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Finally make the attempt at colour developing and it was easier than I thought certainly no more difficult than black and white.
Developed by Fritz B. Burns Research Division for Housing
Architects: Walter Wurdeman and Welton Becket
Landscape Architects: Eckbo, Royston & Williams
On July 15, 1954, a graceful, swept-winged aircraft, bedecked in brown and yellow paint and powered by four revolutionary new engines first took to the sky above Seattle. Built by the Boeing Aircraft Company, the 367-80, better known as the Dash 80, would come to revolutionize commercial air transportation when its developed version entered service as the famous Boeing 707, America's first jet airliner.
In the early 1950s, Boeing had begun to study the possibility of creating a jet-powered military transport and tanker to complement the new generation of Boeing jet bombers entering service with the U.S. Air Force. When the Air Force showed no interest, Boeing invested $16 million of its own capital to build a prototype jet transport in a daring gamble that the airlines and the Air Force would buy it once the aircraft had flown and proven itself. As Boeing had done with the B-17, it risked the company on one roll of the dice and won.
Boeing engineers had initially based the jet transport on studies of improved designs of the Model 367, better known to the public as the C-97 piston-engined transport and aerial tanker. By the time Boeing progressed to the 80th iteration, the design bore no resemblance to the C-97 but, for security reasons, Boeing decided to let the jet project be known as the 367-80.
Work proceeded quickly after the formal start of the project on May 20, 1952. The 367-80 mated a large cabin based on the dimensions of the C-97 with the 35-degree swept-wing design based on the wings of the B-47 and B-52 but considerably stiffer and incorporating a pronounced dihedral. The wings were mounted low on the fuselage and incorporated high-speed and low-speed ailerons as well as a sophisticated flap and spoiler system. Four Pratt & Whitney JT3 turbojet engines, each producing 10,000 pounds of thrust, were mounted on struts beneath the wings.
Upon the Dash 80's first flight on July 15, 1954, (the 34th anniversary of the founding of the Boeing Company) Boeing clearly had a winner. Flying 100 miles per hour faster than the de Havilland Comet and significantly larger, the new Boeing had a maximum range of more than 3,500 miles. As hoped, the Air Force bought 29 examples of the design as a tanker/transport after they convinced Boeing to widen the design by 12 inches. Satisfied, the Air Force designated it the KC-135A. A total of 732 KC-135s were built.
Quickly Boeing turned its attention to selling the airline industry on this new jet transport. Clearly the industry was impressed with the capabilities of the prototype 707 but never more so than at the Gold Cup hydroplane races held on Lake Washington in Seattle, in August 1955. During the festivities surrounding this event, Boeing had gathered many airline representatives to enjoy the competition and witness a fly past of the new Dash 80. To the audience's intense delight and Boeing's profound shock, test pilot Alvin "Tex" Johnston barrel-rolled the Dash 80 over the lake in full view of thousands of astonished spectators. Johnston vividly displayed the superior strength and performance of this new jet, readily convincing the airline industry to buy this new airliner.
In searching for a market, Boeing found a ready customer in Pan American Airway's president Juan Trippe. Trippe had been spending much of his time searching for a suitable jet airliner to enable his pioneering company to maintain its leadership in international air travel. Working with Boeing, Trippe overcame Boeing's resistance to widening the Dash-80 design, now known as the 707, to seat six passengers in each seat row rather than five. Trippe did so by placing an order with Boeing for 20 707s but also ordering 25 of Douglas's competing DC-8, which had yet to fly but could accommodate six-abreast seating. At Pan Am's insistence, the 707 was made four inches wider than the Dash 80 so that it could carry 160 passengers six-abreast. The wider fuselage developed for the 707 became the standard design for all of Boeing's subsequent narrow-body airliners.
Although the British de Havilland D.H. 106 Comet and the Soviet Tupolev Tu-104 entered service earlier, the Boeing 707 and Douglas DC-8 were bigger, faster, had greater range, and were more profitable to fly. In October 1958 Pan American ushered the jet age into the United States when it opened international service with the Boeing 707 in October 1958. National Airlines inaugurated domestic jet service two months later using a 707-120 borrowed from Pan Am. American Airlines flew the first domestic 707 jet service with its own aircraft in January 1959. American set a new speed mark when it opened the first regularly-scheduled transcontinental jet service in 1959. Subsequent nonstop flights between New York and San Francisco took only 5 hours - 3 hours less than by the piston-engine DC-7. The one-way fare, including a $10 surcharge for jet service, was $115.50, or $231 round trip. The flight was almost 40 percent faster and almost 25 percent cheaper than flying by piston-engine airliners. The consequent surge of traffic demand was substantial.
The 707 was originally designed for transcontinental or one-stop transatlantic range. But modified with extra fuel tanks and more efficient turbofan engines, the 707-300 Intercontinental series aircraft could fly nonstop across the Atlantic with full payload under any conditions. Boeing built 855 707s, of which 725 were bought by airlines worldwide.
Having launched the Boeing Company into the commercial jet age, the Dash 80 soldiered on as a highly successful experimental aircraft. Until its retirement in 1972, the Dash 80 tested numerous advanced systems, many of which were incorporated into later generations of jet transports. At one point, the Dash 80 carried three different engine types in its four nacelles. Serving as a test bed for the new 727, the Dash 80 was briefly equipped with a fifth engine mounted on the rear fuselage. Engineers also modified the wing in planform and contour to study the effects of different airfoil shapes. Numerous flap configurations were also fitted including a highly sophisticated system of "blown" flaps which redirected engine exhaust over the flaps to increase lift at low speeds. Fin height and horizontal stabilizer width was later increased and at one point, a special multiple wheel low pressure landing gear was fitted to test the feasibility of operating future heavy military transports from unprepared landing fields.
After a long and distinguished career, the Boeing 367-80 was finally retired and donated to the Smithsonian in 1972. At present, the aircraft is installated at the National Air and Space Museum's new facility at Washington Dulles International Airport.
