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Parcours artistique contemporain, novateur et poétique sur un sentier de randonnée « la cascade de Razis » qui nous invitent à porter un autre regard sur un paysage pourtant familier. Partir sur le parcours des fées c’est faire le choix d’un voyage où l’art s’intègre dans la nature sauvage et préservée de la vallée de Crévoux. A chaque pas c’est une multitude de sentiments qui se mêlent : on passe de la surprise à l’enchantement d’œuvre en œuvre. Et ce paysage grandiose : la nature à l’état pur ! Ce projet porté par l’association Fées d’hiver depuis 2010, s’est développé afin d’offrir à chacun un véritable musée à ciel ouvert mêlant art et paysage.
Everything makes sense inside a frame right? But what about outside of it? What happens outside our constructed perception?
You see, reality my friend, is such a misunderstood concept...
The Bara Gumbad, or "big dome," is a large domed structure grouped together with the Friday mosque of Sikander Lodi and a mehman khana (guesthouse), located in New Delhi's Lodi Gardens. The buildings were constructed at different times during the Lodi era and occupy a common raised platform. Formerly an outlying area of Delhi, the Lodi Gardens are a British-planned landscaped garden which includes a number of monuments (primarily tombs) from the Sayyid and the Lodi dynasties. Originally called Willingdon Park, the gardens were located in the former village of Khairpur, now on the edge of Lutyen's Delhi, the colonial capital built by the British in the early 20th century. The gardens, which cover approx. 70 acres, have come to be surrounded by institutional buildings and some of contemporary Delhi's most expensive real estate.
Although they were built under the same dynasty, each of the three structures was undertaken separately. The Bara Gumbad, completed in 1490, is considered to have the first full dome constructed in Delhi. Its original purpose is contested; although it appears to be a freestanding tomb, it contains no tombstone. This causes the speculation that the building might have been intended as a gateway for the Friday mosque; however, their respective placements, stylistic differences, and construction dates do not support this theory. The Friday mosque, completed in 1494, is the first example of the new mosque type that developed during the Lodi era. Characterized by a relatively simple five bay prayer hall building adjacent to a simple open courtyard, this type was an important precedent for mosque architecture in the Lodi and Mughal eras.
The complex can be accessed from various points along the roads bordering the Lodi Gardens, with the access from the Lodi road towards the south most prominent. The buildings are situated at a distance of about 300 meters from Muhammad Shah's tomb towards the south and about 380 meters from Sikander Lodi's tomb towards the north. Another prominent structure, the Shish Gumbad, is located facing the Bara Gumbad at a distance of about seventy-five meters towards the north. The area surrounding the buildings is landscaped with manicured grass lawns. Few trees are planted in the immediate vicinity, leaving the view of the structures unobscured. The path winding through the Lodi Gardens approaches the buildings axially from the north, although the building plinth is accessible all from all sides.
The buildings are sited on a three-meter-high platform, measuring approximately 30 meters (east-west) by 25 meters (north-south). The Friday mosque is located along the western edge of the platform; the guesthouse is sited opposite it, occupying the eastern edge, while the Bara Gumbad is located along the southern edge. Stone masonry walls, about six meters high, connect the three structures along the southern edge. The northern edge is provided with staircases for accessing the platform. A centrally located straight flight comprising of eight steps, about ten meters wide, connects the ground to a generous mid landing. Another 'C' shaped flight of eight steps wraps around the landing, creating an amphitheatre-like space and reaching the top of the platform. The current arrangement of steps appears to be more recent, and the remains of walls adjoining the southern face of the guesthouse and the mosque indicate that the northern edge might have originally been walled. In the center of the raised court, with its southern edge along the staircase, are the remains of a square shaped platform, 8 meters wide, which appears to be a grave.
Friday mosque:
The Friday mosque is a single aisled, rectangular building, approx. 30 meters (north-south) by 8 meters (east-west). The mosque is organized in five unequal bays, which correspond to the five arched doorways on the eastern (entry) elevation. The width of the arched doorways decreases from the center towards the sides. The arches span across grey granite piers. The central arch is framed within a projecting rectangular portal, measuring about 8 meters in height by 6 meters wide. The piers of the rectangular frame are cased in dressed granite and have three shallow arched niches in red sandstone, occurring vertically above the springing point of the arch, on either side. The doorway itself is described by four receding planes of ogee arches, the outermost one being in line with the external face of the rectangular portal. The doorways immediately to the side of the central portal are about 5 meters wide, while those at the two ends are approx. 1.5 meters wide with two receding planes of ogee arches, adding to the prominence of the central doorway. The apex of each innermost arch is constant, measuring approx. 5 meters from the top of the platform. Each arch is finished in plaster and embellished with intricate carved Arabic inscriptions. The spandrels are also heavily carved with geometric motifs, and their the corners are adorned with round inscribed plaster medallions. Red sandstone eaves (chajjas) on stone brackets top the arches, interrupted only by the central projecting portal that extends above them. There is a blank plastered frieze above the eaves, followed by the projecting horizontal bands of the cornice that is topped by a blind masonry parapet adorned with petal shaped crenellations with inscribed plaster medallions.
The interior of the prayer hall reflects the five bay division of the eastern elevation. It is a rectangular space, measuring about 27 meters (north-south) by about 7 meters (east-west). Additional arches spanning between the piers on the eastern elevation and the engaged piers of the western wall emphasize the demarcation of the interior space into bays. These internal ogee arches reach a height of about five meters. They are finished in plaster and profusely decorated with carvings of Arabic inscriptions. The piers are unornamented, dressed gray granite.
The qibla (western) wall of the prayer hall is a blind wall divided into five unequal bays expressed as recessed ogee arched niches, reflecting the arched openings on the eastern wall. The two bays adjacent to the central bay have three equal niches carved out from the portion below the springing line of the main arch. These niches are separated by granite piers, which have smaller arched niches in the top third of their elevation. The three niches are made of two layers of ogee arches framed by the piers. The external layer is in gray-yellow granite, while the interior arch is made of red sandstone. The central niche is mildly distinguishable from the others because its arched portion is curved and the imposts are engraved, while those of the adjacent arches are plain. The innermost rectangular portion of the central niche is blank, while that of the adjoining niches has the carving of a vase and flora inscribed in it. The tympanum of the main outer arch is finished in plaster and has an additional niche directly above the central niche which is embellished heavily with plaster carvings of Arabic inscriptions. A band of similar inscriptions runs along the interior perimeter of the arch and around the upper niche in a closed loop. The voussoirs of the outer arch are plastered and embellished with another layer of carvings. The central bay of the western wall also has three niches, each made of four recessed planes of alternating rectangular and arched profiles. The central mihrab niche is taller and wider. It is also shallower and the innermost plane is blank, while the other two niches are deeper set with relief work. A stone minbar with three steps has been provided abutting the northern pier of the central niche.
Hemispherical domes cover the three central bays, while the terminal bays are covered by low flat vaulted ceilings. The square plan of the three central bays transitions into an octagonal drum through the application of corbelled pendentives at the corners. The corbelling occurs in four layers, which increases in width from the bottom up. The layers are further embellished with curved niches set into rectangular frames, which also increase in number, the lowest corbel having one and the last corbel having five such niches. The last layers of the pendentives form alternate edges of the octagonal drum; the remaining edges being formed by the extension of the walls and are also provided with similar curved niches. The octagonal drum transitions into a hexadecagon, followed by a thirty-two-sided polygon by the provisions of small struts. Each face of the hexadecagon is provided with shallow niches, while the thirty-two-sided polygon is described by a projecting band of red sandstone, followed by a band of inscriptions finally topped by the hemispherical dome. The dome is finished in plain plaster. The voussoirs of the arches, the pendentives and the tympanum are all covered by intricate stucco Arabic inscriptions. The central dome is relatively higher that the other two domes.
The northern and southern walls of the mosque are punctured by ogee arch doorways below the springline of the main arch. Each opening leads to a projecting balcony, comprising of red sandstone posts supporting a tiered roof. The balconies protrude out from the faade and are supported on red sandstone brackets, whose profiles and carvings are characteristic of Hindu architecture. An elaborately carved arched niche is provided above each opening on the interior wall. It is set into a rectangular frame embossed with Arabic text.
The plasterwork on the external northern and southern walls of the mosque has fallen off, exposing the stone masonry, while that on the western wall has survived. The central bay of the western wall projects out and is marked by two solid towers at the corners. These towers are divided vertically into four layers; the first two layers from the bottom are orthogonal, while the third layer has alternating curved and angular fluting; the top layer, extending over the parapet of the mosque, has a circular section. The corners of the mosque are marked by similar tapering towers, which are divided into four layers. Each layer is circular in plan except the third layer, which is described by alternating curved and angular fluting. All the towers have the remains of finials at their apex. The central projecting wall has four red sandstone brackets in its upper third portion, which may have supported a projecting balcony similar to those on the north and south elevations.
The plasterwork on the walls of the plinth is now gone, exposing the rubble masonry construction below. The western face of the plinth is punctured by five ogee arch openings set into rectangular frames, one in the center and two each on the sides. These openings provide access to the basement within the plinth.
The roof has three domes corresponding to the three central bays of the prayer hall and the three central arches on the eastern elevation. The extrados of the domes are finished in plaster. The octagonal drums supporting the domes protrude out over the roof level, above which the circular bases of the domes are decorated with blind crestings having floral motifs. The central dome is marginally larger than the adjacent domes and all three have the remains of lotus finials at their apex.
Bara Gumbad:
Square in plan, the Bara Gumbad measures approx. 20 meters per side. Set on a plinth 3 meters high, it joins the common plinth on the north and projects beyond it to the south. Its plinth is decorated on the east, south, and west with ogee arch openings set into rectangular frames. These provide access to a basement.The walls of the Bara Gumbad are approx. 12 meters tall, above which a hemispherical dome on a hexadecagonal drum extends another 14 meters from the roof level, for a total building height of 29 meters above ground level.
Each of its elevations is nearly identical and divided into 2 horizontal sections. A projecting portal composed of an ogee arch set in a rectangular frame (approx. 8 meters wide), is centered in each elevation and rises approximately 75 cm above the parapet line of the building. The 1.5 meter wide frame is made of dressed gray granite. Each vertical pier of the frame has six shallow red sandstone niches arranged atop one another at varying heights; nine niches continue in a line along the horizontal portion of the frame. The portal is described by two receding planes of grey granite ogee arches; the spandrels are cased with black granite with a thin projecting edge of red sandstone. Two round plaster medallions adorn the spandrels. The lower layer of the portal has a central doorway, spanned by two red sandstone brackets that form a trabeated arch supporting a black granite lintel. These brackets are supported on grey granite posts. An intricately carved red sandstone frame adorns the brackets and the lintel; it starts at the springing point of the arch and frames the lintel of the doorway. The entire composition is set in a rectangular yellow sandstone frame. An ogee arch window has been provided above the trabeated entrance. The portal is crowned by the arched crenellations of the blind parapet. Solid turrets mark the projecting corners of the portal.
The remainder of the elevation, that flanking the central portal on either side and recessed behind it, is divided vertically into two equivalent parts by projecting horizontal bands of stone. Each part is described by two equal arched panels set into rectangular frames. Both the panels of the upper part on either side of the portal are blind and filled with granite masonry. The lower panels located adjacent to the portal are windows, while the lower panels at the edges are filled in. The parapet, like the portal, is decorated with arched crenellations, and the roof has solid turrets at each corner.
A single hemispherical dome surmounted on a sixteen-sided drum crowns the building. Each face of the drum is described by an ogee arched niche set in a rectangular frame. The voussoirs of the arches are gray granite, while the spandrels are clad with red sandstone. The top edge of the drum is decorated with a band of arched crenellations, similar to those on the roof parapets, running above a projecting band of stone that surrounds the drum. Below this projection is band of leaves carved in relief. The extrados of the dome are finished in smooth plaster. The lotus base, possibly for a vanished calyx finial, is still extant.
The structure can be entered either from the raised courtyard via the north elevation or from a double flight of steps located on the western elevation. Inside, the square building measures about seven meters per side. An 80 cm high, 45 cm wide solid seat runs continuously along the interior perimeter of the building. Light streams in from all four walls, which are punctured by the openings of the doorway at the ground level and the ogee arch window above. The interior surfaces of the Gumbad are unornamented and finished in dressed granite. The square plan of the room transitions into an octagon via squinches, which then support the thirty-two-sided drum and the dome. The apex of the dome has two bands of floral inscriptions; otherwise, the dome is finished in plaster. The absence of historical inscriptions has contributed to the confusion over the original purpose of the Bara Gumbad.
Mehman Khana:
The third structure in the group is rectangular in plan, measuring about 27 meters (north-south) by 7 seven meters (east-west). Located along the eastern edge of the common plinth, it faces the mosque and is connected to the Bara Gumbad by a masonry wall along its northern face. The structure is believed to have either been a mehman khana, (guesthouse) or a majlis khana (assembly hall).
