ROMA ARCHEOLOGIA E RESTAURO ARCHITETTURA: Update - The Forum and Temple of Trajan in Rome (2018-20): "L’evidenza archeologica ha dimostrato che il tempio c’è.” With New Comments & New Information Courtesy of Prof. James E. Packer (18 March 2020).

PDF = wp.me/pbMWvy-5t

 

Note: I have actually been working on this brief notice on the The Forum and Temple of Trajan in Rome (2019-2020) since May 2020 onwards (1), but, with the recent Italian 'Chinese virus’ Crisis in late Feb thru March 2020, I have been sidelined communicating, discussing and attempting help my dear friend in Rome.

 

ROMA ARCHEOLOGIA E RESTAURO ARCHITETTURA: Update - The Forum and Temple of Trajan in Rome (2018-20): "L’evidenza archeologica ha dimostrato che il tempio c’è.” With New Comments & Information Courtesy of Prof. James E. Packer (18 March 2020).

 

Update - Rome recently in late January 30 2020 and in early 11-13 December 2019, the numerous Italian scholars in Rome affiliated with the long-term research and studies of the Forum and Temple of Trajan at the two following conference’s (see below) presented and discussed the results of their recent work on the Forum and Temple of Trajan, see:

 

I). Rome - LA TOPOGRAFIA DELL’AREA A NORD DEL FORO DI TRAIANO. Giornata di studio. Rome, the Auditorium dell’ Ara Pacis (30 January 2020).

 

Abstract - La giornata di studio è finalizzata a confrontare differenti esperienze della ricerca archeologica riguardanti un’area di grande importanza nella topografia antica della città. In essa infatti doveva trovarsi il grande tempio di Traiano e Plotina divinizzati la cui esatta localizzazione e consistenza sono, da anni, al centro di un intenso dibattito fra gli specialisti. Verranno anche presentati i risultati di nuovi scavi effettuati dalla Scuola Spagnola [see: note 2] nei sotterranei della sua sede di via di S. Eufemia oltre a quelli delle indagini realizzate dalla Città Metropolitana di Roma nel sottosuolo di palazzo Valentini. Si ripercorreranno le tappe della scoperta degli auditoria adrianei di piazza Venezia, a cura del Parco Archeologico del Colosseo, e verranno esposte nuove teorie riguardanti alcuni dei principali monumenti esistenti in antico nell’area oggetto di studio. Infine saranno illustrati i risultati più recenti della ricerca sulla topografia e sulla decorazione architettonica del Foro di Traiano.

 

Fonte / source:

--- Convegno La topografia dell’area nord del Foro di Traiano/ 30 de Enero de 2020. Rome, EEHAR [the Spanish School of History and Archaeology in Rome] (01/2020) (accessed late January 2020).

www.eehar.csic.es/convegno-la-topografia-dellarea-nord-de... (3).

 

Surprisingly, after a lengthy search on the internet, apparently no one from the Italian TV or newspaper media (print, internet or social media resources) in Rome reported on the furthcoming or actual ‘La topografia dell’area nord del Foro di Traiano’ conference on 30 January 2020? But, then again since mid-t0-late 2019 and up-to early 2020, for some unknown reason compared to past years (2008-18), the recent news of the archaeological & restoration work in the area of the Imperial Fora of Rome has not been covered by the Italian media? (4).

 

The only mention of the ‘La topografia dell’area nord del Foro di Traiano’ conference (30 January 2020) is brief notice recently posted on the following Facebook page:

 

I.1. Dr. Riccardo Montalbano (ed.), Qualche breve considerazione sul convegno "LA TOPOGRAFIA DELL'AREA A NORD DEL FORO DI TRAIANO", in: Topografia di Roma antica / Topography of Ancient Rome. Facebook (01 Feb. 2020) (accessed 19 March 2020).

 

Fonte / text & foto / sources:

Dr. Riccardo Montalbano (ed.), Topografia di Roma antica / Topography of Ancient Rome. Facebook (01 Feb. 2020). www.facebook.com/groups/540545102790727/

 

Nel corso della giornata di studi sono emersi numerosi dati inediti e sono stati proposti spunti di grande interesse. In particolare:

 

1). Presenza di un incredibile palinsesto murario rinvenuto nelle cantine della nuova sede della Escuela Española de Historia y Arqueología en Roma, in via di Sant'Eufemia (intervento: Antonio pizzo e Massimo Vitti). L'elemento più interessante, a mio avviso, è la presenza di resti riferibili a un colombario (datazione proposta: età augustea), che solleva nuovi problemi circa la linea pomeriale nella zona (chiaramente connesso con le mura repubblicane che, come noto, correvano lungo la sella poi cancellata a partire dall'età domizianea).

 

2). Rilettura complessiva delle 3 aule - Auditoria vs Athenaeum - con la novità riguardante un presunto ingresso da sud, costituito dalla "quinta" rinvenuta nel 1932 e ora messa in connessione con il sistema delle tre aule. Questo fronte, movimentato da una grande abside, avrebbe schermato l'irregolare disposizione retrostante (intervento: R. Rea).

3). Templum divi Traiani et Plotinae: secondo P. Baldassarri la presenza del tempio, un ottastilo con colonne da 50 piedi, è giustificata dalla grande fondazione rinvenuta (la cui larghezza però non è sufficiente a giustificare la fronte del tempio così come immaginato; per questo motivo, essa viene riferita solo alla scalinata del tempio, dunque all'interasse tra le guance della scalinata di accesso frontale), oltre che dalle camerelle di fondazione. In questa ricostruzione, non si rinuncia al grande portico a ferro di cavallo (a mio avviso, lo sviluppo a est della domus B di palazzo Valentini sembra far escludere questa soluzione). Bellissimi i frammenti architettonici rinvenuti, tra cui uno splendido frammento di rilievo con grifo.

 

4). Nuovi preziosi dati vengono dalla zone biblioteche del foro di Traiano e, in particolare, dall'esplorazione della cappella sepolcrale della chiesa del Ss. Nome di Maria e dalle strutture individuate (parte della biblioteca orientale). I nuovi dati permettono di articolare nel dettaglio il sistemare delle scale e degli accessi.

 

Inoltre, si ripropone un'altra alternativa circa l'ingresso del Foro da nord, con un grande arco di ingresso (intervento R. Meneghini - E. Bianchi), arco che secondo E. La Rocca è da identificare con l'arco partico noto dalle fonti letterarie (intervento E. La Rocca).

 

5). Interessantissime le osservazioni sul frammento 36b della Forma Urbis, la cui iscrizione sinora era stata letta com TEM PL (um) e identificato con il complesso campense dedicato a Matidia. La novità, correttamente rilevata, consiste nella presenza di un separatore e un'eccessiva spaziature tra TEM - PL, da leggere come Tem(plum) Plotinae (come proposto). Ciò apre interessanti prospettive sia epigrafiche (questione della dedica del tempio e della titolatura inversa tra Traiano e Plotina), sia topografiche (collocazione del frammento rispetto alla griglia della FUM).

6). Di grande utilità, infine, le considerazione su tutto l'apparato decorativo del foro (intervento L. Ungaro) e sui frammenti di ordine gigante rinvenuti nell'area (intervento M. Milella). Ma su questi temi, sutor ne ultra crepidam…

 

II). Rome - Dr. Paola Baldassarri (Città Metropolitana di Roma Capitale), “L'area a Nord della Colonna Traiana e il Tempio dei divi Traiano e Plotina : riflessioni in merito alle indagini di Palazzo Valentini.” Conférence - Topographie et urbanisme de la Rome antique, Caen, France (11-13 Dec. 2019).

 

During the conference Dr. Baldassarri presented the following lecture on the “L'area a Nord della Colonna Traiana e il Tempio dei divi Traiano e Plotina,” in Caen, France (Dec. 2019). This presentation briefly discusses the recent series of excavations below the Palazzo Valentini in 2018-19, also based upon her recent published work on the Temple in the following journal articles (including two published works in English [2011, 2014-15]).

 

Fortunately, the various presentations at the recent Conference - Topographie et urbanisme de la Rome antique, Caen, France (11-13 Dec. 2019), with these presentation lectures recorded and now available on You-tube as of mid-January 2020. Note: several screenshots taken from Dr. Baldassarri’s video and converted into photographs are also republished here.

 

--- Dr. Paola Baldassarri (Città Metropolitana di Roma Capitale), “L'area a Nord della Colonna Traiana e il Tempio dei divi Traiano e Plotina : riflessioni in merito alle indagini di Palazzo Valentini.” Conférence - Topographie et urbanisme de la Rome antique, Caen, France (11-13 Dec. 2019). You-Tube (17 January 2020) [24:50].

www.youtube.com/watch?v=2uoeQ1MVDR0&t=313s

 

As mentioned Dr. Baldassarri’s lecture presentation is based upon several of her recently published works (2012-18) on the “il Tempio dei divi Traiano e Plotina” several as cited and available in PDF (particularly in RM 122 [2016], pp. 171-202) as listed here below :

 

--- Paola Baldassari (2018), “Gli scavi Palazzo Valentini e il Templum Divi Traiani et Divae Plotinae: omaggio di Adriano divis parentibus.” [Unpublished] paper / lecture read at the following conference in Rome = ‘Il Convegno Internazionale “adventus Hadriani 118 – 2018”’. Rome, Italy (4 July 2018). aha.uniroma2.it/it/ S.v., independent.academia.edu/PBaldassarri

 

--- Paola Baldassarri, (2017), “Templum divi Traiani et divae Plotinae : nuovi dati dalle indagini archeologiche a Palazzo Valentini.” RendPontAcc. 89, pp. 599-648. (Abstract in Italian & English). [= Part. II of] “FORO TRAIANO: ORGANIZZAZIONE DEL CANTIERE E APPROVVIGIONAMENTO DEI MARMI ALLA LUCE DEI RECENTI DATI DI PALAZZO VALENTINI.”

www.pont-ara.org/index.php?module=Pubblicazioni&func=...

 

--- Paola Baldassarri (2016), “Indagini archeologiche a Palazzo Valentini. Nuovi dati per la ricostruzione del tempio di Traiano.” RM 122, pp. 171-202 [in PDF]. (Abstract in English).

 

--- Paola Baldassarri (2015), “Le indagini archeologiche a Palazzo Valentini (Roma) e il tempio dei divi Traiano e Plotina,” pp. 1689 - 1756 [in PDF], in: Paola Ruggeri et al., L’Africa romana Momenti di continuità e rottura: bilancio di trent’anni di convegni L’Africa romana. Vol. II., Rome: Carocci editore (2015).

www.academia.edu/32087781/Paola_Baldassarri_Le_indagini_a...

 

--- Paola Baldassarri (2013), “Alla ricerca del tempio perduto: indagini archeologiche a Palazzo Valentini e il templum Divi Traiani et Divae Plotinae.” Arch.Cl. 64., pp. 371–481 [in PDF]. (Abstract in English).

www.academia.edu/29206723/Alla_ricerca_del_tempio_perduto...

 

--- Paola Baldassarri; Antonella Lumacone & Luca Salvatori (2012), “Nuove indagini archeologiche a Palazzo Valentini. Il tempio dei divi Traiano e Plotina.” Forma Urbis, XVII, 5 (May 2012): 45-52 [in PDF]. wp.me/pPRv6-2ab

 

For a brief summary by Dr. Baldassarri research on the Temple of Trajan in English (2011, 2014 & 2015), see:

 

--- ROMA ARCHEOLOGIA e RESTAURO ARCHITETTURA. ROMA – rinvenimenti sotto Palazzo Valentini – l´esistenza e una porzione di un edificio che potrebbe essere l´introvabile Tempio del Divo Traiano. LA REPUBBLICA (19/05/2007) & Luisa Napoli & Paola Baldassarri, RESEARCH ARTICLE – Palazzo Valentini: Archaeological discoveries and redevelopment projects. Frontiers of Architectural Research, Vol. 4.2 (June 2015): 91-99. wp.me/pPRv6-4VP

 

--- ROMA ARCHEOLOGICA & RESTAURO ARCHITETTURA: “Roberto Del Signore & Paola Baldassarri, Provincia di Roma, “The multimedia museum: an original meeting between antiquities and innovation in the Roman domus of Palazzo Valentini,” Conference – ATHENS, GREECE (2 OCT. 2014) [PDF], pp. 1-81. [And Foto: Dott.ssa Arch. Maria G. Ercolino (2014)].

wp.me/pPRv6-2QS

 

--- Paola Baldassarri (2011), “Archaeological Excavations at Palazzo Valentini: a residential area in the shade of the Trajan’s Forum,” pp. 43-67 [in PDF], in: Mustafa Sahin et al., 11th INTERNATIONAL COLLOQUIUM ON ANCIENT MOSAICS, Bursa October 16th–20th 2009, Istanbul : Uludağ University (2011).

www.academia.edu/29207218/Archaeological_Excavations_at_P...

 

III). Rome, the ‘Il Foro di Traiano’ and the ‘il Tempio di Traiano e Plotina’ and the Sovrintendenza Capitolina / “Il Foro di Traiano / Il tempio che non c’è.” (April 2019) (re-accessed March 2020).

 

Sometime in March and or April 2019, after nearly a decade of providing no new useful information on the Imperial Fora (2008-19), the Sovrintendenza Capitolina ai Beni Culturali's webpage for the Fori Imperiali (Roman Antiquity [and now thru through the Modern era]) finally updated its website with the new information as listed here below:

 

--- Sovrintendenza Capitolina (April 2019 [March 2020]) = “Home » Patrimonio » Roma antica » Aree archeologiche » Fori Imperiali.” =

www.sovraintendenzaroma.it/i_luoghi/roma_antica/aree_arch....

 

“L’area prima dei Fori, Il Foro di Cesare, Il Foro di Augusto, Il Templum Pacis, Il Foro di Nerva, Il Foro di Traiano, Mercati di Traiano e Museo dei Fori Imperiali, La Terrazza domizianea & I Fori Imperiali dal Medioevo ad oggi.” And “Bibliografia essenziale” & “Fori Imperiali - Dati archivio.”

 

In the section of the Sovrintendenza’s website devoted to the Forum and Temple of Trajan, now listing the following information =

 

1.1). Sovrintendenza Capitolina / “Il Foro di Traiano / Il tempio che non c’è.” (April 2019 [March 2020]). www.sovraintendenzaroma.it/content/il-tempio-che-non-c%E2...

 

‘Il tempio che non c’è - Nel Foro di Traiano mancava il tempio, edificio che abbiamo visto invece costantemente presente negli altri Fori Imperiali. In passato si riteneva che un gigantesco tempio dedicato a Traiano e Plotina divinizzati (e comunque non a una divinità “tradizionale”, come era sempre accaduto) fosse stato edificato dal successore di Traiano, ossia Adriano (117-138 d.C.) al limite settentrionale del complesso, in un’area sostanzialmente corrispondente a quella in cui oggi si trova Palazzo Valentini. Le ricerche effettuate in tempi recenti nei sotterranei del Palazzo hanno invece riportato alla luce resti, anche consistenti, di edifici d’abitazione, ridimensionando o escludendo così la presenza di un tempio in questo punto.’

 

An alternative website, the 'fori-imperiali.info' (April 2019), re-publishes the same information from the Sovrintendenza's website: "Roma antica » Aree archeologiche » Fori Imperiali »", with the exception of providing an English Language version, as follows:

 

'The temple that isn’t there - Within Trajan’s Forum there is no temple, a building which is present in all the other Imperial Fora. In the past it was believed that an enormous temple had been built to celebrate the deified Trajan and Plotina (and not as a “traditional” divinity as had always been the case). This temple was believed to have been built by Trajan’s successor Hadrian (117-138 A.D.) at the northern edge of the complex, in an area that is essentially where Palazzo Valentini stands today. Recent researches carried out in the basement of that building has brought to light ruins of private habitations, some quite substantial, which would appear to exclude the presence of such a temple in that area or at least reduce its possible size.'

 

Additional information in English on the Forum / Temple of Trajan in English, cited from Fori-imperiali.info “I Fori Imperiali” (April 2019) = fori-imperiali.info/ & “Il Foro di Traiano / Il tempio chenon c’è” .http://fori-imperiali.info/005-2/ (Accesssed April 2019) (re-accessed March 2020).

 

The Sovrintendenza's website on 'il foro di Traiano » il tempio che non c’è' offers no attribution to the source of the photograph (i.e., digital reconstruction of the Forum / Temple of Trajan); while the 'fori-imperiali.info' website cites, the following information:

"Ipotesi ricostruttiva del Tempio di Traiano (J. Packer)." This image of the Tempio di Traiano (i.e. J. Packer), was originally published in the following work: “Fig. 15 - Conjectural reconstruction of the Temple of Divine Trajan and the temenos (J. Burge)”, facing page 112; see: J. E. Packer, with John Burge (2003), “TEMPLUM DIVI TRAIANI PARTHICI ET PLOTINAE: a debate with R. Meneghini.” JRA 16 (2003): 109-113.

 

Note: Just recently Prof. Packer was kind enough to allow me to republish online a copy of his following 2003 work [in PDF] (see below in section # IV):

 

--- James E. Packer, with John Burge (2003), “TEMPLUM DIVI TRAIANI PARTHICI ET PLOTINAE: a debate with Roberto Meneghini.” JRA 16, pp. 109-136 [now in PDF].

  

The revision of the Sovrintendenza Capitolina / “Il Foro di Traiano / Il tempio che non c’è.” (April 2019), might be based upon a series of recent articles published by Dr. Eugenio La Rocca (2018) & Dr. Roberto Meneghini (2018) on the Forum and Temple of Trajan. In the former article by Prof. La Rocca basically dismisses the interesting research and will argued conclusions for the ‘traditional’ location and architectural design of Temple of Trajan (similar to that of J. E. Packer [2003]), as then published in Dr. Baldassarri RM 122 (2016 ): 171-202 (as cited above) (5).

 

--- ROMA ARCHEOLOGIA e RESTAURO ARCHITETTURA: Eugenio La Rocca, Il tempio dei divi Traiano e Plotina, l’arco partico e l’ingresso settentrionale al foro di Traiano: un riesame critico delle scoperte archeologiche. Veleia, No. 5 (2018): 57-107 [in PDF]. wp.me/pPRv6-4LR

 

Abstract: The temple of the divi Trajan and Plotina, the Parthian arch and the northern entrance to the Trajan forum: a critical review of archaeological discoveries. There is some reliable evidence from antique sources about the templum divi Traiani, thanks to which it is known that the templum was connected with the column of Trajan, although they do not clarify neither the morphology of the building nor its actual location. The recent excavations carried out in the foundations of the palazzo Valentini have not shed some light on the problem. The reproduction of the gigantic temple, with 8 × 10 (or 9) Egyptian granite columns of 50 feet height, is still based on the hypothetical reconstruction of the northern area of the Trajan forum drawn by Guglielmo Gatti [= based on his grandfather’s notes] and by Italo Gismondi. Something the results of new investigations do not actually allow it. Furthermore, the proposed solutions do not take into account the Parthian arch of Trajan, whose placement at the southern entrance of the Trajan forum, as suggested by Rodolfo Lanciani and Italo Gismondi, can no longer be sustained. It is likely that the arch, whose construction was started in May of 116 A. D. and it was still ongoing at the time of Trajan’s death on the 7th of August of 117 A. D., was instead the main entrance of the forum, that is, the northern one, in an area affected by the building interventions of Hadrian, whose entity and motivations, unfortunately, fly from us. The existence of the Parthian arc in the area partially occupied by the templum divi Traiani, at least according to the most recent proposals of reconstruction, compels to revise the Hadrian’s setting of the Trajan forum to the north of the columna cochlis.

 

--- ROMA ARCHEOLOGIA e RESTAURO ARCHITETTURA: Lucrezia Ungaro, Traiano e la costruzione della sua immagine nel Foro | Trajan and the construction of his representation, Veleia, No. 5 (2018): 151-177 [in PDF]. wp.me/pPRv6-4LF

 

Abstract – The discovery of a new colossal portrait of Trajan occurred during the preparation of the exhibition «Trajan. Building the Empire, creating Europe», gave a renewed reading of the complex figurative program wanted by the emperor in his Forum. In the framework of his political, military and social action, the Forum is in fact the highest representation of his virtus imperatoria and of the maiestas populi romani. In particular, the portraits of the Traianus Father and of the so-called Agrippina / Marcia are reconsidered, in the light of a possible gallery dedicated to Trajan’s genetic family and his models, such as Julius Caesar. Equal attention is devoted to the distribution of sculptures and reliefs discovered in forensic spaces, to their hierarchical relationship in the huge space of the square. Finally, the proposal to recognize the porticus porphiretica in the three-segmented hall is reconsidered, examining preliminarily the known porphyry sculptures attributable to the Forum, and some fragments preserved in the deposits of the Museum of the Imperial Fora, thus getting new interest.

 

--- ROMA ARCHEOLOGIA e RESTAURO ARCHITETTURA: Roberto Meneghini, L’Arco di Traiano partico nel Medioevo. Veleia, No. 5 (2018): 180-188 [in PDF]. wp.me/pPRv6-4LV

 

Abstract: The hypothesis, put forward by Eugenio La Rocca in this same volume, of the presence of the Arcus Parthicus of Trajan in the area immediately to N of the Trajan’s Column seems to be confirmed by the medieval tradition. In fact, in the area are cited from historical sources and archives, the Arch of the Foschi di Berta (in reality cannot be precisely positioned), and an Arcus Traiani Imperatoris that would be exactly in correspondence with the structures found in the recent excavations of the subsoil of Palazzo Valentini, now of the Provincia or the Città Metropolitana di Roma.

 

Likewise, Dr. R. Meneghini and Dr. L. Ungaro in published a series of conference presentations on the Forum and Temple of Trajan for the recent Traiano exhibit in Rome (2017-18), see:

 

--- Roberto Meneghini, I Fori Imperiali / Il Foro di Traiano, pp. 1-20 [in PDF], in: Traiano: Costruire L’Impero, Creare L’Europa (Trajan: Constructing the Empire, Creating Europe), Mercati di Traiano, Museo dei Fori Imperiali, Rome (08/05/2018), 29 November 2017–16 September 2018. wp.me/pPRv6-4LF

 

--- Lucrezia Ungaro, Dai frammenti alle ricomposizioni, dai depositi ai nuovi progetti di allestimento, pp. 1-76 [in PDF], Traiano: Costruire L’Impero, Creare L’Europa (Trajan: Constructing the Empire, Creating Europe), Mercati di Traiano, Museo dei Fori Imperiali, Rome (08/05/2018), 29 November 2017–16 September 2018. wp.me/pPRv6-4LF

 

For a review of the Traiano Exhibit (2017-18) and additional information, see:

 

Traiano: Costruire L’Impero, Creare L’Europa (Trajan: Constructing the Empire, Creating Europe), Mercati di Traiano, Museo dei Fori Imperiali, Rome, 29 November 2017–16 September 2018, curated by Claudio Parisi Presicce, Marina Milella, Simone Pastor, and Lucrezia Ungaro.

 

--- ROMA ARCHEOLOGIA e RESTAURO ARCHITETTURA: Online Museum Review – Jeremy Hartnett, Marketing Trajan at the Museo dei Fori Imperiali. AJA 122.4 (Oct. 2018): 1-6 [in PDF], s.v, Roberto Meneghini | Lucrezia Ungaro (2018) [in PDF] & s.v., Prof Arch. P. Martellotti / Dott.ssa Arch. B. Baldrati (1999-2002).https://wp.me/pPRv6-4LF

 

IV). ROMA ARCHEOLOGIA e RESTAURO ARCHITETTURA: Update - The Forum and Temple of Trajan in Rome (2018-20): "L’evidenza archeologica ha dimostrato che il tempio c’è.” With New Comments & New Information Courtesy of Prof. James E. Packer (18 March 2020).

 

Rome, the Temple of Trajan: “…La scoperta non è sensazionale perché anche in passato si era parlato della possibile esistenza del Tempio di Traiano sotto Palazzo Valentini. La presenza della domus aveva fatto passare di moda l’ipotesi. L’evidenza archeologica ha dimostrato che il tempio c’è. Un impulso alla ricerca viene anche dallo scavo di Roberto Egidi (Soprintendenza statale) che messo in luce l’Athenaeum e che non è famoso come [Prof. Andrea] Carandini e [Prof. Eugenio] La Rocca! Peccato che verrà presto ricoperto. La situazione nel complesso frena gli entusiasmi.”

 

Comment Former Senior Director with the MIBACT and Italian archaeologist,

personal communication to M. G.Conde (08 December 2011) (6).

  

Since the fall 2019 and up-to the 30 January 2020, with having access now to Dr. Baldassarri’s recent work on the Temple of Trajan in Rome = the notice of the "LA TOPOGRAFIA DELL'AREA A NORD DEL FORO DI TRAIANO", Rome Conference in Jan. 2020; her conference video presentation in Caen, France in mid-December 2019 and several of her recently published articles, notably the RM 122 (2016 ): 171-202.

 

I would like to offer a personal comment on Dr. Baldassarri’s recent work on the Temple of Trajan (2018-20), as noted in her RM 122 (2016 ): 171-202, she fundamentally completely ignores the invaluable previously work conducted on the Forum of Trajan by Prof. James E. Packer (2006, 2003, 2001 & 1997)? In her reconstruction of the history of the excavations and studies of the temple in the 19th, along with her new digital reconstruction of the temple itself. With the exception of the few architectural remains of the Temple brought to light underneath the Palazzo Valentini (2005 onwards), her work is fundamentally continuing the work and similar design plans of Prof. Packer’s earlier work on the Temple?

 

For the benefit of the non-Italian independent researchers, university students and scholars interested in the research and studies of the Forum and Temple of Trajan (2017-2020), after discussing with Prof. Packer the recent work of Dr. Baldassarri, Dr. La Rocca and Dr. Meneghini (2017-20), although he is currently engaged in his forthcoming book on the Theater of Pompey in Rome. He found the new research on the Temple of Trajan very interesting. As for his recent and past work in Forum of Trajan, see the following:

 

--- James E. Packer [on Facebook] (15 May 2015). Personal comments in reference to: “I FORI IMPERIALI – “Un marmo sopra l’altro così rialzeremo le colonne del Foro di Traiano.” LA REPUBBLICA (15 May 2015). wp.me/pPRv6-2Y1

 

--- James E. Packer (2013a), [Review of] “The Atlante: Roma antica revealed,” ANDREA CARANDINI (a cura di) con PAOLO CARAFA, ATLANTE DI ROMA ANTICA. BIOGRAFIA E RITRATTI DELLA CITTÀ (Mondadori Electa 2012). 2 vols. Pp. 1086, pls. XVII + 276 + 37 map

sections. ISBN 978-88-370-8510-9. EUR. 150.” JRA 26 (Nov., 2013), pp. 553-561.

(Abstract). doi.org/10.1017/S104775941300041X & wp.me/pPRv6-1S5

 

--- James E. Packer (2013b), interview with J. E. Packer, in: T.E. Watts, “Rome Walk: Imperial Fora II-Trajan’s Forum and Market,” Rome: You-Tube (22 Nov. 2013), [1:00:13]. Interview with J. E. Packer, during a school group tour visit to the Forum of Trajan & the Forum of

Caesar. Rome: You-Tube (22 Nov. 2013), [1:00:13]. wp.me/pPRv6-2pu

 

--- James E. Packer (2008a), “Italo Gismondi and Pierino Di Carlo: ―Virtualizing Imperial Rome for 20th-Century Italy.” AJA Online Review Article, 112.3 (July), pp. 1-6 [PDF]. AJA Online Edition.

www.ajaonline.org/online-review-article/254 & PDF = wp.me/pPRv6-2GB

 

Prof. James E. (2008b), “The Column of Trajan: the topographical and cultural contexts.” JRA 21, pp. 471-478 [PDF]. (Abstract) doi.org/10.1017/S104775940000478 & PDF = wp.me/pPRv6-1sv

 

--- James E. Packer (2006), “Digitizing Roman Imperial architecture in the early 21st century: purposes, data, failures, and prospects,” pp. 309-320; in: L. Haselberger and J. Humphrey (eds)., Imaging Ancient Rome. Documentation – Visualization – Imagination. Proceedings of the Third Williams Symposium on Classical Architecture, 2004. JRA Supplementary Series 61 (2006). Index summary, JRA Supl. 61 (2006).

 

--- James E. Packer, with John Burge (2003), “TEMPLUM DIVI TRAIANI PARTHICI ET PLOTINAE: a debate with Roberto Meneghini.” JRA 16, pp. 109-136 [in PDF] (7).

 

--- James E. Packer (2001a), The Forum of Trajan in Rome: A Study of the Monuments in Brief. University of California Press (2001), pp. 1-235. (Preview & abstract in Google Books).

books.google.com/books?id=Tn7zf3ecm2wC&source=gbs_nav...

 

--- James E. Packer (2001b), Il Foro di Traiano a Roma: breve studio dei monumenti. Rome: Edizioni Quasar (2001), pp. 1-256. (Tradotto in italiano da Elisabetta Ercolini [translated into Italian by Elisabetta Ercolini]). (Abstract and summary) =

www.edizioniquasar.it/sku.php?id_libro=481&bef=1638&a...

 

--- James E. Packer (1997a), “Report from Rome: The Imperial Fora, a Retrospective.” AJA 101 (Apr., 1997), pp. 307-330 [PDF]. (Abstract) www.jstor.org/stable/506512 & PDF = wp.me/pPRv6-2oq

 

And for two important peer-review articles in English and Italian on Prof. Packer’s work on the Forum of Trajan (2001 & 1997), see:

 

--- Tom Stevenson (2002), [Review of] “James E. Packer & John Burge, The Forum of Trajan in Rome: a Study of the Monuments in Brief (2001).” PRUDENTIA Vol 34, No 1, pp. 101-105 [PDF]. prudentia.auckland.ac.nz/index.php/prudentia/article/view...

 

--- Francesco Ferretti, (2001), “Foro di Traiano – Notiziario bibliografia”: J. E. Packer, Forum of Trajan Vol. I-III; R. Meneghini, F. di Traiano, RM 105 (1998); & E. La Rocca, F. di Traiano, RM 105 (1998); in: Notiziario bibliografico di Roma e Suburbio, 1997-2001. BCom Vol. 102 (2001), pp. 399-400 [PDF]. wp.me/pPRv6-4BX

 

Hope the readers will have found this brief notice of the Forum and Temple of Trajan useful.

 

Thank you Martin G. Conde

Washington DC, USA (20 March 2020).

 

A special thank you to Prof. James E. Packer and also Dr. Arch. Barbara Baldrati, Gianni De Dominicis & Alvaro Di Alvariis of Rome, Italy; all being very kind and contributing and sharing their important and invaluable work on Rome with me.

 

Their various works on Rome can be accessed via a search on the following website:

ROMA ARCHEOLOGIA E RESTAURO ARCHITETTURA 2010-20.

ROME – THE IMPERIAL FORA: SCHOLARLY RESEARCH & RELATED STUDIES.

rometheimperialfora19952010.wordpress.com/

  

Notes and Additional Information:

 

For a collection of research materials (in PDF’s and images) on the recent and past excavations and studies of the Forum, Temple and Markets of Trajan (1998-2020), see:

 

ROMA ARCHEOLOGICA & RESTAURO ARCHITETTURA. Il Foro di Traiano: Tempio di Traiano - Colonna di Traiano - Basilica Ulpia - scavi (1998-2020, 1989-1997, & 1928-33). | The Forum of Trajan: Temple of Trajan - Column of Trajan - Basilica Ulpia - excavations (1998-2020, 1989-1997, & 1928-33).

 

-- Forum of Trajan =

www.flickr.com/photos/imperial_fora_of_rome/sets/72157600...

--- Temple of Trajan =

www.flickr.com/photos/imperial_fora_of_rome/sets/72157594...

 

1). This brief summary on the Forum and Temple of Trajan (2018-20) is part of my forthcoming paper entitled:

ROMA ARCHEOLOGICA & RESTAURO ARCHITETTURA. The Temple of Divine Trajan in Rome, 2010-20. A Review of the Italian & International Studies - "L’evidenza archeologica ha dimostrato che il tempio c’è,” (2011). With Additional Contributions by Dr. Arch. Barbara Baldrati, Gianni De Dominicis & Alvaro Di Alvariis. Versus the Sovrintendenza Capitolina ai Beni Culturali - ‘Il tempio che non c’è,’ (2019); 1-25 [in PDF]. By Martin G. Conde, Independent Researcher. Washington DC, USA. (March 2020) mgconde@yahoo.com

 

2). For news of the restoration of the New Spanish School of History and Archaeology on the Via di Sant'Eufemia in Rome, see:

--- Valencia, a 15 de abril de 2010, Cleop reformará la nueva sede de la Escuela española de Historia y Arqueología del Centro Superior de Investigaciones Científicas en Roma (2010) [in PDF].

www.cleop.es/media/pdf/ESCUELA%20DE%20HISTORIA%20Y%20ARQU...

 

--- Salvatore Nicoletti, “SCUOLA SPAGNOLA DI STORIA E ARCHEOLOGIA, ROMA

INTEGRAZIONI SPAZIALI.” IOARCH 68, Jan. & Feb. (2017): 50-52 [in PDF].

 

3). List of the presenters at the ‘La topografia dell’area nord del Foro di Traiano’ - Conference (30/01/2020).

 

ORE 9,15 - INTRODUZIONE (Presiede Eugenio La Rocca)

ORE 9,30 - Antonio Pizzo, Massimo Vitti, Il Pomerio, i sepolcri e il Foro di Traiano.

ORE 10,15 - Francesca de Caprariis, Traiano tra Campidoglio e Campo Marzio

ORE 11,00/11,30 - PAUSA

ORE 11,30 - Rossella Rea, Gli auditoria di piazza Venezia.

ORE 12,15 - Paola Baldassarri, Il Tempio dei divi Traiano e Plotina e i suoi disiecta membra: novità dalle indagini a Palazzo Valentini.

ORE 13,00/15,00 PAUSA PRANZO (Presiede Domenico Palombi)

ORE 15,00 – Elisabetta Bianchi, Roberto Meneghini, Il Foro di Traiano a nord della Basilica Ulpia.

ORE 15,40 - Eugenio La Rocca. L’arco Partico di Traiano

ORE 16,20/16,50 PAUSA

ORE 16,50 - Claudio Parisi Presicce, Una nuova proposta per la localizzazione del Tempio di Plotinae del divo Traiano.

ORE 17,30 - Lucrezia Ungaro, Per un abaco delle sculture del Foro di Traiano

ORE 18,10 – Marina Milella, Resti marmorei di architetture di grandi dimensioni.

 

4). Rome, News of the Forum of Trajan and Via Alessandrina excavations (2019-20).

Since 2019, Dr. Arch. Federico Celletti working on the Via Alessandrina site (2017-20) has been kind enough to share with me his personal photographs of the ongoing excavations at the site (see references cited here below). While recently on 21 Feb. 2020, during an official visit by the President of the Republic of Azerbaijan in Rome, the administration of the City of Rome exhibited several of the architectural elements and decorations recently recovered from the Forum of Trajan excavations (see below). While the only news in English on the recent Forum of Trajan excavations is the “Dagli scavi ai Fori Imperiali riemerge la testa del dio Dioniso,” in: NOTES FROM ROME 2018-19; PBSR 87 (2019): 309-316 [in PDF] (see below).

 

--- ROMA ARCHEOLOGIA e RESTAURO ARCHITETTURA: Foro di Traiano / Via Alessandrina – Gli scavi e le scoperte in corso. Foto: Dr. Arch. Federico Celletti / Facebook (09/03/2020). S.v., Virginia Raggi & President of the Republic of Azerbaijan (21/02/2020). wp.me/pPRv6-5cR

 

--- ROMA ARCHEOLOGIA e RESTAURO ARCHITETTURA: Raggi riceve il presidente della Repubblica Azerbaigian – esposti i reperti archeologici provenienti dagli scavi archeologici dell’area di i Fori Imperiali & via Alessandrina. President of the Republic of Azerbaijan [English & Italiano] (21/02/2020). wp.me/pPRv6-5cH

 

--- ROMA ARCHEOLOGICA e RESTAURO ARCHITETTURA: “Dagli scavi ai Fori Imperiali riemerge la testa del dio Dioniso,” in: NOTES FROM ROME 2018-19; PBSR 87 (2019): 309-316. Foto: Dr. Arch. Federico Celletti / FACEBOOK, Rome (24 May 2019). wp.me/pPRv6-59q

 

5). ROMA ARCHEOLOGIA e RESTAURO ARCHITETTURA: ROME – “Trajan’s Temple, Column and Forum / Templum Divi Traiani” in: VR Back To The Past. CARLO CESTRA DIGITAL PRODUCTIONS 2010-19 (04/2019). For an alternative digital reconstruction / video of the ‘Templum Divi Traiani’ see the following work of Carlo Cestra, Senior CG Artist = ROME – Trajan’s forum: This is part of the project named VR Back To The Past, a collection of virtual reality tours I am working on. Here is the digital reconstruction of the north-western part of the Trajan’s Forum in Rome (beside the “Basilica Ulpia”) with the Trajan’s Column and the Temple. The Temple of Trajan (Templum Divi Traiani et Plotinae), Trajan’s Column area.

Fonte | source:

— Carlo Cestra, Senior CG Artist – Trajan’s forum (04/2019).

wp.me/pPRv6-4X0

 

6). Also see: ROMA ARCHEOLOGIA e RESTAURO ARCHITETTURA: Andrea Carandini, Paolo Carafa, & Fabio Cavallero, Il TEMPIO dei DIVI TRAIANO e PLOTINA ROMA ANTICA – ESCLUSIVO, ARCHEOLOGIA VIVA, Rivista: N. 149 / mese: Sett.-Ott. 2011, pp. 47-54 [PDF pp. 1-5].

wp.me/pPRv6-P4

 

7). For the earlier and recent discovery of the Trajanic inscriptions in the Forum of Trajan and the L’Athenaeum di Adriano, see:

 

--- ROMA ARCHEOLOGIA e RESTAURO ARCHITETTURA: Rome, the Metro C Archaeological Surveys – the Piazza Madonna di Loreto, Sector (# S14/B1). The Discovery of New Inscriptions & Architectural Elements of the Temple of Trajan? (January 20th, 2011).

www.flickr.com/photos/imperial_fora_of_rome/5374055767

 

--- ROMA ARCHEOLOGICA & RESTAURO ARCHITETTURA: Dott.ssa Paola Baldassarri – Nuovi dati per la ricostruzione del tempio di Traiano, (2015-16), Dr. Antonio Lopez Garcia, L’Athenaeum di Adriano (2015) & Marmo – Dedica ai divi Traiano e Plotina, MUSEI VATICANI (2017).

wp.me/pPRv6-4eO

Visita nuestro Blog de Semana Santa en:

asociacionredobles.blogspot.com

 

Actos que se van a desarrollar durante la conmemoración del 200º aniversario del

rescate del Cristo de la Cama, consistente en el traslado de la Imagen desde la Iglesia

de Santa Isabel de Portugal (vulgo San Cayetano) a la Basílica del Pilar.

El rescate se produjo el 17 de febrero de 1809 del Convento de San Francisco, lo que

actualmente es la Diputación Provincial. El día 10 los franceses volaron el Convento,

que era defendido por unos cuantos aragoneses y por los voluntarios de Valencia. El

día 17, María Blánquez entro en el convento y vio que todos los pasos que

procesionan en Semana santa, quince en total, estaban destruidos, salvo el Santísimo

Cristo de la Cama, que estaba indemne en su Capilla de la Hermandad. Salió a la

calle, cogió a cuatro hombres, volvió a entrar al convento y todos ellos cogieron al

Cristo de la cama. Lo llevaron primero a la parroquia de la santa Cruz, después a la

de Santiago y finalmente al Palacio Arzobispal, lugar en donde vivía el general

Palafox, que enfermo lo venero y ordeno fuera llevado al interior de la Basílica del

Pilar, siendo colocado en el Altar de los convertido mirando a su Madre, la virgen del

Pilar.

Este hecho es el que conmemoramos.

A las 18´00 horas se oirá en la Ciudad de Zaragoza a los Artilleros de Aragón

anunciando el comienzo de la procesión cívico religiosa.

Con la salida desde San Cayetano de la Bandera de la Hermandad de la Sangre de

Cristo dará comienzo la procesión, encontrándose el resto de participantes ubicados

en la plaza. Seguidamente saldrá la peana, portada a varal, del Cristo de la Cama. Lo

hará con un toque preparado para la ocasión por la Sección de Tambores de la

Hermandad de San Joaquín y Virgen de los Dolores. Una vez que nuestro Cristo de la

Cama este en la plaza sonara el Himno Nacional interpretado al órgano por Ignacio

Navarro Gil.

Finalizado el himno, se descubrirá una placa en cerámica de Muel, promovida por la

Asociación Cultural Redobles. Dicha placa será descubierta por el Ilmo. Sr. D.

Francisco Javier Lambán Montañés, o persona en quien en delegue, acompañado por

el Hermano Mayor de la Hermandad de la Sangre de Cristo. A la vez que se descubre

la placa, don José Antonio Armillas, Comisario del Bicentenario glosara brevemente

la figura de María Blánquez y lo que ella significo.

Finalizado este acto, dará comienzo en sí el desfile.

Por la calle Manifestación, calle Alfonso y calle Coso, nos dirigiremos a la plaza de

España, en donde se realiza el segundo acto del desfile. Este consiste en depositar dos

coronas de laurel. La primera en la placa que recuerda al Convento de San Francisco

y la segunda en el monumento a los Mártires.

La del Convento de San Francisco será portada por mujeres ataviadas con el traje

regional, en recuerdo y homenaje a María Blánquez. Entregada por don Francisco

Javier Lambán Montañés (o persona en quién delegue), le acompañaran el

Comandante Militar de Zaragoza, General Juan Pinto y el Hermano Mayor de la

Sangre de Cristo. La recibirán dos soldados del Batallón Pardos de Aragón.

La segunda corona, la entregara don Juan Alberto Belloch Julve (o persona en quién

delegue), acompañado también por el Comandante Militar y el Hermano Mayor,

siendo recibida por dos soldados del Batallón de Infantería Voluntarios de Aragón.

Durante este acto sonara en la plaza el Carillón de la Diputación Provincial con

marchas alusivas a los Sitios.

Finalizado el acto, continuaremos el desfile en dirección a la Plaza de la Seo por calle

don Jaime, calle Mayor, calle Dormer, calle Cisne y calle Cuellar.

En la plaza de la Seo se realiza el tercer y último acto. Consiste en una breve

alocución del General Pinto, Comandante Militar de Zaragoza y Teruel, en recuerdo

y homenaje del General Palafox. A Su conclusión, el Batallón de Infantería

Voluntarios de Aragón hará una descarga de fusilería.

Ya para finalizar, nos encaminaremos a la plaza del Pilar, finalizando el desfile,

alrededor de las 20´30 horas, con la entrada del Cristo de la Cama en la Basílica, en

donde permanecerá hasta el miércoles 25 de febrero.

Finalizado el desfile y por lo tanto el traslado, la Hermandad de la Sangre de Cristo

realizara una ofrenda a la Virgen del Pilar.

La Hermandad de la Sangre de Cristo, con el fin de dar mayor realce a este

acontecimiento histórico, ha invitado a participar a todos aquellos Ayuntamientos e

Instituciones galardonados con la Medalla del Bicentenario “Defensor de Zaragoza”,

distinción que también ha obtenido la propia Hermandad. Han confirmado su

asistencia una representación de los Ayuntamientos de Alcañiz, Barbastro, Calatayud,

Cariñena, Chelva, Huesca, Jaca, monzón y Valencia. También han confirmado su

participación los Artilleros de Aragón, Batallón Pardos de Aragón, Batallón de

Infantería Ligera Voluntarios de Aragón, la Asociación Cultural Royo del Rabal

(ronda y escenificación de personajes históricos de la época), la Asociación Cultural

Los Sitios (personajes históricos de la época), la Hermandad de San Juan de la Peña,

la Cofradía del Santo Sepulcro, la Hermandad del santo Refugio, la Real Ilustre

Congregación de Nuestra Señora de la Soledad de Madrid y la Real Maestranza de

Caballería.

La parte musical durante el desfile correrá a cargo de la Banda de Guerra de la

Brigada de Caballería Castillejos II, de la Banda Música de la Academia General

Militar y la Ronda de jotas de la Asociación Cultural el Rabal. Durante el desfile y

con el fin de que los peaneros lleven el ritmo adecuado, les acompaña un piquete de

diez instrumentos, cuyos miembros son de la cofradía de la Institución de la Sagrada

Eucaristía, que lo harán sin los distintivos propios de la Cofradía.

Cabe destacar el estreno de una marcha procesional en las calles de Zaragoza. La

primera y ultima pieza que interprete la Banda de Música será la Marcha al Cristo de

la Cama, cuyo autor es don Abel Moreno y que fue donada a la Hermandad por la

Asociación para el Estudio de la Semana Santa.

Ernesto Millán Lázaro

Hermano Mayor

Hermandad Sangre de Cristo

A finales de la década del cuarenta, el O.K.B de Mikoyan trabajó en el I-350, veloz interceptor de ala en flecha de 60º, provisto del turborreactor Lyulka TR-3A/AL-5 de flujo axial. Esta aeronave mantuvo el armamento usado en los MiG-15 y MiG-17, consistente en un cañón de 37 mm y dos de 23 mm. Dos prototipos fueron proyectados, uno con el radar RP-1 Izumrud, y el otro con el radar Korshun. El avión, en su configuración de interceptor con el radar Izumrud, voló el 16 de junio de 1951, aunque el motor falló poco después de despegar; este proyecto fue cancelado en agosto de 1951.

 

En julio de 1951, el Consejo de Ministros de la URSS autorizó el desarrollo del nuevo caza interceptor como sustituto del MiG-17, lo que llevó al O.K.B de Mikoyan a un nuevo diseño. Por ello, se empezó por sacar las mejores características del I-350, usando una configuración bimotor, con un fuselaje ligero y ala en flecha. Mikoyan trabajaba en el MiG-17 SM-1/I-340, con dos motores AM-5F. Sus prestaciones fueron buenas, decidiendo usar estos motores en una célula experimental mejorada, denominada I-360; el desarrollo de este caza de escolta de largo alcance se inició en agosto de 1951, en torno al uso de los ya mencionados motores AM-5F, de 2.700 kg cada uno con postcombustión. El armamento del nuevo avión estaría conformado por dos cañones N-37D de 37 mm en cada ala. De esta manera, se construyeron dos prototipos para pruebas de vuelo y uno para ensayos estáticos.

 

El primer I-360 voló el 24 de mayo de 1952, con el piloto de pruebas G.A. Sedov a los controles. El 25 de junio del mismo año, el avión superó Mach 1 en vuelo nivelado. El segundo avión voló el 28 de septiembre, logrando prestaciones igualmente fenomenales. Posteriormente se introdujeron los muy mejorados motores Mikulin AM-9B/RD-9B, de 2.600 kg cada uno en seco y 3.250 kg con postcombustión. El nuevo diseño se denominó Izdeliye SM-9; tres fueron construidos, el primero de los cuales voló el 5 de febrero de 1954, con Sedov a los controles. Pequeños cambios se introdujeron y el tercer prototipo que llevó casi todas las características del avión de producción.

 

SERVICIO:

 

A mediados de febrero de 1954, la Fuerza Aérea Roja (WS) ordenó la producción en serie del modelo MiG-19. Los dos primeros aviones de producción se entregaron a la WS en junio de 1955, y en agosto del mismo año 48 de estos aviones volaron en el show aéreo de Tushino en Moscú. La OTAN le asignó el nombre código "Farmer". Este fue el primer avión operativo supersónico.

 

Paralelamente, Mikoyan desarrollaba un caza con motores Klimov VK-7 de flujo centrífugo. Este avión, proyectado con los mismos parámetros del SM-9, pasó a llamarse I-370. El avión consiguió volar el 16 de febrero de 1955, con el piloto de pruebas de Mikoyan, Fyodor I. Burtsev. Pero este proyecto terminó siendo solo un experimento, ya que para entonces los motores de flujo centrífugo simplemente eran historia.

 

En tanto, el MiG-19 de producción era un avión de ala media, cuya estructura estaba hecha principalmente de una aleación de aluminio; los controles de vuelo eran convencionales, con flaps dobles en cada ala; el combustible era almacenado en cuatro tanques en el fuselaje, pudiendo también llevar tanques externos de 760 L; los dos motores RD-9B iban instalados en el fuselaje. El tren era convencional del tipo triciclo, y al aterrizar se podía desplegar un paracaídas para acortar la carrera. El armamento, en el modelo inicial, era de tres cañones NR-23 de 23 mm, uno en la nariz y dos en las alas. El piloto contaba con un asiento eyectable convencional y la cabina llevaba equipos de radio, IFF, compás giromagnético, equipo de navegación y radar de alerta Sirena II.

MiG-19

MiG-19

 

Las prestaciones del MiG-19 Farmer eran excelentes, y según muchos, eran muy superiores a las de su contraparte occidental, el F-100 Super Sabre. A partir del ejemplar de serie número 500, en 1956, se introdujo estabilizadores de incidencia variable, motores RD-9B y tres cañones NR-30 de 30 mm, lo cual correspondía a la versión MiG-19S Farmer-C.

 

Cierto número de MiG-19S se convirtieron para reconocimiento, siendo denominados MiG-19R; estos estaban provistos de motor RD-9BF-1, con 10% más de potencia en seco, y un nuevo sistema de postcombustión, además de cámaras en lugar de cañones. Asimismo, se diseñaba una versión con radar de interceptor; el primero de tres prototipos SM-7 voló el 28 de agosto de 1954, con V.A. Nefyodov a los controles. Este modelo llevaba una nariz más larga, con el radar RP-1 Izumrud, mientras el cañón de nariz se suprimió y los cañones de las alas se mantuvieron. Este versión fue operativa como MiG-19P Farmer-B, formando parte de una serie de interceptores todo-tiempo desarrollados a partir del caza de superioridad aérea original. Podía llevar un contenedor con cohetes no guiados bajo cada ala, para combate aire-aire.

 

Posteriormente, algunos MiG-19P en servicio se modificaron para llevar los misiles aire-aire K-13/AA-2 Atoll; las últimas aeronaves de producción de este modelo fueron dotadas del radar mejorado RP-5 Izumrud, con mayor alcance y resolución. Ciarto número de MiG-19P fueron provistos de un sistema Gorizont-1, que recibía datos provenientes de estaciones en tierra acerca del objetivo; esta versión se designó MiG-19PG.