Developing an Arduino application for a series of revolving storefront window displays. Each display holds a laptop which is plugged in, so the motor must be reversed once every revolution to avoid twisting the laptop's power cord.
The display's rotating axle will have a reflective tab that crosses over the sensor (a phototransistor) shown above. Arduino's analog I/O pin detects a change in voltage from the sensor-- a value that can be adjusted in the script, to make the sensor more or less sensitive. It then makes one of two digital output pins high, which triggers the respective coil in the relay. The relay then reverses the polarity to the motor, reversing it until the tab comes back around and the process starts again.
In this image I have LEDs simulating the reversal, in the real thing a motor will be hooked up instead.
See a video of this guy in action: www.youtube.com/watch?v=mpuy9b2Fk4k
Metcheck said 67 % cloud cover for sunrise , it also said rain would stop 30 minutes before sunrise BANG ON ME WEATHER MAN
It's better with a paraboly thing than a circle arc. For those of you keeping score at home, the top of the curve is one quarter of the height of its triangle.
PDF of the crease pattern.
Hey, Goran, I made this with you and copper in mind. (In my mind, there was a lot of verdigris, but that's kind of status quo.)
Highbridge, The Bronx, New York City, New York, United States
Highbridge, The Bronx, New York City, New York, United States of America
Summary
The Union Reformed Church of Highbridge in the South Bronx was constructed in 1887-88 to the design of Alfred E. Barlow, a little-known architect who began his career in suburban residences. Highbridgeville (later known as Highbridge) developed along the high ridge of land along the Harlem River located to the south and east of High Bridge (1838-48, John B. Jervis, engineer), part of the Croton Aqueduct system that brought New York City its first adequate water supply. The village was initially populated with the workers (mostly Irish) who built the aqueduct, bridge, and also the railroad along the river. A Protestant “Union Sunday-School of Highbridgeville” was established in 1860, and a chapel was built in 1866 on Highbridge (later Ogden) Avenue.
After 1874, the church became affiliated with the Reformed Church of America, and became known as the Union Reformed Church of Highbridge. As the congregation grew, a larger building was needed. The significant firm of D.C. Weeks & Son was the builder. Built of random-coursed, rockfaced gneiss ashlar with red sandstone trim, the church is one story with a taller square bell tower at the southwest corner. The Ogden Avenue facade has a steeply-pitched gable and three round-arched windows with voussoirs, connected to the tower by a tourelle, and both side elevations have buttresses and round-arched windows with leaded stained glass.
The eastern (altar) end contains a leaded stained-glass rose window (1889) manufactured by the Tiffany Glass Co., with a geometric design composed of seven circular motifs. The Union Reformed Church of Highbridge (now Highbridge Community Church), one of the Bronx’s significant 19th-century religious structures, is also one of the finest surviving churches in New York City in the Richardsonian Romanesque style, named after one of the greatest American architects, Henry Hobson Richardson (1838-1886). It is particularly unusual within New York as a more informal, suburban example of the style.
Union Reformed Church of Highbridge
Highbridgeville (later known as Highbridge) in the South Bronx developed on the high ridge of land along the Harlem River located to the east of High Bridge (1838-48, John B. Jervis, engineer), which was constructed as part of the Croton Aqueduct system that brought New York City its first adequate fresh water supply. The village was initially settled by the workers who built the Croton Aqueduct and High Bridge, as well as the railroad along the river. Almost entirely Irish originally, these workers were followed later by other European and Jewish immigrants. The Bronx shore of the Harlem River began to be subdivided in the later 19th century for building lots along the main thoroughfare, Highbridge Avenue. It was re-named Ogden Avenue in 1876, in honor of William B. Ogden (1805-1877), the first mayor of Chicago and first president of the Union Pacific Railroad, who after his retirement owned a Highbridge estate called “Villa Boscobel.” Initially, there were few neighborhood amenities and but one small district school; this was replaced by Public School 91 (1889, George W. Debevoise), 1257 Ogden Avenue.
As no church was located within several miles of Highbridgeville, the area’s Protestants organized a religious congregation in October 1860, which was led by William Newton Clark and incorporated in 1864. The “Union Sunday-School of Highbridgeville” held classes in various neighborhood buildings until funds were donated to purchase property and to construct a chapel on Highbridge Avenue. After its completion in 1866, it became the religious center of the community with regular Sunday School meetings. In order to establish a formal church, the congregation called a meeting in June 1874 to vote on a specific Protestant denomination. The Reformed Church of America was chosen and, after official recognition, the church became known as the Union Reformed Church of Highbridge. From 1870 to 1884, the church was served by the pastor of the Mott Haven Reformed Church, Rev. Hasbroek DuBois. After 1884, with the installation of its own minister, Daniel Hoffman Martin, the membership of the church grew rapidly and a larger building was needed. Additional property was purchased, the old chapel was moved to the east, and a new church edifice constructed between December 1887 and its dedication in December 1888, at a contracted cost of $18,000. The rockfaced gneiss church, measuring 43 by 70 feet, was designed by Alfred E. Barlow in the Richardsonian Romanesque style, then at the height of its popularity. The New York Times called it a “new and picturesque home.” D.C. Weeks & Son was the builder. This significant firm, established in 1840 by DeWitt Clinton Weeks and including his son, Francis
M. Weeks, as a partner in the 1860s, was responsible for the construction of numerous mansions, churches, institutions, and office buildings in New York and elsewhere, including St. Thomas Church (1865, Richard M. Upjohn; demolished), Fifth Avenue and West 53rd Street; the first American Museum of Natural History (1874-77, Calvert Vaux and Jacob Wrey Mould; demolished); World (Pulitzer) Building (1888-90, George B. Post; demolished), Park Row and Frankfort Street; Biltmore, the George W. Vanderbilt Estate (1888-95, Richard Morris Hunt), Asheville, North Carolina; and Morton F. Plant Residence (1903-05, Robert W. Gibson), 651 Fifth Avenue.