The building is accessed from the common plinth through its western wall, which is divided into five bays, mirroring the eastern elevation of the mosque opposite it. The three central bays are considerably larger and have ogee arch doorways, giving access to the interior, while windows puncture the smaller end bays. The arches are set in rectangular frames, which are recessed from the face of the elevation. Each opening is composed of two recessed planes of arches. The spandrels are clad in red sandstone, contrasting with the gray granite of the elevation, and are decorated with round plaster medallions with lotus motifs. The window openings have an additional tie beam or lintel at the springline. The tympanum of the window towards the south has been filled with stone, while that of the window towards the north has been left open. A continuous chajja, supported on equidistant stone brackets, projects from the western wall above the rectangular frame. The cornice is unornamented and is topped by the projecting horizontal band of the parapet, which reaches a height of approximately five meters from the top of the raised plinth. The roof of the structure is flat. The exterior of the building lacks decoration and is finished in dressed granite.
The interior is divided into seven chambers occurring from north to south; the central chamber is the largest, measuring about 5 meters (north-south) long. It is abutted by relatively narrow chambers (approx. 2.5 meters long). The outside chambers which flank the 2.5 meter wide chambers on either side are approximately the size of the central chamber, and correspond to the arched openings in the western wall. The chambers are separated from each other by gray granite walls, punctured by simple ogee arched doorways set in rectangular frames. Square in plan, the outer rooms are separated from the adjacent chambers by stone walls with rectangular door openings with blind ogee arches and rectangular frames. Each doorway has shallow rectangular recesses on either side, as well as a small arched window set into a rectangular recess and a stone jali screen set above the doorway within the tympanum of the main arch. The eastern wall of the building has blind ogee arches, occurring as two successive planes, reflecting the arched openings of the western elevation.
The roof of the central chamber is flat and supported on arches located on four sides; flat stone brackets appear at the corners. The two adjacent rooms are covered by shallow domes supported on squinches. The interior domes are finished in plaster with carved concave fluting. The exterior of the domes has been filled to blend with the flat roof of the central room.
Certain stylistic continuities are recognizable in the three buildings; each was constructed with (local) gray granite and lime mortar. However, the degree and type of embellishment, both interior and exterior, on the mosque differs substantially from that found on the other two, relatively unadorned, buildings.
Apart from the grouping of the three structures and their stylistic similarities, the buildings do not appear to have been planned as a complex. The Friday mosque is the first example of the panchmukhi building type, where "panch" (five) and "mukhi " (facade) characterize a five-bay prayer hall. This approach was influential in both the Lodi and the Mughal periods. The Bara Gumbad is significant for having the first complete hemispherical dome in Delhi.
The differences in the surface ornament of the buildings suggest that the buildings were constructed at different times, with the Bara Gumbad and the guesthouse being similar in style and decoration, without the multilayered arches of the Friday mosque. The function of the Bara Gumbad is still unknown; its geometry and form aligns with the predominant tomb architecture of the period (like the neighboring Shish Gumbad). However, there is no grave or cenotaph in the building, and rather than being blank, its qibla wall (like its other walls) is punctured by an entrance. While the continuous stone bench in the interior is also found in gateway architecture, (as in the Alai Darwaza at the Quwat-ul-Islam Mosque in Mehrauli), the size of the Bara Gumbad vis-a-vis the Friday mosque does not support this conjecture. Some scholars surmise that the structure might have been a gateway to the larger complex of tombs within the Lodi Gardens.
Lodi Dynasty
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The Lodi dynasty in India arose around 1451 after the Sayyid dynasty. The Lodhi Empire was established by the Ghizlai tribe of the Afghans. They formed the last phase of the Delhi Sultanate. There were three main rulers in the history of Lodi dynasty. All three of them have been discussed in detail in the following lines. So read on about the Lodi dynasty history.
Buhlul Khan Lodi
Buhlul Khan Lodi (1451-1489) was the founder of the Lodi dynasty in India and the first Afghan ruler of Delhi. He was an Afghan noble who was a very brave soldier. Buhlul Khan seized the throne without much resistance from the then ruler, Alam Shah. His territory was spread across Jaunpur, Gwalior and northern Uttar Pradesh. During his reign in 1486, he appointed his eldest son Barbak Shah as the Viceroy of Jaunpur. Though he was an able ruler, he really couldn't decide as to which son of his should succeed him as the heir to the throne.
Sikandar Lodi
After the death of Buhlul Khan, his second son succeeded him as the king. He was given the title of Sultan Sikander Shah. He was a dedicated ruler and made all efforts to expand his territories and strengthen his empire. His empire extended from Punjab to Bihar and he also signed a treaty with the ruler of Bengal, Alauddin Hussain Shah. He was the one who founded a new town where the modern day Agra stands. He was known to be a kind and generous ruler who cared for his subjects.
Ibrahim Lodhi
Ibrahim Lodhi was the son of Sikander who succeeded him after his death. Due to the demands of the nobles, his younger brother Jalal Khan was given a small share of the kingdom and was crowned the ruler of Jaunpur. However, Ibrahim's men assassinated him soon and the kingdom came back to Ibrahim Lodhi. Ibrahim was known to be a very stern ruler and was not liked much by his subjects. In order to take revenge of the insults done by Ibrahim, the governor of Lahore Daulat Khan Lodhi asked the ruler of Kabul, Babur to invade his kingdom. Ibrahim Lodhi was thus killed in a battle with Babur who was the founder of the Mughal dynasty in India. With the death of Ibrahim Lodhi, the Lodhi dynasty also came to an end.
One image, deconstructed using Montager, rebuilt using PictureShow, with a bit of ToonPaint to change it up a bit
Construction (1910-1912) de style néo-Renaissance due aux architectes berlinois Richard Bielenburg et Josef Moser pour servir de siège brêmois à la banque Disconto-Gesellschaft jusqu'en 1929 et à la fusion avec la Deutsche Bank.
En 1999, le bâtiment est entièrement réagencé pour être transformé en centre commercial et immeuble de bureaux.
New shirt and slaps from the Constructive Destruction team. Fart postcard, true 2 death print, and a bunch of slaps from Listo, Siar, Fart, Barf, extra.
Gears: Nikon D50 and AF-S Zoom-Nikkor ED 18-55mm f/3.5-5.6G DX
Location: Terengganu Sports Complex, Kuala Terengganu, Malaysia
Processing: Contrast, Yellow Tint
The 125 MW Ferrybridge A power station was constructed in the mid-1920s and closed in 1976. Ferrybridge A's boiler room and turbine hall still stand today. The buildings are now used as offices and workshops, by the RWE Npower Technical Support Group, who are responsible for the maintenance and repairs of power station plant from around the country.
The mosque was constructed from 1996 to 2007. It is the largest mosque in the United Arab Emirates and the eighth largest mosque in the world. The building complex measures approximately 290 m (960 ft) by 420 m (1,380 ft), covering an area of more than 12 hectares (30 acres).
In reflection of the diversity of the Islamic world and the United Arab Emirates, the collection comprises material in a broad range of languages, including Arabic, English, French, Italian, Spanish, German and Korean.
Natural materials were chosen for much of its design and construction due to their long-lasting qualities, including marble stone, gold, semi-precious stones, crystals and ceramics.
Grade II listed historic building constructed in the mid-1700's.
"Spalding /ˈspɒldɪŋ / is a market town with a population of 28,722 at the 2011 census, on the River Welland in the South Holland district of Lincolnshire, England. Little London is a hamlet directly south of Spalding on the B1172, whilst Pinchbeck, a village to the north, is part of the built-up area.
The town was well known for the annual Spalding Flower Parade, held from 1959 to 2013. The parade celebrated the region's vast tulip production and the cultural links between the Fens and the landscape and people of South Holland. At one time, it attracted crowds of more than 100,000. Since 2002 the town has held an annual Pumpkin Festival in October.
Archaeological excavations at Wygate Park in Spalding have shown that there has been occupation in this area from at least the Roman period, when this part of Lincolnshire was used for the production of salt. It was a coastal siltland. At Wygate Park salt-making seems to have come to an end by the mid-7th century BC; climatic change and flooding may have made such activities difficult, causing the practice to die out.
The settlement's name is derived from an Anglian tribe, the Spaldingas, who settled in the area during the 6th century. They may have retained their administrative independence within the Kingdom of Mercia into the late 9th century, when Stamford became one of the Five Boroughs of the East Midlands under Danish control after years of invasion and occupation." - info from Wikipedia.
Summer 2019 I did a solo cycling tour across Europe through 12 countries over the course of 3 months. I began my adventure in Edinburgh, Scotland and finished in Florence, Italy cycling 8,816 km. During my trip I took 47,000 photos.
Now on Instagram.
Mees van Rijckervosel graduation project @ Inter-Architecture Gerrit Rietveld Academie; Amsterdam 2015.
Leica M6 on Ilford HP5
#picoftheday #demopics #happy #recycling #constructionsittepix #demolish #mood #constructionsite #construction #lifestyle #vscocam #excavator #excavator #demolitionman #demolitionnews #demolition #heavyequipmentlife #dailyconstruction #mgicorp
Photographed inside Titanic Belfast. A museum themed on the construction and tragedy of the RMS Titanic. Situated in the old Harland & Wolff shipyard in Belfast, Northern Ireland.
Here is yet another project for my photography class. The assignment was to construct an image and control what is in the frame as opposed to simply shooting was it around (landscapes, portraits, etc.) I had a really fun time coming up with an idea that would be visually interesting. My friend Kseniya is a ballroom dancer and I thought it would be a lot of fun to photograph her dancing. Let me know what you think! There are a lot of background elements that bother me but I also could be nit picking. I'll be posting more pictures of the shoot on my blog later this week. We took over 600 photos so I have a lot left to sort through :)
Headland is a civil parish in the Borough of Hartlepool, County Durham, England. The parish covers the old part of Hartlepool and nearby villages.
History
The Heugh Battery, one of three constructed to protect the port of Hartlepool in 1860, is located in the area along with a museum.
The area made national headlines in July 1994 in connection with the murder of Rosie Palmer, a local toddler.
On 19 March 2002 the Time Team searched for an Anglo-Saxon monastery.
Dominating the skyline is the impressive architectural structure that is St Hilda’s Church. Remnant of Hartlepool’s Saxon heritage and undoubtedly the crowning glory of the Headland, this church is a must-see attraction. After her stay in Hartlepool, the Abbess of the church progressed along the coast to Whitby and this spiritual journey can be explored through ‘The Way of St Hild’ walking trail.
A great way to explore the historic Headland is by finding and following the Headland Story Trail. The trail features 18 different information boards, each telling a story of the areas fascinating heritage from tales of shipwreck to the legend of the Hartlepool monkey. A truly interactive and fun walking experience!
Other landmarks of note include the impressive Town Wall, dating from the 14th century. This grade I listed, scheduled ancient monument still guards the Headland, and was originally built to keep out the twin threats of raiding Scots and the rigours of the North Sea.
The Borough Hall is another striking building and dates back to 1865. This gorgeous entertainment venue hosts an action-packed events programme so be sure to keep an eye out for all upcoming events here.
Dive into the town’s military history at The Heugh Battery Museum – this restored coastal defence battery protected the town throughout both World Wars. An enchanting historical sight with the original barrack room, underground magazines, coastal artillery and observation tower, the exhibits tell the story of those who lost their lives and the brave men who defended the area. Refresh with a light bite or sweet treat at the Poppy Café, located within the museum.
Visit the Headland War Memorial to see the magnificent ‘Winged Victory’ – a stunning statue that tributes those who lost their lives during the two world wars.
At the very north of the Headland you will find Spion Kop Cemetery – this historic cemetery supports a species-rich dune grassland and offers fantastic views of the coastline.
Every summer Headland Carnival attracts lively visitors to the area. Packed with thrilling rides, amusing games and live entertainment this week of jam-packed fun is great for all the family.
Hartlepool is a seaside and port town in County Durham, England. It is governed by a unitary authority borough named after the town. The borough is part of the devolved Tees Valley area. With an estimated population of 87,995, it is the second-largest settlement (after Darlington) in County Durham.
The old town was founded in the 7th century, around the monastery of Hartlepool Abbey on a headland. As the village grew into a town in the Middle Ages, its harbour served as the County Palatine of Durham's official port. The new town of West Hartlepool was created in 1835 after a new port was built and railway links from the South Durham coal fields (to the west) and from Stockton-on-Tees (to the south) were created. A parliamentary constituency covering both the old town and West Hartlepool was created in 1867 called The Hartlepools. The two towns were formally merged into a single borough called Hartlepool in 1967. Following the merger, the name of the constituency was changed from The Hartlepools to just Hartlepool in 1974. The modern town centre and main railway station are both at what was West Hartlepool; the old town is now generally known as the Headland.
Industrialisation in northern England and the start of a shipbuilding industry in the later part of the 19th century meant it was a target for the Imperial German Navy at the beginning of the First World War. A bombardment of 1,150 shells on 16 December 1914 resulted in the death of 117 people in the town. A severe decline in heavy industries and shipbuilding following the Second World War caused periods of high unemployment until the 1990s when major investment projects and the redevelopment of the docks area into a marina saw a rise in the town's prospects. The town also has a seaside resort called Seaton Carew.
