View allAll Photos Tagged Configuration
In "guide boat" configuration.
Windshield seen here www.flickr.com/photos/49353569@N00/5316081368/
was removed after this accident, www.flickr.com/photos/49353569@N00/6106220903/
and a small spray dodger was added similar to the one on the Mackenzie Cuttyhunk "Bevie C" that was in Wooden Boat #138 October '97 page 80.
This canvas "tent' was donated, and we are in the process of modifying it for use next season.
www.flickr.com/photos/49353569@N00/7672218782/in/photostream Many early bass boats sported pipe and canvas tops and I've always liked the "look".
Ready to launch.
I swapped out for a longer stem, and pushed the seat forward 1 cm. I'm more over the pedals now and not so far in front of the bars when standing.
How to access Dropbox from the command line in Linux
If you would like to use this photo, be sure to place a proper attribution linking to xmodulo.com
Image Disclaimer - Please note that all of the images shown are for illustrative purposes only. The rooms pictured are not necessarily typical of the accommodation available at Student Apartments, which can vary in terms of size, configuration, and finish.
1963 Porsche 356B Super-90 Coupe
Chassis No. 122550
Engine: 1600 (Super-90)
Transmission: 741 4-Speed
History
The Porsche 356 was the company's first production automobile. It was a lightweight and nimble handling rear-engine rear-wheel-drive 2 door sports car, available in hardtop and convertible configurations. Design innovations continued during the years of manufacture, contributing to its motorsports success and popularity. Production started in 1948 at Gmünd, Austria where approximately 50 cars were built. In 1950 the factory relocated to Zuffenhausen, Germany and general production of the 356 continued until April 1965.
In 1960 Porsche first offered the offered the S90, or 'Super 90' motor as an available option in the 356B.
Porsche Super 90 Engine
Sports Car Graphic reported that the Porsche Super 90 was “tamer in traffic and [in the] lower speed ranges than the 1600 Super. Getting off the mark fast from a standing start takes some practice, as the big carburetors can’t be dumped open too fast. Once the biggest chunk of inertia is overcome, you can [floor the accelerator] and start moving out very fast indeed. In fact, one of the most impressive things about this engine is the feeling of torque -- the sheer push in the shoulders -- that one gets on booting the throttle...”
Objectively, the Super 90 was quick: with less than 10 seconds 0-60 mph in SCG’s test.
Testers generally praised the B’s handling, especially in 1961 when Koni shock absorbers became standard for both Supers, matched by suitably lower spring rates. More significant was a reduction in rear roll stiffness via 23-mm torsion bars and the addition of a transverse leaf spring -- sometimes called a “camber compensator” -- as standard for S90s (optional elsewhere).
Unique features of the Super 90 Engine appealed to performance-minded drivers. Super 90s could be revved about 800 rpm higher than other 356B 1600s thanks to a special cooling layout that gathered in more air, plus nitrided crank and cam-bearing surfaces, a lighter flywheel, stiffer valve springs, light-alloy rockers, larger-diameter (by 5 mm) main bearings, and cylinders lined with Ferral, a coating of steel over molybdenum. S90s also had a unique oil pickup system that allowed the engine to draw lubricant from the sump’s full side in hard cornering, thus ensuring proper lubrication at all times. It was an important advance that Porsche racers had wanted for several years and was especially welcome in the high-performance 90.
1963 was the last year for the 356B, it was succeeded by the 356C.
Presented here is an incredible three-owner example of the rare and highly desirable Super 90 Coupe; special ordered from the Porsche factory in 1962. This rare S-90 Reutter Coupe’s history is complete and well known, with the second owner possessing the car for 40 years! Finished in the gorgeous, yet seldom seen original Bali Blue/Light Brown factory color combination, this beauty has a beautiful older restored with no expense spared and no detail overlooked. An original California Black Plate car with extensive service records and history, this S90 has been well maintained and cared for its entire life.
It is accompanied by all the great accessories and documentation that are so important for a serious collector; spare tire, complete tool kit, reproduction 356B drivers manual, a full set of keys, service documentation, Porsche Certificate of Authenticity, and Larry Aguilar’s 40-year owner biography.
An original Bali Blue S90 with matching #’s as per Porsche Certificate of Authenticity!
Incredibly restored and immaculate interior with working radio!
One of the most delightful 356’s we’ve ever driven, tight and smooth shifting, great power and tight steering! A great set up!
Rare and Desirable Super 90 Engine!
Fully Restored!
Contact Jose Romero: jose@driversource.com
Visit our website for more info:
We buy all classic European and American sport cars! Finder’s fees paid!!
on-chip IDE configuration AMI BIOS SETTING boot off PATA IDE see SATA IDE MS-6728 ATX motherboard DSCN1714
PORT HUENEME, Calif. (March 18, 2021) Utilitiesman 2nd Class JonMichael Hamrick and Utilitiesman 3rd Class Zakari Albers, assigned to U.S. Naval Mobile Construction Battalion (NMCB) 3, move components of a Naval Enterprise Tactical Command Control tent configuration on board Naval Base Ventura County, Port Hueneme as part of familiarization training in conjunction with a Command Post Exercise. Seabees are the expeditionary engineering and construction experts of the naval service. They provide task-tailored, adaptable and combat-ready engineering and construction forces that deploy to support Navy objectives globally. (U.S. Navy photo by Mass Communication Specialist 1st Class Michael Lopez/Released)
Engine PE6-T
Seating configuration 2x2 - 49
Model Santarosa"EXFOH 1st generation"
Chassis RB46SR
Thanks to sir mark for this :)
Carabus auronitens, carabidae
Mitutoyo M Plan Apo 5X/0.14 + Apo Gerogon 210/9 (f. 9) + Canon 5D mark II (ISO 100, 0.3, EFSC) + Jansjö LED
90 shots at 0.04 µm step stacked with Zerene Stacker (Pmax).
"Clean configuration"
Mirage 2000-5F "Vieux Charles" de l'EC 01.002 "Cigognes" à l'occasion du centième anniversaire de la disparition du capitaine Georges Guynemer sur la BA 116 de Luxeuil (Hte Saône 2017)
Website : www.fluidr.com/photos/pat21
"Copyright © – Patrick Bouchenard
The reproduction, publication, modification, transmission or exploitation of any work contained here in for any use, personal or commercial, without my prior written permission is strictly prohibited. All rights reserved
Showing one configuration of period attachment of the sword belt to the scabbard. This is my most successful recreation of the integrated scabbard belt that was period from the mid-eleventh through the mid-fourteenth centuries.
A great example of this style still exists in the scabbard of Infante Fernando de la Cerda dating to the 1270s. It is also depicted in various forms of artwork including tomb effigies of knights. Probably the most prominent examples of it are the fantastic statues of the patrons of Naumburg Cathedral. Margrave Ekkehard's sword is sheathed in a scabbard very similar to the one I recreated above.
As complex as it may look, this is deceptively simple to accomplish with nothing more than an exacto knife, a punch, and a straight edge. The buckle end of the belt is split into two halves that lace through a series of slits in the scabbard leather. The long end of the belt merely loops around the scabbard.
The scabbard is a modified Albion campaign scabbard; two slats of wood covered with leather, just like the originals.
BASIC DETAILS
Bus Company/Operator: VALLACAR TRANSIT, INC.
Bus Name: CERES TOURS
Fleet Number: 874
Classification: Air-Conditioned Provincial Operation Bus
Franchise Route:
Route:
Seating Configuration: 2x2 seater
Seating Capacity: 49 passengers
BUS BODY
Bus Manufacturer: VTI-TEBBAP (Vallacar Transit, Inc. - Transport Engineering Bus Body Assembly Plant)
Bus Model: VTI-TEBBAP Yanson ViKing 6th Generation
CHASSIS
Chassis Manufacturer: Hino Motors, Ltd.
Chassis Model: Hino RK1JMT
Suspension: Leaf Spring Suspension
ENGINE
Engine Manufacturer: Hino Motors, Ltd.
Engine Model: Hino J08C-TK
TRANSMISSION
Type: Manual Transmission
Gear: 6 speed forward and 1 speed reverse
Location: Cebu North Bus Terminal
M. Logarta Avenue, Subangdaku, Mandaue City, Cebu, Philippines
Date Taken: January 06, 2019
*Specifications are subject to verification and may be changed without any prior notice.
OpenWrt - wireless interface configured as Access Point.
Security: WPA-PSK
Host: Wireless Router TP-Link WR841ND
Chipset: Atheros AR7240
Processor architecture: MIPS 24Kc v7.4
***
OpenWrt - беспроводный интерфейс сконфигурирован как Точка доступа.
Настройки безопасности: WPA-PSK
Хост-система: беспроводный маршрутизатор TP-Link WR841ND.
Чипсет: Atheros AR7240.
