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Componentes de la op.EUTM #Mali XIII reciben en Bri."Galicia" VII #Pontevedra condecoraciones por su acción y frustrar ataque terrorista en febrero. #SomostuEjército ️ @Defensagob @eutmmali1
Here is a completed set of wine charms. Dig the "licorice allsorts" style capacitor on the lower right!
This is part of a DIY "solder your own wine charms" project; read more about it here.
Although there are plenty of individual components of an ecosystem in this photo, the main one is the rain-filled cloud. The water cycle is one of the four fundamental ecological processes widely accepted in the world today. It consists of evaporation, condensation, precipitation, transpiration, runoff, and infiltration. In the first step, evaporation, water absorbs heat energy from the sun and turns into vapor. The main sources of evaporation include oceans, seas, lakes, and rivers. The process of evaporation causes these sources to decrease in temperature. Clouds are formed during the process of condensation. The evaporated water particles move from the hydrosphere to the atmosphere at high altitudes, which causes water vapor to come together to form masses known as clouds. The clouds then pour down as precipitation due to wind or temperature change. The condensed water vapor (clouds) combine to make bigger droplets hence the rain, snow, sleet, or hail. Once the precipitation has fallen, it can go into three different places. Transpiration is a similar process to evaporation where liquid water is turned into water vapor by the plants. The water is absorbed through the roots of the plant and pushed toward the leaves where it is used for photosynthesis. The extra water not used for photosynthesis moves out of the leaves through stomata (very tiny openings on leaves) as water vapor. Another path the water could take after precipitation is runoff. Runoff is the process where water runs over the surface of the earth and displaces the top soil and moves the minerals along with the stream. Infiltration is also a possibility in which the water seeps down and increases the level of ground water table. Although it might seem fairly simple, the water cycle continues to baffle people and can be explained in much more detail than this. There are many articles and videos on the internet talking about specifics and how it all comes together in a quite a bit of more detail.
With 88 rear wheel horsepower in a sub-300lb package, this example is arguably the quickest and best handling old-school 750cc TT1 in North America.
I built this TT1 using period components as a relatively faithful replica of the TT1s that ran in the AMA BOTT GP class back in the day. The only deviation being the modern (90s) calipers and pumps, ignition coils and the non standard crankcase breather box in the seat. However, it differs from most TT1 replicas in that it was built to be a fast and reliable track bike. Over the years I’ve found that the only TT1 frame that seems to work well with modern 17” wheels & slicks is the final series Verlicchi large diameter, thin wall. Back in the day, Reno Leoni had DM Frames make a copy of the Verlicchi and DM has since modified the jig to allow for the use of a big block motor. The DM version was checked digitally last year against the Verlicchi and they are geometrically identical, however the DM is 12mm longer between the upper cross brace and the steering head. I countered this somewhat with the offset on my triple clamps, but the small difference in trail gives the DM a bit more stability with a very small decrease in agility.
The whole thing is held together with over $900 in titanium and aluminum fasteners. Every bearing and seal in the motor and on the machine is new. The bike is a highly-developed example of an old-school TT1 – works brilliantly on the track and handles better than any TT1 I’ve ridden. The bike and motor were built with care and a high level of attention to detail over an 18 month period. It was broken in correctly on the dyno and then saw six horsepower/tuning pulls and roughly 4.5 hours of track time. I’ve run the bike at Calabogie and Mosport – and came away delighted with the performance and handling on both occasions.
The specs are:
DM TT1 Frame
Marvic 3-spoke magnesium wheels with floating 280mm Brembo rotors front and 260mm rear
Brembo P3034 calipers with authentic Brembo racing caliper adapters
Brembo 996 series pumps
Authentic TT1 Brembo rear master
Marzocchi M1R forks substantially modified by Lindeman engineering back in the day (they work like no M1R I’ve ever experienced)
Authentic TT1 Marzocchi 195mm triple clamps
TZ replica throttle
Scitsu tacho
851 clip-ons (Verlicchi)
Authentic NCR electrics plate
Bosch ignition (rewired pick-ups) with Dyna 3 ohm coils
Custom-built Stadium shock (rebound plus Hi & Lo speed compression adjustment)
750 F1 aluminum swing arm
Leoncinni TT1 Replica floating rear brake caliper mount
Leoncinni TT1 Replica rear sets
Old Racing Spares endurance tank and TT1 seat with custom, integrated breather box
Bimota DB1R fender & mount
Romanelli TT1 fairing
loudbike open NCR replica exhaust
loudbike 85db Weber exhaust
750 Sport-based bottom end built by Gary Palmer
800SS rods
Lightened clutch basket, clutch housing, primaries and flywheel
JPrecision heads with new valves, guides & seats and NCR #7 cams with STM adjustable pulleys
Modified F1B pistons (12.5:1 compression)
Mikuni TM Pro-series 41mm flat slides
Mikuni vacuum fuel pump
Modified Old Racing Spares cam end covers
Oil cooler with Starlite hoses, Earls fittings and top-end lubrication via cam end cover feed
Magnesium rocker covers
Dyno-tuned to 88hp, 56ftlbs torque
The fiberglass fairing is a period piece, so there are some minor surface cracks already starting to show. As well, there is some minor paint blistering (two quarter sized areas) from heat off the 95bd exhaust.