 

Entonces, los misiles aire-aire ya eran vistos como el futuro de los combates aire-aire, por lo cual se desarrolló una versión del MiG-19P con este tipo de armamento; tres aviones se modificaron, y se usaron como prototipos, siendo evaluados durante varios meses. El modelo resultante fue el MiG-19PM Farmer-D, que entró en servicio en 1957. Dispone de un radar Izumrud con dos antenas; la antena de exploración/control de tiro se situaba en el interior de un radomo cónico instalado en el tabique de separación de la toma de aire, mientras que la de telemetría se encontraba en un radomo de labio sobre la toma. Este modelo llevaba únicamente un cañón, además de soportes subalares para cohetes aire-aire de 212 mm o dos/cuatro contenedores para cohetes RO-57-8, además de misiles aire-aire K-5M/RS-2/AA-1 Alkali de guiado electromagnético. Unos pocos MiG-19P se adaptaron a este modelo, siendo redesignados MiG-19PML.

 

También se desarrolló una variante capaz de volar a una altitud extrema, con el objeto de no ser alcanzado por las defensas antiaéreas. Este modelo se basó en el MiG-19S, quitando algo de armamento, blindaje de cabina y otros elementos, y adaptando el motor RD-9BF. En 1956 esta versión fue producida, en número limitado, como MiG-19SV; uno de estos alcanzó una altitud récord de 20.740 m el 6 de diciembre de 1956, con N.I. Korovushkin a los controles.

 

Un modelo similar, el MiG-19SVK, fue evaluado en 1957, pero no tuvo éxito y la idea fue abandonada después. Los norteamericanos lograron un avión de esta naturaleza con el Lockheed U-2, de reconocimiento estratégico, que voló por vez primera sobre la URSS el 4 de julio de 1956. El O.K.B de Mikoyan continuó desarrollando el concepto, usando una célula convencional, pero provisto de un cohete de combustión líquida; esta variante se designó MiG-19SU.

 

Cierto número de MiG-19P fueron dotados de cohetes impulsor, pasando a llamarse MiG-19PU. Pero los interceptores de gran altitud no eran muy efectivos, siendo sustituidos por los misiles aire-tierra, como los V-75/SA-2. Un misil de este tipo derribó a un U-2 el 1 de mayo de 1960, mientras este efectuaba su misión de reconocimiento, con Francis Gary Powers a los controles.

 

A mediados de los cincuenta, el O.K.B de Mikoyan empezó a trabajar en el misil de crucero aire-tierra Kh-20/AS-3 Kangaroo, basado en la configuración del MiG-19. Durante las primeras pruebas, dos MiG-19 de los primeros modelos de producción fueron usados como "simuladores", siendo designados izdeliye SM-20. Uno de ellos llevaba piloto, pero el otro no estaba tripulado. Probaron los sistemas de guía y el lanzamiento desde el bombardero Tu-95 Bear. Otros dos MiG-19 se usaron en el desarrollo del misil K-10S/AS-2 Kipper, para el bombardero Tupolev Tu-16K; recibieron la designación izdeliye SM-K.

 

Unos pocos MiG-19S se usaron para probar el despegue desde distancia cero (ZEL), dotados de cohetes de combustión sólida; algunos se construyeron para el ZEL, estando provistos del cohete PRD-22, y designados izdeliye SM-30. En tanto, algunos aviones se convirtieron para usarse como drones (aviones no tripulados de reconocimiento), siendo designados MiG-19M.

 

Cuatro prototipos de caza diurno SM-12 volaron en 1957, estando dotados de la nariz del MiG-21, con una toma de aire pequeña, mejotas en la aviónica y dos turborreactores Sorokin R3-26. Un solo SM-12PM, variante de interceptor, voló en 1958; estaba provisto de una nariz similar a la del MiG-21, pero con un radar TsD-30; el cañón se mantuvo y se pueden instalar también dos misiles aire-aire AA-1 Alkali; este avión cuenta con dos turborreactores R3-26, así como una toma de aire variable. El SM-12PMU, similar al anterior, voló en 1958; este estaba provisto de un motor cohete líquido, diseñado originalmente para el MiG-19SU/PU. La serie de prototipos SM-12 se usó para diversas pruebas, siendo en general una serie de híbridos entre el MiG-19 y el MiG-21.

 

La producción soviética del MiG-19 alcanzó los 2.069 ejemplares. La compañía checa Vodochody construyó bajo licencia el MiG-19S durante 1958-1961, bajo la designación Avia S-105; produjo 103 ejemplares. Sólo la aviónica era de construcción checa, mientras el resto de los componentes del avión eran importados por la Unión Soviética. La República Popular China produjo bajo licencia el interceptor MiG-19P a partir de 1958; la producción fue realizada por Shenyang, y el primer avión ensamblado en China (mediante partes suministradas por soviéticos) voló en diciembre de 1958. El primer MiG-19P construido íntegramente por Shenyang (llamado J-6) voló en septiembre de 1959. La factoría Nanchang también produjo paralelamente el MiG-19PM, siendo estos aviones designados J-6B. El caza diurno MiG-19S fue producido por Shenyang a partir de 1961, y el primer avión, de construcción enteramente china, voló a finales de año (estos aviones mantuvieron la designación J-6).

 

Alrededor de 4.000 J-6 fueron producidos durante los ochenta, siendo exportados, bajo la designación F-6, a varios países, principalmente Pakistán. Debido a la producción china, el MiG-19 ha podido estar en servicio hasta la actualidad, en varias subvariantes:

 

* el J-6C, último modelo de producción del caza diurno, es similar al MiG-19S/ J-6, incluyendo cambios menores;

* el JZ-6, variante de reconocimiento con cámaras en la parte delantera del fuselaje;

* el J-6III es una versión mejorada del caza diurno J-6, con motores nuevos, cono de nariz en la toma de aire y alas más pequeñas para mayor maniobrabilidad;

* el J-6A o J-6IV, interceptor basado en las líneas del MiG-19PM, fue producido en números limitados;

* el JJ-6, entrenador biplaza, es el modelo más distintivo producido por China, siendo exportado como FT-6

 

El J-6 ha sido el principal avión caza diurno de las Fuerzas Aéreas del Ejército de la República Popular China (PLAAF). Un buen número de entrenadores FT-6 fue vendido a Pakistán; los pakistaníes dotaron a sus F-6 y FT-6 de asientos eyectables Martin Baker Mark 10L (cero-cero), así como de misiles aire-aire AIM-9 Sidewinder.

 

El 1 de junio de 1960, MiG-19 soviéticos derribaron un Boeing RB-47H, de reconocimiento electrónico, que sobrevolaba el norte de la URSS; cuatro de sus tripulantes murieron y dos fueron tomados prisioneros. Durante la Guerra de Vietnam, el F-6 fue suministrado a Vietnam del Norte. Los MiG-19 norvietnamitas efectuaron acciones aire-aire en 1972. El MiG-19 también entró en acción en Oriente Medio. Egipto recibió sus MiG-19 en 1958, y Siria en 1962. Los aviones egipcios efectuaron ataques a tierra contra fuerzas revolucionarias durante la guerra civil en Yemen, en los años sesenta. La primera acción aire-aire del MiG-19 en Medio Oriente tuvo lugar el 29 de noviembre de 1966, cuando unos MiG-19 egipcios se enfrentaron contra dos Mirage IIIC israelíes.

 

Irak recibió interceptores MiG-19S en los años sesenta, los cuales fueron revendidos posteriormente y unos pocos se conservaron. En 1983, durante la Guerra Irán-Irak, los iraquíes obtuvieron un lote de F-6 provenientes de Egipto; al mismo tiempo, Irán recibió cierta cantidad de F-6. Por ello, ambas naciones beligerantes disponían de un mismo modelo de avión; no obstante, no se registraron combates aire-aire MiG contra MiG.

 

La acción en combate más importante llevada a cabo por el MiG-19 tuvo lugar en diciembre de 1971, durante la Guerra Indo-pakistaní. Los F-6 pakistaníes derribaron diez aviones indios, perdiendo cuatro de los suyos. Tras efectuar acciones de diverso tipo durante otros conflictos, los F-6 pakistaníes fueron retirados de servicio en 2002.

 

Cuba recibe sus primeros MiG-19 en noviembre de 1961, siendo así el primer país de Latinoamérica en recibir aviones supersónicos. Su Fuerza Aérea Revolucionaria (FAR) recibe en total 12 MiG-19P, que entran en servicio en enero de 1962. Durante la Crisis de los misiles de Cuba de octubre de 1962, los MiG-19 cubanos participaron en misiones de intercepción de los aviones de reconocimiento de Fuerza Aérea de Estados Unidos que sobrevolaban la isla.

 

El F-6 fue usado también por naciones africanas. Tanzania empleó este modelo contra Uganda durante la guerra de 1978-1979, mientras Sudán también los usó en combate contra fuerzas separatistas. Asimismo, Somalia utilizó sus F-6 contra fuerzas rebeldes en Etiopía en los años ochenta.

  

DATOS TECNICOS:

 

Motor: (Shengyang J/F-6) dos turborreactores Shengyan Wopen-6F (Tumansky R-9BF-811), con postcombustión.

 

Pesos: vacío, 5.760 kg, máximo en despegue, 10.000 kg

 

Dimensiones: envergadura, 9,20 m; longitud, 12,60 m; altura, 3,88 m; área alar, 25 m²

 

Prestaciones: velocidad máxima, 1.540 k/h; techo de servicio, 17.900 m; alcance en combate, 685 km

 

Armamento: cohetes aire-aire de 212 mm, dos/cuatro contenedores para cohetes RO-57-8, cuatro misiles aire-aire K-5M (AA-1 "Alkali"), o cohetes no guiados ARS-160 o ARS-212M.

thebass.org/art/haegue-yang/

HAEGUE YANG

IN THE CONE OF UNCERTAINTY

 

NOV 2,2019-APR 5,2020

 

In the Cone of Uncertainty foregrounds Haegue Yang’s (b. 1971, Seoul) consistent curiosity about the world and tireless experimentation with materializing the complexity of identities in flux. Living between Seoul and Berlin, Yang employs industrially produced quotidian items, digital processes, and labor-intensive craft techniques. She mobilizes and enmeshes complex, often personal, histories and realities vis-à-vis sensual and immersive works by interweaving narrative with form. Often evoking performative, sonic and atmospheric perceptions with heat, wind and chiming bells, Yang’s environments appear familiar, yet engender bewildering experiences of time and place.

 

The exhibition presents a selection of Yang’s oeuvre spanning the last decade – including window blind installations, anthropomorphic sculptures, light sculptures, and mural-like graphic wallpaper – taking its title from an expression of the South Florida vernacular, that describes the predicted path of hurricanes. Alluding to our eagerness and desperation to track the unstable and ever-evolving future, this exhibition addresses current anxieties about climate change, overpopulation and resource scarcity. Framing this discourse within a broader consideration of movement, displacement and migration, the exhibition contextualizes contemporary concerns through a trans-historical and philosophical meditation of the self.

 

Given its location in Miami Beach, The Bass is a particularly resonant site to present Yang’s work, considering that over fifty percent[1] of the population in Miami-Dade County is born outside of the United States, and it is a geographical and metaphorical gateway to Latin America. Yang has been commissioned by the museum to conceive a site-specific wallpaper in the staircase that connects the exhibition spaces across The Bass’ two floors. This wallpaper will be applied to both transparent and opaque surfaces to accompany the ascending and descending path of visitors within the exhibition. Informed by research about Miami Beach’s climatically-precarious setting, the wallpaper, titled Coordinates of Speculative Solidarity (2019), will play with meteorological infographics and diagrams as vehicles for abstraction. Interested in how severe weather creates unusual access to negotiations of belonging and community, as well as the human urge to predict catastrophic circumstances, the work reflects a geographic commonality that unconsciously binds people together through a shared determination to face a challenge and react in solidarity.

 

Yang’s exhibition encompasses galleries on both the first and second floors of the museum and exemplifies an array of Yang’s formally, conceptually ambitious and rigorous body of work. Considered an important ‘Light Sculpture’ work and one of the last made in the series, Strange Fruit (2012-13) occupies one of the first spaces in the exhibition. The group of anthropomorphic sculptures take their title from Jewish-American Abel Meeropol’s poem famously vocalized by Billie Holiday in 1939. Hanging string lights dangling from metal clothing racks intertwined with colorfully painted papier-mâché bowls and hands that hold plants resonate with the poem’s subject matter. The work reflects a recurring interest within Yang’s practice, illuminating unlikely, less-known connections throughout history and elucidating asymmetrical relationships among figures of the past. In the story of Strange Fruit, the point of interest is in a poem about the horrors and tragedy of lynching of African-Americans in the American South born from the empathies of a Jewish man and member of the Communist party. Yang’s interests are filtered through different geopolitical spheres with a keen concentration in collapsing time and place, unlike today’s compartmentalized diasporic studies.

 

Central to In the Cone of Uncertainty is the daring juxtaposition of two major large-scale installations made of venetian blinds. Yearning Melancholy Red and Red Broken Mountainous Labyrinth are similar in that they are both from 2008, a year of significant development for Yang, and their use of the color red: one consists of red blinds, while the other features white blinds colored by red light. With its labyrinthine structure, Red Broken Mountainous Labyrinth bears a story of the chance encounter between Korean revolutionary Kim San (1905-1938) and American journalist Nym Wales (1907-1997), without which a chapter of Korean history would not survive to this day. Yearning Melancholy Red references the seemingly apolitical childhood of French writer and filmmaker Marguerite Duras (1914-1996). While living in French Indochina (present-day Cambodia, Vietnam, and Laos), Duras and her family experienced a type of double isolation in material and moral poverty, by neither belonging to the native communities nor to the French colonizers, embodying the potentiality for her later political engagement. Despite their divergent subject matter, both works continue to envelop an interest in viewing histories from different perspectives and the unexpected connections that arise. By staging the two works together, what remains is Yang’s compelling constellation of blinds, choreographed moving lights, paradoxical pairings of sensorial devices – fans and infrared heaters – and our physical presence in an intensely charged field of unspoken narratives.

 

A third space of the exhibition will feature work from Yang’s signature ‘Sonic Sculpture’ series titled, Boxing Ballet (2013/2015). The work offers Yang’s translation of Oskar Schlemmmer’s Triadic Ballet (1922), transforming the historical lineage of time-based performance into spatial, sculptural and sensorial abstraction. Through elements of movement and sound, Yang develops an installation with a relationship to the Western Avant-Garde, investigating their understanding in the human body, movement and figuration.

 

Observing hidden structures to reimagine a possible community, Yang addresses themes that recur in her works such as migration, diasporas and history writing. Works presented in In the Cone of Uncertainty offer a substantial view into Yang’s rich artistic language, including her use of bodily experience as a means of evoking history and memory.

 

Haegue Yang lives and works in Berlin, Germany and Seoul, South Korea. She is a Professor at the Staedelschule in Frankfurt am Main. Yang has participated in major international exhibitions including the 21st Biennale of Sydney (2018), La Biennale de Montréal (2016), the 12th Sharjah Biennial (2015), the 9th Taipei Biennial (2014), dOCUMENTA (13) in Kassel (2012) and the 53rd Venice Biennale (2009) as the South Korean representative.

 

Recipient of the 2018 Wolfgang Hahn Prize, she held a survey exhibition titled ETA at the Museum Ludwig in Cologne in the same year, which displayed over 120 works of Yang from 1994-2018. Her recent solo exhibitions include Tracing Movement, South London Gallery (2019); Chronotopic Traverses, La Panacée-MoCo, Montpellier (2018); Tightrope Walking and Its Wordless Shadow, La Triennale di Milano (2018); Triple Vita Nestings, Govett-Brewster Art Gallery, New Plymouth, which travelled from the Institute of Modern Art, Brisbane (2018); VIP’s Union, Kunsthaus Graz (2017); Silo of Silence – Clicked Core, KINDL – Centre for Contemporary Art, Berlin (2017); Lingering Nous, Centre Pompidou, Paris (2016); Quasi-Pagan Serial, Hamburger Kunsthalle (2016); Come Shower or Shine, It Is Equally Blissful, Ullens Center for Contemporary Art, Beijing (2015); and Shooting the Elephant 象 Thinking the Elephant, Leeum, Samsung Museum of Art, Seoul (2015). Forthcoming projects include the Museum of Modern Art (October 2019), Tate St. Ives (May 2020) and Art Gallery of Ontario in Toronto (2020).

 

Yang’s work is included in permanent collections such as the Museum of Modern Art, New York, USA; M+, Hong Kong, China; National Museum of Modern and Contemporary Art, South Korea; Tate Modern, London, UK; The Solomon R. Guggenheim Museum, New York, USA; and The Walker Art Center, Minneapolis, USA. Her work has been the subject of numerous monographs, such as Haegue Yang: Anthology 2006–2018: Tightrope Walking and Its Wordless Shadow (2019); Haegue Yang: ETA 1994–2018 (2018); Haegue Yang – VIP’s Union (2017); and Haegue Yang: Family of Equivocations (2013).

La POLOGNE durement bombardé pdt la guerre .. Elle a été un pays marqué par la reconstruction.. Via ses cités modernes dites de préfabriqués des annees 60 et 70 la bas ont les appellent Osiedle (domaine, lotissement) Osiedle est un terme utilisé en Pologne pour désigner une subdivision désignée d'une ville ou d'un village, ou d'un dzielnica, avec son propre conseil et exécutif. Comme le dzielnica et le sołectwo, un osiedle est une unité auxiliaire d'une gmina www.twitter.com/Memoire2cite En République tchèque, l’antique ville de Most est détruite pour des raisons économiques pour être reconstruite à 2km grâce au panneau de béton. Au travers d’archives et de témoignages des habitants, son histoire dailymotion.com/video/x413amo visible ici des la 23e minute , c est de la folie...Panelák est un terme familier en tchèque et en slovaque pour un immeuble construit en béton préfabriqué précontraint, comme ceux qui existent dans l’ex-Tchécoslovaquie et ailleurs dans le monde.La POLOGNE durement bombardé pdt la guerre .. Elle a été un pays marqué par la reconstruction.. Via ses cités modernes dites de préfabriqués des annees 60 et 70 la bas ont les appellent Osiedle (domaine, lotissement) Cette unité urbanistique réalisée grâce à des technologies modernes, l’îlot urbanistique (blokurbanisztyczny), est au fondement de la formation des quartiers (dzielnica) qui, tous ensemble,

composent finalement la ville « Bien conçu et selon les résultats des analyses passées, le logement, adapté aux besoins et aux possibilités économiques de ses habitants et du pays tout entier, est la cellule fondamentale, la mesure

de l’organisme urbain contemporain. Construite selon une programmation économique réaliste, cette cellule devrait bénéficier des moyens techniques les plus avancés dans les domaines de la construction, de la santé, des communications, de l’esthétique architecturale et des jardins. Et elle devrait se dresser de toute sa masse, en conformité avec les besoins de la population des villes,

comme matière fondamentale et aboutie de la forme urbanistique et architecturale. D’une ou de plusieurs de ces cellules urbanistiques, c’est-à-dire des logements, naît un immeuble ; de quelquesuns à quelques dizaines d’immeubles, un îlot urbanistique, d’un groupe d’îlots émerge un quartier. Et

de quelques quartiers d’habitation ou plus, en association avec des quartiers d’ateliers de travail naît la totalité organique urbaine, c’est-à-dire la ville. » Ainsi, à la veille de la deuxième guerre mondiale, on trouve en Pologne des structures politiques, associatives, professionnelles impliquées dans la promotion d’un habitat social

réalisé selon de nouvelles technologies, et permettant de loger quelques milliers d’habitants autour de services de base. Censé apporter des solutions à une situation du logement catastrophique, héritée du XIXème siècle et de la première guerre mondiale, ce nouveau type d’habitat est construit et géré sous forme coopérative (Coudroy de Lille 2004). Ces groupements de logements sont au départ nommés kolonia. La littérature urbanistique

théorique des années 1930, représentée par les auteurs majeurs que sont Barbara Brukalska et Tadeusz Tołwiński construit deux systèmes lexicaux différents pour nommer l’unité spatiale supérieure à la kolonia, celle qui rassemble quelques milliers de logements : osiedle pour la

première, blok pour le second. C’est finalement osiedle qui s’imposera sur le long terme. Mais dans cette période de l’entre-deux-guerres, le terme osiedle avait une autre signification dans la langue courante, de portée plus générale.

I.2.Osiedle : un terme issu du vocabulaire courant

Le Dictionnaire de la langue polonaise (1927) le définit comme « tout groupement d’habitations humaines constituant une unité, séparée des autres10». Le texte indique qu’un

osiedle peut être temporaire ou permanent, compter de une à des centaines de milliers d’habitations, et que les activités dominantes des habitants permettent de distinguer deux

types : rural ou urbain11. Selon le Dictionnaire étymolotique de la langue polonaise (2005), le mot apparaît à partir du XVème siècle, dans plusieurs langues slaves sous des formes

voisines, dérivées d’une même racine osedle (qui donne par exemple en vieux tchèque ošedlé). Il désignait alors l’établissement fixe, le foyer, le patrimoine.

La définition de 1927, contemporaine de Barbara Brukalska et Tadeusz Tołwiński correspond à un « établissement humain », et est très proche du Siedlung allemand Ce dictionnaire ne comporte d’ailleurs pas d’entrée « ville » (miasto). Cette notion est introduite dans le corps de la définition d’osiedle. allemand cependant, le mot Siedlung prend le sens dans le sens dans les années 1920 de cité d’habitat moderne (Topalov et al. 2010 : 1109). Les urbanistes polonais qui formalisent les unités d’habitations d’un type nouveau dans l’entre-deux-guerres ont étendu le sens traditionnel du terme osiedle en lui donnant un sens proche du Siedlung. De fait, la langue polonaise a souvent emprunté à l’allemand pour nommer les formes et les fonctions urbaines, et cette influence germanique fut renouvelée et renforcée au début du XXème siècle, grâce au rayonnement de l’école viennoise dans l’architecture d’Europe centrale, puis par le prestige du mouvement Bauhaus (Blau and Platzer 2000). Après la première guerre mondiale, les urbanistes et architectes polonais entretenaient par ailleurs d’intenses contacts

avec l’Autriche, l’Allemagne, où certains furent formés (c’est le cas de Szymon Syrkus), et où ils exposaient leurs travaux.

L’utilisation du mot osiedle pour désigner une modalité de la conception des espaces résidentiels contribue donc à enrichir la signification de ce mot, pour un usage à la fois savant

et technique. L’osiedle est une forme urbaine, un idéal social, mais aussi, pourrait-on dire, un

point de ralliement pour le mouvement moderne en Europe centrale. En effet, ce terme acquis une importance considérable dans les pratiques et surtout les représentations

urbanistiques de la Pologne d’après-guerre : tout d’abord comme contre-modèle, car il fut pendant un certain temps après 1945 mis au ban, puis au contraire, comme objet de nostalgie. II. La marginalisation de l’osiedle dans la pratique et le lexique urbanistiques L’ouvrage de Barbara Brukalska qui en 1948 exposait les motivations et les attendus

d’un urbanisme social autour de la notion cardinale d’osiedle fut retiré de la vente dès sa parution. En effet, 1948-49 marque un tournant politique et idéologique majeur en Europe de l’est, celui de l’alignement sur le stalinisme, avec comme conséquence dans le domaine de la

création en général, et de l’architecture en particulier, l’imposition du réalisme socialiste (Kopp 1985; Włodarczyk 1991; Aman 1992 [1987]). Comme cela avait été fait dans les années 1930 en Union Soviétique, les expressions

de l’ « avant-garde » sont rejetées et l’architecture moderne est accusée de propager une idéologie réactionnaire de «désurbanisation » (Kopp 1985). Ainsi, alors qu’on avait restauré et poursuivi les constructions d’osiedle dans les années 1945 à 1948, le revirement est ensuite

brutal. De 1949 à 1956, les canons du réalisme socialiste inspirent des réalisations monumentales, de style néo-classique, s’appuyant sur un souci de symétrie et de grandeur ; l’usage des matériaux traditionnels, les valeurs de densité, de verticalité, sont réhabilités dans les formes urbaines. La construction et la gestion des logements urbains est recentralisée, étatisée, au détriment de la nébuleuse coopératiste, jugée trop élitiste : les programmes

ambitieux de cette nouvelle période sont destinés à rendre le centre-ville à la classe ouvrière. La construction du Palais de la Culture à Varsovie est la manifestation la plus célèbre et la

plus spectaculaire du réalisme socialiste ; il faut y ajouter des quartiers d’habitation (Marszałkowska Dzielnica Mieszkaniowa, Praga II à Varsovie), voire des villes nouvelles

(Nowe Tychy dans la conurbation silésienne, Nowa Huta aux portes de Cracovie, au début des années 1950). La condamnation de l’urbanisme fonctionnaliste suit de peu, sous les slogans de «cosmopolitisme bourgeois», ou de «formalisme sans âme» comme le dénonçait A cela rien d’étonnant : l’espace correspondant au territoire polonais actuel fut urbanisé assez largement grâce au mouvement d’Ostsiedlung, de colonisation vers l’est. Celui-ci poussa vers l’est des colons allemands qui, à l’invitation de la Couronne polonaise, et de seigneurs laïques ou religieux fondèrent de nombreuses villes selon des modèles juridiques et architecturaux germaniques en Silésie, en Poméranie, essentiellement aux XII° et XIII°s. Les mots polonais de handel (en allemand Handel, commerce), rynek (Ring, l’anneau, le boulevard circulaire) meldunek (Meldung enregistrement), gmina (Gemeinde, commune) témoignent de cette imprégnation germanique.

Pozostałości burŜuazyjnego kosmpolityzmu, bezduszny formalizm (Bierut, 1951 : 329). le président de la République ayant opéré ce virage, Bolesław Bierut (1892-1956). Tout en

occupant cette fonction politique, il signa en effet un album intitulé le Plan de six ans de reconstruction de Varsovie (Bierut 1951), qui présente grâce à des planches de dessins et de

cartes commentées les traits de la capitale polonaise idéale, reconstruite selon les principes du réalisme socialiste. Dans cet ouvrage fondamental, dont le programme fut partiellement

réalisé et compose une partie majeure du centre-ville de Varsovie, Bierut entretient l’ambiguïté sur le vocabulaire des formes résidentielles : d’un côté, le mot osiedle est très

souvent employé, notamment dans les légendes des figures et des photographies. Mais dans la plupart des cas, les formes ainsi désignées ne correspondent nullement à celles de l’osiedle social des années 1930. Ainsi l’osiedle Koło, commencé avant la guerre, est présenté dans sa

silhouette de 1955, c’est-à-dire sous la forme d’immeubles délimitant clairement les îlots, annonçant un retour à une composition urbaine plus classique et monumentale, dans laquelle la rue structure de nouveau la ville. A cela s’ajoute l’idée de construction en masse, pour la classe ouvrière, ce que ne prévoyaient ni la kolonia ni l’osiedle, conçus commes des unités de peuplement de taille réduite. Ainsi, le concept d’osiedle, théorisé par Barbara Brukalska en 1948, semble être trop élitiste et « formaliste » aux yeux de cette nouvelle doctrine. Dès lors, l’îlot (blok) est souvent convoqué dans la littérature du réalisme socialiste pour remplacer le mot osiedle. Dans la langue urbanistique polonaise, le terme de blok désigne après la guerre comme à l’époque de

Tołwiński un îlot, c’est-à-dire « un ensemble compact de maisons (ou d’immeubles) entre quatre rues » (1960)14. Cette substitution est explicitée et entérinée par la Grande

Encyclopédie Universelle de 1963 (c’est-à-dire la première rédigée sous le régime de la République Populaire) : « En 1950-55 le terme de cité résidentielle [osiedle] a été remplacé

par la notion de « îlot [blok] résidentiel » (1963)15. Cette préférence sémantique recouvre la réalité de l’évolution urbaine. Parallèlement, la réforme administrative menée en 1954 instaura un niveau territorial appelé lui aussi osiedle, correspondant à une unité intermédiaire entre la ville et le village ; c’est une concentration de peuplement liée à la présence d’activités (la pêche, le tourisme, selon les exemples de l’Encyclopédie de 1963) ne conduisant pas

nécessairement à la constitution d’une véritable ville16. Le glissement du terme osiedle de l’urbanisme vers un usage administratif n’est pas anodin, et peut être interprété comme un signe de marginalisation de l’urbanisme moderne dans la période la plus « dure » de la République Populaire de Pologne. .Le réalisme socialiste à Varsovie : la Place de la Constitution (arch. : Józef Sigalin, 1950-53). Cliché Coudroy 2009. Cependant, on observe avec le recul que si le réalisme socialiste a duré assez longtemps pour marquer de manière spectaculaire les paysages urbains de Cracovie (Nowa

Huta), de Nowe Tychy, et surtout de Varsovie, il n’est pas parvenu à imprégner avec la même force la langue, qui a conservé pendant cette période le terme d’osiedle à côté de celui de blok. Avec la déstalinisation entamée en 1956, le glas du réalisme socialiste est sonné, et les urbanistes qui concevaient des osiedle sur le modèle coopératif fonctionnaliste reprennent certains chantiers, jusque vers la fin des années 1950. Zespół [...] domów zwarty między czteroma ulicami (Słownik Języka Polskiego, 1960, article blok). 15 W 1950-55 koncepcję osiedla mieszkaniowego zastąpiono pojęciem „bloku mieszkaniowego” (Wielka

Encyklopedia Powszechna, 1963, article osiedle).

16 « Osiedle : unité de la division territoriale du pays incluse dans le district. Il constitue une forme intermédiaire

de peuplement entre la ville et le village » (Osiedle : jednostka podziału terytorialnego kraju, wchodząca z skład

powiatu (…). Stanowią one pośrednią formą osadnictwa między miastem a wsią (Wielka Encyklopedia

Powszechna, PWN, 1963). L’Encyclopédie Universelle (1975, 1976), donne les exemples d’osiedle ouvriers, de

pêche, ou de villégiature (O. robotnicze, rybackie, uzdrowiskowe) Il en existait seulement 54, avant que cet

échelon ne disparaisse de la structure territoriale en 1972.

III. Les conséquences de la construction de masse sur la terminologie : appauvrissement de la langue savante et invention vernaculaire La généralisation d’une construction de masse tendue vers des objectifs quantitatifs, mais indifférente à la qualité du bâti, au nom ce qu’on appela la « politique de l’économie » marque, à partir des années 1960 une « seconde mort » de l’osiedle, non plus comme notion, mais comme forme urbaine. En effet, la décennie 1960 et plus encore la suivante voient se généraliser des ensembles de plus en plus gigantesques et de plus en plus indigents qualitativement. Le préfabriqué se généralise, et avec lui l’uniformisation paysagère ; la taille des unités résidentielles augmente considérablement (de 5000 logements en moyenne selon le

« modèle type » d’origine, on passe à 20 000 et plus), les équipements, même minimes, font défaut ; ces lacunes vident l’osiedle de toute identification possible avec l’unité de voisinage. Toute une littérature – critique - en rend compte à partir de la fin des années 1970, notamment en sociologie urbaine, en utilisant comme références à la fois les auteurs des années 1930, « inventeurs » de la notion, et quelques cités jugées exemplaires à l’aune de ce modèle (Wallis

1978; Siemiński 1979 ; Kaltenberg-Kwiatkowska, Kryczka et al. 1983). Le sociologue Bohdan Jałowiecki, dans un article sur les « pathologies urbaines » de la fin des années 1970

expliquait la raison d’être de ce qu’on nomma en Pologne la « sociologie de l’osiedle »c’est-à-dire les études empiriques mesurant les effets sociaux de la massification de l’habitat.

Il se livrait au passage à une analyse critique du vocabulaire :

« On parle en l’occurence d’osiedle résidentiel (osiedle mieszkaniowe) alors qu’en réalité on est face à des ensembles urbanistiques (zespoły urbanistyczne) de plusieurs milliers de logements qui n’ont rien à voir avec la conception d’osiedle résidentiel, dont la forme spatiale et architecturale,

ainsi que le contenu social avaient été précisément définis par les milieux de gauche des urbanistes polonais dans l’entre-deux-guerres » (Jałowiecki 1984) Cet extrait résume le désenchantement qu’a procuré progressivement le décalage entre les valeurs humanistes de la notion d’osiedle, et une production résidentielle de plus en plus bureaucratique et normative à partir de la fin des années 1960 (Coudroy de Lille L. 2004). Est-ce pour en rendre compte ? Toujours est-il que dans les années 1980, quelques auteurs – notamment le francophone Bohdan Jałowiecki - proposent le terme de wielki zespół mieszkaniowy, traduction littérale de l’expression française « grand ensemble d’habitation »

(Jałowiecki & Kaltenberg-Kwiatkowska 1988; Misiak 1988). Le sociologue Władysław Misiak le définit comme

« une aire urbaine conçue de manière complexe sur un espace délimité, dans laquelle les fonctions résidentielles l’emportent sur les autres, et où la construction en blocs est le plus souvent réalisée grâce à des technologies industrielles

». Cet emprunt au français a connu son heure de gloire dans les années 1980 avec quelques variantes (qui consistent à qualifier de « grands » ou non ces ensembles

d’habitations) dans la langue spécialisée, mais ne s’est pas enraciné. Ainsi, wielki zespół mieszkaniowy devient zespół mieszkaniowy, que nous traduisons dans les titres des

références citées par « ensemble d’habitations ».

De manière paradoxale, le creusement de l’écart entre la notion d’osiedle et la réalité morphologique et fonctionnelle des réalisations résidentielles est allé de pair avec la

généralisation du mot lui-même, en dehors de la langue savante. Il a investi la langue technique et administrative des coopératives de logement, qui étaient tout à la fois les

promoteurs, les maîtres d’œuvre et les gestionnaires de ces grands ensembles. Revenues en grâce dans les années soixante, elles ont vite été propulsées comme acteur de premier plan dans la question du logement urbain en Pologne (Coudroy de Lille L. 2004). Dans la mesure où elles sont en contact permanent avec la population, de la phase d’attente d’un logement à son occupation effective, les choix sémantiques des coopératives ont immanquablement

investi la langue courante. D’une part, la toponymie des quartiers d’habitat collectif à partir des années 1960 utilise presque systématiquement le mot d’osiedle, suivi d’un qualificatif ou le plus souvent d’un toponyme antérieur (ex : Osiedle « des jeunes », Osiedle Ostrobramska,

Osiedle Stegny, etc…). D’autre part, ces ensembles coopératifs étaient administrés sur le

terrain par le conseil d’osiedle (rada osiedla), le comité d’osiedle (komitet osiedlowy),etc…La répétition de cette terminologie dans les textes réglementaires diffusés aux habitants, sur les panneaux d’affichage dans les halls d’immeubles, a contribué à diffuser l’usage du mot dans

la langue courante où il a fini par désigner le quartier d’habitation de manière générale,l’espace du quotidien. Ainsi, la trajectoire selon laquelle le mot osiedle est passé du

vocabulaire des urbanistes vers le registre courant, a emprunté le vecteur de la langue administrative, celle des coopératives. Mais le langage commun ne s’est pas contenté d’intérioriser ce terme diffusé à l’origine par des urbanistes : il a aussi inventé des mots imagés pour décrire l’habitat dans lequel vivait plus de la moitié des citadins. Difficiles par nature à dater, probablement apparus dans les années 1970-80, ces termes - qu’on rencontre à l’oral dans les conversations, dans la presse, avec ou sans guillemets - sont parfois bâtis avec le même suffixe en isko qui en polonais est assez rare, mais apparaît dans plusieurs mots relevant de l’écologie. Ce suffixe

évoque l’étendue, le lieu où se rencontre une matière ou bien où se concentrent des êtres vivants en quantité (ce qui transparaît dans le mot même de concentration, skupisko) : on peut citer środowisko (environnement), torfowisko (tourbière), trzęsawisko (marécage), mrowisko (fourmilière), tokowisko (aire d’accouplement des oiseaux). On peut supposer que c’est selon cette analogie qu’ont été forgés les termes de mrowiskowiec ou mrogowisko (barbarismes issus du mot « fourmilière »), ainsi que blokowisko qui serait alors traduisible mot à mot par « étendue de blocs », le mot blok ayant aussi le sens géométrique de volume compact, comme en français. Ce néologisme, qui décrit bien la spatialité du grand ensemble, est l’un des mots inventés par la langue populaire, qui a créé aussi, selon des variantes locales : deska (la

planche, pour une barre très longue), superjednostka (super-unité), megasypialna (mégachambre à coucher), etc...Seul blokowisko et son corollaire blok se sont imposés, et ont

franchi les limites de la langue familière pour investir la langue savante et entrer dans les dictionnaires Ces deux termes apparaissent en 1995 dans deux dictionnaires différents. Blok n’est pas un néologisme, mais son sens a dévié. Son premier sens est, dans la langue courante, « une grande masse de pierre régulière »23 sens qui avait sans doute inspiré les fondateurs du mouvement d’art moderne Le mot blokowisko désigne également en géologie un type de roche détritique, un conglomérat non consolidé ; mais on peut douter que la langue populaire se soit inspirée d’un terme réservé à un domaine aussi étroit. Cette signification est absente des dictionnaires courants. On peut noter que parallèlement, le mot blokowisko a été largement approprié par ce qu’on appelle parfois la« culture urbaine » : un groupe de hip-hop, des forums de discussion sur le web l’ont adopté comme nom de ralliement. DuŜa, foremna bryła kamienia selon le Dictionnaire de la Langue Polonaise de l’Académie des Sciences,sjp.pwn.plk, consulté le 29 sept 2010.

Blok dans l’entre-deux-guerres. On a vu plus haut que pour les urbanistes, dès l’entre-deux-guerres, il désignait aussi un îlot. A cela s’ajoutent des significations supplémentaires à partir des années 1960, liées à l’évolution des techniques de construction : il prend le sens d’élément préfabriqué. Enfin quelques décennies plus tard, le terme désigne les immeubles ainsi construits, comme dans le Dictionnaire de la langue polonaise (1995) : « un grand bâtiment

d’habitation, de plusieurs étages, faits de segments qui se répètent ». On rencontre ces deux significations dans la littérature sociologique et urbanistique des les années 1980 :

« construction en blok » « blok résidentiels »27 (Grzybowski 1984; KaltenbergKwiatkowska 1985; Siemiński & Zalewska 1989). Le dictionnaire de 1995 possède une entrée pour blokowisko : « cité composée de grands blok d’habitation : blokowisko gris, écrasant. Quartier de blokowisko29

». La Grande Encyclopédie de 2001 introduit le mot blok en lui restituant son registre vernaculaire d’origine. « Blok : familier : grand bâtiment de plusieurs étages fait de plusieurs cages d’escaliers » (2001). A peu près à la même époque, le Dictionnaire du polonais contemporain renforce la dimension dépréciative de la notion : «[se dit] avec découragement à propos d’une cité d’habitation à l’architecture faiblement différenciée, faite de blok d’habitations identiques : monotonie du blokowisko ; blokowisko inhumains30 » (2000). Cette connotation négative, on le voit repose sur la misère technique et paysagère de ces quartiers et non sur une

quelconque stigmatisation à caractère « social ». En effet, en Pologne comme dans les autres pays socialistes, l’habitat collectif de masse abritait la majorité de la population urbaine, de manière assez indifférenciée : il ne s’agit d’un habitat ni aisé, ni « social »31 (Dufaux & Fourcaut 2004 : 90-95).

Fig. 3 : Un paysage de blokowisko : Retkinia, ŁódŜ (cliché Coudroy 2007) L’encyclopédie en ligne Wikipédia, très développée en langue polonaise32, résume

parfaitement ce balancement entre langues spécialisée et populaire. En effet, l’entrée blokowisko (registre familier) redirige l’internaute vers l’article intitulé « grand ensemble

d’habitations » (registre savant) : « Bloc de mur : grand élément de construction préfabriqué destiné à une élévation verticale, utilisé comme matériau de construction » (Blok ścienny : DuŜy prefabrykowany element budowlany przeznaczony doustawiania pionowego stosowany jako materiał konstrukcyjny, (Wielka Encyklopedia Powszechna, PWN, 1963 (article Blok scienny). DuŜy, wielkopiętrowy budynek mieszkalny o powtarzalnych segmentach (Słownik języka polskiego PWN, 1995

(article Blok). Zabudowa blokowa Bloki mieszkaniowe

Il est difficile de traduire blok dans cette définition. Au moment où elle est rédigée, on peut opter pour« bloc », mais c’est incongru en français ; ou bien par « immeuble », mais défini come précédemment, doncsous-entendu « de facture préfabriquée, comprenant un nombre élevé d’étages ». Or un tel mot n’existe pas en français. D’autre part, il existe un autre mot plus neutre pour immeuble en polonais qui n’est pas utilisé dans cette définition du dictionnaire. Osiedle składające się z wielkich bloków mieszkalnych : szare, przytłające blokowisko. Dzielnica blokowisk.

Słownik języka polskiego PWN, 1995 (article Blokowisko). Cette définition est toujours présente depuis les

années 2000 dans les éditions en ligne de ce dictionnaire : usjp.pwn.pl). Blokowisko : z zniechęcenia o osiedlu mieszkaniowym słabo zróŜnicowanym architektonicznie, składającymsię z podobnych do siebie bloków mieszkalnych. Monotonia blokowiska. Nieludzkie blokowiska. Derrière l’universalité morphologique du grand ensemble d’habitation en Europe de l’est se cachent en outre

des statuts de propriété eux aussi contrastés. A côté du cas polonais où dominent les coopératives comme on l’a

vu, on trouve des cas où les logements de ces grands immeubles sont majoritairement étatiques (ex : Hongrie,

URSS), ou au contraire privés (ex : Bulgarie, Roumanie).

32 Le polonais est la quatrième langue productrice d’articles de l’encyclopédie en ligne, au coude-à-coude avec

l’italien (730 600 articles en septembre 2010), après l’anglais (plus de 3 millions), l’allemand (1 100 000), le

français (1 million) selon les sources de Wikipedia de septembre 2010. « Grand ensemble d’habitation [wielki zespół mieszkaniowy], (abr. wzm, grand ensemble

d’habitations, du français grand ensemble, familièrement blokowisko) – forme urbaine dans

laquelle, sur un espace restreint, se trouve une concentration de blok d’habitation sans autres bâtiments résidentiels, et dont le nombre d’habitants va de quelques milliers à quelques dizaines de milliers » Osiedle est un terme utilisé en Pologne pour désigner une subdivision désignée d'une ville ou d'un village, ou d'un dzielnica, avec son propre conseil et exécutif. Comme le dzielnica et le sołectwo, un osiedle est une unité auxiliaire d'une gmina www.twitter.com/Memoire2cite En République tchèque, l’antique ville de Most est détruite pour des raisons économiques pour être reconstruite à 2km grâce au panneau de béton. Au travers d’archives et de témoignages des habitants, son histoire dailymotion.com/video/x413amo visible ici des la 23e minute , c est de la folie...Panelák est un terme familier en tchèque et en slovaque pour un immeuble construit en béton préfabriqué précontraint, comme ceux qui existent dans l’ex-Tchécoslovaquie et ailleurs dans le monde. La presse utilise depuis les années 1990 couramment blokowisko dans les articles

consacrés aux quartiers d’habitat collectif construits pendant le socialisme.

Dans la même période, le mot a été approprié par les scientifiques dans plusieurs

publications, dont les titres au départ explicitent le mot, puis s’en passent. Ainsi dans les

années 1990 on peut lire Pourquoi nous devons nous préparer à la rénovation des cités

résidentielles appelées blokowisko (Siemiński & Zalewska 1989 ; collectif 1994), ou

L’humanisation des ensembles d’habitations – les blokowisko. Puis en 2000, l’ouvrage

d’Iwona Borowik est titré tout simplement Les blokowisko : un habitat urbain dans le regard

sociologique (Borowik 2003). Cet auteur introduit ce terme en le définissant dans

l’introduction comme le produit de la « construction en masse d’habitat collectif, s’exprimant

sous la forme moderne des grands ensembles d’habitation appelés familièrement

blokowisko34 » (p. 5). Le terme est désormais banalisé dans la langue des sociologues, et plus

largement des sciences sociales, même s’il n’a pas remplacé osiedle. La nuance entre les deux

semble faire de blokowisko un terme franchement associé à la construction de masse des

années 1960-70 : « On évite [aujourd’hui] le compartimentage rigide typique des

appartements des blokowisko de la période socialiste35 » (Michałowski 2004).

Le terme osiedle s’utilise encore largement dans la langue spécialisée, mais recouvre à

la fois le modèle historique des années 1930 et ses avatars déformés plus tardifs :

« On peut réduire l’image du milieu d’habitation de la grande majorité des villes polonaises au

modèle de l’osiedle qui, depuis son apparition dans les années 1930, n’a pas beaucoup changé »36

(Chmielewski & Mirecka 2001).

Le manuel d’urbanisme de Jan Maciej Chmielewski (2000), dans son glossaire, ignore blok,

kolonia, blokowisko et wielki zespół mieszkaniowy, pour ne conserver que le mot osiedle

assorti du qualificatif « résidentiel ». Il y est défini comme

« une unité résidentielle structurelle comprenant un regroupement de bâtiments d’habitation ainsi

que des services connexes et des espaces verts, créant une totalité du point de vue territorial et de la

composition spatiale Wielki zespół mieszkaniowy (w skrócie wzm, wielki zespół mieszkaniowy halshs.archives-ouvertes.fr/halshs-00582437/document

LES GRANDS ENSEMBLES @ Bien qu’ils échappent à une définition unique, les grands ensembles sont ty-piquement des ensembles de logement collectif, souvent en nombre impor-tant (plusieurs centaines à plusieurs milliers de logements), construits entre le milieu des années 1950 et le milieu des années 1970, marqués par un urba-nisme de barres et de tours inspiré des préceptes de l’architecture moderne.

Ces grands ensembles, dont plusieurs centaines ont été construits en France, ont permis un large accès au confort moderne (eau courante chaude et froide, chauffage central, équipements sanitaires, ascenseur…) pour les ouvriers des banlieues ouvrières, les habitants des habitats insalubres, les rapatriés d’Algérie et la main-d’oeuvre des grandes industries.

Ils se retrouvent fréquemment en crise sociale profonde à partir des années 1980, et sont, en France, l’une des raisons de la mise en place de ce qu’on appelle la politique de la Ville. Définition

Il n’y a pas de consensus pour définir un grand ensemble.

On peut toutefois en distinguer deux :

• Selon le service de l’Inventaire du ministère de la Culture français, un grand ensemble est un «aménagement urbain comportant plusieurs bâtiments isolés pouvant être sous la forme de barres et de tours, construit sur un plan masse constituant une unité de conception. Il peut être à l’usage d’activité et d’habitation et, dans ce cas, comporter plusieurs centaines ou milliers de logements. Son foncier ne fait pas nécessairement l’objet d’un remembrement, il n’est pas divisé par lots ce qui le différencie du lotissement concerté».

• Selon le «géopolitologue» Yves Lacoste, un grand ensemble est une «masse de logements organisée en un ensemble. Cette organisation n’est pas seulement la conséquence d’un plan masse; elle repose sur la présence d’équipement collectifs (écoles, commerces, centre social, etc.) […]. Le grand ensemble apparaît donc comme une unité d’habitat relativement autonome formée de bâtiments collectifs, édifiée en un assez bref laps de temps, en fonction d’un plan global qui comprend plus de 1000 logements».

Le géographe Hervé Vieillard-Baron apporte des précisions : c’est, selon lui, un aménagement en rupture avec le tissu urbain existant, sous la forme de barres et de tours, conçu de manière globale et introduisant des équipements règlementaires, comportant un financement de l’État et/ou des établissements publics. Toujours selon lui, un grand ensemble comporte un minimum de 500 logements (limite fixée pour les Zone à urbaniser en priorité (ZUP) en 1959). Enfin, un grand ensemble n’est pas nécessairement situé en périphérie d’une ag-glomération.

Comme on le voit ci-dessus, la détermination d’un seuil de logements peut être débattue. Les formes du grand ensemble sont assez récurrentes, inspirées (ou légitimées) par des préceptes de l’architecture moderne et en particulier des CIAM : ils se veulent une application de la Charte d’Athènes4. Pour autant, on ne peut pas dire qu’il s’agisse d’une application directe des principes de Le Corbusier. Ils sont aussi le fruit d’une industriali-sation progressive du secteur du bâtiment et, notamment en France, des procédés de préfabrication en béton.

Histoire

La Cité de la Muette à Drancy, construite par Eugène Beaudouin, Marcel Lods et Jean Prouvé entre 1931 et 1934 pour l’Office public HBM de la Seine, est traditionnellement considérée comme le premier grand en-semble en France. Elle est même à l’origine du terme de «grand ensemble» puisque c’est ainsi que la désigne pour la première fois Marcel Rotival dans un article de l’époque6. Cette cité, initialement conçue comme une cité-jardin, se transforme en cours d’étude en un projet totalement inédit en France, avec ses 5 tours de 15 étages et son habitat totalement collectif. Cependant, cette initiative reste sans lendemain du moins dans l’immédiat.

Après la Seconde Guerre mondiale, le temps est à la reconstruction et la priorité n’est pas donnée à l’habitat. Le premier plan quinquennal de Jean Monnet (1947-1952) a avant tout pour objectif la reconstruction des infrastructures de transport et le recouvrement des moyens de production. Par ailleurs, le secteur du bâtiment en France est alors incapable de construire des logements en grande quantité et rapidement : ce sont encore de petites entreprises artisanales aux méthodes de constructions traditionnelles.

Les besoins sont pourtant considérables : sur 14,5 millions de logements, la moitié n’a pas l’eau courante, les 3/4 n’ont pas de WC, 90 % pas de salle de bain. On dénombre 350 000 taudis, 3 millions de logements surpeu-plés et un déficit constaté de 3 millions d’habitations. Le blocage des loyers depuis 19147, très partiellement atténué par la Loi de 1948, ne favorise pas les investissements privés.

L’État tente de changer la situation en impulsant à l’industrialisation des entreprises du bâtiment : en 1950, Eugène Claudius-Petit, ministre de la reconstruction, lance le concours de la Cité Rotterdam à Strasbourg. Ce programme doit comporter 800 logements, mais le concours, ouvert à un architecte associé à une entreprise de BTP, prend en compte des critères de coût et de rapidité d’exécution. Le projet est gagné par Eugène Beau-douin qui réalise un des premiers grands ensembles d’après guerre en 1953. En 1953 toujours, Pierre Courant, Ministre de la Reconstruction et du Logement, fait voter une loi qui met en place une série d’interventions (appelée «Plan Courant») facilitant la construction de logements tant du point de vue foncier que du point de vue du financement (primes à la construction, prêts à taux réduit, etc.) : la priorité est donnée clairement par le ministère aux logements collectifs et à la solution des grands ensembles.

