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Video Mapping Philipp Geist_Germany+Brazil 2013-2014_- Santa Marta 2014_©Fred Pacífico/Porã
„VideoInstallation by Philipp Geist“, "Philipp Geist", „Copyright 2014 Philipp Geist / VG Bildkunst 2014", www.videogeist.de, mail@videogeist.de, „Rio de Janeiro“, "Santa Marta“, „Cristo Redentor“, „Dona Marta“, „Deutschland + Brasilien 2013-2014“, “Alemanha + Brasil 2013-2014”
Photo by Fred Pacífico
©2014 Philipp Geist / VG BIldkunst Bonn
Rio de Janeiro / Brazil 2014
Christ statue (Cristo Redentor) – May 12
Dona Marta favela – May 15 and 16,2014
Light Art-Video-Mapping-Installations Philipp Geist in Rio de Janeiro / Brazil 2014
on the Christ statue (Cristo Redentor) - May 12 and in the Dona Marta favela - May 15 and 16,
2014
Installation Philipp Geist Year of Germany in Brazil 2013/2014
Concept Time Drifts May 2014
At the end of the Year of Germany in Brazil 2013/2014, the artist Philipp Geist (Berlin, 1976)
develops two light installations in Rio this year; the first one on the world-famous Christ statue
(Cristo Redentor) and the other installation in the Santa Marta favela. For the installation the
artist presents artistic-liberal and poetic German and Brazilian themes and develops a building
and floor light installation of colored words and phrases in Portuguese, German, and in other
international languages. The installation deals with cultural characteristics and achievements of
both countries and visualizes the issues of time and space, volatility and presence in a free
artistic style. The two projects are in fact a double project which is combined. The installation
on the symbol of Rio and Brazil, the Christ statue, is recorded and projected onto the small
buildings and huts of the favela. The Christ statue, which has been built to protect the city and
the sailors, is symbolically projected on the shantytown, the favela, in a protective way. The
installation in the favela will be seen not only on a facade as a large cinema projection or as a
static image, but on several winding buildings, the roofs, the floor and on the steps. Thus, the
visitor becomes a part of the installation and can immerse into the projection and the light and
introduce himself. Chalk crayons are put out on the streets in the favela and the young and old
residents and visitors can write and paint words on the street, the ground, the stairs or even on
the house walls. The residents and several institutions should be addressed to submit words and
associations dealing with Rio, Brazil and Germany.
For the installation, which was shown at the Luminale in 2012, the artist Philipp Geist won the
German Lighting Design Award 2013 (Deutscher Lichtdesign-Preis 2013) in the category Light Art.
The series 'Time Drifts' is characterized by the complex and subtle way of visualizing various
currents and voices in cultural contexts and to provide institutions and visitors with the
opportunity of substantive participation: different personalities, visitors and institutions may be
addressed in advance and then contribute words and associations. Current and historico-cultural
topics are researched in advance by the artist and then integrated in a sensitive and subtle way.
The projection dismisses the use of screens, because concepts and associations are projected on
a large area onto the floor surface on several facades and in theater fog. Over the course of two
days, the installation can be seen on-site in the favela on May 15 and 16 and on the Cristo
Redentor on May 12 for a day.
Short, tall, young and old visitors can interactively participate in the installation by tracing and
adding words with colored chalk crayons available on the streets. Thus, over the period of the
installation, a carpet of words is evolved with terms that are contributed locally by the visitors
by means of the temporary and volatile 'medium' of chalk crayons. Philipp Geist develops in this
way a dialogue between the place, the visitors and his artistic work.
The concrete, tangible projection of the architecture and the static terms on the floor area
represents the facts and visible relics that are responsible for our understanding of history. The
transparent and volatile projection in the fog reminds us that part of the history can not be
preserved and that it is created in our individual imagination in a single moment. Words are
briefly visible as a metaphor for transience and then disappear again. This interplay of the
various text and image layers in the space refers to the location and the history/-ies of Brazil
and Germany and the cultural exchange between the two countries. The visitors themselves are
part of the installation: they dive into the large floor projection. In this way, different
perspectives and experiences of space are unified. Abstract passages which are created, then
overlapped and displaced by each other symbolize the constant changes in history, the passage
of time and the transience of existence. Even the understanding of the past is in the flux. The
modern writings and formations created on the computer establish a connection to the present
and the possibilities of today's technology and show that the perception of history and culture
depends always on the possibilities and constraints of the present.
'Time Drifts - Words of Berlin' is part of a series of installations, which has been shown in recent
years by Philipp Geist, and which are always re-developed site-specifically and adapted to the
local conditions: In October 2012, Philipp Geist showed the installation on the entire Potsdamer
Platz (public square) and the Kolhoff Tower and Renzo Piano Tower skyscrapers. In April 2012
the installation was shown at the Luminale in Frankfurt where it was seen by more than 40,000
visitors and thus the main project of the Luminale 2012. In 2011, Philipp Geist presented the
'Time Drifts' installation in Vancouver at the Jack Poole Plaza, as well as in Montreal on the
Place des Arts in 2010. The 'Timing' installation was shown at the 2009 Glow Festival in
Eindhoven. In the end of 2009, on the occasion of the birthday of the King of Thailand, 2-3
million visitors saw his facade installation at the royal throne in Bangkok. Other projects
include: 'Timelines' at the prestigious Pallazzio delle Esposizioni (Rome, 2007), 'Time Fades'
at the Cultural Forum of Berlin and 'Broken Time Lines' at the old spa Kurhaus Ahrenshoop
(Germany, 2008).
Geist's projects are primarily characterized by their complexity concerning the integration of
space, sound and motion images. His video mapping installations waive screens and transform a
wide range of architectures in moving, picturesque light sculptures which challenge the viewer's
perception of two- and three-dimensionality.
www.alemanha-brasil.org/br/node/8542
www.alemanha-brasil.org/Programme/Dia/2014-05-12
www.alemanha-brasil.org/Programme/Dia/2014-05-15
www.alemanha-brasil.org/Programme/Dia/2014-05-16
---------------
Arte de luz - Instalações de Mapeamento de Vídeo por Philipp Geist no Rio de Janeiro / Brasil
2014 no Cristo Redentor no dia 12 de maio e na favela Santa Marta nos dias 15 e 16 de maio de
2014
Instalação Philipp Geist Ano Alemanha + Brasil 2013/2014
Conceito Time Drifts Maio 2014
No final do ano Alemnaha + Brasil 2013/2014, o artista Philipp Geist (1976, Berlim) desenvolverá
duas instalações de luz no Rio; uma delas será exibida na mundialmente famosa estátua do
Cristo Redentor, e a outra na favela Santa Marta. Para a instalação, o artista traz temas teutobrasileiros
de maneira liberal-artística e poética desenvolvendo instalações de luz em edifícios e
no solo a partir de palavras e conceitos coloridos em Português, Alemão e em outros idiomas
internacionais. A instalação lida com as peculiaridades e realizações culturais de ambos os países
e visualiza as questões de tempo e espaço e de volatilidade e presença no estilo liberal-artístico.
Os dois projetos em questão representam um projeto duplo que é combinado. A instalação na
estátua do Cristo Redentor, como um símbolo do Rio e do Brasil, será gravada e projetada nos
pequenos prédios e barracos da favela. A estátua do Cristo Redentor, que foi erguida para
proteger a cidade e os marinheiros, será então projetada como um símbolo de proteção em uma
favela. A instalação na favela é visto não apenas em uma fachada como uma projeção grande de
cinema ou como uma imagem estática, mas em vários prédios sinuosos, em telhados, no solo e
nas escadas. Desta maneira, o visitante conseguirá ser parte da instalação e imergir e mergulhar
na projeção e na luz. Na favela, será distribuído giz para pintura de rua, e os moradores e
visitantes, tanto jovens quanto velhos, podem escrever e pintar conceitos na rua, no solo, nas
escadas ou até mesmo nas paredes das casas. Os moradores e diversas instituições serão
convidados a contribuir com conceitos e associações que representam o Rio, o Brasil e a
Alemanha.
Para as instalações apresentadas na Luminal em 2012, o artista Philipp Geist ganhou o
'Deutscher Lichtdesign-Preis 2013” (Prêmio Alemão de Desenho de Luz de 2013) na categoria
Arte de Luz. A série Time Drifts caracteriza-se pela forma complexa e sutil de visualizar várias
correntes e vozes em contextos culturais e de oferecer a instituições e aos visitantes a
oportunidade de participar: diferentes personalidades, visitantes e instituições podem ser
contatados antecipadamente para contribuir com termos e associações. Temas atuais, históricos
e culturais serão previamente pesquisados pelo artista e, depois, integrados de uma forma
sensível e sutil. A projeção é realizada sem o uso de telas porque conceitos e associações são
projetados, em grande estilo, sobre a superfície do solo, em diversas frentes e envolvidos em
fumaça. Ao longo de dois dias, a instalação estará em exibição em 15 e 16 de maio na favela, e
em 12 de maio, por um dia, no Cristo Redentor.
Visitantes jovens e velhos podem envolver-se na instalação e traçar ou adicionar palavras com
giz colorido, que será distribuído, e assim participar interativamente na instalação. Desta
maneira, durante a duração da instalação, será desenvolvido um tapete de palavras. As palavras
serão fornecidas, no próprio local, pelos visitantes usando o giz, um meio temporário e volátil.
Philipp Geist desenvolve assim um diálogo entre o local, os visitantes e seu trabalho artístico.
A área de projeção concreta e tangível da arquitetura e os termos estáticos sobre a superfície do
solo representam os fatos e as relíquias visíveis que compõem a nossa compreensão da história. A
área de projeção transparente e sumindo por dentro da fumaça lembra que parte da história não
pode ser preservada e que ela é criada na nossa imaginação individual momentaneamente.
Conceitos são brevemente visíveis, como uma metáfora para a transitoriedade e, logo mais,
desaparecem. Esta interação entre as várias camadas de texto e de imagens no espaço refere-se
à localização e a(s) história(s) do Brasil e da Alemanha e o intercâmbio cultural entre os dois
países. Os próprios visitantes tornam-se parte da instalação: eles imergem na grande projeção
do solo. Desta forma, diferentes perspectivas e experiências de espaço são unidas. Passagens
abstratas que são formadas, sobrepostas e suprimidas pela próxima simbolizam as mudanças
contínuas na história, a passagem do tempo e a transitoriedade da existência. A compreensão do
passado também está no fluxo. As fontes e formações modernas criadas no computador
estabelecem uma conexão com o presente e com as possibilidades da tecnologia de hoje: a
percepção da história e da cultura sempre dependende das capacidades e limitações do
presente.
'Time Drifts - Words of Berlin' faz parte de uma série de instalações, que foram apresentadas
durante os últimos anos por Philipp Geist e que são sempre redesenvolvidas para as condições
locais específicas: em outubro de 2012, Philipp Geist exibiu a instalação em toda a praça
Potsdamer Platz (Berlim) e nos dois arranha-céus Kolhoff Tower (Berlim) e Renzo Piano Tower
(Londres). Em abril de 2012, a instalação foi apresentada no evento da Luminal em Frankfurt
onde foi vista por mais de 40.000 visitantes sendo o principal projeto da Luminal de 2012. Em
2011, Philipp Geist mostrou a instalação Time Drifts na praça Jack Poole Plaza em Vancouver
bem como em Montreal, Canadá, no centro de arte Place des Arts, em 2010. A instalação Timing
foi exibida no Glow Festival de 2009 in Eindhoven, Holanda. No final de 2009 e por ocasião do
aniversário do rei tailandês, aprox. 2 a 3 milhões de visitantes viram a instalação de fachada do
artista no trono real em Banguecoque. Seus outros projetos incluem: Time Lines, no prestigiado
museu Palazzio delle Esposizioni (Roma, 2007); Time Fades, no Fórum Cultural de Berlim;
Broken Time Lines, no antigo spa Kurhaus Ahrenshoop (Alemanha, 2008).
Os projetos de Geist são principalmente caracterizados por sua complexidade na integração de
espaço, som e imagens de movimento. Suas instalações de mapeamento de vídeo renunciam
telas e transformam uma ampla gama de arquiteturas em esculturas móveis e pitorescas que
desafiam a percepção do espectador de duas e três dimensões.
www.alemanha-brasil.org/br/node/8542
www.alemanha-brasil.org/Programme/Dia/2014-05-12
www.alemanha-brasil.org/Programme/Dia/2014-05-15
www.alemanha-brasil.org/Programme/Dia/2014-05-16
---------------
Lichtkunst-VideoMappingInstallationen Philipp Geist in Rio de Janeiro / Brasilien 2014
an der Christstatue (Cristo Redender) 12.5 und in der Favela Santa Marta 15./16.5.2014
Installation Philipp Geist Deutsch-Brasilianisches Jahr 2013/2014
Konzept Time Drifts Mai 2014
Zum Abschluss des Deutsch-Brasilianischen-Jahres 2013/2014 entwickelt der Berliner Künstler
Philipp Geist (1976) zwei Lichtinstallation in Rio d.J.; eine an der weltbekannten Christstatue
(Cristo Redender) und in die andere Installation in der Favela Santa Marta. Bei der Installation
greift der Künstler künstlerisch frei und poetisch deutsch brasilianische Themen auf und
entwickelt eine Gebäude- und Boden-Lichtinstallation aus farbigen Wörtern und Begriffen in
portugiesischer, deutscher, und in weiteren internationalen Sprachen. Die Installation thematisiert
kulturelle Besonderheiten und Errungenschaften beider Länder und visualisiert die Themen Zeit
und Raum, Flüchtigkeit und Präsenz in freien künstlerischen Art. Bei den beiden Projekten handelt
es sich um ein Doppelprojekt welches kombiniert wird. Die Installation auf das Wahrzeichen von
Rio und Brasilien die Christstatue, wird aufgenommen und auf die kleinen Gebäude und Hütten
der Favela projiziert. Die Christstatue die errichtet worden ist um die Stadt und Seeleute zu
schützen, wird so symbolisch schützend über ein Armenviertel die Favela projiziert. Dabei ist die
Installation in der Favela nicht nur auf einer Fassade als große Kinoprojektion oder als statisches
Bild zu sehen, sondern auf mehreren verwinkelten Gebäuden, den Dächern, den Boden und auf
den Stufen. Der Besucher wird vielmehr auf diese Weise selbst Teil der Installation und kann in die
Projektion und das Licht eintauchen und sich einbringen. In der Favela werden Strassenmalkreide
ausgelegt und die Bewohner und Besucher ob jung oder alt können Begriffe auf die Strasse, den
Boden, die Treppenstufen oder sogar auf die Hauswände schreiben und malen. Die Bewohner und
verschiedene Institutionen sollen angesprochen werden Assoziationen und Begriffe die für Rio,
Brasilien und Deutschland stehen einzureichen.
Für die 2012 bei der Luminale gezeigten Installation hat der Künstler Philipp Geist den Deutschen
Lichtdesign-Preis 2013 in der der Kategorie Lichtkunst gewonnen. Die Serie 'Time Drifts' zeichnet
sich aus durch die komplexe und die subtile Möglichkeit, verschiedenste Strömungen und
Stimmen in kulturellen Kontexten sichtbar zu machen und Institutionen und Besuchern die
Möglichkeit zur inhaltlichen Partizipation zu geben: Es können verschiedene Persönlichkeiten,
Besucher und Institute im Vorfeld angesprochen werden, die Begriffe und Assoziationen
beisteuern. Aktuelle und kulturhistorische Themen werden im Vorfeld vom Künstler recherchiert
und auf sensible und subtile Weise integriert. Die Projektion verzichtet auf den Einsatz von
Leinwänden, denn Begriffe und Assoziationen werden grossflächig auf die Bodenfläche, auf
mehrere Fassaden und in Theaternebel projiziert. Über den Zeitraum von 2 Tagen wird die
Installation vor Ort in der Favela am 15/16.Mai und die Installation am Cristo Redentor am 12.Mai
für einen Tag zu sehen sein.!
Kleine, große, junge und alte Besucher können sich einbringen in die Installation und mit farbiger
Straßenmalkreide, die ausgelegt wird, Wörter nachzeichnen und hinzufügen und so interaktiv an
der Installation teilnehmen. Über die Installationsdauer entsteht somit ein Wörterteppich aus
Begriffen, die vor Ort von den Besuchern selbst mittels dem temporären und flüchtigen 'Medium'
der Strassenmalkreide beigesteuert werden. Geist entwickelt auf diese Weise einen Dialog
zwischen dem Ort, den Besuchern und seiner künstlerischen Arbeit. ! !
Die konkrete, greifbare Projektionsfläche der Architektur und die statischen Begriffe auf der
Bodenfläche stehen für die Fakten und sichtbaren Relikte, welche unser Geschichtsverständnis
ausmachen. Die transparente, sich verflüchtigende Projektionsfläche im Nebel erinnert daran,
dass ein Teil der Geschichte nicht konserviert werden kann und im Moment in unserer individuellen
Vorstellung entsteht. Begriffe werden als Metapher für die Vergänglichkeit kurzzeitig sichtbar und
verschwinden sofort wieder. Dieses Zusammenspiel der verschiedenen Text- und Bildschichten im
Raum verweist auf den Ort und die Geschichte(n) Brasiliens und Deutschlands und den kulturellen
Austausch beider Länder. Die Besucher selbst werden Teil der Installation: sie tauchen in die
großflächige Bodenprojektion ein. Auf diese Weise vereinen sich unterschiedliche Perspektiven
und Raumerfahrungen. Abstrakte Passagen, die sich aufbauen, überlagern und gegenseitig
verdrängen, symbolisieren die ständigen Veränderungen in der Geschichte, den Lauf der Zeit und
die Flüchtigkeit des Seins. Auch das Verständnis von der Vergangenheit ist im Fluss. Die
modernen Schriften und Formationen, die am Computer entstanden sind, stellen eine Verbindung
zur Gegenwart und den Möglichkeiten der heutigen Technik her und zeigen, dass die Erfahrbarkeit
von Geschichte und Kultur immer von den Möglichkeiten und Rahmenbedingungen der Gegenwart
abhängig ist.
'Time Drifts - Words of Berlin' ist Teil einer Serie von Installationen, die Philipp Geist in den letzten
Jahren gezeigt hat, und die dabei immer wieder neu an die örtlichen Gegebenheiten ortsspezifisch
weiterentwickelt wird: Im Oktober 2012 zeigte Geist die Installation auf dem gesamten Potsdamer
Platz und den beiden Hochhäusern Kolhoff Tower und Renzo Piano Tower. Im April 2012 wurde die
Installation in Frankfurt auf der Luminale gezeigt, wurde von mehr als 40.000 Besuchern gesehen
und war das Hauptprojekt der Luminale 2012. Im Jahr 2011 zeigte Geist die Installation Time Drifts
in Vancouver am Jack-Poole Plaza, ebenso wie in Montreal am Place des Arts in 2010. Die
Installation 'Timing' war 2009 auf dem Glow Festival in Eindhoven zu sehen. Ende 2009 sahen
anlässlich des Geburtstages des thailändischen Königs ca. 2-3 Millionen Besucher seine
Fassadeninstallation am königlichen Thron in Bangkok. Andere Projekte waren u.a.: 'Time Lines'
am renommierten Museum delle Esposizioni (2007), 'Time Fades' am Berliner Kulturforum,
'Broken Time Lines' am alten Kurhaus Ahrenshoop (2008).
Geists Projekte sind in erster Linie gekennzeichnet durch ihre Komplexität in der Integration von
Raum, Ton und Bewegbild. Seine Video-Mapping-Installationen verzichten auf Leinwände und
verwandeln verschiedenste Architekturen in bewegte, malerische Lichtskulpturen, die die
Wahrnehmung der Betrachter von Zwei- und Dreidimensionalität herausfordern.