The Richardsonian Romanesque style was named after one of America’s greatest architects, Henry Hobson Richardson (1838-1886), who created an American interpretation of the Romanesque based on French and Italian prototypes. His Trinity Church (1873-77), Boston, as well as his many libraries and other buildings, firmly established Richardson’s professional reputation and launched the popularity and influence of the style. Following Richardson’s precedent, many architects employed it in the 1880s and 90s for a wide variety of building types, ranging from mansions to courthouses, university structures, and railroad stations, and including many notable churches. The style was characterized by its appearance of massiveness and such features as rockfaced masonry, round-arched fenestration, and steeply pitched roofs with towers and dormers. The noted architectural critic Montgomery Schuyler expressed the opinion in 1903 that “the Romanesque, in the Richardsonian version of it, gave a more rational promise in church building than in almost any other of the phases... there is very much to be said in favor of Romanesque as the most suitable style for church architecture.”
The Union Reformed Church of Highbridge is one of the finest remaining examples of the style in New York City. The major features of the church, including the asymmetrical massing of the forms, the bell tower, the arched openings, and the rockfaced gneiss stonework accented by red sandstone, combine to create a masterful, skillfully articulated, and characteristic example of the Richardsonian Romanesque style. It is particularly unusual within New York City as a more informal, suburban example of the style. A contemporary example outside of New York is St. Mary’s-in-Tuxedo (1887-88, William A. Potter), Tuxedo Park. Only a few major, fully-urban examples of the style survive in Manhattan, including Holy Trinity (later St. Martin’s) Episcopal Church, Rectory, and Parish House (1887-89, Potter), 230 Lenox Avenue in Harlem; and St. Agnes Parish House (now part of Trinity School)(c. 1890-92, Potter), 121 West 71st Street.
In 1889, a leaded stained-glass rose window manufactured by the Tiffany Glass Co., with a geometric design composed of seven circular motifs, was installed in the rear (altar end) of the Union Reformed Church of Highbridge. Louis Comfort Tiffany (1848-1933), originally a painter and later a decorator, started working in stained-glass windows in the mid-1870s and established the Tiffany Glass Co. in 1885. The firm’s early work was largely in the development of ornamental stained glass for windows, which were notable for their brilliant colors and the varied textures within the glass. Robert Koch, in his study Louis C. Tiffany, Rebel in Glass (1982), noted that “the best Tiffany windows made prior to 1890 are generally those of purely decorative and geometric design. Examples of such ornamental use of glass may be seen in... the windows of the Union Reformed Church of Highbridge.” Koch further noted the increasing rarity of in situ Tiffany windows in New York, based on an 1893 listing of churches and public buildings in the U.S. containing Tiffany work – “since that time more than half of the churches in New York in which Tiffany had a hand in the decoration have been demolished.”
Alfred E. Barlow, Architect
Little is known of the background of architect Alfred E. Barlow (1855-1926), who was apparently born in Brooklyn, the son of English-born machinist John Barlow. His career, however, strongly parallels that of fellow architect William Augustus Bates. Barlow was first listed in New York and Brooklyn directories as an architect in 1877, thereafter with an office in Manhattan and residence in Brooklyn. Bates and Barlow were two of the founders (along with Thomas Hastings and Cass Gilbert, etc.) in 1879 of the Architectural Sketch Club, which became the Architectural League of New York the following year. A League publication in 1906 stated that “most of [the founders] were at that time in the employ of Herter Brothers,” one of the nation’s leading interior decoration firms. Bates (1853-1922), the son of a New Jersey lumber merchant, was born in Michigan, educated in Cleveland, and entered Herter Brothers as a draftsman in 1872, where he remained until around 1881, working on one of the most noteworthy commissions of the day -- the decoration of William H. Vanderbilt’s twin mansions (1879-82, Trench & Snook; demolished), Fifth Avenue and West 51st Street. Bates established his own architectural practice in 1882, which specialized in country estates, resort buildings, and suburban houses. He was one of the leading (if lesser known) East Coast proponents of the Queen Anne style (closely influenced by English architect Richard Norman Shaw), as well as the Shingle style. Both Bates and Barlow contributed designs to William T. Comstock’s publication American Cottages (1883), and numerous of Bates’s designs around the country were published in contemporary architectural periodicals, as were some of Barlow’s, including “Astonfield” (1882), a Queen Anne style country estate for Samuel Rhodes. Bates designed Wentworth Hall and Cottages (1881-89), a large resort complex in the White Mountains at Jackson, New Hampshire, as well as the Wentworth residence (1891-92); and at least five houses (1888-99) in the exclusive enclave of Tuxedo Park, New York. The wealthy pharmaceutical businessman and real estate developer William Van Duzer Lawrence (who founded Sarah Lawrence College in 1926), a friend of Bates from Michigan, hired him in 1890 as lead architect for the planned suburban community of Lawrence Park in Bronxville, New York. Bates moved here by 1893, and worked in the community until his death in 1922, including as a partner in the firm of Bates & [Kenneth G.] How after 1910. Bates’s houses (at least 35 of which are extant) were mostly in variants of the Shingle style.
The exact nature of the collaboration between Barlow and Bates is unknown, although they shared the same office address from 1885 until 1910, and an architectural directory listed them as “Barlow & Bates” in 1892. It is probable that Barlow performed work for Bates. They were also associated architects for the Mission Revival style Hotel Gramatan (1905; demolished) in Lawrence Park (which became Bates’s residence). New York’s Great Industries in 1884 had described Barlow as a partner in the firm of Charles W. Romeyn & Co., along with Arthur Jay Stever, working on projects such as Alfred Corning Clark’s enormous Dakota Stables building (1883; demolished) at Broadway and West 75th Street. There are not many known independent commissions of Alfred E. Barlow, though a few of them were prominent. He designed five rowhouses (1887) at 15-23 West 120th Street; the Ivy Club remodeling (1887; demolished), Princeton University; the Berkeley Lyceum (1887-88; demolished), 21 West 44th Street, a theater for amateur players; the Union Reformed Church of Highbridge (1887-88); the medieval chateau-inspired Samuel R. Smith Infirmary (1888-90), 101 Stanley Avenue, Staten Island; a stable/loft building (1891) at 19 Vestry Street; a neo-Federal style town house (1904) at 868 Lexington Avenue; and a store-and-loft building (1907) at 49 West 45th Street. In 1910, Barlow was living in Red Bank, New Jersey, he declared bankruptcy in 1916, he had moved by 1920 to Long Island City, and died in St. Petersburg, Florida.