La même année, la création de la contribution obligatoire des entreprises à l’effort de construction (1 % de la masse des salaires pour les entreprises de plus de 10 salariés) introduit des ressources supplémentaires pour la réalisation de logements sociaux : c’est le fameux «1 % patronal». Ces fonds sont réunis par l’Office Central Interprofessionnel du Logement (OCIL), à l’origine de la construction d’un certain nombre de grands ensembles.

Mais le véritable choc psychologique intervient en 1954 : le terrible hiver et l’action de l’Abbé Pierre engage le gouvernement à lancer une politique de logement volontariste. Un programme de «Logements économiques de première nécessité» (LEPN) est lancé en juillet 1955 : il s’agit de petites cités d’urgence sous la forme de pavillons en bandes. En réalité, ces réalisations précaires s’avèrent catastrophiques et se transforment en tau-dis insalubres dès l’année suivante. La priorité est donnée alors résolument à l’habitat collectif de grande taille et à la préfabrication en béton, comme seule solution au manque de logements en France.

Une multitude de procédures administratives

Grands ensembles du quartier Villejean à Rennes par l’architecte Louis Arretche.

Il n’existe pas une procédure type de construction d’un grand ensemble pendant cette période. En effet, de très nombreuses procédures techniques ou financières sont utilisées. Elles servent souvent d’ailleurs à désigner les bâtiments ou quartiers construits à l’époque : Secteur industrialisé, LOPOFA (LOgements POpulaires FAmiliaux), Logecos (LOGements ÉCOnomiques et familiaux), LEN (Logements économiques normalisés), l’opération Million, l’opération «Économie de main d’oeuvre». L’unique objectif de toutes ces procédures est de construire vite et en très grande quantité. Le cadre de la Zone à urbaniser en priorité intervient en 1959, avec des constructions qui ne commencent réellement qu’en 1961-1962.

Les contextes de constructions

Le quartier de La Rouvière (9ème arrondissement) à Marseille construit par Xavier Arsène-Henry.

On peut distinguer 3 contextes de construction de ces grands ensembles à la fin des années 1950 et début des années 1960 :

• de nouveaux quartiers périphériques de villes anciennes ayant pour objectif de reloger des populations ins-tallées dans des logements insalubres en centre-ville ou pour accueillir des populations venues des campagnes environnantes (cas les plus fréquents).

• des villes nouvelles liées à l’implantation d’industries nouvelles ou à la politique d’aménagement du ter-ritoire : c’est le cas de Mourenx (avec le Gaz de Lacq), Bagnols-sur-Cèze ou Pierrelatte (liées à l’industrie nucléaire). On voit aussi des cas hybrides avec la première situation, avec des implantations proches de villes satellites de Paris, dans le but de contrebalancer l’influence de cette dernière : c’est le cas de la politique des «3M» dans le département de Seine-et-Marne avec la construction de grands ensembles liés à des zones in-dustrielles à Meaux, Melun, Montereau-Fault-Yonne.

• des opérations de rénovation de quartiers anciens : le quartier de la Porte de Bâle à Mulhouse, l’îlot Bièvre dans le 13e arrondissement de Paris, le centre-ville ancien de Chelles.

Il est à noter qu’un grand ensemble n’est pas forcément un ensemble de logements sociaux : il peut s’agir aussi de logements de standing, comme le quartier de la Rouvière à Marseille.

Les modes de constructions

Le Haut du Lièvre (3000 logements, construits à partir de 1954), deux des plus longues barres de France, construite par Bernard Zehrfuss sur une crête surplombant Nancy.

Tout est mis en oeuvre pour qu’un maximum d’économies soient réalisées sur le chantier :

• la préfabrication : de nombreux procédés de préfabrications sont mis en oeuvre sur les chantiers permettant un gain de temps et d’argent. Expérimentés au cours des chantiers de la Reconstruction après la Seconde Guerre mondiale, ces procédés permettent la construction en série de panneaux de bétons, d’escaliers, d’huisseries mais aussi d’éléments de salles de bains à l’intérieur même du logements. Ces procédés ont pour nom : Camus (expérimenté au Havre et exporté jusqu’en URSS), Estiot (au Haut-du-Lièvre à Nancy) ou Tracoba (à la Pierre Collinet à Meaux). Les formes simples (barres, tours) sont privilégiées le long du chemin de grue (grue posée sur des rails) avec des usines à béton installées à proximité du chantier, toujours dans une recherche de gain de temps.

• une économie de main d’oeuvre : la préfabrication permet de faire appel à une main d’oeuvre peu qualifiée, souvent d’origine immigrée. De grands groupes de BTP bénéficient de contrats pour des chantiers de construc-tion gigantesques, favorisés par l’État.

• les maîtres d’ouvrages sont eux aussi très concentrés et favorise les grandes opérations. La Caisse des dépôts et consignations est ainsi l’un des financeurs incontournables de ce mouvement de construction avec notam-ment sa filiale, la SCIC (Société Civile immobilière de la Caisse des dépôts et consignations), créée en 1954. Elle fait appel à des architectes majeurs des années 1950 et 1960, tels que Jean Dubuisson, Marcel Lods, Jacques Henri Labourdette, Bernard Zehrfuss, Raymond Lopez, Charles-Gustave Stoskopf et elle est à l’ori-gine de nombreux grands ensembles situés en région parisienne, tels que Sarcelles (le plus grand programme en France avec 10 000 logements), Créteil, Massy-Antony.

Les désignations de ces grands ensembles sont à cette époque très diverses : unité de voisinage, unité d’habitation, ville nouvelle (sans aucun rapport avec les villes nouvelles de Paul Delouvrier), villes satellites, ou encore cités nouvelles, etc.Pendant 20 ans, on estime à 300 000 le nombre de logements construits ainsi par an, alors qu’au début des années 1950, on ne produisait que 10 000 logements chaque année. 6 millions de logements sont ainsi construits au total. 90 % de ces constructions sont aidées par l’État.

En 1965, le programme des villes nouvelles est lancé, se voulant en rupture avec l’urbanisme des grands ensembles. En 1969, les zones à urbaniser en priorité sont abandonnées au profit des zones d’aménagement concerté, créées deux ans auparavant. Enfin, le 21 mars 1973, une circulaire ministérielle signée par Olivier Guichard, ministre de l’Équipement, du Logement et des Transports, «visant à prévenir la réalisation des formes d’urbanisation dites « grands ensembles » et à lutter contre la ségrégation sociale par l’habitat», interdit toute construction d’ensembles de logements de plus de 500 unités. La construction des grands ensembles est définitivement abandonnée. La loi Barre de 1977 fait passer la priorité de l’aide gouvernementale de la construction collective à l’aide aux ménages : c’est le retour du pavillonnaire et du logement.

Les guerres jouent un rôle majeur dans l'histoire architecturale d'un pays. Alors que les commémorations orchestrées par la mission Centenaire 1914-1918 battent leur plein, il paraît intéressant de revenir sur ce que la Grande Guerre a représenté pour les architectes, au-delà des destructions et du traumatisme. Ce premier épisode de « mobilisation totale » - suivant les termes utilisés par Ernst Jünger en 1930 -, a notamment entraîné une industrialisation accéléré des processus de production, qui a marqué les esprits. Certains architectes comme Félix Dumail et Marcel Lods se sont alors engagés dans la définition d'un cadre urbanistique nouveau pour le logement social : au sein de l'Office public d'habitations à bon marché du département de la Seine, ils ont largement contribué à l'invention du « grand ensemble ».

La reconstruction de l'après Première Guerre mondiale a souvent été présentée comme une occasion manquée. Cette antienne a même servi de repoussoir après la Seconde. C'est pourtant un bilan à tempérer, puisqu'au sortir de l'une et l'autre, on est parvenu à reconstruire un nombre de logements comparable en valeur relative, dans à peu près le même laps de temps. Plus généralement, les vicissitudes des chantiers de l'entre-deux-guerres tiennent au contexte économique et politique, au problème du moratoire des loyers, aux effets de la crise de 1929, etc., plutôt qu'à une défaillance des savoir-faire des entreprises et des architectes. Dans cette période ouverte cohabitent, au contraire, des procédés constructifs aussi nombreux qu'efficaces. L'élaboration des programmes modernes - logement social, équipements sportifs, sociaux et éducatifs, grande distribution, etc. - est l'objet d'un éventail de recherches d'une grande pluralité. On aura rarement inventé autant de types architecturaux. Ainsi, pour paraphraser ce que Jean-Louis Cohen écrit de la Seconde Guerre (1), on peut suggérer que la Première ne représente pas seulement quatre années de « page blanche », ni même une répétition de la suivante, mais bien, elle aussi, un temps de condensation « technologique, typologique et esthétique ». Si la Seconde Guerre coïncide avec la « victoire » et la « suprématie » de la modernité architecturale, la Premièren'est pas en reste, qui pose les conditions de diffusion du fordisme, de la préfabrication des bâtiments et dessine les contours urbanistiques de la construction de masse.

Certes, le XIXe siècle, avec le Paris d'Haussmann et les expositions universelles, avait largement plus que défricher les champs de la rapidité, de l'étendue et de la quantité, mais, spécifiquement, l'entre-deux-guerres est marqué par le perfectionnement de la répétition (2). Un des effets de la Grande Guerre réside dans l'accélération de la mise en place d'un cadre de production pour le logement collectif et dans la définition progressive du « grand ensemble ». Ce concept, apparu en juin 1935 sous la plume de Maurice Rotival dans L'Architecture d'aujourd'hui, ressortit à la tentative « d'un urbanisme contemporain : un urbanisme des habitations » (3). Son héraut est l'Office public d'habitations à bon marché du département de la Seine (OPHBMS) d'Henri Sellier, futur ministre de la Santé publique du Front populaire. Imaginé en 1913, organisé pendant la guerre, l'OPHBMS sera, avant 1939, le maître d'ouvrage de plus de 17 000 logements répartis en une vingtaine d'opérations banlieusardes.

Dans une perspective de généalogie du logement de masse français, il y a grand intérêt à suivre les parcours des architectes de l'OPHBMS pendant la Grande Guerre. Parmi la vingtaine de protagonistes concernés, seuls deux étaient trop âgés pour participer au conflit : Raphaël Loiseau (1856-1925), architecte-conseil, et Alexandre Maistrasse (1860-1951), qui s'applique dès avant l'armistice au projet de la « cité-jardins » de Suresnes, dont Sellier sera maire de 1919 à 1940. Il y livrera près de 2 500 logements. Bien que plus jeune, Maurice Payret-Dortail (1874-1929) n'est pas mobilisé et participe à la mise en place de l'Office durant la guerre, avant de travailler jusqu'à son décès prématuré à une autre grande cité-jardins, celle du Plessis-Robinson. Nés entre 1868 et 1900, les autres architectes correspondent exactement aux classes d'âge appelées au front.

Les figures de Marcel Lods et de Felix Dumail

Deux d'entre eux (4) ont laissé des archives significatives sur ces années : Félix Dumail (1883-1955), un des plus fidèles compagnons de Sellier, et Marcel Lods (1891-1978), brillant cadet entré dans un second temps à l'OPHBMS avec son associé Eugène Beaudouin (1898-1983). Dumail est diplômé de l'Atelier Bernier en 1908 et lorsqu'il est mobilisé, il figure déjà parmi les pionniers du logement social. Lods, quant à lui, est admis dans le même atelier en 1911, mais, conscrit l'année suivante, il ne quitte l'uniforme qu'une fois la guerre terminée. Il obtient son diplôme en 1923, tout en collaborant dès 1921 sur d'importantes opérations HBM avec Albert Beaudouin, architecte de la Société des logements économiques pour familles nombreuses depuis 1907. Celui-ci lui cédera son agence en 1929, ainsi qu'à son neveu Eugène.

Vers des logements sociaux en grande série

Il faut rappeler qu'à l'approche de la guerre, ce que l'on nomme le logement ouvrier se situe à un tournant : fin 1912, la loi Bonnevay a affirmé son caractère public. Elle autorise alors les collectivités locales à constituer des offices d'habitations à bon marché, domaine jusque-là réservé des sociétés anonymes et des fondations philanthropiques. Peu avant, la Ville de Paris a obtenu la possibilité de produire elle-même des logements sociaux. Si les résultats du concours qu'elle lance en 1912 sont suspendus, du fait de ses terrains petits et irrégulier ayant inspiré des propositions peu généralisables, quelques architectes se sont d'ores et déjà essayés à décliner des plans en immeubles libres et cours ouvertes. C'est le cas de Payret-Dortail, lauréat sur le site de l'avenue Émile-Zola, et du jeune groupement Dumail, Jean Hébrard et Antonin Trévelas. Au concours de 1913, ce trio peut développer ses principes à l'échelle plus favorable de vastes terrains. Il se retrouve lauréat de 600 logements rue Marcadet, avec un projet désigné dix ans plus tard comme un des plus avancés des « standards d'avant-guerre » (5). Ce deuxième concours, qui porte l'ambition d'entamer un processus de construction en grande série sur la base de plans-modèles, suscite l'engouement, puisque près de 700 châssis ont été adressés et que, comme l'affirme L'Architecture : « On sent qu'il y a maintenant une génération d'architectes s'intéressant à la question des habitations à bon marché, et qui l'ont comprise. » (6) Sellier ne s'y trompe pas, qui forme, entre 1916 et 1921, la première équipe d'architectes-directeurs de l'OPHBMS en puisant parmi les lauréats des concours parisiens : Albenque et Gonnot ; Arfvidson, Bassompierre et de Rutté ; Hébrard et Dumail, Maistrasse, Payret-Dortail, Pelletier, Teisseire.

L'entrée en guerre, dans un premier temps, coupe net l'élan de cette génération, avant de la décimer. Ainsi, Trévelas aura son nom gravé sur le monument aux morts de la cour du mûrier, au cœur de l'École des beaux-arts. Mobilisé dans l'infanterie, Dumail décrit dans ses courriers et dans son journal, le manque d'organisation, la faim, la fatigue, les douleurs corporelles, l'ampleur des destructions et les atrocités : blessures par obus, barricades élevées avec des couches de cadavres, etc. Si l'épisode napoléonien avait déjà provoqué des tueries de masse, celles-ci se singularisent. Leur mécanisation et l'annihilation du territoire représenteront une source inextinguible de réflexions pour les architectes, faisant écho à une sensibilité récente : les théories premières de Prosper Mérimée ou Viollet-le-Duc - suite au « vandalisme » de la révolution et aux effets de l'industrialisation - venaient justement d'accoucher le 31 décembre 1913 de l'actuelle loi sur les monuments historiques. Après guerre, les architectes se passionneront du sort des monuments endommagés - la cathédrale de Reims notamment - et du statut des ruines, quasi sacralisées par un Auguste Perret. Simultanément les avant-gardes mettront en avant l'idée de la table rase. Le spectacle des manœuvres de nuit sous le feu des projecteurs procure ainsi à Dumail un sentiment ambigu de fascination-répulsion, évoquant la sidération exprimée par un Apollinaire.

Dumail manifeste des capacités d'observation hors du commun, qui lui vaudront la légion d'honneur. Sous les bombardements, il exécute des plans et des panoramas des positions ennemies, permettant de mieux diriger les tirs. Nommé sous-lieutenant en octobre 1915, il entame des démarches pour être affecté à l'aviation. À l'appui de sa demande, il mentionne sa passion pour les sports mécaniques, sa pratique assidue de la moto et souligne son succès en 1912 au concours Chenavard consacré à une école d'aviation militaire. C'est pourtant un projet dans lequel l'aéroport représentait surtout un emblème. À l'instar, du reste, de l'aéroport de la cité-jardins du Grand Paris imaginée par l'OHBMS en 1919 en marge des projets du Plessis-Robinson et de la Butte-Rouge (Châtenay-Malabry), ou encore, à partir de 1922, de celui qu'associe Le Corbusier à une autoroute sur la rive droite de Paris, dans son fameux Plan Voisin soutenu par le fabricant automobile et aéronautique éponyme. Bien que Dumail juge plus aisé de piloter un avion qu'une auto et malgré le soutien de ses officiers, ses démarches n'aboutissent pas. Pas plus que ses tentatives d'entrer au Génie puis au service technique de Peugeot ou encore, en 1917, ses propositions d'adaptation d'une mitrailleuse Hotchkiss auprès du sous-secrétariat d'État des inventions. Comme beaucoup d'appelés, Dumail attendra sa démobilisation quasiment jusqu'au traité de Versailles, en 1919. Durant ces années incertaines, alors que ne se concrétisent ni le chantier de la rue Marcadet ni sa nomination définitive par l'OPHBMS - il y est inscrit avec Hébrard sur la liste d'architectes depuis 1917 -, il voyage dans les régions dévastées. Dumail et Hébrard sont agréés pour la reconstruction des Ardennes en 1921, au moment où les études de la rue Marcadet reprennent et celles de la cité-jardins de Gennevilliers deviennent opérationnelles.

Cette concentration de commandes explique que leur activité de reconstruction se limite au seul village d'Attigny (Ardennes), d'autant que leurs aspirations vont bientôt dépasser l'horizon hexagonal. En effet, lorsque Dumail retrouve Hébrard, celui-ci enseigne l'architecture dans le cadre de l'American Expeditionary Forces University, prolongeant son expérience à l'université Cornell-Ithaca entre 1906 et 1911. Leurs deux frères, eux aussi architectes, sont à l'étranger : GabrielDumail, fait prisonnier en 1915, est parti pour la Chine ; quant à ErnestHébrard, Grand Prix de Rome 1904, il a aussi été fait prisonnier avant de se voir confier, en 1918, la reconstruction de Salonique, puis de devenir architecte en chef d'Indochine. Pionnier de l'urbanisme - néologisme de 1910 -, il est membre fondateur de la Société française des architectes urbanistes en 1911, et l'une des premières figures de l'architecture internationale, voire « mondialisée ». Il avait entraîné, peu avant la guerre, son frère et les Dumail dans l'aventure de l'International World Centre : un essai de capitale pour les États-Unis du monde, précurseur de la Société des Nations, dans lequel La Construction moderne voyait en janvier 1914 « une école mondiale de la paix »... arrivée trop tard ! De cette tentation de l'ailleurs, Dumail tire quelques réalisations en Indochine entre 1924 et 1928. Jean Hébrard, lui, s'expatrie en 1925 pour devenir un des théoriciens du City Planning dans les universités de Pennsylvanie puis du Michigan.

Des chantiers d'expérience

Dumail consacrera dès lors l'essentiel de sa carrière à l'OPHBMS, en tant qu'architecte-directeur des cités-jardins de Gennevilliers, du Pré-Saint-Gervais, de Dugny, de l'achèvement de Suresnes, et d'un ensemble HBM pour militaires à Saint-Mandé, immédiatement reconnus pour la qualité de leurs logements et de leur greffe urbaine. Comme pour la cité de la rue Marcadet, il y conçoit « des bâtiments isolés, absolument entourés d'air et de lumière » (7). Ces « chantiers d'expériences », suivant une expression des années 1920 qui deviendra emblématique à la Libération, sont souvent mis en œuvre par des entreprises ayant fourbi leurs premières armes avec les troupes américaines pour des constructions de baraquements préfabriqués. Ils permettront à Dumail de figurer parmi les rares architectes français à avoir édifié plus de 2 000 logements avant la Seconde Guerre, dans lesquels il étrennera les chemins de grue et les principes de coffrage des Trente Glorieuses.On ne peut que faire le lien entre ses aspirations pendant la guerre, sa culture technique, son goût pour la mécanique, et ceux d'autres acteurs de la modernité architecturale. Quelques années avant lui, en 1904, son associé Hébrard brille lui aussi au concours Chenavard, avec pour sujet un Palais de l'automobile. En 1908, le Salon de l'automobile accueille à Paris ses premiers exposants aéronautiques et c'est justement un architecte de la même génération, AndréGranet (1881-1974), futur gendre d'Eiffel, qui contribue l'année suivante à lancer au Grand Palais la première exposition internationale de la locomotion aérienne, ancêtre du salon du Bourget. Plus précisément, le passage de l'observation militaire à l'aviation renvoie à WalterGropius (1883-1969). Comme Dumail ou encore André Lurçat, mais dans le camp d'en face, le fondateur du Bauhaus dessine d'abord ses repérages de ligne de front à pied, avant d'être affecté à l'aviation et d'y connaître une révélation, déterminante pour sa carrière (😎. Cette passion de la photographie aérienne sera partagée par son alter ego français dans l'expérimentation de la préfabrication, Marcel Lods, en pleine résonance avec une attention voulue « scientifique » au territoire et à sa documentation - une des constantes des équipes de l'OPHBMS. Si Lods s'engage comme aviateur en 1939, il est vingt-cinq ans plus tôt affecté comme instructeur d'artillerie. Et il ne lui échappe pas qu'avec presque 900 millions d'obus tirés, son arme représente l'instrument par excellence de l'industrialisation de la guerre. Puis, il suit l'arrivée des troupes américaines et de leurs engins et se passionne pour le développement spectaculaire des industries automobile et aéronautique aux États-Unis. Pays où était née, dès 1908, la fameuse Ford T, premier véhicule de série. Du début des années 1920 jusqu'à la fin de sa carrière, aux côtés de grands ingénieurs, Lods tente d'exporter ce modèle à celui du bâtiment et de ses composants. Ce seront notamment les chantiers de la Cité du Champ des Oiseaux, à Bagneux (1927-1933), et de La Muette, à Drancy (1931-1934). Puis, après guerre, les Grandes Terres de Marly-le-Roi (1952-1960) et surtout la Grand'Mare de Rouen (1960-1977). C'est aussi une myriade de petites réalisations prototypiques, à commencer par l'aéroclub de Buc abordé au moment où Lods obtient son brevet de pilote, en 1932.

Ses chantiers qui se veulent de pur montage, rêvés en gants blanc, ne sont pas dénués d'utopie. Ils participent au sentiment qui sourd au début du XXe siècle, selon lequel l'homme s'apprête à faire quasi corps avec la machine. Charlie Chaplin a génialement montré dans Les Temps modernes en 1936 la part tragique de cette nouvelle condition. Elle apparaît comme un des effets les plus paradoxaux de la guerre, dans laquelle toute une génération a été confrontée aux corps mutilés en masse, soumis aux éléments et à la putréfaction en plein champ, mais aussi possiblement transcendés par la mécanisation et la science. Alfred Jarry en avait eu l'intuition dès 1902 avec Le Surmâle : roman moderne dans lequel il dressait le récit de la course - en forme d'hécatombe - d'un train à vapeur et de cyclistes dopés à la « perpetual-motion food ». Le Corbusier est l'architecte qui, au contact des Planistes et du théoricien eugéniste Alexis Carrel, captera le mieux ce nouveau rapport au corps, avec ses recherches sur l'immeuble-villa puis sur l'« unité d'habitation de grandeur conforme », instruments d'une « fabrique de l'homme nouveau » liant sport, biologie et habitation. Intégré à la fondation Carrel entre 1943 à 1945 (9), Dumail n'échappera pas à ce programme « d'hygiène sociale et de prophylaxie » énoncé par Sellier lui-même au moins dès 1921.Ces proches de Sellier que sont Dumail et Lods ont vu leurs réalisations de l'OPHBMS données en 1935 comme modèles du programme du grand ensemble du futur, dans cette période accidentée où s'élaborait une culture politique de gestion de la croissance des périphéries urbaines. À la Libération, ils affirment ensemble le logement comme la grande « affaire » du XXe siècle dans un livret du comité Henri-Sellier (10). En 1951, ils s'engagent presque simultanément dans les chantiers respectifs des deux SHAPE Villages : Dumail à Saint-Germain-en-Laye, aux côtés de Jean Dubuisson, et Lods à Fontainebleau. Les logements qu'ils bâtissent, chacun à sa façon mais tous deux en un temps record, pour les sous-officiers et officiers du quartier général des forces alliées en Europe, constituent un des moments fondateurs de la politique de construction à venir : les grands ensembles français ne sont décidément pas tombés du ciel avec la croissance et le baby-boom. * Architecte, Hubert Lempereur a consacré de nombreux articles à la généalogie et à l'histoire matérielle et culturelle des premiers grands ensembles français et à la construction de masse. À paraître, Félix Dumail, architecte de la « cité-jardins », aux éditions du patrimoine et La Samaritaine, Paris, aux éditions Picard, ouvrage codirigé avec Jean-François Cabestan. 1. J.-L. Cohen, Architecture en uniforme. Projeter et construire pour la Seconde Guerre mondiale, Hazan/Centre Canadien d'Architecture, 2011. 2. Voir P. Chemetov et B. Marrey, Architectures. Paris 1848-1914, Dunod, 1980. 3. M. Rotival, « Urbanisme des H.B.M. - Formes de la cité », L'Architecture d'aujourd'hui, n° 6, juin 1935. 4. Leurs archives sont conservées au centre d'archives d'architecture du XXe siècle. La famille Dumail conserve de son côté ses correspondances de guerre. 5. J. Posener, « Historique des H.B.M. - Naissance du problème, premières solutions », L'Architecture d'aujourd'hui, n° 6, juin 1935. 6. G. Ernest, « Concours pour la construction par la Ville de Paris d'immeubles collectifs à bon marché », L'Architecture, 28 fév. 1914. 7. A. Gaillardin, « Les derniers concours de la Ville de Paris pour la construction d'habitations à bon marché », La Construction moderne, 28 juin 1914. 8. J. Gubler, « L'aérostation, prélude à l'aviation ? Notes sur la découverte architecturale du paysage aérien », Matières, 1998. 9. H. Lempereur, « La fondation Carrel (1941-1945), Le Corbusier et Félix Dumail : portraits d'architectes en bio-sociologues », fabricA, 2009. 10. F. Dumail, P. Grünebaum-Ballin, R. Hummel, M. Lods, P. Pelletier et P. Sirvin, L'affaire du logement social, préface de Léon Blum, Éditions de la Liberté, 1947. TEXTE DU MONITEUR @ les #Constructions #Modernes #BANLIEUE @ l' #Urbanisme & l es #Chantiers d'#ApresGuerre ici #Mémoire2ville le #Logement Collectif* dans tous ses états..#Histoire & #Mémoire de l'#Habitat / Département territoire terroir region ville souvenirs du temps passé d une époque revolue #Archives ANRU / #Rétro #Banlieue / Renouvellement #Urbain / #Urbanisme / #HLM #postwar #postcard #cartepostale twitter.com/Memoire2cite Villes et rénovation urbaine..Tout savoir tout connaitre sur le sujet ici via le PDF de l'UNION SOCIALE POUR L HABITAT (l'USH)... des textes à savoir, à apprendre, des techniques de demolition jusqu a la securisation..& bien plus encore.. union-habitat.org/.../files/articles/documents/...

www.dailymotion.com/video/xk6xui Quatre murs et un toit 1953 - Le Corbusier, l'architecte du bonheur 1957 conceptions architecturales le modulor, l'architecture de la ville radieuse, Chandigarh, Marseille, Nantes www.dailymotion.com/video/xw8prl Un documentaire consacré aux conceptions architecturales et urbanistiques de Le Corbusier.Exposées par l'architecte lui-même et étayées par des plans, dessins et images de ses réalisations en France et à l'étranger, ces théories témoignent d'une réflexio

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IN THE CONE OF UNCERTAINTY

 

NOV 2,2019-APR 5,2020

 

In the Cone of Uncertainty foregrounds Haegue Yang’s (b. 1971, Seoul) consistent curiosity about the world and tireless experimentation with materializing the complexity of identities in flux. Living between Seoul and Berlin, Yang employs industrially produced quotidian items, digital processes, and labor-intensive craft techniques. She mobilizes and enmeshes complex, often personal, histories and realities vis-à-vis sensual and immersive works by interweaving narrative with form. Often evoking performative, sonic and atmospheric perceptions with heat, wind and chiming bells, Yang’s environments appear familiar, yet engender bewildering experiences of time and place.

 

The exhibition presents a selection of Yang’s oeuvre spanning the last decade – including window blind installations, anthropomorphic sculptures, light sculptures, and mural-like graphic wallpaper – taking its title from an expression of the South Florida vernacular, that describes the predicted path of hurricanes. Alluding to our eagerness and desperation to track the unstable and ever-evolving future, this exhibition addresses current anxieties about climate change, overpopulation and resource scarcity. Framing this discourse within a broader consideration of movement, displacement and migration, the exhibition contextualizes contemporary concerns through a trans-historical and philosophical meditation of the self.

 

Given its location in Miami Beach, The Bass is a particularly resonant site to present Yang’s work, considering that over fifty percent[1] of the population in Miami-Dade County is born outside of the United States, and it is a geographical and metaphorical gateway to Latin America. Yang has been commissioned by the museum to conceive a site-specific wallpaper in the staircase that connects the exhibition spaces across The Bass’ two floors. This wallpaper will be applied to both transparent and opaque surfaces to accompany the ascending and descending path of visitors within the exhibition. Informed by research about Miami Beach’s climatically-precarious setting, the wallpaper, titled Coordinates of Speculative Solidarity (2019), will play with meteorological infographics and diagrams as vehicles for abstraction. Interested in how severe weather creates unusual access to negotiations of belonging and community, as well as the human urge to predict catastrophic circumstances, the work reflects a geographic commonality that unconsciously binds people together through a shared determination to face a challenge and react in solidarity.

 

Yang’s exhibition encompasses galleries on both the first and second floors of the museum and exemplifies an array of Yang’s formally, conceptually ambitious and rigorous body of work. Considered an important ‘Light Sculpture’ work and one of the last made in the series, Strange Fruit (2012-13) occupies one of the first spaces in the exhibition. The group of anthropomorphic sculptures take their title from Jewish-American Abel Meeropol’s poem famously vocalized by Billie Holiday in 1939. Hanging string lights dangling from metal clothing racks intertwined with colorfully painted papier-mâché bowls and hands that hold plants resonate with the poem’s subject matter. The work reflects a recurring interest within Yang’s practice, illuminating unlikely, less-known connections throughout history and elucidating asymmetrical relationships among figures of the past. In the story of Strange Fruit, the point of interest is in a poem about the horrors and tragedy of lynching of African-Americans in the American South born from the empathies of a Jewish man and member of the Communist party. Yang’s interests are filtered through different geopolitical spheres with a keen concentration in collapsing time and place, unlike today’s compartmentalized diasporic studies.

 

Central to In the Cone of Uncertainty is the daring juxtaposition of two major large-scale installations made of venetian blinds. Yearning Melancholy Red and Red Broken Mountainous Labyrinth are similar in that they are both from 2008, a year of significant development for Yang, and their use of the color red: one consists of red blinds, while the other features white blinds colored by red light. With its labyrinthine structure, Red Broken Mountainous Labyrinth bears a story of the chance encounter between Korean revolutionary Kim San (1905-1938) and American journalist Nym Wales (1907-1997), without which a chapter of Korean history would not survive to this day. Yearning Melancholy Red references the seemingly apolitical childhood of French writer and filmmaker Marguerite Duras (1914-1996). While living in French Indochina (present-day Cambodia, Vietnam, and Laos), Duras and her family experienced a type of double isolation in material and moral poverty, by neither belonging to the native communities nor to the French colonizers, embodying the potentiality for her later political engagement. Despite their divergent subject matter, both works continue to envelop an interest in viewing histories from different perspectives and the unexpected connections that arise. By staging the two works together, what remains is Yang’s compelling constellation of blinds, choreographed moving lights, paradoxical pairings of sensorial devices – fans and infrared heaters – and our physical presence in an intensely charged field of unspoken narratives.

 

A third space of the exhibition will feature work from Yang’s signature ‘Sonic Sculpture’ series titled, Boxing Ballet (2013/2015). The work offers Yang’s translation of Oskar Schlemmmer’s Triadic Ballet (1922), transforming the historical lineage of time-based performance into spatial, sculptural and sensorial abstraction. Through elements of movement and sound, Yang develops an installation with a relationship to the Western Avant-Garde, investigating their understanding in the human body, movement and figuration.

 

Observing hidden structures to reimagine a possible community, Yang addresses themes that recur in her works such as migration, diasporas and history writing. Works presented in In the Cone of Uncertainty offer a substantial view into Yang’s rich artistic language, including her use of bodily experience as a means of evoking history and memory.

 

Haegue Yang lives and works in Berlin, Germany and Seoul, South Korea. She is a Professor at the Staedelschule in Frankfurt am Main. Yang has participated in major international exhibitions including the 21st Biennale of Sydney (2018), La Biennale de Montréal (2016), the 12th Sharjah Biennial (2015), the 9th Taipei Biennial (2014), dOCUMENTA (13) in Kassel (2012) and the 53rd Venice Biennale (2009) as the South Korean representative.

 

Recipient of the 2018 Wolfgang Hahn Prize, she held a survey exhibition titled ETA at the Museum Ludwig in Cologne in the same year, which displayed over 120 works of Yang from 1994-2018. Her recent solo exhibitions include Tracing Movement, South London Gallery (2019); Chronotopic Traverses, La Panacée-MoCo, Montpellier (2018); Tightrope Walking and Its Wordless Shadow, La Triennale di Milano (2018); Triple Vita Nestings, Govett-Brewster Art Gallery, New Plymouth, which travelled from the Institute of Modern Art, Brisbane (2018); VIP’s Union, Kunsthaus Graz (2017); Silo of Silence – Clicked Core, KINDL – Centre for Contemporary Art, Berlin (2017); Lingering Nous, Centre Pompidou, Paris (2016); Quasi-Pagan Serial, Hamburger Kunsthalle (2016); Come Shower or Shine, It Is Equally Blissful, Ullens Center for Contemporary Art, Beijing (2015); and Shooting the Elephant 象 Thinking the Elephant, Leeum, Samsung Museum of Art, Seoul (2015). Forthcoming projects include the Museum of Modern Art (October 2019), Tate St. Ives (May 2020) and Art Gallery of Ontario in Toronto (2020).

 

Yang’s work is included in permanent collections such as the Museum of Modern Art, New York, USA; M+, Hong Kong, China; National Museum of Modern and Contemporary Art, South Korea; Tate Modern, London, UK; The Solomon R. Guggenheim Museum, New York, USA; and The Walker Art Center, Minneapolis, USA. Her work has been the subject of numerous monographs, such as Haegue Yang: Anthology 2006–2018: Tightrope Walking and Its Wordless Shadow (2019); Haegue Yang: ETA 1994–2018 (2018); Haegue Yang – VIP’s Union (2017); and Haegue Yang: Family of Equivocations (2013).

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May 29,200

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Joel Parkinson Leads ASP Top Stars in Assault on Rip Curl Pro Bells Beach Round 1

 

BELLS BEACH, Victoria/Australia (Wednesday, April 20, 2011) – Today marks the commencement of the 50th Anniversary of competition surfing at Bells Beach as Round 1 of the 2011 Rip Curl Pro Bells presented by Ford Ranger got underway in clean four-to-six foot (1.5 - 2 metre) surf.

 

The Rip Curl Pro Bells Beach, the second stop on the 2011 ASP World Title season, enjoyed consistent surf throughout the day as the world’s best surfers unleashed a barrage of high-performance ripping on the classic canvas of Bells Beach.

 

Joel Parkinson (AUS), 30, 2009 Rip Curl Pro Bells Beach Champion put in a sensational performance this afternoon, electing to sit up at Rincon to secure the day’s highest scores.. Parkinson locked in the highest wave score and the highest heat score of the opening day of competition scoring 17.74 (out of a possible 20.00) to advance directly through to Round 3 of competition.

 

"I fell off twice on the bowl," Parkinson said. "It was really hard to ride. Then CJ (Hobgood) went across to Rincon and got a score, so we followed him over and it worked out for me. It's great to get that opening heat win, especially at Bells. You never know what conditions you're going to get in a heat, so to be able to skip round two and maybe get a day off is a huge advantage."

 

Kelly Slater (USA), 39, reigning 10-time ASP World Champion and defending event winner, was clinical in his attack in his Round 1 heat. Slater had his fellow competitors Adam Robertson (AUS), 28, and Kai Otton (AUS), 31, on the ropes only minutes into the heat, scoring an impressive 16.00 (out of a possible 20.00) on his opening two rides.

 

"I don't free surf out at Bells a whole lot," Slater said. "When the waves are good the comp is on and outside of that it's pretty crowded. So I'm still learning with each heat out there still, surfing against a guy like Robbo (Adam Robertson) you've got to watch where he's sitting, how far our and how deep."

 

Mick Fanning (AUS), 29, currently equal 13th in the hunt for the 2011 ASP World Title, went into today’s competition with renewed vigor after a shock early exit at the last event on the Gold Coast. The past two-time ASP World Champion came out and dominated his Round 1 battle over Tiago Pires (PRT), 31, and Gabriel Medina (BRA), 17.

 

"I'm stoked to get a good start," Fanning said. "It's been 10 years since I won here as I wildcard, I got close last year but Kelly Slater got me in the final. You want to win every event, but being the 50th Anniversary and so much history at this event, it's like the Wimbeldon of surfing, it's a hard one to win but it's the one everyone wants."

 

Alejo Muniz (BRA), 21, led today’s rookie charge, continuing his sensational run after the and equal 5th on the Gold Coast, and dispatching of fellow Brazilian Ranoi Monterio (BRA), 28, and Australian Adrian Buchan (AUS), 28 in this morning’s opening round heat.

 

"It's so good out there!" Muniz said. "This is my first time surfing at Bells and it's the most amazing place. It's got perfect rights, and it's the kind of wave that I love to surf. It's the best place ever, best waves, best weather and I love surfing in wetsuits."

 

Jeremy Flores (FRA), 22, bounced back after missing the Quiksilver Pro Gold Coast with a knee injury, to score a comprehensive win over Taylor Knox (USA), 39, and Cory Lopez (USA), 34.

 

"I wasn't very confident before the heat," Flores said. "But I got that first wave and did a big turn at the end and got a good score. I think that's what you need to do these days, finish the wave strong. My knee still isn't 100%, but I went for it and it's good to win. Big thanks to everyone at the Gold Coast Suns Football Club for helping with my knee, it's feeling much better now."

 

Stu Kennedy (AUS), 21, scored a last minute wildcard into the event and caused the upset of the day, eliminating 2010 ASP World Title runner-up Jordy Smith (ZAF), 23, and Dusty Payne (HAW), 22.

 

"I've been coming here for years," Kennedy said. "I won a Pro Junior here in 2008 and I know where to sit. I don't think Dusty and Jordy know the break as well as I do so that helps. I've been up since 3am because I'm jet-lagged from coming home from Scotland. I woke up with a bunch of energy it's my shaper's birthday so I woke him up at 5am to go surfing. I had to win my heat for him for his birthday."

 

When men’s competition resumes, up first will be 2010 ASP World Runner-Up Jordy Smith (ZAF), 23, up against Trials Winner Adam Robertson (AUS), 28, in the opening heat of Round 2.

 

Following the completion of the men’s Round 1 today, the ASP Top 17 hit the water for Round 1 of the Rip Curl Women’s Pro Bells Beach presented by Ford Fiesta.

 

Stephanie Gilmore (AUS), 23, reigning four-time ASP Women’s World Champion and defending three-time Rip Curl Women’s Bells Beach winner, returned to her winning ways today, after bowing out early at the last event, the Roxy Pro Gold Coast.

 

"My first two years on tour I didn't have great results on the Gold Coast," Gilmore said. "I always bounced back at this event and then finished the year well, so hopefully I'll do that again this year. The Gold Coast was a fine showing of what women's surfing is up to now and everyone has to try and keep up. It really pushes me and I think anyone who wins an event from now on will be a very deserving winner because of that fact."

 

Pauline Ado (FRA), 19, the French rookie caused the upset of the women's event, defeating current ASP World Title front runner Carissa Moore (HAW), 18, in a nail biter of a heat.

 

"I'm really happy, I had a lot of fun out there," Ado said "I got one of my good waves in the first few seconds so after that I felt confident and knew I could be more selective and wait for the right wave. A heat against Carissa is always a tough one, so I'm really stoked to win."

 

When women’s competition resumes, up first will be Paige Hareb (NZL) and Jessi Miley-Dyer (AUS) in the opening heat of Round 2.

 

Event organizers will reconvene tomorrow morning at 7am to assess conditions for a possible 7:30am start.

 

Highlights from the Rip Curl Pro Bells Beach presented by FORD will be webcast available via www.live.ripcurl.com and broadcast live on Fuel TV in Australia and ESPN in Brazil.

 

For more information, log onto www.aspworldtour.com

  

RIP CURL PRO BELLS BEACH ROUND 1 RESULTS:

Heat 1: Alejo Muniz (BRA) 13.23, Adrian Buchan (AUS) 11.26, Raoni Monteiro (BRA) 7.37

Heat 2: Adam Melling (AUS) 14.50, Josh Kerr (AUS) 12.30, Taj Burrow (AUS) 11.00

Heat 3: Heitor Alves (BRA) 14.36, Bobby Martinez (USA) 14.14, Owen Wright (AUS) 10.60

Heat 4: Mick Fanning (AUS) 15.60, Tiago Pires (PRT) 11.07, Gabriel Medina (BRA) 9.27

Heat 5: Stu Kennedy (AUS) 11.70, Dusty Payne (HAW) 10.50, Jordy Smith (ZAF) 9.00

Heat 6: Kelly Slater (USA) 16.00, Kai Otton (AUS) 10.13, Adam Robertson (AUS) 8.53

Heat 7: Jeremy Flores (FRA) 13.17, Cory Lopez (USA) 5.83, Taylor Knox (USA) 4.67

Heat 8: Michel Bourez (PYF) 12.60, Kieren Perrow (AUS) 10.20, Gabe Kling (USA) 3.50

Heat 9: Matt Wilkinson (AUS) 14.60, Damien Hobgood (USA) 11.23, Daniel Ross (AUS) 11.07

Heat 10: Joel Parkinson (AUS) 17.74, C.J. Hobgood (USA) 11.44, Bede Durbidge (AUS) 8.17

Heat 11: Adriano de Souza (BRA) 14.60, Chris Davidson (AUS) 10.83, Julian Wilson (AUS) 9.83

Heat 12: Patrick Gudauskas (USA) 13.40, Jadson Andre (BRA) 9.43, Brett Simpson (USA) 8.93

 

RIP CURL PRO BELLS BEACH ROUND 2 MATCH-UPS:

Heat 1: Jordy Smith (ZAF) vs. Adam Robertson (AUS)

Heat 2: Owen Wright (AUS) vs. Gabriel Medina (BRA)

Heat 3: Taj Burrow (AUS) vs. Bobby Martinez (USA)

Heat 4: Adrian Buchan (AUS) vs. Josh Kerr (AUS)

Heat 5: Damien Hobgood (USA) vs. Raoni Monteiro (BRA)

Heat 6: Bede Durbidge (AUS) vs. Cory Lopez (USA)

Heat 7: Brett Simpson (USA) vs. Gabe Kling (USA)

Heat 8: Jadson Andre (BRA) vs. Daniel Ross (AUS)

Heat 9: Chris Davidson (AUS) vs. Julian Wilson (AUS)

Heat 10: C.J. Hobgood (USA) vs. Kai Otton (AUS)

Heat 11: Kieren Perrow (AUS) vs. Dusty Payne (HAW)

Heat 12: Taylor Knox (USA) vs. Tiago Pires (PRT)

 

RIP CURL WOMEN’S PRO BELLS BEACH ROUND 1 RESULTS:

Heat 1: Sofia Mulanovich (PER) 12.93, Chelsea Hedges (AUS) 8.70, Jessi Miley-Dyer (AUS) 8.66

Heat 2: Silvana Lima (BRA) 14.94, Laura Enever (AUS) 8.84, Melanie Bartels (HAW) 7.54

Heat 3: Pauline Ado (HAW) 14.60, Carissa Moore (HAW) 14.44, Nikki Van Dijk (AUS) 10.63

Heat 4: Stephanie Gilmore (AUS) 16.30, Courtney Conlogue (USA) 9.00, Bethany Hamilton (HAW) 6.50

Heat 5: Sally Fitzgibbons (AUS) 16.10, Alana Blanchard (HAW) 12.83 Paige Hareb (NZL) 7.47

Heat 6: Coco Ho (HAW) 12.90, Tyler Wright (AUS) 12.00, Pauline Ado (FRA) 6.37

 

RIP CURL WOMEN’S PRO BELLS BEACH ROUND 2 MATCH-UPS:

Heat 1: Paige Hareb (NZL) vs. Jessi Miley-Dyer (AUS)

Heat 2: Laura Enever (AUS) vs. Melanie Bartels (HAW)

Heat 3: Carissa Moore (HAW) vs. Nikki Van Dijk (AUS)

Heat 4: Chelsea Hedges (AUS) vs. Bethany Hamilton (HAW)

Heat 5: Tyler Wright (AUS) vs. Alana Blanchard (HAW)

Heat 6: Courtney Conlogue (USA) vs. Rebecca Woods (AUS)

 

Photo ASP/Scholtz

Joel Parkinson Leads ASP Top Stars in Assault on Rip Curl Pro Bells Beach Round 1

 

BELLS BEACH, Victoria/Australia (Wednesday, April 20, 2011) – Today marks the commencement of the 50th Anniversary of competition surfing at Bells Beach as Round 1 of the 2011 Rip Curl Pro Bells presented by Ford Ranger got underway in clean four-to-six foot (1.5 - 2 metre) surf.

 

The Rip Curl Pro Bells Beach, the second stop on the 2011 ASP World Title season, enjoyed consistent surf throughout the day as the world’s best surfers unleashed a barrage of high-performance ripping on the classic canvas of Bells Beach.

 

Joel Parkinson (AUS), 30, 2009 Rip Curl Pro Bells Beach Champion put in a sensational performance this afternoon, electing to sit up at Rincon to secure the day’s highest scores.. Parkinson locked in the highest wave score and the highest heat score of the opening day of competition scoring 17.74 (out of a possible 20.00) to advance directly through to Round 3 of competition.

 

"I fell off twice on the bowl," Parkinson said. "It was really hard to ride. Then CJ (Hobgood) went across to Rincon and got a score, so we followed him over and it worked out for me. It's great to get that opening heat win, especially at Bells. You never know what conditions you're going to get in a heat, so to be able to skip round two and maybe get a day off is a huge advantage."

 

Kelly Slater (USA), 39, reigning 10-time ASP World Champion and defending event winner, was clinical in his attack in his Round 1 heat. Slater had his fellow competitors Adam Robertson (AUS), 28, and Kai Otton (AUS), 31, on the ropes only minutes into the heat, scoring an impressive 16.00 (out of a possible 20.00) on his opening two rides.

 

"I don't free surf out at Bells a whole lot," Slater said. "When the waves are good the comp is on and outside of that it's pretty crowded. So I'm still learning with each heat out there still, surfing against a guy like Robbo (Adam Robertson) you've got to watch where he's sitting, how far our and how deep."

 

Mick Fanning (AUS), 29, currently equal 13th in the hunt for the 2011 ASP World Title, went into today’s competition with renewed vigor after a shock early exit at the last event on the Gold Coast. The past two-time ASP World Champion came out and dominated his Round 1 battle over Tiago Pires (PRT), 31, and Gabriel Medina (BRA), 17.

 

"I'm stoked to get a good start," Fanning said. "It's been 10 years since I won here as I wildcard, I got close last year but Kelly Slater got me in the final. You want to win every event, but being the 50th Anniversary and so much history at this event, it's like the Wimbeldon of surfing, it's a hard one to win but it's the one everyone wants."

 

Alejo Muniz (BRA), 21, led today’s rookie charge, continuing his sensational run after the and equal 5th on the Gold Coast, and dispatching of fellow Brazilian Ranoi Monterio (BRA), 28, and Australian Adrian Buchan (AUS), 28 in this morning’s opening round heat.

 

"It's so good out there!" Muniz said. "This is my first time surfing at Bells and it's the most amazing place. It's got perfect rights, and it's the kind of wave that I love to surf. It's the best place ever, best waves, best weather and I love surfing in wetsuits."

 

Jeremy Flores (FRA), 22, bounced back after missing the Quiksilver Pro Gold Coast with a knee injury, to score a comprehensive win over Taylor Knox (USA), 39, and Cory Lopez (USA), 34.

 

"I wasn't very confident before the heat," Flores said. "But I got that first wave and did a big turn at the end and got a good score. I think that's what you need to do these days, finish the wave strong. My knee still isn't 100%, but I went for it and it's good to win. Big thanks to everyone at the Gold Coast Suns Football Club for helping with my knee, it's feeling much better now."

 

Stu Kennedy (AUS), 21, scored a last minute wildcard into the event and caused the upset of the day, eliminating 2010 ASP World Title runner-up Jordy Smith (ZAF), 23, and Dusty Payne (HAW), 22.

 

"I've been coming here for years," Kennedy said. "I won a Pro Junior here in 2008 and I know where to sit. I don't think Dusty and Jordy know the break as well as I do so that helps. I've been up since 3am because I'm jet-lagged from coming home from Scotland. I woke up with a bunch of energy it's my shaper's birthday so I woke him up at 5am to go surfing. I had to win my heat for him for his birthday."

 

When men’s competition resumes, up first will be 2010 ASP World Runner-Up Jordy Smith (ZAF), 23, up against Trials Winner Adam Robertson (AUS), 28, in the opening heat of Round 2.

 

Following the completion of the men’s Round 1 today, the ASP Top 17 hit the water for Round 1 of the Rip Curl Women’s Pro Bells Beach presented by Ford Fiesta.

 

Stephanie Gilmore (AUS), 23, reigning four-time ASP Women’s World Champion and defending three-time Rip Curl Women’s Bells Beach winner, returned to her winning ways today, after bowing out early at the last event, the Roxy Pro Gold Coast.

 

"My first two years on tour I didn't have great results on the Gold Coast," Gilmore said. "I always bounced back at this event and then finished the year well, so hopefully I'll do that again this year. The Gold Coast was a fine showing of what women's surfing is up to now and everyone has to try and keep up. It really pushes me and I think anyone who wins an event from now on will be a very deserving winner because of that fact."

 

Pauline Ado (FRA), 19, the French rookie caused the upset of the women's event, defeating current ASP World Title front runner Carissa Moore (HAW), 18, in a nail biter of a heat.

 

"I'm really happy, I had a lot of fun out there," Ado said "I got one of my good waves in the first few seconds so after that I felt confident and knew I could be more selective and wait for the right wave. A heat against Carissa is always a tough one, so I'm really stoked to win."