Video Mapping Philipp Geist_Ano da Alemanha no Brasil - Cristo Redentor 2014
Photo by Fred Pacífico
©2014 Philipp Geist / VG BIldkunst Bonn
Rio de Janeiro / Brazil 2014
Christ statue (Cristo Redentor) – May 12
Dona Marta favela – May 15 and 16,2014
Light Art-Video-Mapping-Installations Philipp Geist in Rio de Janeiro / Brazil 2014
on the Christ statue (Cristo Redentor) - May 12 and in the Dona Marta favela - May 15 and 16,
2014
Installation Philipp Geist Year of Germany in Brazil 2013/2014
Concept Time Drifts May 2014
At the end of the Year of Germany in Brazil 2013/2014, the artist Philipp Geist (Berlin, 1976)
develops two light installations in Rio this year; the first one on the world-famous Christ statue
(Cristo Redentor) and the other installation in the Santa Marta favela. For the installation the
artist presents artistic-liberal and poetic German and Brazilian themes and develops a building
and floor light installation of colored words and phrases in Portuguese, German, and in other
international languages. The installation deals with cultural characteristics and achievements of
both countries and visualizes the issues of time and space, volatility and presence in a free
artistic style. The two projects are in fact a double project which is combined. The installation
on the symbol of Rio and Brazil, the Christ statue, is recorded and projected onto the small
buildings and huts of the favela. The Christ statue, which has been built to protect the city and
the sailors, is symbolically projected on the shantytown, the favela, in a protective way. The
installation in the favela will be seen not only on a facade as a large cinema projection or as a
static image, but on several winding buildings, the roofs, the floor and on the steps. Thus, the
visitor becomes a part of the installation and can immerse into the projection and the light and
introduce himself. Chalk crayons are put out on the streets in the favela and the young and old
residents and visitors can write and paint words on the street, the ground, the stairs or even on
the house walls. The residents and several institutions should be addressed to submit words and
associations dealing with Rio, Brazil and Germany.
For the installation, which was shown at the Luminale in 2012, the artist Philipp Geist won the
German Lighting Design Award 2013 (Deutscher Lichtdesign-Preis 2013) in the category Light Art.
The series 'Time Drifts' is characterized by the complex and subtle way of visualizing various
currents and voices in cultural contexts and to provide institutions and visitors with the
opportunity of substantive participation: different personalities, visitors and institutions may be
addressed in advance and then contribute words and associations. Current and historico-cultural
topics are researched in advance by the artist and then integrated in a sensitive and subtle way.
The projection dismisses the use of screens, because concepts and associations are projected on
a large area onto the floor surface on several facades and in theater fog. Over the course of two
days, the installation can be seen on-site in the favela on May 15 and 16 and on the Cristo
Redentor on May 12 for a day.
Short, tall, young and old visitors can interactively participate in the installation by tracing and
adding words with colored chalk crayons available on the streets. Thus, over the period of the
installation, a carpet of words is evolved with terms that are contributed locally by the visitors
by means of the temporary and volatile 'medium' of chalk crayons. Philipp Geist develops in this
way a dialogue between the place, the visitors and his artistic work.
The concrete, tangible projection of the architecture and the static terms on the floor area
represents the facts and visible relics that are responsible for our understanding of history. The
transparent and volatile projection in the fog reminds us that part of the history can not be
preserved and that it is created in our individual imagination in a single moment. Words are
briefly visible as a metaphor for transience and then disappear again. This interplay of the
various text and image layers in the space refers to the location and the history/-ies of Brazil
and Germany and the cultural exchange between the two countries. The visitors themselves are
part of the installation: they dive into the large floor projection. In this way, different
perspectives and experiences of space are unified. Abstract passages which are created, then
overlapped and displaced by each other symbolize the constant changes in history, the passage
of time and the transience of existence. Even the understanding of the past is in the flux. The
modern writings and formations created on the computer establish a connection to the present
and the possibilities of today's technology and show that the perception of history and culture
depends always on the possibilities and constraints of the present.
'Time Drifts - Words of Berlin' is part of a series of installations, which has been shown in recent
years by Philipp Geist, and which are always re-developed site-specifically and adapted to the
local conditions: In October 2012, Philipp Geist showed the installation on the entire Potsdamer
Platz (public square) and the Kolhoff Tower and Renzo Piano Tower skyscrapers. In April 2012
the installation was shown at the Luminale in Frankfurt where it was seen by more than 40,000
visitors and thus the main project of the Luminale 2012. In 2011, Philipp Geist presented the
'Time Drifts' installation in Vancouver at the Jack Poole Plaza, as well as in Montreal on the
Place des Arts in 2010. The 'Timing' installation was shown at the 2009 Glow Festival in
Eindhoven. In the end of 2009, on the occasion of the birthday of the King of Thailand, 2-3
million visitors saw his facade installation at the royal throne in Bangkok. Other projects
include: 'Timelines' at the prestigious Pallazzio delle Esposizioni (Rome, 2007), 'Time Fades'
at the Cultural Forum of Berlin and 'Broken Time Lines' at the old spa Kurhaus Ahrenshoop
(Germany, 2008).
Geist's projects are primarily characterized by their complexity concerning the integration of
space, sound and motion images. His video mapping installations waive screens and transform a
wide range of architectures in moving, picturesque light sculptures which challenge the viewer's
perception of two- and three-dimensionality.
www.alemanha-brasil.org/br/node/8542
www.alemanha-brasil.org/Programme/Dia/2014-05-12
www.alemanha-brasil.org/Programme/Dia/2014-05-15
www.alemanha-brasil.org/Programme/Dia/2014-05-16
---------------
Arte de luz - Instalações de Mapeamento de Vídeo por Philipp Geist no Rio de Janeiro / Brasil
2014 no Cristo Redentor no dia 12 de maio e na favela Santa Marta nos dias 15 e 16 de maio de
2014
Instalação Philipp Geist Ano Alemanha + Brasil 2013/2014
Conceito Time Drifts Maio 2014
No final do ano Alemnaha + Brasil 2013/2014, o artista Philipp Geist (1976, Berlim) desenvolverá
duas instalações de luz no Rio; uma delas será exibida na mundialmente famosa estátua do
Cristo Redentor, e a outra na favela Santa Marta. Para a instalação, o artista traz temas teutobrasileiros
de maneira liberal-artística e poética desenvolvendo instalações de luz em edifícios e
no solo a partir de palavras e conceitos coloridos em Português, Alemão e em outros idiomas
internacionais. A instalação lida com as peculiaridades e realizações culturais de ambos os países
e visualiza as questões de tempo e espaço e de volatilidade e presença no estilo liberal-artístico.
Os dois projetos em questão representam um projeto duplo que é combinado. A instalação na
estátua do Cristo Redentor, como um símbolo do Rio e do Brasil, será gravada e projetada nos
pequenos prédios e barracos da favela. A estátua do Cristo Redentor, que foi erguida para
proteger a cidade e os marinheiros, será então projetada como um símbolo de proteção em uma
favela. A instalação na favela é visto não apenas em uma fachada como uma projeção grande de
cinema ou como uma imagem estática, mas em vários prédios sinuosos, em telhados, no solo e
nas escadas. Desta maneira, o visitante conseguirá ser parte da instalação e imergir e mergulhar
na projeção e na luz. Na favela, será distribuído giz para pintura de rua, e os moradores e
visitantes, tanto jovens quanto velhos, podem escrever e pintar conceitos na rua, no solo, nas
escadas ou até mesmo nas paredes das casas. Os moradores e diversas instituições serão
convidados a contribuir com conceitos e associações que representam o Rio, o Brasil e a
Alemanha.
Para as instalações apresentadas na Luminal em 2012, o artista Philipp Geist ganhou o
'Deutscher Lichtdesign-Preis 2013” (Prêmio Alemão de Desenho de Luz de 2013) na categoria
Arte de Luz. A série Time Drifts caracteriza-se pela forma complexa e sutil de visualizar várias
correntes e vozes em contextos culturais e de oferecer a instituições e aos visitantes a
oportunidade de participar: diferentes personalidades, visitantes e instituições podem ser
contatados antecipadamente para contribuir com termos e associações. Temas atuais, históricos
e culturais serão previamente pesquisados pelo artista e, depois, integrados de uma forma
sensível e sutil. A projeção é realizada sem o uso de telas porque conceitos e associações são
projetados, em grande estilo, sobre a superfície do solo, em diversas frentes e envolvidos em
fumaça. Ao longo de dois dias, a instalação estará em exibição em 15 e 16 de maio na favela, e
em 12 de maio, por um dia, no Cristo Redentor.
Visitantes jovens e velhos podem envolver-se na instalação e traçar ou adicionar palavras com
giz colorido, que será distribuído, e assim participar interativamente na instalação. Desta
maneira, durante a duração da instalação, será desenvolvido um tapete de palavras. As palavras
serão fornecidas, no próprio local, pelos visitantes usando o giz, um meio temporário e volátil.
Philipp Geist desenvolve assim um diálogo entre o local, os visitantes e seu trabalho artístico.
A área de projeção concreta e tangível da arquitetura e os termos estáticos sobre a superfície do
solo representam os fatos e as relíquias visíveis que compõem a nossa compreensão da história. A
área de projeção transparente e sumindo por dentro da fumaça lembra que parte da história não
pode ser preservada e que ela é criada na nossa imaginação individual momentaneamente.
Conceitos são brevemente visíveis, como uma metáfora para a transitoriedade e, logo mais,
desaparecem. Esta interação entre as várias camadas de texto e de imagens no espaço refere-se
à localização e a(s) história(s) do Brasil e da Alemanha e o intercâmbio cultural entre os dois
países. Os próprios visitantes tornam-se parte da instalação: eles imergem na grande projeção
do solo. Desta forma, diferentes perspectivas e experiências de espaço são unidas. Passagens
abstratas que são formadas, sobrepostas e suprimidas pela próxima simbolizam as mudanças
contínuas na história, a passagem do tempo e a transitoriedade da existência. A compreensão do
passado também está no fluxo. As fontes e formações modernas criadas no computador
estabelecem uma conexão com o presente e com as possibilidades da tecnologia de hoje: a
percepção da história e da cultura sempre dependende das capacidades e limitações do
presente.
'Time Drifts - Words of Berlin' faz parte de uma série de instalações, que foram apresentadas
durante os últimos anos por Philipp Geist e que são sempre redesenvolvidas para as condições
locais específicas: em outubro de 2012, Philipp Geist exibiu a instalação em toda a praça
Potsdamer Platz (Berlim) e nos dois arranha-céus Kolhoff Tower (Berlim) e Renzo Piano Tower
(Londres). Em abril de 2012, a instalação foi apresentada no evento da Luminal em Frankfurt
onde foi vista por mais de 40.000 visitantes sendo o principal projeto da Luminal de 2012. Em
2011, Philipp Geist mostrou a instalação Time Drifts na praça Jack Poole Plaza em Vancouver
bem como em Montreal, Canadá, no centro de arte Place des Arts, em 2010. A instalação Timing
foi exibida no Glow Festival de 2009 in Eindhoven, Holanda. No final de 2009 e por ocasião do
aniversário do rei tailandês, aprox. 2 a 3 milhões de visitantes viram a instalação de fachada do
artista no trono real em Banguecoque. Seus outros projetos incluem: Time Lines, no prestigiado
museu Palazzio delle Esposizioni (Roma, 2007); Time Fades, no Fórum Cultural de Berlim;
Broken Time Lines, no antigo spa Kurhaus Ahrenshoop (Alemanha, 2008).
Os projetos de Geist são principalmente caracterizados por sua complexidade na integração de
espaço, som e imagens de movimento. Suas instalações de mapeamento de vídeo renunciam
telas e transformam uma ampla gama de arquiteturas em esculturas móveis e pitorescas que
desafiam a percepção do espectador de duas e três dimensões.
www.alemanha-brasil.org/br/node/8542
www.alemanha-brasil.org/Programme/Dia/2014-05-12
www.alemanha-brasil.org/Programme/Dia/2014-05-15
www.alemanha-brasil.org/Programme/Dia/2014-05-16
---------------
Lichtkunst-VideoMappingInstallationen Philipp Geist in Rio de Janeiro / Brasilien 2014
an der Christstatue (Cristo Redender) 12.5 und in der Favela Santa Marta 15./16.5.2014
Installation Philipp Geist Deutsch-Brasilianisches Jahr 2013/2014
Konzept Time Drifts Mai 2014
Zum Abschluss des Deutsch-Brasilianischen-Jahres 2013/2014 entwickelt der Berliner Künstler
Philipp Geist (1976) zwei Lichtinstallation in Rio d.J.; eine an der weltbekannten Christstatue
(Cristo Redender) und in die andere Installation in der Favela Santa Marta. Bei der Installation
greift der Künstler künstlerisch frei und poetisch deutsch brasilianische Themen auf und
entwickelt eine Gebäude- und Boden-Lichtinstallation aus farbigen Wörtern und Begriffen in
portugiesischer, deutscher, und in weiteren internationalen Sprachen. Die Installation thematisiert
kulturelle Besonderheiten und Errungenschaften beider Länder und visualisiert die Themen Zeit
und Raum, Flüchtigkeit und Präsenz in freien künstlerischen Art. Bei den beiden Projekten handelt
es sich um ein Doppelprojekt welches kombiniert wird. Die Installation auf das Wahrzeichen von
Rio und Brasilien die Christstatue, wird aufgenommen und auf die kleinen Gebäude und Hütten
der Favela projiziert. Die Christstatue die errichtet worden ist um die Stadt und Seeleute zu
schützen, wird so symbolisch schützend über ein Armenviertel die Favela projiziert. Dabei ist die
Installation in der Favela nicht nur auf einer Fassade als große Kinoprojektion oder als statisches
Bild zu sehen, sondern auf mehreren verwinkelten Gebäuden, den Dächern, den Boden und auf
den Stufen. Der Besucher wird vielmehr auf diese Weise selbst Teil der Installation und kann in die
Projektion und das Licht eintauchen und sich einbringen. In der Favela werden Strassenmalkreide
ausgelegt und die Bewohner und Besucher ob jung oder alt können Begriffe auf die Strasse, den
Boden, die Treppenstufen oder sogar auf die Hauswände schreiben und malen. Die Bewohner und
verschiedene Institutionen sollen angesprochen werden Assoziationen und Begriffe die für Rio,
Brasilien und Deutschland stehen einzureichen.
Für die 2012 bei der Luminale gezeigten Installation hat der Künstler Philipp Geist den Deutschen
Lichtdesign-Preis 2013 in der der Kategorie Lichtkunst gewonnen. Die Serie 'Time Drifts' zeichnet
sich aus durch die komplexe und die subtile Möglichkeit, verschiedenste Strömungen und
Stimmen in kulturellen Kontexten sichtbar zu machen und Institutionen und Besuchern die
Möglichkeit zur inhaltlichen Partizipation zu geben: Es können verschiedene Persönlichkeiten,
Besucher und Institute im Vorfeld angesprochen werden, die Begriffe und Assoziationen
beisteuern. Aktuelle und kulturhistorische Themen werden im Vorfeld vom Künstler recherchiert
und auf sensible und subtile Weise integriert. Die Projektion verzichtet auf den Einsatz von
Leinwänden, denn Begriffe und Assoziationen werden grossflächig auf die Bodenfläche, auf
mehrere Fassaden und in Theaternebel projiziert. Über den Zeitraum von 2 Tagen wird die
Installation vor Ort in der Favela am 15/16.Mai und die Installation am Cristo Redentor am 12.Mai
für einen Tag zu sehen sein.!
Kleine, große, junge und alte Besucher können sich einbringen in die Installation und mit farbiger
Straßenmalkreide, die ausgelegt wird, Wörter nachzeichnen und hinzufügen und so interaktiv an
der Installation teilnehmen. Über die Installationsdauer entsteht somit ein Wörterteppich aus
Begriffen, die vor Ort von den Besuchern selbst mittels dem temporären und flüchtigen 'Medium'
der Strassenmalkreide beigesteuert werden. Geist entwickelt auf diese Weise einen Dialog
zwischen dem Ort, den Besuchern und seiner künstlerischen Arbeit. ! !
Die konkrete, greifbare Projektionsfläche der Architektur und die statischen Begriffe auf der
Bodenfläche stehen für die Fakten und sichtbaren Relikte, welche unser Geschichtsverständnis
ausmachen. Die transparente, sich verflüchtigende Projektionsfläche im Nebel erinnert daran,
dass ein Teil der Geschichte nicht konserviert werden kann und im Moment in unserer individuellen
Vorstellung entsteht. Begriffe werden als Metapher für die Vergänglichkeit kurzzeitig sichtbar und
verschwinden sofort wieder. Dieses Zusammenspiel der verschiedenen Text- und Bildschichten im
Raum verweist auf den Ort und die Geschichte(n) Brasiliens und Deutschlands und den kulturellen
Austausch beider Länder. Die Besucher selbst werden Teil der Installation: sie tauchen in die
großflächige Bodenprojektion ein. Auf diese Weise vereinen sich unterschiedliche Perspektiven
und Raumerfahrungen. Abstrakte Passagen, die sich aufbauen, überlagern und gegenseitig
verdrängen, symbolisieren die ständigen Veränderungen in der Geschichte, den Lauf der Zeit und
die Flüchtigkeit des Seins. Auch das Verständnis von der Vergangenheit ist im Fluss. Die
modernen Schriften und Formationen, die am Computer entstanden sind, stellen eine Verbindung
zur Gegenwart und den Möglichkeiten der heutigen Technik her und zeigen, dass die Erfahrbarkeit
von Geschichte und Kultur immer von den Möglichkeiten und Rahmenbedingungen der Gegenwart
abhängig ist.
'Time Drifts - Words of Berlin' ist Teil einer Serie von Installationen, die Philipp Geist in den letzten
Jahren gezeigt hat, und die dabei immer wieder neu an die örtlichen Gegebenheiten ortsspezifisch
weiterentwickelt wird: Im Oktober 2012 zeigte Geist die Installation auf dem gesamten Potsdamer
Platz und den beiden Hochhäusern Kolhoff Tower und Renzo Piano Tower. Im April 2012 wurde die
Installation in Frankfurt auf der Luminale gezeigt, wurde von mehr als 40.000 Besuchern gesehen
und war das Hauptprojekt der Luminale 2012. Im Jahr 2011 zeigte Geist die Installation Time Drifts
in Vancouver am Jack-Poole Plaza, ebenso wie in Montreal am Place des Arts in 2010. Die
Installation 'Timing' war 2009 auf dem Glow Festival in Eindhoven zu sehen. Ende 2009 sahen
anlässlich des Geburtstages des thailändischen Königs ca. 2-3 Millionen Besucher seine
Fassadeninstallation am königlichen Thron in Bangkok. Andere Projekte waren u.a.: 'Time Lines'
am renommierten Museum delle Esposizioni (2007), 'Time Fades' am Berliner Kulturforum,
'Broken Time Lines' am alten Kurhaus Ahrenshoop (2008).
Geists Projekte sind in erster Linie gekennzeichnet durch ihre Komplexität in der Integration von
Raum, Ton und Bewegbild. Seine Video-Mapping-Installationen verzichten auf Leinwände und
verwandeln verschiedenste Architekturen in bewegte, malerische Lichtskulpturen, die die
Wahrnehmung der Betrachter von Zwei- und Dreidimensionalität herausfordern.
Video Mapping Philipp Geist_Ano da Alemanha no Brasil - Cristo Redentor 2014
Photo by Fred Pacífico
©2014 Philipp Geist / VG BIldkunst Bonn
Rio de Janeiro / Brazil 2014
Christ statue (Cristo Redentor) – May 12
Dona Marta favela – May 15 and 16,2014
Light Art-Video-Mapping-Installations Philipp Geist in Rio de Janeiro / Brazil 2014
on the Christ statue (Cristo Redentor) - May 12 and in the Dona Marta favela - May 15 and 16,
2014
Installation Philipp Geist Year of Germany in Brazil 2013/2014
Concept Time Drifts May 2014
At the end of the Year of Germany in Brazil 2013/2014, the artist Philipp Geist (Berlin, 1976)
develops two light installations in Rio this year; the first one on the world-famous Christ statue
(Cristo Redentor) and the other installation in the Santa Marta favela. For the installation the
artist presents artistic-liberal and poetic German and Brazilian themes and develops a building
and floor light installation of colored words and phrases in Portuguese, German, and in other
international languages. The installation deals with cultural characteristics and achievements of
both countries and visualizes the issues of time and space, volatility and presence in a free
artistic style. The two projects are in fact a double project which is combined. The installation
on the symbol of Rio and Brazil, the Christ statue, is recorded and projected onto the small
buildings and huts of the favela. The Christ statue, which has been built to protect the city and
the sailors, is symbolically projected on the shantytown, the favela, in a protective way. The
installation in the favela will be seen not only on a facade as a large cinema projection or as a
static image, but on several winding buildings, the roofs, the floor and on the steps. Thus, the
visitor becomes a part of the installation and can immerse into the projection and the light and
introduce himself. Chalk crayons are put out on the streets in the favela and the young and old
residents and visitors can write and paint words on the street, the ground, the stairs or even on
the house walls. The residents and several institutions should be addressed to submit words and
associations dealing with Rio, Brazil and Germany.