Later History of the Church
A large stone parsonage was constructed nearby in 1890, which remained in use until 1925 – it was sold and moved down the block, extant today at No. 49 West 167th Street. Due to the growth of the congregation, utilitarian additions were made to the rear of the church (apparently in 1901 and 1913). Rev. Daniel G. Verway served as the pastor for thirty years, until 1946. The old chapel building was demolished for an ambitious educational building (Walter J. Campbell, architect) planned with quarters for the pastor and sexton and administrative offices – it was never completed and only a utilitarian two-story, brick-clad Sunday School building was constructed in 1924 at the eastern end of the church property (this structure and the easternmost 50 feet of the lot are excluded from this designation).
The 19th-century character of Highbridge, composed mostly of small homes, changed greatly with the construction of large apartment buildings in the 20th century, spurred in part by the Jerome Avenue elevated railroad in 1918 and the subway (with a stop at the Grand Concourse and 161st Street) in 1933. The Art Deco style Noonan Plaza Apartments (1931, Horace Ginsberg and Marvin Fine), bordering the church’s property to the south, is one of the premiere complexes in the neighborhood. After World War II, the southwest Bronx, including Highbridge and the area of the Grand Concourse, began to suffer a severe decline. The rapid de-industrialization of the city, increasing suburbanization, heavy-handed urban renewal policies, disinvestment by area landlords, and the redlining of much of the Bronx by local banks all contributed to the economic downturn of the area. The owners of Noonan Plaza defaulted in 1976, and during the 1970s, many apartment buildings were abandoned by their owners and were set on fire, and the neighborhood suffered a catalogue of ills until it began to stabilize in the 1980s. The demographic composition of the Highbridge neighborhood also underwent substantial changes. The area’s residents, largely of European Jewish extraction, began to move to suburban areas, and the west Bronx became a diverse urban community as African-Americans and Latin Americans settled here. By the 1980s, the neighborhood began to experience renewal, as seen by the rehabilitation of Noonan Plaza in 1980-82 for federally subsidized apartments. The former Union Reformed Church of Highbridge, now Highbridge Community Church (sharing its building with Emmanuel Presbyterian Church) stands as a poignant reminder of the earlier history of the Highbridge neighborhood, and is one of the most distinctive churches in the Bronx and New York City.
Description
Built of random-coursed, rockfaced gneiss ashlar with red sandstone trim, the Union Reformed Church of Highbridge is a one-story structure with a taller square bell tower at the southwest corner. The wide, steeply-pitched roof (originally covered by slate shingles, now asphalt shingles) terminates at the eastern end in a polygonal louvered cupola with a tall conical roof. West (Ogden Avenue) Facade: The west facade, rising from a stone foundation/retaining wall with a stone watertable, consists of the main body of the church with a steeply-pitched gable and three round-arched windows with voussoirs, connected to the bell tower by a tourelle with a conical roof (capped by roofing tiles) and a pierced parapet wall. The base of the tourelle was originally columnar, but was re-built battered. The three windows have geometric-patterned leaded stained glass (covered by plexiglass panels). The gable, tourelle, and tower are pierced by slit windows. A utility meter is attached to the base of the church.
The peak of the gable bears an historic ornamental wrought-iron cross. Tower: A cornerstone at the base of the tower bears the date “1888.” Each face of the top section of the tower (which contains an 1866 bell, from the earlier chapel) has large corner columns above a stone molding, two round sandstone arches (originally with louvers, many of which survive) supported by sandstone colonnettes, surmounted by a checkerboard-patterned spandrel and a corbelled stone cornice. The eaves are bracketed. The pyramidal roof of the tower was originally covered with slate shingles (now asphalt shingles); the base of the original ornamental weathervane is extant. South Facade: The main entrance is in the base of the tower, approached by three bluestone steps. The round-arched surround consists of a compound-molded sandstone arch, surmounted by rockfaced sandstone voussoirs, and supported by triple rockfaced sandstone columns with molded capitals, edged by quoins. There are non-historic wooden double doors.
The wooden tympanum is ornamented by carved foliation surrounding a circle. A small Gothic lantern hangs above the entrance. The main body of the church has stone buttresses alternating with round-arched windows with leaded stained glass (covered by metal-mesh grilles) and voussoirs. The east end flares out into a polygonal wing capped by a peaked polygonal roof that joins the main gable roof; a stone chimney rises from the juncture with this wing. There is a non-historic metal door in the basement at this end. North Facade: The north entrance, at the western end, is located in a pedimented portico, supported by bracketed stone piers, with grey slate shingle facing and a peaked roof. The round-arched entrance surround consists of a sandstone tympanum surmounted by double rows of rockfaced sandstone voussoirs, supported by triple rockfaced sandstone columns with molded capitals. The spandrel has stone corbels supporting a molded cornice. There are three bluestone steps and non-historic wooden double doors.
The main body of the church has stone buttresses alternating with round-arched windows with leaded stained glass (covered by metal-mesh grilles) and voussoirs. Two non-historic lanterns are placed next to the buttresses. The east end flares out into a polygonal wing capped by a peaked polygonal roof that joins the main gable roof. East Facade: The original east facade, clad in red brick, consists of the main central body of the church (now partly obscured) having a taller central pavilion with a hipped roof that rises to the polygonal louvered cupola, flanked by the polygonal wings. The central pavilion contains a Tiffany Glass Co. leaded stained-glass rose window (1889), composed of a geometric design with seven circular motifs (covered by a square metal-mesh grille). The southern polygonal wing has a paneled wooden door and a window (both covered with metal-mesh grilles). There are two utilitarian one-story additions (apparently 1901 and 1913), clad in brick (the northernmost is parged with concrete) and pierced by windows and a door.