History
The place name derives from Old English heort ("hart"), referring to stags seen, and pōl (pool), a pool of drinking water which they were known to use. Records of the place-name from early sources confirm this:
649: Heretu, or Hereteu.
1017: Herterpol, or Hertelpolle.
1182: Hierdepol.
Town on the heugh
A Northumbrian settlement developed in the 7th century around an abbey founded in 640 by Saint Aidan (an Irish and Christian priest) upon a headland overlooking a natural harbour and the North Sea. The monastery became powerful under St Hilda, who served as its abbess from 649 to 657. The 8th-century Northumbrian chronicler Bede referred to the spot on which today's town is sited as "the place where deer come to drink", and in this period the Headland was named by the Angles as Heruteu (Stag Island). Archaeological evidence has been found below the current high tide mark that indicates that an ancient post-glacial forest by the sea existed in the area at the time.
The Abbey fell into decline in the early 8th century, and it was probably destroyed during a sea raid by Vikings on the settlement in the 9th century. In March 2000, the archaeological investigation television programme Time Team located the foundations of the lost monastery in the grounds of St Hilda's Church. In the early 11th century, the name had evolved into Herterpol.
Hartness
Normans and for centuries known as the Jewel of Herterpol.
During the Norman Conquest, the De Brus family gained over-lordship of the land surrounding Hartlepool. William the Conqueror subsequently ordered the construction of Durham Castle, and the villages under their rule were mentioned in records in 1153 when Robert de Brus, 1st Lord of Annandale became Lord of Hartness. The town's first charter was received before 1185, for which it gained its first mayor, an annual two-week fair and a weekly market. The Norman Conquest affected the settlement's name to form the Middle English Hart-le-pool ("The Pool of the Stags").
By the Middle Ages, Hartlepool was growing into an important (though still small) market town. One of the reasons for its escalating wealth was that its harbour was serving as the official port of the County Palatine of Durham. The main industry of the town at this time was fishing, and Hartlepool in this period established itself as one of the primary ports upon England's Eastern coast.
In 1306, Robert the Bruce was crowned King of Scotland, and became the last Lord of Hartness. Angered, King Edward I confiscated the title to Hartlepool, and began to improve the town's military defences in expectation of war. In 1315, before they were completed, a Scottish army under Sir James Douglas attacked, captured and looted the town.
In the late 15th century, a pier was constructed to assist in the harbour's workload.
Garrison
Hartlepool was once again militarily occupied by a Scottish incursion, this time in alliance with the Parliamentary Army during the English Civil War, which after 18 months was relieved by an English Parliamentarian garrison.
In 1795, Hartlepool artillery emplacements and defences were constructed in the town as a defensive measure against the threat of French attack from seaborne Napoleonic forces. During the Crimean War, two coastal batteries were constructed close together in the town to guard against the threat of seaborne attacks from the Imperial Russian Navy. They were entitled the Lighthouse Battery (1855) and the Heugh Battery (1859).
Hartlepool in the 18th century became known as a town with medicinal springs, particularly the Chalybeate Spa near the Westgate. The poet Thomas Gray visited the town in July 1765 to "take the waters", and wrote to his friend William Mason:
I have been for two days to taste the water, and do assure you that nothing could be salter and bitterer and nastier and better for you... I am delighted with the place; there are the finest walks and rocks and caverns.
A few weeks later, he wrote in greater detail to James Brown:
The rocks, the sea and the weather there more than made up to me the want of bread and the want of water, two capital defects, but of which I learned from the inhabitants not to be sensible. They live on the refuse of their own fish-market, with a few potatoes, and a reasonable quantity of Geneva [gin] six days in the week, and I have nowhere seen a taller, more robust or healthy race: every house full of ruddy broad-faced children. Nobody dies but of drowning or old-age: nobody poor but from drunkenness or mere laziness.
Town by the strand
By the early nineteenth century, Hartlepool was still a small town of around 900 people, with a declining port. In 1823, the council and Board of Trade decided that the town needed new industry, so the decision was made to propose a new railway to make Hartlepool a coal port, shipping out minerals from the Durham coalfield. It was in this endeavour that Isambard Kingdom Brunel visited the town in December 1831, and wrote: "A curiously isolated old fishing town – a remarkably fine race of men. Went to the top of the church tower for a view."
But the plan faced local competition from new docks. 25 kilometres (16 mi) to the north, the Marquis of Londonderry had approved the creation of the new Seaham Harbour (opened 31 July 1831), while to the south the Clarence Railway connected Stockton-on-Tees and Billingham to a new port at Port Clarence (opened 1833). Further south again, in 1831 the Stockton and Darlington Railway had extended into the new port of Middlesbrough.
The council agreed the formation of the Hartlepool Dock and Railway Company (HD&RCo) to extend the existing port by developing new docks, and link to both local collieries and the developing railway network in the south. In 1833, it was agreed that Christopher Tennant of Yarm establish the HD&RCo, having previously opened the Clarence Railway (CR). Tennant's plan was that the HD&RCo would fund the creation of a new railway, the Stockton and Hartlepool Railway, which would take over the loss-making CR and extended it north to the new dock, thereby linking to the Durham coalfield.
After Tennant died, in 1839, the running of the HD&RCo was taken over by Stockton-on-Tees solicitor, Ralph Ward Jackson. But Jackson became frustrated at the planning restrictions placed on the old Hartlepool dock and surrounding area for access, so bought land which was mainly sand dunes to the south-west, and established West Hartlepool. Because Jackson was so successful at shipping coal from West Hartlepool through his West Hartlepool Dock and Railway Company and, as technology developed, ships grew in size and scale, the new town would eventually dwarf the old town.
The 8-acre (3.2-hectare) West Hartlepool Harbour and Dock opened on 1 June 1847. On 1 June 1852, the 14-acre (5.7-hectare) Jackson Dock opened on the same day that a railway opened connecting West Hartlepool to Leeds, Manchester and Liverpool. This allowed the shipping of coal and wool products eastwards, and the shipping of fresh fish and raw fleeces westwards, enabling another growth spurt in the town. This in turn resulted in the opening of the Swainson Dock on 3 June 1856, named after Ward Jackson's father-in-law. In 1878, the William Gray & Co shipyard in West Hartlepool achieved the distinction of launching the largest tonnage of any shipyard in the world, a feat to be repeated on a number of occasions. By 1881, old Hartlepool's population had grown from 993 to 12,361, but West Hartlepool had a population of 28,000.
Ward Jackson Park
Ward Jackson helped to plan the layout of West Hartlepool and was responsible for the first public buildings. He was also involved in the education and the welfare of the inhabitants. In the end, he was a victim of his own ambition to promote the town: accusations of shady financial dealings, and years of legal battles, left him in near-poverty. He spent the last few years of his life in London, far away from the town he had created.
World Wars
In Hartlepool near Heugh Battery, a plaque in Redheugh Gardens War Memorial "marks the place where the first ...(German shell) struck... (and) the first soldier was killed on British soil by enemy action in the Great War 1914–1918."
The area became heavily industrialised with an ironworks (established in 1838) and shipyards in the docks (established in the 1870s). By 1913, no fewer than 43 ship-owning companies were located in the town, with the responsibility for 236 ships. This made it a key target for Germany in the First World War. One of the first German offensives against Britain was a raid and bombardment by the Imperial German Navy on the morning of 16 December 1914,
Hartlepool was hit with a total of 1150 shells, killing 117 people. Two coastal defence batteries at Hartlepool returned fire, launching 143 shells, and damaging three German ships: SMS Seydlitz, SMS Moltke and SMS Blücher. The Hartlepool engagement lasted roughly 50 minutes, and the coastal artillery defence was supported by the Royal Navy in the form of four destroyers, two light cruisers and a submarine, none of which had any significant impact on the German attackers.
Private Theophilus Jones of the 18th Battalion Durham Light Infantry, who fell as a result of this bombardment, is sometimes described as the first military casualty on British soil by enemy fire. This event (the death of the first soldiers on British soil) is commemorated by the 1921 Redheugh Gardens War Memorial together with a plaque unveiled on the same day (seven years and one day after the East Coast Raid) at the spot on the Headland (the memorial by Philip Bennison illustrates four soldiers on one of four cartouches and the plaque, donated by a member of the public, refers to the 'first soldier' but gives no name). A living history group, the Hartlepool Military Heritage Memorial Society, portray men of that unit for educational and memorial purposes.
Hartlepudlians voluntarily subscribed more money per head to the war effort than any other town in Britain.
On 4 January 1922, a fire starting in a timber yard left 80 people homeless and caused over £1,000,000 of damage. Hartlepool suffered badly in the Great Depression of the 1930s and endured high unemployment.
Unemployment decreased during the Second World War, with shipbuilding and steel-making industries enjoying a renaissance. Most of its output for the war effort were "Empire Ships". German bombers raided the town 43 times, though, compared to the previous war, civilian losses were lighter with 26 deaths recorded by Hartlepool Municipal Borough[19] and 49 by West Hartlepool Borough. During the Second World War, RAF Greatham (also known as RAF West Hartlepool) was located on the South British Steel Corporation Works.
The merge
In 1891, the two towns had a combined population of 64,000. By 1900, the two Hartlepools were, together, one of the three busiest ports in England.
The modern town represents a joining of "Old Hartlepool", locally known as the "Headland", and West Hartlepool. As already mentioned, what was West Hartlepool became the larger town and both were formally unified in 1967. Today the term "West Hartlepool" is rarely heard outside the context of sport, but one of the town's Rugby Union teams still retains the name.
The name of the town's professional football club reflected both boroughs; when it was formed in 1908, following the success of West Hartlepool in winning the FA Amateur Cup in 1905, it was called "Hartlepools United" in the hope of attracting support from both towns. When the boroughs combined in 1967, the club renamed itself "Hartlepool" before re-renaming itself Hartlepool United in the 1970s. Many fans of the club still refer to the team as "Pools"
Fall out
After the war, industry went into a severe decline. Blanchland, the last ship to be constructed in Hartlepool, left the slips in 1961. In 1967, Betty James wrote how "if I had the luck to live anywhere in the North East [of England]...I would live near Hartlepool. If I had the luck". There was a boost to the retail sector in 1970 when Middleton Grange Shopping Centre was opened by Princess Anne, with over 130 new shops including Marks & Spencer and Woolworths.
Before the shopping centre was opened, the old town centre was located around Lynn Street, but most of the shops and the market had moved to a new shopping centre by 1974. Most of Lynn Street had by then been demolished to make way for a new housing estate. Only the north end of the street remains, now called Lynn Street North. This is where the Hartlepool Borough Council depot was based (alongside the Focus DIY store) until it moved to the marina in August 2006.
In 1977, the British Steel Corporation announced the closure of its Hartlepool steelworks with the loss of 1500 jobs. In the 1980s, the area was afflicted with extremely high levels of unemployment, at its peak consisting of 30 per cent of the town's working-age population, the highest in the United Kingdom. 630 jobs at British Steel were lost in 1983, and a total of 10,000 jobs were lost from the town in the economic de-industrialization of England's former Northern manufacturing heartlands. Between 1983 and 1999, the town lacked a cinema and areas of it became afflicted with the societal hallmarks of endemic economic poverty: urban decay, high crime levels, drug and alcohol dependency being prevalent.
Rise and the future
Docks near the centre were redeveloped and reopened by Queen Elizabeth II in 1993 as a marina with the accompanying National Museum of the Royal Navy opened in 1994, then known as the Hartlepool Historic Quay.
A development corporation is under consultation until August 2022 to organise projects, with the town's fund given to the town and other funds. Plans would be (if the corporation is formed) focused on the railway station, waterfront (including the Royal Navy Museum and a new leisure centre) and Church Street. Northern School of Art also has funds for a TV and film studios.
Governance
There is one main tier of local government covering Hartlepool, at unitary authority level: Hartlepool Borough Council. There is a civil parish covering Headland, which forms an additional tier of local government for that area; most of the rest of the urban area is an unparished area. The borough council is a constituent member of the Tees Valley Combined Authority, led by the directly elected Tees Valley Mayor. The borough council is based at the Civic Centre on Victoria Road.
Hartlepool was historically a township in the ancient parish of Hart. Hartlepool was also an ancient borough, having been granted a charter by King John in 1200. The borough was reformed to become a municipal borough in 1850. The council built Hartlepool Borough Hall to serve as its headquarters, being completed in 1866.
West Hartlepool was laid out on land outside Hartlepool's historic borough boundaries, in the neighbouring parish of Stranton. A body of improvement commissioners was established to administer the new town in 1854. The commissioners were superseded in 1887, when West Hartlepool was also incorporated as a municipal borough. The new borough council built itself a headquarters at the Municipal Buildings on Church Square, which was completed in 1889. An events venue and public hall on Raby Road called West Hartlepool Town Hall was subsequently completed in 1897. In 1902 West Hartlepool was elevated to become a county borough, making it independent from Durham County Council. The old Hartlepool Borough Council amalgamated with West Hartlepool Borough Council in 1967 to form a county borough called Hartlepool.