Процессорная архитектура: MIPS 24Kc v7.4
新闻中心: 这座旅店坐落在智利南部奇洛埃湖区的日兰半岛上，享有安第斯大陆火山运动形成的辽阔内海和山脉景色。在这所旅店，人们可以体验到潮汐的变化，美丽如画的水景，多种多样的湿地生物。酒店建筑由四个大的立柱支撑，轻轻落在地形之上。住宿房间呈线性布置。透明的外表皮让建筑获得更多的光线，视野还有空间。岛上的气候变化万千，短短的一个小时内风雨变迁，阴晴不定。全玻璃幕墙的公共空间和室外的公共休憩地最大限度的捕捉呈现这里的气候，鼓励人们体验日兰半岛的独特环境。包括酒店的落叶松木皮也从室外延伸进室内，形成天花，实现完整统一的效果。最好的视野在建筑南侧，于是所有房间朝南。可是因为这里是南半球，太阳是从北边照射过来，岛上天气也较为阴湿，所以建筑师利用被动事能源设计策略，优化建筑的能源利用。引入太阳的辐射热促进交叉通风，宽大的屋檐使夏季太阳适量进入建筑，从而保持凉爽。天窗考虑热量控制需求的同时充分利用自然光。绝缘同时通风的建筑降低热损失和提高了冷却效率。整个几何的建筑形体中，木材作为主材使用，运用参数化技术为落叶松木材瓦片进行定位，手工的制作和安装让设计完美实现。这是一个在设计和技术上都实现创新的，现代技术和传统手工共同建造的典范建筑。Hotel RefugiaVenue and locationThe Refugia Hotel is located on the Rilan Peninsula on the Island of Chiloé in the Lakes Region of southern Chile. From the site one has a distant view across an inland sea of the volcano-studded Andes on the mainland. Nearby on the surrounding the peninsula, one can enjoy the on-going activity of the tides, the picturesque beauty of the waterways, and the rich biodiversity of the wetlands of Pullao.The architecture of the hotel seeks to plant a light footprint on the topography of the landscape. In the manner of a bridge, a linear arrangements of rooms, suspended on four concrete pillars, is designed to be a structural composition perched on a hilltop, rather than an opaque edifice growing out of it, maximizing light, space, sky and perspective.The island's climate is both enchanting and fickle, and at times, extreme. In just one hour there might be wind, sun and/or rain. An effort was made to capture the splendor of this variability with extensive glass facades and wooden-clad ceilings of larch in the central spaces as well exterior sheltered spaces, encouraging contact with an environment that is the unique experience of visiting Chiloé. Envelope and constructionOne of the design challenges of the project was to reconcile the fact that the views from the hotel were predominantly southward, while capturing or dissipating the heat from the sun coming from the north (remember this is the Southern Hemisphere) in the predominantly cold and rainy weather of Chiloé. To do this, passive design strategies that optimize the use of energy were employed, including harnessing the sun’s heat trapped in concrete floors, promoting radiant heat cross ventilation to keep cool and to ventilate common spaces, and using eaves to prevent the entry of the sun during the summer. Other considerations included calculating the effect of driving rain water, carefully designing the orientation and configuration of openings and windows to take advantage of natural light and to maintain heat control, and employing skylights at crucial points. These strategies were combined with highly efficient mechanical systems in conjunction with an insulated and ventilated skin designed to ensure the lowest possible heat loss and cooling efficiency.The use of geometry and the application of wood in the design of the skin of the structure, as well as the interior partitions, were central to the overall architectural concept. Using parametric design technology to predict the optimal shape of each larch shingle and its positioning, complemented with artisanal labor to craft and install them, was an innovative architectural and building technique that proved highly successful – the complementary melding of technology and manual skills.Architects: Mobil Architects: Sebastian Morandé, Patricio Browne, Antonio LipthayArchitect collaborator: Cristian PalmaLocation: Rilan Peninsula, Chiloé, Lakes Region, ChileClient: PrivateStructural Engineer: Rodrigo Mujica, VMB-engineeringConstruction: Ruben ParedesInterior Design: Ignacio YrarrazavalEnergy efficiency and Facade Engineering : Esteban Undurraga, Juan Cristobal PerezHVAC: Juan Cristobal PerezParametric Design: Lyon BoschLighting Project: Monica Perez & AssociatesMaterials: Reinforced concrete and metal carpentry, tile and wood coatingsSurface area: 6 hectaresConstructed Area: 1.250 m2Project Year: 2009Year built: 2011Photos: Nicolás Saieh, Daniel Corvillón感谢Nainsey的投稿 :) 来自http://dd.mu/+EH1=
How to upgrade the kernel on CentOS
If you would like to use this photo, be sure to place a proper attribution linking to xmodulo.com
Broadway, Tribeca East Historic District
This four-story store and loft building, located at the northwest corner of the intersection, extends thirty feet along Broadway and 100 feet along Walker Street. Erected in 1862-65 for Augustus Hemenway of Boston, it replaced a masonry structure that housed part of Florence's Hotel. The stone exterior (now painted) is articulated in the Second Empire style by the superimposed tiers of intermediate cornices, coursed end piers, and column-framed flat-arched openings with curved corners, and by the paired brackets of the metal terminal cornice. The Walker Street facade is further distinguished at the center bay by its window surrounds with bracketed pediments, and at the cast-iron ground story by its large, pilaster-framed and flat-arched openings. Additional surviving historic elements include a decorated iron fire escape and double-hung wood sash windows in a variety of configurations. Granite-slab vault covers remain at the sidewalk.
This structure was connected via a passageway to No. 402 in 1908. In 1912 the show windows on both facades were set back to the building line and a projecting front staircase was also replaced; in 1928 the vault was altered. The storefronts on Broadway and in the two westernmost bays on Walker Street were subsequently altered.
Among the building's occupants were J.M. Romme & Company, manufacturers and jobbers of hats, caps, furs, straw goods, and umbrellas; and the Herring-Hall-Marvin Safe Company. The building has been used for light manufacturing, storage, display, and sales. Current occupants include a textile firm specializing in cottons and synthetics.
-- Description of the District---
The Tribeca East Historic District, which encompasses 197 buildings and four undeveloped lots, is located in the area bounded roughly by Canal Street on the north, Worth Street on the south, and Broadway and Cortlandt Alley on the east. Church Street forms much of the western boundary of the district, although blockfronts along Franklin and White Streets extend the district to West Broadway. The district extends east of Broadway, between Franklin and Canal Streets, to include buildings on the east side of Cortlandt Alley. While many of the district's cast-iron and masonry commercial buildings were erected beginning at mid-nineteenth century and continuing into the early twentieth century, when the dry goods district was located in this area, later buildings in the district — office buildings and banks — also served the textile trade.
The Tribeca East Historic District takes its name from the acronym TriBeCa, for Triangle Below Canal Street. Coined in the mid-1970s as the result of City Planning studies and the adoption of a Special Lower Manhattan Mixed Use District, the Tribeca name came to be applied to the area south of Canal Street, between Broadway and West Street, extending south to Vesey Street, which is larger than the zoning district. The Tribeca East Historic District has a distinct and special character within the larger Tribeca area defined by its many blockfronts of ornate store and loft buildings which reflect the district's role as the center for dry goods and related businesses in New York City.
During the decades after textile mills were established in New England with its abundant sources of water power, American textile markets began to flourish in New York City and other northern urban centers, where dry goods importers, general merchants, and wholesalers were concentrated. As New York City developed as the country's major port and trading center, a dry goods district sprang up on Pearl Street near the East River docks. After the disastrous fire of 1835, these merchants were scattered to various locations around Pearl Street, in proximity to the South Street seaport. As commercial shipping interests switched to longer ships and steam boats, it was found that these vessels could not easily navigate the East River, and new piers on the deeper Hudson River prospered. Beginning in the 1850s, the dry goods merchants relocated to the area north and west of Broadway and Chambers Street, allowing competitors to be in close contact with each other and closer to the Hudson River piers, and offering buyers the convenience of a central marketplace. That area of the city was transformed into a new commercial center after the A.T. Stewart Store, the fashionable "Marble Palace" which housed the first American department store, was built in 1845-46 on the east side of Broadway between Chambers and Reade Streets. During the early 1850s the first stories of many earlier residences were converted to commercial use, and some two dozen new store and loft buildings were constructed by the decade's end. By the end of the 1860s, the area of the district had been thoroughly transformed by the rapidly-growing textile trade, which continued to construct store and loft buildings during the next two decades to meet its needs.
The initial residential character of the area is recalled by No. 2 White Street (a designated New York City Landmark), which was built around 1808-09, most likely as a dwelling with a shop at the ground floor. Residences continued to be constructed in the area throughout the 1830s. Three in particular, within the boundaries of the district, retain their historic character — No. 35 Walker Street (c.1800), No. 74 Franklin Street (1815), and No. 58 Lispenard Street (1821-22) — although all were converted to commercial use.
The many store and loft buildings, which now define this district, were characterized by nineteenth-century critics as palatial and substantial, enabling New York "to vie with the greatest continental cities of Europe." These buildings have trabeated cast-iron storefronts, many of which retain such historic elements as paneled and glazed wood doors, wood-framed transoms, show windows, roll-down shutters, and stepped vaults. The upper facades are faced with high-quality materials, such as marble, sandstone, brick, or cast iron, and terminated by prominent cornices. Multiple signbands and fire escapes were often attached to these facades.
Within the district, there is a significant number of buildings with cast-iron facades, which include examples of the work of two important pioneers and disseminators of architectural cast iron in James Bogardus's cast-iron fronts for the building at 85 Leonard Street (1860-61) and in the fourteen buildings in the district that have facades that were manufactured in whole or in part by Daniel D. Badger's Architectural Iron Works foundry between 1854 and 1868. The Cornell family foundry and the Excelsior Iron Works of George R. Jackson, among others, are also represented in the cast-iron work in the district. Late examples of cast-iron work include No. 268-270 Canal Street (1886-87, Lansing C. Holden) and No. 43-45 Walker Street (1888, Charles C. Haight).
The design of the A.T. Stewart Store (1845-46, Trench & Snook), one of the first American examples of the "Italianate" style and a turning point in the commercial architecture of New York, strongly influenced the architectural character of the district as dry goods businesses that aspired to Stewart's success erected modest versions of the Stewart Store. Nearly thirty surviving store and loft buildings in the district, which were erected between 1851 and 1868, follow closely the Stewart Store model.
Some twenty buildings in the district have a cage-like design quality and features influenced by Renaissance Venetian palaces, popularized in New York City by the Bowen & McNamee Store at 112-114 Broadway (c.1849, Joseph C. Wells, demolished). Over a dozen surviving buildings with such Venetian-derived facades incorporate two-story "sperm candle" columns in distinctive double-height arcades, including No. 388 Broadway (1858-59, King & Kellum). There are also a small number of more utilitarian store and loft buildings in the district which exhibit such modest Italianate features as curved window lintels and piers or quoins framing the facades. The influence of Parisian buildings, manifested in what is known as the Second Empire style, is evident in buildings designed in a commercial variant of that style and erected between 1864 and 1871.
Some buildings in the district exhibit other variants of the Second Empire style, such as those where Italianate elements are evident; for example, the cast-iron fronted No. 8-10 White Street (1869-70, Henry Fernbach), and those with qualities of Roman palaces, like No. 299-301 Church Street (1867-68, John B. Snook). Later store and loft buildings erected in the district, from the late 1870s to the early 1890s, were designed in the then-popular neo-Grec, Queen Anne, and Renaissance Revival styles. Several important architects, many of whom specialized in commercial design, were responsible for the ornate yet functional store and loft buildings in the district, including the firms of John Kellum & Son, John B. Snook, D. & J. Jardine, Isaac F. Duckworth, Benjamin W. and Samuel A. Warner, Henry Fernbach, and J. Morgan Slade.
A number of buildings planned to accommodate offices of dry goods-related firms and other functions were erected around the turn of the century. This phase of development culminated in the erection of two large corner structures in the Art Deco style. Among the few twentieth-century structures are small commercial buildings, two bank buildings, a neo-Expressionist synagogue, and a high-rise apartment building.
The side streets of the district extending between Broadway and Church Street, which are filled with nineteenth-century store and loft buildings, form exceptionally strong streetscapes. Twentieth-century development patterns have bounded this area by Worth Street on the south and Canal Street on the north, helping to reinforce the district's distinct sense of place. The long expanse of White Street within the district contains buildings which represent the full historical context of the area — a few early nineteenth century dwellings converted at mid-century for commercial use, many five- and six-story store and loft buildings in a variety of materials and mid-nineteenth-century styles, and a limited number of late-nineteenth-Century structures. The blocks of Broadway within the district, on which stand some of the district's finest surviving Italianate and Second Empire style store and loft buildings, constitute a significant reminder of the historic mercantile character of that preeminent thoroughfare.
Church Street, which forms much of the western boundary of the district, contributes to the district's character with its mid-nineteenth-century store and loft buildings as well as two taller twentieth-century office buildings, constructed for tenants associated with the textile trade. The two small service alleys, Cortlandt Alley and Franklin Place, which are elements of the early-nineteenth century street plan of the area, add to the district's historic character. Both are fronted by side or rear elevations of brick store and loft buildings which have distinctive iron shutters. Throughout the district, granite slab sidewalks and streetbeds of granite pavers further contribute to its historic commercial architectural character.