For the installation, which was shown at the Luminale in 2012, the artist Philipp Geist won the
German Lighting Design Award 2013 (Deutscher Lichtdesign-Preis 2013) in the category Light Art.
The series 'Time Drifts' is characterized by the complex and subtle way of visualizing various
currents and voices in cultural contexts and to provide institutions and visitors with the
opportunity of substantive participation: different personalities, visitors and institutions may be
addressed in advance and then contribute words and associations. Current and historico-cultural
topics are researched in advance by the artist and then integrated in a sensitive and subtle way.
The projection dismisses the use of screens, because concepts and associations are projected on
a large area onto the floor surface on several facades and in theater fog. Over the course of two
days, the installation can be seen on-site in the favela on May 15 and 16 and on the Cristo
Redentor on May 12 for a day.
Short, tall, young and old visitors can interactively participate in the installation by tracing and
adding words with colored chalk crayons available on the streets. Thus, over the period of the
installation, a carpet of words is evolved with terms that are contributed locally by the visitors
by means of the temporary and volatile 'medium' of chalk crayons. Philipp Geist develops in this
way a dialogue between the place, the visitors and his artistic work.
The concrete, tangible projection of the architecture and the static terms on the floor area
represents the facts and visible relics that are responsible for our understanding of history. The
transparent and volatile projection in the fog reminds us that part of the history can not be
preserved and that it is created in our individual imagination in a single moment. Words are
briefly visible as a metaphor for transience and then disappear again. This interplay of the
various text and image layers in the space refers to the location and the history/-ies of Brazil
and Germany and the cultural exchange between the two countries. The visitors themselves are
part of the installation: they dive into the large floor projection. In this way, different
perspectives and experiences of space are unified. Abstract passages which are created, then
overlapped and displaced by each other symbolize the constant changes in history, the passage
of time and the transience of existence. Even the understanding of the past is in the flux. The
modern writings and formations created on the computer establish a connection to the present
and the possibilities of today's technology and show that the perception of history and culture
depends always on the possibilities and constraints of the present.
'Time Drifts - Words of Berlin' is part of a series of installations, which has been shown in recent
years by Philipp Geist, and which are always re-developed site-specifically and adapted to the
local conditions: In October 2012, Philipp Geist showed the installation on the entire Potsdamer
Platz (public square) and the Kolhoff Tower and Renzo Piano Tower skyscrapers. In April 2012
the installation was shown at the Luminale in Frankfurt where it was seen by more than 40,000
visitors and thus the main project of the Luminale 2012. In 2011, Philipp Geist presented the
'Time Drifts' installation in Vancouver at the Jack Poole Plaza, as well as in Montreal on the
Place des Arts in 2010. The 'Timing' installation was shown at the 2009 Glow Festival in
Eindhoven. In the end of 2009, on the occasion of the birthday of the King of Thailand, 2-3
million visitors saw his facade installation at the royal throne in Bangkok. Other projects
include: 'Timelines' at the prestigious Pallazzio delle Esposizioni (Rome, 2007), 'Time Fades'
at the Cultural Forum of Berlin and 'Broken Time Lines' at the old spa Kurhaus Ahrenshoop
(Germany, 2008).
Geist's projects are primarily characterized by their complexity concerning the integration of
space, sound and motion images. His video mapping installations waive screens and transform a
wide range of architectures in moving, picturesque light sculptures which challenge the viewer's
perception of two- and three-dimensionality.
www.alemanha-brasil.org/br/node/8542
www.alemanha-brasil.org/Programme/Dia/2014-05-12
www.alemanha-brasil.org/Programme/Dia/2014-05-15
www.alemanha-brasil.org/Programme/Dia/2014-05-16
---------------
Arte de luz - Instalações de Mapeamento de Vídeo por Philipp Geist no Rio de Janeiro / Brasil
2014 no Cristo Redentor no dia 12 de maio e na favela Santa Marta nos dias 15 e 16 de maio de
2014
Instalação Philipp Geist Ano Alemanha + Brasil 2013/2014
Conceito Time Drifts Maio 2014
No final do ano Alemnaha + Brasil 2013/2014, o artista Philipp Geist (1976, Berlim) desenvolverá
duas instalações de luz no Rio; uma delas será exibida na mundialmente famosa estátua do
Cristo Redentor, e a outra na favela Santa Marta. Para a instalação, o artista traz temas teutobrasileiros
de maneira liberal-artística e poética desenvolvendo instalações de luz em edifícios e
no solo a partir de palavras e conceitos coloridos em Português, Alemão e em outros idiomas
internacionais. A instalação lida com as peculiaridades e realizações culturais de ambos os países
e visualiza as questões de tempo e espaço e de volatilidade e presença no estilo liberal-artístico.
Os dois projetos em questão representam um projeto duplo que é combinado. A instalação na
estátua do Cristo Redentor, como um símbolo do Rio e do Brasil, será gravada e projetada nos
pequenos prédios e barracos da favela. A estátua do Cristo Redentor, que foi erguida para
proteger a cidade e os marinheiros, será então projetada como um símbolo de proteção em uma
favela. A instalação na favela é visto não apenas em uma fachada como uma projeção grande de
cinema ou como uma imagem estática, mas em vários prédios sinuosos, em telhados, no solo e
nas escadas. Desta maneira, o visitante conseguirá ser parte da instalação e imergir e mergulhar
na projeção e na luz. Na favela, será distribuído giz para pintura de rua, e os moradores e
visitantes, tanto jovens quanto velhos, podem escrever e pintar conceitos na rua, no solo, nas
escadas ou até mesmo nas paredes das casas. Os moradores e diversas instituições serão
convidados a contribuir com conceitos e associações que representam o Rio, o Brasil e a
Alemanha.
Para as instalações apresentadas na Luminal em 2012, o artista Philipp Geist ganhou o
'Deutscher Lichtdesign-Preis 2013” (Prêmio Alemão de Desenho de Luz de 2013) na categoria
Arte de Luz. A série Time Drifts caracteriza-se pela forma complexa e sutil de visualizar várias
correntes e vozes em contextos culturais e de oferecer a instituições e aos visitantes a
oportunidade de participar: diferentes personalidades, visitantes e instituições podem ser
contatados antecipadamente para contribuir com termos e associações. Temas atuais, históricos
e culturais serão previamente pesquisados pelo artista e, depois, integrados de uma forma
sensível e sutil. A projeção é realizada sem o uso de telas porque conceitos e associações são
projetados, em grande estilo, sobre a superfície do solo, em diversas frentes e envolvidos em
fumaça. Ao longo de dois dias, a instalação estará em exibição em 15 e 16 de maio na favela, e
em 12 de maio, por um dia, no Cristo Redentor.
Visitantes jovens e velhos podem envolver-se na instalação e traçar ou adicionar palavras com
giz colorido, que será distribuído, e assim participar interativamente na instalação. Desta
maneira, durante a duração da instalação, será desenvolvido um tapete de palavras. As palavras
serão fornecidas, no próprio local, pelos visitantes usando o giz, um meio temporário e volátil.
Philipp Geist desenvolve assim um diálogo entre o local, os visitantes e seu trabalho artístico.
A área de projeção concreta e tangível da arquitetura e os termos estáticos sobre a superfície do
solo representam os fatos e as relíquias visíveis que compõem a nossa compreensão da história. A
área de projeção transparente e sumindo por dentro da fumaça lembra que parte da história não
pode ser preservada e que ela é criada na nossa imaginação individual momentaneamente.
Conceitos são brevemente visíveis, como uma metáfora para a transitoriedade e, logo mais,
desaparecem. Esta interação entre as várias camadas de texto e de imagens no espaço refere-se
à localização e a(s) história(s) do Brasil e da Alemanha e o intercâmbio cultural entre os dois
países. Os próprios visitantes tornam-se parte da instalação: eles imergem na grande projeção
do solo. Desta forma, diferentes perspectivas e experiências de espaço são unidas. Passagens
abstratas que são formadas, sobrepostas e suprimidas pela próxima simbolizam as mudanças
contínuas na história, a passagem do tempo e a transitoriedade da existência. A compreensão do
passado também está no fluxo. As fontes e formações modernas criadas no computador
estabelecem uma conexão com o presente e com as possibilidades da tecnologia de hoje: a
percepção da história e da cultura sempre dependende das capacidades e limitações do
presente.
'Time Drifts - Words of Berlin' faz parte de uma série de instalações, que foram apresentadas
durante os últimos anos por Philipp Geist e que são sempre redesenvolvidas para as condições
locais específicas: em outubro de 2012, Philipp Geist exibiu a instalação em toda a praça
Potsdamer Platz (Berlim) e nos dois arranha-céus Kolhoff Tower (Berlim) e Renzo Piano Tower
(Londres). Em abril de 2012, a instalação foi apresentada no evento da Luminal em Frankfurt
onde foi vista por mais de 40.000 visitantes sendo o principal projeto da Luminal de 2012. Em
2011, Philipp Geist mostrou a instalação Time Drifts na praça Jack Poole Plaza em Vancouver
bem como em Montreal, Canadá, no centro de arte Place des Arts, em 2010. A instalação Timing
foi exibida no Glow Festival de 2009 in Eindhoven, Holanda. No final de 2009 e por ocasião do
aniversário do rei tailandês, aprox. 2 a 3 milhões de visitantes viram a instalação de fachada do
artista no trono real em Banguecoque. Seus outros projetos incluem: Time Lines, no prestigiado
museu Palazzio delle Esposizioni (Roma, 2007); Time Fades, no Fórum Cultural de Berlim;
Broken Time Lines, no antigo spa Kurhaus Ahrenshoop (Alemanha, 2008).
Os projetos de Geist são principalmente caracterizados por sua complexidade na integração de
espaço, som e imagens de movimento. Suas instalações de mapeamento de vídeo renunciam
telas e transformam uma ampla gama de arquiteturas em esculturas móveis e pitorescas que
desafiam a percepção do espectador de duas e três dimensões.
www.alemanha-brasil.org/br/node/8542
www.alemanha-brasil.org/Programme/Dia/2014-05-12
www.alemanha-brasil.org/Programme/Dia/2014-05-15
www.alemanha-brasil.org/Programme/Dia/2014-05-16
---------------
Lichtkunst-VideoMappingInstallationen Philipp Geist in Rio de Janeiro / Brasilien 2014
an der Christstatue (Cristo Redender) 12.5 und in der Favela Santa Marta 15./16.5.2014
Installation Philipp Geist Deutsch-Brasilianisches Jahr 2013/2014
Konzept Time Drifts Mai 2014
Zum Abschluss des Deutsch-Brasilianischen-Jahres 2013/2014 entwickelt der Berliner Künstler
Philipp Geist (1976) zwei Lichtinstallation in Rio d.J.; eine an der weltbekannten Christstatue
(Cristo Redender) und in die andere Installation in der Favela Santa Marta. Bei der Installation
greift der Künstler künstlerisch frei und poetisch deutsch brasilianische Themen auf und
entwickelt eine Gebäude- und Boden-Lichtinstallation aus farbigen Wörtern und Begriffen in
portugiesischer, deutscher, und in weiteren internationalen Sprachen. Die Installation thematisiert
kulturelle Besonderheiten und Errungenschaften beider Länder und visualisiert die Themen Zeit
und Raum, Flüchtigkeit und Präsenz in freien künstlerischen Art. Bei den beiden Projekten handelt
es sich um ein Doppelprojekt welches kombiniert wird. Die Installation auf das Wahrzeichen von
Rio und Brasilien die Christstatue, wird aufgenommen und auf die kleinen Gebäude und Hütten
der Favela projiziert. Die Christstatue die errichtet worden ist um die Stadt und Seeleute zu
schützen, wird so symbolisch schützend über ein Armenviertel die Favela projiziert. Dabei ist die
Installation in der Favela nicht nur auf einer Fassade als große Kinoprojektion oder als statisches
Bild zu sehen, sondern auf mehreren verwinkelten Gebäuden, den Dächern, den Boden und auf
den Stufen. Der Besucher wird vielmehr auf diese Weise selbst Teil der Installation und kann in die
Projektion und das Licht eintauchen und sich einbringen. In der Favela werden Strassenmalkreide
ausgelegt und die Bewohner und Besucher ob jung oder alt können Begriffe auf die Strasse, den
Boden, die Treppenstufen oder sogar auf die Hauswände schreiben und malen. Die Bewohner und
verschiedene Institutionen sollen angesprochen werden Assoziationen und Begriffe die für Rio,
Brasilien und Deutschland stehen einzureichen.
Für die 2012 bei der Luminale gezeigten Installation hat der Künstler Philipp Geist den Deutschen
Lichtdesign-Preis 2013 in der der Kategorie Lichtkunst gewonnen. Die Serie 'Time Drifts' zeichnet
sich aus durch die komplexe und die subtile Möglichkeit, verschiedenste Strömungen und
Stimmen in kulturellen Kontexten sichtbar zu machen und Institutionen und Besuchern die
Möglichkeit zur inhaltlichen Partizipation zu geben: Es können verschiedene Persönlichkeiten,
Besucher und Institute im Vorfeld angesprochen werden, die Begriffe und Assoziationen
beisteuern. Aktuelle und kulturhistorische Themen werden im Vorfeld vom Künstler recherchiert
und auf sensible und subtile Weise integriert. Die Projektion verzichtet auf den Einsatz von
Leinwänden, denn Begriffe und Assoziationen werden grossflächig auf die Bodenfläche, auf
mehrere Fassaden und in Theaternebel projiziert. Über den Zeitraum von 2 Tagen wird die
Installation vor Ort in der Favela am 15/16.Mai und die Installation am Cristo Redentor am 12.Mai
für einen Tag zu sehen sein.!
Kleine, große, junge und alte Besucher können sich einbringen in die Installation und mit farbiger
Straßenmalkreide, die ausgelegt wird, Wörter nachzeichnen und hinzufügen und so interaktiv an
der Installation teilnehmen. Über die Installationsdauer entsteht somit ein Wörterteppich aus
Begriffen, die vor Ort von den Besuchern selbst mittels dem temporären und flüchtigen 'Medium'
der Strassenmalkreide beigesteuert werden. Geist entwickelt auf diese Weise einen Dialog
zwischen dem Ort, den Besuchern und seiner künstlerischen Arbeit. ! !
Die konkrete, greifbare Projektionsfläche der Architektur und die statischen Begriffe auf der
Bodenfläche stehen für die Fakten und sichtbaren Relikte, welche unser Geschichtsverständnis
ausmachen. Die transparente, sich verflüchtigende Projektionsfläche im Nebel erinnert daran,
dass ein Teil der Geschichte nicht konserviert werden kann und im Moment in unserer individuellen
Vorstellung entsteht. Begriffe werden als Metapher für die Vergänglichkeit kurzzeitig sichtbar und
verschwinden sofort wieder. Dieses Zusammenspiel der verschiedenen Text- und Bildschichten im
Raum verweist auf den Ort und die Geschichte(n) Brasiliens und Deutschlands und den kulturellen
Austausch beider Länder. Die Besucher selbst werden Teil der Installation: sie tauchen in die
großflächige Bodenprojektion ein. Auf diese Weise vereinen sich unterschiedliche Perspektiven
und Raumerfahrungen. Abstrakte Passagen, die sich aufbauen, überlagern und gegenseitig
verdrängen, symbolisieren die ständigen Veränderungen in der Geschichte, den Lauf der Zeit und
die Flüchtigkeit des Seins. Auch das Verständnis von der Vergangenheit ist im Fluss. Die
modernen Schriften und Formationen, die am Computer entstanden sind, stellen eine Verbindung
zur Gegenwart und den Möglichkeiten der heutigen Technik her und zeigen, dass die Erfahrbarkeit
von Geschichte und Kultur immer von den Möglichkeiten und Rahmenbedingungen der Gegenwart
abhängig ist.
'Time Drifts - Words of Berlin' ist Teil einer Serie von Installationen, die Philipp Geist in den letzten
Jahren gezeigt hat, und die dabei immer wieder neu an die örtlichen Gegebenheiten ortsspezifisch
weiterentwickelt wird: Im Oktober 2012 zeigte Geist die Installation auf dem gesamten Potsdamer
Platz und den beiden Hochhäusern Kolhoff Tower und Renzo Piano Tower. Im April 2012 wurde die
Installation in Frankfurt auf der Luminale gezeigt, wurde von mehr als 40.000 Besuchern gesehen
und war das Hauptprojekt der Luminale 2012. Im Jahr 2011 zeigte Geist die Installation Time Drifts
in Vancouver am Jack-Poole Plaza, ebenso wie in Montreal am Place des Arts in 2010. Die
Installation 'Timing' war 2009 auf dem Glow Festival in Eindhoven zu sehen. Ende 2009 sahen
anlässlich des Geburtstages des thailändischen Königs ca. 2-3 Millionen Besucher seine
Fassadeninstallation am königlichen Thron in Bangkok. Andere Projekte waren u.a.: 'Time Lines'
am renommierten Museum delle Esposizioni (2007), 'Time Fades' am Berliner Kulturforum,
'Broken Time Lines' am alten Kurhaus Ahrenshoop (2008).
Geists Projekte sind in erster Linie gekennzeichnet durch ihre Komplexität in der Integration von
Raum, Ton und Bewegbild. Seine Video-Mapping-Installationen verzichten auf Leinwände und
verwandeln verschiedenste Architekturen in bewegte, malerische Lichtskulpturen, die die
Wahrnehmung der Betrachter von Zwei- und Dreidimensionalität herausfordern.
More from thedailylumenbox.blog, Film Washi A ISO 12 leader film shot with 27mm Lumenbox lens on Canon IVSb2. Developed in Cinestill Df96.
Weymouth originated as a settlement on a constricted site to the south and west of Weymouth Harbour, an outlying part of Wyke Regis. The town developed from the mid 12th century onwards, but was not noted until the 13th century. By 1252 it was established as a seaport and became a chartered borough. Melcombe Regis developed separately on the peninsula to the north of the harbour; it was mentioned as a licensed wool port in 1310. French raiders found the port so accessible that in 1433 the staple was transferred to Poole. Melcombe Regis is thought to be the first port at which the Black Death came into England in June 1348, possibly either aboard a spice ship or an army ship. In their early history Weymouth and Melcombe Regis were rivals for trade and industry, but the towns were united in an Act of Parliament in 1571 to form a double borough. Both towns have become known as Weymouth, despite Melcombe Regis being the main centre. The villages of Upwey, Broadwey, Preston, Wyke Regis, Chickerell, Southill, Radipole and Littlemoor have become part of the built-up area.
King Henry VIII had two Device Forts built to protect the south Dorset coast from invasion in the 1530's: Sandsfoot Castle in Wyke Regis and Portland Castle in Castletown. Parts of Sandsfoot have fallen into the sea due to coastal erosion. During the English Civil War, around 250 people were killed in the local Crabchurch Conspiracy in February 1645. In 1635, on board the ship Charity, around 100 emigrants from the town crossed the Atlantic Ocean and settled in Weymouth, Massachusetts. More townspeople emigrated to the Americas to bolster the population of Weymouth, Nova Scotia and Salem, Massachusetts; then called Naumking. There are memorials to this on the side of Weymouth Harbour and near Weymouth Pavilion and Weymouth Sea Life Tower. The architect Sir Christopher Wren was the Member of Parliament for Weymouth in 1702, and controlled nearby Portland's quarries from 1675 to 1717. When he designed St Paul's Cathedral, Wren had it built out of Portland Stone, the famous stone of Portland's quarries. Sir James Thornhill was born in the White Hart public house in Melcombe Regis and became the town's MP in 1722. Thornhill became an artist, and coincidentally decorated the interior of St Paul's Cathedral.