In 1974 the borough was enlarged to take in eight neighbouring parishes, and was transferred to the new county of Cleveland. Cleveland was abolished in 1996 following the Banham Review, which gave unitary authority status to its four districts, including Hartlepool. The borough was restored to County Durham for ceremonial purposes under the Lieutenancies Act 1997, but as a unitary authority it is independent from Durham County Council.
Emergency services
Hartlepool falls within the jurisdiction of Cleveland Fire Brigade and Cleveland Police. Before 1974, it was under the jurisdiction of the Durham Constabulary and Durham Fire Brigade. Hartlepool has two fire stations: a full-time station at Stranton and a retained station on the Headland.
Economy
Hartlepool's economy has historically been linked with the maritime industry, something which is still at the heart of local business. Hartlepool Dock is owned and run by PD Ports. Engineering related jobs employ around 1700 people. Tata Steel Europe employ around 350 people in the manufacture of steel tubes, predominantly for the oil industry. South of the town on the banks of the Tees, Able UK operates the Teesside Environmental Reclamation and Recycling Centre (TERRC), a large scale marine recycling facility and dry dock. Adjacent to the east of TERRC is the Hartlepool nuclear power station, an advanced gas-cooled reactor (AGR) type nuclear power plant opened in the 1980s. It is the single largest employer in the town, employing 1 per cent of the town's working age people.
The chemicals industry is important to the local economy. Companies include Huntsman Corporation, who produce titanium dioxide for use in paints, Omya, Baker Hughes and Frutarom.
Tourism was worth £48 million to the town in 2009; this figure excludes the impact of the Tall Ships 2010. Hartlepool's historic links to the maritime industry are centred on the Maritime Experience, and the supporting exhibits PS Wingfield Castle and HMS Trincomalee.
Camerons Brewery was founded in 1852 and currently employs around 145 people. It is one of the largest breweries in the UK. Following a series of take-overs, it came under the control of the Castle Eden Brewery in 2001 who merged the two breweries, closing down the Castle Eden plant. It brews a range of cask and bottled beers, including Strongarm, a 4% abv bitter. The brewery is heavily engaged in contract brewing such beers as Kronenbourg 1664, John Smith's and Foster's.
Orchid Drinks of Hartlepool were formed in 1992 after a management buy out of the soft drinks arm of Camerons. They manufactured Purdey's and Amé. Following a £67 million takeover by Britvic, the site was closed down in 2009.
Middleton Grange Shopping Centre is the main shopping location. 2800 people are employed in retail. The ten major retail companies in the town are Tesco, Morrisons, Asda, Next, Argos, Marks & Spencer, Aldi, Boots and Matalan. Aside from the local sports clubs, other local entertainment venues include a VUE Cinema and Mecca Bingo.
Companies that have moved operations to the town for the offshore wind farm include Siemens and Van Oord.
Culture and community
Festivals and Fairs
Since November 2014 the Headland has hosted the annual Wintertide Festival, which is a weekend long event that starts with a community parade on the Friday and culminating in a finale performance and fireworks display on the Sunday.
Tall Ships' Races
On 28 June 2006 Hartlepool celebrated after winning its bid to host The Tall Ships' Races. The town welcomed up to 125 tall ships in 2010, after being chosen by race organiser Sail Training International to be the finishing point for the race. Hartlepool greeted the ships, which sailed from Kristiansand in Norway on the second and final leg of the race. Hartlepool also hosted the race in July 2023.
Museums, art galleries and libraries
Hartlepool Art Gallery is located in Church Square within Christ Church, a restored Victorian church, built in 1854 and designed by the architect Edward Buckton Lamb (1806–1869). The gallery's temporary exhibitions change frequently and feature works from local artists and the permanent Fine Art Collection, which was established by Sir William Gray. The gallery also houses the Hartlepool tourist information centre.
The Heugh Battery Museum is located on the Headland. It was one of three batteries erected to protect Hartlepool's port in 1860. The battery was closed in 1956 and is now in the care of the Heugh Gun Battery Trust and home to an artillery collection.
Hartlepool is home to a National Museum of the Royal Navy (more specifically the NMRN Hartlepool). Previously known simply as The Historic Quay and Hartlepool's Maritime Experience, the museum is a re-creation of an 18th-century seaport with the exhibition centre-piece being a sailing frigate, HMS Trincomalee. The complex also includes the Museum of Hartlepool.
Willows was the Hartlepool mansion of the influential Sir William Gray of William Gray & Company and he gifted it to the town in 1920, after which it was converted to be the town's first museum and art gallery. Fondly known locally as "The Gray" it was closed as a museum in 1994 and now houses the local authority's culture department.
There are six libraries in Hartlepool, the primary one being the Community Hub Central Library. Others are Throston Grange Library, Community Hub North Library, Seaton Carew Library, Owton Manor Library and Headland Branch Library.
Sea
Hartlepool has been a major seaport virtually since it was founded, and has a long fishing heritage. During the industrial revolution massive new docks were created on the southern side of the channel running below the Headland, which gave rise to the town of West Hartlepool.
Now owned by PD Ports, the docks are still in use today and still capable of handling large vessels. However, a large portion of the former dockland was converted into a marina capable of berthing 500 vessels. Hartlepool Marina is home to a wide variety of pleasure and working craft, with passage to and from the sea through a lock.
Hartlepool also has a permanent RNLI lifeboat station.
Education
Secondary
Hartlepool has five secondary schools:
Dyke House Academy
English Martyrs School and Sixth Form College
High Tunstall College of Science
Manor Community Academy
St Hild's Church of England School
The town had planned to receive funding from central government to improve school buildings and facilities as a part of the Building Schools for the Future programme, but this was cancelled because of government spending cuts.
College
Hartlepool College of Further Education is an educational establishment located in the centre of the town, and existed in various forms for over a century. Its former 1960s campus was replaced by a £52million custom-designed building, it was approved in principle in July 2008, opened in September 2011.
Hartlepool also has Hartlepool Sixth Form College. It was a former grammar and comprehensive school, the college provides a number of AS and A2 Level student courses. The English Martyrs School and Sixth Form College also offers AS, A2 and other BTEC qualification to 16- to 18-year-olds from Hartlepool and beyond.
A campus of The Northern School of Art is a specialist art and design college and higher education, located adjacent to the art gallery on Church Square. The college has a further site in Middlesbrough that facilitates further education.
Territorial Army
Situated in the New Armoury Centre, Easington Road are the following units.
Royal Marines Reserve
90 (North Riding) Signal Squadron
Religion
They are multiple Church of England and Roman Catholic Churches in the town. St Hilda's Church is a notable church of the town, it was built on Hartlepool Abbey and sits upon a high point of the Headland. The churches of the Church of England's St Paul and Roman Catholic's St Joseph are next to each other on St Paul's Road. Nasir Mosque on Brougham Terrace is the sole purpose-built mosque in the town.
Sport
Football
Hartlepool United is the town's professional football club and they play at Victoria Park. The club's most notable moment was in 2005 when, with 8 minutes left in the 2005 Football League One play-off final, the team conceded a penalty, allowing Sheffield Wednesday to equalise and eventually beat Hartlepool to a place in the Championship. The club currently play in the National League.
Supporters of the club bear the nickname of Monkey Hangers. This is based upon a legend that during the Napoleonic wars a monkey, which had been a ship's mascot, was taken for a French spy and hanged. Hartlepool has also produced football presenter Jeff Stelling, who has a renowned partnership with Chris Kamara who was born in nearby Middlesbrough. Jeff Stelling is a keen supporter of Hartlepool and often refers to them when presenting Sky Sports News. It is also the birthplace and childhood home of Pete Donaldson, one of the co-hosts of the Football Ramble podcast as well as co-host of the Abroad in Japan podcast, and a prominent radio DJ.
The town also has a semi-professional football club called FC Hartlepool who play in Northern League Division Two.
Rugby union
Hartlepool is something of an anomaly in England having historically maintained a disproportionate number of clubs in a town of only c.90,000 inhabitants. These include(d) West Hartlepool, Hartlepool Rovers, Hartlepool Athletic RFC, Hartlepool Boys Brigade Old Boys RFC (BBOB), Seaton Carew RUFC (formerly Hartlepool Grammar School Old Boys), West Hartlepool Technical Day School Old Boys RUFC (TDSOB or Tech) and Hartlepool Old Boys' RFC (Hartlepool). Starting in 1904 clubs within eight miles (thirteen kilometres) of the headland were eligible to compete for the Pyman Cup which has been contested regularly since and that the Hartlepool & District Union continue to organise.
Perhaps the best known club outside the town is West Hartlepool R.F.C. who in 1992 achieved promotion to what is now the Premiership competing in 1992–93, 1994–95, 1995–96 and 1996–97 seasons. This success came at a price as soon after West was then hit by bankruptcy and controversially sold their Brierton Lane stadium and pitch to former sponsor Yuills Homes. There then followed a succession of relegations before the club stabilised in the Durham/Northumberland leagues. West and Rovers continue to play one another in a popular Boxing Day fixture which traditionally draws a large crowd.
Hartlepool Rovers, formed in 1879, who played at the Old Friarage in the Headland area of Hartlepool before moving to West View Road. In the 1890s Rovers supplied numerous county, divisional and international players. The club itself hosted many high-profile matches including the inaugural Barbarians F.C. match in 1890, the New Zealand Maoris in 1888 and the legendary All Blacks who played against a combined Hartlepool Club team in 1905. In the 1911–12 season, Hartlepool Rovers broke the world record for the number of points scored in a season racking up 860 points including 122 tries, 87 conversions, five penalties and eleven drop goals.
Although they ceased competing in the RFU leagues in 2008–09, West Hartlepool TDSOB (Tech) continues to support town and County rugby with several of the town's other clubs having played at Grayfields when their own pitches were unavailable. Grayfields has also hosted a number of Durham County cup finals as well as County Under 16, Under 18 and Under 20 age group games.
Olympics
Boxing
At the 2012 Summer Olympics, 21-year-old Savannah Marshall, who attended English Martyrs School and Sixth Form College in the town of Hartlepool, competed in the Women's boxing tournament of the 2012 Olympic Games. She was defeated 12–6 by Marina Volnova of Kazakhstan in her opening, quarter-final bout. Savannah Marshall is now a professional boxer, currently unbeaten as a pro and on 31 October 2020 in her 9th professional fight Marshall became the WBO female middleweight champion with a TKO victory over opponent Hannah Rankin at Wembley Arena.
Swimming
In August 2012 Jemma Lowe, a British record holder who attended High Tunstall College of Science in the town of Hartlepool, competed in the 2012 Olympic Games. She finished sixth in the 200-metre butterfly final with a time of 58.06 seconds. She was also a member of the eighth-place British team in the 400m Medley relay.
Monkeys
Hartlepool is known for allegedly executing a monkey during the Napoleonic Wars. According to legend, fishermen from Hartlepool watched a French warship founder off the coast, and the only survivor was a monkey, which was dressed in French military uniform, presumably to amuse the officers on the ship. The fishermen assumed that this must be what Frenchmen looked like and, after a brief trial, summarily executed the monkey.
Historians have pointed to the prior existence of a Scottish folk song called "And the Boddamers hung the Monkey-O". It describes how a monkey survived a shipwreck off the village of Boddam near Peterhead in Aberdeenshire. Because the villagers could only claim salvage rights if there were no survivors from the wreck, they allegedly hanged the monkey. There is also an English folk song detailing the later event called, appropriately enough, "The Hartlepool Monkey". In the English version the monkey is hanged as a French spy.
"Monkey hanger" and Chimp Choker are common terms of (semi-friendly) abuse aimed at "Poolies", often from footballing rivals Darlington. The mascot of Hartlepool United F.C. is H'Angus the monkey. The man in the monkey costume, Stuart Drummond, stood for the post of mayor in 2002 as H'angus the monkey, and campaigned on a platform which included free bananas for schoolchildren. To widespread surprise, he won, becoming the first directly elected mayor of Hartlepool, winning 7,400 votes with a 52% share of the vote and a turnout of 30%. He was re-elected by a landslide in 2005, winning 16,912 on a turnout of 51% – 10,000 votes more than his nearest rival, the Labour Party candidate.
The monkey legend is also linked with two of the town's sports clubs, Hartlepool Rovers RFC, which uses the hanging monkey as the club logo. Hartlepool (Old Boys) RFC use a hanging monkey kicking a rugby ball as their tie crest.
Notable residents
Michael Brown, former Premier League footballer
Edward Clarke, artist
Brian Clough, football manager who lived in the Fens estate in town while manager of Hartlepools United
John Darwin, convicted fraudster who faked his own death
Pete Donaldson, London radio DJ and podcast host
Janick Gers, guitarist from British heavy metal band Iron Maiden
Courtney Hadwin, singer
Jack Howe, former England international footballer
Liam Howe, music producer and songwriter for several artists and member of the band Sneaker Pimps
Saxon Huxley, WWE NXT UK wrestler
Andy Linighan, former Arsenal footballer who scored the winning goal in the 1993 FA Cup Final
Savannah Marshall, professional boxer
Stephanie Aird, comedian and television personality
Jim Parker, composer
Guy Pearce, film actor who lived in the town when he was younger as his mother was from the town
Narbi Price, artist
Jack Rowell, coached the England international rugby team and led them to the semi-final of the 1995 Rugby World Cup
Wayne Sleep, dancer and actor who spent his childhood in the town.