You can see the dyno runs at www.youtube.com/watch?v=h6lMRYyqrz4&feature=share&...
www.youtube.com/watch?v=-mt_-oKAIMs&feature=share&...
You can read about the progress of the build on my blog at:
loudbike.blogs.com/loud_bike/2013/07/back-in-the-saddle.html
loudbike.blogs.com/loud_bike/2012/09/4th-annual-ducati-tt...
loudbike.blogs.com/loud_bike/2012/05/ducati-750-tt1-and-b...
loudbike.blogs.com/loud_bike/2011/12/winter-2011-loudbike...
Fisher Investments MarketMinder Image: Key US GDP Components (Q1 2003 = 100)
Source: US Bureau of Economic Analysis
Cover Story: www.marketminder.com/s/fisher-investments-us-gdp-growth-a...
Please also visit my Photoblog at brohardphotography.blogspot.com
Follow me and become Fan at Facebook Loïc Brohard Photography
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The Registan was the heart of the ancient Samarkand, Uzbekistan. The name Registan (ریگستان) means "Sandy place" in Persian.
The Registan was a place of public executions, where also people gathered to hear royal proclamations, heralded by blasts on enormous copper pipes called dzharchis.
The three madrasahs of the Registan are: Ulugh Beg Madrasah (1417–1420), the Sher-Dor Madrasah (1619–1636) and the Tilya-Kori Madrasah (1646–1660). Madrasah is an Arabic term meaning a Muslim clergy academy.
The Ulugh Beg Madrasah has its imposing portal with lancet arch facing the square. The corners are flanked by the high well-proportioned minarets. Mosaic panel over the entrance arch is decorated by geometrical stylized ornaments. The square-shaped courtyard includes a mosque, lecture rooms and is fringed by the dormitory cells in which students lived. There are deep galleries along the axes. Originally the Ulugh Beg Madrasah was a two-storied building with four domed darskhonas (lecture room) at the corners. The madrasah was one of the best clergy universities of the whole Moslem Orient of the 15th century. Abdurakhman Djami, a prominent poet, scientist and philosopher studied there. Ulugh Beg himself gave lectures there. During Ulugbek's government the Madrasah was a centre of secular science. In the 17th century the ruler of Samarkand Yalangtush Bakhodur ordered the construction of the Sher-Dor and Tillya-Kori madrasahs. The Sher-Dor (Having Tigers) Madrasah was designed by architect Abdujabor. The decoration of the madrasah is not as refined as that on the 15th century - "golden age" of Samarkand architecture. Anyway, the harmony of large and small rooms, exquisite mosaic decor, monumentality and efficient symmetry - all these put the structure among the best architectural monuments of Samarkand.
Ten years later the Tilya-Kori Madrasah was built, the name means "Gilded". It was not only the place of training students, but also it played the role of grand mosque. It has two-storied main facade, vast courtyard fringed by dormitory cells with four galleries along axes. Mosque building (see picture 6) is situated in the western section of the courtyard. The main hall of the mosque is abundantly gilded.
To the east of Tilya-Kori Madrasah the mausoleum of Shaybanids (16 century) is located (see picture). The real founder of Shaybanid power was Muhammad Shaybani - grandson of Abu'l Khair. In 1500, with the backing of the Chaghataite Khanate, then based in Tashkent (Uzbekistan), Muhammad Shaybani has conquered Samarkand and Bukhara from their last Timurid rulers. The founder of the dynasty then turned on his benefactors and in 1503 took Tashkent. He captured Khiva in 1506 and in 1507 he swooped down on Merv (Turkmenistan), eastern Persia, and western Afghanistan. The Shaybanids stopped the advance of the Safavids, who in 1502 had defeated the Akkoyunlu (Iran). Muhammad Shaybani was a leader of nomadic Uzbeks. During the ensuing years they substantially settled down in oases of Central Asia. The Uzbek invasion of 15 c. was the last component of the today's Uzbek nation ethnogeny.
The ancient trading dome Chorsu is situated right behind the Sher-Dor. Now it is well restored. The existence of the trading dome at this place confirms the information that Registan was medieval Samarkand's commercial center and the plaza was probably a wall to wall market. During the Soviet era, the site was restored, which included digging down 3 meters to its original level to expose the buildings' full height.
Necklace made for the Art Jewelry Elements component of the month blog hop.
fulgorine.wordpress.com/2013/09/30/aje-september-seedpod/
Focal seed pod by Lesley Watts, polymer clay beads & necklace by me.
The Space Shuttle orbiter is the spaceplane component of the Space Shuttle, a partially reusable orbital spacecraft system that was part of the discontinued Space Shuttle program. Operated from 1977 to 2011 by NASA, the U.S. space agency, this vehicle could carry astronauts and payloads into low Earth orbit, perform in-space operations, then re-enter the atmosphere and land as a glider, returning its crew and any on-board payload to the Earth.