The resort is between the first modern tourist destinations, after King George III's, brother the Duke of Gloucester built a grand residence there, Gloucester Lodge, and passed the mild winter there in 1780; the King made Weymouth his summer holiday residence on fourteen occasions between 1789 and 1805, even venturing into the sea in a bathing machine. A painted statue of the King stands on the seafront, called the King's Statue, which was renovated in 2007/8 by stripping 20 layers of paintwork, replacing it with new paints and gold leaf, and replacing the iron framework with a stainless steel one. A mounted white horse representing the King is carved into the chalk hills of Osmington. Weymouth's esplanade is comprised of Georgian terraces, which have been converted into apartments, shops, hotels and guest houses. The buildings were constructed in the Georgian and Regency periods between 1770 and 1855, designed by architects such as James Hamilton, and were commissioned by wealthy businesspeople, including those that were involved in the growth of Bath. These terraces form a long, continuous arc of buildings which face Weymouth Bay along the esplanade, which also features the multi-coloured Jubilee Clock, erected in 1887 to mark the 50th year of Queen Victoria's reign. Statues of Victoria, George III and Sir Henry Edwards, Member of Parliament for the borough from 1867 to 1885, and two war memorials stand along the Esplanade.
In the centre of the town lies Weymouth Harbour; although it was the reason for the town's foundation, the harbour separates the two areas of Melcombe Regis ( the main town centre ) and Weymouth ( the southern harbour side ) from each other. Since the 18th century they have been linked by successive bridges over the narrowest part of the harbour. The present Town Bridge, built in 1930, is a lifting bascule bridge allowing boats to reach the inner harbour. The Royal National Lifeboat Institution stationed a lifeboat at Weymouth for the first time on 26 January 1869. A boathouse was built with a slipway by the harbour and is still in use, although the lifeboat is now moored at a pontoon.
I visited this Fort on the 4th August 2017 and was surprised by the layout and the interesting exhibits found here at this unusual and well maintained Fort. Nothe Fort is a fort in Weymouth, Dorset, England. The fort is situated at the end of the Nothe Peninsula, which juts eastwards from the town of Weymouth, and Weymouth Harbour, into the sea to the north of ex-military Portland Harbour. The fort is located next to Nothe Gardens. The coastal defence was built between 1860 and 1872 by 26 Company of the Royal Engineers to protect Portland's harbour, which was then becoming an important Royal Navy base. Shaped like the letter D, the fort's guns covered the approaches to both Portland and Weymouth harbours. The design included bomb-proof casemates for cannons arranged around the circular sides, and deep magazines beneath the straight, landward side. The fort played an important role in World War II, when the harbour was used as base by the British and American navies.
In 1956 the fort was abandoned, and in 1961 the local council purchased it. It is now a museum. The fort remains one of the best-preserved forts of its kind in the country, and the fort and its outer gateway has been a Grade II listed building since June 1974. Its fusee steps have been Grade II listed since November 2000. These are located within Nothe Gardens, linking the car park area down to the Nothe Parade – the quay of Weymouth's Harbour. The inclined tramway and steps were built circa 1860. The three flights of steps include a low flanking wall of rendered brick, on which are placed wrought-iron plate rails, forming an inclined tramway for trolleys with double-flange wheels. It was constructed for hauling trolleys transporting ammunition, spares and stores from the quay to Nothe Fort. In October 1978, the Nothe Fort, tramway and searchlight battery at The Nothe, also became scheduled under the Ancient Monuments and Archaeological Areas Act 1979 as they appeared to the Secretary of State to be of national importance.
Developing a novel way of mapping coral reefs with laser and underwater photography.
Harbour School x MakerBay
Ths.edu.hk
MakerBay.org
04/05/2023. London, United Kingdom. Lord Ahmad meets Simona Leskovar the Slovenia Ambassador to the UK at the Small Island Developing States Coronation Event. Picture by Lauren Hurley / DHSC
Developed specifically to meet the needs of small and midsize businesses, the Avaya 5400 Series Digital Telephones incorporate sleek design, improved ergonomics, flexibility, and enterprise-class voice quality. These two-wire digital phones come in three models, all of which feature paperless button labels, local call log, and speed-dial directories.
Visit Avaya.com for more information about the Avaya 5400 Series Telephones.
darkroom developed 35mm
check out the color edited version on deviantart (its pretty rad)
www.deviantart.com/deviation/44736954/
original on deviantart
kodak academy 200 expired 2007
push to 3200 in ascorol 27 min 25°C
canon eos 3000 ef 40mm 2.8 stm
pacific image prime film 3650u
Rickshaw cyclists take a break in London. Candid portrait.
Bronica SQ-A camera.
Zenzanon PS 150mm f/4 lens.
Shanghai GP3 (Chinese budget) film.
Developed in Ilford LC29 at 1:19
Scanned film on a V500.
Ifive X2 Tablet PC Android 4.1 RK3188 Quad core 2GB 32GB 8.9 inch IPS Screen
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The FNF Ifive X2 is a wonderful quad-core tablet PC with high performance, powerful functions and stylish design. It adopts Android 4.1 OS, and is powered by Rockchip RK3188 Cortex-A9 quad-core 1.6GHz CPU, Mali-400 MP4 GPU and 2GB DDR3 RAM to ensure its running more stably. 8.9-inch 1920*1200 pixels IPS screen with full viewing angle and 10-point capacitive touch design will bring you exquisite visual enjoyment, and also make your operation more conveniently.
It supports WiFi, external 3G and Ethernet networks for surfing internet, and also supports wireless Bluetooth for data transmission. With a HDMI output, you can transfer the videos/photos in the tablet to your HDTV and share them with your families and friends. Besides, it has a 2.0MP front camera for self capturing and enjoying online video chat, and a 5.0MP back camera with auto focus for shooting interesting things and moments.
Model: Ifive X2 Tablet PC
Color: White
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Operating System: Android 4.1
CPU: Rockchip RK3188 Cortex-A9 quad-core 1.6GHz
GPU: Mali-400 MP4
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ROM (Nand Flash): 32GB
Expansion Memory: Support micro SD/TF card up to 32GB
Keyboard Type: Virtual keyboard
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GPS Navigation: NO
Wi-Fi: Support, IEEE802.11b/g/n
3G: Not built-in, supports external USB 3G Dongle
Ethernet: Support external Ethernet Dongle
Bluetooth: Support Bluetooth V2.1(Support wireless Bluetooth for data transmission, support wireles Bluetooth mouse and keyboard for easy operation, and also support Bluetooth headset for listening to music)
USB: Support USB 2.0 high speed data transmission
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Camera: Dual camera, 2.0 million pixels front camera, 5.0 million pixels back camera with auto focus
Video Output: Support 1080P HDMI output
Audio Player: Support MP1, MP2, MP3, WMA, OGG, APE, FLAC, WAV, AC3, AAC, AMR, DTS, RA, M4A formats
Video Player: Support AVI, RM, RMVB, MKV, WMV, MOV, MP4, DAT(VCD format), VOB(DVD format), PMP, MPEG, MPG, FLV, ASF, TS, TP, 3GP, MPG formats
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HTML5 Online Video: Support
Game: Support 3D gaming with built-in 3D accelerator
Office Software: Support Microsoft Office Word, Excel, Powerpoint
Android Market: Support
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Audio Interface: 1 * 3.5mm earphone jack
Video Interface: 1 * mini HDMI output
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Memory Card Slot: 1 * TF card slot
Others
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Microphone: Support, built-in microphone
OTG Function: Support to connect USB mouse, USB keyboard, external 3G USB Dongle, U-disk, mobile HDD and other external USB devices
Battery Type: Built-in 3.7V 7000mAh rechargeable lithium battery
Work Time: Up to 5-7 hours
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Ifive X2 Package including:
1 * FNF ifive X2 Tablet PC
1 * USB Cable
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1 * User Manual
Downtown Brooklyn, New York, New York City, United States
Erected between c.1835 and 1847. these four houses are unusually intact survivors from the early nineteenth century residential neighborhood that once flourished on the blocks east of Brooklyn's civic center. In contrast to wealthier Brooklyn Heights and the working class district near the Navy Yard, this neighborhood evolved between the late 1820s and 1840s as a upper middle-class enclave and remained downtown Brooklyn's leading middle-class neighborhood throughout the nineteenth century.
Moved two blocks to their present site in 1990, these houses were originally located on Johnson Street between Bridge and Lawrence Streets on one of several blocks developed by Rev. Samuel Roosevelt Johnson, who had inherited a portion of his grandfather's colonial-era farm. Three of the houses were constructed by Johnson; No. 184 was erected in 1847 as an investment property by merchant Francis Chichester.
Nos. 182, 184, and 186 display aspects of the Greek Revival style. No. 186 is especially noteworthy as one of the few surviving row houses in the city with a free-standing Greek Revival portico. No. 188, an 1830s house remodeled in the early 1880s, is ornamented with a combination of Queen Anne and Second Empire elements including an elaborate bracketed porch hood. During the nineteenth century and early twentieth century, these houses were occupied by merchants, lawyers, brokers, engineers, teachers, builders, and shipmasters.
Residents included surveyor John S. Stoddard, credited with laying out the streets in many of the older sections of Brooklyn, who owned No. 188 in the 1850s and early 1860s, and teacher Helen Lawrence who conducted a private school in No. 182 from the mid-1850s through the mid-1870s. The houses remained in residential use through the 1980s. They were moved to their present site as part of the MetroTech redevelopment plan in 1990. Today they survive as a significant reminder of the history of downtown Brooklyn and of the evolution of Brooklyn's middle-class residential architecture.
DESCRIPTION AND ANALYSIS
Early Brooklyn and the Johnson Estate
In the mid-eighteenth century the village of Brooklyn was a small hamlet centered around the highway (modern-day Fulton Street) and the ferry that linked the farming communities of western Long Island with New York City. In 1755, Barent Johnson, a prosperous farmer of Dutch descent, purchased a pie-shaped tract of land of about forty acres which extended from the highway to Wallabout Creek (near present-day Navy Street) between present day Willoughby and Tillary Streets.
Barent Johnson died in 1777 of wounds he received fighting on the American side during the Battle of Long Island." Johnson left his property in trust for his orphaned nine-year-old son, John Barent Johnson. John Barent Johnson attended Columbia College and became a minister in the Dutch Reformed Church.3 In 1803, Rev. Johnson and his wife Elizabeth Lupton Johnson became ill and died with a few months of one another. They left three young children who were raised by Elizabeth Johnson's half-brother, Peter Roosevelt, an Episcopalian minister at Newtown.
Both of the Johnsons' sons, William Lupton Johnson (1800-1870) and Samuel Roosevelt Johnson (1802-1873), attended Columbia and became Episcopalian ministers. Their daughter, Maria Laidlie Johnson (1798-182?), married Rev. Evan M. Johnson, an Episcopalian minister from Rhode Island who served as curate at Newtown from 1814 to 1826. In 1823, when Samuel Roosevelt Johnson, the youngest of the three Johnson heirs, reached the age of majority, the heirs entered into a partition agreement to divide their Brooklyn property which was subdivided into city blocks and lots.
By that time the village of Brooklyn was growing rapidly due to the opening of the Brooklyn Navy Yard in 1801 and the introduction of steam ferry service between Fulton Street in Manhattan and Fulton Street in Brooklyn in 1814.
The village was incorporated in 1816 and in 1819 began an ambitious program to map and improve its streets. The opening of the Erie Canal in 1825 brought increased growth to Brooklyn. New warehouses were built along the Brooklyn waterfront and new factories were erected on the outskirts of the village; a thriving commercial district developed along Fulton Street.
The new opportunities for employment brought many new residents to the area. At the same time the expansion of New York City's downtown commercial district led many businessmen who had formerly made their homes in Lower Manhattan to look to Brooklyn for convenient suburban residences. A wave of speculative residential building began. At first, most of the new houses were concentrated in Brooklyn Heights and in the neighborhood around the Navy Yard. In the late 1820s and 1830s, however, the heirs to the farms east of Fulton Street began to develop their property.
By 1834, Brooklyn had a population of 24,310 and was incorporated as a city. In 1836, construction began on the foundations for a magnificent city hall, located on a triangular site at the junction of Court, Joralemon, and Fulton Streets, just opposite the southwest corner of the Johnson Estate.
Development of the Johnson Estate began in the mid-1820s, moving east from Fulton Street along Myrtle Avenue, then expanding to the north and south. Rev. Evan Johnson, who had inherited his wife's share of the estate, was instrumental in this development. In 1826, he sold his farm in Newtown and moved to Brooklyn where he established St. John's Church at Washington and Johnson Streets.
(Churches were an amenity that attracted home buyers to a neighborhood). According to the historian Henry Stiles, Rev. Evan Johnson regarded the civic growth of Brooklyn as a key factor in enhancing the value of the family's real estate and actively promoted the development of "its City Hall, its parks, its ferries, its streets."
Moreover, Stiles credited to Rev. Evan Johnson's "exertions and perseverance.... the opening of that great eastern wing of the city Myrtle Avenue."9 All three of the Johnson heirs contributed to the growth of Brooklyn by selling the right-of-way through their property for Adams Street and Tillary Street to the city at the cost of only $1 in 1826.
The heirs also gave considerable importance to the development of Johnson Street, entering into an agreement in May 1833 to develop the street "in a uniform manner so as to render it pleasant and desirable for private residences" and establishing restrictive covenants that required all the houses be set back ten feet from the edge of the lot.
Thus, they tried to ensure that their property would attract well-to-do buyers and that the neighborhood would develop as a fashionable enclave.
Construction and Early History of the Johnson Street (now Duffield Street) Houses
In the mid-1820s, Rev. Samuel R. Johnson, sold a few unimproved lots (mostly on Bridge and Tillary Streets) to builders and investors. In most cases he held mortgages on the properties. Development increased in the area in the 1830s and Johnson began to erect houses on his lots which he either sold or leased to tenants. He began developing the block bounded by Bridge Street, Johnson Street, Lawrence Street (formerly Barbarin Street), and Myrtle Avenue around 1835.
By 1840, when a street directory was published listing occupants of residential buildings by their addresses, there were four houses standing on the south side of Johnson Street between Lawrence and Bridge Streets including the houses formerly at 108 and 110 Johnson Street (now Nos. 186 and 188 Duffield Street), four houses on the east side of Bridge Street between Johnson and Myrtle Streets (demolished), one house on the north side of Myrtle Avenue between Lawrence and Bridge Streets (demolished), and two houses on the west side of Lawrence Street between Johnson Street and Myrtle Avenue (demolished). The occupants included shipmasters, builders, a butcher, and several merchants.
Johnson continued to build houses and sell vacant lots through the 1840s. In 1839-40, he erected a house at 100 Johnson Street (now No. 182 Duffield Street), which was acquired by his cousin Oscar Johnson in April 1840 and sold to a widow, Elizabeth Liscomb, in June 1840. Liscomb resided at 100 Johnson Street until around 1844-45. In January 1842, she purchased the vacant lot at 106 Johnson Street from Samuel R. Johnson that she sold to Charles H. Baxter, a sandpaper manufacturer, in 1845. In February 1847, Francis H. Chichester, guardian of Henrietta Chichester, purchased the vacant lot from Baxter and erected a house at 106 Johnson Street (now 184 Duffield Street), which was leased for a period of five years beginning in May 1847.
During the late 1830s and early 1840s, Rev. Samuel R. Johnson resided in Lafayette, Indiana. For most of the period, his real estate affairs were handled by his nephew, Samuel E. Johnson, a distinguished attorney and judge, who was the son of Maria Laidlie Johnson and Rev. Evan Johnson. In 1847, Samuel R. Johnson returned to Brooklyn and took over the pulpit of St. John's Church. In 1850, he was appointed Professor of Systematic Divinity at the General Theological Seminary and moved to Manhattan. That year he sold his remaining rental properties on the block.
The house at 110 Johnson Street (now 188 Duffield Street) was acquired in 1850 by John S. Stoddard, a surveyor and civil engineer who was responsible for laying out the streets in a large portion of Brooklyn and who served in the late 1850s and early 1860s as chief engineer for Brooklyn's municipal water company.
In 1866, Stoddard's widow sold the house to investor Alfred E. Lyman who leased it to furrier Thomas Finnigan through the mid-1870s. In the early 1880s it was occupied by clothing dealer Isaac Cohn and his family. In 1881, the building was sold to Catherine Bagley, who raised the attic to a full story and altered the facade.
Occupants included John McDonald, a carpenter, who occupied the house with his family in 1900, William J. Cummings, an engineer, and Joseph Henderson, an undertaker, both of whom resided in the house with their families in 1905.
Samuel R. Johnson sold 108 Johnson Street (now 186 Duffield Street) to merchant George Hastings in 1850. It was acquired the following year by attorney Henry Hagner (1824-1880) who had offices on Court Street in Brooklyn. It was occupied until 1910 by members of the Hagner family, including Henry Hagner, Jr., who also practiced law in Brooklyn, his sister Mary H. Lyman and her husband Robert A. Lyman, an officer, at a coal and wood company.
No. 100 Johnson Street (now 182 Duffield Street) changed hands several times in the early 1850s. In 1856 the house was purchased by schoolteacher Helen W. Lawrence who conducted a school on the premises with her sisters Sarah and Margaret until the early 1870s. It was leased to Zebulon Post, a fish merchant at the Fulton Market, in the late 1870s and occupied by members of the Lawrence family in the 1880s.
No. 106 Johnson Street (now 184 Duffield Street) was purchased in 1852 by Charles B. Prindle, a grocer with a wholesale business on South Street in Manhattan. After his death in 1858, his heirs retained the house as an investment property. Around 1860, it was leased to Sarah Halstead, a widow, who kept a boarding house for two or three tenants at a time including a lawyer, a printer, and a bookkeeper. In 1880, it was leased to Jacob York, a brick mason, and in the 1890s was occupied by I. Craven, a broker, and his wife. William Nolting, a physician, and Archibald Crowe, a bookkeeper, and their families resided there in the early 1900s.
This occupancy by professionals and well-to-do merchants was typical of the neighborhood which evolved as an upper-middle class enclave and remained a middle-class residential neighborhood until the early 1900s. To a certain extent this evolution sets it apart from downtown Brooklyn's other nineteenth-century residential neighborhoods.
Brooklyn Heights, while retaining a significant amount of its older middle-class housing, became a neighborhood of the wealthy following the construction of large numbers of elegantly-appointed new houses along Montague Street, Montague Terrace, Remsen Street, and Columbia Heights in the 1840s and 1850s.
It remained Brooklyn's most fashionable and aristocratic district throughout the nineteenth century. The Fulton Ferry neighborhood, which had initially incorporated a mixture of housing and commercial enterprises, became
exclusively commercial and industrial by the mid-nineteenth century.
The neighborhood to the south and west of the Brooklyn Navy Yard, developed largely between the mid-1830s and the 1850s and built up with modest rowhouses, became a working-class enclave. As immigrants flocked to the neighborhood to take advantage of the jobs provided by the Navy Yard and neighborhood industries, it became one of Brooklyn's most densely populated areas and was popularly known as "Irishtown" or "Vinegar Hill," for the large number of residents of Irish descent.
By the mid-nineteenth century other middle-class enclaves began to develop just beyond the downtown, including the neighborhoods now known as Boerum Hill, Cobble Hill, Clinton Hill, and Fort Greene, but the neighborhood to the east of City Hall, now Borough Hall, retained its desirability, probably as a result of its convenience to Brooklyn's commercial and governmental center.
The Desink of the Houses'
Erected between c. 1835 and 1847, these two-and-one-half-story and three-story brick and clapboard-covered frame houses are representative of the urban residential buildings that once lined the blocks east of Brooklyn's civic center and for the most part have now been replaced or severely altered.