Property Features: Along Ogden Avenue there is a stone post with non-historic wrought-iron gates, and an historic wrought-iron fence (with signage) atop the stone retaining wall to the north of church; and bluestone steps, stone posts, historic wrought-iron gates, and an historic wrought-iron fence atop the stone retaining wall to the south. On the south side are bluestone stairs (with iron railings) leading to the basement at the east end; bluestone stairs with cheek walls and wrought-iron railings leading to the entrance; a low rubble stone retaining wall bordering the lawn; and a flagstone and concrete walkway. On the north side are an asphalt driveway; a flagstone walkway by the church; and a yard. On the east side are an asphalt parking lot, yard, and a walkway.
- From the 2010 NYCLPC Landmark Designation Report
Film: Cinestill 800T film, developed from Kodak Eastman 5219 movie film (Kodak Vision 3).
Camera: Olympus Trip35
Lens: 40mm f/2.8 Olympus D. Zuiko lens.
Exposures: all at f2.8 1/40th second.
Developing: Machine developed in C41 with a 1 stop push, by www.snapsphotoservices.com
This combination of using my point and shoot Olympus Trip35 compact with it's Zuiko 40mm, and Cinestill film is quickly becoming a firm favorite.
All shots were at f2.8 and 1/40th of a second, possible by taking the Trip off automatic exposure and using the index ring, usually used for a flash gun.
My local independent photo lab developed the film, with a one stop push, this really was my judgement call based on the setting of the shots.......
Universal Music presented the International ABBA 40th Celebration Birthday at London's Tate Modern in the Turbine Hall on Monday 7th of April 2014, marking exactly 40 years since ABBA won the 1974 Eurovision Song Contest with their entry for Sweden with Waterloo in Brighton. Ironically the United Kingdom gave the song Nil Point.
Although it was not advertised as anything other than an Abba book launch and disco, both Anni-Frid Lyngstad and Björn Ulvaeus flew in to London and attended the event, along with the choir from the Abba Museum in Stolkholm.
The Cinestill film has captured the light and mood of the event perfectly, and the external shots of the Thames well both at dusk and night.
Cinestill is available in the UK from Firstcall Photographic. www.firstcall-photographic.co.uk/
Heliconia Lodge Trail, Amazon, Maynas Province, Loreto Region, Peru
19:15 15 June 2014
Phylum Arthropoda
Class Insecta
Order Hemiptera - True Bugs
My friend owns a restaurant in a building that used to house a dentist's office upstairs. It's been gone for decades but some remnants of the business still remained, including these X-Ray developing instructions.
Art for the Soul by Richard Lazzara
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05/05/2023. London, United Kingdom. Anne-Marie Trevelyan, Minister of State for Foreign Affairs greets Suriname Honorary Consul Amwidhker Jethu-Ramkrishan at the Small Island and Developing Nations Coronation Event at Lancaster House. Picture by Lauren Hurley / DHSC
UN Women Executive Director Phumzile Mlambo-Ngcuka at Samoa Victim Support Group during a site visit at the UN 3rd Small Island Developing States Conference, Samoa 2014.
Photo: UN Women/ Olivia Owen
See more at: www.unwomen.org/en/news/in-focus/sids
Developing a novel way of mapping coral reefs with laser and underwater photography.
Harbour School x MakerBay
Ths.edu.hk
MakerBay.org
Canonet QL17, Ilford HP5 Plus, self developed at カメラのアマノ. These are the store scans, which are low resolution. I do not know what I am gonna get out of this roll when I scan it at hope, as I am used to working with chromogenic XP2 Super.
Across the developing world, some 70 million girls under the age of 18 are married. Most of these girls have been taken out of school, are pregnant or parenting, and face a greater risk of being a victim of gender-based violence and contracting sexually transmitted infections, including HIV. While we know of their risks, there is much that we do not know about the daily lives of these girls or how to better meet their health care needs.
Join USAID’s Office of HIV/AIDS, the International Center for Research on Women, CARE, and Pathfinder International as they present findings on their work with married adolescent girls living in Bangladesh, Ethiopia, West Africa, and other low-resource regions.
Read more: www.wilsoncenter.org/event/underage-addressing-reproducti...
Designer: Huang Zongrui (黄宗瑞)
1980, September
Develop the spirit for the bitter struggle of doing pioneering work
Fayang jianku fendoude chuangye jingshen (发扬艰苦奋斗的创业精神)
Call nr.: E13/303 (Landsberger collection)
More? See: chineseposters.net
One of the most-often heard argument used by cannabis prohibitionists to justify the War on Drugs is that "cannabis harms the developing brains of the young." But is it really true?
MALAYSIAN INVASION MMA FIGHTING CHAMPIONSHIP LAUNCHED
Tune Talk’s initiative to develop world’s fastest growing sport amongst Malaysians
KUALA LUMPUR, 6 FEBRUARY 2013 – In acknowledgement of the rapidly growing popularity of the Mixed Martial Arts (MMA) as a mainstream sport across Asia and globally, Tune Talk Mobile Prepaid today launched the Malaysian Invasion MMA Fighting Championship (MIMMA FC) with the aim of further developing and promoting the sport amongst Malaysian youths.
Offering cash prizes totaling RM150,000, MIMMA FC is going to be the first professionally managed pan-Malaysian amateur fighting championship with around 500 participants expected at the two-day preliminary Tryouts to be held in Kuala Lumpur 23-24 February 2013.
The amateur championship is open to all Malaysians aged 18 and above who are medically fit.