The history of the Tribeca East Historic District is characterized by rapid development and redevelopment with commercial pressures displacing residential neighborhoods and pushing the city's urban limits northward. Progress in the American textile industry, especially in its production and distribution methods, combined with these pressures to mold the area into the leading district for dry goods and related businesses in New York City from the mid-nineteenth through the early twentieth century. While the development of this market was to a large extent empowered by the growth of the American textile mills outside of the city, the business operations of the market located in New York City enabled the expansion and ultimate success of the industry as a whole.
Early Residential Development
Throughout the seventeenth and most of the eighteenth centuries, the area of the Tribeca East Historic District was open marshland. In 1646, Governor Kieft granted to Jan Jansen Damen forty-five acres of land which came to be known as the Calk Hook Farm. This property was bounded by the Collect Pond, a forty-foot-deep body of water located southeast of the district near today's Foley Square, and extended into the marshland north and west of the pond to what is today Canal Street and West Broadway, and south as far as Reade Street. The property was divided among several individuals after Damen's death and later, between 1723 and 1725, was purchased and reassembled by Anthony Rutgers, a city Alderman and a member of the colonial assembly. While in his possession the area became known as the Rutgers Farm.2 Rutgers wanted to improve the swampland and the pond adjoining his property and in 1730 petitioned for a grant of that land. He subsequently received the grant and began to drain the area.
The Rutgers Farm was acquired by Leonard Lispenard in 1746 and was incorporated into the Lispenard Farm, a portion of the larger area known as Lispenard Meadows.3 Lispenard continued the improvements which Rutgers had begun. A ditch was dug from the pond through the swampland to the Hudson River. The ditch was eventually covered over, and Canal Street was laid out along its path. The filling in of the Collect Pond was completed by 1811. Lispenard's property within the area of the district was dispersed by 1812, transferred to Anthony Lispenard, Rev. Henry Barclay (a son-in-law), Henry White, John Jay, Peter Jay Munro, John Van Blarcum, Jr., Thomas Duggan, Effingham Embree, and the City of New York, among others.
Through the eighteenth century, Manhattan's population was concentrated at the southern tip of the island, generally below Wall Street. As the city's population grew following the Revolutionary War, new residential neighborhoods
'This section is based on information found in Manual of the Common Council of the City of New York (New York, 1860) and Frank L. Walton, Tomahawks to Textiles (New York, 1953).
With this purchase, Rutgers's landholdings included most of the land west of Lafayette Street between Chambers and Canal Streets. His residence was constructed near the current intersection of Broadway and Duane Street, and his grounds, laid out in geometric gardens, were opened to the public in 1760 as Ranleigh Gardens. Part of this property was later occupied by the New York Hospital.
By 1810, most of the streets within the present-day historic district had been laid out. The names of the district's streets recall the early history of the area.4 Broadway, one of the city's oldest streets, follows the path of an Indian trail and was incorporated into the plan of New Amsterdam. The original width of the street was distinctive enough to suggest its name. Broadway is paralleled by Church Street (named in honor of Trinity Church, south of the district), and West Broadway (originally Chapel Street after St. Paul's Chapel), both west of Broadway and later widened to relieve congestion on the main thoroughfare. Two of the cross streets in the area — Leonard Street and Anthony Street (later changed to Worth Street) — were named after the children of Leonard Lispenard, and one was named for Lispenard himself. Cortlandt Alley recalls the early landholdings of Jacobus Van Cortlandt.
Other streets honor political figures; Franklin Street and Franklin Place were both named after the prominent statesman Benjamin Franklin; Walker Street commemorates Benjamin Walker, a soldier in the Revolution and a Congressional Representative; and Worth Street was named for William Jenkins Worth, considered the first American soldier to enter Mexico City in the Mexican-American War. Canal Street recalls the early geographic features of the area; and Sixth Avenue, at the northwestern corner of the district, was cut through to Franklin and Church Streets in 1930.
By the early nineteenth century, the first phase of urbanization in the district was underway with the construction of modest, two-and-one-half- and three-and-one-half-story brick or brick and frame structures in the Federal style. Built both by speculators and by individuals for their own use, these houses were typical of those built for middle-class New Yorkers. One of the surviving structures from this period stands at the northeast corner of White Street and West Broadway (2 White Street, a designated New York City Landmark). Constructed in 1808-09, this two-and-one-half-story dwelling was most likely constructed with a shop at the ground floor (since altered). The original owner, Gideon Tucker, was an assistant alderman, school commissioner, and Commissioner of Estimates and Assessments who operated the Tucker & Ludlum plaster factory located at the eastern end of the block.
Residences continued to be constructed in the area through the 1830s, including those which survive at No. 74 Franklin Street (1815), constructed for John Wood, a merchant; No. 58 Lispenard Street (1821-22), constructed for coach-maker William Ross and one of only two Greek Revival buildings remaining in the district; and No. 103 Franklin Street (1833-34) which was built by James Russell and sold to George Ehninger, a merchant. These buildings, and all of the other buildings originally constructed as residences within the district boundaries, were eventually converted to commercial use.
- From the 1992 NYCLPC Historic District Designation Report
The wings of modern aircrafts do much more than just producing lift, usually serving as fuel tanks and in many cases carrying and transferring thrust from the engines too. In particular, the wings of large aircrafts are fairly complex and use movable surfaces to change their aerodynamic characteristics which must meet a diverse range of requirements throughout the operating envelop of the aircraft.
This video shows the operation of few of the movable surfaces of the wing in a Qantas Boeing 747-400 (landing configuration).
In the clip, the spoilers (the plates on top of the wings that are deployed upwards) and the triple-slotted trailing-edge flaps (the devices extended downwards on the trailing edge of the wing) can be seen in operation. At the start of the video, both the spoilers and the flaps are shown deployed. The spoilers are then lowered and finally the triple-slotted trailing-edge flaps are retracted.
[The following text was extracted from Wikipedia.org]
In aeronautics, a spoiler (sometimes called a lift dumper) is a device intended to reduce lift in an aircraft. The spoiler creates a carefully controlled stall over the portion of the wing behind it, greatly reducing the lift of that wing section. Spoilers differ from airbrakes in that airbrakes are designed to increase drag making little change to lift, while spoilers greatly reduce lift making only a moderate increase in drag.
Slats (not shown in the video) are aerodynamic surfaces on the leading edge of the wings of fixed-wing aircraft which, when deployed, allow the wing to operate at a higher angle of attack. A higher coefficient of lift is produced as a product of angle of attack and speed, so by deploying slats an aircraft can fly more slowly or take off and land in a shorter distance. They are usually used while landing or performing maneuvers which take the aircraft close to the stall, but are usually retracted in normal flight to minimize drag.
Flaps are hinged surfaces on the trailing edge of the wings of a fixed-wing aircraft. As flaps are extended, the stalling speed of the aircraft is reduced, which means that the aircraft can fly safely at lower speeds (especially during take off and landing). Flaps are also used on the leading edge of the wings of some high-speed jet aircraft, where they may be called Krueger flaps
Video taken by Damien :-)
Trust the British to make really nice raingear. The Carradice Pro-Route rain cape is heavy-duty, highly visible, well constructed, and ideal for standard diamond-frame bikes. For recumbents it has one obnoxious flaw: the front zipper has no sewn-in web/backing (like around the tongues of zippered rain boots), and since it's a local minimum, rain collects in the zipper and happily trickles on through. Still working on that...
In other respects it's great, though. It's velcro'd to the Streamer fairing (just like Peder Torgersen's, which was the inspiration for mine) and allows plenty of maneuverability, including access to the front water bottle. Shifting blind and being unable to see the speedometer are only minor nuisances.
Update 21 Nov 2010: Friday night's 12-mile ride in 46F temps with even colder water dribbling down chest and, shall we say, subarctic regions, served only to validate the utter retardedness of a topside zipper. However, the back is also sufficiently long to reach the fairing, so one 180-degree rotation later (plus another strip of sticky velcro), it looks like we have a solution. More cold rain is predicted for the next couple of days, so we'll find out shortly...
666: Based on the solar flare cycle.
I first created to see what I got from what I saw in my mind.
I begun with the middle sum and then went back 11 from the middle sum and 16 forward from the middle sum.
11 represents the solar flare cycle. 16 represents my sum for maximum solar activity = next cycle with a rise....shall be explained in comments.
1900-1911-1927
1901-1912-1928
1902-1913-1929
1903-1914-1930
1904-1915-1931
1905-1916-1932
1906-1917-1933
1907-1918-1934
1908-1919-1935
1909-1920-1936
1910-1921-1937
1911-1922-1938
1912-1923-1939
1913-1924-1940
1914-1925-1941
1915-1926-1942
1916-1927-1943
1917-1928-1944
1918-1929-1945
1919-1930-1946
1920-1931-1947
1921-1932-1948
1922-1933-1949
1923-1934-1950
1924-1935-1951
1925-1936-1952
1926-1937-1953
1927-1938-1954
1928-1939-1955
1929-1940-1956
1930-1941-1957
1931-1942-1958
1932-1943-1959
1933-1944-1960
1934-1945-1961
1935-1946-1962
1936-1947-1963
1937-1948-1964
1938-1949-1965
1939-1950-1966
1940-1951-1967
1941-1952-1968
1942-1953-1969
1943-1954-1970
1944-1955-1971
1945-1956-1972
1946-1957-1973
1947-1958-1974
1948-1959-1975
1949-1960-1976
1950-1961-1977
1951-1962-1978
1952-1963-1979
1953-1964-1980
1954-1965-1981
1955-1966-1982
1956-1967-1983
1957-1968-1984
1958-1969-1985
1959-1970-1986
1960-1971-1987
1961-1972-1988
1962-1973-1989
1963-1974-1990
1964-1975-1991
1965-1976-1992
1966-1977-1993
1967-1978-1994
1968-1979-1995
1969-1980-1996
1970-1981-1997
1971-1982-1998
1972-1983-1999
1973-1984-2000
1974-1985-2001
1975-1986-2002
1976-1987-2003
1977-1988-2004
1978-1989-2005
1979-1990-2006
1980-1991-2007
1981-1992-2008
1982-1993-2009
1983-1994-2010
1984-1995-2011
1985-1996-2012
1986-1997-2013
1987-1998-2014
1988-1999-2015
1989-2000-2016
1990-2001-2017
1991-2002-2018
1992-2003-2019
1993-2004-2020
1994-2005-2021
1995-2006-2022
1996-2007-2023
1997-2008-2024
1998-2009-2025
1999-2010-2026
2000-2011-2027
2001-2012-2028
2002-2013-2029
2003-2014-2030
2004-2015-2031
2005-2016-2032
2006-2017-2033
2007-2018-2034
2008-2019-2035
2009-2020-2036
2010-2021-2037
2011-2022-2038
2012-2023-2039
2013-2024-2040
2014-2025-2041
2015-2026-2042
2016-2027-2043
2017-2028-2044
2018-2029-2045
2019-2030-2046
2020-2031-2047
2021-2032-2048
2022-2033-2049
2023-2034-2050
2024-2035-2051
2025-2036-2052
2026-2037-2053
2027-2038-2054
2028-2039-2055
2029-2040-2056
2030-2041-2057
2031-2042-2058
2032-2043-2059
2033-2044-2060
2034-2045-2061
2035-2046-2062
2036-2047-2063
2037-2048-2064
2038-2049-2065
2039-2050-2066
2040-2051-2067
2041-2052-2068
2042-2053-2069
2043-2054-2070
2044-2055-2071
2045-2056-2072
2046-2057-2073
2047-2058-2074
2048-2059-2075
2049-2060-2076
2050-2061-2077
2051-2062-2078
2052-2063-2079
2053-2064-2080
2054-2065-2081
2055-2066-2082
2056-2067-2083
2057-2068-2084
2058-2069-2085
2059-2070-2086
2060-2071-2087
2061-2072-2088
2062-2073-2089
2063-2074-2090
2064-2075-2091
2065-2076-2092
2066-2077-2093
2067-2078-2094
2068-2079-2095
2069-2080-2096
2070-2081-2097
2071-2082-2098
2072-2083-2099
2073-2084-2100
A very strange configuration of a Leopard I Main Battle Tank.