 

When women’s competition resumes, up first will be Paige Hareb (NZL) and Jessi Miley-Dyer (AUS) in the opening heat of Round 2.

 

Event organizers will reconvene tomorrow morning at 7am to assess conditions for a possible 7:30am start.

 

Highlights from the Rip Curl Pro Bells Beach presented by FORD will be webcast available via www.live.ripcurl.com and broadcast live on Fuel TV in Australia and ESPN in Brazil.

 

For more information, log onto www.aspworldtour.com

  

RIP CURL PRO BELLS BEACH ROUND 1 RESULTS:

Heat 1: Alejo Muniz (BRA) 13.23, Adrian Buchan (AUS) 11.26, Raoni Monteiro (BRA) 7.37

Heat 2: Adam Melling (AUS) 14.50, Josh Kerr (AUS) 12.30, Taj Burrow (AUS) 11.00

Heat 3: Heitor Alves (BRA) 14.36, Bobby Martinez (USA) 14.14, Owen Wright (AUS) 10.60

Heat 4: Mick Fanning (AUS) 15.60, Tiago Pires (PRT) 11.07, Gabriel Medina (BRA) 9.27

Heat 5: Stu Kennedy (AUS) 11.70, Dusty Payne (HAW) 10.50, Jordy Smith (ZAF) 9.00

Heat 6: Kelly Slater (USA) 16.00, Kai Otton (AUS) 10.13, Adam Robertson (AUS) 8.53

Heat 7: Jeremy Flores (FRA) 13.17, Cory Lopez (USA) 5.83, Taylor Knox (USA) 4.67

Heat 8: Michel Bourez (PYF) 12.60, Kieren Perrow (AUS) 10.20, Gabe Kling (USA) 3.50

Heat 9: Matt Wilkinson (AUS) 14.60, Damien Hobgood (USA) 11.23, Daniel Ross (AUS) 11.07

Heat 10: Joel Parkinson (AUS) 17.74, C.J. Hobgood (USA) 11.44, Bede Durbidge (AUS) 8.17

Heat 11: Adriano de Souza (BRA) 14.60, Chris Davidson (AUS) 10.83, Julian Wilson (AUS) 9.83

Heat 12: Patrick Gudauskas (USA) 13.40, Jadson Andre (BRA) 9.43, Brett Simpson (USA) 8.93

 

RIP CURL PRO BELLS BEACH ROUND 2 MATCH-UPS:

Heat 1: Jordy Smith (ZAF) vs. Adam Robertson (AUS)

Heat 2: Owen Wright (AUS) vs. Gabriel Medina (BRA)

Heat 3: Taj Burrow (AUS) vs. Bobby Martinez (USA)

Heat 4: Adrian Buchan (AUS) vs. Josh Kerr (AUS)

Heat 5: Damien Hobgood (USA) vs. Raoni Monteiro (BRA)

Heat 6: Bede Durbidge (AUS) vs. Cory Lopez (USA)

Heat 7: Brett Simpson (USA) vs. Gabe Kling (USA)

Heat 8: Jadson Andre (BRA) vs. Daniel Ross (AUS)

Heat 9: Chris Davidson (AUS) vs. Julian Wilson (AUS)

Heat 10: C.J. Hobgood (USA) vs. Kai Otton (AUS)

Heat 11: Kieren Perrow (AUS) vs. Dusty Payne (HAW)

Heat 12: Taylor Knox (USA) vs. Tiago Pires (PRT)

 

RIP CURL WOMEN’S PRO BELLS BEACH ROUND 1 RESULTS:

Heat 1: Sofia Mulanovich (PER) 12.93, Chelsea Hedges (AUS) 8.70, Jessi Miley-Dyer (AUS) 8.66

Heat 2: Silvana Lima (BRA) 14.94, Laura Enever (AUS) 8.84, Melanie Bartels (HAW) 7.54

Heat 3: Pauline Ado (HAW) 14.60, Carissa Moore (HAW) 14.44, Nikki Van Dijk (AUS) 10.63

Heat 4: Stephanie Gilmore (AUS) 16.30, Courtney Conlogue (USA) 9.00, Bethany Hamilton (HAW) 6.50

Heat 5: Sally Fitzgibbons (AUS) 16.10, Alana Blanchard (HAW) 12.83 Paige Hareb (NZL) 7.47

Heat 6: Coco Ho (HAW) 12.90, Tyler Wright (AUS) 12.00, Pauline Ado (FRA) 6.37

 

RIP CURL WOMEN’S PRO BELLS BEACH ROUND 2 MATCH-UPS:

Heat 1: Paige Hareb (NZL) vs. Jessi Miley-Dyer (AUS)

Heat 2: Laura Enever (AUS) vs. Melanie Bartels (HAW)

Heat 3: Carissa Moore (HAW) vs. Nikki Van Dijk (AUS)

Heat 4: Chelsea Hedges (AUS) vs. Bethany Hamilton (HAW)

Heat 5: Tyler Wright (AUS) vs. Alana Blanchard (HAW)

Heat 6: Courtney Conlogue (USA) vs. Rebecca Woods (AUS)

 

Photo ASP/Scholtz

bauhaus building, dessau, germany, 1925-1926, architect: walter gropius

 

Gropius consistently separated the parts of the Bauhaus building according to their functions and designed each differently. He thereby arranged the different wings asymmetrically – in relation to what is today the Bauhausstraße and the Gropiusallee respectively. In order to appreciate the overall design of the complex, the observer must therefore move around the whole building. There is no central viewpoint.

 

The glazed, three-storey workshop wing, the block for the vocational school (also three storeys high) with its unostentatious rows of windows, and the five-storey studio building with its conspicuous, projecting balconies are the main elements of the complex. A two-storey bridge which housed, e.g., the administration department and, until 1928, Gropius’s architectural practice, connects the workshop wing with the vocational school. A single-storey building with a hall, stage and refectory, the so-called Festive Area, connects the workshop wing to the studio building. The latter originally featured 28 studio flats for students and junior masters, each measuring 20 m². The ingenious design of the portals between the foyer and the hall and a folding partition between the stage and the refectory, along with the ceiling design and colour design, impart a grandiose spatial coalescence to the sequence of foyer-hall-stage-refectory, shaping the so-called Festive Area. The façade of the students’ dormitory is distinguished in the east by individual balconies and in the south by long balconies that continue around the corner of the building.

 

The entire complex is rendered and painted mainly in light tones, creating an attractive contrast to the window frames, which are dark. For the interior, the junior master of the mural workshop, Hinnerk Scheper, designed a detailed colour plan that, by differentiating between supporting and masking elements through the use of colour, aimed to accentuate the construction of the building.

 

Justine Dupont Clinches ASP 1-Star Breti’ Girls Pro Junior in Excellent Surf

  

LA SAUZAIE, Brétignolles, France (Wednesday, April 20, 2011) – Justine Dupont (Lacanau, FRA), 19, has won the ASP 1-Star Breti Girls Pro Junior ahead of Maud Lecar (Saint Martin, FRA), Garazi Sanchez (Sopelana, EUK) and Leticia Canales (Sopelana, EUK) today, in excellent and consistent four-to-five foot (1.2 to 1.5 meter) waves. Second stop on this year’s ASP European Women’s Junior Series, the event enjoyed good to excellent surf conditions over its two-day waiting period, Dupont finding her way through three heats to finish atop a twenty-woman field aged under 21 and take out the crown.

 

Dominating the final with smart wave picks and fast on-the-rail surfing, Dupont left no chance to her three followers, the 2010 ASP Women’s World Junior No. 7 finishing atop the four-woman final with a solid 13.75 point heat result.

 

“It’s been a great event with beautiful weather and great waves and I am super happy I made the trip all the way from Reunion Island to get this win here today,” Dupont said. “The waves were good, the level was high and after my fifth place finish in the opening event of the year, I was really hungry to win and get my campaing going right.”

 

Dupont, whose career is already one of the most impressive ones including an ASP European Women’s Junior title, an ASP European Women’s title, a runner-up finish in the prestigious ASP World Junior tour event at Narabeen in Australia, let her surfing make the talking today, stepping-up in the ASP 1-Star rated European junior event.

 

“I was disappointed with my result last week but I managed to bounce back and clinch the title here,” Dupont said. “I am aiming at doing well on both the ASP Star Series and the ASP Junior series in Europe, with the ASP Women’s World Longboard Tour at the back of my head as it would be great to also shine in that division. I want to thank Billabong, the event organizers, my team managers and the surfers for making this event here a success.”

 

Placing second in the event and following her equal 3rd finish last week in Reunion, Caribbean native from Saint Martin Maud Lecar lacked a second good ride in the final, after a two-day domination and high-scoring run in the event. Lecar, rocketed to No. 2 on the ASP European Women’s Junior rankings with her result in Vendee, has now become a serious title contender.

 

“I’ve been training hard all winter to get results and it’s paying-off well in a couple of events,” Lecar said. “ I was aiming at winning here because I felt really good throughout the event but couldn’t get my game going in the final and Justine (Dupont) deserved to take that one.”

 

Lecar, who led proceedings from Round 1 through to the final, has now made her intentions clear and showed her ss towards a possible ASP Women’s World Junior tour qualification, amongst an ever-improving level from European Under-21 surfers.

 

Placing third for a second consecutive event and also showing serious improvements for her 2011 campaing, Basque native Garazi Sanchez made a strong impression in the cool-water line-up, lacking some heat tactics and bigger set waves in the final.

 

“I feel good and looking at building on these first couple of good results,” Sanchez said. “I am happy to keep going well through two events and hopefully I can train and continue on the same track when the tour restarts in a month time.”

 

Making her first final in an ASP Junior sanctioned event, Leticia Canales was able to make her way through to a promising fourth place, the goofy-foot athlete going left during the final but lacking some verticality on a couple of rides to keep any win hopes alive.

 

The ASP European Junior Series will continue next mionth with:

ASP 1-Star Men’s Junior, Somo Cantabria Pro Junior, May 6 to 8

ASP 3-Star Men’s Junior, Islas Canarias Santa Pro Junior, May 11 to 15

ASP 2-Star Women’s Junior, Swatch Girls Pro Junior, June 1 to 5

 

The event is web LIVE via www.aspeurope.com

 

BRETI’ GIRLS PRO JUNIOR FINAL

1st, Justine Dupont (FRA), 13.75

2nd, Maud Lecar (FRA), 9.20

3rd, Garazi Sanchez (EUK), 9.05

4th, Leticia Canales (EUK), 7.10

 

BRETI’ GIRLS PRO JUNIOR SEMIFINALS

Heat 1: Justine Dupont (FRA) 11.75, Leticia Canales (EUK) 8.25, Joanna Giansanti (FRA) 8.00, Erika Franco (ESP) 4.25

Heat 2: Maud Lecar (FRA) 13.25, Garazi Sanchez (EUK) 9.65, Fanny Brice (FRA) 8.70, Ana Morau (FRA) 5.25

  

thebass.org/art/haegue-yang/

HAEGUE YANG

IN THE CONE OF UNCERTAINTY

 

NOV 2,2019-APR 5,2020

 

In the Cone of Uncertainty foregrounds Haegue Yang’s (b. 1971, Seoul) consistent curiosity about the world and tireless experimentation with materializing the complexity of identities in flux. Living between Seoul and Berlin, Yang employs industrially produced quotidian items, digital processes, and labor-intensive craft techniques. She mobilizes and enmeshes complex, often personal, histories and realities vis-à-vis sensual and immersive works by interweaving narrative with form. Often evoking performative, sonic and atmospheric perceptions with heat, wind and chiming bells, Yang’s environments appear familiar, yet engender bewildering experiences of time and place.

 

The exhibition presents a selection of Yang’s oeuvre spanning the last decade – including window blind installations, anthropomorphic sculptures, light sculptures, and mural-like graphic wallpaper – taking its title from an expression of the South Florida vernacular, that describes the predicted path of hurricanes. Alluding to our eagerness and desperation to track the unstable and ever-evolving future, this exhibition addresses current anxieties about climate change, overpopulation and resource scarcity. Framing this discourse within a broader consideration of movement, displacement and migration, the exhibition contextualizes contemporary concerns through a trans-historical and philosophical meditation of the self.

 

Given its location in Miami Beach, The Bass is a particularly resonant site to present Yang’s work, considering that over fifty percent[1] of the population in Miami-Dade County is born outside of the United States, and it is a geographical and metaphorical gateway to Latin America. Yang has been commissioned by the museum to conceive a site-specific wallpaper in the staircase that connects the exhibition spaces across The Bass’ two floors. This wallpaper will be applied to both transparent and opaque surfaces to accompany the ascending and descending path of visitors within the exhibition. Informed by research about Miami Beach’s climatically-precarious setting, the wallpaper, titled Coordinates of Speculative Solidarity (2019), will play with meteorological infographics and diagrams as vehicles for abstraction. Interested in how severe weather creates unusual access to negotiations of belonging and community, as well as the human urge to predict catastrophic circumstances, the work reflects a geographic commonality that unconsciously binds people together through a shared determination to face a challenge and react in solidarity.

 

Yang’s exhibition encompasses galleries on both the first and second floors of the museum and exemplifies an array of Yang’s formally, conceptually ambitious and rigorous body of work. Considered an important ‘Light Sculpture’ work and one of the last made in the series, Strange Fruit (2012-13) occupies one of the first spaces in the exhibition. The group of anthropomorphic sculptures take their title from Jewish-American Abel Meeropol’s poem famously vocalized by Billie Holiday in 1939. Hanging string lights dangling from metal clothing racks intertwined with colorfully painted papier-mâché bowls and hands that hold plants resonate with the poem’s subject matter. The work reflects a recurring interest within Yang’s practice, illuminating unlikely, less-known connections throughout history and elucidating asymmetrical relationships among figures of the past. In the story of Strange Fruit, the point of interest is in a poem about the horrors and tragedy of lynching of African-Americans in the American South born from the empathies of a Jewish man and member of the Communist party. Yang’s interests are filtered through different geopolitical spheres with a keen concentration in collapsing time and place, unlike today’s compartmentalized diasporic studies.

 

Central to In the Cone of Uncertainty is the daring juxtaposition of two major large-scale installations made of venetian blinds. Yearning Melancholy Red and Red Broken Mountainous Labyrinth are similar in that they are both from 2008, a year of significant development for Yang, and their use of the color red: one consists of red blinds, while the other features white blinds colored by red light. With its labyrinthine structure, Red Broken Mountainous Labyrinth bears a story of the chance encounter between Korean revolutionary Kim San (1905-1938) and American journalist Nym Wales (1907-1997), without which a chapter of Korean history would not survive to this day. Yearning Melancholy Red references the seemingly apolitical childhood of French writer and filmmaker Marguerite Duras (1914-1996). While living in French Indochina (present-day Cambodia, Vietnam, and Laos), Duras and her family experienced a type of double isolation in material and moral poverty, by neither belonging to the native communities nor to the French colonizers, embodying the potentiality for her later political engagement. Despite their divergent subject matter, both works continue to envelop an interest in viewing histories from different perspectives and the unexpected connections that arise. By staging the two works together, what remains is Yang’s compelling constellation of blinds, choreographed moving lights, paradoxical pairings of sensorial devices – fans and infrared heaters – and our physical presence in an intensely charged field of unspoken narratives.

 

A third space of the exhibition will feature work from Yang’s signature ‘Sonic Sculpture’ series titled, Boxing Ballet (2013/2015). The work offers Yang’s translation of Oskar Schlemmmer’s Triadic Ballet (1922), transforming the historical lineage of time-based performance into spatial, sculptural and sensorial abstraction. Through elements of movement and sound, Yang develops an installation with a relationship to the Western Avant-Garde, investigating their understanding in the human body, movement and figuration.

 

Observing hidden structures to reimagine a possible community, Yang addresses themes that recur in her works such as migration, diasporas and history writing. Works presented in In the Cone of Uncertainty offer a substantial view into Yang’s rich artistic language, including her use of bodily experience as a means of evoking history and memory.

 

Haegue Yang lives and works in Berlin, Germany and Seoul, South Korea. She is a Professor at the Staedelschule in Frankfurt am Main. Yang has participated in major international exhibitions including the 21st Biennale of Sydney (2018), La Biennale de Montréal (2016), the 12th Sharjah Biennial (2015), the 9th Taipei Biennial (2014), dOCUMENTA (13) in Kassel (2012) and the 53rd Venice Biennale (2009) as the South Korean representative.

 

Recipient of the 2018 Wolfgang Hahn Prize, she held a survey exhibition titled ETA at the Museum Ludwig in Cologne in the same year, which displayed over 120 works of Yang from 1994-2018. Her recent solo exhibitions include Tracing Movement, South London Gallery (2019); Chronotopic Traverses, La Panacée-MoCo, Montpellier (2018); Tightrope Walking and Its Wordless Shadow, La Triennale di Milano (2018); Triple Vita Nestings, Govett-Brewster Art Gallery, New Plymouth, which travelled from the Institute of Modern Art, Brisbane (2018); VIP’s Union, Kunsthaus Graz (2017); Silo of Silence – Clicked Core, KINDL – Centre for Contemporary Art, Berlin (2017); Lingering Nous, Centre Pompidou, Paris (2016); Quasi-Pagan Serial, Hamburger Kunsthalle (2016); Come Shower or Shine, It Is Equally Blissful, Ullens Center for Contemporary Art, Beijing (2015); and Shooting the Elephant 象 Thinking the Elephant, Leeum, Samsung Museum of Art, Seoul (2015). Forthcoming projects include the Museum of Modern Art (October 2019), Tate St. Ives (May 2020) and Art Gallery of Ontario in Toronto (2020).

 

Yang’s work is included in permanent collections such as the Museum of Modern Art, New York, USA; M+, Hong Kong, China; National Museum of Modern and Contemporary Art, South Korea; Tate Modern, London, UK; The Solomon R. Guggenheim Museum, New York, USA; and The Walker Art Center, Minneapolis, USA. Her work has been the subject of numerous monographs, such as Haegue Yang: Anthology 2006–2018: Tightrope Walking and Its Wordless Shadow (2019); Haegue Yang: ETA 1994–2018 (2018); Haegue Yang – VIP’s Union (2017); and Haegue Yang: Family of Equivocations (2013).

Who here likes consistency? You know, that warm, familiar feeling every time you go to Taco Bell (going down or out.. up to you)... very consistent? You've been there enough times and you've generally had all their menu items and your opinion is that "it's alright". Then there's that one time out of the blue, you decide to try something vegetarian off the Fresco menu, only to realize it was a horrible, horrible mistake? Well, that's kind of like what happened with this particular entry: Figma Megumin from Kono Sabarashii Sekai ni Shyukufuku wo!.. however you pronounce that.

 

As with 99% of the magical girl entries on my list, I know nothing about the actual character. Couple of Wiki pages presents a personality that, as expected, fits the way she looks. As taken from a Fandom page:

 

"Megumin is a straightforward girl, who speaks in an old-style Japanese dialect. She can be very hyper and lively at times and has chuunibyou tendencies like the rest of the Crimson Demon villagers. She is very intelligent, but has very little self-control, especially when it comes to using Explosion magic. She has no problem wasting her spell on empty plains or abandoned castles, as long as she can use Explosion once a day."

 

There seemed to be quite a bit of excitement when the figure was announced a while back, so as I always do, I found a decent deal on one that had a few issues while out and about, figuring "it's a Figma, it'll be alright" and away I went. The issues being that this was an Amazon Warehouse deal, so it wasn't complete, though the only thing that was missing was the instruction manual. The peg holding her cape in place had snapped off, and her head wasn't in place, of which the latter I figure I could just go home and pop that sucker right back in because, well, wouldn't be the first time a head came off a Figma after being jostled.

 

Well, jokes on me. After trying with no success, I took to the Internet, and read a crap ton of negative reviews on this figure, ranging from poor QC to horrible design. The head thing? Wasn't the only one; several complaints on Amazon said the same thing, with most not even bothering to try to attach the head. I had to grind the hole to widen it before the neck joint would actually fit, and now it's a bit loose and prone to falling off. I read stories of the staff showing up broken. Seems overall, these Konosuba girls (as they are called) have been plagued with QC issues.. I'm glad I didn't pay MSRP on this figure, let me tell you.

 

Megumin comes with a typical payload when it comes to Figma. There's the figure, three total face plates (slight smile, attacking, scared), her hat, her cape, alternate hair with eye patch, energy effect for eye, staff, purple orb for staff, spell effect with staff end for attaching said effect, her Familiar Chomosuke, six additional hands plus one dedicated spell casting hand, and the usual Figma stand.

 

Based on the screen caps I've seen, it appears that overall, Max Factory has captured the overall silhouette of Megumin herself, and her look when equipped with her gear. Of course, she's a lanky Japanese school girl, so not exactly hard for Figma to replicate. Chomosuke is freakin' adorable.. not quite Kirby adorable, but pretty damn close. Sculpting details are up to snuff, with clean fingers, good texture detailing on the outfit, and some minor muscle definition on her bare back. Face plates look spot on.

 

Articulation is pretty typical for a Figma.. when she doesn't have her cape on. You have full motion ankles, single jointed knees, full motion hips, waist, mid torso movement, full motion shoulders combined with bicep swivel, standard elbows, wrists, and head articulation. Mid torso movement is limited due to the joint being embedded inside her outfit, which is a soft rubber material. I'm not sure if it's like this for all the recent Figma (I'm kind of behind schedule), but Megumin features this hinged joint which allows for a deeper range of motion when it comes to head tilt, while at the same time offering the same ball jointed base base of head joint that permits the standard range of motion there. The cape itself has two points of articulation, allowing for a simulated flow look which is great, but putting the cape on also limits the range of motion when it comes to raise the arms up into an overhead position. Her skirt also limits the movement of the upper legs, which in turn limits the number of stances you can have her in. Because of this, I found it very difficult to balance Megumin on her tiny feet, and as such a stand is pretty much needed for everything.

 

Paint work is, as expected, solid across the board. Even the yellows appear to be well applied, with no significant overspray or lumpy paint residue. The only ugly paint spot are the silver on her buckle and her necklace, which are relatively ugly, but not "gouge my eyes out" level. Decal work is at its usual level of excellence.

 

Building quality and design is where things kind of went South. I've already talked about my problems out the box above, but there's more to discuss. First and foremost, that stupid, stupid hat. So, someone, in their infinite wisdom, decided that rather than have the hat attach via a peg or something like that, decided the best way to have the hat sit on her head is the put a really thin piece of plastic on the inside of the hat, and have that clip between the two hair pieces.. sounds alright in theory until you realize actually getting the thing to fit in their is a nightmare because there really isn't enough clearance to slide the front hair piece in place should you try to get the hat in place first. So instead you end up leaving a slight gap, and cramming the hat on her head, hoping for the best. The eye effect is a separate piece, and it is up to the owner to use their hamburger finger to squeeze this tiny plastic piece, probably the size of a syringe needle, into place so it doesn't fall out of the hair. I found that the joints on the figure, while fine by themselves, aren't really meant to carry the weight of the staff, particularly if it has the energy effect attached on the end of it. The body itself is pretty typical build, so no too many complaints here.

 

So in the end, we had the potential for an outstanding Figma, one having vibrant colour and personality., only to have a multitude of QC issues and crappy design choices knock it down a few pegs. Without her hat and cape, Megumin is honestly average at best, as she really can't do much other than sligh variations of standing up. I guess if the cape wasn't broken on mine, at least I would keep the cape on constantly as it does add to the character. But that hat.. it's such a hassle to put it on you either never take it off or you just give up. The best parts of this set are the scared face and of course, Chomosuke.

 

Better luck next time, I suppose.

Inspired by the consistently sold-out Writing for Film & Television Summer Intensive Program, the Two-Weekend Intensive was designed for aspiring film and television writers with busy weekday schedules. Over the course of two weekends, participants learn a variety of screenwriting tools, techniques, and exercises that closely represent what students learn in the one-year Writing for Film & Television program.

 

Find out more about VFS’s one-year Writing for Film & Television program at vfs.com/writing.

bauhaus building, dessau, germany, 1925-1926, architect: walter gropius

 

Gropius consistently separated the parts of the Bauhaus building according to their functions and designed each differently. He thereby arranged the different wings asymmetrically – in relation to what is today the Bauhausstraße and the Gropiusallee respectively. In order to appreciate the overall design of the complex, the observer must therefore move around the whole building. There is no central viewpoint.

 

The glazed, three-storey workshop wing, the block for the vocational school (also three storeys high) with its unostentatious rows of windows, and the five-storey studio building with its conspicuous, projecting balconies are the main elements of the complex. A two-storey bridge which housed, e.g., the administration department and, until 1928, Gropius’s architectural practice, connects the workshop wing with the vocational school. A single-storey building with a hall, stage and refectory, the so-called Festive Area, connects the workshop wing to the studio building. The latter originally featured 28 studio flats for students and junior masters, each measuring 20 m². The ingenious design of the portals between the foyer and the hall and a folding partition between the stage and the refectory, along with the ceiling design and colour design, impart a grandiose spatial coalescence to the sequence of foyer-hall-stage-refectory, shaping the so-called Festive Area. The façade of the students’ dormitory is distinguished in the east by individual balconies and in the south by long balconies that continue around the corner of the building.

 

The entire complex is rendered and painted mainly in light tones, creating an attractive contrast to the window frames, which are dark. For the interior, the junior master of the mural workshop, Hinnerk Scheper, designed a detailed colour plan that, by differentiating between supporting and masking elements through the use of colour, aimed to accentuate the construction of the building.

 

Return to Forever is a jazz fusion group founded and led by keyboardist Chick Corea. Through its existence, the band has cycled through a number of different members, with the only consistent band mate of Corea's being bassist Stanley Clarke. However in 1972, after having become a disciple of Scientology, Corea decided that he wanted to better ;communicate; with the audience. This essentially translated into his performing a more popularly accessible style of music, since avant-garde jazz enjoyed a relatively small audience.

First group (1972-1973) The first edition of Return to Forever performed primarily Latin-oriented music. Clarke himself became involved in Scientology through Corea, but eventually left the sect in the early 1980s.

Their first album, titled simply Return to Forever, was recorded for ECM Records in 1972 and was initially released only in Europe. Their second album, Light as a Feather (1973), was released by Polydor and included the song, Spain, which also became quite well-known.

Jazz rock era (1973-1976) guitarist Bill Connors, drummer Steve Gadd and percussionist Mingo Lewis were added.. Lenny White (who had played with Corea in Miles Davis's band) then replaced Gadd and Lewis on drums and percussion, and the group's third album, Hymn of the Seventh Galaxy (1973), was then rerecorded.

The nature of the group's music had by now completely changed into jazz-rock, Their music was still relatively melodic, relying on strong themes, but the traditional jazz element was by this time almost entirely absent- replaced by a more direct, rock oriented approach. Over-driven, distorted guitar had also become prominent in the band's new sound, and Clarke had by then switched almost completely to electric bass guitar. A replacement on vocals was not hired, and all the songs were now instrumentals. This change did not lead to a decrease in the band's commercial fortunes however, Return to Forever's jazz rock albums instead found their way onto US pop album charts.

While their second jazz rock album, Where Have I Known You Before, (1974) was similar in style to its immediate predecessor, Corea now played synthesizers in addition to electric keyboards (including piano), and Clarke's playing had evolved considerably- now using flange and fuzz-tone effects, and with his now signature style beginning to emerge. the then 19-year-old guitar prodigy Al Di Meola, who had also played on the album recording sessions joined.

Their following album, No Mystery (1975), was recorded with the same line-up as "Where Have I Known You Before", but the style of music had become more varied. The first side of the record consisted primarily of jazz-funk, while the second side featured Corea's acoustic title track and a long composition with a strong Spanish influence. On this and the following album, each member of the group composed at least one of the tracks. No Mystery went on to win the Grammy Award for Best Jazz Performance by a Group.

The final album by this longest-lasting lineup of the group was Romantic Warrior (1976), which had by this time left Polydor for Columbia Records. This album would go on to become the best selling of all Return to Forever's efforts, eventually reaching gold disc status. Romantic Warrior continued their experiments in the realms of jazz-rock and related musical genres, and was lauded by critics for both the technically demanding style of its compositions as well as for its accomplished musicianship.

After the release of Romantic Warrior and Return To Forever's subsequent tour in support (as well as having in addition signed a multi-million dollar contract with CBS), Corea shocked Clarke by deciding to change the lineup of the group and to not include either White or Di Meola

Final album (1977)

The final incarnation of Return to Forever featured a four piece horn section and Corea's wife Gayle singing vocals, but recorded only one studio album, Musicmagic (1977).After Musicmagic, Chick Corea officially disbanded the group.

Reunion (2008) The classic Return to Forever line-up of Corea, Clarke, White, and Di Meola reunited for a tour of the United States that began in the summer of 2008. 2011 tour From February 2011, the group commences a world tour in Australia. The line-up, billed as Return to Forever IV, is Chick Corea, Stanley Clarke, Lenny White, Frank Gambale and Jean-Luc Ponty.

First group (1972-1973) The first edition of Return to Forever performed primarily Latin-oriented music. This initial band consisted of singer (and occasional percussionist) Flora Purim, her husband Airto Moreira on drums and percussion, Corea's longtime musical co-worker Joe Farrell on saxophone and flute, and the young Stanley Clarke on bass. Within this first line-up in particular, Clarke played acoustic double bass in addition to electric bass. Corea's electric piano formed the basis of this group's sound, but Clarke and Farrell were given ample solo space themselves. While Purim's vocals lent some commercial appeal to the music, many of their compositions were also instrumental and somewhat experimental in nature. The music was composed by Corea with the exception of the title track of the second album which was written by Stanley Clarke. Lyrics were often written by Corea's friend Neville Potter, and were quite often scientology themed- though this is not readily apparent to those not involved in Scientology itself. Clarke himself became involved in Scientology through Corea, but eventually left the sect in the early 1980s.

Their first album, titled simply Return to Forever, was recorded for ECM Records in 1972 and was initially released only in Europe. Their second album, Light as a Feather (1973), was released by Polydor and included the song, Spain, which also became quite well-known.

Jazz rock era (1973-1976) guitarist Bill Connors, drummer Steve Gadd and percussionist Mingo Lewis were added. However, Gadd was unwilling to tour with the band and risk his job as an in-demand session drummer. Lenny White (who had played with Corea in Miles Davis's band) replaced Gadd and Lewis on drums and percussion, and the group's third album, Hymn of the Seventh Galaxy (1973), was then rerecorded (the first recording, featuring Gadd on drums, was never released and has since disappeared).

The nature of the group's music had by now completely changed into jazz-rock, Their music was still relatively melodic, relying on strong themes, but the traditional jazz element was by this time almost entirely absent- replaced by a more direct, rock oriented approach. Over-driven, distorted guitar had also become prominent in the band's new sound, and Clarke had by then switched almost completely to electric bass guitar. A replacement on vocals was not hired, and all the songs were now instrumentals. This change did not lead to a decrease in the band's commercial fortunes however, Return to Forever's jazz rock albums instead found their way onto US pop album charts.

While their second jazz rock album, Where Have I Known You Before, (1974) was similar in style to its immediate predecessor, Corea now played synthesizers in addition to electric keyboards (including piano), and Clarke's playing had evolved considerably- now using flange and fuzz-tone effects, and with his now signature style beginning to emerge. After Bill Connors left the band to concentrate on his solo career, the group also hired new guitarists. Although Earl Klugh played guitar for some of the group's live performances, he was soon replaced by the then 19-year-old guitar prodigy Al Di Meola, who had also played on the album recording sessions.

Their following album, No Mystery (1975), was recorded with the same line-up as "Where Have I Known You Before", but the style of music had become more varied. The first side of the record consisted primarily of jazz-funk, while the second side featured Corea's acoustic title track and a long composition with a strong Spanish influence. On this and the following album, each member of the group composed at least one of the tracks. No Mystery went on to win the Grammy Award for Best Jazz Performance by a Group.

The final album by this longest-lasting "classic" lineup of the group was Romantic Warrior (1976), which had by this time left Polydor for Columbia Records. This album would go on to become the best selling of all Return to Forever's efforts, eventually reaching gold disc status. "Romantic Warrior" continued their experiments in the realms of jazz-rock and related musical genres, and was lauded by critics for both the technically demanding style of its compositions as well as for its accomplished musicianship.

After the release of Romantic Warrior and Return To Forever's subsequent tour in support (as well as having in addition signed a multi-million dollar contract with CBS), Corea shocked Clarke by deciding to change the lineup of the group and to not include either White or Di Meola

Final album (1977)

The final incarnation of Return to Forever featured a four piece horn section and Corea's wife Gayle singing vocals, but recorded only one studio album, Musicmagic (1977).After Musicmagic, Chick Corea officially disbanded the group.

Reunion (2008)

The classic Return to Forever line-up of Corea, Clarke, White, and Di Meola reunited for a tour of the United States that began in the summer of 2008. 2011 tour

From February 2011, the group commences a world tour in Australia. The line-up, billed as Return to Forever IV, is Chick Corea, Stanley Clarke, Lenny White, Frank Gambale and Jean-Luc Ponty

 

Joel Parkinson Leads ASP Top Stars in Assault on Rip Curl Pro Bells Beach Round 1

 

BELLS BEACH, Victoria/Australia (Wednesday, April 20, 2011) – Today marks the commencement of the 50th Anniversary of competition surfing at Bells Beach as Round 1 of the 2011 Rip Curl Pro Bells presented by Ford Ranger got underway in clean four-to-six foot (1.5 - 2 metre) surf.

 

The Rip Curl Pro Bells Beach, the second stop on the 2011 ASP World Title season, enjoyed consistent surf throughout the day as the world’s best surfers unleashed a barrage of high-performance ripping on the classic canvas of Bells Beach.

 

Joel Parkinson (AUS), 30, 2009 Rip Curl Pro Bells Beach Champion put in a sensational performance this afternoon, electing to sit up at Rincon to secure the day’s highest scores.. Parkinson locked in the highest wave score and the highest heat score of the opening day of competition scoring 17.74 (out of a possible 20.00) to advance directly through to Round 3 of competition.

 

"I fell off twice on the bowl," Parkinson said. "It was really hard to ride. Then CJ (Hobgood) went across to Rincon and got a score, so we followed him over and it worked out for me. It's great to get that opening heat win, especially at Bells. You never know what conditions you're going to get in a heat, so to be able to skip round two and maybe get a day off is a huge advantage."

 

Kelly Slater (USA), 39, reigning 10-time ASP World Champion and defending event winner, was clinical in his attack in his Round 1 heat. Slater had his fellow competitors Adam Robertson (AUS), 28, and Kai Otton (AUS), 31, on the ropes only minutes into the heat, scoring an impressive 16.00 (out of a possible 20.00) on his opening two rides.

 

"I don't free surf out at Bells a whole lot," Slater said. "When the waves are good the comp is on and outside of that it's pretty crowded. So I'm still learning with each heat out there still, surfing against a guy like Robbo (Adam Robertson) you've got to watch where he's sitting, how far our and how deep."

 

Mick Fanning (AUS), 29, currently equal 13th in the hunt for the 2011 ASP World Title, went into today’s competition with renewed vigor after a shock early exit at the last event on the Gold Coast. The past two-time ASP World Champion came out and dominated his Round 1 battle over Tiago Pires (PRT), 31, and Gabriel Medina (BRA), 17.

 

"I'm stoked to get a good start," Fanning said. "It's been 10 years since I won here as I wildcard, I got close last year but Kelly Slater got me in the final. You want to win every event, but being the 50th Anniversary and so much history at this event, it's like the Wimbeldon of surfing, it's a hard one to win but it's the one everyone wants."

 

Alejo Muniz (BRA), 21, led today’s rookie charge, continuing his sensational run after the and equal 5th on the Gold Coast, and dispatching of fellow Brazilian Ranoi Monterio (BRA), 28, and Australian Adrian Buchan (AUS), 28 in this morning’s opening round heat.

 

"It's so good out there!" Muniz said. "This is my first time surfing at Bells and it's the most amazing place. It's got perfect rights, and it's the kind of wave that I love to surf. It's the best place ever, best waves, best weather and I love surfing in wetsuits."

 

Jeremy Flores (FRA), 22, bounced back after missing the Quiksilver Pro Gold Coast with a knee injury, to score a comprehensive win over Taylor Knox (USA), 39, and Cory Lopez (USA), 34.

 

"I wasn't very confident before the heat," Flores said. "But I got that first wave and did a big turn at the end and got a good score. I think that's what you need to do these days, finish the wave strong. My knee still isn't 100%, but I went for it and it's good to win. Big thanks to everyone at the Gold Coast Suns Football Club for helping with my knee, it's feeling much better now."

 

Stu Kennedy (AUS), 21, scored a last minute wildcard into the event and caused the upset of the day, eliminating 2010 ASP World Title runner-up Jordy Smith (ZAF), 23, and Dusty Payne (HAW), 22.

 

"I've been coming here for years," Kennedy said. "I won a Pro Junior here in 2008 and I know where to sit. I don't think Dusty and Jordy know the break as well as I do so that helps. I've been up since 3am because I'm jet-lagged from coming home from Scotland. I woke up with a bunch of energy it's my shaper's birthday so I woke him up at 5am to go surfing. I had to win my heat for him for his birthday."

 

When men’s competition resumes, up first will be 2010 ASP World Runner-Up Jordy Smith (ZAF), 23, up against Trials Winner Adam Robertson (AUS), 28, in the opening heat of Round 2.

 

Following the completion of the men’s Round 1 today, the ASP Top 17 hit the water for Round 1 of the Rip Curl Women’s Pro Bells Beach presented by Ford Fiesta.

 

Stephanie Gilmore (AUS), 23, reigning four-time ASP Women’s World Champion and defending three-time Rip Curl Women’s Bells Beach winner, returned to her winning ways today, after bowing out early at the last event, the Roxy Pro Gold Coast.

 

"My first two years on tour I didn't have great results on the Gold Coast," Gilmore said. "I always bounced back at this event and then finished the year well, so hopefully I'll do that again this year. The Gold Coast was a fine showing of what women's surfing is up to now and everyone has to try and keep up. It really pushes me and I think anyone who wins an event from now on will be a very deserving winner because of that fact."

 

Pauline Ado (FRA), 19, the French rookie caused the upset of the women's event, defeating current ASP World Title front runner Carissa Moore (HAW), 18, in a nail biter of a heat.

 

"I'm really happy, I had a lot of fun out there," Ado said "I got one of my good waves in the first few seconds so after that I felt confident and knew I could be more selective and wait for the right wave. A heat against Carissa is always a tough one, so I'm really stoked to win."

 

When women’s competition resumes, up first will be Paige Hareb (NZL) and Jessi Miley-Dyer (AUS) in the opening heat of Round 2.

 

Event organizers will reconvene tomorrow morning at 7am to assess conditions for a possible 7:30am start.

 

Highlights from the Rip Curl Pro Bells Beach presented by FORD will be webcast available via www.live.ripcurl.com and broadcast live on Fuel TV in Australia and ESPN in Brazil.

 

For more information, log onto www.aspworldtour.com

  

RIP CURL PRO BELLS BEACH ROUND 1 RESULTS:

Heat 1: Alejo Muniz (BRA) 13.23, Adrian Buchan (AUS) 11.26, Raoni Monteiro (BRA) 7.37

Heat 2: Adam Melling (AUS) 14.50, Josh Kerr (AUS) 12.30, Taj Burrow (AUS) 11.00

Heat 3: Heitor Alves (BRA) 14.36, Bobby Martinez (USA) 14.14, Owen Wright (AUS) 10.60

Heat 4: Mick Fanning (AUS) 15.60, Tiago Pires (PRT) 11.07, Gabriel Medina (BRA) 9.27

Heat 5: Stu Kennedy (AUS) 11.70, Dusty Payne (HAW) 10.50, Jordy Smith (ZAF) 9.00

Heat 6: Kelly Slater (USA) 16.00, Kai Otton (AUS) 10.13, Adam Robertson (AUS) 8.53

Heat 7: Jeremy Flores (FRA) 13.17, Cory Lopez (USA) 5.83, Taylor Knox (USA) 4.67

Heat 8: Michel Bourez (PYF) 12.60, Kieren Perrow (AUS) 10.20, Gabe Kling (USA) 3.50

Heat 9: Matt Wilkinson (AUS) 14.60, Damien Hobgood (USA) 11.23, Daniel Ross (AUS) 11.07

Heat 10: Joel Parkinson (AUS) 17.74, C.J. Hobgood (USA) 11.44, Bede Durbidge (AUS) 8.17

Heat 11: Adriano de Souza (BRA) 14.60, Chris Davidson (AUS) 10.83, Julian Wilson (AUS) 9.83

Heat 12: Patrick Gudauskas (USA) 13.40, Jadson Andre (BRA) 9.43, Brett Simpson (USA) 8.93

 

RIP CURL PRO BELLS BEACH ROUND 2 MATCH-UPS:

Heat 1: Jordy Smith (ZAF) vs. Adam Robertson (AUS)

Heat 2: Owen Wright (AUS) vs. Gabriel Medina (BRA)

Heat 3: Taj Burrow (AUS) vs. Bobby Martinez (USA)

Heat 4: Adrian Buchan (AUS) vs. Josh Kerr (AUS)

Heat 5: Damien Hobgood (USA) vs. Raoni Monteiro (BRA)

Heat 6: Bede Durbidge (AUS) vs. Cory Lopez (USA)

Heat 7: Brett Simpson (USA) vs. Gabe Kling (USA)

Heat 8: Jadson Andre (BRA) vs. Daniel Ross (AUS)

Heat 9: Chris Davidson (AUS) vs. Julian Wilson (AUS)

Heat 10: C.J. Hobgood (USA) vs. Kai Otton (AUS)

Heat 11: Kieren Perrow (AUS) vs. Dusty Payne (HAW)

Heat 12: Taylor Knox (USA) vs. Tiago Pires (PRT)

 

RIP CURL WOMEN’S PRO BELLS BEACH ROUND 1 RESULTS:

Heat 1: Sofia Mulanovich (PER) 12.93, Chelsea Hedges (AUS) 8.70, Jessi Miley-Dyer (AUS) 8.66

Heat 2: Silvana Lima (BRA) 14.94, Laura Enever (AUS) 8.84, Melanie Bartels (HAW) 7.54

Heat 3: Pauline Ado (HAW) 14.60, Carissa Moore (HAW) 14.44, Nikki Van Dijk (AUS) 10.63

Heat 4: Stephanie Gilmore (AUS) 16.30, Courtney Conlogue (USA) 9.00, Bethany Hamilton (HAW) 6.50

Heat 5: Sally Fitzgibbons (AUS) 16.10, Alana Blanchard (HAW) 12.83 Paige Hareb (NZL) 7.47

Heat 6: Coco Ho (HAW) 12.90, Tyler Wright (AUS) 12.00, Pauline Ado (FRA) 6.37

 

RIP CURL WOMEN’S PRO BELLS BEACH ROUND 2 MATCH-UPS:

Heat 1: Paige Hareb (NZL) vs. Jessi Miley-Dyer (AUS)

Heat 2: Laura Enever (AUS) vs. Melanie Bartels (HAW)

Heat 3: Carissa Moore (HAW) vs. Nikki Van Dijk (AUS)

Heat 4: Chelsea Hedges (AUS) vs. Bethany Hamilton (HAW)

Heat 5: Tyler Wright (AUS) vs. Alana Blanchard (HAW)

Heat 6: Courtney Conlogue (USA) vs. Rebecca Woods (AUS)

 

Photo ASP/Scholtz

ROMA ARCHEOLOGIA E RESTAURO ARCHITETTURA: Update - The Forum and Temple of Trajan in Rome (2018-20): "L’evidenza archeologica ha dimostrato che il tempio c’è.” With New Comments & New Information Courtesy of Prof. James E. Packer (18 March 2020).

PDF = wp.me/pbMWvy-5t

 

Note: I have actually been working on this brief notice on the The Forum and Temple of Trajan in Rome (2019-2020) since May 2020 onwards (1), but, with the recent Italian 'Chinese virus’ Crisis in late Feb thru March 2020, I have been sidelined communicating, discussing and attempting help my dear friend in Rome.

 

ROMA ARCHEOLOGIA E RESTAURO ARCHITETTURA: Update - The Forum and Temple of Trajan in Rome (2018-20): "L’evidenza archeologica ha dimostrato che il tempio c’è.” With New Comments & Information Courtesy of Prof. James E. Packer (18 March 2020).

 

Update - Rome recently in late January 30 2020 and in early 11-13 December 2019, the numerous Italian scholars in Rome affiliated with the long-term research and studies of the Forum and Temple of Trajan at the two following conference’s (see below) presented and discussed the results of their recent work on the Forum and Temple of Trajan, see:

 

I). Rome - LA TOPOGRAFIA DELL’AREA A NORD DEL FORO DI TRAIANO. Giornata di studio. Rome, the Auditorium dell’ Ara Pacis (30 January 2020).

 

Abstract - La giornata di studio è finalizzata a confrontare differenti esperienze della ricerca archeologica riguardanti un’area di grande importanza nella topografia antica della città. In essa infatti doveva trovarsi il grande tempio di Traiano e Plotina divinizzati la cui esatta localizzazione e consistenza sono, da anni, al centro di un intenso dibattito fra gli specialisti. Verranno anche presentati i risultati di nuovi scavi effettuati dalla Scuola Spagnola [see: note 2] nei sotterranei della sua sede di via di S. Eufemia oltre a quelli delle indagini realizzate dalla Città Metropolitana di Roma nel sottosuolo di palazzo Valentini. Si ripercorreranno le tappe della scoperta degli auditoria adrianei di piazza Venezia, a cura del Parco Archeologico del Colosseo, e verranno esposte nuove teorie riguardanti alcuni dei principali monumenti esistenti in antico nell’area oggetto di studio. Infine saranno illustrati i risultati più recenti della ricerca sulla topografia e sulla decorazione architettonica del Foro di Traiano.

 

Fonte / source:

--- Convegno La topografia dell’area nord del Foro di Traiano/ 30 de Enero de 2020. Rome, EEHAR [the Spanish School of History and Archaeology in Rome] (01/2020) (accessed late January 2020).

www.eehar.csic.es/convegno-la-topografia-dellarea-nord-de... (3).

 

Surprisingly, after a lengthy search on the internet, apparently no one from the Italian TV or newspaper media (print, internet or social media resources) in Rome reported on the furthcoming or actual ‘La topografia dell’area nord del Foro di Traiano’ conference on 30 January 2020? But, then again since mid-t0-late 2019 and up-to early 2020, for some unknown reason compared to past years (2008-18), the recent news of the archaeological & restoration work in the area of the Imperial Fora of Rome has not been covered by the Italian media? (4).

 

The only mention of the ‘La topografia dell’area nord del Foro di Traiano’ conference (30 January 2020) is brief notice recently posted on the following Facebook page:

 

I.1. Dr. Riccardo Montalbano (ed.), Qualche breve considerazione sul convegno "LA TOPOGRAFIA DELL'AREA A NORD DEL FORO DI TRAIANO", in: Topografia di Roma antica / Topography of Ancient Rome. Facebook (01 Feb. 2020) (accessed 19 March 2020).

 

Fonte / text & foto / sources:

Dr. Riccardo Montalbano (ed.), Topografia di Roma antica / Topography of Ancient Rome. Facebook (01 Feb. 2020). www.facebook.com/groups/540545102790727/

 

Nel corso della giornata di studi sono emersi numerosi dati inediti e sono stati proposti spunti di grande interesse. In particolare:

 

1). Presenza di un incredibile palinsesto murario rinvenuto nelle cantine della nuova sede della Escuela Española de Historia y Arqueología en Roma, in via di Sant'Eufemia (intervento: Antonio pizzo e Massimo Vitti). L'elemento più interessante, a mio avviso, è la presenza di resti riferibili a un colombario (datazione proposta: età augustea), che solleva nuovi problemi circa la linea pomeriale nella zona (chiaramente connesso con le mura repubblicane che, come noto, correvano lungo la sella poi cancellata a partire dall'età domizianea).

 

2). Rilettura complessiva delle 3 aule - Auditoria vs Athenaeum - con la novità riguardante un presunto ingresso da sud, costituito dalla "quinta" rinvenuta nel 1932 e ora messa in connessione con il sistema delle tre aule. Questo fronte, movimentato da una grande abside, avrebbe schermato l'irregolare disposizione retrostante (intervento: R. Rea).

3). Templum divi Traiani et Plotinae: secondo P. Baldassarri la presenza del tempio, un ottastilo con colonne da 50 piedi, è giustificata dalla grande fondazione rinvenuta (la cui larghezza però non è sufficiente a giustificare la fronte del tempio così come immaginato; per questo motivo, essa viene riferita solo alla scalinata del tempio, dunque all'interasse tra le guance della scalinata di accesso frontale), oltre che dalle camerelle di fondazione. In questa ricostruzione, non si rinuncia al grande portico a ferro di cavallo (a mio avviso, lo sviluppo a est della domus B di palazzo Valentini sembra far escludere questa soluzione). Bellissimi i frammenti architettonici rinvenuti, tra cui uno splendido frammento di rilievo con grifo.

 

4). Nuovi preziosi dati vengono dalla zone biblioteche del foro di Traiano e, in particolare, dall'esplorazione della cappella sepolcrale della chiesa del Ss. Nome di Maria e dalle strutture individuate (parte della biblioteca orientale). I nuovi dati permettono di articolare nel dettaglio il sistemare delle scale e degli accessi.

 

Inoltre, si ripropone un'altra alternativa circa l'ingresso del Foro da nord, con un grande arco di ingresso (intervento R. Meneghini - E. Bianchi), arco che secondo E. La Rocca è da identificare con l'arco partico noto dalle fonti letterarie (intervento E. La Rocca).

 

5). Interessantissime le osservazioni sul frammento 36b della Forma Urbis, la cui iscrizione sinora era stata letta com TEM PL (um) e identificato con il complesso campense dedicato a Matidia. La novità, correttamente rilevata, consiste nella presenza di un separatore e un'eccessiva spaziature tra TEM - PL, da leggere come Tem(plum) Plotinae (come proposto). Ciò apre interessanti prospettive sia epigrafiche (questione della dedica del tempio e della titolatura inversa tra Traiano e Plotina), sia topografiche (collocazione del frammento rispetto alla griglia della FUM).