Reg Smythe, cartoonist who created Andy Capp
Jeremy Spencer, guitarist who was in the original Fleetwood Mac line-up
Jeff Stelling, TV presenter, famous for hosting Gillette Soccer Saturday
David Eagle, Folk singer and stand-up comedian,
Local media
Hartlepool Life - local free newspaper
Hartlepool Mail – local newspaper
BBC Radio Tees – BBC local radio station
Radio Hartlepool – Community radio station serving the town
Hartlepool Post – on-line publication
Local television news programmes are BBC Look North and ITV News Tyne Tees.
Town twinning
Hartlepool is twinned with:
France Sète, France
Germany Hückelhoven, Germany (since 1973)
United States Muskegon, Michigan
Malta Sliema, Malta
La Petite Patisserie
A miniature bakery built by my daughter. She constructed the building with a door that opens. Inside the window and on shelves there are Re-ment cookies, macarons, & cream puffs, along with some handmade cakes, loaves of bread and of course, croissants!
In the days before steam power, the mighty Ankylosaur often provided valuable motive power for major construction endeavors.
Ankylosaur Week 2023
7 February - A Doll A Day 2023
www.twitter.com/Memoire2cite le Logement Collectif* 50,60,70's dans tous ses états..Histoire & Mémoire de l'Habitat / Rétro-Villes / HLM / Banlieue / Renouvellement Urbain / Urbanisme URBANISME S’imaginer Paris et le Grand Paris @ URBANISME S’imaginer Paris et le Grand Paris @ Les 50ans d'Apur 50ans.apur.org/#intro @ Les films du MRU @ les AUTOROUTES - Les liaisons moins dangereuses 1972 la construction des autoroutes en France - Le réseau autoroutier 1960 Histoire de France Transports et Communications - dailymotion.com/video/xxi0ae?playlist=x34ije … @ Où en est l'histoire urbaine des sociétés contemporaines ? Cet ouvrage, inspiré par Annie Fourcaut, qui contribua de manière décisive à son développement, propose un état des lieux de ce champ et explore des pistes de recherche ouvrant l'histoire urbaine à une variété de " genres ".où en est l'histoire urbaine des sociétés contemporaines ? Cet ouvrage, inspiré par Annie Fourcaut, qui contribua de manière décisive à son développement, propose un état des lieux de ce champ. De Femmes à l'usine (1981), Bobigny, banlieue rouge (1986), à La banlieue en morceaux (2000), en passant par les publications collectives qu'elle a coordonnées et les travaux qu'elle a encadrés, la trajectoire de cette historienne a conduit l'histoire sociale et politique – telle qu'on la pratiquait dans les années 1970 – vers une histoire urbaine renouvelée. Le livre revient sur cette évolution et explore des pistes de recherche ouvrant l'histoire urbaine à une variété de " genres ". Les auteurs, historiennes et historiens, sociologues, politistes, géographes, architectes, urbanistes et décideurs politiques proposent une histoire urbaine à la fois interdisciplinaire et ancrée dans la fabrique de la ville et ses représentations, portant la marque de sa dédicataire. Les quatre sections de l'ouvrage dessinent les chantiers qu'Annie Fourcaut a investis : " Du social à l'urbain " met en avant la conviction qu'étudier l'histoire des villes, c'est toujours faire de l'histoire sociale ; " Qu'elle était belle la banlieue " est centré sur les banlieues, son territoire d'étude de prédilection ; " Les habits neufs des politiques de la ville " interroge les politiques urbaines successives et leur transformation ; enfin, " Banc d'essai des modernités " propose une analyse historique de l'urbanisme, comme discipline et comme pratique.
www.twitter.com/Memoire2cite LES GRANDS ENSEMBLES @ L EXEMPLE DE DIJON «LE BILLARDON, HISTOIRE D’UN GRAND ENSEMBLE»Sylvain TABOURY, sociologue, enseignant à l’école d’architecture de Versailles.
Co-auteur avec Karine Gougerot, photographe, de Billardon, histoire d’un grand ensemble, paru aux éditions Créaphis en 2004. Texte communiqué à partir de la rencontre-débat du 20 mai 2005 Organisée par le Centre de Ressources Politique de la Ville en Essonne en partenariat avec Maison de Banlieue et de l’Architecture, le CAUE 91 et CINEAM
dans le cadre de l’exposition «Des ensembles assez grands: mémoire et projets en Essonne».
Cet ouvrage retrace l’histoire de la cité Jean-Billardon, barre de 14 étages et de 250 logements, à Dijon, premier grand ensemble de la ville, construit entre 1953 et 1955, démoli en 2003. Sélectionné parmi les immeubles significatifs de l’architecture du XXe siècle par la direction de l’Architecture et du Patrimoine (DAPA) du ministère de la Culture, Billardon était un symbole incontournable de l’histoire du quartier des Grésilles et de l’agglomération dijonnaise, ainsi qu’un formidable témoin de l’architecture novatrice de l’après-guerre. Sollicités par le service Inventaire de la Direction régionale des affaires culturelles de Bourgogne (Drac) et par l’Office public d’aménagement et de construction de Dijon (Opac), dans le cadre de l’opération de renouvellement urbain (ORU) du quartier des Grésilles, nous avons collecté et rassemblé, de janvier à juillet 2003, les traces de cette histoire, les archives, mais aussi les témoignages, recomposant des trajectoires familiales, professionnelles, des documents iconographiques et sonores. La restitution auprès des habitants et des partenaires du projet en octobre 2004, accompagnée d’une table ronde avec différents intervenants et acteurs du quartier, a été un moment fort, inscrit dans le processus de transformation engagé sur le quartier des Grésilles. Une exposition, intitulée «Mémoires de Billardon, fragments de vies», a également été présentée dans les locaux prestigieux du musée de la Vie bourguignonne de Dijon, du 14 octobre 2004 au 31 janvier 2005.Garder une trac De fait, la démolition de la Cité Billardon, le 4 juillet 2003, restera sans aucun doute un événement sensible dans la mémoire de nombre d’habitants de l’agglomération dijonnaise. Cette barre fut la première construction d’un tout nouveau quartier – le quartier des Grésilles –, à Dijon, où près de 4000 logements ont été construits Centre de Ressources Politique de la Ville en Essonne entre 1953 et 1966 – 14970 habitants en 1968, 8263 en 2003 – sur un terrain agricole demeuré nu, à l’est du territoire communal. Les 14 étages et 250 logements de l’immeuble, élevés au milieu des champs et des jardins familiaux, où un écriteau «Chasse interdite» était encore visible quelques années auparavant, faisaient alors l’admiration des très nombreux badauds venus visiter cette toute nouvelle Cité radieuse, construite tel un
Meccano de béton et d’acier.
« Immeuble révolutionnaire», «Meccano géant à l’échelle du monde moderne», les titres de la presse de l’époque donnent un aperçu de l’impact national et international de l’événement. «Des visiteurs étaient venus de toute la France et même de l’étranger, jeter un coup d’œil au chantier», rappelait un article de la presse locale le jour de la démolition.
Cette « barre » de 14 étages et de 250 logements, desservis par des coursives placées tous les trois niveaux, était une déclinaison appauvrie du modèle de la Cité radieuse du Corbusier, inaugurée le 14 octobre 1952. Les appartements étaient de deux types: les uns de deux et trois pièces,
situés dans les ailes, de disposition traditionnelle, orientés au sud et pourvus de loggias; les autres, de cinq pièces, situés au centre du bâtiment, du type
« duplex ». Huit espaces commerciaux avaient été aménagés en rez-dechaussée. Cependant, en dépit des ressemblances et de la qualité architecturale de l’édifice, l’immeuble n’était pas une unité d’habitation au sens où Le Corbusier l’entendait. L’originalité de la Cité Billardon tient en réalité au procédé constructif qui fut utilisé lors de son édification. Elle fut la toute première à expérimenter en France le procédé de préfabrication Estiot, réutilisé par la suite pour la construction de plusieurs grands ensembles, comme le Noyer-Renard à AthisMons, la Cité des 4000 à la Courneuve, la Grâce-de-Dieu à Caen, la Croixdes-Oiseaux et Champ-Fleury à Avignon, le Gros Buisson à Épinay, SainteBarbe à Metz, le Haut-du-Lièvre à Nancy, les tours du Lancy à Genève ou encore des bâtiments d’habitation à Alger. Le mode constructif, repris sur celui des gratte-ciel américains, associait l’acier en ossature et le béton en pré-enrobage avec une majeure partie réalisée en atelier. Le procédé donnait des résultats évidents: précision remarquable, rapidité d’exécution, peu ou pas d’installations de chantier – suppression des coffrages, des étayages, des échafaudages – et surtout économie considérable de main-d’œuvre. Il s’agissait des prémices d’industrialisation dite lourde du bâtiment. Forte de cette première expérience, la commune avait ensuite réalisé deux autres cités de même type, Épirey, puis Lochères. Mais le modèle de Billardon fut perverti: dans une logique de réduction des coûts de production et de rapidité d’exécution, tous les espaces peu productifs comme les logements en duplex, les cellules commerciales, ou les très grands halls, ont été supprimés. Les deux cités comprennent 348 logements, relativement mal desservis et sans attrait, des petits logements sur un seul niveau La démolition de Billardon n’a donc évidemment pas la même signification, Centre de Ressources Politique de la Ville en Essonne « BILLARDON, HISTOIRE D’UN GRAND ENSEMBLE » Centre de Ressources Politique de la Ville en Essonne ni les mêmes conséquences que celles d’Épirey ou des Lochères, déjà démolies en 1992 et 2000. Cet immeuble possédait une fonction symbolique incontestable, une place à part dans la vie des résidents qui s’y sont succédé, comme dans la mémoire des habitants du quartier. Les récits que nous avons pu recueillir auprès d’une trentaine d’anciens résidents de l’immeuble nous offrent différentes représentations de l’histoire de
Billardon, et des personnes qui y ont vécu ou travaillé d’avril 1955 à décembre 2002.
Les témoignages des plus anciens, arrivés parmi les premiers, en 1955, répondent aux histoires des plus jeunes, derniers occupants du rafiot, aujourd’hui démoli. Ils sont venus d’horizons divers, de Côte-d’Or, de Bretagne, d’Alsace, de la région parisienne, du Maroc, d’Algérie, du Portugal, du Cambodge ou d’ailleurs et leurs paroles traduisent l’enracinement profond de leurs souvenirs de Billardon, que certains n’auraient jamais voulu quitter. Bien sûr, la mémoire n’est pas «objective». Le discours s’élabore toujours à partir d’un présent et la disparition engendre certainement une nostalgie conduisant à magnifier les bons moments et à tempérer les plus pénibles. Mais en faisant imploser Billardon, c’est bien tout un pan de leur vie que l’on a réduit en poussière. Chaque témoin traduit avec ses mots ces petits faits de la vie quotidienne, souvent jugés sans importance, petits riens ou traumatismes, anecdotes ou événements tragiques, qui ont marqué leur sensibilité.« Une verrue dans le quartier»C’est pour ces différentes raisons esthétiques, historico-culturelles – témoignage de l’histoire des villes – et socio-symboliques – mémoire des hommes – que la Direction de l’Architecture et du Patrimoine (DAPA) du ministère de la
Culture avait décidé de répertorier la Cité Billardon parmi les immeubles représentatifs de l’architecture du XXe siècle. L’immeuble avait reçu le label
«Patrimoine du XXe siècle» à la fin des années 1990.
Or, ce processus de «patrimonialisation» était inconcevable pour de nombreuses personnalités locales, voire de nombreux habitants du quartier.
Stigmatisé comme une «verrue» dans le quartier, l’immeuble était devenu un véritable cauchemar: dégradations, violence, difficultés et «mal-vivre» constituaient le quotidien de locataires excédés, souvent «assignés à résidence».
Bagarres, agressions, cambriolages, drogue, vitres brisées, ascenseurs en panne, alimentaient manchettes de journaux et témoignages, décrivant le naufrage d’un immeuble à la dérive, devenu symbole de tous les maux. La démolition paraissait donc inéluctable, comme une délivrance, la promesse d’un avenir meilleur. Les partenaires institutionnels se devaient de mettre en scène leur capacité à changer la vie des habitants du quartier, réparer les erreurs d’une période de l’urbanisation contemporaine, dont Billardon était l’un des symboles les plus représentatifs.