Six orbiters were built for flight: Enterprise, Columbia, Challenger, Discovery, Atlantis, and Endeavour. All were built in Palmdale, California, by the Pittsburgh, Pennsylvania-based Rockwell International company. The first orbiter, Enterprise, made its maiden flight in 1977. An unpowered glider, it was carried by a modified Boeing 747 airliner called the Shuttle Carrier Aircraft and released for a series of atmospheric test flights and landings. Enterprise was partially disassembled and retired after completion of critical testing. The remaining orbiters were fully operational spacecraft, and were launched vertically as part of the Space Shuttle stack.
Columbia was the first space-worthy orbiter; it made its inaugural flight in 1981. Challenger, Discovery, and Atlantis followed in 1983, 1984, and 1985 respectively. In 1986, Challenger was destroyed in an accident shortly after its 10th launch. Endeavour was built as Challenger's successor, and was first launched in 1992. In 2003, Columbia was destroyed during re-entry, leaving just three remaining orbiters. Discovery completed its final flight on March 9, 2011, and Endeavour completed its final flight on June 1, 2011. Atlantis completed the final Shuttle flight, STS-135, on July 21, 2011.
In addition to their crews and payloads, the reusable orbiter carried most of the Space Shuttle System's liquid-propellant rocket system, but both the liquid hydrogen fuel and the liquid oxygen oxidizer for its three main rocket engines were fed from an external cryogenic propellant tank. Additionally, two reusable solid rocket boosters (SRBs) provided additional thrust for approximately the first two minutes of launch. The orbiters themselves did carry hypergolic propellants for their Reaction Control System (RCS) thrusters and Orbital Maneuvering System (OMS) engines.
Wikipedia: <a href="https://en.wikipedia.org/wiki/Space_Shuttle_orbiter" rel="noreferrer nofollow">en.wikipedia.org/wiki/Space_Shuttle_orbiter</a>
EXERCISE STEEL TITAN 2015
5th Canadian Division Tests the Limits in Urban Operations
Soldiers from 36 Territorial Battalion Group (36 TBG), a sub component of 36 Canadian Brigade Group (36 CBG), performed urban operations training within the Halifax Regional Municipality from 23-25 January 2015 as part of Exercise STEEL TITAN 2015.
Exercise STEEL TITAN was the third 36 TBG training initiative of the 2014/15 fiscal year and tested members of 5th Canadian Division on close quarter combat and strategy to respond to enemy forces in an urban environment. To find out more about 36 TBG and 36 CBG, visit: www.army-armee.forces.gc.ca/en/36-cbg/index.page.
Photo Story:
www.army-armee.forces.gc.ca/en/36-cbg/index.page
Photo by WO Jerry Kean/5 Div Public Affairs
LH2015-001-030
Canadian Forces Ammunition Depot Bedford
25 Jan 2015
Los componentes de la unidad de #helicópteros ISPUHEL XII se preparan para su próximo despliegue en 🇺🇸 “Camp Taji” #Irak
El contingente formado por 71 efectivos de las #FAMET y de otras unidades del #EjércitodeTierra , se ha desplegado en #Almagro , realizando su última fase de preparación antes del despliegue en apoyo a la coalición internacional en la operación Combined Joint Task Force - Operation Inherent Resolve - عملية العزم الصلب #SomostuEjército 🇪🇸
My Main instrument Panel components; I designed using CAD and just received the results from the machine shop. Took a lot of help from David Allen to get this far.
3D Design
www.flickr.com/photos/24409839@N07/6849951075/in/datepost...
Composants électroniques (focus stacking).
Image composée de 25 photos prises avec la bonnette Raynox DCR-250 et assemblées avec Zerene Stacker.
Exercise Cobra Warrior After my afternoon visit on Tuesday 14th March, where I just missed photographing the visiting fighters arriving back at base, I made up for it on the following Friday 17th - managing to record the departure home of all six of the Belgian Air Component F-16s, four of the Finnish Air Force F-18s and a pair of the 'exotic' Indian Air Force Mirage 2000s 😎 :)
Very short video footagel of FA-127 & FA-116 - the final two Belgian Air Component F-16s that departed Waddington around 10.00 - arrived at the holding position, with Raytheon (Beechcraft) Shadow R.1 ZZ516 departing down runway 20 in the background.
Exercise Cobra Warrior is a biannual exercise run by the Royal Air Force and is designed to exercise participants in high intensity large force tactical training. This year's exercise is taking place from the 6th to the 24th of March, controlled by directing staff at RAF Waddington. More info on Exercise Cobra Warrior here: www.raf.mod.uk/news/articles/international-participants-f...