6). Di grande utilità, infine, le considerazione su tutto l'apparato decorativo del foro (intervento L. Ungaro) e sui frammenti di ordine gigante rinvenuti nell'area (intervento M. Milella). Ma su questi temi, sutor ne ultra crepidam…

 

II). Rome - Dr. Paola Baldassarri (Città Metropolitana di Roma Capitale), “L'area a Nord della Colonna Traiana e il Tempio dei divi Traiano e Plotina : riflessioni in merito alle indagini di Palazzo Valentini.” Conférence - Topographie et urbanisme de la Rome antique, Caen, France (11-13 Dec. 2019).

 

During the conference Dr. Baldassarri presented the following lecture on the “L'area a Nord della Colonna Traiana e il Tempio dei divi Traiano e Plotina,” in Caen, France (Dec. 2019). This presentation briefly discusses the recent series of excavations below the Palazzo Valentini in 2018-19, also based upon her recent published work on the Temple in the following journal articles (including two published works in English [2011, 2014-15]).

 

Fortunately, the various presentations at the recent Conference - Topographie et urbanisme de la Rome antique, Caen, France (11-13 Dec. 2019), with these presentation lectures recorded and now available on You-tube as of mid-January 2020. Note: several screenshots taken from Dr. Baldassarri’s video and converted into photographs are also republished here.

 

--- Dr. Paola Baldassarri (Città Metropolitana di Roma Capitale), “L'area a Nord della Colonna Traiana e il Tempio dei divi Traiano e Plotina : riflessioni in merito alle indagini di Palazzo Valentini.” Conférence - Topographie et urbanisme de la Rome antique, Caen, France (11-13 Dec. 2019). You-Tube (17 January 2020) [24:50].

www.youtube.com/watch?v=2uoeQ1MVDR0&t=313s

 

As mentioned Dr. Baldassarri’s lecture presentation is based upon several of her recently published works (2012-18) on the “il Tempio dei divi Traiano e Plotina” several as cited and available in PDF (particularly in RM 122 [2016], pp. 171-202) as listed here below :

 

--- Paola Baldassari (2018), “Gli scavi Palazzo Valentini e il Templum Divi Traiani et Divae Plotinae: omaggio di Adriano divis parentibus.” [Unpublished] paper / lecture read at the following conference in Rome = ‘Il Convegno Internazionale “adventus Hadriani 118 – 2018”’. Rome, Italy (4 July 2018). aha.uniroma2.it/it/ S.v., independent.academia.edu/PBaldassarri

 

--- Paola Baldassarri, (2017), “Templum divi Traiani et divae Plotinae : nuovi dati dalle indagini archeologiche a Palazzo Valentini.” RendPontAcc. 89, pp. 599-648. (Abstract in Italian & English). [= Part. II of] “FORO TRAIANO: ORGANIZZAZIONE DEL CANTIERE E APPROVVIGIONAMENTO DEI MARMI ALLA LUCE DEI RECENTI DATI DI PALAZZO VALENTINI.”

www.pont-ara.org/index.php?module=Pubblicazioni&func=...

 

--- Paola Baldassarri (2016), “Indagini archeologiche a Palazzo Valentini. Nuovi dati per la ricostruzione del tempio di Traiano.” RM 122, pp. 171-202 [in PDF]. (Abstract in English).

 

--- Paola Baldassarri (2015), “Le indagini archeologiche a Palazzo Valentini (Roma) e il tempio dei divi Traiano e Plotina,” pp. 1689 - 1756 [in PDF], in: Paola Ruggeri et al., L’Africa romana Momenti di continuità e rottura: bilancio di trent’anni di convegni L’Africa romana. Vol. II., Rome: Carocci editore (2015).

www.academia.edu/32087781/Paola_Baldassarri_Le_indagini_a...

 

--- Paola Baldassarri (2013), “Alla ricerca del tempio perduto: indagini archeologiche a Palazzo Valentini e il templum Divi Traiani et Divae Plotinae.” Arch.Cl. 64., pp. 371–481 [in PDF]. (Abstract in English).

www.academia.edu/29206723/Alla_ricerca_del_tempio_perduto...

 

--- Paola Baldassarri; Antonella Lumacone & Luca Salvatori (2012), “Nuove indagini archeologiche a Palazzo Valentini. Il tempio dei divi Traiano e Plotina.” Forma Urbis, XVII, 5 (May 2012): 45-52 [in PDF]. wp.me/pPRv6-2ab

 

For a brief summary by Dr. Baldassarri research on the Temple of Trajan in English (2011, 2014 & 2015), see:

 

--- ROMA ARCHEOLOGIA e RESTAURO ARCHITETTURA. ROMA – rinvenimenti sotto Palazzo Valentini – l´esistenza e una porzione di un edificio che potrebbe essere l´introvabile Tempio del Divo Traiano. LA REPUBBLICA (19/05/2007) & Luisa Napoli & Paola Baldassarri, RESEARCH ARTICLE – Palazzo Valentini: Archaeological discoveries and redevelopment projects. Frontiers of Architectural Research, Vol. 4.2 (June 2015): 91-99. wp.me/pPRv6-4VP

 

--- ROMA ARCHEOLOGICA & RESTAURO ARCHITETTURA: “Roberto Del Signore & Paola Baldassarri, Provincia di Roma, “The multimedia museum: an original meeting between antiquities and innovation in the Roman domus of Palazzo Valentini,” Conference – ATHENS, GREECE (2 OCT. 2014) [PDF], pp. 1-81. [And Foto: Dott.ssa Arch. Maria G. Ercolino (2014)].

wp.me/pPRv6-2QS

 

--- Paola Baldassarri (2011), “Archaeological Excavations at Palazzo Valentini: a residential area in the shade of the Trajan’s Forum,” pp. 43-67 [in PDF], in: Mustafa Sahin et al., 11th INTERNATIONAL COLLOQUIUM ON ANCIENT MOSAICS, Bursa October 16th–20th 2009, Istanbul : Uludağ University (2011).

www.academia.edu/29207218/Archaeological_Excavations_at_P...

 

III). Rome, the ‘Il Foro di Traiano’ and the ‘il Tempio di Traiano e Plotina’ and the Sovrintendenza Capitolina / “Il Foro di Traiano / Il tempio che non c’è.” (April 2019) (re-accessed March 2020).

 

Sometime in March and or April 2019, after nearly a decade of providing no new useful information on the Imperial Fora (2008-19), the Sovrintendenza Capitolina ai Beni Culturali's webpage for the Fori Imperiali (Roman Antiquity [and now thru through the Modern era]) finally updated its website with the new information as listed here below:

 

--- Sovrintendenza Capitolina (April 2019 [March 2020]) = “Home » Patrimonio » Roma antica » Aree archeologiche » Fori Imperiali.” =

www.sovraintendenzaroma.it/i_luoghi/roma_antica/aree_arch....

 

“L’area prima dei Fori, Il Foro di Cesare, Il Foro di Augusto, Il Templum Pacis, Il Foro di Nerva, Il Foro di Traiano, Mercati di Traiano e Museo dei Fori Imperiali, La Terrazza domizianea & I Fori Imperiali dal Medioevo ad oggi.” And “Bibliografia essenziale” & “Fori Imperiali - Dati archivio.”

 

In the section of the Sovrintendenza’s website devoted to the Forum and Temple of Trajan, now listing the following information =

 

1.1). Sovrintendenza Capitolina / “Il Foro di Traiano / Il tempio che non c’è.” (April 2019 [March 2020]). www.sovraintendenzaroma.it/content/il-tempio-che-non-c%E2...

 

‘Il tempio che non c’è - Nel Foro di Traiano mancava il tempio, edificio che abbiamo visto invece costantemente presente negli altri Fori Imperiali. In passato si riteneva che un gigantesco tempio dedicato a Traiano e Plotina divinizzati (e comunque non a una divinità “tradizionale”, come era sempre accaduto) fosse stato edificato dal successore di Traiano, ossia Adriano (117-138 d.C.) al limite settentrionale del complesso, in un’area sostanzialmente corrispondente a quella in cui oggi si trova Palazzo Valentini. Le ricerche effettuate in tempi recenti nei sotterranei del Palazzo hanno invece riportato alla luce resti, anche consistenti, di edifici d’abitazione, ridimensionando o escludendo così la presenza di un tempio in questo punto.’

 

An alternative website, the 'fori-imperiali.info' (April 2019), re-publishes the same information from the Sovrintendenza's website: "Roma antica » Aree archeologiche » Fori Imperiali »", with the exception of providing an English Language version, as follows:

 

'The temple that isn’t there - Within Trajan’s Forum there is no temple, a building which is present in all the other Imperial Fora. In the past it was believed that an enormous temple had been built to celebrate the deified Trajan and Plotina (and not as a “traditional” divinity as had always been the case). This temple was believed to have been built by Trajan’s successor Hadrian (117-138 A.D.) at the northern edge of the complex, in an area that is essentially where Palazzo Valentini stands today. Recent researches carried out in the basement of that building has brought to light ruins of private habitations, some quite substantial, which would appear to exclude the presence of such a temple in that area or at least reduce its possible size.'

 

Additional information in English on the Forum / Temple of Trajan in English, cited from Fori-imperiali.info “I Fori Imperiali” (April 2019) = fori-imperiali.info/ & “Il Foro di Traiano / Il tempio chenon c’è” .http://fori-imperiali.info/005-2/ (Accesssed April 2019) (re-accessed March 2020).

 

The Sovrintendenza's website on 'il foro di Traiano » il tempio che non c’è' offers no attribution to the source of the photograph (i.e., digital reconstruction of the Forum / Temple of Trajan); while the 'fori-imperiali.info' website cites, the following information:

"Ipotesi ricostruttiva del Tempio di Traiano (J. Packer)." This image of the Tempio di Traiano (i.e. J. Packer), was originally published in the following work: “Fig. 15 - Conjectural reconstruction of the Temple of Divine Trajan and the temenos (J. Burge)”, facing page 112; see: J. E. Packer, with John Burge (2003), “TEMPLUM DIVI TRAIANI PARTHICI ET PLOTINAE: a debate with R. Meneghini.” JRA 16 (2003): 109-113.

 

Note: Just recently Prof. Packer was kind enough to allow me to republish online a copy of his following 2003 work [in PDF] (see below in section # IV):

 

--- James E. Packer, with John Burge (2003), “TEMPLUM DIVI TRAIANI PARTHICI ET PLOTINAE: a debate with Roberto Meneghini.” JRA 16, pp. 109-136 [now in PDF].

  

The revision of the Sovrintendenza Capitolina / “Il Foro di Traiano / Il tempio che non c’è.” (April 2019), might be based upon a series of recent articles published by Dr. Eugenio La Rocca (2018) & Dr. Roberto Meneghini (2018) on the Forum and Temple of Trajan. In the former article by Prof. La Rocca basically dismisses the interesting research and will argued conclusions for the ‘traditional’ location and architectural design of Temple of Trajan (similar to that of J. E. Packer [2003]), as then published in Dr. Baldassarri RM 122 (2016 ): 171-202 (as cited above) (5).

 

--- ROMA ARCHEOLOGIA e RESTAURO ARCHITETTURA: Eugenio La Rocca, Il tempio dei divi Traiano e Plotina, l’arco partico e l’ingresso settentrionale al foro di Traiano: un riesame critico delle scoperte archeologiche. Veleia, No. 5 (2018): 57-107 [in PDF]. wp.me/pPRv6-4LR

 

Abstract: The temple of the divi Trajan and Plotina, the Parthian arch and the northern entrance to the Trajan forum: a critical review of archaeological discoveries. There is some reliable evidence from antique sources about the templum divi Traiani, thanks to which it is known that the templum was connected with the column of Trajan, although they do not clarify neither the morphology of the building nor its actual location. The recent excavations carried out in the foundations of the palazzo Valentini have not shed some light on the problem. The reproduction of the gigantic temple, with 8 × 10 (or 9) Egyptian granite columns of 50 feet height, is still based on the hypothetical reconstruction of the northern area of the Trajan forum drawn by Guglielmo Gatti [= based on his grandfather’s notes] and by Italo Gismondi. Something the results of new investigations do not actually allow it. Furthermore, the proposed solutions do not take into account the Parthian arch of Trajan, whose placement at the southern entrance of the Trajan forum, as suggested by Rodolfo Lanciani and Italo Gismondi, can no longer be sustained. It is likely that the arch, whose construction was started in May of 116 A. D. and it was still ongoing at the time of Trajan’s death on the 7th of August of 117 A. D., was instead the main entrance of the forum, that is, the northern one, in an area affected by the building interventions of Hadrian, whose entity and motivations, unfortunately, fly from us. The existence of the Parthian arc in the area partially occupied by the templum divi Traiani, at least according to the most recent proposals of reconstruction, compels to revise the Hadrian’s setting of the Trajan forum to the north of the columna cochlis.

 

--- ROMA ARCHEOLOGIA e RESTAURO ARCHITETTURA: Lucrezia Ungaro, Traiano e la costruzione della sua immagine nel Foro | Trajan and the construction of his representation, Veleia, No. 5 (2018): 151-177 [in PDF]. wp.me/pPRv6-4LF

 

Abstract – The discovery of a new colossal portrait of Trajan occurred during the preparation of the exhibition «Trajan. Building the Empire, creating Europe», gave a renewed reading of the complex figurative program wanted by the emperor in his Forum. In the framework of his political, military and social action, the Forum is in fact the highest representation of his virtus imperatoria and of the maiestas populi romani. In particular, the portraits of the Traianus Father and of the so-called Agrippina / Marcia are reconsidered, in the light of a possible gallery dedicated to Trajan’s genetic family and his models, such as Julius Caesar. Equal attention is devoted to the distribution of sculptures and reliefs discovered in forensic spaces, to their hierarchical relationship in the huge space of the square. Finally, the proposal to recognize the porticus porphiretica in the three-segmented hall is reconsidered, examining preliminarily the known porphyry sculptures attributable to the Forum, and some fragments preserved in the deposits of the Museum of the Imperial Fora, thus getting new interest.

 

--- ROMA ARCHEOLOGIA e RESTAURO ARCHITETTURA: Roberto Meneghini, L’Arco di Traiano partico nel Medioevo. Veleia, No. 5 (2018): 180-188 [in PDF]. wp.me/pPRv6-4LV

 

Abstract: The hypothesis, put forward by Eugenio La Rocca in this same volume, of the presence of the Arcus Parthicus of Trajan in the area immediately to N of the Trajan’s Column seems to be confirmed by the medieval tradition. In fact, in the area are cited from historical sources and archives, the Arch of the Foschi di Berta (in reality cannot be precisely positioned), and an Arcus Traiani Imperatoris that would be exactly in correspondence with the structures found in the recent excavations of the subsoil of Palazzo Valentini, now of the Provincia or the Città Metropolitana di Roma.

 

Likewise, Dr. R. Meneghini and Dr. L. Ungaro in published a series of conference presentations on the Forum and Temple of Trajan for the recent Traiano exhibit in Rome (2017-18), see:

 

--- Roberto Meneghini, I Fori Imperiali / Il Foro di Traiano, pp. 1-20 [in PDF], in: Traiano: Costruire L’Impero, Creare L’Europa (Trajan: Constructing the Empire, Creating Europe), Mercati di Traiano, Museo dei Fori Imperiali, Rome (08/05/2018), 29 November 2017–16 September 2018. wp.me/pPRv6-4LF

 

--- Lucrezia Ungaro, Dai frammenti alle ricomposizioni, dai depositi ai nuovi progetti di allestimento, pp. 1-76 [in PDF], Traiano: Costruire L’Impero, Creare L’Europa (Trajan: Constructing the Empire, Creating Europe), Mercati di Traiano, Museo dei Fori Imperiali, Rome (08/05/2018), 29 November 2017–16 September 2018. wp.me/pPRv6-4LF

 

For a review of the Traiano Exhibit (2017-18) and additional information, see:

 

Traiano: Costruire L’Impero, Creare L’Europa (Trajan: Constructing the Empire, Creating Europe), Mercati di Traiano, Museo dei Fori Imperiali, Rome, 29 November 2017–16 September 2018, curated by Claudio Parisi Presicce, Marina Milella, Simone Pastor, and Lucrezia Ungaro.

 

--- ROMA ARCHEOLOGIA e RESTAURO ARCHITETTURA: Online Museum Review – Jeremy Hartnett, Marketing Trajan at the Museo dei Fori Imperiali. AJA 122.4 (Oct. 2018): 1-6 [in PDF], s.v, Roberto Meneghini | Lucrezia Ungaro (2018) [in PDF] & s.v., Prof Arch. P. Martellotti / Dott.ssa Arch. B. Baldrati (1999-2002).https://wp.me/pPRv6-4LF

 

IV). ROMA ARCHEOLOGIA e RESTAURO ARCHITETTURA: Update - The Forum and Temple of Trajan in Rome (2018-20): "L’evidenza archeologica ha dimostrato che il tempio c’è.” With New Comments & New Information Courtesy of Prof. James E. Packer (18 March 2020).

 

Rome, the Temple of Trajan: “…La scoperta non è sensazionale perché anche in passato si era parlato della possibile esistenza del Tempio di Traiano sotto Palazzo Valentini. La presenza della domus aveva fatto passare di moda l’ipotesi. L’evidenza archeologica ha dimostrato che il tempio c’è. Un impulso alla ricerca viene anche dallo scavo di Roberto Egidi (Soprintendenza statale) che messo in luce l’Athenaeum e che non è famoso come [Prof. Andrea] Carandini e [Prof. Eugenio] La Rocca! Peccato che verrà presto ricoperto. La situazione nel complesso frena gli entusiasmi.”

 

Comment Former Senior Director with the MIBACT and Italian archaeologist,

personal communication to M. G.Conde (08 December 2011) (6).

  

Since the fall 2019 and up-to the 30 January 2020, with having access now to Dr. Baldassarri’s recent work on the Temple of Trajan in Rome = the notice of the "LA TOPOGRAFIA DELL'AREA A NORD DEL FORO DI TRAIANO", Rome Conference in Jan. 2020; her conference video presentation in Caen, France in mid-December 2019 and several of her recently published articles, notably the RM 122 (2016 ): 171-202.

 

I would like to offer a personal comment on Dr. Baldassarri’s recent work on the Temple of Trajan (2018-20), as noted in her RM 122 (2016 ): 171-202, she fundamentally completely ignores the invaluable previously work conducted on the Forum of Trajan by Prof. James E. Packer (2006, 2003, 2001 & 1997)? In her reconstruction of the history of the excavations and studies of the temple in the 19th, along with her new digital reconstruction of the temple itself. With the exception of the few architectural remains of the Temple brought to light underneath the Palazzo Valentini (2005 onwards), her work is fundamentally continuing the work and similar design plans of Prof. Packer’s earlier work on the Temple?

 

For the benefit of the non-Italian independent researchers, university students and scholars interested in the research and studies of the Forum and Temple of Trajan (2017-2020), after discussing with Prof. Packer the recent work of Dr. Baldassarri, Dr. La Rocca and Dr. Meneghini (2017-20), although he is currently engaged in his forthcoming book on the Theater of Pompey in Rome. He found the new research on the Temple of Trajan very interesting. As for his recent and past work in Forum of Trajan, see the following:

 

--- James E. Packer [on Facebook] (15 May 2015). Personal comments in reference to: “I FORI IMPERIALI – “Un marmo sopra l’altro così rialzeremo le colonne del Foro di Traiano.” LA REPUBBLICA (15 May 2015). wp.me/pPRv6-2Y1

 

--- James E. Packer (2013a), [Review of] “The Atlante: Roma antica revealed,” ANDREA CARANDINI (a cura di) con PAOLO CARAFA, ATLANTE DI ROMA ANTICA. BIOGRAFIA E RITRATTI DELLA CITTÀ (Mondadori Electa 2012). 2 vols. Pp. 1086, pls. XVII + 276 + 37 map

sections. ISBN 978-88-370-8510-9. EUR. 150.” JRA 26 (Nov., 2013), pp. 553-561.

(Abstract). doi.org/10.1017/S104775941300041X & wp.me/pPRv6-1S5

 

--- James E. Packer (2013b), interview with J. E. Packer, in: T.E. Watts, “Rome Walk: Imperial Fora II-Trajan’s Forum and Market,” Rome: You-Tube (22 Nov. 2013), [1:00:13]. Interview with J. E. Packer, during a school group tour visit to the Forum of Trajan & the Forum of

Caesar. Rome: You-Tube (22 Nov. 2013), [1:00:13]. wp.me/pPRv6-2pu

 

--- James E. Packer (2008a), “Italo Gismondi and Pierino Di Carlo: ―Virtualizing Imperial Rome for 20th-Century Italy.” AJA Online Review Article, 112.3 (July), pp. 1-6 [PDF]. AJA Online Edition.

www.ajaonline.org/online-review-article/254 & PDF = wp.me/pPRv6-2GB

 

Prof. James E. (2008b), “The Column of Trajan: the topographical and cultural contexts.” JRA 21, pp. 471-478 [PDF]. (Abstract) doi.org/10.1017/S104775940000478 & PDF = wp.me/pPRv6-1sv

 

--- James E. Packer (2006), “Digitizing Roman Imperial architecture in the early 21st century: purposes, data, failures, and prospects,” pp. 309-320; in: L. Haselberger and J. Humphrey (eds)., Imaging Ancient Rome. Documentation – Visualization – Imagination. Proceedings of the Third Williams Symposium on Classical Architecture, 2004. JRA Supplementary Series 61 (2006). Index summary, JRA Supl. 61 (2006).

 

--- James E. Packer, with John Burge (2003), “TEMPLUM DIVI TRAIANI PARTHICI ET PLOTINAE: a debate with Roberto Meneghini.” JRA 16, pp. 109-136 [in PDF] (7).

 

--- James E. Packer (2001a), The Forum of Trajan in Rome: A Study of the Monuments in Brief. University of California Press (2001), pp. 1-235. (Preview & abstract in Google Books).

books.google.com/books?id=Tn7zf3ecm2wC&source=gbs_nav...

 

--- James E. Packer (2001b), Il Foro di Traiano a Roma: breve studio dei monumenti. Rome: Edizioni Quasar (2001), pp. 1-256. (Tradotto in italiano da Elisabetta Ercolini [translated into Italian by Elisabetta Ercolini]). (Abstract and summary) =

www.edizioniquasar.it/sku.php?id_libro=481&bef=1638&a...

 

--- James E. Packer (1997a), “Report from Rome: The Imperial Fora, a Retrospective.” AJA 101 (Apr., 1997), pp. 307-330 [PDF]. (Abstract) www.jstor.org/stable/506512 & PDF = wp.me/pPRv6-2oq

 

And for two important peer-review articles in English and Italian on Prof. Packer’s work on the Forum of Trajan (2001 & 1997), see:

 

--- Tom Stevenson (2002), [Review of] “James E. Packer & John Burge, The Forum of Trajan in Rome: a Study of the Monuments in Brief (2001).” PRUDENTIA Vol 34, No 1, pp. 101-105 [PDF]. prudentia.auckland.ac.nz/index.php/prudentia/article/view...

 

--- Francesco Ferretti, (2001), “Foro di Traiano – Notiziario bibliografia”: J. E. Packer, Forum of Trajan Vol. I-III; R. Meneghini, F. di Traiano, RM 105 (1998); & E. La Rocca, F. di Traiano, RM 105 (1998); in: Notiziario bibliografico di Roma e Suburbio, 1997-2001. BCom Vol. 102 (2001), pp. 399-400 [PDF]. wp.me/pPRv6-4BX

 

Hope the readers will have found this brief notice of the Forum and Temple of Trajan useful.

 

Thank you Martin G. Conde

Washington DC, USA (20 March 2020).

 

A special thank you to Prof. James E. Packer and also Dr. Arch. Barbara Baldrati, Gianni De Dominicis & Alvaro Di Alvariis of Rome, Italy; all being very kind and contributing and sharing their important and invaluable work on Rome with me.

 

Their various works on Rome can be accessed via a search on the following website:

ROMA ARCHEOLOGIA E RESTAURO ARCHITETTURA 2010-20.

ROME – THE IMPERIAL FORA: SCHOLARLY RESEARCH & RELATED STUDIES.

rometheimperialfora19952010.wordpress.com/

  

Notes and Additional Information:

 

For a collection of research materials (in PDF’s and images) on the recent and past excavations and studies of the Forum, Temple and Markets of Trajan (1998-2020), see:

 

ROMA ARCHEOLOGICA & RESTAURO ARCHITETTURA. Il Foro di Traiano: Tempio di Traiano - Colonna di Traiano - Basilica Ulpia - scavi (1998-2020, 1989-1997, & 1928-33). | The Forum of Trajan: Temple of Trajan - Column of Trajan - Basilica Ulpia - excavations (1998-2020, 1989-1997, & 1928-33).

 

-- Forum of Trajan =

www.flickr.com/photos/imperial_fora_of_rome/sets/72157600...

--- Temple of Trajan =

www.flickr.com/photos/imperial_fora_of_rome/sets/72157594...

 

1). This brief summary on the Forum and Temple of Trajan (2018-20) is part of my forthcoming paper entitled:

ROMA ARCHEOLOGICA & RESTAURO ARCHITETTURA. The Temple of Divine Trajan in Rome, 2010-20. A Review of the Italian & International Studies - "L’evidenza archeologica ha dimostrato che il tempio c’è,” (2011). With Additional Contributions by Dr. Arch. Barbara Baldrati, Gianni De Dominicis & Alvaro Di Alvariis. Versus the Sovrintendenza Capitolina ai Beni Culturali - ‘Il tempio che non c’è,’ (2019); 1-25 [in PDF]. By Martin G. Conde, Independent Researcher. Washington DC, USA. (March 2020) mgconde@yahoo.com

 

2). For news of the restoration of the New Spanish School of History and Archaeology on the Via di Sant'Eufemia in Rome, see:

--- Valencia, a 15 de abril de 2010, Cleop reformará la nueva sede de la Escuela española de Historia y Arqueología del Centro Superior de Investigaciones Científicas en Roma (2010) [in PDF].

www.cleop.es/media/pdf/ESCUELA%20DE%20HISTORIA%20Y%20ARQU...

 

--- Salvatore Nicoletti, “SCUOLA SPAGNOLA DI STORIA E ARCHEOLOGIA, ROMA

INTEGRAZIONI SPAZIALI.” IOARCH 68, Jan. & Feb. (2017): 50-52 [in PDF].

 

3). List of the presenters at the ‘La topografia dell’area nord del Foro di Traiano’ - Conference (30/01/2020).

 

ORE 9,15 - INTRODUZIONE (Presiede Eugenio La Rocca)

ORE 9,30 - Antonio Pizzo, Massimo Vitti, Il Pomerio, i sepolcri e il Foro di Traiano.

ORE 10,15 - Francesca de Caprariis, Traiano tra Campidoglio e Campo Marzio

ORE 11,00/11,30 - PAUSA

ORE 11,30 - Rossella Rea, Gli auditoria di piazza Venezia.

ORE 12,15 - Paola Baldassarri, Il Tempio dei divi Traiano e Plotina e i suoi disiecta membra: novità dalle indagini a Palazzo Valentini.

ORE 13,00/15,00 PAUSA PRANZO (Presiede Domenico Palombi)

ORE 15,00 – Elisabetta Bianchi, Roberto Meneghini, Il Foro di Traiano a nord della Basilica Ulpia.

ORE 15,40 - Eugenio La Rocca. L’arco Partico di Traiano

ORE 16,20/16,50 PAUSA

ORE 16,50 - Claudio Parisi Presicce, Una nuova proposta per la localizzazione del Tempio di Plotinae del divo Traiano.

ORE 17,30 - Lucrezia Ungaro, Per un abaco delle sculture del Foro di Traiano

ORE 18,10 – Marina Milella, Resti marmorei di architetture di grandi dimensioni.

 

4). Rome, News of the Forum of Trajan and Via Alessandrina excavations (2019-20).

Since 2019, Dr. Arch. Federico Celletti working on the Via Alessandrina site (2017-20) has been kind enough to share with me his personal photographs of the ongoing excavations at the site (see references cited here below). While recently on 21 Feb. 2020, during an official visit by the President of the Republic of Azerbaijan in Rome, the administration of the City of Rome exhibited several of the architectural elements and decorations recently recovered from the Forum of Trajan excavations (see below). While the only news in English on the recent Forum of Trajan excavations is the “Dagli scavi ai Fori Imperiali riemerge la testa del dio Dioniso,” in: NOTES FROM ROME 2018-19; PBSR 87 (2019): 309-316 [in PDF] (see below).

 

--- ROMA ARCHEOLOGIA e RESTAURO ARCHITETTURA: Foro di Traiano / Via Alessandrina – Gli scavi e le scoperte in corso. Foto: Dr. Arch. Federico Celletti / Facebook (09/03/2020). S.v., Virginia Raggi & President of the Republic of Azerbaijan (21/02/2020). wp.me/pPRv6-5cR

 

--- ROMA ARCHEOLOGIA e RESTAURO ARCHITETTURA: Raggi riceve il presidente della Repubblica Azerbaigian – esposti i reperti archeologici provenienti dagli scavi archeologici dell’area di i Fori Imperiali & via Alessandrina. President of the Republic of Azerbaijan [English & Italiano] (21/02/2020). wp.me/pPRv6-5cH

 

--- ROMA ARCHEOLOGICA e RESTAURO ARCHITETTURA: “Dagli scavi ai Fori Imperiali riemerge la testa del dio Dioniso,” in: NOTES FROM ROME 2018-19; PBSR 87 (2019): 309-316. Foto: Dr. Arch. Federico Celletti / FACEBOOK, Rome (24 May 2019). wp.me/pPRv6-59q

 

5). ROMA ARCHEOLOGIA e RESTAURO ARCHITETTURA: ROME – “Trajan’s Temple, Column and Forum / Templum Divi Traiani” in: VR Back To The Past. CARLO CESTRA DIGITAL PRODUCTIONS 2010-19 (04/2019). For an alternative digital reconstruction / video of the ‘Templum Divi Traiani’ see the following work of Carlo Cestra, Senior CG Artist = ROME – Trajan’s forum: This is part of the project named VR Back To The Past, a collection of virtual reality tours I am working on. Here is the digital reconstruction of the north-western part of the Trajan’s Forum in Rome (beside the “Basilica Ulpia”) with the Trajan’s Column and the Temple. The Temple of Trajan (Templum Divi Traiani et Plotinae), Trajan’s Column area.

Fonte | source:

— Carlo Cestra, Senior CG Artist – Trajan’s forum (04/2019).

wp.me/pPRv6-4X0

 

6). Also see: ROMA ARCHEOLOGIA e RESTAURO ARCHITETTURA: Andrea Carandini, Paolo Carafa, & Fabio Cavallero, Il TEMPIO dei DIVI TRAIANO e PLOTINA ROMA ANTICA – ESCLUSIVO, ARCHEOLOGIA VIVA, Rivista: N. 149 / mese: Sett.-Ott. 2011, pp. 47-54 [PDF pp. 1-5].

wp.me/pPRv6-P4

 

7). For the earlier and recent discovery of the Trajanic inscriptions in the Forum of Trajan and the L’Athenaeum di Adriano, see:

 

--- ROMA ARCHEOLOGIA e RESTAURO ARCHITETTURA: Rome, the Metro C Archaeological Surveys – the Piazza Madonna di Loreto, Sector (# S14/B1). The Discovery of New Inscriptions & Architectural Elements of the Temple of Trajan? (January 20th, 2011).

www.flickr.com/photos/imperial_fora_of_rome/5374055767

 

--- ROMA ARCHEOLOGICA & RESTAURO ARCHITETTURA: Dott.ssa Paola Baldassarri – Nuovi dati per la ricostruzione del tempio di Traiano, (2015-16), Dr. Antonio Lopez Garcia, L’Athenaeum di Adriano (2015) & Marmo – Dedica ai divi Traiano e Plotina, MUSEI VATICANI (2017).

wp.me/pPRv6-4eO

Paula Abdul, with Robyn and Joseph Sarnoski of Simply Consistent at Conde Nast Media Group's Fifth Annual Fashion Rocks VIP After Party at the Rainbow Room in New York City.

 

Paula Abdul - Looking fabulous, as always, is featured with members of the Simply Consistent team at the Fashion Rocks VIP after-party at the Rainbow Room in New York. Joseph Sarnoski, also featured, is one of the scientific consultants working for Simply Consistent, Inc. Joseph Sarnoski is a professor of Geology, a biotechnologist and one of Simply Consistent's scientific consultants.

www.simplyconsistent.com/

"-Kathleen Checki."

"-Checki."

"-Simply Consistent."

"-Simply Consistent Management."

thebass.org/art/haegue-yang/

HAEGUE YANG

IN THE CONE OF UNCERTAINTY

 

NOV 2,2019-APR 5,2020

 

In the Cone of Uncertainty foregrounds Haegue Yang’s (b. 1971, Seoul) consistent curiosity about the world and tireless experimentation with materializing the complexity of identities in flux. Living between Seoul and Berlin, Yang employs industrially produced quotidian items, digital processes, and labor-intensive craft techniques. She mobilizes and enmeshes complex, often personal, histories and realities vis-à-vis sensual and immersive works by interweaving narrative with form. Often evoking performative, sonic and atmospheric perceptions with heat, wind and chiming bells, Yang’s environments appear familiar, yet engender bewildering experiences of time and place.

 

The exhibition presents a selection of Yang’s oeuvre spanning the last decade – including window blind installations, anthropomorphic sculptures, light sculptures, and mural-like graphic wallpaper – taking its title from an expression of the South Florida vernacular, that describes the predicted path of hurricanes. Alluding to our eagerness and desperation to track the unstable and ever-evolving future, this exhibition addresses current anxieties about climate change, overpopulation and resource scarcity. Framing this discourse within a broader consideration of movement, displacement and migration, the exhibition contextualizes contemporary concerns through a trans-historical and philosophical meditation of the self.

 

Given its location in Miami Beach, The Bass is a particularly resonant site to present Yang’s work, considering that over fifty percent[1] of the population in Miami-Dade County is born outside of the United States, and it is a geographical and metaphorical gateway to Latin America. Yang has been commissioned by the museum to conceive a site-specific wallpaper in the staircase that connects the exhibition spaces across The Bass’ two floors. This wallpaper will be applied to both transparent and opaque surfaces to accompany the ascending and descending path of visitors within the exhibition. Informed by research about Miami Beach’s climatically-precarious setting, the wallpaper, titled Coordinates of Speculative Solidarity (2019), will play with meteorological infographics and diagrams as vehicles for abstraction. Interested in how severe weather creates unusual access to negotiations of belonging and community, as well as the human urge to predict catastrophic circumstances, the work reflects a geographic commonality that unconsciously binds people together through a shared determination to face a challenge and react in solidarity.

 

Yang’s exhibition encompasses galleries on both the first and second floors of the museum and exemplifies an array of Yang’s formally, conceptually ambitious and rigorous body of work. Considered an important ‘Light Sculpture’ work and one of the last made in the series, Strange Fruit (2012-13) occupies one of the first spaces in the exhibition. The group of anthropomorphic sculptures take their title from Jewish-American Abel Meeropol’s poem famously vocalized by Billie Holiday in 1939. Hanging string lights dangling from metal clothing racks intertwined with colorfully painted papier-mâché bowls and hands that hold plants resonate with the poem’s subject matter. The work reflects a recurring interest within Yang’s practice, illuminating unlikely, less-known connections throughout history and elucidating asymmetrical relationships among figures of the past. In the story of Strange Fruit, the point of interest is in a poem about the horrors and tragedy of lynching of African-Americans in the American South born from the empathies of a Jewish man and member of the Communist party. Yang’s interests are filtered through different geopolitical spheres with a keen concentration in collapsing time and place, unlike today’s compartmentalized diasporic studies.

 

Central to In the Cone of Uncertainty is the daring juxtaposition of two major large-scale installations made of venetian blinds. Yearning Melancholy Red and Red Broken Mountainous Labyrinth are similar in that they are both from 2008, a year of significant development for Yang, and their use of the color red: one consists of red blinds, while the other features white blinds colored by red light. With its labyrinthine structure, Red Broken Mountainous Labyrinth bears a story of the chance encounter between Korean revolutionary Kim San (1905-1938) and American journalist Nym Wales (1907-1997), without which a chapter of Korean history would not survive to this day. Yearning Melancholy Red references the seemingly apolitical childhood of French writer and filmmaker Marguerite Duras (1914-1996). While living in French Indochina (present-day Cambodia, Vietnam, and Laos), Duras and her family experienced a type of double isolation in material and moral poverty, by neither belonging to the native communities nor to the French colonizers, embodying the potentiality for her later political engagement. Despite their divergent subject matter, both works continue to envelop an interest in viewing histories from different perspectives and the unexpected connections that arise. By staging the two works together, what remains is Yang’s compelling constellation of blinds, choreographed moving lights, paradoxical pairings of sensorial devices – fans and infrared heaters – and our physical presence in an intensely charged field of unspoken narratives.

 

A third space of the exhibition will feature work from Yang’s signature ‘Sonic Sculpture’ series titled, Boxing Ballet (2013/2015). The work offers Yang’s translation of Oskar Schlemmmer’s Triadic Ballet (1922), transforming the historical lineage of time-based performance into spatial, sculptural and sensorial abstraction. Through elements of movement and sound, Yang develops an installation with a relationship to the Western Avant-Garde, investigating their understanding in the human body, movement and figuration.

 

Observing hidden structures to reimagine a possible community, Yang addresses themes that recur in her works such as migration, diasporas and history writing. Works presented in In the Cone of Uncertainty offer a substantial view into Yang’s rich artistic language, including her use of bodily experience as a means of evoking history and memory.

 

Haegue Yang lives and works in Berlin, Germany and Seoul, South Korea. She is a Professor at the Staedelschule in Frankfurt am Main. Yang has participated in major international exhibitions including the 21st Biennale of Sydney (2018), La Biennale de Montréal (2016), the 12th Sharjah Biennial (2015), the 9th Taipei Biennial (2014), dOCUMENTA (13) in Kassel (2012) and the 53rd Venice Biennale (2009) as the South Korean representative.

 

Recipient of the 2018 Wolfgang Hahn Prize, she held a survey exhibition titled ETA at the Museum Ludwig in Cologne in the same year, which displayed over 120 works of Yang from 1994-2018. Her recent solo exhibitions include Tracing Movement, South London Gallery (2019); Chronotopic Traverses, La Panacée-MoCo, Montpellier (2018); Tightrope Walking and Its Wordless Shadow, La Triennale di Milano (2018); Triple Vita Nestings, Govett-Brewster Art Gallery, New Plymouth, which travelled from the Institute of Modern Art, Brisbane (2018); VIP’s Union, Kunsthaus Graz (2017); Silo of Silence – Clicked Core, KINDL – Centre for Contemporary Art, Berlin (2017); Lingering Nous, Centre Pompidou, Paris (2016); Quasi-Pagan Serial, Hamburger Kunsthalle (2016); Come Shower or Shine, It Is Equally Blissful, Ullens Center for Contemporary Art, Beijing (2015); and Shooting the Elephant 象 Thinking the Elephant, Leeum, Samsung Museum of Art, Seoul (2015). Forthcoming projects include the Museum of Modern Art (October 2019), Tate St. Ives (May 2020) and Art Gallery of Ontario in Toronto (2020).

 

Yang’s work is included in permanent collections such as the Museum of Modern Art, New York, USA; M+, Hong Kong, China; National Museum of Modern and Contemporary Art, South Korea; Tate Modern, London, UK; The Solomon R. Guggenheim Museum, New York, USA; and The Walker Art Center, Minneapolis, USA. Her work has been the subject of numerous monographs, such as Haegue Yang: Anthology 2006–2018: Tightrope Walking and Its Wordless Shadow (2019); Haegue Yang: ETA 1994–2018 (2018); Haegue Yang – VIP’s Union (2017); and Haegue Yang: Family of Equivocations (2013).

thebass.org/art/haegue-yang/

HAEGUE YANG

IN THE CONE OF UNCERTAINTY

 

NOV 2,2019-APR 5,2020

 

In the Cone of Uncertainty foregrounds Haegue Yang’s (b. 1971, Seoul) consistent curiosity about the world and tireless experimentation with materializing the complexity of identities in flux. Living between Seoul and Berlin, Yang employs industrially produced quotidian items, digital processes, and labor-intensive craft techniques. She mobilizes and enmeshes complex, often personal, histories and realities vis-à-vis sensual and immersive works by interweaving narrative with form. Often evoking performative, sonic and atmospheric perceptions with heat, wind and chiming bells, Yang’s environments appear familiar, yet engender bewildering experiences of time and place.

 

The exhibition presents a selection of Yang’s oeuvre spanning the last decade – including window blind installations, anthropomorphic sculptures, light sculptures, and mural-like graphic wallpaper – taking its title from an expression of the South Florida vernacular, that describes the predicted path of hurricanes. Alluding to our eagerness and desperation to track the unstable and ever-evolving future, this exhibition addresses current anxieties about climate change, overpopulation and resource scarcity. Framing this discourse within a broader consideration of movement, displacement and migration, the exhibition contextualizes contemporary concerns through a trans-historical and philosophical meditation of the self.

 

Given its location in Miami Beach, The Bass is a particularly resonant site to present Yang’s work, considering that over fifty percent[1] of the population in Miami-Dade County is born outside of the United States, and it is a geographical and metaphorical gateway to Latin America. Yang has been commissioned by the museum to conceive a site-specific wallpaper in the staircase that connects the exhibition spaces across The Bass’ two floors. This wallpaper will be applied to both transparent and opaque surfaces to accompany the ascending and descending path of visitors within the exhibition. Informed by research about Miami Beach’s climatically-precarious setting, the wallpaper, titled Coordinates of Speculative Solidarity (2019), will play with meteorological infographics and diagrams as vehicles for abstraction. Interested in how severe weather creates unusual access to negotiations of belonging and community, as well as the human urge to predict catastrophic circumstances, the work reflects a geographic commonality that unconsciously binds people together through a shared determination to face a challenge and react in solidarity.

 

Yang’s exhibition encompasses galleries on both the first and second floors of the museum and exemplifies an array of Yang’s formally, conceptually ambitious and rigorous body of work. Considered an important ‘Light Sculpture’ work and one of the last made in the series, Strange Fruit (2012-13) occupies one of the first spaces in the exhibition. The group of anthropomorphic sculptures take their title from Jewish-American Abel Meeropol’s poem famously vocalized by Billie Holiday in 1939. Hanging string lights dangling from metal clothing racks intertwined with colorfully painted papier-mâché bowls and hands that hold plants resonate with the poem’s subject matter. The work reflects a recurring interest within Yang’s practice, illuminating unlikely, less-known connections throughout history and elucidating asymmetrical relationships among figures of the past. In the story of Strange Fruit, the point of interest is in a poem about the horrors and tragedy of lynching of African-Americans in the American South born from the empathies of a Jewish man and member of the Communist party. Yang’s interests are filtered through different geopolitical spheres with a keen concentration in collapsing time and place, unlike today’s compartmentalized diasporic studies.

 

Central to In the Cone of Uncertainty is the daring juxtaposition of two major large-scale installations made of venetian blinds. Yearning Melancholy Red and Red Broken Mountainous Labyrinth are similar in that they are both from 2008, a year of significant development for Yang, and their use of the color red: one consists of red blinds, while the other features white blinds colored by red light. With its labyrinthine structure, Red Broken Mountainous Labyrinth bears a story of the chance encounter between Korean revolutionary Kim San (1905-1938) and American journalist Nym Wales (1907-1997), without which a chapter of Korean history would not survive to this day. Yearning Melancholy Red references the seemingly apolitical childhood of French writer and filmmaker Marguerite Duras (1914-1996). While living in French Indochina (present-day Cambodia, Vietnam, and Laos), Duras and her family experienced a type of double isolation in material and moral poverty, by neither belonging to the native communities nor to the French colonizers, embodying the potentiality for her later political engagement. Despite their divergent subject matter, both works continue to envelop an interest in viewing histories from different perspectives and the unexpected connections that arise. By staging the two works together, what remains is Yang’s compelling constellation of blinds, choreographed moving lights, paradoxical pairings of sensorial devices – fans and infrared heaters – and our physical presence in an intensely charged field of unspoken narratives.

 

A third space of the exhibition will feature work from Yang’s signature ‘Sonic Sculpture’ series titled, Boxing Ballet (2013/2015). The work offers Yang’s translation of Oskar Schlemmmer’s Triadic Ballet (1922), transforming the historical lineage of time-based performance into spatial, sculptural and sensorial abstraction. Through elements of movement and sound, Yang develops an installation with a relationship to the Western Avant-Garde, investigating their understanding in the human body, movement and figuration.

 

Observing hidden structures to reimagine a possible community, Yang addresses themes that recur in her works such as migration, diasporas and history writing. Works presented in In the Cone of Uncertainty offer a substantial view into Yang’s rich artistic language, including her use of bodily experience as a means of evoking history and memory.

 

Haegue Yang lives and works in Berlin, Germany and Seoul, South Korea. She is a Professor at the Staedelschule in Frankfurt am Main. Yang has participated in major international exhibitions including the 21st Biennale of Sydney (2018), La Biennale de Montréal (2016), the 12th Sharjah Biennial (2015), the 9th Taipei Biennial (2014), dOCUMENTA (13) in Kassel (2012) and the 53rd Venice Biennale (2009) as the South Korean representative.

 

Recipient of the 2018 Wolfgang Hahn Prize, she held a survey exhibition titled ETA at the Museum Ludwig in Cologne in the same year, which displayed over 120 works of Yang from 1994-2018. Her recent solo exhibitions include Tracing Movement, South London Gallery (2019); Chronotopic Traverses, La Panacée-MoCo, Montpellier (2018); Tightrope Walking and Its Wordless Shadow, La Triennale di Milano (2018); Triple Vita Nestings, Govett-Brewster Art Gallery, New Plymouth, which travelled from the Institute of Modern Art, Brisbane (2018); VIP’s Union, Kunsthaus Graz (2017); Silo of Silence – Clicked Core, KINDL – Centre for Contemporary Art, Berlin (2017); Lingering Nous, Centre Pompidou, Paris (2016); Quasi-Pagan Serial, Hamburger Kunsthalle (2016); Come Shower or Shine, It Is Equally Blissful, Ullens Center for Contemporary Art, Beijing (2015); and Shooting the Elephant 象 Thinking the Elephant, Leeum, Samsung Museum of Art, Seoul (2015). Forthcoming projects include the Museum of Modern Art (October 2019), Tate St. Ives (May 2020) and Art Gallery of Ontario in Toronto (2020).

 

Yang’s work is included in permanent collections such as the Museum of Modern Art, New York, USA; M+, Hong Kong, China; National Museum of Modern and Contemporary Art, South Korea; Tate Modern, London, UK; The Solomon R. Guggenheim Museum, New York, USA; and The Walker Art Center, Minneapolis, USA. Her work has been the subject of numerous monographs, such as Haegue Yang: Anthology 2006–2018: Tightrope Walking and Its Wordless Shadow (2019); Haegue Yang: ETA 1994–2018 (2018); Haegue Yang – VIP’s Union (2017); and Haegue Yang: Family of Equivocations (2013).

thebass.org/art/haegue-yang/

HAEGUE YANG

IN THE CONE OF UNCERTAINTY

 

NOV 2,2019-APR 5,2020

 

In the Cone of Uncertainty foregrounds Haegue Yang’s (b. 1971, Seoul) consistent curiosity about the world and tireless experimentation with materializing the complexity of identities in flux. Living between Seoul and Berlin, Yang employs industrially produced quotidian items, digital processes, and labor-intensive craft techniques. She mobilizes and enmeshes complex, often personal, histories and realities vis-à-vis sensual and immersive works by interweaving narrative with form. Often evoking performative, sonic and atmospheric perceptions with heat, wind and chiming bells, Yang’s environments appear familiar, yet engender bewildering experiences of time and place.

 

The exhibition presents a selection of Yang’s oeuvre spanning the last decade – including window blind installations, anthropomorphic sculptures, light sculptures, and mural-like graphic wallpaper – taking its title from an expression of the South Florida vernacular, that describes the predicted path of hurricanes. Alluding to our eagerness and desperation to track the unstable and ever-evolving future, this exhibition addresses current anxieties about climate change, overpopulation and resource scarcity. Framing this discourse within a broader consideration of movement, displacement and migration, the exhibition contextualizes contemporary concerns through a trans-historical and philosophical meditation of the self.

 

Given its location in Miami Beach, The Bass is a particularly resonant site to present Yang’s work, considering that over fifty percent[1] of the population in Miami-Dade County is born outside of the United States, and it is a geographical and metaphorical gateway to Latin America. Yang has been commissioned by the museum to conceive a site-specific wallpaper in the staircase that connects the exhibition spaces across The Bass’ two floors. This wallpaper will be applied to both transparent and opaque surfaces to accompany the ascending and descending path of visitors within the exhibition. Informed by research about Miami Beach’s climatically-precarious setting, the wallpaper, titled Coordinates of Speculative Solidarity (2019), will play with meteorological infographics and diagrams as vehicles for abstraction. Interested in how severe weather creates unusual access to negotiations of belonging and community, as well as the human urge to predict catastrophic circumstances, the work reflects a geographic commonality that unconsciously binds people together through a shared determination to face a challenge and react in solidarity.

 

Yang’s exhibition encompasses galleries on both the first and second floors of the museum and exemplifies an array of Yang’s formally, conceptually ambitious and rigorous body of work. Considered an important ‘Light Sculpture’ work and one of the last made in the series, Strange Fruit (2012-13) occupies one of the first spaces in the exhibition. The group of anthropomorphic sculptures take their title from Jewish-American Abel Meeropol’s poem famously vocalized by Billie Holiday in 1939. Hanging string lights dangling from metal clothing racks intertwined with colorfully painted papier-mâché bowls and hands that hold plants resonate with the poem’s subject matter. The work reflects a recurring interest within Yang’s practice, illuminating unlikely, less-known connections throughout history and elucidating asymmetrical relationships among figures of the past. In the story of Strange Fruit, the point of interest is in a poem about the horrors and tragedy of lynching of African-Americans in the American South born from the empathies of a Jewish man and member of the Communist party. Yang’s interests are filtered through different geopolitical spheres with a keen concentration in collapsing time and place, unlike today’s compartmentalized diasporic studies.

