from the community.
After its completion in the early 16th century, Seville Cathedral supplanted Hagia Sophia as the largest cathedral in the world, a title the Byzantine church had held for nearly a thousand years. It is the third-largest church in the world as well as the largest Gothic church. Since the world's two largest churches, the Basilica of the National Shrine of Our Lady of Aparecida and St. Peter's Basilica, are not the seats of bishops Seville Cathedral is still the largest cathedral in the world.
Seville Cathedral was the site of the baptism of Infante Juan of Aragon in 1478, only son of the Catholic Monarchs Ferdinand II of Aragon and Isabella I of Castile. Its royal chapel holds the remains of the city's conqueror Ferdinand III of Castile, his son and heir Alfonso the Wise and their descendant king Pedro el Cruel. The funerary monuments for cardinals Juan de Cervantes and Pedro González de Mendoza Quiñones are located among its chapels. Christopher Columbus and his son Diego are also buried in the cathedral.
The Cathedral of Saint Mary of the See was registered in 1987 by UNESCO as a World Heritage Site, along with the adjoining Alcázar palace complex and the General Archive of the Indies. en.wikipedia.org/wiki/Seville_Cathedral