Cobra Warrior Participants
Based at Waddington
🇧🇪Belgian Air Force (Force Aérienne Belge)🇧🇪
General Dynamics F-16AM Fighting Falcon (Viper) x6
FA-77
FA-102
FA-116 (349 sqd special tail)
FA-127
FA-134
FA-136 (display special)
🇫🇮 Finnish Air Force (Ilmavoimat) 🇫🇮
McDonnell Douglas F-18C Hornet x6
HN-406
HN-411 (small bull on nose)
HN-422
HN-424 (black lynx on nose)
HN-438
HN-448
🇮🇳 Indian Air Force 🇮🇳
Dassault Mirage 2000 x5
KF112 - 2000I
KF118 - 2000I
KT208 - 2000TI
KT211 - 2000TI
KT213 - 2000TI
Based at Coningsby
🈂 Royal Saudi Air Force 🈂
EF2000 Eurofighter Typhoon x6
1020 - T3
316 - FGR4
8019 - FGR4
1019 - FGR4
1022 - FGR4 (Green Canard)
8018 - FGR4
More info here: www.fightercontrol.co.uk/forum/viewtopic.php?f=455&t=...
Low-res shot taken with an iPhone 6s iPhone photography - apologies for the poor quality of some of these phone photos - sometimes they're nice and sharp - sometimes they're all pixelated and not up to my usual standard. The videos are better :)
You can see a random selection of my aviation memories here: www.flickriver.com/photos/heathrowjunkie/random/
I'm pleased as punch to see this project completed (other than adding a lockable drawer in the empty slot about 1/3 the way down from top. Proper control of the audio/visual system in my office's main committee room has been a LONG time coming!
Generator and magneto. Like the original system, the MZB does not need a battery to start or run. On this kit, the rotor hit the crank seal and the trigger unit plate, and had to be machined with a lathe to fit.
Peter Blau works with instruments to determine tribological properties of battery components at the High Temperature Materials Laboratory
Manufacturer: EADS
Operator: Belgian Air Force/ Belgian Air Component
Type: A-400M Atlas (CT-07) transport aircraft
Event: 2023 RIAT/ RAF Fairford
This exclusive Eurobricks Pictorial Review of the 71001: LEGO Collectable Minifigures Series 11 can be found in www.eurobricks.com/forum/index.php?showtopic=85145
Two engineers inspecting a component in the assembly line at SATU facility in Singapore
Please attribute copyright © Rolls-Royce PLC
Taken with a Zorki 1 camera in week 226 of my 52 film cameras in 52 weeks project:
52cameras.blogspot.com/
www.flickr.com/photos/tony_kemplen/collections/7215762311...
Rollei RPX 400 film developed in Ilfosol 3 1:14 for 18 minutes at 20 deg C
The intake cowls have been removed from the Rolls-Royce RB211-524H's on G-CIVL and are on pallets in the foreground.
Both inlet and exhaust sides of the RR engine have been sealed, presumably to stop damage from weather ingress?
"Mecha Man", and original LEGO creation by Baron von Brunk: this is the mechanized battle upgrade to Capcom's Mega Man! Built with basic LEGO pieces, Technic parts and a few Bionicle components, I have constructed a fully-articulated action figure that stands at 15'', and has a removable Mega Buster arm attachment!
The clamping component is a steel column with a pressure pad base, and a long spring loaded rod through the column. The rod is actuated at the top end with an eccentric cam lever which pulls up on the rod. The opposite end of the rod has a steel rectangular component which is intended to be angled in the sliding table t-slot, thus providing the gripping function to secure the steel column to the sliding table.
I have mixed feelings about this steel rectangular component since it has no softer material on the face to prevent chewing up the underside of the aluminum sliding table t-slot. Care must be taken in adjusting the clamping force to ensure it doesn't damage the upper inside edge of the sliding table t-slot.
I'd like to be able to keep the ability of the gun to break down, but not sure if I'll have time to engineer that into the design
here's our first attempt at an overview of junto philosophy and components. still needs some unpacking. comments/suggestions welcome!
Midtown Manhattan, New York City, New York, United States
An integral component of the highly-acclaimed International Style Seagram Building designed by Ludwig Mies van der Rohe (a designated New York City Landmark), the Four Seasons Restaurant Ground Floor and First Floor Interiors have been praised by architectural critics as among the finest International Style interior spaces in the United States. Designed in 1958 by celebrated architect Philip Johnson and built in 1958-59 as an innovative first-class restaurant for Restaurant Associates, it opened amid much fanfare and was at that time the costliest restaurant ever constructed. The
interiors produced by Johnson and a stellar team of consultants are considered to be among Johnson's last projects to mirror the architectural theories of his mentor Mies van der Rohe. The designers used rich materials, installed with expert craftsmanship to accentuate their inherent beauty, innovative technology, and distinctive architectonic elements to shape the understated and elegantly proportioned interiors, which reflect the modular system employed in the design of the Seagram Building. The operations of the award-winning Four Seasons Restaurant were taken over in 1972 by Tom Margittai and Paul Kovi, who have kept the interior spaces in virtually intact condition and have been faithful to their original, influential design. Among the creative features of the restaurant is its seasonal' theme, which inspires the meals served as well as plantings and color-coded ' appointments. A cultural magnet for tourists and the city's elite, it is one of New York's premier dining spaces due to the architectural preeminence of its design, the richness of its exquisite interiors, its location in the the Seagram Building, and the restaurant's exceptional culinary reputation.