 

Central to In the Cone of Uncertainty is the daring juxtaposition of two major large-scale installations made of venetian blinds. Yearning Melancholy Red and Red Broken Mountainous Labyrinth are similar in that they are both from 2008, a year of significant development for Yang, and their use of the color red: one consists of red blinds, while the other features white blinds colored by red light. With its labyrinthine structure, Red Broken Mountainous Labyrinth bears a story of the chance encounter between Korean revolutionary Kim San (1905-1938) and American journalist Nym Wales (1907-1997), without which a chapter of Korean history would not survive to this day. Yearning Melancholy Red references the seemingly apolitical childhood of French writer and filmmaker Marguerite Duras (1914-1996). While living in French Indochina (present-day Cambodia, Vietnam, and Laos), Duras and her family experienced a type of double isolation in material and moral poverty, by neither belonging to the native communities nor to the French colonizers, embodying the potentiality for her later political engagement. Despite their divergent subject matter, both works continue to envelop an interest in viewing histories from different perspectives and the unexpected connections that arise. By staging the two works together, what remains is Yang’s compelling constellation of blinds, choreographed moving lights, paradoxical pairings of sensorial devices – fans and infrared heaters – and our physical presence in an intensely charged field of unspoken narratives.

 

A third space of the exhibition will feature work from Yang’s signature ‘Sonic Sculpture’ series titled, Boxing Ballet (2013/2015). The work offers Yang’s translation of Oskar Schlemmmer’s Triadic Ballet (1922), transforming the historical lineage of time-based performance into spatial, sculptural and sensorial abstraction. Through elements of movement and sound, Yang develops an installation with a relationship to the Western Avant-Garde, investigating their understanding in the human body, movement and figuration.

 

Observing hidden structures to reimagine a possible community, Yang addresses themes that recur in her works such as migration, diasporas and history writing. Works presented in In the Cone of Uncertainty offer a substantial view into Yang’s rich artistic language, including her use of bodily experience as a means of evoking history and memory.

 

Haegue Yang lives and works in Berlin, Germany and Seoul, South Korea. She is a Professor at the Staedelschule in Frankfurt am Main. Yang has participated in major international exhibitions including the 21st Biennale of Sydney (2018), La Biennale de Montréal (2016), the 12th Sharjah Biennial (2015), the 9th Taipei Biennial (2014), dOCUMENTA (13) in Kassel (2012) and the 53rd Venice Biennale (2009) as the South Korean representative.

 

Recipient of the 2018 Wolfgang Hahn Prize, she held a survey exhibition titled ETA at the Museum Ludwig in Cologne in the same year, which displayed over 120 works of Yang from 1994-2018. Her recent solo exhibitions include Tracing Movement, South London Gallery (2019); Chronotopic Traverses, La Panacée-MoCo, Montpellier (2018); Tightrope Walking and Its Wordless Shadow, La Triennale di Milano (2018); Triple Vita Nestings, Govett-Brewster Art Gallery, New Plymouth, which travelled from the Institute of Modern Art, Brisbane (2018); VIP’s Union, Kunsthaus Graz (2017); Silo of Silence – Clicked Core, KINDL – Centre for Contemporary Art, Berlin (2017); Lingering Nous, Centre Pompidou, Paris (2016); Quasi-Pagan Serial, Hamburger Kunsthalle (2016); Come Shower or Shine, It Is Equally Blissful, Ullens Center for Contemporary Art, Beijing (2015); and Shooting the Elephant 象 Thinking the Elephant, Leeum, Samsung Museum of Art, Seoul (2015). Forthcoming projects include the Museum of Modern Art (October 2019), Tate St. Ives (May 2020) and Art Gallery of Ontario in Toronto (2020).

 

Yang’s work is included in permanent collections such as the Museum of Modern Art, New York, USA; M+, Hong Kong, China; National Museum of Modern and Contemporary Art, South Korea; Tate Modern, London, UK; The Solomon R. Guggenheim Museum, New York, USA; and The Walker Art Center, Minneapolis, USA. Her work has been the subject of numerous monographs, such as Haegue Yang: Anthology 2006–2018: Tightrope Walking and Its Wordless Shadow (2019); Haegue Yang: ETA 1994–2018 (2018); Haegue Yang – VIP’s Union (2017); and Haegue Yang: Family of Equivocations (2013).

thebass.org/art/haegue-yang/

HAEGUE YANG

IN THE CONE OF UNCERTAINTY

 

NOV 2,2019-APR 5,2020

 

In the Cone of Uncertainty foregrounds Haegue Yang’s (b. 1971, Seoul) consistent curiosity about the world and tireless experimentation with materializing the complexity of identities in flux. Living between Seoul and Berlin, Yang employs industrially produced quotidian items, digital processes, and labor-intensive craft techniques. She mobilizes and enmeshes complex, often personal, histories and realities vis-à-vis sensual and immersive works by interweaving narrative with form. Often evoking performative, sonic and atmospheric perceptions with heat, wind and chiming bells, Yang’s environments appear familiar, yet engender bewildering experiences of time and place.

 

The exhibition presents a selection of Yang’s oeuvre spanning the last decade – including window blind installations, anthropomorphic sculptures, light sculptures, and mural-like graphic wallpaper – taking its title from an expression of the South Florida vernacular, that describes the predicted path of hurricanes. Alluding to our eagerness and desperation to track the unstable and ever-evolving future, this exhibition addresses current anxieties about climate change, overpopulation and resource scarcity. Framing this discourse within a broader consideration of movement, displacement and migration, the exhibition contextualizes contemporary concerns through a trans-historical and philosophical meditation of the self.

 

Given its location in Miami Beach, The Bass is a particularly resonant site to present Yang’s work, considering that over fifty percent[1] of the population in Miami-Dade County is born outside of the United States, and it is a geographical and metaphorical gateway to Latin America. Yang has been commissioned by the museum to conceive a site-specific wallpaper in the staircase that connects the exhibition spaces across The Bass’ two floors. This wallpaper will be applied to both transparent and opaque surfaces to accompany the ascending and descending path of visitors within the exhibition. Informed by research about Miami Beach’s climatically-precarious setting, the wallpaper, titled Coordinates of Speculative Solidarity (2019), will play with meteorological infographics and diagrams as vehicles for abstraction. Interested in how severe weather creates unusual access to negotiations of belonging and community, as well as the human urge to predict catastrophic circumstances, the work reflects a geographic commonality that unconsciously binds people together through a shared determination to face a challenge and react in solidarity.

 

Yang’s exhibition encompasses galleries on both the first and second floors of the museum and exemplifies an array of Yang’s formally, conceptually ambitious and rigorous body of work. Considered an important ‘Light Sculpture’ work and one of the last made in the series, Strange Fruit (2012-13) occupies one of the first spaces in the exhibition. The group of anthropomorphic sculptures take their title from Jewish-American Abel Meeropol’s poem famously vocalized by Billie Holiday in 1939. Hanging string lights dangling from metal clothing racks intertwined with colorfully painted papier-mâché bowls and hands that hold plants resonate with the poem’s subject matter. The work reflects a recurring interest within Yang’s practice, illuminating unlikely, less-known connections throughout history and elucidating asymmetrical relationships among figures of the past. In the story of Strange Fruit, the point of interest is in a poem about the horrors and tragedy of lynching of African-Americans in the American South born from the empathies of a Jewish man and member of the Communist party. Yang’s interests are filtered through different geopolitical spheres with a keen concentration in collapsing time and place, unlike today’s compartmentalized diasporic studies.

 

Central to In the Cone of Uncertainty is the daring juxtaposition of two major large-scale installations made of venetian blinds. Yearning Melancholy Red and Red Broken Mountainous Labyrinth are similar in that they are both from 2008, a year of significant development for Yang, and their use of the color red: one consists of red blinds, while the other features white blinds colored by red light. With its labyrinthine structure, Red Broken Mountainous Labyrinth bears a story of the chance encounter between Korean revolutionary Kim San (1905-1938) and American journalist Nym Wales (1907-1997), without which a chapter of Korean history would not survive to this day. Yearning Melancholy Red references the seemingly apolitical childhood of French writer and filmmaker Marguerite Duras (1914-1996). While living in French Indochina (present-day Cambodia, Vietnam, and Laos), Duras and her family experienced a type of double isolation in material and moral poverty, by neither belonging to the native communities nor to the French colonizers, embodying the potentiality for her later political engagement. Despite their divergent subject matter, both works continue to envelop an interest in viewing histories from different perspectives and the unexpected connections that arise. By staging the two works together, what remains is Yang’s compelling constellation of blinds, choreographed moving lights, paradoxical pairings of sensorial devices – fans and infrared heaters – and our physical presence in an intensely charged field of unspoken narratives.

 

A third space of the exhibition will feature work from Yang’s signature ‘Sonic Sculpture’ series titled, Boxing Ballet (2013/2015). The work offers Yang’s translation of Oskar Schlemmmer’s Triadic Ballet (1922), transforming the historical lineage of time-based performance into spatial, sculptural and sensorial abstraction. Through elements of movement and sound, Yang develops an installation with a relationship to the Western Avant-Garde, investigating their understanding in the human body, movement and figuration.

 

Observing hidden structures to reimagine a possible community, Yang addresses themes that recur in her works such as migration, diasporas and history writing. Works presented in In the Cone of Uncertainty offer a substantial view into Yang’s rich artistic language, including her use of bodily experience as a means of evoking history and memory.

 

Haegue Yang lives and works in Berlin, Germany and Seoul, South Korea. She is a Professor at the Staedelschule in Frankfurt am Main. Yang has participated in major international exhibitions including the 21st Biennale of Sydney (2018), La Biennale de Montréal (2016), the 12th Sharjah Biennial (2015), the 9th Taipei Biennial (2014), dOCUMENTA (13) in Kassel (2012) and the 53rd Venice Biennale (2009) as the South Korean representative.

 

Recipient of the 2018 Wolfgang Hahn Prize, she held a survey exhibition titled ETA at the Museum Ludwig in Cologne in the same year, which displayed over 120 works of Yang from 1994-2018. Her recent solo exhibitions include Tracing Movement, South London Gallery (2019); Chronotopic Traverses, La Panacée-MoCo, Montpellier (2018); Tightrope Walking and Its Wordless Shadow, La Triennale di Milano (2018); Triple Vita Nestings, Govett-Brewster Art Gallery, New Plymouth, which travelled from the Institute of Modern Art, Brisbane (2018); VIP’s Union, Kunsthaus Graz (2017); Silo of Silence – Clicked Core, KINDL – Centre for Contemporary Art, Berlin (2017); Lingering Nous, Centre Pompidou, Paris (2016); Quasi-Pagan Serial, Hamburger Kunsthalle (2016); Come Shower or Shine, It Is Equally Blissful, Ullens Center for Contemporary Art, Beijing (2015); and Shooting the Elephant 象 Thinking the Elephant, Leeum, Samsung Museum of Art, Seoul (2015). Forthcoming projects include the Museum of Modern Art (October 2019), Tate St. Ives (May 2020) and Art Gallery of Ontario in Toronto (2020).

 

Yang’s work is included in permanent collections such as the Museum of Modern Art, New York, USA; M+, Hong Kong, China; National Museum of Modern and Contemporary Art, South Korea; Tate Modern, London, UK; The Solomon R. Guggenheim Museum, New York, USA; and The Walker Art Center, Minneapolis, USA. Her work has been the subject of numerous monographs, such as Haegue Yang: Anthology 2006–2018: Tightrope Walking and Its Wordless Shadow (2019); Haegue Yang: ETA 1994–2018 (2018); Haegue Yang – VIP’s Union (2017); and Haegue Yang: Family of Equivocations (2013).

Return to Forever is a jazz fusion group founded and led by keyboardist Chick Corea. Through its existence, the band has cycled through a number of different members, with the only consistent band mate of Corea's being bassist Stanley Clarke. However in 1972, after having become a disciple of Scientology, Corea decided that he wanted to better ;communicate; with the audience. This essentially translated into his performing a more popularly accessible style of music, since avant-garde jazz enjoyed a relatively small audience.

First group (1972-1973) The first edition of Return to Forever performed primarily Latin-oriented music. Clarke himself became involved in Scientology through Corea, but eventually left the sect in the early 1980s.

Their first album, titled simply Return to Forever, was recorded for ECM Records in 1972 and was initially released only in Europe. Their second album, Light as a Feather (1973), was released by Polydor and included the song, Spain, which also became quite well-known.

Jazz rock era (1973-1976) guitarist Bill Connors, drummer Steve Gadd and percussionist Mingo Lewis were added.. Lenny White (who had played with Corea in Miles Davis's band) then replaced Gadd and Lewis on drums and percussion, and the group's third album, Hymn of the Seventh Galaxy (1973), was then rerecorded.

The nature of the group's music had by now completely changed into jazz-rock, Their music was still relatively melodic, relying on strong themes, but the traditional jazz element was by this time almost entirely absent- replaced by a more direct, rock oriented approach. Over-driven, distorted guitar had also become prominent in the band's new sound, and Clarke had by then switched almost completely to electric bass guitar. A replacement on vocals was not hired, and all the songs were now instrumentals. This change did not lead to a decrease in the band's commercial fortunes however, Return to Forever's jazz rock albums instead found their way onto US pop album charts.

While their second jazz rock album, Where Have I Known You Before, (1974) was similar in style to its immediate predecessor, Corea now played synthesizers in addition to electric keyboards (including piano), and Clarke's playing had evolved considerably- now using flange and fuzz-tone effects, and with his now signature style beginning to emerge. the then 19-year-old guitar prodigy Al Di Meola, who had also played on the album recording sessions joined.

Their following album, No Mystery (1975), was recorded with the same line-up as "Where Have I Known You Before", but the style of music had become more varied. The first side of the record consisted primarily of jazz-funk, while the second side featured Corea's acoustic title track and a long composition with a strong Spanish influence. On this and the following album, each member of the group composed at least one of the tracks. No Mystery went on to win the Grammy Award for Best Jazz Performance by a Group.

The final album by this longest-lasting lineup of the group was Romantic Warrior (1976), which had by this time left Polydor for Columbia Records. This album would go on to become the best selling of all Return to Forever's efforts, eventually reaching gold disc status. Romantic Warrior continued their experiments in the realms of jazz-rock and related musical genres, and was lauded by critics for both the technically demanding style of its compositions as well as for its accomplished musicianship.

After the release of Romantic Warrior and Return To Forever's subsequent tour in support (as well as having in addition signed a multi-million dollar contract with CBS), Corea shocked Clarke by deciding to change the lineup of the group and to not include either White or Di Meola

Final album (1977)

The final incarnation of Return to Forever featured a four piece horn section and Corea's wife Gayle singing vocals, but recorded only one studio album, Musicmagic (1977).After Musicmagic, Chick Corea officially disbanded the group.

Reunion (2008) The classic Return to Forever line-up of Corea, Clarke, White, and Di Meola reunited for a tour of the United States that began in the summer of 2008. 2011 tour From February 2011, the group commences a world tour in Australia. The line-up, billed as Return to Forever IV, is Chick Corea, Stanley Clarke, Lenny White, Frank Gambale and Jean-Luc Ponty.

First group (1972-1973) The first edition of Return to Forever performed primarily Latin-oriented music. This initial band consisted of singer (and occasional percussionist) Flora Purim, her husband Airto Moreira on drums and percussion, Corea's longtime musical co-worker Joe Farrell on saxophone and flute, and the young Stanley Clarke on bass. Within this first line-up in particular, Clarke played acoustic double bass in addition to electric bass. Corea's electric piano formed the basis of this group's sound, but Clarke and Farrell were given ample solo space themselves. While Purim's vocals lent some commercial appeal to the music, many of their compositions were also instrumental and somewhat experimental in nature. The music was composed by Corea with the exception of the title track of the second album which was written by Stanley Clarke. Lyrics were often written by Corea's friend Neville Potter, and were quite often scientology themed- though this is not readily apparent to those not involved in Scientology itself. Clarke himself became involved in Scientology through Corea, but eventually left the sect in the early 1980s.

Their first album, titled simply Return to Forever, was recorded for ECM Records in 1972 and was initially released only in Europe. Their second album, Light as a Feather (1973), was released by Polydor and included the song, Spain, which also became quite well-known.

Jazz rock era (1973-1976) guitarist Bill Connors, drummer Steve Gadd and percussionist Mingo Lewis were added. However, Gadd was unwilling to tour with the band and risk his job as an in-demand session drummer. Lenny White (who had played with Corea in Miles Davis's band) replaced Gadd and Lewis on drums and percussion, and the group's third album, Hymn of the Seventh Galaxy (1973), was then rerecorded (the first recording, featuring Gadd on drums, was never released and has since disappeared).

The nature of the group's music had by now completely changed into jazz-rock, Their music was still relatively melodic, relying on strong themes, but the traditional jazz element was by this time almost entirely absent- replaced by a more direct, rock oriented approach. Over-driven, distorted guitar had also become prominent in the band's new sound, and Clarke had by then switched almost completely to electric bass guitar. A replacement on vocals was not hired, and all the songs were now instrumentals. This change did not lead to a decrease in the band's commercial fortunes however, Return to Forever's jazz rock albums instead found their way onto US pop album charts.

While their second jazz rock album, Where Have I Known You Before, (1974) was similar in style to its immediate predecessor, Corea now played synthesizers in addition to electric keyboards (including piano), and Clarke's playing had evolved considerably- now using flange and fuzz-tone effects, and with his now signature style beginning to emerge. After Bill Connors left the band to concentrate on his solo career, the group also hired new guitarists. Although Earl Klugh played guitar for some of the group's live performances, he was soon replaced by the then 19-year-old guitar prodigy Al Di Meola, who had also played on the album recording sessions.

Their following album, No Mystery (1975), was recorded with the same line-up as "Where Have I Known You Before", but the style of music had become more varied. The first side of the record consisted primarily of jazz-funk, while the second side featured Corea's acoustic title track and a long composition with a strong Spanish influence. On this and the following album, each member of the group composed at least one of the tracks. No Mystery went on to win the Grammy Award for Best Jazz Performance by a Group.

The final album by this longest-lasting "classic" lineup of the group was Romantic Warrior (1976), which had by this time left Polydor for Columbia Records. This album would go on to become the best selling of all Return to Forever's efforts, eventually reaching gold disc status. "Romantic Warrior" continued their experiments in the realms of jazz-rock and related musical genres, and was lauded by critics for both the technically demanding style of its compositions as well as for its accomplished musicianship.

After the release of Romantic Warrior and Return To Forever's subsequent tour in support (as well as having in addition signed a multi-million dollar contract with CBS), Corea shocked Clarke by deciding to change the lineup of the group and to not include either White or Di Meola

Final album (1977)

The final incarnation of Return to Forever featured a four piece horn section and Corea's wife Gayle singing vocals, but recorded only one studio album, Musicmagic (1977).After Musicmagic, Chick Corea officially disbanded the group.

Reunion (2008)

The classic Return to Forever line-up of Corea, Clarke, White, and Di Meola reunited for a tour of the United States that began in the summer of 2008. 2011 tour

From February 2011, the group commences a world tour in Australia. The line-up, billed as Return to Forever IV, is Chick Corea, Stanley Clarke, Lenny White, Frank Gambale and Jean-Luc Ponty

 

Return to Forever is a jazz fusion group founded and led by keyboardist Chick Corea. Through its existence, the band has cycled through a number of different members, with the only consistent band mate of Corea's being bassist Stanley Clarke. However in 1972, after having become a disciple of Scientology, Corea decided that he wanted to better ;communicate; with the audience. This essentially translated into his performing a more popularly accessible style of music, since avant-garde jazz enjoyed a relatively small audience.

First group (1972-1973) The first edition of Return to Forever performed primarily Latin-oriented music. Clarke himself became involved in Scientology through Corea, but eventually left the sect in the early 1980s.

Their first album, titled simply Return to Forever, was recorded for ECM Records in 1972 and was initially released only in Europe. Their second album, Light as a Feather (1973), was released by Polydor and included the song, Spain, which also became quite well-known.

Jazz rock era (1973-1976) guitarist Bill Connors, drummer Steve Gadd and percussionist Mingo Lewis were added.. Lenny White (who had played with Corea in Miles Davis's band) then replaced Gadd and Lewis on drums and percussion, and the group's third album, Hymn of the Seventh Galaxy (1973), was then rerecorded.

The nature of the group's music had by now completely changed into jazz-rock, Their music was still relatively melodic, relying on strong themes, but the traditional jazz element was by this time almost entirely absent- replaced by a more direct, rock oriented approach. Over-driven, distorted guitar had also become prominent in the band's new sound, and Clarke had by then switched almost completely to electric bass guitar. A replacement on vocals was not hired, and all the songs were now instrumentals. This change did not lead to a decrease in the band's commercial fortunes however, Return to Forever's jazz rock albums instead found their way onto US pop album charts.

While their second jazz rock album, Where Have I Known You Before, (1974) was similar in style to its immediate predecessor, Corea now played synthesizers in addition to electric keyboards (including piano), and Clarke's playing had evolved considerably- now using flange and fuzz-tone effects, and with his now signature style beginning to emerge. the then 19-year-old guitar prodigy Al Di Meola, who had also played on the album recording sessions joined.

Their following album, No Mystery (1975), was recorded with the same line-up as "Where Have I Known You Before", but the style of music had become more varied. The first side of the record consisted primarily of jazz-funk, while the second side featured Corea's acoustic title track and a long composition with a strong Spanish influence. On this and the following album, each member of the group composed at least one of the tracks. No Mystery went on to win the Grammy Award for Best Jazz Performance by a Group.

The final album by this longest-lasting lineup of the group was Romantic Warrior (1976), which had by this time left Polydor for Columbia Records. This album would go on to become the best selling of all Return to Forever's efforts, eventually reaching gold disc status. Romantic Warrior continued their experiments in the realms of jazz-rock and related musical genres, and was lauded by critics for both the technically demanding style of its compositions as well as for its accomplished musicianship.

After the release of Romantic Warrior and Return To Forever's subsequent tour in support (as well as having in addition signed a multi-million dollar contract with CBS), Corea shocked Clarke by deciding to change the lineup of the group and to not include either White or Di Meola

Final album (1977)

The final incarnation of Return to Forever featured a four piece horn section and Corea's wife Gayle singing vocals, but recorded only one studio album, Musicmagic (1977).After Musicmagic, Chick Corea officially disbanded the group.

Reunion (2008) The classic Return to Forever line-up of Corea, Clarke, White, and Di Meola reunited for a tour of the United States that began in the summer of 2008. 2011 tour From February 2011, the group commences a world tour in Australia. The line-up, billed as Return to Forever IV, is Chick Corea, Stanley Clarke, Lenny White, Frank Gambale and Jean-Luc Ponty.

First group (1972-1973) The first edition of Return to Forever performed primarily Latin-oriented music. This initial band consisted of singer (and occasional percussionist) Flora Purim, her husband Airto Moreira on drums and percussion, Corea's longtime musical co-worker Joe Farrell on saxophone and flute, and the young Stanley Clarke on bass. Within this first line-up in particular, Clarke played acoustic double bass in addition to electric bass. Corea's electric piano formed the basis of this group's sound, but Clarke and Farrell were given ample solo space themselves. While Purim's vocals lent some commercial appeal to the music, many of their compositions were also instrumental and somewhat experimental in nature. The music was composed by Corea with the exception of the title track of the second album which was written by Stanley Clarke. Lyrics were often written by Corea's friend Neville Potter, and were quite often scientology themed- though this is not readily apparent to those not involved in Scientology itself. Clarke himself became involved in Scientology through Corea, but eventually left the sect in the early 1980s.

Their first album, titled simply Return to Forever, was recorded for ECM Records in 1972 and was initially released only in Europe. Their second album, Light as a Feather (1973), was released by Polydor and included the song, Spain, which also became quite well-known.

Jazz rock era (1973-1976) guitarist Bill Connors, drummer Steve Gadd and percussionist Mingo Lewis were added. However, Gadd was unwilling to tour with the band and risk his job as an in-demand session drummer. Lenny White (who had played with Corea in Miles Davis's band) replaced Gadd and Lewis on drums and percussion, and the group's third album, Hymn of the Seventh Galaxy (1973), was then rerecorded (the first recording, featuring Gadd on drums, was never released and has since disappeared).

The nature of the group's music had by now completely changed into jazz-rock, Their music was still relatively melodic, relying on strong themes, but the traditional jazz element was by this time almost entirely absent- replaced by a more direct, rock oriented approach. Over-driven, distorted guitar had also become prominent in the band's new sound, and Clarke had by then switched almost completely to electric bass guitar. A replacement on vocals was not hired, and all the songs were now instrumentals. This change did not lead to a decrease in the band's commercial fortunes however, Return to Forever's jazz rock albums instead found their way onto US pop album charts.

While their second jazz rock album, Where Have I Known You Before, (1974) was similar in style to its immediate predecessor, Corea now played synthesizers in addition to electric keyboards (including piano), and Clarke's playing had evolved considerably- now using flange and fuzz-tone effects, and with his now signature style beginning to emerge. After Bill Connors left the band to concentrate on his solo career, the group also hired new guitarists. Although Earl Klugh played guitar for some of the group's live performances, he was soon replaced by the then 19-year-old guitar prodigy Al Di Meola, who had also played on the album recording sessions.

Their following album, No Mystery (1975), was recorded with the same line-up as "Where Have I Known You Before", but the style of music had become more varied. The first side of the record consisted primarily of jazz-funk, while the second side featured Corea's acoustic title track and a long composition with a strong Spanish influence. On this and the following album, each member of the group composed at least one of the tracks. No Mystery went on to win the Grammy Award for Best Jazz Performance by a Group.

The final album by this longest-lasting "classic" lineup of the group was Romantic Warrior (1976), which had by this time left Polydor for Columbia Records. This album would go on to become the best selling of all Return to Forever's efforts, eventually reaching gold disc status. "Romantic Warrior" continued their experiments in the realms of jazz-rock and related musical genres, and was lauded by critics for both the technically demanding style of its compositions as well as for its accomplished musicianship.

After the release of Romantic Warrior and Return To Forever's subsequent tour in support (as well as having in addition signed a multi-million dollar contract with CBS), Corea shocked Clarke by deciding to change the lineup of the group and to not include either White or Di Meola

Final album (1977)

The final incarnation of Return to Forever featured a four piece horn section and Corea's wife Gayle singing vocals, but recorded only one studio album, Musicmagic (1977).After Musicmagic, Chick Corea officially disbanded the group.

Reunion (2008)

The classic Return to Forever line-up of Corea, Clarke, White, and Di Meola reunited for a tour of the United States that began in the summer of 2008. 2011 tour

From February 2011, the group commences a world tour in Australia. The line-up, billed as Return to Forever IV, is Chick Corea, Stanley Clarke, Lenny White, Frank Gambale and Jean-Luc Ponty

 

Joel Parkinson Leads ASP Top Stars in Assault on Rip Curl Pro Bells Beach Round 1

 

BELLS BEACH, Victoria/Australia (Wednesday, April 20, 2011) – Today marks the commencement of the 50th Anniversary of competition surfing at Bells Beach as Round 1 of the 2011 Rip Curl Pro Bells presented by Ford Ranger got underway in clean four-to-six foot (1.5 - 2 metre) surf.

 

The Rip Curl Pro Bells Beach, the second stop on the 2011 ASP World Title season, enjoyed consistent surf throughout the day as the world’s best surfers unleashed a barrage of high-performance ripping on the classic canvas of Bells Beach.

 

Joel Parkinson (AUS), 30, 2009 Rip Curl Pro Bells Beach Champion put in a sensational performance this afternoon, electing to sit up at Rincon to secure the day’s highest scores.. Parkinson locked in the highest wave score and the highest heat score of the opening day of competition scoring 17.74 (out of a possible 20.00) to advance directly through to Round 3 of competition.

 

"I fell off twice on the bowl," Parkinson said. "It was really hard to ride. Then CJ (Hobgood) went across to Rincon and got a score, so we followed him over and it worked out for me. It's great to get that opening heat win, especially at Bells. You never know what conditions you're going to get in a heat, so to be able to skip round two and maybe get a day off is a huge advantage."

 

Kelly Slater (USA), 39, reigning 10-time ASP World Champion and defending event winner, was clinical in his attack in his Round 1 heat. Slater had his fellow competitors Adam Robertson (AUS), 28, and Kai Otton (AUS), 31, on the ropes only minutes into the heat, scoring an impressive 16.00 (out of a possible 20.00) on his opening two rides.

 

"I don't free surf out at Bells a whole lot," Slater said. "When the waves are good the comp is on and outside of that it's pretty crowded. So I'm still learning with each heat out there still, surfing against a guy like Robbo (Adam Robertson) you've got to watch where he's sitting, how far our and how deep."

 

Mick Fanning (AUS), 29, currently equal 13th in the hunt for the 2011 ASP World Title, went into today’s competition with renewed vigor after a shock early exit at the last event on the Gold Coast. The past two-time ASP World Champion came out and dominated his Round 1 battle over Tiago Pires (PRT), 31, and Gabriel Medina (BRA), 17.

 

"I'm stoked to get a good start," Fanning said. "It's been 10 years since I won here as I wildcard, I got close last year but Kelly Slater got me in the final. You want to win every event, but being the 50th Anniversary and so much history at this event, it's like the Wimbeldon of surfing, it's a hard one to win but it's the one everyone wants."

 

Alejo Muniz (BRA), 21, led today’s rookie charge, continuing his sensational run after the and equal 5th on the Gold Coast, and dispatching of fellow Brazilian Ranoi Monterio (BRA), 28, and Australian Adrian Buchan (AUS), 28 in this morning’s opening round heat.

 

"It's so good out there!" Muniz said. "This is my first time surfing at Bells and it's the most amazing place. It's got perfect rights, and it's the kind of wave that I love to surf. It's the best place ever, best waves, best weather and I love surfing in wetsuits."

 

Jeremy Flores (FRA), 22, bounced back after missing the Quiksilver Pro Gold Coast with a knee injury, to score a comprehensive win over Taylor Knox (USA), 39, and Cory Lopez (USA), 34.

 

"I wasn't very confident before the heat," Flores said. "But I got that first wave and did a big turn at the end and got a good score. I think that's what you need to do these days, finish the wave strong. My knee still isn't 100%, but I went for it and it's good to win. Big thanks to everyone at the Gold Coast Suns Football Club for helping with my knee, it's feeling much better now."

 

Stu Kennedy (AUS), 21, scored a last minute wildcard into the event and caused the upset of the day, eliminating 2010 ASP World Title runner-up Jordy Smith (ZAF), 23, and Dusty Payne (HAW), 22.

 

"I've been coming here for years," Kennedy said. "I won a Pro Junior here in 2008 and I know where to sit. I don't think Dusty and Jordy know the break as well as I do so that helps. I've been up since 3am because I'm jet-lagged from coming home from Scotland. I woke up with a bunch of energy it's my shaper's birthday so I woke him up at 5am to go surfing. I had to win my heat for him for his birthday."

 

When men’s competition resumes, up first will be 2010 ASP World Runner-Up Jordy Smith (ZAF), 23, up against Trials Winner Adam Robertson (AUS), 28, in the opening heat of Round 2.

 

Following the completion of the men’s Round 1 today, the ASP Top 17 hit the water for Round 1 of the Rip Curl Women’s Pro Bells Beach presented by Ford Fiesta.

 

Stephanie Gilmore (AUS), 23, reigning four-time ASP Women’s World Champion and defending three-time Rip Curl Women’s Bells Beach winner, returned to her winning ways today, after bowing out early at the last event, the Roxy Pro Gold Coast.

 

"My first two years on tour I didn't have great results on the Gold Coast," Gilmore said. "I always bounced back at this event and then finished the year well, so hopefully I'll do that again this year. The Gold Coast was a fine showing of what women's surfing is up to now and everyone has to try and keep up. It really pushes me and I think anyone who wins an event from now on will be a very deserving winner because of that fact."

 

Pauline Ado (FRA), 19, the French rookie caused the upset of the women's event, defeating current ASP World Title front runner Carissa Moore (HAW), 18, in a nail biter of a heat.

 

"I'm really happy, I had a lot of fun out there," Ado said "I got one of my good waves in the first few seconds so after that I felt confident and knew I could be more selective and wait for the right wave. A heat against Carissa is always a tough one, so I'm really stoked to win."

 

When women’s competition resumes, up first will be Paige Hareb (NZL) and Jessi Miley-Dyer (AUS) in the opening heat of Round 2.

 

Event organizers will reconvene tomorrow morning at 7am to assess conditions for a possible 7:30am start.

 

Highlights from the Rip Curl Pro Bells Beach presented by FORD will be webcast available via www.live.ripcurl.com and broadcast live on Fuel TV in Australia and ESPN in Brazil.

 

For more information, log onto www.aspworldtour.com

  

RIP CURL PRO BELLS BEACH ROUND 1 RESULTS:

Heat 1: Alejo Muniz (BRA) 13.23, Adrian Buchan (AUS) 11.26, Raoni Monteiro (BRA) 7.37

Heat 2: Adam Melling (AUS) 14.50, Josh Kerr (AUS) 12.30, Taj Burrow (AUS) 11.00

Heat 3: Heitor Alves (BRA) 14.36, Bobby Martinez (USA) 14.14, Owen Wright (AUS) 10.60

Heat 4: Mick Fanning (AUS) 15.60, Tiago Pires (PRT) 11.07, Gabriel Medina (BRA) 9.27

Heat 5: Stu Kennedy (AUS) 11.70, Dusty Payne (HAW) 10.50, Jordy Smith (ZAF) 9.00

Heat 6: Kelly Slater (USA) 16.00, Kai Otton (AUS) 10.13, Adam Robertson (AUS) 8.53

Heat 7: Jeremy Flores (FRA) 13.17, Cory Lopez (USA) 5.83, Taylor Knox (USA) 4.67

Heat 8: Michel Bourez (PYF) 12.60, Kieren Perrow (AUS) 10.20, Gabe Kling (USA) 3.50

Heat 9: Matt Wilkinson (AUS) 14.60, Damien Hobgood (USA) 11.23, Daniel Ross (AUS) 11.07

Heat 10: Joel Parkinson (AUS) 17.74, C.J. Hobgood (USA) 11.44, Bede Durbidge (AUS) 8.17

Heat 11: Adriano de Souza (BRA) 14.60, Chris Davidson (AUS) 10.83, Julian Wilson (AUS) 9.83

Heat 12: Patrick Gudauskas (USA) 13.40, Jadson Andre (BRA) 9.43, Brett Simpson (USA) 8.93

 

RIP CURL PRO BELLS BEACH ROUND 2 MATCH-UPS:

Heat 1: Jordy Smith (ZAF) vs. Adam Robertson (AUS)

Heat 2: Owen Wright (AUS) vs. Gabriel Medina (BRA)

Heat 3: Taj Burrow (AUS) vs. Bobby Martinez (USA)

Heat 4: Adrian Buchan (AUS) vs. Josh Kerr (AUS)

Heat 5: Damien Hobgood (USA) vs. Raoni Monteiro (BRA)

Heat 6: Bede Durbidge (AUS) vs. Cory Lopez (USA)

Heat 7: Brett Simpson (USA) vs. Gabe Kling (USA)

Heat 8: Jadson Andre (BRA) vs. Daniel Ross (AUS)

Heat 9: Chris Davidson (AUS) vs. Julian Wilson (AUS)

Heat 10: C.J. Hobgood (USA) vs. Kai Otton (AUS)

Heat 11: Kieren Perrow (AUS) vs. Dusty Payne (HAW)

Heat 12: Taylor Knox (USA) vs. Tiago Pires (PRT)

 

RIP CURL WOMEN’S PRO BELLS BEACH ROUND 1 RESULTS:

Heat 1: Sofia Mulanovich (PER) 12.93, Chelsea Hedges (AUS) 8.70, Jessi Miley-Dyer (AUS) 8.66

Heat 2: Silvana Lima (BRA) 14.94, Laura Enever (AUS) 8.84, Melanie Bartels (HAW) 7.54

Heat 3: Pauline Ado (HAW) 14.60, Carissa Moore (HAW) 14.44, Nikki Van Dijk (AUS) 10.63

Heat 4: Stephanie Gilmore (AUS) 16.30, Courtney Conlogue (USA) 9.00, Bethany Hamilton (HAW) 6.50

Heat 5: Sally Fitzgibbons (AUS) 16.10, Alana Blanchard (HAW) 12.83 Paige Hareb (NZL) 7.47

Heat 6: Coco Ho (HAW) 12.90, Tyler Wright (AUS) 12.00, Pauline Ado (FRA) 6.37

 

RIP CURL WOMEN’S PRO BELLS BEACH ROUND 2 MATCH-UPS:

Heat 1: Paige Hareb (NZL) vs. Jessi Miley-Dyer (AUS)

Heat 2: Laura Enever (AUS) vs. Melanie Bartels (HAW)

Heat 3: Carissa Moore (HAW) vs. Nikki Van Dijk (AUS)

Heat 4: Chelsea Hedges (AUS) vs. Bethany Hamilton (HAW)

Heat 5: Tyler Wright (AUS) vs. Alana Blanchard (HAW)

Heat 6: Courtney Conlogue (USA) vs. Rebecca Woods (AUS)

 

Photo ASP/Scholtz

THE ABBEY AT KNOCKMORE

James Ware, in his list of Irish Abbeys, lists a certain Abbey of Knockmore in his list from County Mayo. Unusually he makes absolutely no comment about its ownership, history, founder or name. It is situated near an area still called Friarstown but there is no claim by any of the Orders to have ever had a presence in the area.

 

The wider area is already home to two Dominican Priories and two Franciscan Friaries – The Dominicans at Straide (f. 1252) were seven miles south, the Third Order of Saint Francis were at Rosserk (f. 1440) which lies seven miles north, and, the Observant Franciscans were at Moyne (f. 1460) nine miles northwards. The second Dominican community was twelve miles to the north at Rathfranpark (f. 1274). Whilst there is no doubt that the local Lord, FitzJordan, was a generous sponsor of the friars it is unlikely that the local population could have supported a fifth mendicant house in the area. Even today the eastern shore of Lough Mask would have the densest population in Mayo; the total population would have been unlikely to have been able to support five mendicant communities.

 

Back to the abbey and, it would be safe to assume that this was a church served out of one of the other communities. The Franciscans lived seven miles north and the Dominicans seven miles south – the locals know nothing about it, and certainly had not linked either Dominicans or Franciscans to the area. O’Heyne says that he heard that there was a Dominican community founded by O’Gara at Knockmore but knew nothing of it. Hubert Knox, in his work, NOTES ON THE EARLY HISTORY OF THE DIOCESES OF TUAM KILLALA AND ACHONRY, lists Knockmore as a Dominican possession writing; Knockmore, in parish of Kilfree, founded by O’Gara in the I4th century. It had only a trifle of land. It is in Mount Irvine townland. His contemporary, Ambrose Coleman, simply states that there is no evidence of the existence of a Dominican foundation in this place. Knox adds nothing other than the names of townlands to what O’Heyne wrote.

 

The church building is quite large but lacks any ornamentation. The standard of the stone and style indicates that the building is somewhere after 1500. The late date would be consistent with the period when the Franciscans were reforming and founding new houses. Roughly about the time of the construction the Bishop of Killala, Bernard O’Connell (1432-1461), was active in reforming the Franciscan communities. Rosserk refused to reform and Moyne was founded instead with the Bishop’s support. The fact that only twenty years elapsed between the two foundations is unusual. There was great tension between the communities and it would have been unlikely that the Bishop would have given his consent to another foundation; so it is improbable that Knockmore was Franciscan.

 

Purely by a process of elimination the abbey might have been staffed by the Dominicans – or – maybe it was never an abbey at all! The Diocese has a history stretching back beyond its sixteenth century records and this may have been a normal diocesan church. A whisper in O’Heyne is the only support for that and there are no other sources that suggest anything about its foundation. But, the fact that a truth is only said once does not render it untrue!

 

"-Etta James courtesy of Talent Business and Personal Manager Kathleen Checki."

"Etta James a woman I had the honor of working, sharing and laughing with." "-Etta's Talent Manager Kathleen Checki."

"-Simply Consistent Management."

www.simplyconsistent.com/management

"-Kathleen Checki."

 

"-Etta James."

"-Kathleen Checki."

"-Checki."

"-Simply Consistent."

"Simply Consistent Management."

"-Etta James and her manager Kathleen Checki."

ROMA ARCHEOLOGIA E RESTAURO ARCHITETTURA: Update - The Forum and Temple of Trajan in Rome (2018-20): "L’evidenza archeologica ha dimostrato che il tempio c’è.” With New Comments & New Information Courtesy of Prof. James E. Packer (18 March 2020).

PDF = wp.me/pbMWvy-5t

 

Note: I have actually been working on this brief notice on the The Forum and Temple of Trajan in Rome (2019-2020) since May 2020 onwards (1), but, with the recent Italian 'Chinese virus’ Crisis in late Feb thru March 2020, I have been sidelined communicating, discussing and attempting help my dear friend in Rome.

 

ROMA ARCHEOLOGIA E RESTAURO ARCHITETTURA: Update - The Forum and Temple of Trajan in Rome (2018-20): "L’evidenza archeologica ha dimostrato che il tempio c’è.” With New Comments & Information Courtesy of Prof. James E. Packer (18 March 2020).

 

Update - Rome recently in late January 30 2020 and in early 11-13 December 2019, the numerous Italian scholars in Rome affiliated with the long-term research and studies of the Forum and Temple of Trajan at the two following conference’s (see below) presented and discussed the results of their recent work on the Forum and Temple of Trajan, see:

 

I). Rome - LA TOPOGRAFIA DELL’AREA A NORD DEL FORO DI TRAIANO. Giornata di studio. Rome, the Auditorium dell’ Ara Pacis (30 January 2020).

 

Abstract - La giornata di studio è finalizzata a confrontare differenti esperienze della ricerca archeologica riguardanti un’area di grande importanza nella topografia antica della città. In essa infatti doveva trovarsi il grande tempio di Traiano e Plotina divinizzati la cui esatta localizzazione e consistenza sono, da anni, al centro di un intenso dibattito fra gli specialisti. Verranno anche presentati i risultati di nuovi scavi effettuati dalla Scuola Spagnola [see: note 2] nei sotterranei della sua sede di via di S. Eufemia oltre a quelli delle indagini realizzate dalla Città Metropolitana di Roma nel sottosuolo di palazzo Valentini. Si ripercorreranno le tappe della scoperta degli auditoria adrianei di piazza Venezia, a cura del Parco Archeologico del Colosseo, e verranno esposte nuove teorie riguardanti alcuni dei principali monumenti esistenti in antico nell’area oggetto di studio. Infine saranno illustrati i risultati più recenti della ricerca sulla topografia e sulla decorazione architettonica del Foro di Traiano.

 

Fonte / source:

--- Convegno La topografia dell’area nord del Foro di Traiano/ 30 de Enero de 2020. Rome, EEHAR [the Spanish School of History and Archaeology in Rome] (01/2020) (accessed late January 2020).

www.eehar.csic.es/convegno-la-topografia-dellarea-nord-de... (3).

 

Surprisingly, after a lengthy search on the internet, apparently no one from the Italian TV or newspaper media (print, internet or social media resources) in Rome reported on the furthcoming or actual ‘La topografia dell’area nord del Foro di Traiano’ conference on 30 January 2020? But, then again since mid-t0-late 2019 and up-to early 2020, for some unknown reason compared to past years (2008-18), the recent news of the archaeological & restoration work in the area of the Imperial Fora of Rome has not been covered by the Italian media? (4).

 

The only mention of the ‘La topografia dell’area nord del Foro di Traiano’ conference (30 January 2020) is brief notice recently posted on the following Facebook page:

 

I.1. Dr. Riccardo Montalbano (ed.), Qualche breve considerazione sul convegno "LA TOPOGRAFIA DELL'AREA A NORD DEL FORO DI TRAIANO", in: Topografia di Roma antica / Topography of Ancient Rome. Facebook (01 Feb. 2020) (accessed 19 March 2020).

 

Fonte / text & foto / sources:

Dr. Riccardo Montalbano (ed.), Topografia di Roma antica / Topography of Ancient Rome. Facebook (01 Feb. 2020). www.facebook.com/groups/540545102790727/

 

Nel corso della giornata di studi sono emersi numerosi dati inediti e sono stati proposti spunti di grande interesse. In particolare:

 

1). Presenza di un incredibile palinsesto murario rinvenuto nelle cantine della nuova sede della Escuela Española de Historia y Arqueología en Roma, in via di Sant'Eufemia (intervento: Antonio pizzo e Massimo Vitti). L'elemento più interessante, a mio avviso, è la presenza di resti riferibili a un colombario (datazione proposta: età augustea), che solleva nuovi problemi circa la linea pomeriale nella zona (chiaramente connesso con le mura repubblicane che, come noto, correvano lungo la sella poi cancellata a partire dall'età domizianea).

 

2). Rilettura complessiva delle 3 aule - Auditoria vs Athenaeum - con la novità riguardante un presunto ingresso da sud, costituito dalla "quinta" rinvenuta nel 1932 e ora messa in connessione con il sistema delle tre aule. Questo fronte, movimentato da una grande abside, avrebbe schermato l'irregolare disposizione retrostante (intervento: R. Rea).

3). Templum divi Traiani et Plotinae: secondo P. Baldassarri la presenza del tempio, un ottastilo con colonne da 50 piedi, è giustificata dalla grande fondazione rinvenuta (la cui larghezza però non è sufficiente a giustificare la fronte del tempio così come immaginato; per questo motivo, essa viene riferita solo alla scalinata del tempio, dunque all'interasse tra le guance della scalinata di accesso frontale), oltre che dalle camerelle di fondazione. In questa ricostruzione, non si rinuncia al grande portico a ferro di cavallo (a mio avviso, lo sviluppo a est della domus B di palazzo Valentini sembra far escludere questa soluzione). Bellissimi i frammenti architettonici rinvenuti, tra cui uno splendido frammento di rilievo con grifo.

 

4). Nuovi preziosi dati vengono dalla zone biblioteche del foro di Traiano e, in particolare, dall'esplorazione della cappella sepolcrale della chiesa del Ss. Nome di Maria e dalle strutture individuate (parte della biblioteca orientale). I nuovi dati permettono di articolare nel dettaglio il sistemare delle scale e degli accessi.

 

Inoltre, si ripropone un'altra alternativa circa l'ingresso del Foro da nord, con un grande arco di ingresso (intervento R. Meneghini - E. Bianchi), arco che secondo E. La Rocca è da identificare con l'arco partico noto dalle fonti letterarie (intervento E. La Rocca).

 

5). Interessantissime le osservazioni sul frammento 36b della Forma Urbis, la cui iscrizione sinora era stata letta com TEM PL (um) e identificato con il complesso campense dedicato a Matidia. La novità, correttamente rilevata, consiste nella presenza di un separatore e un'eccessiva spaziature tra TEM - PL, da leggere come Tem(plum) Plotinae (come proposto). Ciò apre interessanti prospettive sia epigrafiche (questione della dedica del tempio e della titolatura inversa tra Traiano e Plotina), sia topografiche (collocazione del frammento rispetto alla griglia della FUM).

6). Di grande utilità, infine, le considerazione su tutto l'apparato decorativo del foro (intervento L. Ungaro) e sui frammenti di ordine gigante rinvenuti nell'area (intervento M. Milella). Ma su questi temi, sutor ne ultra crepidam…

 

II). Rome - Dr. Paola Baldassarri (Città Metropolitana di Roma Capitale), “L'area a Nord della Colonna Traiana e il Tempio dei divi Traiano e Plotina : riflessioni in merito alle indagini di Palazzo Valentini.” Conférence - Topographie et urbanisme de la Rome antique, Caen, France (11-13 Dec. 2019).

 

During the conference Dr. Baldassarri presented the following lecture on the “L'area a Nord della Colonna Traiana e il Tempio dei divi Traiano e Plotina,” in Caen, France (Dec. 2019). This presentation briefly discusses the recent series of excavations below the Palazzo Valentini in 2018-19, also based upon her recent published work on the Temple in the following journal articles (including two published works in English [2011, 2014-15]).

 

Fortunately, the various presentations at the recent Conference - Topographie et urbanisme de la Rome antique, Caen, France (11-13 Dec. 2019), with these presentation lectures recorded and now available on You-tube as of mid-January 2020. Note: several screenshots taken from Dr. Baldassarri’s video and converted into photographs are also republished here.

 

--- Dr. Paola Baldassarri (Città Metropolitana di Roma Capitale), “L'area a Nord della Colonna Traiana e il Tempio dei divi Traiano e Plotina : riflessioni in merito alle indagini di Palazzo Valentini.” Conférence - Topographie et urbanisme de la Rome antique, Caen, France (11-13 Dec. 2019). You-Tube (17 January 2020) [24:50].

www.youtube.com/watch?v=2uoeQ1MVDR0&t=313s

 

As mentioned Dr. Baldassarri’s lecture presentation is based upon several of her recently published works (2012-18) on the “il Tempio dei divi Traiano e Plotina” several as cited and available in PDF (particularly in RM 122 [2016], pp. 171-202) as listed here below :

 

--- Paola Baldassari (2018), “Gli scavi Palazzo Valentini e il Templum Divi Traiani et Divae Plotinae: omaggio di Adriano divis parentibus.” [Unpublished] paper / lecture read at the following conference in Rome = ‘Il Convegno Internazionale “adventus Hadriani 118 – 2018”’. Rome, Italy (4 July 2018). aha.uniroma2.it/it/ S.v., independent.academia.edu/PBaldassarri

 

--- Paola Baldassarri, (2017), “Templum divi Traiani et divae Plotinae : nuovi dati dalle indagini archeologiche a Palazzo Valentini.” RendPontAcc. 89, pp. 599-648. (Abstract in Italian & English). [= Part. II of] “FORO TRAIANO: ORGANIZZAZIONE DEL CANTIERE E APPROVVIGIONAMENTO DEI MARMI ALLA LUCE DEI RECENTI DATI DI PALAZZO VALENTINI.”

www.pont-ara.org/index.php?module=Pubblicazioni&func=...

 

--- Paola Baldassarri (2016), “Indagini archeologiche a Palazzo Valentini. Nuovi dati per la ricostruzione del tempio di Traiano.” RM 122, pp. 171-202 [in PDF]. (Abstract in English).

 

--- Paola Baldassarri (2015), “Le indagini archeologiche a Palazzo Valentini (Roma) e il tempio dei divi Traiano e Plotina,” pp. 1689 - 1756 [in PDF], in: Paola Ruggeri et al., L’Africa romana Momenti di continuità e rottura: bilancio di trent’anni di convegni L’Africa romana. Vol. II., Rome: Carocci editore (2015).

www.academia.edu/32087781/Paola_Baldassarri_Le_indagini_a...

 

--- Paola Baldassarri (2013), “Alla ricerca del tempio perduto: indagini archeologiche a Palazzo Valentini e il templum Divi Traiani et Divae Plotinae.” Arch.Cl. 64., pp. 371–481 [in PDF]. (Abstract in English).

www.academia.edu/29206723/Alla_ricerca_del_tempio_perduto...