Three of the four buildings display aspects of the Greek Revival style, which dominated American architecture from the late 1820s to the late 1840s, and is characterized by its emphasis on planar wall surfaces, simple massive forms, and classical ornament primarily derived from classic Greek sources. No. 188 Duffield Street (formerlyllO Johnson Street) a mid-1830s house remodeled in the early 1880s, features a combination of Queen Anne and Second Empire decorative elements. In accordance with the agreement the Johnsons had made regarding the development of Johnson Street, the houses originally set back from the street along a uniform building line and had small front gardens with iron picket fences. (This arrangement was replicated when the houses were moved to Duffield Street).
No. 182 Duffield Street (formerly 100 Johnson Street), constructed c. 1839-40. is a Greek Revival style, three-bay-wide, two-and-one-half-story, brick townhouse with a peaked roof. This house was originally located on the comer of Johnson and Lawrence Streets and its north wall is articulated by two lines of windows that are now mostly sealed.
The north gable is capped by paired chimneys joined by a parapet, a characteristic Greek Revival feature. On both the primary and north facades, the window and door openings are set off by the simple marble lintels and sills. The wide marble stoop with cast iron railings has not survived.
The tall parlor windows may be an original feature since such floor length windows were just becoming fashionable around 1840 or may be the result of an early alteration. Historic photographs show that the other windows originally had six-over-six wood sashes which have been replaced. The building's most notable feature is the crowning wood entablature composed of a tripartite architrave, fascia board frieze pierced by horizontal attic windows, and denticulated cornice.
Similar attic friezes and entablatures are found on such notable examples of the Greek Revival design as the houses at 1 -13 Washington Square North (1831-33) familiarly known as "The Row" in the Greenwich Village Historic District and the houses in Cushman Row (1839-40) at 408-418 West 20th Street in the Chelsea Historic District.
Alterations to the facade have included the replacement of the original wood entrance surround, doors, and transom with paired paneled wood and glass doors and single-light transom, probably in the 1880s or 1890s. These handsome doors are enriched with beaded moldings and the transom bar above the entrance is decorated with an unusual stylized classical motif.
The two-story extension at the rear of this house was probably added in the 1870s or 1880s. Its north wall, which is partially visible from Duffield Street through the alley between this building and 3 MetroTech Center, has lost its first story angled bay visible in historic photographs of the house.
No. 184 Duffield Street (formerly 106 Johnson Street), constructed in 1847, has a restrained design typical of mid-and-late 1840s urban vernacular buildings influenced by the Greek Revival style. As was characteristic for houses in the late 1840s, it has a full third story surmounted by a flat roof. This house is designed using an English basement plan, a type of house plan modeled on English precedents that was just coming into vogue in New York in the late 1840s.
In an English basement house the first story is set only a few steps above street level and contains a formal dining room and a stairhall which leads upstairs to a double parlor on the second floor. This plan is expressed in the exterior design of the house by the tall windows at the second story which extended to the parlor floor to provide adequate light and ventilation for the large room.
A stone band course between the basement and first story and a string course beneath the second-story windows emphasizes the dining room floor. These stone courses create strong horizontal lines to counter the tall proportions of the building and the height of the second-story windows. Also characteristic of the period is the use of dark stone trim (probably bluestone or brownstone which is now painted white) rather than the limestone or marble customary in the 1830s and early 1840s and the employment of somewhat heavy sills and lintels. The facade is capped by a Tuscan Doric entablature with a boldly projecting crowning cornice.
No. 184 also originally incorporated some Gothic Revival details, including the trefoil pattern cast iron railings and fences (no longer extant) and the cusped arch panels which may survive on the paired wood doors (now covered with metal panels). The entry retains its original molded wood door surround and single-light transom. The house originally had a basement entry and small basement windows which were not recreated when it was set on the present foundation.
At the rear extending across the back of the house is a two-story porch with brick side walls and a wood- framed rear wall clad with non-historic wood siding. In the 1840s and 1850s such multi-story galleries were a popular feature for urban houses. Typically these galleries opened on to the back rooms of the house through floor-length windows or French doors which ensured adequate light and ventilation and provided a view of the back garden. In many instances one or more stories of the porch was enclosed with framing and lit by multiple windows. When an enclosed porch opened off the back parlor it was often used as an informal sitting room or "tearoom."
Here, it appears that the first-story porch opening off the dining room was an open porch and had steps leading down to the back garden.
The second story porch was probably always enclosed and used as a tearoom-sitting room. Because rear porches were usually not built on as firm a foundation as the rest of the house during this period many galleries and tearooms have disappeared making this porch something of a rare survivor.
No. 186 Duffield Street (formerly 108 Johnson Street), constructed c. 1835-38, was built as a pair with the house at 188 Duffield Street (formerly 110 Johnson Street) with which it shares a party wall. A two-and-one-half-story frame house, faced with clapboard siding above a masonry basement (originally brick), No. 186 displays elements of the Federal and Greek Revival styles. Its most notable feature is the freestanding Greek Revival portico with square Doric columns supporting a heavy entablature. According to architectural historian Charles Lockwood, "the high cost of cutting ... columns and building a freestanding porch limited this [type of] doorway to only the finest row houses" during the Greek Revival period. Surviving examples of such porticos are rare in New York City and are exceptionally rare for frame row houses.
No. 186 also is distinguished by the handsome Greek Revival entrance surround with its narrow sidelights framed by pilasters, and tripartite transom set off by console ornaments and a transom bar ornamented with a beaded molding. The house retains its original wood door articulated with two long narrow recessed panels. The articulation of the door, entrance surround, and portico may have been adapted from plate in Minard Lafever's The Modern Builder's Guide (1833),20 a popular source for builders and architects of the period.
The parlor and second story windows are framed by molded wood surrounds and have historic six-over-six wood sashes. The facade is crowned by an entablature composed of a wide frieze and a denticulated cornice which was modified by the addition of small decorative brackets in the late nineteenth century and by the removal of a decorative architrave molding sometime after 1940.
The building is surmounted by a peaked roof with two pedimented dormers at the front of the house and a single dormer at the center of the rear facade. The use of such dormers is typical of the Federal style and points to the early date of this house. Another early feature is the irregular arrangement of windows at the second story of the rear facade, where the northernmost window is somewhat lower than the other windows since it lights the staircase landing.
No. 188 Duffield Street (formerly 110 Johnson Street), built as a pair with 186 Duffield Street (formerly 108 Johnson Street) with which it shares a party wall, was raised from two-and-one-half stories to three stories and given a new facade enriched with Queen Anne and Second Empire details when it was remodeled in the early 1880s.
Faced with clapboard siding, it has molded window surrounds with decorative lintels and two-over-two wood window sashes. The entrance is sheltered by an elaborate bracketed hood which may to have been adapted from an earlier portico roof. This surround features decorative spandrel panels including stylized foliate forms and sunflowers, a favorite motif of British Aesthetic movement, which became an emblem of the Queen Anne style.
Historic photographs show that doorway contained paired Queen Anne style paneled doors which were replaced by the current door, side panels, and transom by the 1980s. The facade is capped by a Second Empire style metal comice enriched by a paneled frieze, modillions, and console brackets. A large two-story wing at the rear of the house was demolished immediately prior to the house being moved to this site. While all of the window casings appear to be historic, the present wood clapboard siding and brick side wall facing were installed c. 1990.
Later History'
By the time of Consolidation in 1898, the area around Brooklyn's City Hall (subsequently Borough Hall), had become its financial, commercial, transportation, entertainment, and governmental center. While much of this development took place in the area south and west of Borough Hall, Fulton Street remained the Borough's prime commercial artery with businesses radiating outward for several blocks. The western portion of the former Johnson Estate (Washington, Adams, Pearl Streets, at Willoughby Avenue, Myrtle Avenue, and Johnson Street) became a commercial area with many of the borough's leading shops, hotels, theaters, and major office buildings.
This development was assisted by improvements in transportation, notably the opening of the Brooklyn Bridge (John A., Washington, and Emily Roebling, 1867-83, a designated New York City Landmark) which terminated in Brooklyn at Sands Street between Fulton Street and Washington Avenue where it connected with the Kings County Elevated line, which ran along Fulton Street, and with the Brooklyn Elevated line, which ran along Washington Street and Myrtle Avenue. Within a few years of the opening of the elevated.
Myrtle Avenue was transformed into a commercial and manufacturing corridor with buildings such as the Wilcox Millinery Company factory (1889) at the northwest comer of Myrtle Avenue and Bridge Street and the McEnnery and Mullins & Son furniture warehouses on the south side of Myrtle Avenue at Lawrence Street (pre-1903). For about twenty years Johnson Street and blocks to the north remained residential and middle class. However, the opening of subway service to downtown Brooklyn in 1908, the construction of the Manhattan Bridge and the Flatbush Avenue Extension in 1905-09, and the opening of a new Long Island Railroad terminal at Flatbush and Atlantic Avenues in 1906 made downtown Brooklyn even more accessible and led to a further expansion of the downtown business and entertainment district.
At the same time Brooklyn's manufacturing sector, which had traditionally been located near the Navy Yard, was also expanding. A number of new factories and warehouses opened along the Flatbush Avenue Extension. In 1920, the American Safety Razor Corporation erected the first building of its factory complex on Lawrence, Johnson, and Jay Streets. By that time, many of the older houses in the neighborhood had been altered to accommodate commercial uses at the first story and most of the houses had been converted from single-family occupancy to boardinghouses or multiple dwellings. These changes were reflected in the occupancy of the houses on Johnson Street by 1915 when the census indicates that all but No. 108 (now 186 Duffield Street) were being used as multi-family dwellings with residents employed in such occupations as teamster, newspaper dealer, nurse, stenographer, and printer.
The majority of occupants were of Irish descent but No. 106 (now 184 Duffield Street) was occupied by a Brooklyn Rapid Transit Company conductor from Guinea who leased rooms to a number of fellow countrymen. By 1925 a number of the houses were occupied by Italian working-class families.
In the post-World War II era several blocks east of Fulton Street were demolished to create a new Civic Center centered around Cadman Plaza. A portion of Fulton Street between Pierrepont Street and the old ferry landing was renamed Cadman Plaza West and Washington Street was widened and renamed Cadman Plaza East. Tillary Street was also widened to provide an easier approach from the Flatbush Avenue Extension to the Brooklyn Bridge.
The elevated tracks that had formerly descended from the Brooklyn Bridge on Fulton Street and Myrtle Avenue were removed. As factory jobs and long-time residents moved to the suburbs in the 1950s and the Brooklyn Navy Yard closed in 1966, the downtown business and residential districts began to contract. Many of the historic stores along Fulton Street closed and a number of houses in the neighborhood east of the civic center became derelict or were demolished.
The neighborhood began to experience new growth in the late 1950s when the Polytechnic Institute of Brooklyn (now Polytechnic University) acquired and renovated the American Safety Razor Company's old buildings on Lawrence Street. In 1977 construction began on the Fulton Mall. In the early 1980s plans began for MetroTech, a sixteen-acre complex of new and renovated buildings developed as joint venture by Polytechnic University and Forest City Ratner Corporation.
As part of the development, the Johnson Street site was redeveloped for Polytechnic University's Bern Dibner Library of Science and Technology, 5 MetroTech Center. These four houses were moved from their original site to Duffield Street in 1990 where they adjoin historic St. Boniface's Church. Today they survive as a significant reminder of the early history of the neighborhood and of the evolution of Brooklyn's middle-class housing stock, representative examples of what Walt Whitman described in 1861 as "the architectural greatness" of Brooklyn, "the hundreds and thousands of superb private dwellings, for the comfort and luxury of the great body of middle class people."
Description
Moved to their present location in 1990, the four houses are located on a single tax lot which extends 98.4 feet along Duffield Street and is 100.3 feet deep. A low non-historic wrought-iron fence set on blue stone foundation borders the property on Duffield Street and divides the front yards of the individual houses. A non-historic metal gate extends across the narrow alley between the north wall of 182 Duffield Street and the south wall of 3 Metrotech Center. The matching gate across the alley between 188 Duffield Street and St. Boniface's Church (190 Duffield Street) is partially on church property. The north wall of the handicap ramp to the church and a cyclone fence bordering the south side of the rear yard of No. 188 mark the division line between the two properties. The houses set back several feet from the fence and are approached by non-historic bluestone pavers and small grass plots. The houses were stabilized and refurbished when they were moved to this site in 1990.
No. 182 Duffield Street is a Greek Revival style, three-bay-wide, two-and-one-half-story peaked-roofed brick rowhouse with a two-story flat-roofed extension. The house rests on a non-historic basement (constructed when the house was moved) which is parged with brownstone-colored stucco. The basement window openings contain one-over-one wood sash and metal grilles which were salvaged from the building's old basement. A small spigot is set between the north window and the northeast comer of the building. A small areaway in front of the basement windows is protected by a low non-historic stuccoed masonry wall that is coped with bluestone.
The house is approached by a high stoop, which appears to incorporate a historic masonry base that has been parged with stucco and new brownstone-tinted concrete steps. The wrought-iron railings were installed when the house was moved. The iron gates under the stoop were salvaged from the old basement entrance.
Above the basement, the house is faced in brick laid in running bond and has marble window sills and lintels on its Duffield Street and north facades.
The parlor-level entrance is set off by a marble lintel. The brick facades and the lintels and sills on the north facade are painted. The entry contains a pair of historic wood doors and a single-light transom in a historic molded surround that probably dates from the late nineteenth century. The doors are decorated with recessed panels and are lit by tall windows. The transom bar above the doors is enriched with an unusual stylized egg-and-dart molding. The current wood one-over-one window sash and wood surrounds at the first and second stories are non-historic.
They replace one-over-one aluminum sash and frames that had been installed by the mid-1980s. A photograph from the 1930s shows six-over-six sash in most of the windows and late-nineteenth-century two-over-two sashes in the front parlor windows which were lengthened. The facade is capped by a wood entablature composed of tripartite architrave, fascia board frieze pierced by attic windows, and denticulated cornice. The paired wood casement windows are historic.
The north elevation of the main portion of the house is visible from Duffield Street. Above the basement, the facade is articulated by two lines of windows. On the east side of the facade, the first story is lit by a non-historic one-over-one wood window. The second and third story windows are sealed and may have originally been blind windows. The western line of windows have non-historic one-over-one wood sashes at the first and second story.
The attic window is sealed with brick. This wall is capped by a pair of chimneys that are joined by a parapet. Both of the chimneys were rebuilt after the house was moved in 1990. The one-bay deep, three-bays-wide, two-story extension is faced with brick. On the north wall of the extension the former first story oriel has been removed and the opening sealed with brick. The second story is lit by a single window.
No. 184 Duffield Street is a three-story, twenty-feet-wide, brick rowhouse with a two-story porch extension. Its facade is designed in a restrained style typical of mid-and-late 1840s urban vernacular buildings influenced by the Greek Revival style. The building rests on a non-historic masonry foundation. A small pipe head and round metal vent are located at the north end of the base. There is a small spigot just north of the stoop. The low masonry stoop and iron side rails are non-historic.
Above the base the building is faced in red brick laid in running bond. The windows and entrance are set off by brownstone sills and lintels. The lintels are painted; the sills and a sill course beneath the second-story windows have been rebrownstoned. The entrance retains its historic molded wood surround, single-light transom and paired paneled wood doors with long single lights.
The bottom part of the doors have been covered with painted sheet metal. Metal numerals reading 184 are affixed to the top of the south door. A non-historic metal light fixture has been installed between the entrance and the middle window at the first story. Non-historic metal window grilles have been installed on the doors and the first story windows. All of the window openings on this facade have historic one-over-one double-hung wood sash. The facade is
capped by its original molded wood cornice which is edged at the top with non-historic sheet metal flashing.
The rear elevation rests on a tall non-historic basement which is faced with stucco. Above this base the wall is faced with common brick. Much of the facade is concealed by the historic two-story porch which has brick side walls (painted). None of the fenestration or cladding on this porch appears to be historic but the presence of an enclosed porch at the second story, the brick sidewalls and framing of the porch, and the use of a shed roof are historic.
At the third story the rear facade is articulated by historic segmental window openings with trabeated wood surrounds. The windows have non-historic aluminum sashes. The facade is capped by a denticulated brick cornice.
No. 186 Duffield Street, constructed c. 1835-38, is a twenty-four-feet-wide, two-and-one-half-story clapboard-covered frame house which displays elements of the Federal and Greek Revival styles. It rests on a low non-historic foundation which is faced with stucco. There is a small spigot just north of the stoop. The entrance porch and steps are supported by non-historic foundations which are stuccoed.
Non-historic wood lattice screens cover the openings beneath the stairs and porch. The stoop has non-historic wood steps and railings dating from the 1990s, however, the porch floor appears to be historic. The heavy entablature of the Greek Revival entrance porch is supported by square wood Tuscan Doric columns and pilaster responds that frame the entrance. Extending between the columns and pilasters at the sides of the porch are historic wood lattice screens which have small wood benches built into their bases.
The elaborate Greek Revival entrance surround features a central paneled door which is flanked by narrow sidelights and surmounted by a tripartite transom. The pilasters framing the door are ornamented with anthemions and the transom is enriched by a egg and dart molding and by richly carved console brackets. A non-historic recessed light fixture has been installed in the porch ceiling. The door has non-historic hardware and a non-historic mail slot. Non-historic metal numerals reading "186" have been applied to the lintel above the entrance. The house retains its original wood clapboard siding and molded window surrounds and has historic six-over-six wood window sash.
The non-historic louvred wood shutters date from the 1990s. The facade is capped by an entablature composed of a wide frieze and a denticulated cornice which was modified by the addition of small decorative brackets in the late nineteenth century and by the removal of a classical architrave molding sometime after 1940. The gabled roof and gabled dormers are covered with standing seam sheet metal. The wide piers framing the paired windows in the dormers were once ornamented with classical motifs (probably brackets) which were removed after 1940. The historic brick chimney on the south side of the roof was largely rebuilt in the 1990s. The metal pipe vent at the northeast corner of the roof was installed prior to 1940.
The rear elevation is also faced with historic wood clapboards. This facade has a one-story shed- roofed porch which was completely enclosed and entirely clad with non-historic wood clapboards after the house was moved in 1990. The present stoop and paneled door are non-historic additions from the 1990s. At the second story the facade has three window bays, the northernmost set slightly below the others. All three have six-over-six wood sashes. At the attic level, there is a central gabled dormer which is identical to the dormers on the Duffield Street facade. Its paired window openings contain non-historic one-over-one wood sashes.
No. 188 Duffield Street is a mid-1830s twenty-four-foot-wide frame rowhouse which was raised from two-and-one-half stories to three stories and given a new facade enriched with Queen Anne and Second Empire details when it was remodeled in the early 1880s. It rests on a low non-historic foundation which is faced with stucco. There is a small spigot just south of the stoop and a round metal vent cover at the south corner of the base.
The entrance is approached by a historic wood stoop which rests on a non-historic masonry base and has non-historic wood railings. The upper stories are faced with wood clapboard siding. The windows retain their original Queen Anne style molded window surrounds with decorative lintels and historic two-over-two wood window sashes. The entrance is sheltered by an elaborate bracketed hood with sawn and turned decorations including spandrel panels featuring stylized foliate forms and sunflowers.
The entrance retains its original molded wood surround with paneled jambs. The current door, sidelights, and single-light transom are non-historic infill replacing paired Queen Anne style doors visible in c. 1940s photographs of the house. The facade is crowned by a Second Empire-style metal cornice enriched by a paneled frieze, modillions, and console brackets.
The south wall of the building was faced with brick when it was moved to its present site. A large two-story extension at the rear of the building was also removed.