I had difficulties in identifying this particular vehicle.
I noticed the difference with the Leopard I MBT, this one has a lengthend hull, a battery storage compartment in the rear and a generator in the front with, external, an exhaust pipe to the engine compartment.
It was Bas Pos from Maastricht who brought to my attention that this vehicle has a Cheetah PRTL (CA1 Pantser Rups Tegen Luchtdoelen) hull with a Leopard I turret.
Apparently the turret with the twin 35 mm Oerlikon Anti Aircraft guns was replaced with the Leopard I turret before it was shipped off as a target to the CSK Vlieland.
An image of a Cheetah PRTL can be found here; tanxheaven.com/ljs/cheetahljs/01-PRTL-35mm_Cheetah,Oirsch... (picture; Liejon Schoot)
Manufacturer: Boeing
Operator: Qatar Emiri AIr Force/ Boeing
Type: F-15QA Ababil (QA536) multirole fighter aircraft
Evnet/ Location: 2024 RIAT/ RAF Fairford
Comment: The demonstration of the Qatari Boeing two F-15QA consisted of two different configurations: one with a 'clean' fit, the second with a simulated full weapons load to demonstrate how little the aircraft's aerodynamic performance is affected by the additional weight/drag. The aircraft themselves were en route to Qatar on their delivery flights from the US, with the demos at RIAT provided by Boeing test-pilots.
85 West 1st Ave, Vancouver, BC.
The building was renovated to the present configuration just prior to 2010 Olympics.
Historic Place:
The historic place, a familiar local landmark, is the large, red, wood industrial building at 85 West 1st Avenue, Vancouver, built in or around 1930 and located on city-owned land in South East False Creek.
Heritage Value:
The Vancouver Salt Company Building has heritage value for representing the secondary food-processing industry and the diversification of the local economy to meet the needs of the fishery; for its architectural and structural qualities; as a rare intact survivor of the industrial buildings that once dominated South East False Creek (SEFC); and as a neighbourhood landmark. SEFC was, through much of the twentieth century, a beehive of industrial activity. Most industries located here for access to water, rail, and road transportation. Heavy industrial uses, such as sawmills and steel fabrication, prevailed. The subject site was used from the early 1900s for gravel storage.
The Vancouver Salt Co. operation was important technologically for the means of
extraction, for using False Creek to transport goods, for its contributions to other
industries, and for the way in which ownership changes illustrate patterns of international trade and corporate acquisition. Unrefined salt was shipped to Vancouver from the San Francisco Bay Area, where it had been recovered from brine by solar evaporation. This unusual technique was traditional to the Bay Area, originating with the Ohlone Indians and continued by the Spanish missionaries. The Vancouver-bound salt was extracted by the Leslie Salt Refining Co. of Newark, California (acquired in 1978 by Cargill Inc.), which owned the Vancouver Salt Co. The operation changed to Arden Vancouver Salt Co. Ltd. in 1970 and was later acquired by Domtar Ltd. By the late 1980s the building was used for paper recycling: first by Belkin Paper Stock Ltd. and then by Paperboard Industries. Raw salt was unloaded at Burrard Inlet and brought by scow to False Creek, where the Vancouver Salt Co. ‘semi-refined’ it by washing, drying, grinding, and sifting it into a coarse product fit for human consumption. The original market was as a preservative for the fishery, particularly the area’s Asian-Canadian fish-packers. Subsequent uses included other kinds of food-packing, tanneries, cold-storage plants, and highway ice removal. By 1950 rail and then trucks replaced boats for receiving and shipping the salt, reflecting changes brought about by the development of wheeled transport.
The building has heritage value as a pragmatic and attractive response to the needs of the salt operation and the site. It was built about 1930, squeezed between two lumber operations and mostly on a City-owned water lot, with only the southwest corner situated above the historic high water line. The original structure, a block about 90 by 145 feet, is supported on piles. A complex roof truss system directs the loads onto columns in the lateral walls and down the centre, creating a large open space. A raised monitor roof has a clerestory to admit light and air. The expansion of the building to the north in 1954-55 (Wright Engineers Ltd.) speaks to the growing demand for salt and the evolving refinery technology. New equipment was accommodated in part by building a roof over the existing 35-foot-deep apron at the rear, the former loading dock. The gable-roofed eastern portion held four large brine tanks, and the shed-roofed western part became a dry storage shed. A new hopper and conveyor were installed by the 1st Avenue loading dock, since the raw salt now arrived by truck. The conveyor may have necessitated raising the roof, which would date the tall silo-like cap at the front to this time. Minor alterations were made in 1970 for the Arden Vancouver Salt Co. Ltd. (Richard E. Cole, Engineer). The replacement of the salt-processing machinery with paper-shredding equipment in 1987 reflects the growing importance of the recycling industry. Belkin Paper Stock Ltd. also clad the sides with galvanized steel and cut new doors in the north elevation (De Guriby Ltd., Engineers, and Amundson Construction Co. Ltd). The building stands empty today, displaying physical evidence of its evolution and its uses.
Character-defining Elements:
- Broad building with a medium-sloped roof and gable at the front (south)
- Monitor roof, with a clerestory containing a row of 15-pane windows and cedar
ventilation louvres
- Taller, silo-like, gable-roofed feature at front of monitor
- Small-paned windows on the front elevation
- Loading dock at the front, protected from the weather by a shed roof
- Wood stud walls, covered externally with diagonal sheathing and horizontal
finished siding
-
- Large, open interior space, interrupted only by a row of columns down the centre
- Elaborate roof truss and knee braces, composed of wood members with metal
fastenings and hardware
- Two salt hoppers along the side wall (inside the building)
- Profile of main gable and monitor roof seen from the rear (north)
- Location on the axis of Manitoba Street
- Wetland beneath building
- City of Vancouver
With the wheels removed by way of quick releases, the anhanger / stretcher carrier becomes a sled. If the road bed has compacted snow and ice on an incline, then it's a good idea to hold onto this anhanger as it will slide away otherwise.
Joules, is this what you meant?
We're liking this. There's the big empty space for a wide walk-through area. Lends the room a more minimalist feel, which we are going for.
This is a large configuration of a Smith Brothers 5000 series sectional. It is composed of 1 armless chair, 2 corner chairs, and 3 armless loveseats.
Making the overall size of this piece 162"long x 81"deep on the right side - 59"deep on the left.
Tapered legs, semi-attached back cushions
Fabric: 318714
Shagbark stain
How to configure Raspberry Pi for the first time
If you would like to use this photo, be sure to place a proper attribution linking to xmodulo.com
This was a BF Goodrich Whizzer and then converted back to the normal bicycle configuration. Sitting in the back yard for about a year, from the street I saw the handle bars sticking out as I drove by. I knocked on the door and introduced myself.
P.S. It's now in my stable and rides great.
A different version of this image, and the one I printed for the Art Of The Bicycle show, is now available on a T-Shirt from www.voodoo8ball.com/
edit: 2010-06-04 - Just ran into a guy who said he would give me a vintage motor. I'm so excited. He's got a half of a frame with all the front and middle parts, but the back has been rusted through from sitting outside the shed. We'll see soon.
Motorcycle: Three Wheel semi-enclosed
Configuration: Single Passenger Cyclecar
Body: Non-structural Fairing and Canopy
Body material FRP Composite
Canopy Blow formed Cast Acrylic Lucite
Chassis: Steel box
Chassis type Lateral Pivot Ladder
Suspension: UniShock
Shock type: MC type Hydraulic/coil spring
Steering: Handlebar w/ linked tie rod
Overall Length: 93"
Overall Width: 46"
Overall Height: 52"
Empty weight: 215
With batteries: 385
Payload: 215
GVLW: 600
Weight dist: 60f/40r
Turning circle: 20 ft dia.
Aerodynamic drag : Est .35 (CD)
Watt/hours per mile: Est 50
Max range: Est 30 miles at 30 mph.
Max speed: Est 50 mph.
Gear ratio: 6/1
Power to weight: 1/40 (hp/lbs)
Specified components
Motor: Advanced DC series wound 140-01-4005
Horsepower: Cont/BHP: 3hp/17bhp
Controller: Alltrax CT1937
Charger(s) Soneil 48v
Instrumentation: Battery Charge Meter, Speedometer
Wheels: 16" Aluminum Mag type
Tires: 2.25 x 20
Brakes: Drum type-hand operated
Accelerator: Thumb operated potentiometer
Batteries: Four M34 AGM Blue Top lead acid
Battery Box 20" long x 14" wide x 9" tall
Lighting
Head lights: Halogen 45w
Turn signals Halogen 25w
Brake light Inc. bulb
Tail light Inc. bulb
Horn MC type
Freight Specs. 320 lbs 44"w x 56"h x 93"l (boxed pallet) class 150
Cylinders: flat-6 (boxer-configuration)
Displacement: 2341 cc
Bore x stroke: 84 x 70.4 mm
Rated output: 140 PS @ 5600 rpm (carburetored, except the USA where the new BOSCH K-Jetronic CIS (continuous fuel injection system) was used, according to stricter environmental laws)
Max. torque: 197 Nm @ 4000 rpm
Top speed: 205 km/h
0-100 km/h: under 10 s
Empty weight: 1077 kg
Cooling system: Air cooled with fan
© www.carfolio.com/specifications/models/car/?car=26521
The “F-Series” (F-model) are widely seen as the genuine models (master pattern) of all 911-types in summing up of the series from MY 1968 (introduced in the middle of 1967) “A-series” to MY 1973 (discontinued in the middle of 1973).
The identifying of an early successor, an European G-model MY 1974, could lead to the following mystic question: Why are impact bumpers fitted to some early “G-series” models only?
The new 911 G-Series was introduced in 1973. The US-Versions were all equipped with this new bumpers to conform with low speed protection requirements of US law from the very beginning. The integration of the new shock absorbing bumpers as standard of the European versions followed only one year later. In Germany the “G-Series” models since 1974 are called “Blasebalg”-models (German for “bellows”).
KlassikSTADT Frankfurt
Pyritz Classics
14 February 2014
iss071e609375 (Sept. 5, 2024) --- NASA astronaut and Expedition 71 Flight Engineer Tracy C. Dyson tests the configuration of computers that control life support systems aboard the International Space Station's Destiny laboratory module.