History of the Seagram Buildinq
The Seagram Building, erected in 1956-58, is the only building in New York City designed by architectural master Ludwig Mies van der Rohe. Carefully related to the tranquil granite and marble plaza on its Park Avenue site, the elegant curtain wall of bronze and tinted glass enfolds the first fully modular modem office tower. Constructed at a time when Park Avenue was changing from an exclusive residential thoroughfare to a prestigious business address, the Seagram Building embodies the quest of a successful corporation to establish further its public image through architectural patronage. The president of Joseph E. Seagram & Sons, Samuel Bronfman, with the aid of his daughter Phyllis Lambert, carefully selected Mies, assisted by Philip Johnson, to design an office building later regarded by many, including Mies himself, as his crowning work and the apotheosis of International Style towers. The innovative, modular design of the building was a feat furthered by a coalition of talented consultants, a successful collaboration rarely realized in twentieth-century architecture, and by pioneering efforts of research and fabrication. Still virtually intact due to the foresighted maintenance plan of the Seagram Company, the building and plaza have inspired the work of many subsequent designers, affected New York's zoning regulations and real estate tax assessment, and provided a favorable environment for work and repose.
As one of the amenities of the building, the Seagram management from the beginning had the intent to provide large, elegant interior spaces with public access from the lobby. In discussions as early as 1956, several options were considered: a museum of crafts, a stylish automobile showroom (along the lines of Frank Lloyd Wright's Mercedes-Benz showroom further north on Park Avenue), and a first-class restaurant. Mies and Johnson began preliminary work on the overall design of the interior spaces prior to the selection of Restaurant Associates as the tenant.
Restaurant Associates
The Seagram Company decided that a first-class restaurant should occupy the space adjacent to the lobby of its new building, and in 1957 Seagram's leasing agent, Cushman & Wakefield, made arrangements with the firm of Restaurant Associates. Restaurant Associates, Inc. was founded in 1947 by A.F. Wechsler, leader of one of the world's largest companies which roasted coffee for commercial use. Holding a substantial interest in the restaurant chain that owned Rikers restaurants, Wechsler selected his son-in-law Jerome Brody (bom c.1924) as the president of R.A. Mr. Brody expanded the company's activities to include the operation of snack bars and cafeterias for outside interests? he also negotiated contracts to operate the food services at Newark Airport and the Lexington Hotel in New York, and purchased the tourist-enticing leone's. After their successful expansion into the first-class restaurant business with the Forum of the Twelve Caesars, Brody and vice-president Joseph Baum (bom c.1921), a prominent American restaurateur, dedicated themselves to establishing the Four Seasons Restaurant in the Seagram Building as a first-class restaurant with a seasonal theme.
Philip C. Johnson
When approached by Lambert regarding who should design of the restaurant interiors, Mies recommended Johnson. Critic, historian, and architect Philip Johnson (b. 1906) was graduated from Harvard University and became associated with the Museum of Modem Art soon after its founding in 1929, directing its innovative department of architecture and later designing its sculpture garden (1953) and two additions (1950, 1964). With the critic and historian Henry-Russell Hitchcock, he organized the momentous exhibition, "Modem Architecture" (1932), and coauthored The International Style (1932), a manifesto for the vanguard architecture of Walter Gropius, Le Corbusier, and Mies van der Rohe.
Johnson was responsible for inviting Le Corbusier and Mies to the United States. Completing his professional degree in architecture at Harvard in 1943, he subsequently designed several influential residences, including his own Glass House (1949). His association with Mies on the Seagram Building, particularly his design for the Four Seasons Restaurant Interiors (1958-59), was recognized by architectural critics as a highlight in Johnson's career. His later work includes many New York projects: Asia House (now the Russell Sage Foundation/Robert Sterling Foundation Building), 112 East 64th Street (1958- 60), located in the Upper East Side Historic District; New York State Theater at Lincoln Center (1964); New York State Pavilion (1964, with Richard Foster) for the World's Fair in Flushing; Elmer Holmes Bobst Library and Tisch Hall, New York University (1972, both with Richard Foster) ; and the American Telephone and Telegraph Building, 550 Madison Avenue (1980-84, with John Burgee). In 1978 the American Institute of Architects awarded him its highest honor, the Gold Medal.
Design Consultants
Johnson selected a stellar team of design consultants to work with him on the Four Seasons Interiors; in addition, he was aided by William Pahlmann, who was the principal designer for Restaurant Associates.
A graduate of the Parsons School of Design in New York and the Parsons School in Paris, leading interior designer William C. Pahlmann, F.A.I.D., (1900-87) worked as a stage designer and in 1931 established a New York office as a private interior consultant. He became head of the decorating department at Lord & Taylor in 1936; his designs there earned him the reputation as "the best known department store decorator in the U.S."