L’idée d’une enquête ethnographique sur l’édifice et ses locataires avait donc « BILLARDON, HISTOIRE D’UN GRAND ENSEMBLE » Centre de Ressources Politique de la Ville en Essonne du mal à passer dans la réflexion de certains décideurs. La mise en œuvre du projet, initié par le service Inventaire de la Direction régionale des affaires culturelles (Drac) de Bourgogne, sur les budgets de l’opération de renouvellement urbain du quartier, fut bloquée administrativement pendant plusieurs mois. Entre-temps, tous les locataires de l’immeuble avaient été relogés… (la dernière famille quitte son logement le 23 décembre 2002).
Une histoire des grands ensembles?
Le travail de recherche historique sur les grands ensembles est rendu aujourd’hui d’autant plus difficile à faire comprendre que la ville issue des Trente Glorieuses est souvent considérée, avec la politique publique qui l’a programmée, comme une vaste erreur collective (A. Fourcaut). L’architecture des «tours» et des «barres», du «chem« BILLARDON, HISTOIRE D’UN GRAND ENSEMBLE »
Centre de Ressources Politique de la Ville en Essonne
phie, histoire et sociologie, de monographies locales – Saint-Étienne, Villeurbanne, etc. – publiés ces dernières années sur ce thème en témoigne clairement.Cependant, on est encore loin du compte. Si plusieurs urbanistes, historiens,
géographes ou sociologues1 ont récemment contribué à une meilleure connaissance du sujet au niveau national et international, l’histoire de ces quartiers d’habitat collectif reste un terrain largement méconnu, à peine exploré par les historiens locaux. En Essonne, à quelques exceptions près – Draveil, Viry-Châtillon, les Ulis, Athis-Mons ou Grigny –, rares sont les monographies ou les études locales à accorder une place de choix à l’analyse et à la présentation de ces bouleversements. Les mauvaises volontés, auxquelles nous avons parfois été confrontés dans le cadre de nos recherches dans le département témoignent des réticences que continue de susciter toute démarche d’enquête et d’analyse sur la mémoire et le devenir des grands ensembles.
La transformation en cours ou à venir d’une vingtaine de sites en Essonne dans le cadre du Programme national de rénovation urbaine, institué par la loi Borloo du 1er août 2003, et la priorité donnée à la démolition-reconstruction,
sur fond de crise du logement social, devraient pourtant poser avec plus d’acuité la question de l’appréciation de ce patrimoine départemental. De nombreuses communes mobilisées dans des programmes d’intervention n’ont qu’une vision très partielle de l’histoire de ces quartiers, de leurs évolutions, dont les conséquences ne sont envisagées le plus souvent qu’à travers le prisme d’une crise sociale impossible à juguler. Or, n’est-il pas singulier, voire dangereux, d’entreprendre des opérations de transformation urbaine aussi radicales, sans même commencer par chercher à comprendre comment, par qui et pour quelles raisons ces espaces ont été construits ou transformés, sans évaluer dans certains cas l’impact des politiques précédemment engagées?Richesse patrimoniale ou héritage encombrant, définir une nouvelle vision de la ville exige un travail d’enquête, d’expertise, une capitalisation des expériences, rarement mis en œuvre.Et c’est sans doute là le talon d’Achille d’une politique de transformation
urbaine menée dans l’urgence, qui ne peut se nourrir de capitalisation critique, et occulte le rôle crucial de l’accompagnement qualitatif et de la sensibilisation et/ou de la formation des élus, des services de l’État et des collectivités, des opérateurs et des aménageurs, des bailleurs.Ces images devenues presque ordinaires de parpaings, pans de bétons fracassés, vitres brisées laissent songeur: quel regard les résidents – et notamment
les plus jeunes – pourront-ils bien porter à l’avenir sur un environnement si violemment rejeté? Pourquoi respecter ce qui n’est bon qu’à être démoli?
Pour n’en citer que quelques-uns : FORTIN J-P., Grands ensembles. L’espace et ses raisons, Plan Urbanisme Construction Architecture (PUCA), 1997 ; PEILLON P., Utopie et désordre urbains. Essai sur les grands ensembles d’habitation, La Tour d’Aigues, Editions de l’Aube, 2001 ; DUFAUX F., FOURCAUT A., SKOUTELSKY R., Faire l’histoire des grands ensembles. Bibliographie 1950-1980, ENS éditions, 2003 ; TOMAS F., BLANC J-N., BONILLA M., Les grands ensembles, une histoire qui continue…, Publications de l’université de Saint-Etienne, 2003 ; DUFAUX F., FOURCAUT A. (dir.), Le monde des grands
ensembles, Créaphis, 2004.« Pour une histoire des grands ensembles en Essonne », Les Cahiers de la Maison de Banlieue et de l’Architecture, n° 11, mai 2005« BILLARDON, HISTOIRE D’UN GRAND ENSEMBLE »
Centre de Ressources Politique de la Ville en Essonne
Les enjeux du projet
À Dijon, le projet a mis de long mois à se concrétiser. L’enjeu de ce travail était double:
■ Un enjeu de connaissance et d’analyse de l’histoire et des différentes étapes de l’évolution urbaine et sociale de l’immeuble et du quartier, des vécus, trajectoires résidentielles et familiales des habitants de la cité. Il a été réalisé à travers:
– une recherche historique dans les archives du bailleur, de la commune, des journaux locaux, de l’agence d’urbanisme, etc., replaçant l’étude dans le contexte général de l’histoire de la France de la Reconstruction et des quarante dernières années;– une écoute, dévoilant les différentes représentations de ce quartier, non plus
à partir de critères ou de théories de spécialistes, mais en suivant pas à pas(mot à mot) les trajets, les images qu’y déposent les habitants et les acteursdu quartier. Le travail artistique – photographies, textes – ayant alors pour fonction de réintroduire ces regards croisés dans la circulation de la ville,d’en faire des éléments de partage, de réflexio« BILLARDON, HISTOIRE D’UN GRAND ENSEMBLE »Centre de Ressources Politique de la Ville en EssonneCes recherches ont permis de retracer les différentes étapes de construction et de transformation de cet immeuble dans son territoire, ainsi que l’évolution d sa composition socio-démographique. Une iconographie importante a pu être collectée et répertoriée sur CD-Rom. Une présence longue – deux à trois jours par semaine pendant cinq mois – a été assurée sur le terrain, favorisant notre immersion et l’observation du quotidien des habitants du quartier, le recueil d’une parole informelle, permettant d’expliciter notre démarche, ses objectifs, son intérêt, l’instauration d’une quotidienneté, de relations de confiance. Pour cela, une présence régulière aux différentes manifestations, aux réunions et aux événements publics liés au quartier et une fréquentation de lieux de rencontre et d’échanges préalablement identifiés ont été nécessaires.Des rencontres collectives et individuelles ont été organisées avec les partenaires – associations, structures et personnes-relais sur le quartier – nous permettant d’être rapidement identifiés et de baliser précisément notre rôle – le rôle de chacun – dans le projet, de recueillir leur connaissance du terrain, leurs représentations et leurs réflexions sur le projet. Les ateliers avec les techniciens, les élus et les associations concernées devaient définir précisément: ● les objectifs à court, moyen et, le cas échéant, long terme;
● les actions à court, moyen et long terme;
● les modalités de leur déroulement.
Ces rencontres avaient également pour objectif de faire fonctionner le«bouche-à-oreille», qui demeure bien souvent le principal vecteur d’information pour ce type de démarche. Elles nous permettaient également de nouer des premiers contacts avec les habitants et les personnes-relais impliqués dans la vie du quartier. Ont été mis en œuvre:
● un moment de rencontre-discussion avec les habitants sous la forme d’une soirée projection-débat: présentation du travail de recueil de mémoire, personnes et structures porteuses, méthodes, finalités; définition en commundes modalités de leur participation au projet.
● sollicitation et information de la presse locale (journaux, radio, télévision), des bulletins associatifs, de la communication institutionnelle (ville, communauté
d’agglomération, bailleur, etc.) pour relayer et présenter le plus précisément possible la démarche entreprise et les personnes en charge de ce travail;
● des entretiens compréhensifs, individuels, en couple ou en petits groupes sous la forme d’entretiens semi-directifs de type «récits de vie(s)», recueillisauprès d’habitants ou d’anciens habitants du quartier, de professionnels travaillant ou ayant exercé leur activité dans le quartier, d’élus ou de responsables associatifs.
« BILLARDON, HISTOIRE D’UN GRAND ENSEMBLE »
Centre de Ressources Politique de la Ville en Essonne
Les entretiens ont été enregistrés et traités sur support numérique – mini-disc –, et les documents et les objets soigneusement inventoriés et/ou scannés.Ces entretiens avaient pour objectifs d’enregistrer non pas l’histoire de ce quartier, mais la manière qu’avaient nos interlocuteurs de dire leur propre histoire, cequi faisait mémoire pour ces personnes en contact étroit avec le quartier, natifs ou de passage, enracinés ou nouveaux venus. Il s’agissait de souvenirs, d’impressions d’enfance, de petits faits de la vie quotidienne parfois jugés sans importance, d’événements heureux ou tragiques, qui ont marqué leur sensibilité. Cela supposait donc que l’on prenne le temps, précisément de parler et d’écouter. Les entretiens se sont déroulés de préférence au domicile des personnes, pas dans la rue ou une salle impersonnelle, mais dans la sphère privée plus à même de laisser subvenir ces épopées de l’intime. L’objectif n’était pas de faire une archéologie du quartier, ni même d’enfermer nos interlocuteurs dans la norme de la personne-type qui habite un grand ensemble, mais bien de montrer que cet immeuble était composé de fragmentsde vies, de destins d’hommes et de femmes singuliers. Il s’agissait de montrer
comment, à un moment donné, ces personnes, venues parfois d’horizons lointains, se sont arrêtées là et ont enrichi ce lieu de leurs histoires et de leurs trajectoires particulières.
Nous avons donc insisté sur les trajectoires familiales et professionnelles de chacun: origines, parcours résidentiels, étapes et ruptures de vies – mariage, naissances, emplois successifs, divorces, décès, etc. –, points de repères autour desquels chacun construit «son temps», étapes qui organisent la durée, le vécu familial, domestique, les faits d’une vie et les événements de l’histoire. Le souvenir trouve également un support concret dans l’espace et les multiplesbouleversements du bâti et du cadre de vie. Démolitions, reconstructions,aménagements, suscitent une perte de repères, et invitent d’autant plus à faireun travail de mémoire. Dans cette perspective, ont été évoqués les souvenirs attachés plus précisément au quartier des Grésilles et à l’immeuble Billardon.Les personnes interrogées ont été invitées à s’appuyer le plus largement possible sur des descriptions détaillées (déménagement, logements successifs, accessibilité au travail ou aux équipements et services, nombre et identité des commerces, relations de voisinage, espaces collectifs), leurs pratiques (loisirs, vie scolaire, pratiques commerciales, etc.), les événements (fêtes, accidents, etc.) ou personnes marquantes; leurs perceptions du quartier et de son évolution – qu’ils y habitent toujours ou pas –, leurs projections éventuelles dans l’avenir (liste de thèmes non exhaustive).De février à juin 2003, une quinzaine d’entretiens ont pu être réalisés auprès d’une trentaine d’anciens locataires de l’immeuble, des premiers résidents de
Billardon dans les années 1950 aux derniers occupants, récemment relogés. « BILLARDON, HISTOIRE D’UN GRAND ENSEMBLE » Centre de Ressources Politique de la Ville en Essonne Des outils pour l’action: la restitution Tout au long de l’étude, nous avons rencontré et consulté régulièrement l’ensemble des institutions et des partenaires concernés par la démarche, afin de leur soumettre les premiers éléments de notre travail, recueillir leurs commentaires, leurs suggestions et critiques. Ces rencontres ont été l’occasion de partager une réflexion, d’élaborer des propositions de restitution aux différents publics.Malgré nos craintes initiales, une restitution de qualité a pu être proposée aux habitants, grâce à l’implication très forte de l’Opac de Dijon, véritable porteur du projet, et dans une moindre mesure du service Inventaire de la Direction régionale des affaires culturelles de Bourgogne. Leur implication a permis de trouver différents partenaires financiers, comme la Caisse des Dépôts et Consignations ou la communauté d’agglomération.