 

--- Paola Baldassarri; Antonella Lumacone & Luca Salvatori (2012), “Nuove indagini archeologiche a Palazzo Valentini. Il tempio dei divi Traiano e Plotina.” Forma Urbis, XVII, 5 (May 2012): 45-52 [in PDF]. wp.me/pPRv6-2ab

 

For a brief summary by Dr. Baldassarri research on the Temple of Trajan in English (2011, 2014 & 2015), see:

 

--- ROMA ARCHEOLOGIA e RESTAURO ARCHITETTURA. ROMA – rinvenimenti sotto Palazzo Valentini – l´esistenza e una porzione di un edificio che potrebbe essere l´introvabile Tempio del Divo Traiano. LA REPUBBLICA (19/05/2007) & Luisa Napoli & Paola Baldassarri, RESEARCH ARTICLE – Palazzo Valentini: Archaeological discoveries and redevelopment projects. Frontiers of Architectural Research, Vol. 4.2 (June 2015): 91-99. wp.me/pPRv6-4VP

 

--- ROMA ARCHEOLOGICA & RESTAURO ARCHITETTURA: “Roberto Del Signore & Paola Baldassarri, Provincia di Roma, “The multimedia museum: an original meeting between antiquities and innovation in the Roman domus of Palazzo Valentini,” Conference – ATHENS, GREECE (2 OCT. 2014) [PDF], pp. 1-81. [And Foto: Dott.ssa Arch. Maria G. Ercolino (2014)].

wp.me/pPRv6-2QS

 

--- Paola Baldassarri (2011), “Archaeological Excavations at Palazzo Valentini: a residential area in the shade of the Trajan’s Forum,” pp. 43-67 [in PDF], in: Mustafa Sahin et al., 11th INTERNATIONAL COLLOQUIUM ON ANCIENT MOSAICS, Bursa October 16th–20th 2009, Istanbul : Uludağ University (2011).

www.academia.edu/29207218/Archaeological_Excavations_at_P...

 

III). Rome, the ‘Il Foro di Traiano’ and the ‘il Tempio di Traiano e Plotina’ and the Sovrintendenza Capitolina / “Il Foro di Traiano / Il tempio che non c’è.” (April 2019) (re-accessed March 2020).

 

Sometime in March and or April 2019, after nearly a decade of providing no new useful information on the Imperial Fora (2008-19), the Sovrintendenza Capitolina ai Beni Culturali's webpage for the Fori Imperiali (Roman Antiquity [and now thru through the Modern era]) finally updated its website with the new information as listed here below:

 

--- Sovrintendenza Capitolina (April 2019 [March 2020]) = “Home » Patrimonio » Roma antica » Aree archeologiche » Fori Imperiali.” =

www.sovraintendenzaroma.it/i_luoghi/roma_antica/aree_arch....

 

“L’area prima dei Fori, Il Foro di Cesare, Il Foro di Augusto, Il Templum Pacis, Il Foro di Nerva, Il Foro di Traiano, Mercati di Traiano e Museo dei Fori Imperiali, La Terrazza domizianea & I Fori Imperiali dal Medioevo ad oggi.” And “Bibliografia essenziale” & “Fori Imperiali - Dati archivio.”

 

In the section of the Sovrintendenza’s website devoted to the Forum and Temple of Trajan, now listing the following information =

 

1.1). Sovrintendenza Capitolina / “Il Foro di Traiano / Il tempio che non c’è.” (April 2019 [March 2020]). www.sovraintendenzaroma.it/content/il-tempio-che-non-c%E2...

 

‘Il tempio che non c’è - Nel Foro di Traiano mancava il tempio, edificio che abbiamo visto invece costantemente presente negli altri Fori Imperiali. In passato si riteneva che un gigantesco tempio dedicato a Traiano e Plotina divinizzati (e comunque non a una divinità “tradizionale”, come era sempre accaduto) fosse stato edificato dal successore di Traiano, ossia Adriano (117-138 d.C.) al limite settentrionale del complesso, in un’area sostanzialmente corrispondente a quella in cui oggi si trova Palazzo Valentini. Le ricerche effettuate in tempi recenti nei sotterranei del Palazzo hanno invece riportato alla luce resti, anche consistenti, di edifici d’abitazione, ridimensionando o escludendo così la presenza di un tempio in questo punto.’

 

An alternative website, the 'fori-imperiali.info' (April 2019), re-publishes the same information from the Sovrintendenza's website: "Roma antica » Aree archeologiche » Fori Imperiali »", with the exception of providing an English Language version, as follows:

 

'The temple that isn’t there - Within Trajan’s Forum there is no temple, a building which is present in all the other Imperial Fora. In the past it was believed that an enormous temple had been built to celebrate the deified Trajan and Plotina (and not as a “traditional” divinity as had always been the case). This temple was believed to have been built by Trajan’s successor Hadrian (117-138 A.D.) at the northern edge of the complex, in an area that is essentially where Palazzo Valentini stands today. Recent researches carried out in the basement of that building has brought to light ruins of private habitations, some quite substantial, which would appear to exclude the presence of such a temple in that area or at least reduce its possible size.'

 

Additional information in English on the Forum / Temple of Trajan in English, cited from Fori-imperiali.info “I Fori Imperiali” (April 2019) = fori-imperiali.info/ & “Il Foro di Traiano / Il tempio chenon c’è” .http://fori-imperiali.info/005-2/ (Accesssed April 2019) (re-accessed March 2020).

 

The Sovrintendenza's website on 'il foro di Traiano » il tempio che non c’è' offers no attribution to the source of the photograph (i.e., digital reconstruction of the Forum / Temple of Trajan); while the 'fori-imperiali.info' website cites, the following information:

"Ipotesi ricostruttiva del Tempio di Traiano (J. Packer)." This image of the Tempio di Traiano (i.e. J. Packer), was originally published in the following work: “Fig. 15 - Conjectural reconstruction of the Temple of Divine Trajan and the temenos (J. Burge)”, facing page 112; see: J. E. Packer, with John Burge (2003), “TEMPLUM DIVI TRAIANI PARTHICI ET PLOTINAE: a debate with R. Meneghini.” JRA 16 (2003): 109-113.

 

Note: Just recently Prof. Packer was kind enough to allow me to republish online a copy of his following 2003 work [in PDF] (see below in section # IV):

 

--- James E. Packer, with John Burge (2003), “TEMPLUM DIVI TRAIANI PARTHICI ET PLOTINAE: a debate with Roberto Meneghini.” JRA 16, pp. 109-136 [now in PDF].

  

The revision of the Sovrintendenza Capitolina / “Il Foro di Traiano / Il tempio che non c’è.” (April 2019), might be based upon a series of recent articles published by Dr. Eugenio La Rocca (2018) & Dr. Roberto Meneghini (2018) on the Forum and Temple of Trajan. In the former article by Prof. La Rocca basically dismisses the interesting research and will argued conclusions for the ‘traditional’ location and architectural design of Temple of Trajan (similar to that of J. E. Packer [2003]), as then published in Dr. Baldassarri RM 122 (2016 ): 171-202 (as cited above) (5).

 

--- ROMA ARCHEOLOGIA e RESTAURO ARCHITETTURA: Eugenio La Rocca, Il tempio dei divi Traiano e Plotina, l’arco partico e l’ingresso settentrionale al foro di Traiano: un riesame critico delle scoperte archeologiche. Veleia, No. 5 (2018): 57-107 [in PDF]. wp.me/pPRv6-4LR

 

Abstract: The temple of the divi Trajan and Plotina, the Parthian arch and the northern entrance to the Trajan forum: a critical review of archaeological discoveries. There is some reliable evidence from antique sources about the templum divi Traiani, thanks to which it is known that the templum was connected with the column of Trajan, although they do not clarify neither the morphology of the building nor its actual location. The recent excavations carried out in the foundations of the palazzo Valentini have not shed some light on the problem. The reproduction of the gigantic temple, with 8 × 10 (or 9) Egyptian granite columns of 50 feet height, is still based on the hypothetical reconstruction of the northern area of the Trajan forum drawn by Guglielmo Gatti [= based on his grandfather’s notes] and by Italo Gismondi. Something the results of new investigations do not actually allow it. Furthermore, the proposed solutions do not take into account the Parthian arch of Trajan, whose placement at the southern entrance of the Trajan forum, as suggested by Rodolfo Lanciani and Italo Gismondi, can no longer be sustained. It is likely that the arch, whose construction was started in May of 116 A. D. and it was still ongoing at the time of Trajan’s death on the 7th of August of 117 A. D., was instead the main entrance of the forum, that is, the northern one, in an area affected by the building interventions of Hadrian, whose entity and motivations, unfortunately, fly from us. The existence of the Parthian arc in the area partially occupied by the templum divi Traiani, at least according to the most recent proposals of reconstruction, compels to revise the Hadrian’s setting of the Trajan forum to the north of the columna cochlis.

 

--- ROMA ARCHEOLOGIA e RESTAURO ARCHITETTURA: Lucrezia Ungaro, Traiano e la costruzione della sua immagine nel Foro | Trajan and the construction of his representation, Veleia, No. 5 (2018): 151-177 [in PDF]. wp.me/pPRv6-4LF

 

Abstract – The discovery of a new colossal portrait of Trajan occurred during the preparation of the exhibition «Trajan. Building the Empire, creating Europe», gave a renewed reading of the complex figurative program wanted by the emperor in his Forum. In the framework of his political, military and social action, the Forum is in fact the highest representation of his virtus imperatoria and of the maiestas populi romani. In particular, the portraits of the Traianus Father and of the so-called Agrippina / Marcia are reconsidered, in the light of a possible gallery dedicated to Trajan’s genetic family and his models, such as Julius Caesar. Equal attention is devoted to the distribution of sculptures and reliefs discovered in forensic spaces, to their hierarchical relationship in the huge space of the square. Finally, the proposal to recognize the porticus porphiretica in the three-segmented hall is reconsidered, examining preliminarily the known porphyry sculptures attributable to the Forum, and some fragments preserved in the deposits of the Museum of the Imperial Fora, thus getting new interest.

 

--- ROMA ARCHEOLOGIA e RESTAURO ARCHITETTURA: Roberto Meneghini, L’Arco di Traiano partico nel Medioevo. Veleia, No. 5 (2018): 180-188 [in PDF]. wp.me/pPRv6-4LV

 

Abstract: The hypothesis, put forward by Eugenio La Rocca in this same volume, of the presence of the Arcus Parthicus of Trajan in the area immediately to N of the Trajan’s Column seems to be confirmed by the medieval tradition. In fact, in the area are cited from historical sources and archives, the Arch of the Foschi di Berta (in reality cannot be precisely positioned), and an Arcus Traiani Imperatoris that would be exactly in correspondence with the structures found in the recent excavations of the subsoil of Palazzo Valentini, now of the Provincia or the Città Metropolitana di Roma.

 

Likewise, Dr. R. Meneghini and Dr. L. Ungaro in published a series of conference presentations on the Forum and Temple of Trajan for the recent Traiano exhibit in Rome (2017-18), see:

 

--- Roberto Meneghini, I Fori Imperiali / Il Foro di Traiano, pp. 1-20 [in PDF], in: Traiano: Costruire L’Impero, Creare L’Europa (Trajan: Constructing the Empire, Creating Europe), Mercati di Traiano, Museo dei Fori Imperiali, Rome (08/05/2018), 29 November 2017–16 September 2018. wp.me/pPRv6-4LF

 

--- Lucrezia Ungaro, Dai frammenti alle ricomposizioni, dai depositi ai nuovi progetti di allestimento, pp. 1-76 [in PDF], Traiano: Costruire L’Impero, Creare L’Europa (Trajan: Constructing the Empire, Creating Europe), Mercati di Traiano, Museo dei Fori Imperiali, Rome (08/05/2018), 29 November 2017–16 September 2018. wp.me/pPRv6-4LF

 

For a review of the Traiano Exhibit (2017-18) and additional information, see:

 

Traiano: Costruire L’Impero, Creare L’Europa (Trajan: Constructing the Empire, Creating Europe), Mercati di Traiano, Museo dei Fori Imperiali, Rome, 29 November 2017–16 September 2018, curated by Claudio Parisi Presicce, Marina Milella, Simone Pastor, and Lucrezia Ungaro.

 

--- ROMA ARCHEOLOGIA e RESTAURO ARCHITETTURA: Online Museum Review – Jeremy Hartnett, Marketing Trajan at the Museo dei Fori Imperiali. AJA 122.4 (Oct. 2018): 1-6 [in PDF], s.v, Roberto Meneghini | Lucrezia Ungaro (2018) [in PDF] & s.v., Prof Arch. P. Martellotti / Dott.ssa Arch. B. Baldrati (1999-2002).https://wp.me/pPRv6-4LF

 

IV). ROMA ARCHEOLOGIA e RESTAURO ARCHITETTURA: Update - The Forum and Temple of Trajan in Rome (2018-20): "L’evidenza archeologica ha dimostrato che il tempio c’è.” With New Comments & New Information Courtesy of Prof. James E. Packer (18 March 2020).

 

Rome, the Temple of Trajan: “…La scoperta non è sensazionale perché anche in passato si era parlato della possibile esistenza del Tempio di Traiano sotto Palazzo Valentini. La presenza della domus aveva fatto passare di moda l’ipotesi. L’evidenza archeologica ha dimostrato che il tempio c’è. Un impulso alla ricerca viene anche dallo scavo di Roberto Egidi (Soprintendenza statale) che messo in luce l’Athenaeum e che non è famoso come [Prof. Andrea] Carandini e [Prof. Eugenio] La Rocca! Peccato che verrà presto ricoperto. La situazione nel complesso frena gli entusiasmi.”

 

Comment Former Senior Director with the MIBACT and Italian archaeologist,

personal communication to M. G.Conde (08 December 2011) (6).

  

Since the fall 2019 and up-to the 30 January 2020, with having access now to Dr. Baldassarri’s recent work on the Temple of Trajan in Rome = the notice of the "LA TOPOGRAFIA DELL'AREA A NORD DEL FORO DI TRAIANO", Rome Conference in Jan. 2020; her conference video presentation in Caen, France in mid-December 2019 and several of her recently published articles, notably the RM 122 (2016 ): 171-202.

 

I would like to offer a personal comment on Dr. Baldassarri’s recent work on the Temple of Trajan (2018-20), as noted in her RM 122 (2016 ): 171-202, she fundamentally completely ignores the invaluable previously work conducted on the Forum of Trajan by Prof. James E. Packer (2006, 2003, 2001 & 1997)? In her reconstruction of the history of the excavations and studies of the temple in the 19th, along with her new digital reconstruction of the temple itself. With the exception of the few architectural remains of the Temple brought to light underneath the Palazzo Valentini (2005 onwards), her work is fundamentally continuing the work and similar design plans of Prof. Packer’s earlier work on the Temple?

 

For the benefit of the non-Italian independent researchers, university students and scholars interested in the research and studies of the Forum and Temple of Trajan (2017-2020), after discussing with Prof. Packer the recent work of Dr. Baldassarri, Dr. La Rocca and Dr. Meneghini (2017-20), although he is currently engaged in his forthcoming book on the Theater of Pompey in Rome. He found the new research on the Temple of Trajan very interesting. As for his recent and past work in Forum of Trajan, see the following:

 

--- James E. Packer [on Facebook] (15 May 2015). Personal comments in reference to: “I FORI IMPERIALI – “Un marmo sopra l’altro così rialzeremo le colonne del Foro di Traiano.” LA REPUBBLICA (15 May 2015). wp.me/pPRv6-2Y1

 

--- James E. Packer (2013a), [Review of] “The Atlante: Roma antica revealed,” ANDREA CARANDINI (a cura di) con PAOLO CARAFA, ATLANTE DI ROMA ANTICA. BIOGRAFIA E RITRATTI DELLA CITTÀ (Mondadori Electa 2012). 2 vols. Pp. 1086, pls. XVII + 276 + 37 map

sections. ISBN 978-88-370-8510-9. EUR. 150.” JRA 26 (Nov., 2013), pp. 553-561.

(Abstract). doi.org/10.1017/S104775941300041X & wp.me/pPRv6-1S5

 

--- James E. Packer (2013b), interview with J. E. Packer, in: T.E. Watts, “Rome Walk: Imperial Fora II-Trajan’s Forum and Market,” Rome: You-Tube (22 Nov. 2013), [1:00:13]. Interview with J. E. Packer, during a school group tour visit to the Forum of Trajan & the Forum of

Caesar. Rome: You-Tube (22 Nov. 2013), [1:00:13]. wp.me/pPRv6-2pu

 

--- James E. Packer (2008a), “Italo Gismondi and Pierino Di Carlo: ―Virtualizing Imperial Rome for 20th-Century Italy.” AJA Online Review Article, 112.3 (July), pp. 1-6 [PDF]. AJA Online Edition.

www.ajaonline.org/online-review-article/254 & PDF = wp.me/pPRv6-2GB

 

Prof. James E. (2008b), “The Column of Trajan: the topographical and cultural contexts.” JRA 21, pp. 471-478 [PDF]. (Abstract) doi.org/10.1017/S104775940000478 & PDF = wp.me/pPRv6-1sv

 

--- James E. Packer (2006), “Digitizing Roman Imperial architecture in the early 21st century: purposes, data, failures, and prospects,” pp. 309-320; in: L. Haselberger and J. Humphrey (eds)., Imaging Ancient Rome. Documentation – Visualization – Imagination. Proceedings of the Third Williams Symposium on Classical Architecture, 2004. JRA Supplementary Series 61 (2006). Index summary, JRA Supl. 61 (2006).

 

--- James E. Packer, with John Burge (2003), “TEMPLUM DIVI TRAIANI PARTHICI ET PLOTINAE: a debate with Roberto Meneghini.” JRA 16, pp. 109-136 [in PDF] (7).

 

--- James E. Packer (2001a), The Forum of Trajan in Rome: A Study of the Monuments in Brief. University of California Press (2001), pp. 1-235. (Preview & abstract in Google Books).

books.google.com/books?id=Tn7zf3ecm2wC&source=gbs_nav...

 

--- James E. Packer (2001b), Il Foro di Traiano a Roma: breve studio dei monumenti. Rome: Edizioni Quasar (2001), pp. 1-256. (Tradotto in italiano da Elisabetta Ercolini [translated into Italian by Elisabetta Ercolini]). (Abstract and summary) =

www.edizioniquasar.it/sku.php?id_libro=481&bef=1638&a...

 

--- James E. Packer (1997a), “Report from Rome: The Imperial Fora, a Retrospective.” AJA 101 (Apr., 1997), pp. 307-330 [PDF]. (Abstract) www.jstor.org/stable/506512 & PDF = wp.me/pPRv6-2oq

 

And for two important peer-review articles in English and Italian on Prof. Packer’s work on the Forum of Trajan (2001 & 1997), see:

 

--- Tom Stevenson (2002), [Review of] “James E. Packer & John Burge, The Forum of Trajan in Rome: a Study of the Monuments in Brief (2001).” PRUDENTIA Vol 34, No 1, pp. 101-105 [PDF]. prudentia.auckland.ac.nz/index.php/prudentia/article/view...

 

--- Francesco Ferretti, (2001), “Foro di Traiano – Notiziario bibliografia”: J. E. Packer, Forum of Trajan Vol. I-III; R. Meneghini, F. di Traiano, RM 105 (1998); & E. La Rocca, F. di Traiano, RM 105 (1998); in: Notiziario bibliografico di Roma e Suburbio, 1997-2001. BCom Vol. 102 (2001), pp. 399-400 [PDF]. wp.me/pPRv6-4BX

 

Hope the readers will have found this brief notice of the Forum and Temple of Trajan useful.

 

Thank you Martin G. Conde

Washington DC, USA (20 March 2020).

 

A special thank you to Prof. James E. Packer and also Dr. Arch. Barbara Baldrati, Gianni De Dominicis & Alvaro Di Alvariis of Rome, Italy; all being very kind and contributing and sharing their important and invaluable work on Rome with me.

 

Their various works on Rome can be accessed via a search on the following website:

ROMA ARCHEOLOGIA E RESTAURO ARCHITETTURA 2010-20.

ROME – THE IMPERIAL FORA: SCHOLARLY RESEARCH & RELATED STUDIES.

rometheimperialfora19952010.wordpress.com/

  

Notes and Additional Information:

 

For a collection of research materials (in PDF’s and images) on the recent and past excavations and studies of the Forum, Temple and Markets of Trajan (1998-2020), see:

 

ROMA ARCHEOLOGICA & RESTAURO ARCHITETTURA. Il Foro di Traiano: Tempio di Traiano - Colonna di Traiano - Basilica Ulpia - scavi (1998-2020, 1989-1997, & 1928-33). | The Forum of Trajan: Temple of Trajan - Column of Trajan - Basilica Ulpia - excavations (1998-2020, 1989-1997, & 1928-33).

 

-- Forum of Trajan =

www.flickr.com/photos/imperial_fora_of_rome/sets/72157600...

--- Temple of Trajan =

www.flickr.com/photos/imperial_fora_of_rome/sets/72157594...

 

1). This brief summary on the Forum and Temple of Trajan (2018-20) is part of my forthcoming paper entitled:

ROMA ARCHEOLOGICA & RESTAURO ARCHITETTURA. The Temple of Divine Trajan in Rome, 2010-20. A Review of the Italian & International Studies - "L’evidenza archeologica ha dimostrato che il tempio c’è,” (2011). With Additional Contributions by Dr. Arch. Barbara Baldrati, Gianni De Dominicis & Alvaro Di Alvariis. Versus the Sovrintendenza Capitolina ai Beni Culturali - ‘Il tempio che non c’è,’ (2019); 1-25 [in PDF]. By Martin G. Conde, Independent Researcher. Washington DC, USA. (March 2020) mgconde@yahoo.com

 

2). For news of the restoration of the New Spanish School of History and Archaeology on the Via di Sant'Eufemia in Rome, see:

--- Valencia, a 15 de abril de 2010, Cleop reformará la nueva sede de la Escuela española de Historia y Arqueología del Centro Superior de Investigaciones Científicas en Roma (2010) [in PDF].

www.cleop.es/media/pdf/ESCUELA%20DE%20HISTORIA%20Y%20ARQU...

 

--- Salvatore Nicoletti, “SCUOLA SPAGNOLA DI STORIA E ARCHEOLOGIA, ROMA

INTEGRAZIONI SPAZIALI.” IOARCH 68, Jan. & Feb. (2017): 50-52 [in PDF].

 

3). List of the presenters at the ‘La topografia dell’area nord del Foro di Traiano’ - Conference (30/01/2020).

 

ORE 9,15 - INTRODUZIONE (Presiede Eugenio La Rocca)

ORE 9,30 - Antonio Pizzo, Massimo Vitti, Il Pomerio, i sepolcri e il Foro di Traiano.

ORE 10,15 - Francesca de Caprariis, Traiano tra Campidoglio e Campo Marzio

ORE 11,00/11,30 - PAUSA

ORE 11,30 - Rossella Rea, Gli auditoria di piazza Venezia.

ORE 12,15 - Paola Baldassarri, Il Tempio dei divi Traiano e Plotina e i suoi disiecta membra: novità dalle indagini a Palazzo Valentini.

ORE 13,00/15,00 PAUSA PRANZO (Presiede Domenico Palombi)

ORE 15,00 – Elisabetta Bianchi, Roberto Meneghini, Il Foro di Traiano a nord della Basilica Ulpia.

ORE 15,40 - Eugenio La Rocca. L’arco Partico di Traiano

ORE 16,20/16,50 PAUSA

ORE 16,50 - Claudio Parisi Presicce, Una nuova proposta per la localizzazione del Tempio di Plotinae del divo Traiano.

ORE 17,30 - Lucrezia Ungaro, Per un abaco delle sculture del Foro di Traiano

ORE 18,10 – Marina Milella, Resti marmorei di architetture di grandi dimensioni.

 

4). Rome, News of the Forum of Trajan and Via Alessandrina excavations (2019-20).

Since 2019, Dr. Arch. Federico Celletti working on the Via Alessandrina site (2017-20) has been kind enough to share with me his personal photographs of the ongoing excavations at the site (see references cited here below). While recently on 21 Feb. 2020, during an official visit by the President of the Republic of Azerbaijan in Rome, the administration of the City of Rome exhibited several of the architectural elements and decorations recently recovered from the Forum of Trajan excavations (see below). While the only news in English on the recent Forum of Trajan excavations is the “Dagli scavi ai Fori Imperiali riemerge la testa del dio Dioniso,” in: NOTES FROM ROME 2018-19; PBSR 87 (2019): 309-316 [in PDF] (see below).

 

--- ROMA ARCHEOLOGIA e RESTAURO ARCHITETTURA: Foro di Traiano / Via Alessandrina – Gli scavi e le scoperte in corso. Foto: Dr. Arch. Federico Celletti / Facebook (09/03/2020). S.v., Virginia Raggi & President of the Republic of Azerbaijan (21/02/2020). wp.me/pPRv6-5cR

 

--- ROMA ARCHEOLOGIA e RESTAURO ARCHITETTURA: Raggi riceve il presidente della Repubblica Azerbaigian – esposti i reperti archeologici provenienti dagli scavi archeologici dell’area di i Fori Imperiali & via Alessandrina. President of the Republic of Azerbaijan [English & Italiano] (21/02/2020). wp.me/pPRv6-5cH

 

--- ROMA ARCHEOLOGICA e RESTAURO ARCHITETTURA: “Dagli scavi ai Fori Imperiali riemerge la testa del dio Dioniso,” in: NOTES FROM ROME 2018-19; PBSR 87 (2019): 309-316. Foto: Dr. Arch. Federico Celletti / FACEBOOK, Rome (24 May 2019). wp.me/pPRv6-59q

 

5). ROMA ARCHEOLOGIA e RESTAURO ARCHITETTURA: ROME – “Trajan’s Temple, Column and Forum / Templum Divi Traiani” in: VR Back To The Past. CARLO CESTRA DIGITAL PRODUCTIONS 2010-19 (04/2019). For an alternative digital reconstruction / video of the ‘Templum Divi Traiani’ see the following work of Carlo Cestra, Senior CG Artist = ROME – Trajan’s forum: This is part of the project named VR Back To The Past, a collection of virtual reality tours I am working on. Here is the digital reconstruction of the north-western part of the Trajan’s Forum in Rome (beside the “Basilica Ulpia”) with the Trajan’s Column and the Temple. The Temple of Trajan (Templum Divi Traiani et Plotinae), Trajan’s Column area.

Fonte | source:

— Carlo Cestra, Senior CG Artist – Trajan’s forum (04/2019).

wp.me/pPRv6-4X0

 

6). Also see: ROMA ARCHEOLOGIA e RESTAURO ARCHITETTURA: Andrea Carandini, Paolo Carafa, & Fabio Cavallero, Il TEMPIO dei DIVI TRAIANO e PLOTINA ROMA ANTICA – ESCLUSIVO, ARCHEOLOGIA VIVA, Rivista: N. 149 / mese: Sett.-Ott. 2011, pp. 47-54 [PDF pp. 1-5].

wp.me/pPRv6-P4

 

7). For the earlier and recent discovery of the Trajanic inscriptions in the Forum of Trajan and the L’Athenaeum di Adriano, see:

 

--- ROMA ARCHEOLOGIA e RESTAURO ARCHITETTURA: Rome, the Metro C Archaeological Surveys – the Piazza Madonna di Loreto, Sector (# S14/B1). The Discovery of New Inscriptions & Architectural Elements of the Temple of Trajan? (January 20th, 2011).

www.flickr.com/photos/imperial_fora_of_rome/5374055767

 

--- ROMA ARCHEOLOGICA & RESTAURO ARCHITETTURA: Dott.ssa Paola Baldassarri – Nuovi dati per la ricostruzione del tempio di Traiano, (2015-16), Dr. Antonio Lopez Garcia, L’Athenaeum di Adriano (2015) & Marmo – Dedica ai divi Traiano e Plotina, MUSEI VATICANI (2017).

wp.me/pPRv6-4eO

Steven Meisel ,Red Carpet Beverly Hills Charity Event, Simply Consistent, INC.

simplyconsistent.com/non-profit

The SILENT AUCTION OF ORIGINAL WORKS BY ACCLAIMED PHOTOGRAPHERS, including work from the private collections of STEVEN MEISEL, Inez Vindoodh, Pamela Hansen as well as other top fashion photographers. The goal of the event is to raise awareness, as well as critical funding for the treatment of Fibromyalgia Syndrome.

 

One more step in Simply Consistent , Inc 's , mission to help America's Children !

Kathleen Checki

Click the video below to see one of our missions to help children

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"-Simply Consistent." , "-Simply Consistent Management.", "-Simply Consistent Charity Event." , "-Kathleen Checki Charity Event." , "-Kathleen Check.",

 

Three time Grammy Award Winner Etta James, along with Tamara Oliver personal assistant and sober companion with Simply Consistent , Inc., and Talent Manager Kathleen Checki, President of Simply Consistent Management.

 

www.simplyconsistent.com/management

"-Etta James."

"-Kathleen Checki."

"-Checki."

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"-Etta James and her manager Kathleen Checki."

Constellation consistently receives top honors from Condé Nast's readers survey, and is currently ranked by readers as the best large cruise ship. During the summer period the ship sails in Northern Europe. Since her delivery the ship sails to the Baltic Sea between May and August. In June 2010 and July 2011 the ship will also sail to the Norwegian Fjords up to the North Cape. The rest of the season the ship sails to the Mediterranean (fall) and the Caribbean (winter). Wikipedia

  

Return to Forever is a jazz fusion group founded and led by keyboardist Chick Corea. Through its existence, the band has cycled through a number of different members, with the only consistent band mate of Corea's being bassist Stanley Clarke. However in 1972, after having become a disciple of Scientology, Corea decided that he wanted to better ;communicate; with the audience. This essentially translated into his performing a more popularly accessible style of music, since avant-garde jazz enjoyed a relatively small audience.

First group (1972-1973) The first edition of Return to Forever performed primarily Latin-oriented music. Clarke himself became involved in Scientology through Corea, but eventually left the sect in the early 1980s.

Their first album, titled simply Return to Forever, was recorded for ECM Records in 1972 and was initially released only in Europe. Their second album, Light as a Feather (1973), was released by Polydor and included the song, Spain, which also became quite well-known.

Jazz rock era (1973-1976) guitarist Bill Connors, drummer Steve Gadd and percussionist Mingo Lewis were added.. Lenny White (who had played with Corea in Miles Davis's band) then replaced Gadd and Lewis on drums and percussion, and the group's third album, Hymn of the Seventh Galaxy (1973), was then rerecorded.

The nature of the group's music had by now completely changed into jazz-rock, Their music was still relatively melodic, relying on strong themes, but the traditional jazz element was by this time almost entirely absent- replaced by a more direct, rock oriented approach. Over-driven, distorted guitar had also become prominent in the band's new sound, and Clarke had by then switched almost completely to electric bass guitar. A replacement on vocals was not hired, and all the songs were now instrumentals. This change did not lead to a decrease in the band's commercial fortunes however, Return to Forever's jazz rock albums instead found their way onto US pop album charts.

While their second jazz rock album, Where Have I Known You Before, (1974) was similar in style to its immediate predecessor, Corea now played synthesizers in addition to electric keyboards (including piano), and Clarke's playing had evolved considerably- now using flange and fuzz-tone effects, and with his now signature style beginning to emerge. the then 19-year-old guitar prodigy Al Di Meola, who had also played on the album recording sessions joined.

Their following album, No Mystery (1975), was recorded with the same line-up as "Where Have I Known You Before", but the style of music had become more varied. The first side of the record consisted primarily of jazz-funk, while the second side featured Corea's acoustic title track and a long composition with a strong Spanish influence. On this and the following album, each member of the group composed at least one of the tracks. No Mystery went on to win the Grammy Award for Best Jazz Performance by a Group.

The final album by this longest-lasting lineup of the group was Romantic Warrior (1976), which had by this time left Polydor for Columbia Records. This album would go on to become the best selling of all Return to Forever's efforts, eventually reaching gold disc status. Romantic Warrior continued their experiments in the realms of jazz-rock and related musical genres, and was lauded by critics for both the technically demanding style of its compositions as well as for its accomplished musicianship.

After the release of Romantic Warrior and Return To Forever's subsequent tour in support (as well as having in addition signed a multi-million dollar contract with CBS), Corea shocked Clarke by deciding to change the lineup of the group and to not include either White or Di Meola

Final album (1977)

The final incarnation of Return to Forever featured a four piece horn section and Corea's wife Gayle singing vocals, but recorded only one studio album, Musicmagic (1977).After Musicmagic, Chick Corea officially disbanded the group.

Reunion (2008) The classic Return to Forever line-up of Corea, Clarke, White, and Di Meola reunited for a tour of the United States that began in the summer of 2008. 2011 tour From February 2011, the group commences a world tour in Australia. The line-up, billed as Return to Forever IV, is Chick Corea, Stanley Clarke, Lenny White, Frank Gambale and Jean-Luc Ponty.

First group (1972-1973) The first edition of Return to Forever performed primarily Latin-oriented music. This initial band consisted of singer (and occasional percussionist) Flora Purim, her husband Airto Moreira on drums and percussion, Corea's longtime musical co-worker Joe Farrell on saxophone and flute, and the young Stanley Clarke on bass. Within this first line-up in particular, Clarke played acoustic double bass in addition to electric bass. Corea's electric piano formed the basis of this group's sound, but Clarke and Farrell were given ample solo space themselves. While Purim's vocals lent some commercial appeal to the music, many of their compositions were also instrumental and somewhat experimental in nature. The music was composed by Corea with the exception of the title track of the second album which was written by Stanley Clarke. Lyrics were often written by Corea's friend Neville Potter, and were quite often scientology themed- though this is not readily apparent to those not involved in Scientology itself. Clarke himself became involved in Scientology through Corea, but eventually left the sect in the early 1980s.

Their first album, titled simply Return to Forever, was recorded for ECM Records in 1972 and was initially released only in Europe. Their second album, Light as a Feather (1973), was released by Polydor and included the song, Spain, which also became quite well-known.

Jazz rock era (1973-1976) guitarist Bill Connors, drummer Steve Gadd and percussionist Mingo Lewis were added. However, Gadd was unwilling to tour with the band and risk his job as an in-demand session drummer. Lenny White (who had played with Corea in Miles Davis's band) replaced Gadd and Lewis on drums and percussion, and the group's third album, Hymn of the Seventh Galaxy (1973), was then rerecorded (the first recording, featuring Gadd on drums, was never released and has since disappeared).

The nature of the group's music had by now completely changed into jazz-rock, Their music was still relatively melodic, relying on strong themes, but the traditional jazz element was by this time almost entirely absent- replaced by a more direct, rock oriented approach. Over-driven, distorted guitar had also become prominent in the band's new sound, and Clarke had by then switched almost completely to electric bass guitar. A replacement on vocals was not hired, and all the songs were now instrumentals. This change did not lead to a decrease in the band's commercial fortunes however, Return to Forever's jazz rock albums instead found their way onto US pop album charts.

While their second jazz rock album, Where Have I Known You Before, (1974) was similar in style to its immediate predecessor, Corea now played synthesizers in addition to electric keyboards (including piano), and Clarke's playing had evolved considerably- now using flange and fuzz-tone effects, and with his now signature style beginning to emerge. After Bill Connors left the band to concentrate on his solo career, the group also hired new guitarists. Although Earl Klugh played guitar for some of the group's live performances, he was soon replaced by the then 19-year-old guitar prodigy Al Di Meola, who had also played on the album recording sessions.

Their following album, No Mystery (1975), was recorded with the same line-up as "Where Have I Known You Before", but the style of music had become more varied. The first side of the record consisted primarily of jazz-funk, while the second side featured Corea's acoustic title track and a long composition with a strong Spanish influence. On this and the following album, each member of the group composed at least one of the tracks. No Mystery went on to win the Grammy Award for Best Jazz Performance by a Group.

The final album by this longest-lasting "classic" lineup of the group was Romantic Warrior (1976), which had by this time left Polydor for Columbia Records. This album would go on to become the best selling of all Return to Forever's efforts, eventually reaching gold disc status. "Romantic Warrior" continued their experiments in the realms of jazz-rock and related musical genres, and was lauded by critics for both the technically demanding style of its compositions as well as for its accomplished musicianship.

After the release of Romantic Warrior and Return To Forever's subsequent tour in support (as well as having in addition signed a multi-million dollar contract with CBS), Corea shocked Clarke by deciding to change the lineup of the group and to not include either White or Di Meola

Final album (1977)

The final incarnation of Return to Forever featured a four piece horn section and Corea's wife Gayle singing vocals, but recorded only one studio album, Musicmagic (1977).After Musicmagic, Chick Corea officially disbanded the group.

Reunion (2008)

The classic Return to Forever line-up of Corea, Clarke, White, and Di Meola reunited for a tour of the United States that began in the summer of 2008. 2011 tour

From February 2011, the group commences a world tour in Australia. The line-up, billed as Return to Forever IV, is Chick Corea, Stanley Clarke, Lenny White, Frank Gambale and Jean-Luc Ponty

 

Inspired by the consistently sold-out Writing for Film & Television Summer Intensive Program, the Two-Weekend Intensive was designed for aspiring film and television writers with busy weekday schedules. Over the course of two weekends, participants learn a variety of screenwriting tools, techniques, and exercises that closely represent what students learn in the one-year Writing for Film & Television program.

 

Find out more about VFS’s one-year Writing for Film & Television program at vfs.com/writing.

I've had more time to shoot with the X100s. I have to say that AF speed could be better—especially using it with OVF. I feel it's not all that consistent—sometimes it focuses super fast, and sometimes it takes a second or so. Keep in mind, my write up is not a summary or a review of the camera, but rather a diary of my experience shooting with the camera for the particular set of photos I took on the particular time and day. That said, I've been shooting with factory settings, but all my photos are processed through Lightroom.

 

For work, I shoot with Canon DLSRs (5D, 7D and T4i). I find I need to work a lot with 5D, and 7D RAW files to get what I want. With the Fuji X100s, on the other hand, I barely need to make any post adjustments. Exposure, dynamic range and color saturation are honestly amazing straight out of camera—I have to say, the best I've worked with, and even better than X-Pro 1, IMO.

 

This morning, the sky was clear and was very bright. I couldn't see my cell phone screen well but had no problem reviewing photos on the X100s LCD screen. I took some photos of the kids on the tennis court, under bright light. With most cameras, with the sun in the back, the subject in focus tends to get underexposed and a lot of work needs to be done with bring details out of it. Fill flash helps to balance the exposure. What I find with X100s is that with "ND" filter on, I was able to shoot wide open and find the exposure to be quite balanced shooting agains the sun, even without using fill flash. When I use fill flash, I find factory setting to work well—lighting feels balanced and not harsh. In fact, it works amazingly well for a build in, on-camera flash. I can easily say it the results are better than on-camera flash on 7D and T4i, which tends to be too harsh for my taste.

 

So far, my experience shooting with the X100s has been great. One thing that I am finding it to be imperfect is that the camera gets accidentally turned on (more than a few times) in the small bag that I use to carry the camera. I wish there was a lock mechanism to prevent accidentally turning on the camera.

 

I haven't had a chance to shoot in low-light. But, tomorrow evening, I plan to take a few photos downtown and see how it goes. Of course, I'll be jotting down my experience when I upload the photos.

 

Stay tuned...

A BNSF SD70MAC hauling a coal train through Sheridan, Wyoming. This is part of the same line which goes into Newcastle, Wyoming, and in Sheridan, consistently has 1 train every 20 minutes (sometimes even 2).

July 8, 2009.

This was taken in beautiful Sheridan, Wyoming. On the city limits signs, it says, "America's Favorite Western Town." I can sure see why. It's a great town with a beautiful western style downtown, a great nature preserve with Buffalo, elk, and antelope, a great riverwalk pathway along a stream (a very nice, small stream), and two very nice parks. It also has a very nice historic home, a very nice historic train station by very active BNSF train tracks, and a very nice National Historic Point called the Sheridan Inn, a beautiful old historic white wooden hotel by the train station which was frequently visited by Buffalo Bill (William Fredrick Cody). There is also an Atchison, Topeka, & Santa Fe (ATSF) steam locomotive on display right by the hotel & train station. Sheridan was very nice! :)

This is on BNSF's extremely heavily used Powder River Basin mainline. The Powder River Basin is a region in central-eastern to northeastern portions of Wyoming that contain the world's largest deposits ever found of low sulfur coal, and because of that, the line has an average of approximately 60-80 trains per day (every single one of them that I saw were carrying coal, very few other commodities besides grain are hauled here), and is one of the most heavily used mainlines in the world. In Wyoming, the main Powder River Basin mainline running between Gillette, Wyoming and Shawnee, Wyoming, owned jointly by Union Pacific and BNSF, is a 115-120 mile triple track mainline with as many as 100 trains in a day, again the vast majority being coal. The Powder River Basin coal mining region spreads between the areas south of I-90, east/north of I-25, and west of the Wyoming border. In fact, the railroad lines there are so heavily used that a third railroad, the Dakota, Minnesota, & Eastern(DME), is now planning on building a brand new line to the PRB, and the Federal Railroad Administration has already approved of it in 2006, but in 2007 Canadian Pacific(CP) gained full control over the DME and is now deciding whether or not to build it (though their plans currently state that it WILL most likely happen within the next 25 years. Here is a map of the DME after CP acquired it (the Illinois, Chicago & Eastern, or ICE, merged with the DME in 2005-06). The blue lines are DME, yellow lines are ICE, and red line is the planned new PRB line.

Sheffield is a city in South Yorkshire, England, whose name derives from the River Sheaf which runs through it. The city serves as the administrative centre of the City of Sheffield. It is historically part of the West Riding of Yorkshire and some of its southern suburbs were transferred from Derbyshire to the city council. It is the largest settlement in South Yorkshire.

 

The city is in the eastern foothills of the Pennines and the valleys of the River Don with its four tributaries: the Loxley, the Porter Brook, the Rivelin and the Sheaf. Sixty-one per cent of Sheffield's entire area is green space and a third of the city lies within the Peak District national park and is the fifth largest city in England. There are more than 250 parks, woodlands and gardens in the city, which is estimated to contain around 4.5 million trees. The city is 29 miles (47 km) south of Leeds and 32 miles (51 km) east of Manchester.

 

Sheffield played a crucial role in the Industrial Revolution, with many significant inventions and technologies having developed in the city. In the 19th century, the city saw a huge expansion of its traditional cutlery trade, when stainless steel and crucible steel were developed locally, fuelling an almost tenfold increase in the population. Sheffield received its municipal charter in 1843, becoming the City of Sheffield in 1893. International competition in iron and steel caused a decline in these industries in the 1970s and 1980s, coinciding with the collapse of coal mining in the area. The Yorkshire ridings became counties in their own right in 1889, the West Riding of Yorkshire county was disbanded in 1974. The city then became part of the county of South Yorkshire; this has been made up of separately-governed unitary authorities since 1986. The 21st century has seen extensive redevelopment in Sheffield, consistent with other British cities. Sheffield's gross value added (GVA) has increased by 60% since 1997, standing at £11.3 billion in 2015. The economy has experienced steady growth, averaging around 5% annually, which is greater than that of the broader region of Yorkshire and the Humber.

 

Sheffield had a population of 556,500 at the 2021 census, making it the second largest city in the Yorkshire and the Humber region. The Sheffield Built-up Area, of which the Sheffield sub-division is the largest part, had a population of 685,369 also including the town of Rotherham. The district borough, governed from the city, had a population of 554,401 at the mid-2019 estimate, making it the 7th most populous district in England. It is one of eleven British cities that make up the Core Cities Group. In 2011, the unparished area had a population of 490,070.

 

The city has a long sporting heritage and is home both to the world's oldest football club, Sheffield F.C., and the world's oldest football ground, Sandygate. Matches between the two professional clubs, Sheffield United and Sheffield Wednesday, are known as the Steel City derby. The city is also home to the World Snooker Championship and the Sheffield Steelers, the UK's first professional ice hockey team.

 

The history of Sheffield, a city in South Yorkshire, England, can be traced back to the founding of a settlement in a clearing beside the River Sheaf in the second half of the 1st millennium AD. The area now known as Sheffield had seen human occupation since at least the last ice age, but significant growth in the settlements that are now incorporated into the city did not occur until the Industrial Revolution.

 

Following the Norman conquest of England, Sheffield Castle was built to control the Saxon settlements and Sheffield developed into a small town, no larger than Sheffield City Centre. By the 14th century Sheffield was noted for the production of knives, and by 1600, overseen by the Company of Cutlers in Hallamshire, it had become the second centre of cutlery production in England after London. In the 1740s the crucible steel process was improved by Sheffield resident Benjamin Huntsman, allowing a much better production quality. At about the same time, Sheffield plate, a form of silver plating, was invented. The associated industries led to the rapid growth of Sheffield; the town was incorporated as a borough in 1843 and granted a city charter in 1893.

 

Sheffield remained a major industrial city throughout the first half of the 20th century, but the downturn in world trade following the 1973 oil crisis, technological improvements and economies of scale, and a wide-reaching restructuring of steel production throughout the European Economic Community led to the closure of many of the steelworks from the early 1970s onward. Urban and economic regeneration schemes began in the late 1980s to diversify the city's economy. Sheffield is now a centre for banking and insurance functions with HSBC, Santander and Aviva having regional offices in the city. The city has also attracted digital start-ups, with 25,000 now employed in the digital sector.

 

Early history

Photograph showing a moorland view. The moor is covered in heather of varying shades of brown. Stones are scattered across the moor. In the middle distance there is a rock outcrop atop a small hill. Behind it is a larger hill with a flat top.

Carl Wark, an Iron Age hill fort in southwest Sheffield.

The earliest known evidence of human occupation in the Sheffield area was found at Creswell Crags in Derbyshire to the east of the city. Artefacts and rock art found in caves at this site have been dated by archaeologists to the late Upper Palaeolithic period, at least 12,800 years ago. Other prehistoric remains found in Sheffield include a Mesolithic "house"—a circle of stones in the shape of a hut-base dating to around 8000 BC, found at Deepcar, in the northern part of the city. This has been ascribed to the Maglemosian culture. (grid reference SK 2920 9812). The site's culture has similarities to Star Carr in North Yorkshire, but gives its name to unique "Deepcar type assemblages" of microliths in the archaeology literature. A cup and ring-marked stone was discovered in Ecclesall Woods in 1981, and has been dated to the late Neolithic or Bronze Age periods. It, and an area around it of 2 m diameter, is a scheduled ancient monument.

 

During the Bronze Age (about 1500 BC) tribes sometimes called the Urn people started to settle in the area. They built numerous stone circles, examples of which can be found on Ash Cabin Flat, Froggatt Edge and Hordron Edge (Hordron Edge stone circle). Two Early Bronze Age urns were found at Crookes in 1887, and three Middle Bronze Age barrows found at Lodge Moor (both suburbs of the modern city).

 

Iron Age

During the British Iron Age the area became the southernmost territory of the Pennine tribe called the Brigantes. It is this tribe who in around 500 BC are thought to have constructed the hill fort that stands on the summit of a steep hill above the River Don at Wincobank, in what is now northeastern Sheffield. Other Iron Age hill forts in the area are Carl Wark on Hathersage Moor to the southwest of Sheffield, and one at Scholes Wood, near Rotherham. The rivers Sheaf and Don may have formed the boundary between the territory of the Brigantes and that of a rival tribe called the Corieltauvi who inhabited a large area of the northeastern Midlands.

 

Roman Britain

The Roman invasion of Britain began in AD 43. By 51 the Brigantes had submitted to the clientship of Rome, eventually being placed under direct rule in the early 70s. Few Roman remains have been found in the Sheffield area. A minor Roman road linking the Roman forts at Templeborough and Navio at Brough-on-Noe possibly ran through the centre of the area covered by the modern city, and Icknield Street is thought to have skirted its boundaries. The routes of these roads within this area are mostly unknown, although sections of the former were thought, by Hunter and Leader, be visible between Redmires and Stanage on an ancient road known as the Long Causeway. In recent years some scholars have cast doubt on this, with an initial survey of Barber Fields, Ringinglow, suggesting the Roman Road took a route over Burbage Edge. The remains of a Roman road, possibly linked to the latter, were discovered in Brinsworth in 1949.

 

In April 1761, tablets or diplomas dating from the Roman period were found in the Rivelin Valley south of Stannington, close to what was possibly the course of the Templeborough to Brough-on-Noe road. These tablets included a grant of citizenship and land or money to a retiring Roman auxiliary of the Sunuci tribe of Belgium.

 

To . . . . . . . . the son of Albanus, of the tribe of the Sunuci, late a foot soldier in the first cohort of the Sunuci commanded by M. Junius Claudianus.

 

In addition there have been finds dating from the Roman period on Walkley Bank Road, which leads onto the valley bottom.

 

There have been small finds of Roman coins throughout the Sheffield area, for example 30 to 40 Roman coins were found near the Old Great Dam at Crookesmoor, 19 coins were found near Meadowhall in 1891, 13 in Pitsmoor in 1906, and ten coins were found at a site alongside Eckington cemetery in December 2008. Roman burial urns were also found at Bank Street near Sheffield Cathedral, which, along with the name of the old lane behind the church (Campo Lane[n 2]), has led to speculation that there may have been a Roman camp at this site. It is unlikely that the settlement that grew into Sheffield existed at this time. In 2011 excavations revealed remains of a substantial 1st or 2nd century AD Roman rural estate centre, or 'villa' on what is believed to be a pre-existing Brigantian farmstead site at Whirlow Hall Farm in South-west Sheffield.

 

Following the departure of the Romans, the Sheffield area may have been the southern part of the Celtic kingdom of Elmet, with the rivers Sheaf and Don forming part of the boundary between this kingdom and the kingdom of Mercia. Gradually, Anglian settlers pushed west from the kingdom of Deira. The Britons of Elmet delayed this English expansion into the early part of the 7th century. An enduring Celtic presence within this area is evidenced by the settlements called Wales and Waleswood close to Sheffield—the word Wales derives from the Germanic word Walha, and was originally used by the Anglo-Saxons to refer to the native Britons.

 

The origins of Sheffield

The name Sheffield is Old English in origin. It derives from the River Sheaf, whose name is a corruption of shed or sheth, meaning to divide or separate. Field is a generic suffix deriving from the Old English feld, meaning a forest clearing. It is likely then that the origin of the present-day city of Sheffield is an Anglo-Saxon settlement in a clearing beside the confluence of the rivers Sheaf and Don founded between the arrival of the Anglo-Saxons in this region (roughly the 6th century) and the early 9th century.