Greenwich Village, Manhattan, New York City, New York, United States
University Village is one of the finest examples of a mid-20th century residential complex located in New York City. Designed by architect James Ingo Freed of I. M. Pei & Associates for New York University, construction began in 1964 and was completed by 1967. Occupying a five-acre âsuperblockâ in Greenwich Village, between West Houston and Bleecker Streets, the site was originally part of a much larger urban renewal scheme conceived by Robert Moses, chairman of the Mayorâs Committee on Slum Clearance, in 1953. As part of NYUâs agreement with the city to take over the site in 1960, the school set aside one-third of the units for middle-income residents.
The complex includes three identical free-standing 30-story towers executed in reinforced concrete that are positioned at the center of the site in a âpinwheelâ configuration around a 100-by-100 foot lawn. The west tower, at 505 LaGuardia Place, is a cooperative residence with a long-term lease from NYU, and the east towers serve as faculty housing. The buildings were thoughtfully arranged by Freed to maximize views and privacy, as well as to increase general visual interest. Cast in place, on site, using fiberglass molds, these buff-colored towers fall into the general stylistic category known as âBrutalismâ and reflect the influence of the Swiss-French architect Le Corbusier, whom Pei admired. The buildings display twin sets of smooth gridded facades that project from a central core. Each floor has four or eight deeply-recessed horizontal window bays, as well as a 22-foot-wide sheer wall, creating strong contrasts of light and shadow.
Near the center of the complex stands a large sandblasted concrete sculpture, an enlargement of a 1954 cubistic work by Pablo Picasso. Executed in 1968 by the French artistâs frequent collaborator, the Norwegian sculptor Carl Nesjar, the off-center placement of the 36-foot tall bust echoes and enhances the projectâs dynamic plan. University Village was a critical success and received awards from the American Institute of Architects, the City Club of New York, and the Concrete Industry Board. It was also selected as one of âTen Buildings That Climax an Eraâ by Fortune Magazine in 1966. Both Pei and Freed have received significant recognition for their contributions to this project; when Pei was honored with the Pritzker Architecture Prize in 1983 University Village was cited as one of his most notable works and at the time of Freedâs death in 2005 Museum of Modern Art architecture curator Terence Riley counted the complex as among âthe most refined examples of modern architecture in Manhattan.â
DESCRIPTION AND ANALYSIS
South of Washington Square
University Village contains three apartment towers designed by I. M. Pei & Associates. Located two blocks south of Washington Square, between Mercer Street and LaGuardia Place, the two buildings to the east are owned by New York University and serve as faculty housing; the west building is a cooperative apartment house on land owned by NYU. Conceived during the early 1950s as part of an ambitious âsuperblockâ plan to improve a nine-block section of Greenwich Village, these striking structures were skillfully sited to create a distinct sense of place and to contrast with the surrounding blocks of late nineteenth-century tenement and loft buildings.
Washington Square first became a public park in 1827. Many fine homes were erected in the vicinity, as well as the Gothic Revival-style building that originally housed NYU . Following the end of the Civil War, however, the neighborhoodâs character began to change. Affluent residents were gradually replaced by French, Italian and Irish immigrants, and the blocks to the south and east of the square became an important wholesale district. Under Chancellor Henry MacCracken, the school was reorganized and the undergraduate arts and science division moved to University Heights in the Bronx where a Beaux-Arts-style campus , designed by the prominent architects McKim, Mead & White, opened in 1894. Unlike Washington Square, the suburban campus provided dormitories, making it less of a commuter school and more of a residential college. The schoolâs original building was then demolished, but for financial reasons the trustees retained ownership of the site and constructed a revenue-producing loft building at 100 Washington Square East. Completed in 1895, the upper floors were planned as classrooms, allowing NYU to remain, in a small way, associated with Washington Square. The university began to plan its return to Greenwich Village in 1915. With the Bronx campus only partially executed, the school leased space in the structure where the tragic âTriangle Shirtwaistâ fire had recently occurred at 23-29 Washington Place and also began to fully occupy the structure it owned at 100 Washington Square East.
Following the Second World War, NYU developed ambitious plans to increase its presence in Greenwich Village. Whereas the University Heights campus occupied a large site with considerable potential for expansion, here the school grew in stages, block by block, acquiring large and small parcels for present and future needs. These transactions frequently caused controversy and strong community opposition, especially projects requiring government approval or financing. Despite criticism, Chancellor Harry Woodburn Chase alleged in 1949: âFar from regarding Washington Square as its campus, New York University regards it as a national landmark of which it is glad to be a part and its devotion to which it has repeatedly manifested over the years.â Over the next decade or so, the school would adopt a somewhat traditional approach to design, choosing contextual aesthetic strategies that blended new buildings with old. Most of these structures were faced with red brick and limestone, including Vanderbilt Hall at 40 Washington Square South, Hayden Hall at 33 Washington Square West, the Loeb Student Center , and Weinstein Hall at 11 University Place. Even Philip Johnson and Richard Fosterâs divisive master plan of 1964 attempted to respect the schoolâs historic context by proposing to clad new and existing structures with complementary red sandstone.
Robert Moses and Urban Renewal
During the 1950s, a nine-block area bordered by West Houston Street, West Broadway , Mercer Street and Washington Square, was targeted for slum clearance. Under United States President Harry S. Truman, the National Housing Act was passed in 1949 to provide Federal funds for local municipalities to acquire property in blighted urban areas for resale to private developers. This program had an extraordinary impact in New York, which received more aid than any American city. Under Robert Moses, chairman of the mayorâs Committee on Slum Clearance, sixteen sites were identified, including thirteen in Manhattan. Such projects, public officials believed, would stabilize the middle class, support higher education, and elevate the cityâs reputation. The blocks where University Village would ultimately be located, called Washington Square Southeast, was the fourteenth project proposed by Moses. The initial prospectus for Washington Square Southeast, prepared by Eggers & Higgins in August 1953, called for the demolition of 191 buildings, of which only 16 were residential. Most displaced tenants, consequently, were businesses, requiring no compensation under the 1949 law. Covering almost eighteen acres, the plan envisioned 2,184 apartments in nine 14-story structures.
To develop the project, nine city blocks were combined to form three âsuperblocks.â The north block, bordered by West Broadway, West Third Street, Mercer Street and West Fourth Street, was set aside for educational use and NYU would eventually construct four academic buildings here, including the Elmer Holmes Bobst Library . The two blocks to the south were intended for middle-income housing and were sold to the Washington Square Corporation â a syndicate headed by developers Paul Tishman and Morton S. Wolf and subsequently transferred to numerous affiliated corporations. Named Washington Square Village, these two slab-like apartment houses occupy about a third of the site and the ground floors were deliberately laid out along Bleecker and West Third Streets to maintain the existing street pattern and allow north-south access along Greene and Wooster Streets. A third building, as well as an underground parking lot, was originally planned for the south block, between Bleecker Street and Houston Street, but was canceled by 1960. Some sources claimed that the developer experienced difficulty leasing units in the second building, while others contend they abandoned the project for economic reasons, asserting that the Federal government refused to allow a taller third structure without increasing payment for the land.
NYU was quick to act and in January 1960 declared interest in buying the superblock site to erect housing âfor its faculty members and married students and an experimental school for student teachers.â Despite considerable opposition from critics who asserted private builders âwould be glad to pay more than the $10.50 a square foot that NYU would pay for the landâ and that this transaction would cost the city hundreds of thousands of dollars in lost tax revenue, the Board of Estimate approved the sale in September 1960. As part of the agreement, the school was required to develop one third of the site as middle-income housing, with priority given to people who lived or worked in the area. A limited-equity cooperative apartment building was proposed, financed with subsidized low-interest mortgage loans as part of the Limited Profit Housing Companies Act of 1955, commonly called the Mitchell-Lama Housing Program. Since the complex would occupy the undeveloped southern half of Washington Square Village, the schoolâs governing board decided to name the development âUniversity Village.â
I. M. Pei and James Ingo Freed, Architects
University Village was designed by I. M. Pei & Associates. More than twenty-five architects were reportedly interviewed for the job. Pei did not attend the firmâs interview and correspondence with NYU was handled by Eason H. Leonard, who wrote:
The experience we have had in the sensitive design problems relating to housing of all types gives us confidence that we are well-equipped to develop for you a project of significant quality. Our recent work in Urban Renewal has assured us that within the limits of very low construction budgets, much can be done to improve standards of urban apartment living.
Peiâs firm was currently working on four residential developments, including Society Hill in Philadelphia and Kips Bay Plaza in New York City. Both complexes were constructed using exposed reinforced concrete and the New York Times praised the technique for yielding âfresh design.â
Born in Canton, China, in 1907, Ieoh Ming Pei immigrated to the United States in 1937 and studied architecture at the Massachusetts Institute of Technology and the Harvard Graduate School of Design . In 1948 he moved to New York City and became the first director of architecture at Webb & Knapp, Inc., a major real estate development company. Founded under the name 385 Madison Avenue in 1922 by W. Seward Webb, Jr. and Robert C. Knapp, as well as the noted architects Eliot Cross and John Walter Cross, the firm was purchased by businessman William Zeckendorf in 1949. Pei remembered that his boss âwanted to remake the city. We had a shared passion for large scale undertakings.â In recognition of his expertise with residential design, Pei served on the Federal Housing Administrationâs Multi-Family Housing Committee during the late 1950s, as well as the design committee for the Mitchell-Lama Housing Program.
In 1960 â the same year Pei received the NYU commission â he resigned from Webb & Knapp and formed his own architectural practice. Though Zeckendorfâs financial difficulties played a part in the architectâs decision to leave, he later recalled:
I knew that if I stayed within the envelope of the company, I would never get the
kinds of jobs I really wanted . . . My growth as a designer was stunted; I should have
reached my maturity much earlier.
Success and notoriety, however, came quickly to Pei. He received the prestigious Arnold Brunner Prize for excellence in architecture from the National Institute of Arts and Letters in March 1961, followed by the Medal of Honor from the New York Chapter of the American Institute of Architects in September 1963. Major subsequent works by Pei include: the National Gallery of Art, East Building in Washington, D. C., the John F. Kennedy Presidential Library in Boston, the Bank of China Tower in Hong Kong, and the Grand Louvre in Paris. In New York City, he designed the National Airlines Terminal at Kennedy International Airport and the Guggenheim Pavilion at Mount Sinai Medical Center. In 1983 he was honored as the fifth recipient of the prestigious Pritzker Architecture Prize. Though Pei retired from the firm in 1990, he continues to practice as an architect and is associated with Pei Partnership Architects, based in New York City.