De notre côté, sur la base du rapport et du reportage photographique que nous avions remis à nos commanditaires, nous avons pu convaincre les éditions
Créaphis, reconnues pour la qualité de leurs publications de documents d’histoire, de sciences sociales et de photographie, de formuler une proposition éditoriale de qualité. Sur la base de nos recommandations, deux pistes de restitution ont été privilégiées:
● une exposition, événement fort et fédérateur, pouvant susciter des échanges,des moments de rencontre entre habitants du quartier et résidents extérieurs,
dans une optique d’ouverture du quartier au reste de la ville, les productions de certains groupes d’habitants pouvant être également valorisées, ainsi que les objets ou films recueillis dans le cadre du projet;
● une publication, associant textes et documents d’archives sur l’histoire du quartier, une sélection de témoignages et de photographies professionnelles
et amateurs, et accompagnant cette exposition, pour une diffusion plus large des résultats de l’opération, et une appropriation durable du projet par les habitants du quartier et les autres résidents de l’agglomération.Cette restitution avait également pour objectif de mettre en lumière les différentes préoccupations des habitants, permettant aux acteurs de terrain de disposer d’une base de connaissances pour définir et programmer leurs interventions, à court, moyen et long terme. Un tel travail fait émerger des représentations collectives, des divergences, des tensions qu’il faut savoir analyser et traiter pour améliorer les rapports sociaux et les conditions de vie des habitants.Encore faut-il que ces paroles soient prises en compte pour permettre aux institutions de redéfinir leurs modes d’intervention sur la ville: vaste chantier… Sylvain TABOURY,sociologue, enseignant à l’école d’architecture de Versailles Les 30 Glorieuses . com et la carte postale.. Il existe de nos jours, de nombreux photographes qui privilégient la qualité artistique de leurs travaux cartophiles. A vous de découvrir ces artistes inconnus aujourd’hui, mais qui seront peut-être les grands noms de demain. Jérôme (Mémoire2Ville) #chercheur #archiviste #maquettiste dans l #histoire des #logementssociaux #logement #HLM #logementsocial #Patrimoine @ Les films du MRU -Industrialiser la construction, par le biais de la préfabrication.Cette industrialisation a abouti, dans les années 1950, à un choix politique de l'Etat, la construction massive de G.E. pour résoudre la très forte crise du logement dont souffrait la France www.youtube.com/watch?v=zR_jxCANYac&fbclid=IwAR2IzWlM... … Le temps de l'urbanisme, 1962, Réalisation : Philippe Brunet www.dailymotion.com/video/xgj2zz?playlist=x34ije … … … … -Les grands ensembles en images Les ministères en charge du logement et leur production audiovisuelle (1944-1966) MASSY - Les films du MRU - La Cité des hommes, 1966, Réalisation : Fréderic Rossif, Albert Knobler www.dailymotion.com/video/xgiqzr?playlist=x34i - Les films du MRU @ les AUTOROUTES - Les liaisons moins dangereuses 1972 la construction des autoroutes en France - Le réseau autoroutier 1960 Histoire de France Transports et Communications - www.dailymotion.com/video/xxi0ae?playlist=x34ije … - A quoi servaient les films produits par le MRU ministère de la Reconstruction et de l'Urbanisme ? la réponse de Danielle Voldman historienne spécialiste de la reconstruction www.dailymotion.com/video/x148qu4?playlist=x34ije … -les films du MRU - Bâtir mieux plus vite et moins cher 1975 l'industrialisation du bâtiment et ses innovations : la préfabrication en usine, le coffrage glissant... www.dailymotion.com/video/xyjudq?playlist=x34ije … - TOUT SUR LA CONSTRUCTION DE NOTRE DAME LA CATHEDRALE DE PARIS Içi www.notredamedeparis.fr/la-cathedrale/histoire/historique... -MRU Les films - Le Bonheur est dans le béton - 2015 Documentaire réalisé par Lorenz Findeisen produit par Les Films du Tambour de Soie içi www.dailymotion.com/video/x413amo?playlist=x34ije Noisy-le-Sec le laboratoire de la reconstruction, 1948 L'album cinématographique de la reconstruction maison préfabriquée production ministère de la Reconstruction et de l'Urbanisme, 1948 L'album cinématographique içi www.dailymotion.com/video/xwytke archipostcard.blogspot.com/search?updated-max=2009-02-13T... - - PRESQU'ILE DE GENNEVILLIERS...AUJOURD'HUI...DEMAIN... (LA video içi parcours.cinearchives.org/Les-films-PRESQU-ILE-DE-GENNEVI... … ) Ce film de la municipalité de Gennevilliers explique la démarche et les objectifs de l’exposition communale consacrée à la presqu’île, exposition qui se tint en déc 1972 et janvier 1973 - le mythe de Pruitt-Igoe en video içi nextcity.org/daily/entry/watch-the-trailer-for-the-pruitt... … - 1964, quand les loisirs n’avaient (deja) pas le droit de cité poke @Memoire2cite youtu.be/Oj64jFKIcAE - Devenir de la ZUP de La Paillade youtu.be/1qxAhsqsV8M v - Regard sur les barres Zum' youtu.be/Eow6sODGct8 v - MONTCHOVET EN CONSTRUCTION Saint Etienne, ses travaux - Vidéo Ina.fr www.ina.fr/video/LXF99004401 … via - La construction de la Grande Borne à Grigny en 1969 Archive INA www.youtube.com/watch?time_continue=12&v=t843Ny2p7Ww (discours excellent en seconde partie) -David Liaudet : l'image absolue, c'est la carte postale" phothistory.wordpress.com/2016/04/27/david-liaudet-limage... … l'architecture sanatoriale Histoire des sanatoriums en France (1915-1945). Une architecture en quête de rendement thérapeutique..
passy-culture.com/wp-content/uploads/2009/10/Les-15-Glori... … … & hal.archives-ouvertes.fr/tel-01935993/document Gwenaëlle Le Goullon (LAHRA), auteur du livre "la genèse des grands ensembles",& Danièle Voldman (CHS, Centre d'Histoire Sociale), expliquent le processus qui a conduit l'Etat, et le ministère de l'urbanisme &de la reconstruction à mener des chantiers exp www.youtube.com/watch?v=zR_jxCANYac&fbclid=IwAR2IzWlM... mémoire2cité & l'A.U.A. - Jacques Simon (1929 - 26 septembre 2015) est un architecte paysagiste formé à l'École des beaux-arts de Montréal et à l'École nationale supérieure du paysage de Versailles. Fasciné par la campagne qui témoigne d'une histoire de labeur, celle des agriculteurs "ses amis", "les génies de la terre", Jacques SIMON, paysagiste dplg, Premier Grand Prix du Paysage en 1990*, réalise avec eux des installations paysagères éphémères principalement dans des champs et visibles du ciel. Avec sa palette d'artiste, Jacques SIMON réinvente des paysages comme les agriculteurs eux-aussi à leur façon les créent et les entretiennent. Le CAUE du Rhône vous invite à venir découvrir ses travaux au travers d'un kaléidoscope de photographies empreintes de spontanéité, de fraîcheur et d'humour. Cette exposition nous interpelle sur le caractère essentiel d'une nature changeante, fragile, sur l'importance d'une activité agricole diversifiée et sur la nécessaire évolution du métier de paysan. Elle nous amène aussi à voir et à interpréter ce que l'on voit, elle éveille en nous le sens de la beauté du paysage en conjuguant les différentes échelles de perception et de lecture; à pied et à vol d'oiseau, à la fois l'échelle humaine, terrestre, géologique, forestière, hydrologique, biologique mais aussi esthétique et symbolique. Jacques Simon, paysagiste cosmopolite est l'un des principaux acteurs du renouveau de la pensée paysagère en France dans les années 60 et 70 conjuguant avec cohérence sa pratique de paysagiste, de voyageur, d'éditeur, d'enseignant avec son approche plus artistique du paysage, subtile, sensible et humaine de la nature avec la réalisation de "performances". Ses projets paysagers comme ses interventions paysagères éphémères sont marqués par la mobilité, la fragilité, une empathie avec le lieu, par la dualité même du voyage : découverte / évanouissement, création / disparition. Jacques Simon dessine, écrit sur le paysage, "une surface", un peu à la manière du land'art avec les techniques et les outils du jardinier, du cultivateur. Il ne s'agit plus de représenter la nature mais de l'utiliser en créant avec et dans le paysage. L'intention de Jacques Simon n'est pas d'apposer sa marque sur le paysage mais de travailler instinctivement avec lui afin que ses travaux-installations manifestent même brièvement un contact en harmonie avec le monde naturel. "On dit qu'il a bouleversé l'esprit du paysage, il a remis les choses essentielles à leur place. Il rit de l'importance qu'on veut bien lui donner, fils de l'air, il ne veut rien de plus que passer dans les cerveaux pour les ventiler, les rafraîchir et non pour les modeler; son "importance", il l'a ailleurs et autrement; il est historique parce que dans son temps, dans celui qui s'écoule et non dans celui qui passe". Extrait de "Jacques Simon, tous azimuts", Jeanne-Marie Sens et Hubert Tonka, Pandora Editions, 1991. Il a introduit une nouvelle conception de l'art du paysage proche du Land art, Jacques Simon est l'auteur d'une série d'ouvrages sur différents aspects du paysage et abordés d'un point de vue technique. Il a travaillé de 1964 à 1966 en collaboration avec Michel Corajoud. Il a conçu le Parc de la Deûle (qui lui a valu le Grand Prix national du Paysage en 2006, après l'avoir reçu une première fois en 19901).
Il est mort le 29 septembre 20151 et a été incinéré à Auxerre Le paysagiste Jacques Simon s'est éteint le 26 septembre dernier à l'âge de 86 ans. Diplômé de Versailles en 1959, il fut sans doute l'une des figures les plus emblématiques, les plus géniales et les plus originales du paysagisme contemporain. Premier grand prix du paysage et prix du Conseil de l'Europe pour le parc de la Deule, on lui doit des principes de compositions très forts, autour du nivellement, du traitement du végétal ou de la place laissée au vide. Ses intuitions comme ses travaux ont inspiré tous les paysagistes avec lesquels il a travaillé, à commencer par Michel Corajoud ou Gilles Vexlard. On lui doit un profond renouvellement dans la composition des grands ensembles, ses réalisations -comme le parc Saint-John Perse à Reims- restant des modèles pour tous les professionnels. Jacques Simon développa également une production d'œuvres plus éphémères, attentif aux mouvements et aux transformations. Pédagogue talentueux et généreux, il le fut autant par les documents techniques et la revue qu'il publia, que par ses interventions en atelier devant plusieurs générations d'étudiants de l'école. Les paysagistes perdent un de leurs plus féconds inspirateurs. L'ENSP s'associe au deuil de sa famille et de ses proches. Témoignages à la mémoire de Jacques Simon
Dans les années 1990 à l'école du Paysage de Versailles, lorsque nous entrions en première année, la première satisfaction était d'acquérir du nouveau matériel d'expression plastique. Encre, feutres, supports en grand format et sur papier calque...mais aussi découvrir des livres de notre professeur Jacques Simon : des carnets de dessins et de croquis, des photomontages découpés aux ciseaux.
En amphithéâtre lors de conférences et séances de projections de diapositives, Jacques Simon évoquait surtout sa capacité à piloter un hélicoptère. Je viens de retrouver un extrait d'un article à ce sujet..« (...) Car depuis une dizaine d'années, le Bourguignon a trouvé une solution à son imagination en bourgeonnement permanent. Jacques Simon crée ‘pour lui tout seul'. Ni commande ni concours. Mais des messages géants écrits dans les champs et seulement visibles d'avion ou d'hélicoptère. Un art éphémère et privé dont il s'amuse, les veilles de moissons, tout autour de sa ferme de Turny, dans l'Yonne.Et là, plus rien ne l'arrête. Les agriculteurs du coin ont pris l'habitude de le voir faucher des allées entières de luzerne. De l'apercevoir écraser d'interminables chemins de phacelia, un graminé californien qui existe en trois couleurs (blanc, bleu, rouge). De l'observer dans son hélicoptère photographiant le résultat. Ses messages sont des hommages ou des avertissements. L'un prévient : ‘Hé, si tu n'as plus de forêt t'es foutu.' Un autre : 'Sans les paysans, je m'emmerde. Signé : la Terre.' Même l'hiver, Jacques Simon s'adonne à cette calligraphie paysagère. (...) ».Extrait paru dans La Croix l'événement du dimanche 11 et lundi 12 juin 1995, par Frédéric Potet, rubrique Culture. son site simonpaysage.free.fr/
file:///C:/Users/user/Downloads/B_Blanchon_AUA.pdf Interview to Jacques Simon incleded on the dvd that accompanies book "Metropoles en Europe", from the exhibition "Lille - Metropoles en Europe". The French landscape architect Jacques Simon's love for nature first developed on his father's tree farm and then deepened when he traveled as a young man to Sweden and then Canada, where he attended art school in Montreal while working as a lumberjack. Between 1957 and 1959, Simon studied at the École Nationale de Horticulture. He has since become an important link in the renewal of French landscape architecture, combining the Anglo-Saxon and Scandinavian garden cultures he absorbed in his travels with classic Latin structures. He works as often as possible in situ, and does not shy away from driving the tractor himself.