They will be fighting it out in the Flyweight (up to 56.7 kg), Bantamweight (up to 61.2 kg), Featherweight (65.8 kg), Lightweight (70.3 kg), Welterweight (up to 77.1 kg), Middleweight (up to 83.9 kg) and Light Heavyweight (up to 93 kg) weight classes.
Participants will be assessed for their striking, grappling and sparring capabilities – the three key skills required for the sport which combines multiple martial arts disciplines like karate, taekwondo, silat, muay Thai, boxing, wrestling, judo and Brazilian jiujitsu, into a single competition. Fighters will battle it out against each other inside a specially-designed 900 sq. ft. metal enclosure and presided by professional referees and judges.
From the Tryouts, 112 participants will proceed to the Ladder Match round that will take place 23-24 March 2012. This will be followed by the Quarter Finals on 20-21 April 2013 and Semi Finals on 18 May 2013. The MIMMA FC Champion for each weight class will be crowned at the Grand Finals is scheduled for 15 June 2013. All the rounds will be held in Kuala Lumpur.
MIMMA FC is the brainchild of YB Khairy Jamaluddin and Tune Talk CEO Jason Lo, who had previously partnered for the hugely popular and successful reality football talent search show, ‘MyTeam’.
MIMMA FC co-creator YB Khairy Jamaluddin said: “We would like to see more Malaysians get involved and excel in sports and MIMMA FC is a great avenue for youths out there to prove their skills and capabilities. Being the fastest growing sport in the world, it is crucial that we nurture and develop local talents in MMA from now and we hope to see more Malaysian MMA Champions at the regional and global levels.”
Tune Talk CEO Jason Lo said: “We are organising MIMMA FC to cater to the rapidly growing interest towards MMA in Malaysia. Through this championship we seek to unearth amateur talents from the grassroots who can potentially be groomed to become professionals. MIMMA FC will be an excellent platform for all MMA enthusiasts who have been training and participating in MMA activities. MIMMA FC will enable them to compete in a professionally-managed championship with proper rules and regulations, which ensures safety despite the aggressive nature of the sport.”
The launch of MIMMA FC here today was attended by scores of gym owners and MMA trainees in strong support of the initiative. Also present was ONE Fighting Championship (ONE FC) Senior Commercial Director, Maja Grimnitz.
“Organising MIMMA FC is a natural continuity to Tune Talk’s sponsorship of the ONE Fighting Championship that just concluded to a roaring success last Saturday. The packed Stadium Putra where the ONE FC was held is a clear testimony to the popularity of MMA amongst Malaysians. We trust MIMMA FC will receive similarly generous support from the community and we look forward to corporate partnerships and sponsorships to ensure an even bigger success,” added Jason.
For more information or to sign up for MIMMA FC, log on to www.malaysianinvasion.com.
-ENDS-
Developed by Fritz B. Burns Research Division for Housing
Architects: Walter Wurdeman and Welton Becket
Landscape Architects: Eckbo, Royston & Williams
From: Life - 1946
laist.com/2009/02/07/laistory_the_post-war_house.php
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Washington Heights, Manhattan, New York City, New York, United States
The Audubon Park Historic District, located in the Washington Heights neighborhood of Manhattan, is a cohesive landscape of 19 large apartment houses and one free-standing duplex house indicative of the area’s transformation in the early 20th century into a densely developed residential neighborhood. The boundaries of the historic district encompass all or part of five blocks extending from West 155th Street to West 158th Street, from Broadway and Edward M. Morgan Place to Riverside Drive West. The district complements the Audubon Terrace Historic District that adjoins it to the southeast.
Audubon Park is named for John James Audubon (1785-1851), the famous naturalist and illustrator of birds, who purchased the picturesque estate overlooking the Hudson River in 1841, shortly after publishing what would be his most famous work, Birds in America. Washington Heights was still largely secluded at the time, comprised primarily of farms and woodlands, and the location of country estates for a succession of wealthy families starting in the late 18th century. The roughly 20-acre estate came to be known as Audubon Park in the 1860s when Audubon’s widow began selling off parcels of the estate for the development of free-standing single family homes.
Following the arrival of the IRT Broadway-Seventh Avenue subway line in 1904, Washington Heights rapidly developed with apartment buildings and accompanying commercial structures. The apartment houses within the historic district were constructed between 1905 and 1932 and were marketed as modern and elegant addresses in the tradition of the grand apartment houses in the neighborhoods of the Upper West Side and Morningside Heights to the south.
They were generally given names intended to recall the area’s history and impart a sense of stature – such as the Grinnell, named for an early local estate owner, or Hispania Hall, a reference to the nearby Hispanic Society of America – or names evoking romantic and exotic associations – such as the Cragmoor, the Rhinecliff, or the Cortez. Among the architects who designed buildings in the historic district are several local firms well-known for their work on apartment houses, including George F. Pelham, Schwartz & Gross, George & Edward Blum, Denby & Nute, and Neville & Bagge.
The apartment houses range in height from five to 13 stories, with several of the structures, such as the Sutherland at 611 West 158th Street designed by Emery Roth and the Riviera at 790 Riverside Drive, exuberantly executed in the Beaux-Arts and Renaissance Revival styles and featuring light-colored materials including white, gray, and beige brick, terra cotta, and limestone. Elaborate cornices are generally of pressed metal and sometimes incorporate green Mission-style tile, such as the Renaissance Revival style Grinnell at 800 Riverside Drive and the Mediterranean Revival style apartment house at 807 Riverside Drive.
Other styles seen within the historic district include the Medieval Revival style Kannawah at 614 West 157th Street, which features elaborate molded terra-cotta window surrounds, stylized pinnacles, and keystones, and the Arts and Crafts style Vauxhall at 780 Riverside Drive, which features creative use of faience tile friezes and decorative brickwork. Along the west side of Riverside Drive and along Riverside Drive West sit several fortress-like beige-brick apartment buildings designed in a Medieval Revival style, featuring castellated parapet walls and molded terra-cotta arched entryways.