Pei selected James Ingo Freed to head the University Village design team. Born in Germany, Freed moved to Chicago at the age of nine. A graduate of the Illinois Institute of Technology in 1953, he studied under the architecture schoolâs chairman Ludwig Mies van der Rohe and worked briefly with the architect on the Seagram Building . Hired by Pei in 1956, Freed participated in the design and construction of Court House Square, including the Denver Hilton Hotel , with colleague Araldo A. Cossuta, and later, served as lead designer on Kips Bay Plaza. During the mid-1960s, he collaborated with Pei on the design of fifty air traffic control towers for the Federal Aeronautics Administration. Planned during the administration of President John
F. Kennedy, like University Village, these slender structures were formed using cast-in-place concrete. Freed received many honors during his career and from 1975 to 1978 was dean of the School of Architecture at IIT. He later returned to New York and was promoted to full partner in 1980. At the time, the firm was renamed Pei Cobb Freed & Partners. Manhattan buildings designed by Freed include: a 32-story office building at 88 Pine Street , a 27-story office building at 499 Park Avenue , and the Jacob Javits Convention Center . His best-known work is arguably the United States Holocaust Memorial Museum in Washington, D.C., dedicated in 1993.
The Scheme
Freed began to plan University Village in late 1960 or early 1961. In Peiâs office, he worked closely with architects Theodore A. Amberg and A. Preston Moore . The design went through several distinct stages and more than three years passed before construction of 505 LaGuardia Place began in April 1964. The building site consisted of the center area of the superblock and excluded the northwest corner of the superblock which was already developed with a one-story supermarket.
NYUâs preliminary scheme contained three buildings that were âcomparable in designâ to Washington Square Village, as well as an elementary school facing West Houston Street. Separated by Greene and Wooster Streets, these rectangular structures were arranged in a single row, from east to west, across the center of the site. By December 1960, however, NYU had completely changed course; it informed the Housing and Redevelopment Board that Pei had a âtentative plan in which he hopes to achieve some sort of community atmosphere with fairly low buildings interspersed with one or two tall structures.â
Freedâs proposal was loosely modeled on Society Hill, juxtaposing structures of different height and materials, including a 16-story cooperative apartment house, a 29-story apartment tower for faculty members facing a plaza, and a âserpentine building of six stories . . . modeled to some extent, on the typical New York City brownstone.â The latter buildingâs footprint was quite large, turning at right angles, starting at Houston Street and ending on Bleecker Street. In late 1962, this design was greatly simplified, laying the groundwork for a scheme which included twin slab-like towers flanking Wooster Street and a seven-story brick residential building, distinguished an L-shaped footprint, facing the intersection of Houston and Mercer Streets. This approach appears to have remained under consideration until December 1963 when NYU announced its purchase of Washington Square Village. This acquisition allowed the school to reevaluate its housing needs and the low-rise building was abandoned and replaced by a third tower. Not only would three identical towers reduce construction costs and streamline the design process, but Freed said this type of plan would leave as âlarge and flexible a land area as possible set aside for future use.â
The addition of the third tower dramatically altered the character of University Village. Not only did aesthetic uniformity result within the complex, but this strategy sharpened the contrast between the buildings and the neighborhood, similar to such pioneering âtower in the parkâ schemes as Parkchester in the Bronx, the Clinton Hill Houses , and Stuyvesant Town in Manhattan. No longer would mirror-image towers flank the former route of Wooster Street but three identical towers would be carefully arranged around a central lawn, with the east section of the superblock, between Mercer and Wooster Streets, left open. This block-long parcel is now occupied by the Jerome S. Coles Sports Center, completed in 1982.
In Freedâs final scheme, the towers were deliberately arranged to turn away from the surrounding streets, particularly West Houston Street, a busy cross-town artery, and LaGuardia Place, which the city had intended to widen below Washington Square. Located near the center of the site, they rise from a slightly elevated man-made platform that raises the south end of the block almost ten feet and hides two parking garages. Landscaping would also be used to increase privacy and enhance the schemeâs floating pinwheel arrangement.
In contrast to Washington Square Village, where the two buildings stand parallel to each other, the buildings in University Village are oriented in different directions, with two towers facing north toward Bleecker Street, and the other, west toward LaGuardia Place. This type of arrangement was pioneered in two earlier Pei projects, first at Kips Bay Plaza, where the two 21story apartment buildings slide in opposite directions toward the east and west, and more closely at Society Hill, where three 31-story towers rise tightly around a plaza. Whereas most Manhattan buildings fit snugly into the grid and address the street directly in a conventional way, at University Village each structure seems independent and was deliberately positioned in an asymmetrical manner around a 100-by-100-foot lawn to maximize views and create general visual interest. In addition, these open spaces act as corridors to frame views of each tower. Pei later remarked:
A city, so far from being a cluster of buildings, is actually a sequence of spaces
enclosed and defined by buildings. This may sound strange but it is the essence of
urban design.
Unlike many âtower in the parkâ projects located in New York City, Freed created a deliberate tension between the buildings and the space they occupy â not unlike the celebrated mid-20th century sculptor Alberto Giacomettiâs City Square in which âfour men stride across a wide plaza, each moving toward the center, yet none apparently directed toward an encounter with one another.â University Village similarly avoids a single axis or orientation, and thus also recalls the spatial experiments of the De Stijl group in Holland during the late 1910s and 1920s, as well as early residential projects designed by Ludwig Mies van der Rohe. Such innovative modernist ideas were essential to the final scheme, shaping not only the site plan but also the design of the three towers.
Towers of Concrete
Pei favored reinforced concrete over all other building materials during the early 1960s. His work was typically crisp and elegant and this material defines the character of his mid-career production. A great admirer of the Swiss-born architect Le Corbusier , Pei claimed that in Shanghai before 1944: âThere were no teachers to teach us the new architecture . . . so we turned to Corbuâs books, and these were responsible for half of our education.â Titled the Oeuvre Complete, this self-published series of eight volumes documented Le Corbusierâs development as an architect and his frequent use of concrete construction to create a formal language of abstract sculptural forms. This was particularly evident in his late design for the Unité dâHabitation at Marseilles, which features a 12-story horizontal grid of deeply-recessed cells. During the late 1940s, this project received international attention and the play of large and small openings on the buildingâs facade may have influenced Peiâs subsequent work in concrete, especially his apartment buildings.
University Village makes extremely sophisticated use of exposed concrete. It falls under the general stylistic category known as âBrutalismâ for its straightforward use of this material but in contrast to many examples, particularly the late work of Le Corbusier and Breuer, as well as Paul Rudolph, the exterior is noticeably smooth and elegant. Pei developed this technique between 1957 and 1960, while employed by Zeckendorf. He later recalled: âI had a wonderful client . . . who was willing to gamble with me on using concrete and not brick.â Edward L. Friedman headed the firmâs research, publishing a thorough article on the subject in October 1960, just before NYU awarded Pei the commission. Though initial studies seemed to support the continued use of pre-cast concrete , cast-in-place concrete was substituted to trim costs and conform to building codes that encouraged âstructural continuity.â Many challenges were overcome, such as how to control the consistency of the color and difficulties with shrinkage and cracking. Friedman described the nearly-complete Kips Bay Plaza as a âprototype,â while the firmâs soon-to-be built scheme for three towers at Society Hill was termed a ârefinement.â
As construction of University Village neared completion, architect Araldo A. Cossuta, published âFrom Precast Concrete to Integral Architectureâ in October 1966. He, too, was part of Peiâs office and his essay celebrated the firmâs accomplishments, paying particular attention to the Earth Sciences Center at MIT where, as at University Village, load-bearing walls were poured on site to create column-free interiors. He specifically criticized conventional skin construction and how architects sometimes disguise the handiwork of engineers. The goal, Cossuta argued, was to create âreal wallsâ â not curtain walls â through the integration of structure and skin. He maintained that this technique would result in a âreturn to classical simplicityâ and that such plastic forms can express an âexternal-internal continuumâ whereby architects take âpossession of shadows rather than diluting them by reflection.â
A warm, buff-colored concrete was selected for University Village, comparable, depending on the light, to sandstone or limestone. At Chatham Towers in Chinatown, architects used plywood boards to form the exposed concrete, producing a rough and yet interesting patterned surface. At University Village, however, fiberglass molds were employed. According to Friedman, this material was chosen for various reasons: not only was the quality of the results high but fiberglass is easy to assemble, strip, and re-use. Furthermore, various concrete coatings, release agents, and even scaffoldings were evaluated. In terms of cost and quality, he claimed that such research returned handsome dividends. Each section took approximately four-to-eight weeks to set and harden, and overall, construction took six-to-eight weeks less than conventional brick facings.
The three towers display twin sets of gridded facades projecting from a central core. Each floor has four or eight horizontal window openings and a 22-foot-wide sheer wall, separated by a thin slot of flat windows. Located at either end, these smooth windowless walls contrast with the deeply-recessed window openings and reflect light. Each opening is formed by a pair of T-shaped columns that meet over the center of the bay. These columns narrow toward the front, creating a wedge-shaped profile. Between floors, horizontal and vertical joints are visible. These gaps indicate each stage of casting and allow for thermal movement throughout the year. Deep reveals were fashioned to conceal troweled joints.
At the base, the T-shaped columns are considerably taller â more than twice the height of the residential floors. These columns form a continuous entrance arcade along the front facades, similar to Kips Bay Plaza. Shaped like elongated diamonds, they enclose a deep gallery with tan brick walls that flank the glazed outer walls of the lobby. In terms of color and rhythm they exhibit a vaguely classical spirit, suggesting an ancient Greek or Roman temple.
Construction
A ceremonial ground breaking for the first building â Washington Square South East, later known as 505 West Broadway â was held on August 12, 1964, following approval of plans by the Housing and Redevelopment Board and the Building Department. In attendance was NYU President James W. Hester who described the project as âa successful example of community cooperation.â Later that year, in November 1964, the Board of Estimate endorsed the larger scheme, along with various criteria to determine residency in the cooperative apartments. Tenants who had been forced to move were given first priority, followed by people dislocated by similar projects in Greenwich Village. At this time, the Board of Estimate also approved the closing of Greene and Wooster Streets.
Construction started in late August 1964. The Tishman Construction Company served as contractor and Farkas & Barron was the engineer. Amberg, from Peiâs office, served as site architect, overseeing day-to-day operations. The first step was the pouring of the foundations â a four-foot-thick concrete pad covering each buildingâs footprint. More complicated than conventional concrete footings, it required continuous pouring and the delivery process was characterized by the New York Times as having the âprecision of a military campaign.â It was a relatively efficient process and, according to Amberg, the towers rose simultaneously on a âthree day cycle.â On the first day, the fiberglass forms were erected incorporating the steel, followed by a day for pouring, and a day for removing the formwork. Construction progressed on a âstaggeredâ schedule, meaning that the contractor performed one of three tasks on each tower during a given day. The first building was âtopped outâ in December 1964 and by late 1966 the three towers were nearly complete.
Modern Architecture and New York University
Prior to the 1930s, most American universities commissioned buildings inspired by European and Jeffersonian models, including neo-classical and neo-Gothic structures that recalled Oxford, Cambridge, Charlottesville, as well as other historic centers of learning. After World War I, European architects began to challenge this approach, arguing that traditional forms were no longer desirable or appropriate. These ideas attracted considerable support in the United States. The New School for Social Research was one of the first buildings in New York City and one of the first college buildings in the United States to exhibit characteristics of the so-called âInternational Style.â Designed by Joseph Urban in 1930-31, the clean-lined glass and brick facade stood in sharp juxtaposition to its nineteenth-century neighbors. By decadeâs end, several modern-style campuses had begun construction, including Florida Southern University , IIT , and Hunter College . After World War II, this trend accelerated, transforming the campuses of Harvard University, Yale University, and MIT.