Praised for his colorful designs, he then became a military camoufleur as a captain in the Army Air Corps. Noted for both his eclecticism and innovativeness, Pahlmann "exercised a pervasive influence on American taste" and helped turn interior designing and decorating into an important component of the multi-billion-dollar home-furnishings industry. At the Four Seasons, he is credited with proposing the marble pool for the north dining room, its placement in the room with four trees at its comers, and the floral festoons at the windows. The New York chapter of the American Institute of Interior Designers granted him the Elsie de Wolfe Award in 1964.
Architect and lighting consultant Richard Kelly (c.1911-1977) designed the lighting for the Seagram Building and the Four Seasons Restaurant Interiors. While studying at Columbia College, Kelly supported himself by designing and selling light fixtures; after graduating in 1932, he opened his own office as a lighting consultant. During his career, Kelly, the "most outstanding lighting consultant in the country," collaborated with such prominent architects as Louis I. Kahn and Eero Saarinen, as well as Mies and Johnson.
He produced many exceptional lighting designs, including those for: the Seagram Building; Lincoln Center (except for the Metropolitan Opera), New York (1962-64); Dulles Airport, Chantilly, Va. (1958-62); General Motors Technical Center, Warren, Mich. (1945-56); Sculpture garden at the Museum of Modem Art, New York (1953) ; Jefferson National Expansion Memorial, or St. Louis Arch (1948-64); Philip Johnson Glass House, New Canaan, Conn. (1949); Eric Boissonnas House, New Canaan, Conn. (1956); Kneses Tiferith Israel Temple, Port Chester, N.Y. (1956); Toronto City Hall (1961-65); Yale University Art Gallery, New Haven, Conn. (1951-53); Mellon Center for British Art and Studies at Yale University, New Haven, Conn. (1969-74) ; Coming Glass Center, Coming, N.Y. (1950-51, 1955-56) ; Lake Shore Drive Apartments, Chicago (1948-51) ; and the Kimbell Art Museum, Fort Worth, Tex. (1966-72). Kelly also published extensively on illumination.
Other consultants were Karl Linn, the landscape architect and a professor at the University of Pennsylvania; Everett Lawson Conklin, the horticulturist and award-winning floral designer; and Marie Nichols, a weaver who designed the aluminum chain draperies for the Four Seasons Interiors and had collaborated with Richard Kelly on several projects. Artist Richard Lippold designed the suspended gold-dipped brass sculptures in the Bar/Grill Room.
Still others were selected for their designs of movable features which, although significant to the history of the Four Seasons, are not included in this designation. The chairs were designed by Mies much earlier in his career and originally shown in Czechoslovakia in 1927. Additional chairs were designed by Charles Eames (1907-78), pull-up hassocks and small tabouret tables by Eero Saarinen (1910-61), two prominent architects and designers who collaborated on furniture designs for Knoll Associates as well as on architectural projects. Ada Louise and L. Garth Huxtable produced over sixty special designs for the silver holloware, glassware, and silver services—which are still in use at the Four Seasons.
Design and Construction
Having provided the Seagram Building with a unity between indoor and outdoor spaces, Mies carried the modular design, clearly evident on the building's exterior, into the interiors of the grand public rooms. Johnson used the structural system and generously proportioned volumes as his point of departure for the design of the restaurant interiors, substantially completed in 1958. His design took advantage of the space to create dramatic effects and elegant proportions achieved through varied ceiling heights, a controlled system of circulation through the rooms, and architectonic elements, such as the pool and the bar, which further define distinct volumes within the larger spaces.
The interplay of solid and void is artfully exemplified by the sturdy bar with its delicate sculpture above. These large public spaces were conceived to have elegant interiors to complement the Seagram Building itself: walls of the spacious rooms covered with expensive wood paneling washed in light from invisible sources and floor-to-ceiling windows screened by metallic chain curtains which ripple when the ventilation system is operating. The restrained ceiling, elegant staircases, ingenious lighting scheme, sculpture, and furnishings were carefully designed to create the sophisticated simplicity associated with the International Style. Johnson's early works were noticeably indebted to Mies's architectural theories, and this design is generally regarded as Johnson's last such project.
The Four Seasons Restaurant
Five dining rooms accommodate 400 persons. Its two wine "cellars" permit the Four Seasons to boast one of the largest wine collections in the country. Upon the opening of the restaurant in July of 1959, first-class service was assured by daily indoctrination for waiters by James Beard, the famous wine and food authority.
The seasonal theme inspired the Four Seasons to maintain its own herb garden, an innovative venture in American restaurants. Eclectic menus combine American bounty with international culinary concepts and techniques, making the Four Seasons a pioneer of what would later be called the "New American Cuisine." These concepts are reflected visually in the restaurant's decor. Rotated seasonally, the four trees at the comers of the marble pool complement the restaurant's logo, which determines the color scheme for each season. Thus auxiliary planting as well as appointments such as uniforms,
menus, and even ash trays were originally rotated every three months: pink for spring, green for summer, burnt orange for autumn, and brown for winter. Establishing an optimum micro-climate for plant survival allowed the designers to integrate interior planting from the beginning of the project.