- From the 2001 NYCLPC Landmark Designation Report
Some background:
The VF-1 was developed by Stonewell/Bellcom/Shinnakasu for the U.N. Spacy by using alien Overtechnology obtained from the SDF-1 Macross alien spaceship. Its production was preceded by an aerodynamic proving version of its airframe, the VF-X. Unlike all later VF vehicles, the VF-X was strictly a jet aircraft, built to demonstrate that a jet fighter with the features necessary to convert to Battroid mode was aerodynamically feasible. After the VF-X's testing was finished, an advanced concept atmospheric-only prototype, the VF-0 Phoenix, was flight-tested from 2005 to 2007 and briefly served as an active-duty fighter from 2007 to the VF-1's rollout in late 2008, while the bugs were being worked out of the full-up VF-1 prototype (VF-X-1).
The space-capable VF-1's combat debut was on February 7, 2009, during the Battle of South Ataria Island - the first battle of Space War I - and remained the mainstay fighter of the U.N. Spacy for the entire conflict. Introduced in 2008, the VF-1 would be out of frontline service just five years later, though.
The VF-1 proved to be an extremely capable craft, successfully combating a variety of Zentraedi mecha even in most sorties which saw UN Spacy forces significantly outnumbered. The versatility of the Valkyrie design enabled the variable fighter to act as both large-scale infantry and as air/space superiority fighter. The signature skills of U.N. Spacy ace pilot Maximilian Jenius exemplified the effectiveness of the variable systems as he near-constantly transformed the Valkyrie in battle to seize advantages of each mode as combat conditions changed from moment to moment.
The basic VF-1 was deployed in four minor variants (designated A, D, J, and S) and its success was increased by continued development of various enhancements including the GBP-1S "Armored" Valkyrie, FAST Pack "Super" Valkyrie and the additional RÖ-X2 heavy cannon pack weapon system for the VF-1S for additional firepower.
The FAST Pack system was designed to enhance the VF-1 Valkyrie variable fighter, and the initial V1.0 came in the form of conformal pallets that could be attached to the fighter’s leg flanks for additional fuel – primarily for Long Range Interdiction tasks in atmospheric environment. Later FAST Packs were designed for space operations.
After the end of Space War I, the VF-1 continued to be manufactured both in the Sol system and throughout the UNG space colonies. Although the VF-1 would be replaced in 2020 as the primary Variable Fighter of the U.N. Spacy by the more capable, but also much bigger, VF-4 Lightning III, a long service record and continued production after the war proved the lasting worth of the design.
The versatile aircraft also underwent constant upgrade programs. For instance, about a third of all VF-1 Valkyries were upgraded with Infrared Search and Track (IRST) systems from 2016 onwards, placed in a streamlined fairing on the upper side of the nose, just in front of the cockpit. This system allowed for long-range search and track modes, freeing the pilot from the need to give away his position with active radar emissions, and it could also be used for target illumination and guiding precision weapons.
Many Valkyries also received improved radar warning systems, with receivers, depending on the systems, mounted on the wing-tips, on the fins and/or on the LERXs. Improved ECR measures were also mounted on some machines, typically in conformal fairings on the flanks of the legs/engine pods.
After joining the global U.N. Spacy union, Germany adopted the VF-1 in late 2008, it replaced the Eurofighter Typhoon interceptors as well as Tornado IDS and ECR fighter bombers. An initial delivery of 120 aircraft was completed until 2011, partially delayed by the outbreak of Space War One in 2009. This initial batch included 85 VF-1A single seaters, fourteen VF-1J fighters for commanders and staff leaders, and twenty VF-1D two-seaters for conversion training over Germany (even though initial Valkyrie training took place at Ataria Island). These machines were erratically registered under the tactical codes 26+01 to 26+99. Additionally, there was a single VF-1S (27+00) as a personal mount for the General der Luftwaffe.
The German single-seaters were delivered as multi-role fighters that could operate as interceptors/air superiority fighters as well as attack aircraft. Beyond the standard equipment they also carried a passive IRST sensor in front of the cockpit that allowed target acquisition without emitting radar impulses, a LRMTS (Laser Rangefinder and Marked Target Sensor) under the nose, a Weapon Delivery and Navigation System (WDNS) and an extended suite of radar warning sensors and ECM jammers.
After Space War I, attritions were replaced with a second batch of VF-1 single seaters in 2015, called VF-1L (for “Luftwaffe”). These machines had updated avionics and, among modifications, a laser target designator in a small external pod under the cockpit. About forty VF-1 survivors from the first batch were upgraded to this standard, too, and the VF-1Ls were registered under the codes 27+01 – 90.
The VF-1 was without doubt the most recognizable variable fighter of Space War I and was seen as a vibrant symbol of the U.N. Spacy even into the first year of the New Era 0001 in 2013. At the end of 2015 the final rollout of the VF-1 was celebrated at a special ceremony, commemorating this most famous of variable fighters. The VF-1 Valkryie was built from 2006 to 2013 with a total production of 5,459 VF-1 variable fighters with several variants (VF-1A = 5,093, VF-1D = 85, VF-1J = 49, VF-1S = 30, VF-1G = 12, VE-1 = 122, VT-1 = 68)
However, the fighter remained active in many second line units and continued to show its worthiness years later, e. g. through Milia Jenius who would use her old VF-1 fighter in defense of the colonization fleet - 35 years after the type's service introduction!
General characteristics:
All-environment variable fighter and tactical combat Battroid,
used by U.N. Spacy, U.N. Navy, U.N. Space Air Force
Accommodation:
Pilot only in Marty & Beck Mk-7 zero/zero ejection seat
Dimensions:
Fighter Mode:
Length 14.23 meters
Wingspan 14.78 meters (at 20° minimum sweep)
Height 3.84 meters
Battroid Mode:
Height 12.68 meters
Width 7.3 meters
Length 4.0 meters
Empty weight: 13.25 metric tons;
Standard T-O mass: 18.5 metric tons;
MTOW: 37.0 metric tons
Power Plant:
2x Shinnakasu Heavy Industry/P&W/Roice FF-2001 thermonuclear reaction turbine engines, output 650 MW each, rated at 11,500 kg in standard or in overboost (225.63 kN x 2)
4x Shinnakasu Heavy Industry NBS-1 high-thrust vernier thrusters (1 x counter reverse vernier thruster nozzle mounted on the side of each leg nacelle/air intake, 1 x wing thruster roll control system on each wingtip);
18x P&W LHP04 low-thrust vernier thrusters beneath multipurpose hook/handles
Performance:
Battroid Mode: maximum walking speed 160 km/h
Fighter Mode: at 10,000 m Mach 2.71; at 30,000+ m Mach 3.87
g limit: in space +7
Thrust-to-weight ratio: empty 3.47; standard T-O 2.49; maximum T-O 1.24
Design Features:
3-mode variable transformation; variable geometry wing; vertical take-off and landing; control-configurable vehicle; single-axis thrust vectoring; three "magic hand" manipulators for maintenance use; retractable canopy shield for Battroid mode and atmospheric reentry; option of GBP-1S system, atmospheric-escape booster, or FAST Pack system
Transformation:
Standard time from Fighter to Battroid (automated): under 5 sec.
Min. time from Fighter to Battroid (manual): 0.9 sec.
Armament:
2x internal Mauler RÖV-20 anti-aircraft laser cannon, firing 6,000 pulses per minute
1x Howard GU-11 55 mm three-barrel Gatling gun pod with 200 RPG, fired at 1,200 rds/min
4x underwing hard points for a wide variety of ordnance, including
12x AMM-1 hybrid guided multipurpose missiles (3/point), or
12x MK-82 LDGB conventional bombs (3/point), or
6x RMS-1 large anti-ship reaction missiles (2/outboard point, 1/inboard point), or
4x UUM-7 micro-missile pods (1/point) each carrying 15 x Bifors HMM-01 micro-missiles,
or a combination of above load-outs
The kit and its assembly:
This fictional VF-1 is more or less “only” a camouflage experiment, spawned by a recent discussion about the German Luftwaffe’s so-called “Norm ‘81” paint scheme that was carried by the F-4Fs during the Eighties and the early Nineties. It is one of the most complex standardized paint scheme I am aware of, consisting of no less than six basic shades of grey and applied in two different patterns (early variant with angled/splinter camouflage, later this was changed into more organic shapes).
I have built a fictional post-GDR MiG-21 with the Norm ’81 scheme some years ago, but had always been curious how a Macross VF-1 would look with it, or how it could be adapted to the F-14esque airframe?
Concerning the model, it’s another vintage ARII VF-1, in this case a VF-1J, built OOB and with the landing gear down and an open canopy. However, I added some small details like the sensors in front of the cockpit, RHAWS sensors and bulges for ECM equipment on the lower legs (all canonical). The ordnance was subtly changed, with just two AMM-1 missiles on each outer pylon plus small ECM pods on the lo hardpoint (procured from an 1:144 Tornado). The inner stations were modified to hold quadruple starters for (fictional) air-to-ground missiles, left over from a Zvezda 1:72 Ka-58 helicopter and probably depicting Soviet/Russian 9M119 “Svir” laser-guided anti-tank missiles, or at least something similar. At the model’s 1:100 scale they are large enough to represent domestic alternatives to AGM-65 Maverick missiles – suitable against Zentraedi pods and other large ground targets. The ventral GU-11 pod was modified to hold a scratched wire display for in-flight pictures. Some blade antennae were added as a standard measure to improve the simple kit’s look. The cockpit was taken OOB, I just added a pilot figure for the scenic shots and the thick canopy was later mounted on a small lift arm in open position.
Painting and markings:
This was quite a challenge: adapting the Norm’ 81 scheme to the swing-wing Valkyrie, with its folded legs and the twin tail as well as lacking the Phantom’s spine and bulged air intakes, was not easy, and I went for the most straightforward solution and simplified things on the VF-1’s short spine.
The Norm ‘81’s “official” colors are all RAL tones, and I decided to use these for an authentic lokk, namely:
RAL 7009 Grüngrau: Revell 67 (acrylic)
RAL 7012 Basaltgrau: Revell 77 (acrylic)
RAL 7039 Quarzgrau: Xtracolor X259 (enamel)
RAL 7037 Staubgrau: Xtracolor X258 (enamel)
RAL 7030 Steingrau: Revell 75 (enamel)
RAL 7035 Lichtgrau: Humbrol 196 (enamel)
This basically plan worked and left me with a very murky aircraft: Norm ’81 turned out to be a kind of all-propose camouflage that works well against both sky and ground, at least in the typical German climate, and especially good at medium to low altitude. RAL 7030, 7037 and 7039 appear like gradually darker shades of the basically same brownish grey hue, framed with darker contrast areas that appear either greenish or bluish.
However, the Xtracolor enamels turned out to be total sh!t: they lacked pigments in the glossy and translucent base and therefore ANY opacity, esp. on any edge, at least when you use a brush like me. Not certain if using an airbrush improves this? The result were uneven and rather thick areas of paint, not what I had hoped for. And the Revell 75 just did what I hate about the company's enamels: drying up prematurely with a gooey consistency, leaving visible streaks.
After a black ink wash, very light post-shading was added. I should have from the start tried to stick to the acrylics and also mix the Xtracolor tones from Revell acrylics, a stunt that turned during the weathering process (trying to hide the many blemishes) out to be quite feasible. RAL 7037 was mixed from Revell 47 plus 89 in a ~1:1 ratio, and RAL 7039 from Revell 47, 77 and 87 with a touch of 09. Nevertheless, the paint finish turned out sub-optimal, but some shading and weathering saved most of the mess – even I am not satisfied with the outcome, the model looks more weathered than intended (even though most operational German F-4Fs with this paint scheme looked quite shaggy and worn, making the different shades of grey almost undiscernible).
After some consideration I gave this German VF-1 full-color (yet small) "Kite" roundels, together with a German tactical code. German flags and a vintage JaboG 32 squadron badge decorate the fin - a plausible move, because there are British Valkyries in source books that carry RAF fin flashes. Stencils and other markings came from VF-1 OOB sheets.
Finally, after some typical highlights with clear paint over a silver base were added, and the small VF-1 was sealed with a coat of matt acrylic varnish.
A spontaneous interim project, with interesting results. The adapted Norm ’81 scheme works well on the VF-1, and it even is a contemporary design from the era when the original TV series was conceived and aired. With the authentic tones I’d call it quite ugly – even though I was amazed during the photo session how well the different shades of grey (four from above!) blend into each other and break up the aircraft’s outlines. If there were no red-and-white roundels or the orange pilot in the cockpit (chosen intentionally for some color contrast), the camouflage would be very effective! Not perfect, but another special member in my growing VF-1 model fleet. ^^
Student Aaron Castillo tests a headset that he and his team have been developing to help people living with ALS.
Portra 160NC ain't shabby at all, either.
Norita 66 + Noritar 80mm f2 + Kodak Portra 160NC @ ISO100, Jobo/Tetenal C-41 Press Kit self develop
04/05/2023. London, United Kingdom. Foreign Secretary James Cleverly greets Bermuda Governor Rena Lalgie during the Small Island Developing States Coronation Event at Lancaster House. Picture by Rory Arnold / No 10 Downing Street
Another inevitable cliché....
La Pedrera or Casa Milà @ Barcelona by Antoni Gaudi
Rolleiflex 6006 + Fuji Pro 160S
Developed at home with Jobo CPE 2 Plus and Kit Tetenal C41
The Buick Super is a full-sized automobile produced from the 1940 through the 1958 model years (excluding WW II); it was built on Buick's larger body shared with the Roadmaster. It was replaced by the Riviera in 1964.
In 2008, Super returned as a performance trim level on V8-powered LaCrosse and Lucerne sedans until 2011.
SERIES 50 (1930–1935)
Originally the Series 50 had a 331.4 cu in (5,431 cc) six cylinder engine developing 99 bhp of power at 2,800 rpm, and Buick manufactured 28,204 cars. In 1931 the model remained almost unchanged, aside from minor appearance changes. Optionally, the model was equipped with a new 220.7 cu in (3,617 cc) straight eight-cylinder and 77 hp. With the temporary disappearance of the Series 40, Series 50 became the entry level model for Buick.
In 1932 the engine displacement increased to 230.4 cu in (3,776 cc), producing 82.5 bhp. In 1933, the aesthetics of the car was completely redesigned. The power delivered by the engine was increased again and now it was up to 86 bhp, and in 1934, the model power increased to 88 hp. Buick re-introduced the Series 40, which once again became the entry level model. In 1935 the Series 50 remained unchanged and the following year went out of production, having produced 127,416 examples. The model was reintroduced in 1940 under the name "Super".
1940–1941
When introduced in 1940 the new Series 50 Super featured the cutting-edge "torpedo" C-body. The new C-body that the 1940 Buick Super shared with the Series 70 Roadmaster, the Cadillac Series 62, the Oldsmobile Series 90, and the Pontiac Torpedo featured shoulder and hip room that was over 5" wider, the elimination of running boards and exterior styling that was streamlined and 2-3" lower. When combined with a column mounted shift lever the cars offered true six passenger comfort, changes that had clearly been influenced by the Cadillac Sixty Special.
The basic formula for the 1940 to 1952 Super was established by mating the Roadmaster's longer behind the engine cowl body to the Series 40 Special's smaller straight-eight engine (and consequently shorter engine compartment). This led to an economical combination of voluminous passenger room and relatively good fuel economy. (In contrast the Series 60 Century combined the smaller Special body with the larger Roadmaster engine.)
The new Super temporarily shared its 121.0 in (3,073 mm) wheelbase dimension with the 40 Special. Initially four body styles were offered: a 2-door coupe, a 2-door convertible, a 4-door sedan and a 4-door convertible. In the middle of the model year a 4-door Estate wagon was added which was exclusive to the Super. Interiors of Bedford cloth (either tan or gray) were offered. The engine was the same 248 cu in (4.1 L) 107 hp Fireball I8 as used on the Special which was equipped with an oil filter. The Super was equipped with sealed beam headlights and with Fore-N-Aft Flash-Way directionals. 1940 was the only year the Super could be equipped with sidemounts. A total of 128,736 units were sold in its first year.
The styling changes for 1941 were modest, but the changes under the hood were major. The compression ratio was raised from 6.15:1 to 7.0:1, the "turbulator" pistons were redesigned, smaller spark plugs were substituted for the previous type and “Compound Carburetion” was introduced, as it was on all Buicks except for the Special. Compound Carburetion was the forerunner of the modern four-barrel carburetor, and consisted of twin two-barrel carburetors. One unit operated all of the time, while the other operated only under hard acceleration. The new engine delivered 125 horsepower. All cars available with a choice of axle ratios and with two-tone color combinations with 19 selections at no extra charge. A new feature was a two-way hood that could be opened from either side. The 4-door convertible and the Estate wagon were gone but a new one year only body style was a 3-passenger 2-door Business Coupe which sold 2449 units. Overall sales fell to 92,067.
1942–1948
The 1942 Super coupes adopted the appealing Sedanet fastback style that had been the sensation of 1941 on Century and Special. New wider and lower bodies were offered and "Airfoil" front fenders that flowed into the lines of the rear fenders were introduced on convertibles and sedanet models. The Super had new front fender trim featuring parallel chrome strips. Also featured for 1942 was a handsome new grille with a lower outline and thin vertical strips. A feature shared with other Buicks was a new interior air intake positioned near the front center grille that eliminated the old cowl-level ventilator. The number of body styles was reduced to three with the elimination of the one year only Business coupe.
After the government prohibited the use of chrome on January 1, 1942 a number of body styles were dropped and most trim was now painted. Cast iron pistons were used in the 248 cu in (4.1 L) Fireball I8 engine. The last of the 1942 Buicks were completed on February 4, 1942. Only 33,034 Supers were built in the abbreviated model year.
In 1946 Buick once again combined the large Series 70 Roadmaster body with the economical Series 40 Special powerplant to create the Series 50 Super line. Basic styling was continued from 1942 now sedans had the front fender sweep across the doors to the rear fenders as did the Sedanet and convertible styles. A stamped grille with vertical bars dominated the frontal ensemble. Single stainless body trim lines began on the front fenders and ended at the rear edge of the standard rear wheelhouse shields. Standard equipment included an automatic choke, clock, ash receiver, turn signals and woodgrained instrument panels. Exterior series identification was found on the crossbar between the bumper guards front and rear. Cloisonne emblems carried the Super emblem. Compound Carburetion was eliminated and the compression ratio was reduced to 6.30:1. As a consequence the 1946 Super's horsepower fell from 125 to 110. Torque on the other hand was hardly affected. The number of body styles increased to four with the return of the Estate wagon after a six year absence. A total of 119,334 units were sold. The front suspension was independent with coil springs. 76.98% of Buick sales this year were Supers.
Combining big Roadmaster room with an economical Special engine continued to make the Super an American favorite in 1947. The Super was little changed from its 1946 counterpart, except for new stamped grille that had separate upper bar and new emblem. Stainless lower body moldings made a single line along the body and continued onto the standard wheelhouse shields. A white Tenite steering wheel was standard while the instruments were round and set into a two-toned dash panel. Exterior series identification was found on the crossbars between the standard bumper guards. A chrome emblem was used with the series script embossed and filled with red. Sales reached a record 159,588. The height was 64.9 inches. Brakes were 12 inch drums.
The main external change to the 1948 Super from its 1947 counterpart was the Super script on each front fender. Other series identification continued to be earned on the bumper guard crossbar. The car was a bit lower than in 1947 rolling on new 7.60 x 15 tires mounted on wheels with trim rings and small hubcaps. Super script was also found on the center crest of a new black Tenite steering wheel. New cloth interiors featured leatherette scuff pads and trim risers. The instrument panel was redone, using silver-tone instruments on a two-tone gray panel. The sedan was carpeted in the rear with a carpet insert also found in the front rubber mat. The convertible also featured cloth and leather interior trim with power top, seat and windows standard. Total sales were 108,521.
1949–1953
The Super shared a new General Motors C-body with the Roadmaster but on a shorter wheelbase. It featured three chrome VentiPorts on each front fender to denote its smaller straight-eight engine and shorter engine compartment when compared with the Roadmaster. The sales brochure noted that VentiPorts helped ventilate the engine compartment, and possibly that was true in early 1949, but sometime during the model year they became plugged. The idea for VentiPorts grew out of a modification Buick styling chief Ned Nickles had added to his own 1948 Roadmaster. He had installed four amber lights on each side of his car’s hood wired to the distributor so as to flash on and off as each piston fired simulating the flames from the exhaust stack of a fighter airplane. Combined with the bombsight mascot, VentiPorts put the driver at the controls of an imaginary fighter airplane. Upon seeing this, Buick chief Harlow Curtice was so delighted that he ordered that (non-lighting) VentiPorts be installed on all 1949 Buicks.