NYU embarked on a major building campaign during the late 1940s. To help guide the schoolâs expansion, a Buildings and Grounds Committee of the Board of Trustees was formed in 1952. George F. Baughman, the schoolâs vice president and treasurer, praised their vision:
Without their willingness to take risks, we could do nothing. As an example, because of their enthusiastic aid, we have been able to employ some of the most exciting architects now practicing . . . a cross section of talent representing the best of contemporary American architecture.
Many exceptional firms participated, including Skidmore, Owings & Merrill, Harrison & Abramowitz, and Marcel Breuer. Among them, SOM was responsible for the schoolâs first structure designed in the International Style â the Institute of Physical Medicine and Rehabilitation. Located near 34th Street, on the east side of First Avenue, it was part of the NYU-Bellevue Medical Center. Construction began in 1949 and the first four SOM buildings were completed by 1956. To provide housing for the schoolâs staff, a plan for NYU-Bellevue Title I was issued in 1953. When the developer failed to obtain financing, Robert Moses invited William Zeckendorf to take over the project and he replaced S. J. Kessler & Sons with his own architect, I. M. Pei, in 1957. Located in full sight of the medical center, on the west side of First Avenue, this well-designed complex positioned Pei as a leading candidate to design University Village.
By 1959 NYU had seven new buildings under construction. The Architectural Record enthusiastically reported: âNew York University â largest in the nation â is matching its size with a building program that calls for thirty-five million dollars worth of construction in one year!â Included were structures designed by Breuer, Harrison & Abramowitz, SOM, and Warner Burns, Toan & Lund.
Bust of Sylvette
At the center of University Village, near the southeast corner of the center lawn, stands Pablo Picassoâs Bust of Sylvette. Thirty-six feet tall and purportedly weighing sixty tons, this colossal cubistic sculpture served a dual purpose â to decorate the lawn and to enhance the schemeâs pinwheel character.
Outdoor sculpture has played an important role in New York City since the mid-nineteenth century. Most early examples were financed by private groups to embellish public squares and parks. Some, like bronze portraits of George Washington and Abraham Lincoln at Union Square, were intended to express patriotism and recall historic events, while others, including Central Parkâs Angel of the Waters served a symbolic purpose, representing common ideas and shared beliefs. Gradually war monuments and memorials began to dominate the public realm, particularly to honor the 25th anniversary of the end of the Civil War. Most were executed in a realistic style, with handsome stone pedestals, echoing the classical statuary of ancient Greece and Rome.
The Bust of Sylvette, however, belonged to an entirely new tradition, one inspired by French modernism and the Art Deco style. At Rockefeller Center, a gilded statue of the Greek god Prometheus was commissioned to adorn the sunken plaza. Located on axis with the promenade that connects with Fifth Avenue, it was conceived to draw people toward the lower shopping concourse and serve as a gleaming focal point or âeye catcherâ within the limestone complex. Other works at Rockefeller Center were notable for employing the modern materials, such as glass block, stainless steel, and aluminum.
This trend intensified after the Second World War, especially during the period when modern architectural aesthetics became part of the mainstream. Industrial materials transformed the appearance of new buildings and new planning concepts would open up Manhattanâs grid with privately-owned plazas. Two pioneering examples, Lever House and the Seagram Building , were conceived as settings for contemporary sculpture. Though no works were executed, major pieces were, in fact, commissioned for Chase Manhattan Plaza in lower Manhattan: a sunken circular garden by Isamu Noguchi and Group of Four Trees , a 42-foot-tall work by Jean Dubuffet.
Pei first developed an interest in modern art during the 1940s. He collected works by Abstract Expressionist painters, as well as sculptures by Dubuffet and Henry Moore. During a 1958 visit to Paris he met the Norwegian sculptor Carl Nesjar , who was returning home from the south of France where he recently introduced Picasso to the technique called ânaturebetongâ or nature concrete. Also known as âBetrograve,â this sandblasting process was developed by architect Erling Viksjö and engineer Svere Jystad during the mid-1950s. Picasso commented: âI am intrigued with your concrete and want to do something with it.â Initially, he made four large wall drawings for a government building in Oslo, followed by a 1961 frieze in Barcelona. Pei told Nesjar:
I have long thought about monumental sculpture in scale with modern architecture,
and I recognize the possibilities of concrete technique. Here and now I am beginning
a one-man crusade to have a monumental Picasso work for one of my projects.
Pei wanted to install a Picasso, possibly from the Sylvette series, in the courtyard of Kips Bay Plaza but his client, Zeckendorf, was not convinced it was essential to the program. He reportedly told the architect: âI can give you fifty saplings or this piece of sculpture.â Pei ultimately chose trees. In Philadelphia, however, the cityâs Percent for Art Ordinance, established in 1959, required that developers incorporate art into their projects. Early renderings for Society Hill illustrate two pieces: an equestrian statue set on a raised pedestal in the central plaza, and what appears to be Sylvette, on a lawn behind the apartment towers. Though neither would be executed, Pei reportedly had a $400,000 budget and instead commissioned bronze sculptures by Gaston Lachaise and Leonard Baskin.
Sylvette David was nineteen years old when she met Picasso in spring 1953. Approximately forty portraits of her in various media resulted, including the group of five busts that Nesjar viewed at the artistâs Valluris studio, La Galliose, in 1962. Fabricated with folded sheet metal and then painted, each piece was approximately two feet tall. In consultation with Nesjar, Picasso selected which would be most appropriate for enlargement and then produced a photo collage representing the view from Houston Street. Dated April 4, 1967 and October 17, 1967, the artist wrote: âI agree that Nesjar reproduce this sculpture.â A close examination of the collage, however, reveals that during the period between the two dates the sculptureâs location was changed from the west side of the lawn, where it would have been visible from the intersection of Houston and Mercer Streets, to a somewhat more central location, opposite the entrance to 110 Bleecker Street.
In November 1967, while a retrospective devoted to Picassoâs sculpture was being held at the Museum of Modern Art, NYU formally announced the commission. The model for Sylvette was part of the exhibition and Pei persuaded one of the museumâs patrons, Allan D. and Kate S. Emil, to finance it. It was the second sculpture that the family had donated to the school, following an abstract aluminum relief by Rueben Nakian , which originally adorned the upper north wall of the Loeb Student Center . Articles appeared in the New York Times and Time magazine which described the projected Picasso sculpture as âhalf as high and twice as sexy as the Great Sphinx of Egypt.â Alfred Barr, former MoMA director, forecast that it would be the âgrandest sculpture in Manhattan . . . not to mention the tallest pony-tail hairdo in the whole world.â It would be the second monumental Picasso sculpture in the United States â the first being an untitled fifty-foot-tall work executed in Cor-Ten steel for the Chicago Civic Center .
Nesjarâs team worked on Sylvette for five months, from January to June 1968, taking twice the time estimated. He was assisted by two Norwegians, the carpenter Sigurd Fragure and the artist-writer Eric Hesselberg, who served on the crew of the Kon-Tiki expedition in 1947. The New York firm Wieskopf & Pickworth assisted with the structural engineering. It was Nesjarâs twelfth collaboration with the Picasso. Nesjar commented:
This is a collaboration or if you prefer, a translation . . . Iâm like a conductor of an orchestra. The composer gives me a piece of music and then itâs up to me to see what I can do with it.
It was a unique relationship and Picassoâs only criticism of Nesjar was that results were frequently âtoo perfect.â
Freed and Amberg coordinated the sculpture project and, according to Pei, spent nearly a year bringing it to fruition. Amberg briefly lived in a NYU-University Village apartment and worked closely with Nesjar. To prepare the site, a beam and slab foundation was formed, supported by steel beams that rise from the garage. On top of the base, one side of the sculptureâs plywood formwork was assembled, followed by the steel skeleton, consisting of reinforcement bars. The skeleton was then enclosed with a second set of boards to create a water-tight form filled with crushed black basalt pebbles imported from Norway, as well as Hudson Valley traprock. Next, the rock was gently vibrated to achieve maximum density. According to Amberg, Nesjarâs team then drilled numerous ports that were used to inject the form with liquid concrete. This process was repeated several times until the concrete reached the top. After six days, the boards were removed, revealing a smooth, joint-free surface. In the final steps, Nesjar marked the outer surface with charcoal and wax crayon, making minor adjustments to the artistâs original vision for reasons of scale or point of view. He remarked: âI must be the only person in the world who has corrected a Picasso.â Nesjar then used a sandblast nozzle to expose the dark rock, making her face, hair, and shoulders permanently visible.
The Bust of Sylvette was dedicated the universityâs Tishman Auditorium on December 9, 1968. Neither Allan nor Kate Emil had attended NYU but during his speech he described their shared admiration for the school and the âwork it does today.â He also observed:
Picasso is one of the most important artists of our time, and New York should have a major example of his work in this medium. I canât think of a better location for it than New York University, where it can serve education, art, and the public at large.
Reception
University Village attracted considerable attention from the local media but only a few articles in national magazines. Initially, most writers focused on Peiâs innovative use of exposed concrete. The New York Herald Tribune reported in April 1964 that the preliminary design would âyield architectural distinction rarely associated with even more costly buildings.â As the project neared completion, the New York Times took a more neutral position; the complex was called âcontroversial,â with detailed descriptions of the exoskeleton and the interior layouts. Architectural Forum published the most thoughtful and detailed essay in December 1966. Written by critic and photographer Cerwin Robinson, he examined the complex in terms of plan, technique, tenant amenities and neighborhood context. He concluded: âThe three towers are among the least costly Pei has done. They are also among his best. New York has gained not only a triad of landmarks but clear proof that inexpensive housing can be distinguished architecture.â In Fortune magazine, Douglass Haskell featured the complex on a list of the ten best buildings of 1966, placing it under the category where architects engage in a âback-andforth play between a showy sculptural architecture on the one hand and on the other the concept of a reserved repetitive grid.â
University Village was honored with three professional awards. Under the category of residential work, it received a prize from the Concrete Industry Board of New York in December 1966, a Bard Award for excellence in design from the City Club of New York and a national honor award from the American Institute of Architects , both during May 1967. And when the first AIA Guide to NY debuted in 1967, the complex was strongly praised:
Of these three, nearly identical towers, the one closest to West Broadway is Mitchell-Lama middle income housing â undoubtedly the finest in the city, and much better than Peiâs Kips Bay Plaza . . . the result is exceptional for high-rise housing where one can, for a change, grasp the size of the individual apartments . . . from the north they appear as the logical and elegant termination of the progression of recently built, structures.
The nearly complete towers, along with NYUâs Weaver Hall, were likewise part of the AIAâs 1967 exhibition of âoutstanding architecture of the last 100 yearsâ built in New York City.