Another distinctive feature of the large apartment houses of the historic district are the complex floor plans, often either U- or H-shaped, or incorporating multiple wings allowing for courtyards and maximum light and ventilation. In contrast to the larger structures of the historic district sits the duplex house at 809 and 811 Riverside Drive designed in a Mediterranean Revival style with a red-brick facade, gabled roof of green Mission-style tile, and one-story solaria, built in 1920 to the designs of Moore & Landsiedel. Intended as a model residence to showcase the development strategy of wholesaler Nathan Berler, the duplex, which retains all of its historic fabric, was apparently the only example built.
The vast majority of the buildings within the historic district are highly intact, retaining the vibrant architectural details and character that attracted residents to the area a century ago. The curving streets and dramatic vistas that result from the hilly topography continue to define the neighborhood as a distinctive enclave of apartment buildings with a powerful sense of place.
Taxpayer’s Association for free, so long as the group could guarantee its removal by November 30, 1931 – the date the Brandts would acquire title to the property. As the deadline loomed, the Brandts feared the home would not be removed in time and demanded a $50,000 guarantee, a large sum given that the Taxpayers’ Association had barely succeeded in raising the $25,000 necessary for the physical removal of the house. On December 2, 1931, the Brandt brothers began demolition of the Audubon house. Against all odds, on December 6, 1931, Harold W. Decker, a Bronx ornithologist and head of a new committee to save the house, announced that a site had been provided by the City at Riverside Drive and West 161st Street. Decker asserted that despite the removal of the roof and porches, the house could still be restored if the necessary funds were raised. Although Decker succeeded in getting the house moved to the new site, it has since been demolished. In 1931, 765 Riverside Drive, the last building constructed within the Audubon Park Historic District, was erected on the site of the house of the man for whom the district is named.
The Buildings of Audubon Park
The apartment houses within the Audubon Park Historic District were constructed between 1905 and 1931 and were marketed as modern and elegant addresses for upper middle-class tenants in the tradition of the grand apartment houses in the neighborhoods of the Upper West Side and Morningside Heights to the south. Among the architects who designed buildings within the historic district are several local firms well-known for their work on apartment houses, including George F. Pelham, Schwartz & Gross, George & Edward Blum, Denby & Nute, and Neville & Bagge. Pelham is credited with the design of the greatest number of buildings within the historic district, totaling four in all, and was also responsible for the designs of several others whose plans were later abandoned.
By the turn of the century, buildings of nine stories or greater were required by the municipal fire code to be fireproof and were thus more expensive to construct. Builders were often more willing to invest extra capital on such buildings in order to make them more attractive to residents who could afford the higher rents needed to offset the increased costs, while also utilizing prefabricated and less expensive materials, such as terra cotta, wherever possible. The apartment houses within the historic district range in height from five to 13 stories, with several of the structures, such as the Sutherland at 611 West 158th Street, designed by Emery Roth, and the Riviera at 790 Riverside Drive, designed by Rouse & Goldstone, exuberantly executed in the Beaux-Arts and Renaissance Revival styles and featuring light-colored materials including white, gray, and beige brick, terra cotta, and limestone. Elaborate cornices are generally of
The original funds raised by WHAT for removal and restoration of the home had been returned upon failure of that group’s agreement with the Brandt brothers. The drama surrounding the proposed removal of Audubon’s home received a great deal of coverage in the New York Times in November and December 1931. Although the demise of the Audubon house remains somewhat of a mystery, it is likely that the funds necessary for restoration were never raised and that, without a roof (which had been removed when demolition began by the Brandt brothers), the house simply succumbed to the elements. Information in this section is based on the following sources: Adams, 175; Thomas E. Norton and Jerry E. Patterson, Living it Up: A Guide to the Named Apartment Houses of New York (New York: Atheneum, 1984) 29; The World's New York Apartment House Album (New York: New York World, 1910), 14-XLIII, 14-XLIV. For more information see section Apartment House Development in Audubon Park.
pressed metal and sometimes incorporate green Mission-style tile, such as the Renaissance Revival style Grinnell at 800 Riverside Drive, designed by Schwartz & Gross, and the Mediterranean Revival style apartment house at 807 Riverside Drive, designed by George F. Pelham. Other styles within the historic district include the Medieval Revival style, seen at the Kannawah at 614 West 157th Street, designed by Joseph C. Cocker and featuring elaborate molded terra-cotta window surrounds, stylized pinnacles, and keystones, and the Arts and Crafts style, seen at the Vauxhall at 780 Riverside Drive, designed by George & Edward Blum and featuring creative use of faience tile friezes and colorful, decorative brickwork. Along the west side of Riverside Drive and along Riverside Drive West sit the fortress-like beige-brick apartment buildings designed in a Medieval Revival style by George G. Miller and Schaefer & Rutkins, which feature castellated parapet walls and molded terra-cotta arched entryways.
Another distinctive feature of the large apartment houses of the historic district are the complex floor plans, often either U- or H-shaped, or incorporating multiple wings allowing for courtyards and maximum light and ventilation. Many of them, including the triangularly-shaped Grinnell and the multi-faceted Riviera, were able to boast configurations containing “all outside rooms.” Both the Rhinecliff at 788 Riverside Drive and the Vauxhall, which abut the low-scale buildings of the Audubon Terrace cultural center, were also able to tout “permanent light and air,” assured by the presence of the adjacent museum buildings. Commanding views of both the Hudson and the Palisades were also noted foremost in advertisements for many of the buildings, including the Sutherland and the Vauxhall.
The apartment interiors were generally arranged into suites that allowed for a separation of public and private rooms. As noted in the entry for the Grinnell in The World's New York Apartment House Album published in 1910, “the rooms are all well proportioned and carefully groomed to provide for convenience, privacy and comfort.” In a number of buildings, including the Grinnell and the Rhinecliff, separate entrances for servants were available in larger suites. Laundry was often provided on-site, either in the basements or in rooftop penthouses. A number of the apartment houses even provided a telephone in every suite. Special care was generally given to the design of building lobbies as well. The brick and faience tiles utilized on the Vauxhall’s exterior, for example, are repeated in its lobby where a large brick fireplace is ornamented with colorful tiles made by the American Encaustic Tile Company. The lobby also features a molded plaster ceiling which repeats some of the stylized foliate patterns characteristic of the Blum brothers’ work.