Super script was found just above the full length body fender molding on the front fenders. New fender edge taillamps were featured while rear fender skins remained a Buick standard. New fender top parking lamps, harkening back to 1941 styling appeared. Full wheel trim discs were standard along with such features as a cigar lighter, ashtray, and automatic choke. Cloth interiors were standard, except on the convertible which was trimmed in leather and leatherette and had a power top, seat and windows as standard equipment.
Dynaflow automatic transmission was now optional equipment on Supers in 1949. Cars so equipped had 6.9:1 compression ratio and 120 horsepower. Total sales set a record at 190,514 for the first time since the Super's introductory year. The instrument panel was new.
The 1950 Supers shared with all the other series totally new all bumper guard grille and more rounded styling. Super script appeared on front fenders just above the full length lower bodyside moldings. A new body style was a 2-door Riviera hardtop. Another new bodystyle was a long wheelbase sedan which was stretched an extra four inches (102 mm) and featured plusher interior than most Supers, which normally had cloth interiors of finer material than the Special. Supers had three VentiPorts on each hoodside. The convertible had leather power seats plus power windows and top.
The 1950 Super came with a single two-barrel carburetor on a new higher displacement 263 cu in (4.3 L) Fireball I8 which produced 112 hp (84 kW). It was able to achieve speeds over 90 miles per hour (140 km/h) with an optional Dynaflow automatic transmission which, rather than changing through gears, used the torque converter to couple the motor to a single gear ratio. The car had 2 splits in the back glass although the windshield was now curved one-piece glass. Models also could be equipped with an AM radio and an antenna that could be adjusted via a knob in the front center above the windshield. In the June 1953 Popular Mechanics, acceleration was rated at 0-60 mph in 14.5 seconds. The Super set an all time record of 251,883 sold.
In 1951 Supers had larger bodies than Specials but looked similar with three rounded VentiPorts per fender, broad bright fender shields and a full length "Sweepspear" chrome body side molding. This chrome-plated strip started above the front wheel, after which it gently curved down nearly to the rocker panel just before the rear wheel, and then curved around the rear wheel in a quarter of a circle to go straight back to the taillight. Series script was found on the deck lid and within the steering wheel center. The long wheelbase sedan was named the Riviera sedan although it was not a hardtop. Supers were trimmed with materials similar to Special Deluxes except for in the plush Super Riviera sedan. Front turn signals were within the bumper guard "bombs," while rear signals shared the stop lamps' housing on the rear fender edges. The convertibles and Estate wagon were trimmed in leather. 169,226 Supers were sold.
In 1952 Buick's mid-priced line resembled the Series 40 with three VentiPorts per fender and Sweepspear rocker panel trim. Super script appeared on the rear fenders aided identification. The Super was built with the larger C-body, however. The full flowing fenderline dipped deeper on this body and rear fenders had a rear crest line absent on the B-body Specials. A new deck lid gave a more squared off appearance. Like other Buick series it was a near copy year for 1952. Chromed rear fender fins gave distinction to 1952 Supers. Interiors were cloth except on convertibles and Estate wagons which were trimmed with leather. The Super used a different instrument panel than the Special. It was distinguished by a large center speedometer housing flanked by smaller gauge housings. Series identification was found within the steering wheel center. The Sedanet and the regular wheelbase sedan were cancelled. Sales fell to 135,332.
In 1953 Buick's middle priced line shared the Roadmaster's new V8 and, for this year the Roadmaster shared the Super and Special's 121.5 in (3,086 mm) wheelbase. The Super earned a horizontal trim bar on its rear fenders which distinguished it from the Series 70 Roadmasters. Otherwise its side trim bar on its rear fenders was identical although the Super was had only three VentiPorts on each front fender. Series identification was found on the deck emblem. Full wheelcovers were now standard. The vee in the bombsight ornament signified the V8 power under the hood. Interiors in most models were nylon and silky broadcloth. The convertible had power windows, seat and top as standard equipment. Dynaflow was now standard equipment. Air conditioning was a new option. A total of 190,514 Supers were sold.
1954–1956
Using the new larger General Motors C-body, with vertical windshield pillars and the new Panoramic windshield, the Super for 1954 was a big Buick for the budget minded buyer. Identified by its three VentiPorts per fender, the Super script on the quarters and the series designation within the deck ornament, the Super shared other brightwork with the Roadmaster. Interiors were nylon and were plainer than in the Roadmaster. The Super did have the more expensive car's horizontal speedometer instrument panel. The convertible was upholstered in leather and had power-operated windows, seat and top, along with an outside rearview mirror on the left, as standard equipment. The Estate wagon was discontinued. Total sales fell to 118,630.
In 1955 Buick's popular Super continued to combine the large C-body interior expanse with medium bracket interiors and performance. Supers had four of the new round VentiPorts per fender this year, with additional series script found on rear quarters and within the deck emblem. The side Sweepspear was unchanged from 1954. The larger bodied Buicks were readily identified by their more rounded contours, straight up windshield pillars and sedan rear quarter windows. Series 50 Super and 70 Roadmaster headlamp bezels also housed parking lights. Inside, a new Red Liner speedometer lay horizontally across the instrument panel. Interiors were trimmed in nylon/Cordaveen combinations, except for the convertible which featured leather seats. Standard Super equipment included trip mileage indicator, electric clock and, on convertibles, a power horizontal seat adjuster. Super sales rose to 132,463.
In 1956 although the Super was larger Buick, with vertical windshield posts and four VentiPorts per fender, it had a deep Sweepspear similar to the smaller Series 40 Special and Series 60 Century cars. Series script was found on rear quarters and within the deck and grille emblems. Interiors were Cordaveen and patterned nylon, except for convertibles which were all-Cordaveen trimmed and had power windows, horizontal seat adjustment, and a power top in its standard form. Dynaflow was now standard on all Supers, along with foam seat cushions, a trunk light, electric clock, directional signals, front and rear armrests, sliding sunshades, cigarette lighter, glove compartment light, map light, dual horns, Step-On parking brake, Red Liner speedometer and trip mileage indicator. A new body style was the 4-door Riviera hardtop. Sales of the Super fell to 80,998.
1957–1958
The Super used the new General Motors C-body for 1957. Larger than the Series 40 Special and Series 60 Century B-body, the Riviera body styles had different roof treatments as well. Supers had a group of three Chevrons on each rear quarter or door for series identification, in addition to the normal wording within the grille and deck emblems. Four VentiPorts were used on each front fender. Closed models were upholstered in Nylon/Cordaveen combinations while the convertible had an all-Cordaveen interior and featured power windows and seat controls as part of its equipment. Standard Super equipment included foam rubber seat cushions, automatic trunk lamp, Red Liner speedometer, glovebox lamp, dual horns, trip mileage indicator, directional signals, dual sunshades, color coordinated dash panel, and on the convertible, outside left-hand rearview mirror. The 4-door pillared sedan body style was gone. Engine displacement was increased to 364 cu in (6.0 L) on the Nailhead V8. Nevertheless, sales fell to 70,250, the lowest level with the exception of the abbreviated 1942 model year.
The once most popular Buick line was reduced to two body styles for 1958 with the elimination of the convertible. Side trim was similar to lesser series, except for the Super lettering on the rear fender flashes, but Supers were longer than the Series 40 Specials and Series 60 Centurys. The Super name was also lettered across the deck lid. Standard equipment included Variable-Pitch Dynaflow, power steering, power brakes, a safety-cushion instrument panel, fully carpeted floor, courtesy lights, full wheelcovers, foam rubber cushions, electric clocks, dual horns, ignition key light, glovebox, cigar lighter, trip mileage indicator, geared vent panes, bumper guards, variable speed wipers, Step-On parking brakes, and, on convertibles, an outside rearview mirror. Interiors were trimmed with gray cloth and vinyl or Cordaveen and vinyl. A plusher Custom interior was available at extra cost. Sales fell further to 42,388, the lowest with the exception of the wartime 1942 model year.
2008–2011
The Super name was resurrected after a 50 year absence as a new performance trim level on LaCrosse (2008-2009) and Lucerne (2008-2011) models.
The LaCrosse Super was powered by a 300 horsepower 5.3 L small-block V8 engine while the Lucerne Super had a 292 horsepower 4.6 L Northstar V8 engine. Both came with high levels of standard equipment.
WIKIPEDIA
Karate For Kids
Karate for kids classes in Cave Creek, Chandler, Mesa, Glendale, Arizona are taught in a method to develop life skills such as respects, enhanced self-discipline, greater confidence and respect in children. The karate for kids programs with the local ATA martial arts schools doesn’t only teach how to kick and punch. The karate classes will teach kids the valuable life lessons of self-control and the ability to defend themselves. All of the Karate Kids classes teach the attributes necessary to be a confident individual within our community.
Our Local ATA Martial Art schools in Cave Creek, Chandler, Mesa, Glendale, Arizona have carefully designed the karate programs for the youth within the community- age appropriate programs that are specifically aimed at the child’s development both physically and mentally. These karate lessons are taught through a top ranked and nationally recognized “Karate For Kids” program, that has a well established training curriculum designed school aged students.
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#1 with parents in the ATA Karate Schools in Cave Creek, Chandler, Mesa, Glendale, Arizona is the renowned Karate for Kids character development “ATA Life Skills” program designed for personal Victory in Martial Arts with skills such as perseverance, integrity, courtesy, self-esteem and the respect for others while incorporating social life skills that develops naturally within the group.
It is always a good time to start a program at one our three locations as the #1 Karate For Kids schools in Las Vegas and Henderson. Together with kids their own age, every youngster can mature and grow with the self confidence that a karate kids program develops within them.
Martial Arts Classes For Women
In today’s world of fitness, women are looking for a structured and interesting workout in a manner to stay fit that breaks away from their traditional daily routine. Repeating the same exercise every day can be draining and break ones motivation and is rarely goal oriented. It isn’t the normal daily gym workout. ATA Martial Arts of Cave Creek, Chandler, Mesa, Glendale, Arizona is a training facility that women are finding the variety of goal oriented conditioning that is exciting. While the physical nature of martial arts is rewarding and a personal martial arts victory, it also teaches the self defense and survival tactics that is needed in todays ever changing world.
There are many important mental and physical health benefits in our women’s martial art classes in Las Vegas and Henderson. While toning vital muscles and building coordination will enhance self-confidence, awareness and increase cardiovascular is health. Women who Attend ATA karate classes will improve balance, flexibility, increase exercise stamina levels while developing a greater sense of self-esteem, hence the term… “Victory” in Martial Arts.
Martial Arts have been known to provide much needed stress relief, promote self-control, concentration, and boost the ability to remain calm under stress. ATA Martial Arts routines are even helping women keep their memory sharp on a day-to-day basis!
Cave Creek, Chandler, Mesa, Glendale, Arizona ATA Martial Arts facilities are the community martial arts experts that provide rigorous karate classes for women of all ages to develop their strength of body and mind.
It’s a fact! Women are breaking away from their traditional exercise routines such as gym workouts and finding balance, freedom and motivation at ATA Martial Arts. It’s time for you to experience the benefits of karate classes designed for women with the community Martial Art experts in Las Vegas and Henderson.
Adult Martial Arts Classes for Men
Martial Arts classes for men in Cave Creek, Chandler, Mesa, Glendale, Arizona is more then just kicking and punching. ATA Karate Classes create a stronger self awareness, enhanced confidence, greater focus, and a true Victory in Martial Arts for men of all ages.
In an adult class a karate student will train will practical concepts in a safe, clean and enjoyable facility, while incorporating life skills to de-stress from life’s everyday challenges. Las Vegas ATA Martial Arts and Henderson ATA Martial arts offers three location to serve our community. Learning a skill set that will stick with you for life, no matter what age, allowing you to gain the self confidence desired so that you can feel comfortable with confrontation in any real life situation.
As one of the top martial arts training facilities in the community our Martial Arts programs such as Karate for Kids, Taekwondo and MMA and Fitness is a key method of enhancing the body’s functions, including flexibility, coordination, and balance with strength and endurance. Yes! It relieves stress while having some fun as well as meeting new people. As an adult, you do not need to have prior training before you get into a Martial Arts class. ATA Martial Arts has a defined teaching curriculum designed to take each student to the peak of their performance while greatly enhancing their skills creating a personal “Martial Arts Victory”.
KRAV MAGA & MMA FITNESS
Krav Maga and ATA’s MMA and athletic training is combined to provide a diverse full body workout while incorporating real life scenario drills for self defense.
This class features a structured curriculum that is in continuous motion utilizing all levels of MMA and Krav Maga skills with self defense drills in a manner to enhance cardio-respiratory for your cardiovascular system. Krav Maga students don’t’ just perform blocks, punches, kicks and movements you would find at a gym to music or in the mirror, students train in an environment that is preparing them for real life conditions.
The Krav Maga & MMA Fitness in Cave Creek, Chandler, Mesa, Glendale, Arizona is a true Conditioning Program that specializes in a Total Body Workout that doesn’t feel like to boring fitness class you may have taken before. Krav Maga Conditioning Program brings a fresh experience and keeps each and every student motivated in class on a day to day basis.
With a strong dedication and commitment to the Krav Maga and MMA Fitness Training student, Krav Instructors teach a combination of strength training, combatives, flexibility skills, and workouts with our top notch academy training facility. There is a emphasize on muscular strength and cardiovascular endurance for Krav students in Henderson and Las Vegas while instilling the distinctive awareness and self defense techniques needed for street survival in our ever changing world.
Correct body alignment to maximize efficiency can be key, our team of professional instructors will work on refining Krav Maga technique through exciting repetition drills and training.
All levels of Krav Maga, MMA & Fitness from the beginner to the experienced can train at anyone of our three locations. Call today and don’t delay.
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Director Theophilus Raynsford Mann
~ a Taiwanese social reformer, philosopher, photographer, and film director
“Do Everything for My People”
馬天亮導演
~ 臺灣的社會改革者，哲學家，攝影師，和電影導演
《造福人民》
SUMMARY
Theophilus Raynsford Mann is a naturalist, occultist, Buddhist and Taoist. In 1982, Mann developed a technique for abstract photography, applied “Rayonism” into photographic works. Mann staged 32 individual, extraordinary exhibitions around Taiwan, who was the first exhibitor around Formosa. Mann’s works is the beginning of modernization in the modern abstract arts in the world. At the University of Oxford, Mann’s attractive topic was “A View of Architectural History: Towns through the Ages from Winchester through London Arrived at Oxford in England”; also an author at the University of California, Berkeley and the University of Michigan in the United States; an alumnus from Christ Church College at the University of Oxford in England, the University of Glamorgan in Wales, and National Taiwan University in Taipei on Taiwan. Mann’s works have been quoted by the scholars many times, making Mann one of the highly cited technological, artistic, and managing public administrators in the academia. Mann was listed in “Taiwan Who’s Who In Business” © 1984, 1987, 1989 Harvard Management Service.
Early Life and Record of Genealogy
Theophilus Raynsford Mann possesses both Taiwanese and German surnames from birth. Usually, whenever anyone asks Mann about where he comes from, he would reply “Formosa” as he grew up and was educated in the Far East and lives in Taiwanese and Japanese lifestyles. Moreover, he often teaches and educates younger generations based on the methods of the Far Eastern teaching he experienced when he was young, though he does not oppose the Western ways of teaching and thinking. Mann takes great pride in his roots, which go back 150 years (since 1864); Mann’s ancestry originates and creates generations, and prepares younger generations to succeed their personality and ethical standards and integrity.
Education in Taiwan and a Brief of Latest Generation of History in Taiwan / Formosa
In 1980, Mann obtained his postgraduate certificate from the Graduate Institute of Electrical Engineering of National Taiwan University in Taipei; successfully completed another graduate studies in Information dBase III Plus and Taiwanese Traditional Chinese Mandarin Information System at National Sun Yat-Sen University in Kaohsiung in 1989.
In history, the Portuguese explorers discovered and called the island (Taiwan), “Formosa” (meaning “Beautiful Island”) in 1590. They are non-Chinese people; it was long a Chinese and Japanese pirate base. Fighting continued, between its original inhabitants of Taiwanese and the Chinese settlers, into the 19th century. In 1894-95 first Sino-Japanese War that ended in Manchus of the Qing (Ching) dynasty defeat, the late Manchu Qing Government forced to cede Formosa to Japan. This result was made by the Treaty of Shomonoseki in 1895 and remained under Japanese control until the end of the Second World War. Early on, Taiwan was conquered by the Qing in 1683 and for the first time became part of older China dynasty. However, today, the home country of Mann’s origin has around 165 institutions (93 universities) of higher education, which now has one of the best-educated populations in Asia. Among the major public (state) ones are the National Taiwan University (NTU) at Taipei, and National Sun Yat-Sen University (NSYSU) at Kaohsiung. NSYSU is also called National Chun-Shan University; according to Times Higher Education 2010-2011, NSYSU ranks as the 3rd university in Taiwan, 21st in Asia, and 163rd worldwide. National Taiwan University is ranked 51 to 60 ranks on Times Higher Education World University Rankings - Top Universities by Reputation 2013, the United Kingdom (see www.timeshighereducation.co.uk/world-university-rankings/...); King's College London (KCL) (21st in the world and 6th in Europe in the 2010, QS World University Rankings), the University of London, and University of Southern California (is one of the world's leading private research universities, located in the heart of Los Angeles), afterward.
Backing to Mann’s early school-time of Taiwan Provincial Kaohsiung Industrial Senior High School (Kaohsiung Municipal Kaohsiung Industrial High school), the professional technical education, which is equivalent to Advanced Level General Certificate of Education, commonly referred to as an A-level in the United Kingdom; China Electronic Engineering College, the distance learning programme, which is in equivalence as UK’s Diploma of Higher Education / Undergraduate Diploma (as an Associate Degree in the United States). An additional, his middle education was taught by the Kaohsiung Municipal Chihjh (Ci Sian) Junior High School; and Kaohsiung Municipal San Min Elementary School was his first school in Taiwan.
Early Career
In 1989, Mann instituted Mann’s Office of Electrical Engineer, he settled himself in electrical technology and industries as a chief engineer in his early years. He put his professional and precise knowledge to good account in business management. A formal business management with business relationship established to provide for regular services, dealings, and other commercial transactions and deed. He had many customers having a business and credit relationship with his firm then he was a successful engineer.
Study Abroad and Immigration into the United Kingdom
In 1998, Mann studied abroad when he arrived in Great Britain; he studied at School of Built Environment, the University of Glamorgan (Prifysgol Morgannwg) in Merthyr Tydfil, Pontypridd, Wales for a master of science in real estate appraisal. Until the summer of 2000, Mann completed an academic course on “Towns through the Ages” from Christ Church College at the University of Oxford (is ranked the 2nd place worldwide on The Times Higher Education, World University Rankings 2012-2013 www.timeshighereducation.co.uk/world-university-rankings/...) in England. Afterward, Mann immigrated into the United Kingdom in the early year of 2004.
PHILOSOPHICAL VIEWS
Mann is a naturalist; he trusts spiritual naturalism and naturalistic spirituality, which teaches that “the unknown” created this wonderful world. “The unknown” arranged the nature with its law so that everything in nature is kept balanced and in order. However, human beings failed to control themselves, deliberately went against the law of nature, and resulted in disasters, which we deserved. He also is an occultist, a Taoist, and a Buddhist; but in Britain, he frequently goes to Christian and Catholic churches, where he makes friends with pastors and fathers as well as churchgoers. In his mind, he recognizes “Belief is truth held in the mind; faith is a fire in the heart”. He is always a freethinker, does not accept traditional, social, and religious teaching, but based on his ideas: a thought or conception that potentially and actually exists in his mind as a product of mental activity - his opinion, conviction, and principle. If people have not come across eastern classics and philosophy, we are afraid that people would never understand Theophilus Raynsford Mann. People cannot judge an eastern philosopher based on western ways of thinking. He studies I Ching discovering eastern classics of ancient origin consisting of 64 interrelated hexagrams along with commentaries. The hexagrams embody Taoist philosophy by describing all nature and human endeavour in terms of the interaction of yin and yang, and the classics may be consulted as an oracle.