A decade later, in 1979, New York Times architecture critic Paul Goldberger described the three towers as âdignified and sophisticated . . . In a city with hardly more than a handful of decent postwar apartment houses, these stand out. Peiâs ability to bring rhythm and texture to a facade that is just a grid of concrete is absolutely superb.â Critic-cartographer John Tauranac commented in Essential New York that the towers were âCrisply designed [with an] attention to massing and detailing that many âluxuryâ houses ignore. The tenants get their moneyâs worth, as do the passing pedestrians.â Architect-historian Robert A. M. Stern later praised the complex in New York 1960, calling it âanimated, sculpturally vigorous yet human-scaled design.â And in Manhattan Skyscrapers, a 1999 book devoted to mainly office buildings, Eric P. Nash praised University Village for exhibiting an âelegant synthesis of many strains of modernist design.â Calling the complex a âfine composition,â he observed that it displays a âkinetic sense of energyâ in which âthe flow of space is almost palpable.â
When Freed died in 2005, many writers paid tribute to his career, particularly Terence Riley, curator of architecture at the Museum of Modern Art. Among the various buildings he called out in the obituary in the International Herald Tribune, University Village was cited as being one of âthe most refined examples of modern design in all of Manhattan.â
Subsequent history
University Village looks much as it did when NYU faculty began to occupy the schoolâs two buildings during late 1966. Most of the cooperative apartments were sold by October 1965 and the owner-tenants began to occupy the third building in April 1967. Both NYU buildings were renamed in 1974 to honor a major donor to the school, Julius Silver, class of 1922. Trained as a lawyer at Columbia University, for many years he advised Edwin Land of the Polaroid Corporation. A free-standing metal plaque installed on the north side of the plaza acknowledges his substantial gifts to the school, as well as horizontal metal plaques attached the walls inside each buildingâs arcade. The diagonal path, connecting the central plaza to Bleecker Street, is not original and probably was added during the 1970s or 1980s. Many of the freestanding lighting fixtures, except those near 505 LaGuardia Place, date from the 1980s or later. Overall, the concrete exteriors are in a remarkably good state of repair. Some patching, however, is visible, particularly on the north facade of 505 LaGuardia Place.
Description
University Village is located in the southeast section of Greenwich Village on two tax lots bordered, in part, by LaGuardia Place, Bleecker Street, and West Houston Street. The south half of the site has been raised to create a level platform for the three buildings. Beneath the buildings are two parking garages, reached by separate concrete entrance ramps on the north side of West Houston Street. The east ramp, serving both NYU buildings, is located close to Greene Street. Painted steel tubular railings are attached to the top of the concrete walls that flank the ramp. Along part of the top of the east wall is steel fencing. The west ramp, located between Wooster Street and LaGuardia Place, serves the 505 LaGuardia Place garage. Steel fencing is attached to the upper portion of the concrete walls that enclose the west garage entrance. Pedestrian access to both garages is provided by sidewalks, lined with steel fencing, leading to single, hollow-metal doors; the doors are located on the west side of the east garage, and on the east side of the west garage. Both garages have metal roll-up doors. Immediately to the west of each garage ramp is a sanitation area. Both sanitation areas have locked gates, concrete paving and low concrete walls surmounted by steel fences. The western sanitation area has sheet metal attached to the inside face of the fence.
A paved drive, located along the former Wooster Street links Houston and Bleecker Streets. From Houston Street, the original purplish-pink, granite-block paved drive separates 110 Bleecker Street and 505 LaGuardia Place. This drive turns east, passing the entrance of 110 Bleecker Street, and then north, passing 100 Bleecker Street, and then east again, bordering the central lawn/plaza. Planted with grass, the level plaza is square in shape, with rounded corners. Adjoining the corners are arrow-shaped metal drains set into concrete. At the southeast corner of the lawn is the Bust of Sylvette, as well as a small brass plaque on a low concrete pedestal identifying the artist and donor. Historic concrete curbs curl into the granite road bed, with three curb cuts leading to the west drive. Concrete bollards, original and mostly in good condition, are scattered around the sidewalk that adjoins the road. Along the north sidewalk is a low concrete bench with a slight cantilever on both sides that extends from the northwest corner of 100 Bleecker Street to the east side of the west drive . Toward the west end of the sidewalk is a pair of bronze-colored metal flagpoles. Between the flagpoles, a freestanding metal plaque set into a concrete slab describes the NYU buildings.
The north lawn parallels Bleecker Street and extends east from the drive to the eastern edge of the site. The closely-planted trees are likely to date from the time of construction. The lawn also contains non-historic lighting fixtures, including U-shaped pole lights and pole-mounted flood lights. A diagonal concrete path, starting near the northwest corner of 100 Bleecker Street, extends northeast through the north lawn, ending near the Bleecker Street sidewalk. The east lawn, adjoining 100 Bleecker Street, extends south to a concrete path, from the siteâs east boundary. Between this path and Houston Street is a seating area featuring a broken spiral of concrete benches. At the southeast corner of the site, between the seating area and east garage ramp on Houston Street, is a playground enclosed with original concrete walls, featuring a concrete bench, ramp, and circular sandbox set into the ground and a circular tree planter. The south central lawn, between 110 Bleecker Street and Houston Street, is bordered by a steel fence on the east, west, and south. It is also enclosed by a non-historic chain-link fence extending from the east facade of 110 Bleecker Street to the playground. An original concrete taxi call light is located at the southwest corner of the south central lawn, near Houston Street.
South of 505 LaGuardia Place is a lush private garden, enclosed by a steel fence. This garden, as well as the buildingâs rear facade, is visible through the fence. Located within the garden are two original lampposts. Proceeding north from Houston Street, along the shaded path between the private garden and the âTime Landscapeâ , is a wide concrete staircase with four metal railings that ascend east into a mews or passageway, passing 505 LaGuardia Place on the right . This passage has three original painted metal light poles, each with five glass globes. The other lighting fixtures along the plaza and sidewalks are non-historic and feature slender steel poles with U-shaped supports that hold covered square-shaped down lights. Where there is grass, they are set on concrete cubes, the rest are bolted to the sidewalk. Along the north side of this passage is a low concrete bench that encloses a planting bed. Directly north of the stairs, the west end of the bench becomes the top of a concrete wall, to which the raised historic metal numbers â505â are attached. At the east end, the bench curves and meets a rectangular base on which a steel fence has been installed. Non-historic metal signs are installed on the face of the bench. From this bench, a sidewalk extends north along the west side of the former route of Wooster Street. Here, non-historic U-shaped lighting fixtures and trees alternate. A high steel fence separates the sidewalk from a planting bed with a second row of trees, as well as a low concrete wall that separates the complex from the space used by the adjacent supermarket driveway. A chain-link fence is installed on top of this wall.
Adjoining the central plaza, to the east, south and west are three 30-story apartment buildings. Located near the center of the site, this trio rises in isolation and stands taller than the various buildings that surround the site. Each tower is defined by grids of deeply-recessed windows executed with exposed concrete. Wider than deep, each projecting facade has four or eight windows, flanked on one side by a row of narrow windows, as well as a sheer wall of concrete divided into vertical panels. Each bay consists of two sections: the upper one incorporates a pair of sliding aluminum windows, and the smaller lower section, a ventilation grille. At the ground story, the primary facades have deep arcades that lead to lobbies, and the secondary facades have large windows set above raised bases. Small recessed openings at the basement level are filled with louvers; most of the louvers at 505 LaGuardia Place are original, while most of those at 100 and 110 Bleecker Street are non-historic. Other non-historic elements include: flood lights mounted to many of the basement louvers and parapets, metal mesh boxlike fences which enclose recesses at the ground floor; sheet-metal signage; and security cameras.
The exterior wall of the lobby of 505 LaGuardia Place faces north and is set behind an arcade. There is a short step within each bay, except at the east end, which has been converted to a ramp. The cement pavement within the arcade is divided into rectangles; joints separating the rectangles are aligned with the columns. The step riser at the two center bays has been painted yellow. The east and west walls of the arcade are faced with tan brick. On the west wall is the historic â505â sign with raised digits. The ceiling incorporates a row of original recessed lighting fixtures, aligned with the center of each bay. The entrance consists of a projecting pavilion with concrete side walls, brown-colored aluminum framed windows and two inward-opening glass doors. The pavilion is flanked by recessed plate glass windows on either side. A service entry located to the west end of the arcade has brown-painted metal doors and a sheet metal transom. A non-historic security camera is installed at the east end of the arcade on the upper wall. Original â505â signs with raised digits are located on the northeast corner of the north facade and at the northwest corner of the west facade.
The exterior wall of the lobbies of 100 and 110 Bleecker Street are similar to 505 LaGuardia but are not identical, with larger sheets of plate glass to either side of the entrance pavilion. Horizontal metal strips have been added in various locations near the ground to protect the glass. The walls to the right of both entrances are faced with tan brick. Attached to these walls are the original raised numerals that indicate the buildingâs address â100â and â110,â as well as a circa 1970s metal plaque indicating âSILVER TOWERS, NEW YORK UNIVERSITY.â The shallow ramps that enter through the arcade are not original and probably replaced a single step. Most of the lighting fixtures in these arcades are not original, nor are the low granite benches on either end. Original service entries with metal doors and sheet-metal transoms are located on the west side of 110 Bleecker Street and the south side of 100 Bleecker Street.
- From the 2008 NYCLPC Landmark Designation Report
The beam rifle has been remade into a more solid design. As it is mentioned in an earlier picture, its first configuration has a handheld beam rifle for its primary armament, two shoulder-mounted rocket launchers, and two forearm-mounted beam sabers. This is a balanced and neutral setup that has no major advantages nor disadvantages.
The last few weeks the Taklift 7 from Smit Internationale has preformed several tasks around the Waalhaven. Now they have fitted him with the longboom option.
As you can see the main boom has been taken back a bit and the long boom has been placed in front of the main boom.
With his option it's a little over 120m high. There is another configuration which allows the Taklift 7 to reach up to 160 meters.
With this lonboom option it is still able to lift a maximum of 478tons at 120m!
Cylinders: flat-6 (boxer-configuration)
Displacement: 2341 cc
Bore x stroke: 84 x 70.4 mm
Rated output: 140 PS @ 5600 rpm (carburetored, except the USA where the new BOSCH K-Jetronic CIS (continuous fuel injection system) was used, according to stricter environmental laws)
Max. torque: 197 Nm @ 4000 rpm
Top speed: 205 km/h
0-100 km/h: under 10 s
Empty weight: 1077 kg
Cooling system: Air cooled with fan
© www.carfolio.com/specifications/models/car/?car=26521
The “F-Series” (F-model) are widely seen as the genuine models (master pattern) of all 911-types in summing up of the series from MY 1968 (introduced in the middle of 1967) “A-series” to MY 1973 (discontinued in the middle of 1973).
The identifying of an early successor, an European G-model MY 1974, could lead to the following mystic question: Why are impact bumpers fitted to some early “G-series” models only?
The new 911 G-Series was introduced in 1973. The US-Versions were all equipped with this new bumpers to conform with low speed protection requirements of US law from the very beginning. The integration of the new shock absorbing bumpers as standard of the European versions followed only one year later. In Germany the “G-Series” models since 1974 are called “Blasebalg”-models (German for “bellows”).
KlassikSTADT Frankfurt
Pyritz Classics
14 February 2014