In contrast to the larger structures of the historic district sits the duplex house at 809 and 811 Riverside Drive, designed in a Mediterranean Revival style with a red-brick facade, gabled roof of green Mission-style tile, and one-story solaria, built in 1920 to the designs of Moore & Landsiedel. Intended as a model residence to showcase the development strategy of wholesaler Nathan Berler, the duplex, which retains all of its historic fabric, was apparently the only example built. A stepped sidewalk in front of the duplex at the acute intersection of Riverside
The World’s New York Apartment House Album, 14-XLIV. The interiors of the apartment buildings of the Audubon Park Historic District are not included as part of the designation. The World’s New York Apartment House Album, 14-XLIII. Adams, 175. Ibid.
Drive with West 158th Streets wraps around a granite pedestal and helps pedestrians navigate the steep incline between the two roadways (see Figure 39).
The apartment houses within the historic district were generally given names intended to recall the area’s history, impart a sense of stature, and distinguish them from similar apartment houses being constructed in other parts of the city. Like the surrounding neighborhood, Audubon Hall at 3765 Broadway was named for John James Audubon, while the Grinnell honored the legacy of George Bird Grinnell and his family. Hispania Hall at 3757 Broadway is a reference to the Hispanic Society of America, one of the esteemed institutions of the nearby cultural center (now in the Audubon Terrace Historic District). The Goya, the Velasquez, and the Cortez, with their vague references to Spanish culture, were probably similarly looking to capitalize on their proximity to the renowned institution. Other names were meant to evoke romantic and exotic associations – such as the Cragmoor at 801 Riverside Drive, the Rhinecliff, and the Kannawah. As apartment house living became more common, the trend of naming buildings decreased in popularity. The later buildings constructed within the Audubon Park Historic District are generally not named.
Subsequent History
In the years following the First World War, unfavorable conditions caused by inadequate enforcement of the Tenement House Law and the opportunism of real estate interests fostered a movement referred to in the New York Times as the “tenant syndicate movement.” The movement brought about the conversion of several large rental buildings on the Upper East and Upper West Sides of Manhattan and in Brooklyn, into tenant-owned, co-operative apartment houses. Several of the buildings within the Audubon Park Historic District, including the Vauxhall and the Rhinecliff, became tenant owned during the 1920s in what was described in advertisements as a “novel and interesting plan.”
By the 1930s, the U.S. federal government was entrenched in bail-out efforts designed to assist the struggling building and financial industries affected by the Great Depression. New policies helped encourage city residents to move out of older, aging neighborhoods into the more modern apartment buildings rising in the outer boroughs of the city and into new single-family homes in the suburbs of Westchester County and Long Island. Consequently, the real estate market was growing increasingly intolerant of aging structures such as “old law” tenements, and “modernity” became a key element to economic survival. Advertisements for the buildings within the historic district began touting “modernized apartments” and reduced rents around this time. By the 1940s, apartments in the Vauxhall were being advertised as “entirely rebuilt with new bathrooms, kitchenettes, dressing rooms and dining foyers” and “thoroughly modernized throughout.” Another means of modernizing was to carve out smaller apartments from large
Information in this section is based on the following sources: Adams, 176; Classified Ad, New York Times, April 2, 1920, 28; Display Ad, New York Times, September 7, 1941, 185; “Rhinecliff Court Bought by Tenants,” New York Times, April 10, 1920, 27; “Suites Remodeled for Tenants Needs,” New York Times, August 17, 1941, RE2; United States Census, New York (2000); Violent Drug Gang Smashed, Police Stay,” New York Times, October 24, 1991, B1. “Rhinecliff Court…,” 27. Classified Ad, 28. Display Ad, 185.
suites to accommodate more modern living expectations. Large, multi-room suites, once the pride of the historic district, were altered into apartments of a significantly smaller size. In 1938, a large-scale remodeling of two wings within the Riviera, for example, converted 52 suites ranging from seven to nine rooms into 92 suites of two, three, four, and six rooms. The smaller apartments generally rented more quickly. As noted in a 1941 New York Times article:
The significance of this renting response…should not be underestimated, for it indicates how, at a comparatively small outlay, it is possible to transform obsolete $115 per month quarters into rentable facilities which are actually being sought for.
The earliest residents of the apartment buildings within the historic district were often immigrants or the children of immigrants from a wide variety of eastern and western European countries, including Germany, Ireland, England, Russia, Hungary, Finland and Austria. In Harlem and in Washington Heights, African-American tenants generally found a somewhat less hospitable environment, with many of the area’s buildings refusing to admit them until around the 1930s. It is unknown, however, whether discriminatory rental practices were in place within the buildings of the historic district. Today, Audubon Park is a thriving and diverse community, home to a large number of immigrants, many from the Dominican Republic, as well as long-time residents of African-American and Hispanic heritage.
By the early 1990s, Audubon Park had become plagued with drug-related crime and poverty, with the stretch of West 157th Street between Broadway and Riverside Drive turned into “a no man’s land” where drugs were processed and sold freely. Owing to the perseverance of long-time neighborhood residents and the hard work of New York City law enforcement authorities, there is little trace of the urban decline of the previous decade in the vibrant Audubon Park neighborhood of the present.
As for the buildings of the Audubon Park Historic District, the vast majority of the apartment houses that comprise the district remain highly intact, retaining the striking architectural details and character that attracted residents to the area a century ago. The curving streets and dramatic vistas that result from the hilly topography continue to define the neighborhood as a distinctive enclave of apartment buildings with a powerful sense of place.
- From the 2009 NYCLPC Landmark Designation Report