The total cost of approximately $4.5 million for the Four Seasons, making it at that time the costliest restaurant ever built, included architectural alterations and furnishings, linens, uniforms, art, kitchen equipment, silver, service carts, china, glassware, menus and other printed matter, plants and flowers, and design and consultation fees. The Seagram Company underwrote part of the cost, including the installation of the air conditioning system, the walls, and the partitions.
The Seagram Company enhanced the International Style interiors by lending the restaurant several masterpieces of modem art. These features, while long associated with the restaurant spaces, are not part of this designation. Pablo Picasso's "The Three-Cornered Hat," a painted curtain completed in 1919 for Diaghilev's ballet "Le Tricorne" hangs in the restaurant lobby.
This dedication to modem art, continued over the years, includes works by Frank Stella and Jackson Pollock. In 1984 the current restaurant owners commissioned James Rosenquist for a painting later titled "Fish, Flowers, and Females for the Four Seasons," now displayed in the mezzanine dining room overlooking the Pool Room.
The Four Seasons opened to the public in July, 1959, and was followed, in the subsequent year, by a neighboring restaurant, The Brasserie, also designed by Johnson and Pahlmann (not included in this designation).
Description
located on portions of the first floor and the ground floor at the eastern end of the Seagram Building, the Four Seasons Restaurant Interiors are composed of several interior spaces, each with a distinct character and spatial quality but united by certain design elements. The Interiors of the Fours Seasons Restaurant include two major dining rooms, the Pool Room at the north side of the building and the Bar/Grill Room at the south side, linked by an Entrance Corridor/Lobby which adjoins the Lobby of the Seagram Building.
The East 52nd Street Entrance lobby located at the ground floor provides access to the Bar/Grill Room by means of a broad staircase. Two small, adjoining private dining rooms are situated behind a balcony that overlooks the Bar/Grill Room. Another dining room is located at the mezzanine level of the Pool Room. The restaurant is furnished with movable custom furniture, fixtures, and accessories which still adhere to the original designs.
The Entrance Corridor/Lobby:
The entrance to the Four Seasons Restaurant Interiors from the Seagram Building Lobby (a designated New York City Interior Landmark) is reached by broad travertine steps. A glass wall provides visual continuity between the two spaces, which share certain design features: walls and floors lined in travertine, ceilings composed of gray glass mosaic set in black cement, and engaged bronze piers of the building's structural system. The bronze-framed tripartite glass wall is bisected by a central meeting rail and contains paired glass doors. A flat bronze band intersects the lower portion of the wall. Bronze piers are located near the eastern wall of the corridor, flanking Picasso's painted curtain, "The Three-Cornered Hat" (not subject to this designation).
Designed to be illuminated from below, a row of raised alabaster panels, framed in bronze and protected by posts with suspended chain, is located along the floor beneath the curtain. Recessed light fixtures illuminate the space and incandescent recessed troffer lighting fixtures wash the eastern wall with light. Metal-framed glass doors at each end of the corridor lead to vestibules serving the major dining rooms. The vestibules have dropped ceilings formed by brass-colored egg-crate grids illuminated from above. The glazed eastern wall of the Pool Room vestibule reveals a wine "cellar," and the eastern wall of the Bar/Grill Room vestibule is lined in French walnut with openings to accommodate a coat- check area.
The Pool Room:
A lofty, square space with a twenty-foot high ceiling, the Pool Room is dominated at the center by a table-height twenty-foot square pool of white Carrara marble filled with continuously bubbling water. Cylindrical bronze planters holding trees sit on the floor at each of the four comers of the pool; the trees, which change seasonally, are illuminated from below with bucket lights set into the planters.
The western and northern walls are composed of continuous windows which rise above low travertine ledges. The windows are divided into vertical panels by bronze mullions; metal draperies of thin anodized aluminum chains are fitted into vertical channels in the mullions. The chains, in shades of brass, bronze, and copper, subtly ripple with the movement of air from diffusers set into the ledges below. Bronze bowl planters are suspended in front of the windows from nearly invisible wires. The southern wall, pierced by openings for the entrance and the kitchen, is lined with rectangular rawhide panels set on walnut. The bottom row of panels is gray, and those above are natural. Each wall in the room is punctuated by engaged bronze piers.
At the eastern end of the Pool Room is a rectangular mezzanine-level room reached by a broad central staircase. The base of the mezzanine is paneled in gray rawhide. The stairs and the edge of the mezzanine are lined with bronze railings composed of thin staggered rods, which, when viewed as one passes them, create the effect of movement. Panels of French walnut, designed and crafted to emphasize the prominent grain of the wood, are set behind the railings; they also pivot so that the mezzanine-level room may be either closed off or function as an extension of the Pool Room. The glazed northern wall is continued in the upper room, while the eastern wall, dominated by a large painting by James Rosenquist (not subject to this designation), and the southern wall of that room are covered in beige carpet panels.