 

The names of many of the other areas of Sheffield likely to have been established as settlements during this period end in ley, which signifies a clearing in the forest, or ton, which means an enclosed farmstead. These settlements include Heeley, Longley, Norton, Owlerton, Southey, Tinsley, Totley, Treeton, Wadsley, and Walkley.

 

The earliest evidence of this settlement is thought to be the shaft of a stone cross dating from the early 9th century that was found in Sheffield in the early 19th century. This shaft may be part of a cross removed from the church yard of the Sheffield parish church (now Sheffield Cathedral) in 1570. It is now kept in the British Museum.

 

A document from around the same time, an entry for the year 829 in the Anglo-Saxon Chronicle, refers to the submission of King Eanred of Northumbria to King Egbert of Wessex at the hamlet of Dore (now a suburb of Sheffield): "Egbert led an army against the Northumbrians as far as Dore, where they met him, and offered terms of obedience and subjection, on the acceptance of which they returned home". This event made Egbert the first Saxon to claim to be king of all of England.

 

The latter part of the 9th century saw a wave of Norse (Viking) settlers and the subsequent establishment of the Danelaw. The names of hamlets established by these settlers often end in thorpe, which means a farmstead. Examples of such settlements in the Sheffield area are Grimesthorpe, Hackenthorpe, Jordanthorpe, Netherthorpe, Upperthorpe, Waterthorpe, and Woodthorpe. By 918 the Danes south of the Humber had submitted to Edward the Elder, and by 926 Northumbria was under the control of King Æthelstan.

 

In 937 the combined armies of Olaf Guthfrithson, Viking king of Dublin, Constantine, king of Scotland and Owain ap Dyfnwal, king of the Cumbrians, invaded England. The invading force was met and defeated by an army from Wessex and Mercia led by King Æthelstan at the Battle of Brunanburh. The location of Brunanburh is unknown, but some historians have suggested a location between Tinsley in Sheffield and Brinsworth in Rotherham, on the slopes of White Hill. After the death of King Athelstan in 939 Olaf Guthfrithson invaded again and took control of Northumbria and part of Mercia. Subsequently, the Anglo-Saxons, under Edmund, re-conquered the Midlands, as far as Dore, in 942, and captured Northumbria in 944.

 

The Domesday Book of 1086, which was compiled following the Norman Conquest of 1066, contains the earliest known reference to the districts around Sheffield as the manor of "Hallun" (or Hallam). This manor retained its Saxon lord, Waltheof, for some years after the conquest. The Domesday Book was ordered written by William the Conqueror so that the value of the townships and manors of England could be assessed. The entries in the Domesday Book are written in a Latin shorthand; the extract for this area begins:

 

TERRA ROGERII DE BVSLI

M. hi Hallvn, cu XVI bereuvitis sunt. XXIX. carucate trae

Ad gld. Ibi hb Walleff com aula...

Translated it reads:

 

LANDS OF ROGER DE BUSLI

Photograph showing an old stone church with a short wide tower. The view is taken from a graveyard, there is a large tomb stone in the foreground and the church is surrounded by trees.

 

The remains of Beauchief Abbey.

In Hallam, one manor with its sixteen hamlets, there are twenty-nine carucates [~14 km2] to be taxed. There Earl Waltheof had an "Aula" [hall or court]. There may have been about twenty ploughs. This land Roger de Busli holds of the Countess Judith. He has himself there two carucates [~1 km2] and thirty-three villeins hold twelve carucates and a half [~6 km2]. There are eight acres [32,000 m2] of meadow, and a pasturable wood, four leuvae in length and four in breadth [~10 km2]. The whole manor is ten leuvae in length and eight broad [207 km2]. In the time of Edward the Confessor it was valued at eight marks of silver [£5.33]; now at forty shillings [£2.00].

In Attercliffe and Sheffield, two manors, Sweyn had five carucates of land [~2.4 km2] to be taxed. There may have been about three ploughs. This land is said to have been inland, demesne [domain] land of the manor of Hallam.

The reference is to Roger de Busli, tenant-in-chief in Domesday and one of the greatest of the new wave of Norman magnates. Waltheof, Earl of Northumbria had been executed in 1076 for his part in an uprising against William I. He was the last of the Anglo-Saxon earls still remaining in England a full decade after the Norman conquest. His lands had passed to his wife, Judith of Normandy, niece to William the Conqueror. The lands were held on her behalf by Roger de Busli.

 

The Domesday Book refers to Sheffield twice, first as Escafeld, then later as Scafeld. Sheffield historian S. O. Addy suggests that the second form, pronounced Shaffeld, is the truer form, as the spelling Sefeld is found in a deed issued less than one hundred years after the completion of the survey. Addy comments that the E in the first form may have been mistakenly added by the Norman scribe.

 

Roger de Busli died around the end of the 11th century, and was succeeded by a son, who died without an heir. The manor of Hallamshire passed to William de Lovetot, the grandson of a Norman baron who had come over to England with the Conqueror. William de Lovetot founded the parish churches of St Mary at Handsworth, St Nicholas at High Bradfield and St. Mary's at Ecclesfield at the start of the 12th century in addition to Sheffield's own parish church. He also built the original wooden Sheffield Castle, which stimulated the growth of the town.

 

Also dating from this time is Beauchief Abbey, which was founded by Robert FitzRanulf de Alfreton. The abbey was dedicated to Saint Mary and Saint Thomas Becket, who had been canonised in 1172. Thomas Tanner, writing in 1695, stated that it was founded in 1183. Samuel Pegge in his History of Beauchief Abbey notes that Albinas, the abbot of Derby, who was one of the witnesses to the charter of foundation, died in 1176, placing foundation before that date.

 

Medieval Sheffield

Following the death of William de Lovetot, the manor of Hallamshire passed to his son Richard de Lovetot and then his son William de Lovetot before being passed by marriage to Gerard de Furnival in about 1204. The de Furnivals held the manor for the next 180 years. The fourth Furnival lord, Thomas de Furnival, supported Simon de Montfort in the Second Barons' War. As a result of this, in 1266 a party of barons, led by John de Eyvill, marching from north Lincolnshire to Derbyshire passed through Sheffield and destroyed the town, burning the church and castle.

 

A new stone castle was constructed over the next four years and a new church was consecrated by William de Wickwane the Archbishop of York around 1280. In 1295 Thomas de Furnival's son (also Thomas) was the first lord of Hallamshire to be called to Parliament, thus taking the title Lord Furnivall. On 12 November 1296 Edward I granted a charter for a market to be held in Sheffield on Tuesday each week. This was followed on 10 August 1297 by a charter from Lord Furnival establishing Sheffield as a free borough.

 

The Sheffield Town Trust was established in the Charter to the Town of Sheffield, granted in 1297. De Furnival, granted land to the freeholders of Sheffield in return for an annual payment, and a Common Burgery administrated them. The Burgery originally consisted of public meetings of all the freeholders, who elected a Town Collector. Two more generations of Furnivals held Sheffield before it passed by marriage to Sir Thomas Nevil and then, in 1406, to John Talbot, the first Earl of Shrewsbury.

 

The Bishops' House.

In 1430 the 1280 Sheffield parish church building was pulled down and replaced. Parts of this new church still stand today and it is now Sheffield city centre's oldest surviving building, forming the core of Sheffield Cathedral. Other notable surviving buildings from this period include the Old Queen's Head pub in Pond Hill, which dates from around 1480, with its timber frame still intact, and Bishops' House and Broom Hall, both built around 1500.

 

Post-medieval Sheffield

The fourth Earl of Shrewsbury, George Talbot took up residence in Sheffield, building the Manor Lodge outside the town in about 1510 and adding a chapel to the Parish Church c1520 to hold the family vault. Memorials to the fourth and sixth Earls of Shrewsbury can still be seen in the church. In 1569 George Talbot, the sixth Earl of Shrewsbury, was given charge of Mary, Queen of Scots. Mary was regarded as a threat by Elizabeth I, and had been held captive since her arrival in England in 1568.

 

Talbot brought Mary to Sheffield in 1570, and she spent most of the next 14 years imprisoned in Sheffield Castle and its dependent buildings. The castle park extended beyond the present Manor Lane, where the remains of Manor Lodge are to be found. Beside them is the Turret House, an Elizabethan building, which may have been built to accommodate the captive queen. A room, believed to have been the queen's, has an elaborate plaster ceiling and overmantel, with heraldic decorations.[58] During the English Civil War, Sheffield changed hands several times, finally falling to the Parliamentarians, who demolished (slighted) the castle in 1648.

 

The Industrial Revolution brought large-scale steel making to Sheffield in the 18th century. Much of the medieval town was gradually replaced by a mix of Georgian and Victorian buildings. Large areas of Sheffield's city centre have been rebuilt in recent years, but among the modern buildings, some old buildings have been retained.

 

Industrial Sheffield

Sheffield developed after the industrial revolution because of its geography.

 

Fast-flowing rivers, such as the Sheaf, the Don and the Loxley, made it an ideal location for water-powered industries to develop. Raw materials, like coal, iron ore, ganister and millstone grit for grindstones, found in the nearby hills, were used in cutlery and blade production.

 

As early as the 14th century, Sheffield was noted for the production of knives:

 

Ay by his belt he baar a long panade,

And of a swerd ful trenchant was the blade.

A joly poppere baar he in his pouche;

Ther was no man, for peril, dorste hym touche.

A Sheffeld thwitel baar he in his hose.

Round was his face, and camus was his nose;

 

— Geoffrey Chaucer, The Reeve's Tale from The Canterbury Tales

 

By 1600 Sheffield was the main centre of cutlery production in England outside London, and in 1624 The Company of Cutlers in Hallamshire was formed to oversee the trade. Examples of water-powered blade and cutlery workshops from around this time can be seen at the Abbeydale Industrial Hamlet and Shepherd Wheel museums in Sheffield.

 

Around a century later, Daniel Defoe in his book A tour thro' the whole island of Great Britain, wrote:

 

This town of Sheffield is very populous and large, the streets narrow, and the houses dark and black, occasioned by the continued smoke of the forges, which are always at work: Here they make all sorts of cutlery-ware, but especially that of edged-tools, knives, razors, axes, &. and nails; and here the only mill of the sort, which was in use in England for some time was set up, (viz.) for turning their grindstones, though now 'tis grown more common. Here is a very spacious church, with a very handsome and high spire; and the town is said to have at least as many, if not more people in it than the city of York.

 

Sheffield area.

In the 1740s Benjamin Huntsman, a clock maker in Handsworth, invented a form of the crucible steel process for making a better quality of steel than had previously been available. At around the same time Thomas Boulsover invented a technique for fusing a thin sheet of silver onto a copper ingot producing a form of silver plating that became known as Sheffield plate. Originally hand-rolled Old Sheffield Plate was used for making silver buttons. Then in 1751 Joseph Hancock, previously apprenticed to Boulsover's friend Thomas Mitchell, first used it to make kitchen and tableware. This prospered and in 1762–65 Hancock built the water-powered Old Park Silver Mills at the confluence of the Loxley and the Don, one of the earliest factories solely producing an industrial semi-manufacture. Eventually Old Sheffield Plate was supplanted by cheaper electroplate in the 1840s. In 1773 Sheffield was given a silver assay office. In the late 18th century, Britannia metal, a pewter-based alloy similar in appearance to silver, was invented in the town.

 

Huntsman's process was only made obsolete in 1856 by Henry Bessemer's invention of the Bessemer converter, but production of crucible steel continued until well into the 20th century for special uses, as Bessemer's steel was not of the same quality, in the main replacing wrought iron for such applications as rails. Bessemer had tried to induce steelmakers to take up his improved system, but met with general rebuffs, and finally was driven to undertake the exploitation of the process himself. To this end he erected steelworks in Sheffield. Gradually the scale of production was enlarged until the competition became effective, and steel traders generally became aware that the firm of Henry Bessemer & Co. was underselling them to the extent of £20 a ton. One of Bessemer's converters can still be seen at Sheffield's Kelham Island Museum.

 

Stainless steel was discovered by Harry Brearley in 1912, at the Brown Firth Laboratories in Sheffield. His successor as manager at Brown Firth, Dr William Hatfield, continued Brealey's work. In 1924 he patented '18-8 stainless steel', which to this day is probably the most common alloy of this type.

 

These innovations helped Sheffield to gain a worldwide recognition for the production of cutlery; utensils such as the bowie knife were mass-produced and shipped to the United States. The population of the town increased rapidly. In 1736 Sheffield and its surrounding hamlets held about 7000 people, in 1801 there were 60,000, and by 1901, the population had grown to 451,195.

 

This growth spurred the reorganisation of the governance of the town. Prior to 1818, the town was run by a mixture of bodies. The Sheffield Town Trust and the Church Burgesses, for example, divided responsibility for the improvement of streets and bridges. By the 19th century both organisations lacked funds and struggled even to maintain existing infrastructure.[52] The Church Burgesses organised a public meeting on 27 May 1805 and proposed to apply to Parliament for an act to pave, light and clean the city's streets. The proposal was defeated.

 

The idea of a Commission was revived in 1810, and later in the decade Sheffield finally followed the model adopted by several other towns in petitioning for an Act to establish an Improvement Commission. This eventually led to the Sheffield Improvement Act 1818, which established the Commission and included several other provisions. In 1832 the town gained political representation with the formation of a Parliamentary borough. A municipal borough was formed by an Act of Incorporation in 1843, and this borough was granted the style and title of "City" by letters patent in 1893.

 

In 1832 an outbreak of cholera killed 402 people, including John Blake, the Master Cutler. Another 1,000 residents were infected by the disease. A memorial to the victims stands in Clay Wood where the victims of the outbreak are buried.

 

From the mid-18th century, a succession of public buildings were erected in the town. St Paul's Church, now demolished, was among the first, while the old Town Hall and the present Cutlers' Hall were among the major works of the 19th century. The town's water supply was improved by the Sheffield Waterworks Company, who built reservoirs around the town. Parts of Sheffield were devastated when, following a five-year construction project, the Dale Dyke dam collapsed on Friday 11 March 1864, resulting in the Great Sheffield Flood.

 

Sheffield's transport infrastructure was also improved. In the 18th century turnpike roads were built connecting Sheffield with Barnsley, Buxton, Chesterfield, Glossop, Intake, Penistone, Tickhill, and Worksop. In 1774 a 2-mile (3.2 km) wooden tramway was laid at the Duke of Norfolk's Nunnery Colliery. The tramway was destroyed by rioters, who saw it as part of a plan to raise the price of coal. A replacement tramway that used L-shaped rails was laid by John Curr in 1776 and was one of the earliest cast-iron railways. The Sheffield Canal opened in 1819 allowing the large-scale transport of freight.

 

This was followed by the Sheffield and Rotherham Railway in 1838, the Sheffield, Ashton-under-Lyne and Manchester Railway in 1845, and the Midland Railway in 1870. The Sheffield Tramway was started in 1873 with the construction of a horse tram route from Lady's Bridge to Attercliffe. This route was later extended to Brightside and Tinsley, and further routes were constructed to Hillsborough, Heeley, and Nether Edge. Due to the narrow medieval roads the tramways were initially banned from the town centre. An improvement scheme was passed in 1875; Pinstone Street and Leopold Street were constructed by 1879, and Fargate was widened in the 1880s. The 1875 plan also called for the widening of the High Street; disputes with property owners delayed this until 1895.

 

Steel production in the 19th century involved long working hours, in unpleasant conditions that offered little or no safety protection. Friedrich Engels in his The Condition of the Working Class in England in 1844 described the conditions prevalent in the city at that time:

 

In Sheffield wages are better, and the external state of the workers also. On the other hand, certain branches of work are to be noticed here, because of their extraordinarily injurious influence upon health. Certain operations require the constant pressure of tools against the chest, and engender consumption in many cases; others, file-cutting among them, retard the general development of the body and produce digestive disorders; bone-cutting for knife handles brings with it headache, biliousness, and among girls, of whom many are employed, anæmia. By far the most unwholesome work is the grinding of knife-blades and forks, which, especially when done with a dry stone, entails certain early death. The unwholesomeness of this work lies in part in the bent posture, in which chest and stomach are cramped; but especially in the quantity of sharp-edged metal dust particles freed in the cutting, which fill the atmosphere, and are necessarily inhaled. The dry grinders' average life is hardly thirty-five years, the wet grinders' rarely exceeds forty-five.

 

Sheffield became one of the main centres for trade union organisation and agitation in the UK. By the 1860s, the growing conflict between capital and labour provoked the so-called 'Sheffield Outrages', which culminated in a series of explosions and murders carried out by union militants. The Sheffield Trades Council organised a meeting in Sheffield in 1866 at which the United Kingdom Alliance of Organised Trades—a forerunner of the Trades Union Congress (TUC)—was founded.

 

The 20th century to the present

In 1914 Sheffield became a diocese of the Church of England, and the parish church became a cathedral. During the First World War the Sheffield City Battalion suffered heavy losses at the Somme and Sheffield itself was bombed by a German zeppelin.

 

The recession of the 1930s was only halted by the increasing tension as the Second World War loomed. The steel factories of Sheffield were set to work making weapons and ammunition for the war. As a result, once war was declared, the city once again became a target for bombing raids. In total there were 16 raids over Sheffield, but it was the heavy bombing over the nights of 12 and 15 December 1940 (now known as the Sheffield Blitz) when the most substantial damage occurred. More than 660 people died and numerous buildings were destroyed.

 

Following the war, the 1950s and 1960s saw many large scale developments in the city. The Sheffield Tramway was closed, and a new system of roads, including the Inner Ring Road, were laid out. Also at this time many of the old slums were cleared and replaced with housing schemes such as the Park Hill flats, and the Gleadless Valley estate.

 

In February 1962, the city was devastated by the Great Sheffield Gale. Extremely localised high winds across the city, reaching up to 97 mph (156 km/h), killed four people, injured more than 400, and damaged more than 150,000 houses across the city, leaving thousands homeless.

 

Sheffield's traditional manufacturing industries (along with those of many other areas in the UK), declined during the 20th century. In the 1980s, it was the setting for two films written by locally-born Barry Hines: Looks and Smiles, a 1981 film that portrayed the depression that the city was enduring, and Threads, a 1984 television film that simulated a nuclear winter in Sheffield after a warhead is dropped to the east of the city.

 

The building of the Meadowhall shopping centre on the site of a former steelworks in 1990 was a mixed blessing, creating much needed jobs but speeding the decline of the city centre. Attempts to regenerate the city were kick-started by the hosting of the 1991 World Student Games and the associated building of new sporting facilities such as the Sheffield Arena, Don Valley Stadium and the Ponds Forge complex. Sheffield began construction of a tram system in 1992, with the first section opening in 1994.

 

Starting in 1995, the Heart of the City Project has seen public works in the city centre: the Peace Gardens were renovated in 1998, the Millennium Gallery opened in April 2001, and a 1970s town hall extension was demolished in 2002 to make way for the Winter Garden, which opened on 22 May 2003. A series of other projects grouped under the title Sheffield One aim to regenerate the whole of the city centre.

 

Sheffield was particularly hard hit during the 2007 United Kingdom floods and the 2010 'Big Freeze'. The 2007 flooding on 25 June caused millions of pounds worth of damage to buildings in the city and led to the loss of two lives. Many landmark buildings such as Meadowhall and the Hillsborough Stadium flooded due to being close to rivers that flow through the city. In 2010, 5,000 properties in Sheffield were identified as still being at risk of flooding. In 2012 the city narrowly escaped another flood, despite extensive work by the Environment Agency to clear local river channels since the 2007 event. In 2014 Sheffield Council's cabinet approved plans to further reduce the possibility of flooding by adopting plans to increase water catchment on tributaries of the River Don. Another flood hit the city in 2019, resulting in shoppers being contained in Meadowhall Shopping Centre.

 

Between 2014 and 2018, there were disputes between the city council and residents over the fate of the city's 36,000 highway trees. Around 4,000 highway trees have since been felled as part of the ‘Streets Ahead’ Private Finance Initiative (PFI) contract signed in 2012 by the city council, Amey plc and the Department for Transport to maintain the city streets. The tree fellings have resulted in many arrests of residents and other protesters across the city even though most felled trees in the city have been replanted, including those historically felled and not previously replanted. The protests eventually stopped in 2018 after the council paused the tree felling programme as part of a new approach developed by the council for the maintenance of street trees in the city.

 

In July 2013 the Sevenstone project, which aimed to demolish and rebuild a large part of the city centre, and had been on hold since 2009, was further delayed and the company developing it was dropped. The city council is looking for partners to take a new version of the plan forwards. In April 2014 the council, together with Sheffield University, proposed a plan to reduce the blight of empty shops in the city centre by offering them free of charge to small businesses on a month-by-month basis.

 

In December 2022, thousands of homes in Hillsborough and Stannington were left without a gas supply for more than a week following a serious failure of the local network. Sheffield City Council declared a major incident as temperatures dropped below freezing in unheated homes, and aid was distributed to local residents.

Strokkur is a consistent geyser, erupting every few minutes. In between eruptions, however, it is a tease -- it pulsates regularly, leading a casual observer to think an eruption is imminent. This clip shows Strokkur's false starts. Cut down due to size restrictions, all these pulses occurred between two eruptions.

 

(Shot with a Canon Optura 50, post-processing in Windows Movie Maker.)

Em pleno verão, após uma temporada de chuvas consistentes, é impossível perder qualquer oportunidade de fotografar – seja lá o que for, onde for, a qualquer hora. Num dia considerado “de intensa insolação”, quando a atmosfera não oferece muita filtragem para os raios e há apenas nuvens esparsas, a oportunidade é perfeita.

 

Fizemos um passeio por uma estrada conhecida, amiga íntima dos tempos de infância e adolescência. Por ela passei tantas vezes que nem sei contar: para a casa da minha avó, em Rio Novo, para Juiz de Fora, onde mais tarde fui morar, conhecia seus morros, as fazendas, cada curva, cada várzea, riacho ou lagoa. Dialogávamos sobre namoros terminados, bailes no clube, notas baixas no colégio e depois do vestibular nós nos despedimos.

 

Ontem, mostrando-se festiva, plena de cores brilhantes, procurei e encontrei recantos inesquecíveis e percebi que ela ainda sussurra aos meus ouvidos; ainda se lembra de mim, tanto depois.

 

O olhar estava diferente: eu nunca a olhara com “olhos de fotógrafo”. Claro que me encantei com os cenários superpondo-se a cada quilômetro diante de nós. Matei a saudade.

 

E foi com a câmera ainda quente nas mãos que, chegando a Juiz de Fora, passei pela casa de uma amiga para tomar uma água gelada. Ela também conhece bem o caminho e estranhou me ver tão animada. Eu lhe mostrei pelo visor algumas das imagens que fiz. E disse a ela: gosto de tudo, procuro ver beleza em tudo, tudo me interessa. Olha só que paisagem bonita! Uma paisagem mineira absolutamente típica!!

 

Ela apenas correu um olhar cinzento e comentou: “paisagem pobre, você quer dizer, não é?”

 

Depois de umas quatro ou cinco, ela se desinteressou e concluiu: “essa sua máquina é muito boa mesmo”.

 

Então, me calei.

Joel Parkinson Leads ASP Top Stars in Assault on Rip Curl Pro Bells Beach Round 1

 

BELLS BEACH, Victoria/Australia (Wednesday, April 20, 2011) – Today marks the commencement of the 50th Anniversary of competition surfing at Bells Beach as Round 1 of the 2011 Rip Curl Pro Bells presented by Ford Ranger got underway in clean four-to-six foot (1.5 - 2 metre) surf.

 

The Rip Curl Pro Bells Beach, the second stop on the 2011 ASP World Title season, enjoyed consistent surf throughout the day as the world’s best surfers unleashed a barrage of high-performance ripping on the classic canvas of Bells Beach.

 

Joel Parkinson (AUS), 30, 2009 Rip Curl Pro Bells Beach Champion put in a sensational performance this afternoon, electing to sit up at Rincon to secure the day’s highest scores.. Parkinson locked in the highest wave score and the highest heat score of the opening day of competition scoring 17.74 (out of a possible 20.00) to advance directly through to Round 3 of competition.

 

"I fell off twice on the bowl," Parkinson said. "It was really hard to ride. Then CJ (Hobgood) went across to Rincon and got a score, so we followed him over and it worked out for me. It's great to get that opening heat win, especially at Bells. You never know what conditions you're going to get in a heat, so to be able to skip round two and maybe get a day off is a huge advantage."

 

Kelly Slater (USA), 39, reigning 10-time ASP World Champion and defending event winner, was clinical in his attack in his Round 1 heat. Slater had his fellow competitors Adam Robertson (AUS), 28, and Kai Otton (AUS), 31, on the ropes only minutes into the heat, scoring an impressive 16.00 (out of a possible 20.00) on his opening two rides.

 

"I don't free surf out at Bells a whole lot," Slater said. "When the waves are good the comp is on and outside of that it's pretty crowded. So I'm still learning with each heat out there still, surfing against a guy like Robbo (Adam Robertson) you've got to watch where he's sitting, how far our and how deep."

 

Mick Fanning (AUS), 29, currently equal 13th in the hunt for the 2011 ASP World Title, went into today’s competition with renewed vigor after a shock early exit at the last event on the Gold Coast. The past two-time ASP World Champion came out and dominated his Round 1 battle over Tiago Pires (PRT), 31, and Gabriel Medina (BRA), 17.

 

"I'm stoked to get a good start," Fanning said. "It's been 10 years since I won here as I wildcard, I got close last year but Kelly Slater got me in the final. You want to win every event, but being the 50th Anniversary and so much history at this event, it's like the Wimbeldon of surfing, it's a hard one to win but it's the one everyone wants."

 

Alejo Muniz (BRA), 21, led today’s rookie charge, continuing his sensational run after the and equal 5th on the Gold Coast, and dispatching of fellow Brazilian Ranoi Monterio (BRA), 28, and Australian Adrian Buchan (AUS), 28 in this morning’s opening round heat.

 

"It's so good out there!" Muniz said. "This is my first time surfing at Bells and it's the most amazing place. It's got perfect rights, and it's the kind of wave that I love to surf. It's the best place ever, best waves, best weather and I love surfing in wetsuits."

 

Jeremy Flores (FRA), 22, bounced back after missing the Quiksilver Pro Gold Coast with a knee injury, to score a comprehensive win over Taylor Knox (USA), 39, and Cory Lopez (USA), 34.

 

"I wasn't very confident before the heat," Flores said. "But I got that first wave and did a big turn at the end and got a good score. I think that's what you need to do these days, finish the wave strong. My knee still isn't 100%, but I went for it and it's good to win. Big thanks to everyone at the Gold Coast Suns Football Club for helping with my knee, it's feeling much better now."

 

Stu Kennedy (AUS), 21, scored a last minute wildcard into the event and caused the upset of the day, eliminating 2010 ASP World Title runner-up Jordy Smith (ZAF), 23, and Dusty Payne (HAW), 22.

 

"I've been coming here for years," Kennedy said. "I won a Pro Junior here in 2008 and I know where to sit. I don't think Dusty and Jordy know the break as well as I do so that helps. I've been up since 3am because I'm jet-lagged from coming home from Scotland. I woke up with a bunch of energy it's my shaper's birthday so I woke him up at 5am to go surfing. I had to win my heat for him for his birthday."

 

When men’s competition resumes, up first will be 2010 ASP World Runner-Up Jordy Smith (ZAF), 23, up against Trials Winner Adam Robertson (AUS), 28, in the opening heat of Round 2.

 

Following the completion of the men’s Round 1 today, the ASP Top 17 hit the water for Round 1 of the Rip Curl Women’s Pro Bells Beach presented by Ford Fiesta.

 

Stephanie Gilmore (AUS), 23, reigning four-time ASP Women’s World Champion and defending three-time Rip Curl Women’s Bells Beach winner, returned to her winning ways today, after bowing out early at the last event, the Roxy Pro Gold Coast.

 

"My first two years on tour I didn't have great results on the Gold Coast," Gilmore said. "I always bounced back at this event and then finished the year well, so hopefully I'll do that again this year. The Gold Coast was a fine showing of what women's surfing is up to now and everyone has to try and keep up. It really pushes me and I think anyone who wins an event from now on will be a very deserving winner because of that fact."

 

Pauline Ado (FRA), 19, the French rookie caused the upset of the women's event, defeating current ASP World Title front runner Carissa Moore (HAW), 18, in a nail biter of a heat.

 

"I'm really happy, I had a lot of fun out there," Ado said "I got one of my good waves in the first few seconds so after that I felt confident and knew I could be more selective and wait for the right wave. A heat against Carissa is always a tough one, so I'm really stoked to win."

 

When women’s competition resumes, up first will be Paige Hareb (NZL) and Jessi Miley-Dyer (AUS) in the opening heat of Round 2.

 

Event organizers will reconvene tomorrow morning at 7am to assess conditions for a possible 7:30am start.

 

Highlights from the Rip Curl Pro Bells Beach presented by FORD will be webcast available via www.live.ripcurl.com and broadcast live on Fuel TV in Australia and ESPN in Brazil.

 

For more information, log onto www.aspworldtour.com

  

RIP CURL PRO BELLS BEACH ROUND 1 RESULTS:

Heat 1: Alejo Muniz (BRA) 13.23, Adrian Buchan (AUS) 11.26, Raoni Monteiro (BRA) 7.37

Heat 2: Adam Melling (AUS) 14.50, Josh Kerr (AUS) 12.30, Taj Burrow (AUS) 11.00

Heat 3: Heitor Alves (BRA) 14.36, Bobby Martinez (USA) 14.14, Owen Wright (AUS) 10.60

Heat 4: Mick Fanning (AUS) 15.60, Tiago Pires (PRT) 11.07, Gabriel Medina (BRA) 9.27

Heat 5: Stu Kennedy (AUS) 11.70, Dusty Payne (HAW) 10.50, Jordy Smith (ZAF) 9.00

Heat 6: Kelly Slater (USA) 16.00, Kai Otton (AUS) 10.13, Adam Robertson (AUS) 8.53

Heat 7: Jeremy Flores (FRA) 13.17, Cory Lopez (USA) 5.83, Taylor Knox (USA) 4.67

Heat 8: Michel Bourez (PYF) 12.60, Kieren Perrow (AUS) 10.20, Gabe Kling (USA) 3.50

Heat 9: Matt Wilkinson (AUS) 14.60, Damien Hobgood (USA) 11.23, Daniel Ross (AUS) 11.07

Heat 10: Joel Parkinson (AUS) 17.74, C.J. Hobgood (USA) 11.44, Bede Durbidge (AUS) 8.17

Heat 11: Adriano de Souza (BRA) 14.60, Chris Davidson (AUS) 10.83, Julian Wilson (AUS) 9.83

Heat 12: Patrick Gudauskas (USA) 13.40, Jadson Andre (BRA) 9.43, Brett Simpson (USA) 8.93

 

RIP CURL PRO BELLS BEACH ROUND 2 MATCH-UPS:

Heat 1: Jordy Smith (ZAF) vs. Adam Robertson (AUS)

Heat 2: Owen Wright (AUS) vs. Gabriel Medina (BRA)

Heat 3: Taj Burrow (AUS) vs. Bobby Martinez (USA)

Heat 4: Adrian Buchan (AUS) vs. Josh Kerr (AUS)

Heat 5: Damien Hobgood (USA) vs. Raoni Monteiro (BRA)

Heat 6: Bede Durbidge (AUS) vs. Cory Lopez (USA)

Heat 7: Brett Simpson (USA) vs. Gabe Kling (USA)

Heat 8: Jadson Andre (BRA) vs. Daniel Ross (AUS)

Heat 9: Chris Davidson (AUS) vs. Julian Wilson (AUS)

Heat 10: C.J. Hobgood (USA) vs. Kai Otton (AUS)

Heat 11: Kieren Perrow (AUS) vs. Dusty Payne (HAW)

Heat 12: Taylor Knox (USA) vs. Tiago Pires (PRT)

 

RIP CURL WOMEN’S PRO BELLS BEACH ROUND 1 RESULTS:

Heat 1: Sofia Mulanovich (PER) 12.93, Chelsea Hedges (AUS) 8.70, Jessi Miley-Dyer (AUS) 8.66

Heat 2: Silvana Lima (BRA) 14.94, Laura Enever (AUS) 8.84, Melanie Bartels (HAW) 7.54

Heat 3: Pauline Ado (HAW) 14.60, Carissa Moore (HAW) 14.44, Nikki Van Dijk (AUS) 10.63

Heat 4: Stephanie Gilmore (AUS) 16.30, Courtney Conlogue (USA) 9.00, Bethany Hamilton (HAW) 6.50

Heat 5: Sally Fitzgibbons (AUS) 16.10, Alana Blanchard (HAW) 12.83 Paige Hareb (NZL) 7.47

Heat 6: Coco Ho (HAW) 12.90, Tyler Wright (AUS) 12.00, Pauline Ado (FRA) 6.37

 

RIP CURL WOMEN’S PRO BELLS BEACH ROUND 2 MATCH-UPS:

Heat 1: Paige Hareb (NZL) vs. Jessi Miley-Dyer (AUS)

Heat 2: Laura Enever (AUS) vs. Melanie Bartels (HAW)

Heat 3: Carissa Moore (HAW) vs. Nikki Van Dijk (AUS)

Heat 4: Chelsea Hedges (AUS) vs. Bethany Hamilton (HAW)

Heat 5: Tyler Wright (AUS) vs. Alana Blanchard (HAW)

Heat 6: Courtney Conlogue (USA) vs. Rebecca Woods (AUS)

 

Photo ASP/Scholtz

Joel Parkinson Leads ASP Top Stars in Assault on Rip Curl Pro Bells Beach Round 1

 

BELLS BEACH, Victoria/Australia (Wednesday, April 20, 2011) – Today marks the commencement of the 50th Anniversary of competition surfing at Bells Beach as Round 1 of the 2011 Rip Curl Pro Bells presented by Ford Ranger got underway in clean four-to-six foot (1.5 - 2 metre) surf.

 

The Rip Curl Pro Bells Beach, the second stop on the 2011 ASP World Title season, enjoyed consistent surf throughout the day as the world’s best surfers unleashed a barrage of high-performance ripping on the classic canvas of Bells Beach.

 

Joel Parkinson (AUS), 30, 2009 Rip Curl Pro Bells Beach Champion put in a sensational performance this afternoon, electing to sit up at Rincon to secure the day’s highest scores.. Parkinson locked in the highest wave score and the highest heat score of the opening day of competition scoring 17.74 (out of a possible 20.00) to advance directly through to Round 3 of competition.

 

"I fell off twice on the bowl," Parkinson said. "It was really hard to ride. Then CJ (Hobgood) went across to Rincon and got a score, so we followed him over and it worked out for me. It's great to get that opening heat win, especially at Bells. You never know what conditions you're going to get in a heat, so to be able to skip round two and maybe get a day off is a huge advantage."

 

Kelly Slater (USA), 39, reigning 10-time ASP World Champion and defending event winner, was clinical in his attack in his Round 1 heat. Slater had his fellow competitors Adam Robertson (AUS), 28, and Kai Otton (AUS), 31, on the ropes only minutes into the heat, scoring an impressive 16.00 (out of a possible 20.00) on his opening two rides.

 

"I don't free surf out at Bells a whole lot," Slater said. "When the waves are good the comp is on and outside of that it's pretty crowded. So I'm still learning with each heat out there still, surfing against a guy like Robbo (Adam Robertson) you've got to watch where he's sitting, how far our and how deep."

 

Mick Fanning (AUS), 29, currently equal 13th in the hunt for the 2011 ASP World Title, went into today’s competition with renewed vigor after a shock early exit at the last event on the Gold Coast. The past two-time ASP World Champion came out and dominated his Round 1 battle over Tiago Pires (PRT), 31, and Gabriel Medina (BRA), 17.

 

"I'm stoked to get a good start," Fanning said. "It's been 10 years since I won here as I wildcard, I got close last year but Kelly Slater got me in the final. You want to win every event, but being the 50th Anniversary and so much history at this event, it's like the Wimbeldon of surfing, it's a hard one to win but it's the one everyone wants."

 

Alejo Muniz (BRA), 21, led today’s rookie charge, continuing his sensational run after the and equal 5th on the Gold Coast, and dispatching of fellow Brazilian Ranoi Monterio (BRA), 28, and Australian Adrian Buchan (AUS), 28 in this morning’s opening round heat.

 

"It's so good out there!" Muniz said. "This is my first time surfing at Bells and it's the most amazing place. It's got perfect rights, and it's the kind of wave that I love to surf. It's the best place ever, best waves, best weather and I love surfing in wetsuits."

 

Jeremy Flores (FRA), 22, bounced back after missing the Quiksilver Pro Gold Coast with a knee injury, to score a comprehensive win over Taylor Knox (USA), 39, and Cory Lopez (USA), 34.

 

"I wasn't very confident before the heat," Flores said. "But I got that first wave and did a big turn at the end and got a good score. I think that's what you need to do these days, finish the wave strong. My knee still isn't 100%, but I went for it and it's good to win. Big thanks to everyone at the Gold Coast Suns Football Club for helping with my knee, it's feeling much better now."

 

Stu Kennedy (AUS), 21, scored a last minute wildcard into the event and caused the upset of the day, eliminating 2010 ASP World Title runner-up Jordy Smith (ZAF), 23, and Dusty Payne (HAW), 22.

 

"I've been coming here for years," Kennedy said. "I won a Pro Junior here in 2008 and I know where to sit. I don't think Dusty and Jordy know the break as well as I do so that helps. I've been up since 3am because I'm jet-lagged from coming home from Scotland. I woke up with a bunch of energy it's my shaper's birthday so I woke him up at 5am to go surfing. I had to win my heat for him for his birthday."

 

When men’s competition resumes, up first will be 2010 ASP World Runner-Up Jordy Smith (ZAF), 23, up against Trials Winner Adam Robertson (AUS), 28, in the opening heat of Round 2.

 

Following the completion of the men’s Round 1 today, the ASP Top 17 hit the water for Round 1 of the Rip Curl Women’s Pro Bells Beach presented by Ford Fiesta.

 

Stephanie Gilmore (AUS), 23, reigning four-time ASP Women’s World Champion and defending three-time Rip Curl Women’s Bells Beach winner, returned to her winning ways today, after bowing out early at the last event, the Roxy Pro Gold Coast.

 

"My first two years on tour I didn't have great results on the Gold Coast," Gilmore said. "I always bounced back at this event and then finished the year well, so hopefully I'll do that again this year. The Gold Coast was a fine showing of what women's surfing is up to now and everyone has to try and keep up. It really pushes me and I think anyone who wins an event from now on will be a very deserving winner because of that fact."

 

Pauline Ado (FRA), 19, the French rookie caused the upset of the women's event, defeating current ASP World Title front runner Carissa Moore (HAW), 18, in a nail biter of a heat.

 

"I'm really happy, I had a lot of fun out there," Ado said "I got one of my good waves in the first few seconds so after that I felt confident and knew I could be more selective and wait for the right wave. A heat against Carissa is always a tough one, so I'm really stoked to win."

 

When women’s competition resumes, up first will be Paige Hareb (NZL) and Jessi Miley-Dyer (AUS) in the opening heat of Round 2.

 

Event organizers will reconvene tomorrow morning at 7am to assess conditions for a possible 7:30am start.

 

Highlights from the Rip Curl Pro Bells Beach presented by FORD will be webcast available via www.live.ripcurl.com and broadcast live on Fuel TV in Australia and ESPN in Brazil.

 

For more information, log onto www.aspworldtour.com

  

RIP CURL PRO BELLS BEACH ROUND 1 RESULTS:

Heat 1: Alejo Muniz (BRA) 13.23, Adrian Buchan (AUS) 11.26, Raoni Monteiro (BRA) 7.37

Heat 2: Adam Melling (AUS) 14.50, Josh Kerr (AUS) 12.30, Taj Burrow (AUS) 11.00

Heat 3: Heitor Alves (BRA) 14.36, Bobby Martinez (USA) 14.14, Owen Wright (AUS) 10.60

Heat 4: Mick Fanning (AUS) 15.60, Tiago Pires (PRT) 11.07, Gabriel Medina (BRA) 9.27

Heat 5: Stu Kennedy (AUS) 11.70, Dusty Payne (HAW) 10.50, Jordy Smith (ZAF) 9.00

Heat 6: Kelly Slater (USA) 16.00, Kai Otton (AUS) 10.13, Adam Robertson (AUS) 8.53

Heat 7: Jeremy Flores (FRA) 13.17, Cory Lopez (USA) 5.83, Taylor Knox (USA) 4.67

Heat 8: Michel Bourez (PYF) 12.60, Kieren Perrow (AUS) 10.20, Gabe Kling (USA) 3.50

Heat 9: Matt Wilkinson (AUS) 14.60, Damien Hobgood (USA) 11.23, Daniel Ross (AUS) 11.07

Heat 10: Joel Parkinson (AUS) 17.74, C.J. Hobgood (USA) 11.44, Bede Durbidge (AUS) 8.17

Heat 11: Adriano de Souza (BRA) 14.60, Chris Davidson (AUS) 10.83, Julian Wilson (AUS) 9.83

Heat 12: Patrick Gudauskas (USA) 13.40, Jadson Andre (BRA) 9.43, Brett Simpson (USA) 8.93

 

RIP CURL PRO BELLS BEACH ROUND 2 MATCH-UPS:

Heat 1: Jordy Smith (ZAF) vs. Adam Robertson (AUS)

Heat 2: Owen Wright (AUS) vs. Gabriel Medina (BRA)

Heat 3: Taj Burrow (AUS) vs. Bobby Martinez (USA)

Heat 4: Adrian Buchan (AUS) vs. Josh Kerr (AUS)

Heat 5: Damien Hobgood (USA) vs. Raoni Monteiro (BRA)

Heat 6: Bede Durbidge (AUS) vs. Cory Lopez (USA)

Heat 7: Brett Simpson (USA) vs. Gabe Kling (USA)

Heat 8: Jadson Andre (BRA) vs. Daniel Ross (AUS)

Heat 9: Chris Davidson (AUS) vs. Julian Wilson (AUS)

Heat 10: C.J. Hobgood (USA) vs. Kai Otton (AUS)

Heat 11: Kieren Perrow (AUS) vs. Dusty Payne (HAW)

Heat 12: Taylor Knox (USA) vs. Tiago Pires (PRT)

 

RIP CURL WOMEN’S PRO BELLS BEACH ROUND 1 RESULTS:

Heat 1: Sofia Mulanovich (PER) 12.93, Chelsea Hedges (AUS) 8.70, Jessi Miley-Dyer (AUS) 8.66

Heat 2: Silvana Lima (BRA) 14.94, Laura Enever (AUS) 8.84, Melanie Bartels (HAW) 7.54

Heat 3: Pauline Ado (HAW) 14.60, Carissa Moore (HAW) 14.44, Nikki Van Dijk (AUS) 10.63

Heat 4: Stephanie Gilmore (AUS) 16.30, Courtney Conlogue (USA) 9.00, Bethany Hamilton (HAW) 6.50

Heat 5: Sally Fitzgibbons (AUS) 16.10, Alana Blanchard (HAW) 12.83 Paige Hareb (NZL) 7.47

Heat 6: Coco Ho (HAW) 12.90, Tyler Wright (AUS) 12.00, Pauline Ado (FRA) 6.37

 

RIP CURL WOMEN’S PRO BELLS BEACH ROUND 2 MATCH-UPS:

Heat 1: Paige Hareb (NZL) vs. Jessi Miley-Dyer (AUS)

Heat 2: Laura Enever (AUS) vs. Melanie Bartels (HAW)

Heat 3: Carissa Moore (HAW) vs. Nikki Van Dijk (AUS)

Heat 4: Chelsea Hedges (AUS) vs. Bethany Hamilton (HAW)

Heat 5: Tyler Wright (AUS) vs. Alana Blanchard (HAW)

Heat 6: Courtney Conlogue (USA) vs. Rebecca Woods (AUS)

 

Photo ASP/Scholtz

Singer Etta James attends the Fifth Annual Fashion Rocks at Radio City Music Hall on September 5, 2008 in New York City. This is the event where Etta James heard Beyonce preform her signature song At Last. for the first time. Beyonce sang the song to Etta directly.

Simply Consistent Management. Kathleen Checki

www.simplyconsistent.com/

"-Etta James."

"-Kathleen Checki."

"-Checki."

"-Simply Consistent."

"-Simply Consistent Management."

"-Etta James and her manager Kathleen Checki."

   

View toward Fort Cronkhite. This is a stitched panorama.

 

------------

 

After a pleasant day lawn bowling at the venerable SFLBC in Golden Gate Park, Claudia and I made our way out to the Marin Headlands through bumper-to-bumper Labor Day traffic. We were welcomed by a fantastic afternoon – hardly a trace of fog and a gentle sea breeze. From the Rodeo Beach parking lot we took a late day hike north along the coast. Instead of climbing up toward Battery Townsley and Wolf Ridge, our common route, we took the low road instead walking a bit less than a mile where the low trail ends due to steep bluffs. At the terminus we found Tennessee Point itself - a curious, flat, bare plateau perhaps 100 feet above the surf line.. Here Claudia paused to read while I flew the camera. I am curious about the history of this bare, flat patch. Surely it was once used for something.

 

I was generally interested in this area for several reasons. This is the seaward end of Wolf Ridge, a hillock that saw interesting activity in World War II. It is also just south of a major landslide area that has disrupted roads, base end stations, and other construction from previous military epochs. At some point I would like to photograph this slide so the day’s outing provided a scouting opportunity.

 

I was a little surprised to see how rugged the bluffs became between the trail’s end and Tennessee Valley, the next point of coastal access to the north. I was also delighted to find three base end stations snuggled into the low hillside just above the end of the trail. This KAP flight would also position the camera out in front of the twin Battery Townsley casemates thus affording a new view of that subject.

 

I flew the camera for an hour or so near sunset below a Sutton Flowforn 30. The breeze remained gentle and consistent – just enough to keep the lighter Canon EOS-M rig aloft. Every few minutes a flight of several Brown Pelicans would glide past our position on the bluff making elegant use of orographic lift and passing just a few dozen feet away. It was peaceful and quiet, a delightful time in this most scenic spot.

 

Walking back we chatted about our earlier encounter with a group of a half dozen folks at Battery Rathbone – McIndoe. They appeared to be a professional video crew flying a new DJI S1000 octocopter drone featuring retractable landing gear and a Zenmuse gimbal carrying a Panasonic GH3. This is a pretty fancy drone setup worth over ten grand at least. Its large 6S LiPo batteries will keep it aloft for 12 to 15 minutes. Lord knows what they were up to or whether they had permission (it is my understanding that drones are not allowed in the GGNRA). While I greatly admire the technology of this setup I think its cost and complexity (both technical and regulatory) would be a source of continuing anxiety. For me the kites seem so pleasantly simple in comparison. Granted I am shooting photographs and they must have been videographers.

"Exchange of Rings (Bag One portfolio)" 1970

by John Lennon

lithograph

30 x 35 inches framed

           

"IMAGINE PEACE

 

Yoko Ono, among the earliest of artists working in the genre known

Conceptual Arts, has consistently employed the theme of peace

and used the medium of advertising in her work since the early 1960s.

Yoko Ono Imagine Peace Featuring John & Yoko's Year of Peace

explores these aspects of her work over the course of more than

forty years.

 

Three recent pieces - Imagine Peace (Map) (2003/2007); Onochord

(2003/2007); and Imagine Peace Tower (2006/2007) - offer gallery

visitors to an opportunity to participate individually and collectively

with the artist in the realization of work. Consider the world with

fresh eyes as you stamp the phrase "Imagine Peace" on the location

of your choice on maps provided for this purpose. Using postcards

provided send your wishes to the Imagine Peace

Tower in Reykjavik, where they will shine on with eternally more than

900,000 others. Or beam the message "I Love You" to one and all

using the Onochord flashlights. Take a flashlight and an Imagine

Peace button, the artist's gift to you, and carry the message out into the

world. As Ono has often observed, "the dream you dream alone is

just the dream, but the dream we dream together is reality."

 

The exhibition continues in nine locations with Imagine

Peace/Imaginate La Paz billboards across the San Antonio region.

 

YOKO ONO IMAGINE PEACE Featuring John & Yoko's Year of Peace is made

possible by the generosity by Bjom's Audio Video-Home Theater, Colleen

Casey and Tim Maloney, Clear Channel Outdoor, Rick Liberto, Smothers

Foundation, and Twin Sisters Bakery & Cafe. "

   

" John & Yoko's Year of Peace (1969 - 70)

 

Ono's Imagine Peace project carries conceptual and formal

strategies the artist had employer from the earliest years of her

career, not only in her seminal solo works, but in her collaborations

with John Lennon. In 1965, she created works specifically for the

advertising pages of The New York Arts Calendar. Picking up from

her Instructions for Paintings, a 1962 exhibition at Tokyo's Sogetsu Art

Center in which she exhibited written texts on the gallery walls

designed to inspire viewers to create the described images in their

minds, Ono created purely conceptual exhibitions with her

Is Real Gallery works.

 

The theme of peace is also evident in works sush as White Chess Set,

recreated here as Play It By Trust (Garden Set version) (1966/2007).

Lennon's songwriting during this period had shifted from more

conventional themes of romantic love to grander anthems for the

Flower Power generation. The Baetles' worldwide satellite broadcast

of Lennon's "All You Need Is Love" in the summer of 1967 featured a

parade of signs with the word "love" in multiple languages.

 

The couple's most famous collaborative works, the Bed-Ins (1969)

and the War Is Over! campaign (1969 - 1970), were conceived as

elements of a large peace advertising campaign. The Bed-Ins took

advantage of the inordinate amount of press attention the couple

received by inviting the world press to their honeymoon suite where

they talked about peace! Ono told Penthouse magazine's Charles

Childs: "Many other people who are rich are using their money for

something they want. They promote soap, use advertising

propaganda, what have you. We intend to do the same."

 

In December of 1969, they launched their War Is Over! campaign, a

project that included billboards and posters in 11 cities of the world

simply declaring "War Is Over! If You Want It. Happy Christmas from

John & Yoko." As with Ono's earliest instruction pieces, viewers were

invited to transform their dreams into reality. Ono has explained,

"All my work is a form of wishing." "

   

YOKO ONO: IMAGINE PEACE Featuring John & Yoko's Year of Peace

September 26th - October 28th, 2007

UTSA Art Gallery / Department of Art and Art History

The University of Texas at San Antonio