www.youtube.com/watch?v=OyBnqrUlK9U turny.chez.com/A0archives/jSIMMON.htm Jacques Simon, Il crée la revue Espaces verts en 1968, l’anime jusqu’en 1982, publie des cahiers spéciaux dédiés à « l’Aménagement des espaces libres ». Même l'hiver, il s'adonne à cette calligraphie paysagère».La Croix dimanche 11 et lundi 12 juin 1995, simonpaysage.free.fr/ Jacques Simon écrit ses premiers articles dès la fin des années 1950 pour des revues comme Maison et Jardin et Urbanisme. En 1965, il signe l’un de ses premiers livres, L’Art de connaître les arbres. strabic.fr/Jacques-Simon-Gilles-Vexlard … jacques simon & Le parc des Coudrays - Élancourt-Maurepas, 1970 strabic.fr/Jacques-Simon-Gilles-Vexlard … simonpaysage.free.fr/ Jacques Simon - Espaces verts n° 27, avril-mai-juin 1971, p. 44-45 Fasciné par la campagne qui témoigne d'une histoire de labeur, celle des agriculteurs "ses amis", "les génies de la terre" paysagiste dplg, Premier Grand Prix du Paysage en 1990*, www.youtube.com/watch?v=OyBnqrUlK9U …ici es EDITIONS DU CABRI PRESENTE PARIS LA BANLIEUE 1960-1980 -La video Içi www.youtube.com/watch?v=lDEQOsdGjsg ,
A partir des années 1950, le trafic de la banlieue parisienne suit l’urbanisation galopante et les dessertes ferroviaires doivent s’adapter et se moderniser.Quelques amateurs ont su immortaliser un monde ferroviaire qui était alors en voie de disparition. Dans ce film, nous retrouvons les dessertes 750 volts par troisième rail en rames « Standard » sur les lignes de Versailles-RD, sur la ligne d’Auteuil et entre Puteaux et Issy-Plaine mais aussi les derniers trains à vapeur à St Lazare, à La Bastille et sur le Nord et quelques ultimes voyages sur les lignes de Ceinture --------------De la révolution industrielle à aujourd’hui, un décryptage minutieux de la course au développement qui a marqué le point de départ de l’ère de l'anthropocène (ou l'ère de l'Homme) et de la déterioration continue de la planète. www.arte.tv/fr/videos/073938-000-A/l-homme-a-mange-la-terre/ Quelque 1 400 milliards de tonnes de CO2 sont aujourd’hui prisonnières de la basse atmosphère. Réchauffement climatique, déforestation, inondations, épuisement des ressources, pollutions, déchets radioactifs... : en deux siècles, la course au progrès et à la croissance a durablement altéré la planète, la crise environnementale se doublant d’une rupture géologique, avec l’avènement de l’ère anthropocène. Portée par l’exploitation des énergies fossiles – du charbon de la révolution industrielle en Angleterre au tout-pétrole de la domination économique des États-Unis –, l’industrialisation et ses corollaires, taylorisme et colonialisme, entraînent une exponentielle production de masse. Un processus qu’accélère la Première Guerre mondiale, les firmes chimiques mobilisées pour tuer l’ennemi se reconvertissant dans la destruction du vivant avec les herbicides, insecticides et fertilisants de l’agriculture intensive. Alors que l’urbanisation s’étend, la voiture, qui sonne le glas du tramway, se généralise, et l’Amérique s’inspire du modèle autoroutier nazi. La Seconde Guerre mondiale engendre une nouvelle organisation du travail, laquelle devient la norme, et annonce l’ère nucléaire de la guerre froide. Dans sa démesure, l’homme rêve déjà d’usages civils de l’atome (y compris pour l’abattement de montagnes et la dissolution des calottes glaciaires !). Le plastique et le béton deviennent les piliers de la consommation de masse, dévoreuse de matières premières et antidote à la contestation sociale, jusqu’à la révolution numérique. Liaisons dangereuses
En balayant, avec de formidables archives issues du monde entier, deux siècles de progrès jusqu’à l’ère du big data, le film remonte aux sources de la crise écologique, en interrogeant avec précision les enjeux scientifiques, économiques et politiques qui y ont conduit. Fourmillant d’informations, il éclaire l’histoire de cette marche folle, et les liaisons dangereuses entre industries militaire et civile. Entre capitalisme et mondialisation imposés par les grandes puissances, un décryptage passionnant du basculement dans l’anthropocène, funeste asservissement de la nature par l’homme. le Logement Collectif* 50,60,70's dans tous ses états..Histoire & Mémoire de l'Habitat / Rétro-Villes / HLM / Banlieue / Renouvellement Urbain / Urbanisme URBANISME S’imaginer Paris et le Grand Paris @ Les 50ans d'Apur (link: 50ans.apur.org/#intro) 50ans.apur.org/#intro @ Où en est l'histoire urbaine des sociétés contemporaines ? Cet ouvrage, inspiré par Annie Fourcaut, qui contribua de manière décisive à son développement, propose un état des lieux de ce champ et explore des pistes de recherche ouvrant l'histoire urbaine à une variété de " genres ". Où en est l'histoire urbaine des sociétés contemporaines ? Cet ouvrage, inspiré par Annie Fourcaut, qui contribua de manière décisive à son développement, propose un état des lieux de ce champ. De Femmes à l'usine (1981), Bobigny, banlieue rouge (1986), à La banlieue en morceaux (2000), en passant par les publications collectives qu'elle a coordonnées et les travaux qu'elle a encadrés, la trajectoire de cette historienne a conduit l'histoire sociale et politique – telle qu'on la pratiquait dans les années 1970 – vers une histoire urbaine renouvelée. Le livre revient sur cette évolution et explore des pistes de recherche ouvrant l'histoire urbaine à une variété de " genres ". Les auteurs, historiennes et historiens, sociologues, politistes, géographes, architectes, urbanistes et décideurs politiques proposent une histoire urbaine à la fois interdisciplinaire et ancrée dans la fabrique de la ville et ses représentations, portant la marque de sa dédicataire.Les quatre sections de l'ouvrage dessinent les chantiers qu'Annie Fourcaut a investis : " Du social à l'urbain " met en avant la conviction qu'étudier l'histoire des villes, c'est toujours faire de l'histoire sociale ; " Qu'elle était belle la banlieue " est centré sur les banlieues, son territoire d'étude de prédilection ; " Les habits neufs des politiques de la ville " interroge les politiques urbaines successives et leur transformation ; enfin, " Banc d'essai des modernités " propose une analyse historique de l'urbanisme, comme discipline et comme pratique.
Category A listed historic townhouses designed in 1791 by Robert Adam. They were constructed 1803-07.
"Charlotte Square is a garden square in Edinburgh, Scotland, part of the New Town, designated a UNESCO World Heritage Site. The square is located at the west end of George Street and was intended to mirror St. Andrew Square in the east. The gardens are private and not publicly accessible.
Initially named St. George's Square in James Craig's original plan, it was renamed in 1786 after King George III's Queen and first daughter, to avoid confusion with George Square to the south of the Old Town. Charlotte Square was the last part of the initial phase of the New Town to be "completed" in 1820 (note- the north-west section at Glenfinlas Street was not completed until 1990 due to a long-running boundary dispute). Much of it was to the 1791 design of Robert Adam, who died in 1792, just as building began.
In 1939 a very sizable air-raid shelter was created under the south side of the gardens, accessed from the street to the south.
In 2013 the south side was redeveloped in an award-winning scheme by Paul Quinn, creating major new office floorspace behind a restored series of townhouses.
Edinburgh Collegiate School was located in Charlotte Square.
The garden was originally laid out as a level circular form by William Weir in 1808.
In 1861 a plan was drawn up by Robert Matheson, Clerk of Works for Scotland for a larger, more square garden, centred upon a memorial to the recently deceased Prince Albert, the consort of Queen Victoria.
The commission for the sculpture was granted in 1865 to Sir John Steell. The main statue features an equestrian statue of the prince, in field marshal's uniform, dwarfing the four figures around the base. It was unveiled by Queen Victoria herself in 1876. The stone plinth was designed by the architect David Bryce and the four corner figures are by David Watson Stevenson (Science and Learning/Labour), George Clark Stanton (Army and Navy) and William Brodie (Nobility). The statue was originally intended to go in the centre of the eastern edge of the garden, facing down George Street.
This remodelling featured major new tree-planting which took many years to re-establish.
The central open space is a private garden, available to owners of the surrounding properties. For the last three weeks in August each year Charlotte Square gardens are the site of the Edinburgh International Book Festival.
The railings around the gardens were removed in 1940 as part of the war effort. The current railings date from 1947.
On the north side, No. 5 was the home of John Crichton-Stuart, 4th Marquess of Bute (1881–1947), who bought it in 1903 and gave it to the National Trust for Scotland on his death. It was the Trust headquarters from 1949 to 2000. Bute did much to promote the preservation of the Square.
Nos. 6 and 7 are also owned by the National Trust for Scotland. No.6, Bute House is the official residence of the First Minister of Scotland. In 1806 it was home to Sir John Sinclair creator of the first Statistical Account of Scotland. No. 7 was internally restored by the Trust in 1975 to its original state, and is open to the public as The Georgian House. The upper floor was formerly the official residence of the Moderator of the General Assembly of the Church of Scotland. The building includes one fireplace brought from Hill of Tarvit in Fife in 1975.
West Register House, formerly St. George's Church, forms the centre of the west side. It was designed by the architect Robert Reid in 1811, broadly to Adam's plan. The church opened in 1814 and was converted to its current use in 1964. It is one of the main buildings of the National Records of Scotland.
The New Town is a central area of Edinburgh, the capital of Scotland. A masterpiece of city planning, it was built in stages between 1767 and around 1850, and retains much of its original neo-classical and Georgian period architecture. Its best known street is Princes Street, facing Edinburgh Castle and the Old Town across the geological depression of the former Nor Loch. Together with the Old Town, the New Town was designated a UNESCO World Heritage Site in 1995.
Edinburgh (/ˈɛdɪnbərə/; Scots: Edinburgh; Scottish Gaelic: Dùn Èideann [ˈt̪uːn ˈeːtʲən̪ˠ]) is the capital of Scotland and one of its 32 council areas. Historically part of the county of Midlothian (interchangeably Edinburghshire before 1921), it is located in Lothian on the Firth of Forth's southern shore.
Recognised as the capital of Scotland since at least the 15th century, Edinburgh is the seat of the Scottish Government, the Scottish Parliament and the supreme courts of Scotland. The city's Palace of Holyroodhouse is the official residence of the monarch in Scotland. The city has long been a centre of education, particularly in the fields of medicine, Scots law, literature, philosophy, the sciences and engineering. It is the second largest financial centre in the United Kingdom (after London) and the city's historical and cultural attractions have made it the United Kingdom's second most visited tourist destination attracting 4.9 million visits including 2.4 million from overseas in 2018.
Edinburgh is Scotland's second most populous city and the seventh most populous in the United Kingdom. The official population estimates are 488,050 (2016) for the Locality of Edinburgh (Edinburgh pre 1975 regionalisation plus Currie and Balerno), 518,500 (2018) for the City of Edinburgh, and 1,339,380 (2014) for the city region. Edinburgh lies at the heart of the Edinburgh and South East Scotland city region comprising East Lothian, Edinburgh, Fife, Midlothian, Scottish Borders and West Lothian.
The city is the annual venue of the General Assembly of the Church of Scotland. It is home to national institutions such as the National Museum of Scotland, the National Library of Scotland and the Scottish National Gallery. The University of Edinburgh, founded in 1582 and now one of four in the city, is placed 20th in the QS World University Rankings for 2020. The city is also known for the Edinburgh International Festival and the Fringe, the latter being the world's largest annual international arts festival. Historic sites in Edinburgh include Edinburgh Castle, the Palace of Holyroodhouse, the churches of St. Giles, Greyfriars and the Canongate, and the extensive Georgian New Town built in the 18th/19th centuries. Edinburgh's Old Town and New Town together are listed as a UNESCO World Heritage site, which has been managed by Edinburgh World Heritage since 1999." - info from Wikipedia.
Summer 2019 I did a solo cycling tour across Europe through 12 countries over the course of 3 months. I began my adventure in Edinburgh, Scotland and finished in Florence, Italy cycling 8,816 km. During my trip I took 47,000 photos.
Now on Instagram.
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Constructed by Buddhist Monks from the Japanese Nipponzen Myhoji organization to promote world peace. A view from top of here was totally amazing, I take easy route about 20 minutes hiking which also run out my breath ^__^
Thanks for the views, comments, faves ^__^
La construction du pont Monty, à Vaucelles, en 8 jours par la 20th Field Coy du 10th Field Park Coy de la 1st Canadian Army Troops Engineers, RCE.
Le Monty's Bridge en montage avec son nez de lancement, remarquer les deux massifs en béton et les deux piles en échafaudages métalliques (des caissons Christchurch Cribs, nom officiel " Bridging Crib 20 ton").
Développé dans l'entre-deux guerres, le Christchurch Crib est faussement simple mais incroyablement utile. C'est une construction en acier squelettique utilisée comme une sorte de bloc de construction Lego pour former des supports de pont, des culées et d'autres dispositifs.
En arrière-plan, au centre le garage Peugeot rue du 11 Novembre, à droite l'Hôtel de Commandement (en fait depuis 1935 l'Intendance Militaire) et tout à gauche les ruines de la caserne Hamelin (en 1940 un centre de recrutement et de préparation militaire).
Photo référence PA-169327
collectionscanada.gc.ca/pam_archives/index.php?fuseaction...(collectionscanada.gc.ca/lac-bac/result/arch.php?FormName=...)
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