The specially-designed ceiling is composed of square off-white panels of perforated aluminum layered over a recessed grid; the intersections of the grid are fitted with "darklites," a recessed incandescent fixture from which light is directed by bronze-finished reflectors. Recessed troffers wash the southern wall with light. The wall-to-wall carpeting has a grid pattern which echoes the overall geometry of the room. (Although not original, it was designed under the direction of Philip Johnson).
The Bar/Grill Room:
The Bar/Grill Room is divided into several different areas. A small lounge area located at the northwest comer of the room is separated from a bar area at the southwest comer of the room by a large, broad stairwell linking the space with the East 52nd Street Entrance Lobby. A dining area occupies the center of the room and a narrow balcony-level dining area, reached by stairs at each end, spans the eastern side of the room.
The Bar/Grill Room has some of the many architectural elements as the Pool Room, including the twenty-foot high specially-designed ceiling, window walls with metal draperies rising from travertine ledges at the west and south, French walnut paneling lining the northern and eastern walls, wall- to-wall carpet, and the balcony. The face of the balcony is now washed with light from below by a bay of incandescent lamps covered by a grid. Engaged bronze piers punctuate the walls. The carpeting is a darker version of the same design used in the Pool Room.
The stairwell between the bar and lounge areas is lined in bronze railings of thin, staggered rods. The bar area is dominated by a square walnut bar fitted with leather panels and surrounded by an ebonized oak floor. Two sculptures by Richard Lippold, composed of delicate groups of gold-dipped brass rods of varying lengths, are suspended from the ceiling by nearly invisible wires. Following his usual procedure, Lippold designed the sculptures specifically for their present locations to enhance the organization of the Bar/Grill Room. The larger sculpture contrasts dramatically with the solid walnut bar directly beneath it, creating an intimate space within the larger limits of the room. This juxtaposition is balanced by the smaller sculpture over the balcony.
The bar is separated from the dining area by a partition of laminated, cracked glass; this was installed in 1983 under the direction of Philip Johnson and replaced a trellis of climbing ivy. A French walnut service desk to the east of the entrance from the Corridor/Lobby and round planters (which replace the original wood planters) between the service desk and the partition also serve to define the dining area.
Two adjoining rooms are situated behind walnut-paneled doors at the northern and southern ends of the balcony; these doors have an ebonized surface on the side of the rooms. The rooms are smaller and more intimate than the large rooms. A vestibule behind the northern end of the balcony leads to the larger of the two rooms, which is rectangular, and joins the smaller, square room to the south by a wide doorway with a sliding ebonized door. Except for the outer wall of the southern room which has continuous windows and metal draperies, the walls are lined with rectangular panels of highly-polished hardwood set onto a dark wood surface. The ceiling is of the same grid-and-panel design used in the larger rooms, except that the surface is black and the panels are pierced with holes roughly one-inch wide and spaced apart in a random pattern, which are illuminated from above. The floors are carpeted. The vestibule at the northern end is similarly finished.
The East 52nd Street Entrance Lobby:
The lower Entrance Lobby is reached at its southeastern end from East 52nd Street through two sets of glass doors separated by a vestibule with a brass-colored egg-crate grid ceiling. The outer doors are etched with vertical stripes. The floor and walls are travertine and pierced with openings along the eastern, southern, and northern walls for restrooms, an office, and a coat-check area. The space is illuminated by recessed fixtures set into a low white ceiling. Engaged bronze piers and a ceiling beam bisect the room on a north-south axis. At the western side of the lobby is a broad staircase with one landing; this links the Lobby and the Bar/Grill area. It is lined with bronze railings. The two round planters replace the original wood planters.
Subsequent History
Immediately after its opening the Four Seasons received enthusiastic reviews, both architectural and culinary; critics said that the "spectacular, modem and audacious" restaurant design "combines its exceptional sumptuousness with exquisite refinement." When it opened, the restaurant had no peer "in conception, in scale, in the wealth of talent behind it."
In the early 1970s, Transylvanian-born Tom Margittai, then vice- president of Restaurant Associates, was given the responsibility of selling off the business of a foundering Four Seasons Restaurant. Instead, he and the director of the Four Seasons, Hungarian-born Paul Kovi, jointly purchased it from R.A. in 1972 with the goal of reviving the restaurant. They hired chef Joseph Renggli, a Swiss native, and soon the restaurant became, as "one of America's leading symbols of good taste," extremely popular with New York's elite. A recipient of twenty-two major awards, the Four Seasons has hosted many memorable parties for national celebrities, international gourmet societies, and wine inaugurals.
Experts Ada Louise and L. Garth Huxtable, involved with the restaurant from its planning stages, have noted that the new owners "have been faithful to the [original] concept." The design of these famous International Style interiors has been caringly maintained. Among the handful of physical changes was the removal of an ivy-covered screen and its replacement in 1983 by a laminated, cracked glass partition designed by Johnson.
- From the 1989 NYCLPC Landmark Designation Report