Back in the 1990s when Mann just arrived at England, he had been offered places to do Ph.D. and LL.M. degrees (degree in Law and Politics of the European Union) by several western professors in the Great Britain. He has met all the requirements for postgraduate admissions to study at UK’s universities.
During his time at Oxford, he learnt a lot of British culture and folk-custom while carrying out research with many British and Western professors, experts, and archaeologists. This proves that Mann understands various aspects in British society, culture, and lifestyles. Of course, he does not fully understand about the perspectives of thinking of a typical British. For example, what would be the most valuable in life for a British person? What would a British want to gain from life? What is the goal in life for a British? Is it fortune or a lover? Alternatively, perhaps honour? On the other hand, maybe being able to travel around the world and see the world?
FAIRNESS and JUSTICE
As Theophilus Raynsford Mann’s saying are:
“Touching Fairness and Justice”
Feel good about themselves, but do not know the sufferings of the people...
Who can get easy life like them?
What is profile of modern society?
What type and style is truly solemn for this society identify?
Where “the characterization” is? Who can see? Did you see it?
《感動的公平與正義》
自我感覺良好, 不知民間疾苦...
誰能得到安逸的生活如同他們一樣？
這是個什麼樣子的社會？
這個社會認定什麼樣的類型和風格是真正莊重的?
「特徵」在那裡？誰可以看到？你看到了嗎？
Jurisprudence and Political Philosophy and Perspectives
Mann ever studied judicial review and governmental action, the impact of law and legal techniques, constitutional mechanisms for the protection of basic rights, and ensuring the integrity of commercial activity, the impact of law and legal techniques on government, policymaking, and administration, as well as the creation of markets. He tries to understand these critical trends in the political development of modern state. Mann will combine both theoretical and empirical approaches, and the conditions for democratic transition and the nature of state development in the ‘post-industrial’ era of globalisation and economic integration.
According as Mann’s legal experiences, he comprehend that “the knowledge of the law is like a deep well, out of which each man draught according to the strength of his understanding”, and, law and arbitrary power are in eternal enmity. He is also sure law and institutions are constantly tending to gravitate like clocks; they must be occasionally cleansed, and wound up, and set to true time.
The government issues a decree - an authoritative order having the force of law, which charged with putting into effect a country's laws and the administering of its functions. Any of the officials promulgate a law or put into practice relating to the government charged with the execution and administration of the nation's laws then they announce and carry out the creation of any order or new policy that will be responsible for the people.
Mann had knowledge in connexion with construction law; he also understands architectural arts, and as well learnt the forms by combining materials and parts include as an integral part concerning modern construct. I ever built urban buildings and rural architecture in different styles under new housing and building projects by the governmental administration and construction corporations.
Right now, Mann studies the problems caused by ethnic disputes and human armed conflicts in the modern society resulted code of mixed civil and criminal procedure. He wishes an agreement or a treaty to end human hostilities - the absence of war and other hostilities around the world. The interrelation and arrangement of freedom from quarrels and disagreement become harmonious relations living in peace with each other. Actually, erect peace in more friendly ways of making friendships for modern human society is comfortable in my ideal. It is like building monolithic architecture: houses and buildings for the people. Mann would like to do “something beautiful for `the unknown`”.
In the ethnic disagreement and armed conflicts as concerning the poor people and children notwithstanding they live through a bad environment on any of poor or crowded village or town in a particular manner - lived frugally. However, after years of industrialisation as a more educated population, becomes more aware of global plenum, continuing to be alive. Environmental groups are increasing and lobbing government will legislate to stop bad environmental and social practices. The establishments of human rights’ wide and untiring efforts will be alleviated people’s suffering. And as well the poor people shall meet and debate sustainable development and for a concerted government led action towards sustainability is an example that the younger generation are concerned for the future. It shall be making the younger easier for their life and make better on their lives, and help them to build a better future.
In present world, Mann really knows the full meanings of “Fundamental Human Rights and Equal Opportunities for the People”. He thinks ethics is the moral code governing the daily conduct of the individual toward those about him / her. It represents those rules or principles by which men and women live and work in a spirit of mutual confidence and service. Without going into the question of how an ethical code was formulated or why anybody should obey it, we can look at the matter in a common-sense fashion with reference to its influence upon our legal affairs. In brief, from the law point of view, a reputable ethical code embodies the qualities of accuracy, dependability, fair play, sound judgement, and service. It is based upon honesty.
No person can have an ethical code that concerns him / her alone. Living in society, as he / she must, a person encounters others whose rights must be respected as well as his / her own. An honest regard for the rights of others is an essential element of any decent code of ethics, and one that anyone must observe if anybody intends to follow that code. After all, ethics is not something apart from human beings. Indeed, there is no such thing apart from our actions and us. It is the duty, therefore, of every man and woman in legal affairs to see that his daily associations with others are truly in conformity with the plain meaning of the Ten Commandments: “Thou shalt not barratry, thou shalt not bear false witness, thou shalt not receive illegal fee and the rest”.
The knowledge Mann has, in connection with legal affairs, was usually come from his precious experiences of his past over ten year’s law and political careers. In an interval regarded as a distinct period of 1980s, he studied mixed civil and crime, and the code of mixed civil and criminal procedure for the problems caused by ethnic disputes and human armed conflicts in the modern society. He was especially one who maintains the language and customs of the group, and social security in Taiwan.
Since 30 July of 1988, Mann settled himself in law as a chief executive and scrivener at Central Legal, Real Estate, and Accounting Services Office; it is in the equivalent to a solicitor of the United Kingdom. The Office provided full legal, accounting, real estate, and commercial services to the public. He did his job as a person legally appointed by another to act as his or her agent in the transaction of business, specifically one qualified and licensed to act for plaintiffs and defendants in legal proceedings and affairs. Over and above Mann was a chairman and executive consultant at Taiwan Credit Information Company®, founded in 1994. The company offered services to the public in response to need and demand in the area of credit information.
Mann had excellent experiences in political and law work was pertaining to mixed civil and crime, the code of mixed civil and criminal procedure, construction, and commercial law abroad. The experiences of legal services related to the rights of private individuals and legal proceedings concerning these rights as distinguished. In the criminal proceedings, he did many cases for the defendants. Although an act committed or omitted in violation of a law forbidding or commanding it and for which punishment is imposed upon conviction; but he also laid legal claim, required as useful, just, proper, or necessary to the defendants under the human rights in the meantime. This provision ensures to the defendant a real voice in the subject.
The men whose judgement we respect are those who do not allow prejudices, preferences, or personalities to influence their decisions. Profit and self-aggrandisement are likewise ignored in their determination to reach an equitable and fair settlement. What are the basic principles upon which good judgement is founded? A keen intellect, a normal emotionally, a through understanding of human nature, experience of law work, sincerity, and integrity.
Developed a Technique for Abstract Photography and Abstractionist
In 1982, Mann developed a technique for abstractive photography, which applied “rayonism” to the photographic works. In November of 1984, Mann was 26-year-old, he instructed many professors and students of National Taiwan Normal University in photography of abstract impressionism and rayonnisme in Taipei, Taiwan. The word “rayonnisme” is French for rayonism - a style of abstract painting developed in 1911 in Russia.
Photographic Exhibitions
Theophilus Raynsford Mann Photographic Exhibition of “Rayonnisme / Rayonism” Tour - Invitational Exhibition of Taiwan 1983-84.
一九八三〜八四年中華民國臺灣 馬天亮攝影巡迴邀請展
Theophilus Raynsford Mann Photographic Exhibition of Rayonism (32 individual exhibitions) 1983~1985.
馬天亮『光影』攝影特展（個人展32場）1983〜1985年.
Mann staged 32 individual, extraordinary exhibitions and annual special exhibitions on photography of abstractive image and Rayonnisme around Taiwan / Formosa. Mann was the first exhibitor around the country. All of the invited displays were by the Taiwan’s Government, cultural and artistic organisations, and sponsors. Mann’s earliest exhibition took place in the National Taiwan Arts Education Center (Museum) on 19 December 1983 when Mann was 25 years old; Mann was the youngest exhibitor in the history of the Center in any solo exhibitions. The Center that was opened in March 1957, kept a collection of Mann’s work. It is currently updating the Center’s internal organisation and strengthening co-operation with leading centers and museums around the world. Meanwhile, it widened the center’s scope to increase its emphasis on Taiwan’ regional culture and folk arts.
Modernization in the Modern Abstract Arts of Taiwan
Mann’s works is the beginning of modernization in the modern abstract arts of Taiwan, China and greater Chinese society in the world. The use of “modernisation” as a concept that is opposed to “Traditional” of “Conservative” ideas began with the approach of the 20th century. It spreads rapidly through academic circles, and was broadly accepted as a means to reform society. Chinese Manchu Qing (Ching) dynasty’s first steps toward modernisation began in the Tung-chih era (1862-1874) with the “Self-Empowerment Movement”. During the late 19th century, as late Manchu dynasty was confronted on all sides by foreign aggression, voices throughout society debated the most effective means to reform and strengthen the country. Some advocated “combining the best of East and West”, while others went so far as to call for “complete Westernisation”. Taiwan was at the centre of these waves of reform. Faced with direct threats against the island by foreign enemies, the Chinese Ching dynasty court took special steps to push Taiwan’s modernisation.
In a role just like that of a gardener wanting to create a rich and fertile environment for the seeds of culture, one in which Mann may sprout, grow and bloom. Mann aims to provide an educational stimulus for society by introducing his works - Mann can express the neo-romantic spirit deftly from various creations and supporting international artistic exchanges. Mann believes that the first step in creating such a new and independent state is the real emergence of culture and arts, for which the art and science of designing and erecting buildings, and fine arts (including photography and motion picture) of the civilization is a good measurement of success. For the foreseeable future, Mann should be continuing to forge ahead, working diligently and unceasingly towards its mission of raising China and Formosa / Taiwan’s culture in his spare time.
Became an Author and a Scholar
In 1980, Theophilus Raynsford Mann completed his first book - scenario original “The Soul's Sentimentalizing”, also named: “Hun Yun : Jin Qi Tu Rui” 電影原著《魂韻》(衿契吐蕊) then Mann was at the age of 22. In 1983, The General Library of the University of California, Berkeley in the United States of America, collected and kept Mann’s writings - scenario original 「魂韻 : 衿契吐蕊」“Hun Yun : jin qi tu rui”, included a musical composition of his own – “Sonate Nr. 1 C-dur op. 3 für Klavier (piano)”, composed on 3rd April 1977 then Mann was 18 years old. The works were published in 1980; the theme was based on “The Soul's Sentimentalizing”. Another masterpiece was an Album of Academic Work for News Publication “Theophilus Raynsford Mann Photographic Exhibition of Rayonnisme / Rayonism”, published in 1985. The Hathi Trust Digital Library, the University of Michigan also collected and kept Mann’s writings.
Authorship
Mann’s articles and writings were published in more than 200 different kinds of domestic and foreign magazines, newspapers, and periodicals, in the period between May of 1972 and 1990s. It was all started when Mann was just 13-year-old. Many of which have been very influential. These have been quoted by Western and Eastern scholars many times in the last few years, making Mann one of the highly cited technological, artistic, and managing public administrators in the world in the late 20th and early 21st century. The Ministry of the Interior in Taiwan had registered Mann’s professional writings and given him two certificates of copyright. The numbers are 33080 and 33081 on 4th July of 1985; and Taiwan’s Gazette of The Presidential Office issue No. 4499, featured his writings on 4th September 1985.
Became an Academic and Film Director
Today, Mann is a professor at Space Time Life Research Academy, and a photographer, film director, and computer engineer now live and work in London.
Director Works:
FILMS:
Experimental Film “New Image for the Spring” © 1982
Documentary Film “Rayonnisme” © 2011
“The Soul's Sentimentalizing” of the feature film is based on the scenario original “The Soul's Sentimentalizing” (preparation)
FASHION SHOWS:
New Image for the Spring of Shapely Models International © 1982
High Lights on the Summer and Fall Fashion of Shapely Models Int’l © 1982
ART EXHIBITIONS:
The Cadillac Club International Fine Arts Exhibition © 1981
The Cinematic & Photographic Arts Salon and the Hall of the Arts, Pegasus Academy of Arts © 1981
Musician Work:
MUSIC COMPOSITION:
Sonate Nr. 1 C-dur op. 3 für Klavier (piano) © 1977, © 1980, © 1981, © 1983, the theme was based on “The Soul's Sentimentalizing”.
PHOTOGRAPHIC ALBUMS:
Portrait and Landscape in France © 2000
Portrait and Landscape in Scotland © 2001
Portrait and Landscape in England © 2009
Portrait at Queen Mary, University of London © 2010
Rayonism of London © 2011
Portrait at The University of Nottingham, United Kingdom © 2011
Snowy London © 2012
Portrait at King's College London © 2013
BOOKS:
Scenario Original 「魂韻」(衿契吐蕊) “Hun yun: jin qi tu rui” © December 1980, © 1981, © 1983 (Date of First Publication: 31 December 1980, Second Edition on 29 July 1981, Date of Revision: Revised Edition on 8 May 1983), Languages: Chinese (traditional), and English language.
“Album of the Cadillac Club International Fine Arts Exhibition” © 1981
“Album of the Cinematic & Photographic Arts Salon and the Hall of the Arts, Pegasus Academy of Arts” © 1981
“Album of New Image for the Spring of Shapely Models International” © 1982
“Album of High Lights on the Summer and Fall Fashion of Shapely Models Int’l” © 1982
“Romantic Carol” © 1982
Album of Academic Work for News Publication: “Theophilus Raynsford Mann Photographic Exhibitions of Rayonnisme” © May 1985
New version of scenario original “The Soul's Sentimentalizing” (to be published)
「曾經輝煌到頂天立地」(individual biography, to be published)
“My Life, My History, and My Love” (based on a legend, to be published, a film scenario will be developed later)
「感動的公平與正義」“Touching Fairness and Justice” (political science and social studies, to be published)
Research Interests:
University of Oxford
Research Studies in Archaeology:
Mann’s attractive topic was “A View of Architectural History: Towns through the Ages from Winchester through London Arrived at Oxford in England”.
National Taiwan University
Graduate Certificate,
Graduate Institute of Electrical Engineering:
Mann’s monograph of seminar was “Applied the sequence control in the electric power distribution engineering”.
University of Glamorgan
M.Sc. Course,
Master of Science in Real Estate Appraisal:
Mann’s thesis - major subject, with relevant construction law was “The Assignment is under Economics of Construction Management in Architecture”.
National Sun Yat-Sen University
Postgraduate Certificate,
Postgraduate Studies in Computing:
Mann’s required subject was Information dBase III Plus and Taiwanese Traditional Mandarin Chinese Information System. He combined academic course work and practical laboratory sessions in “Applied Mandarin Phonetic Symbols into Traditional Taiwanese Personal Computer and Its Information System”.
Associations:
Member of The Kaohsiung Life Line Association since 11 January 1979, an association established in the USA.
Member of The Society of Youth Writers, Tien (Catholic) Educational Center, Taipei since 1980.
Since 1980, a member of Chinese Taipei Film Archive (CTFA, National Film Archive, Taiwan; founded in 1978), The Motion Picture Foundation, R.O.C. (member of Fédération Internationale des Archives du Film, FIAF; The International Federation of Film Archives was founded in Paris in 1938 by the British Film Institute, the Museum of Modern Art in New York City, the Cinémathèque Française and the Reichsfilmarchiv in Berlin.)
Commissioner of the cinema, photography, radio, and television committee of The Culture and Arts Association (Chinese Writers and Artists Association) of Taiwan ever since September 1983.
Classic member, the membership is equivalent to a doctorate membership of the Chinese Institute of Electrical Engineering since 23 March 1984.
On 15 March 1989, Mann promoted and founded the Consortium Juridical Person Mr. Theophilus Raynsford Mann Social Benefit Foundation 財團法人馬天亮先生社會公益基金會籌備處 (Social Charity 社會慈善事業) in Taiwan.
near.archives.gov.tw/cgi-bin/near2/nph-redirect?rname=tre...
Classic member, the membership is equal to a professor or associate professor of The Chinese Institute of Engineers since 30 September 1991.
Honours:
Listed on ‘Taiwan Who’s Who In Business’, © 1984, © 1987, and © 1989 Harvard Management Service.
中華民國企業名人錄編纂委員會, 哈佛企業管理顧問公司.
On 26 August 1985, Mann was awarded a professional certificate of the Outdoor Artistry Activities issued by Education Bureau, Kaohsiung City Government, Taiwan. He acquired awards and certificates of honour about twenty times from National Taiwan Arts Education Center (Museum) on 24 December 1983; Kaohsiung Municipal Social Education Center on 17 March 1984, Kaohsiung Cultural Center, Taipei Cultural Center (Taipei Municipal Social Education Hall); and Taiwan Province Government, Taipei City Government, Kaohsiung City Government, and many cultural centres and art galleries, and so on.
Careers:
Honorary Professor at Space Time Life Research Academy, 7 June 2012 to present; Professor at Space Time Life Research Academy, 1 September 2011 to 1 June 2012 in London, United Kingdom:
Academia,
Teaching and Research:
business management and consultant, political philosophy, Chinese classics, Chinese humanities, modern Chinese language and literature, photography (portrait, fashion, commercial, digital, architectural, abstract photography), visual arts and filmmaking.
教學與研究：
企業管理及顧問、政治哲學、中華經典 (古典漢學、文學、藝術、語言) 、中華人文、中華現代語言與文學、攝影 (人像、時裝、商業、數位/數碼、建築、抽象攝影) ，視覺藝術和製作影片。
Consultant and Translator at Eternal Life Consultants of Immigration and Translations Services, 10 March 2004 to present in London, United Kingdom:
consultants of immigration, translations, and legal services.
永生移民顧問翻譯服務社的移民諮詢顧問和翻譯：
移民事務，翻譯和法律服務。
Computer Hardware & Networking Engineer at Mann Office of Electrical Engineer, 8 March 2004 to present in London, United Kingdom:
Computer Engineering and Network Services. Repairing of Motherboards, Monitors, Power Supplies, CD-ROM Drives; UPS, Hard Disk Drives, H.D.D Data Recovery; BIOS Programming, and all types of Computer Hardware and Software Solutions.
計算機工程和網絡服務。維修主機板，顯示器，電源供應器，光碟機/光盘驱动器，不斷電系統，硬碟/硬盘，硬盤數據恢復，基本輸入輸出系統編程，以及所有類型的電腦/計算機硬體/硬件和軟體/軟件解決方案。
Film Director and Photographer at Shapely Studio of Creative and Cultural Industries, 2 April 2007 to present in London, United Kingdom:
1) Photo, Video and Film Production; 2) Graphic Design, Web Design, Social Networking, Social Media and Advertising; 3) Architectural Design and Interior Design.
Reformer and Philosopher at Taiwanese Social Reformer and Philosopher, 7 April 2012 (location: Los Angeles, California) to present in London, United Kingdom:
Social Reform in Taiwan
www.facebook.com/twreform/info
《魂韻》(衿契吐蕊) - 馬天亮22歲寫的電影原著。Theophilus Raynsford Mann (TianLiang Maa) wrote “Hun Yun” (Jin Qi Tu Rui), scenario original “The Soul’s Sentimentalizing” © 1980, 1981, 1983, was at the age of 22.
Website
mtltwp.pixnet.net/album/set/1265174
photo.roodo.com/photos/mtltwp/albums/small/100469.html
Sonate Nr. 1 C-dur op. 3 für Klavier (piano) by Theophilus Raynsford Mann (TianLiang Maa 馬天亮) © 1977, © 1980, © 1981, © 1983. The Sonate composed on 3rd April 1977 then Mann was 18-year-old. The work was published in 1980; the theme was based on “The Soul's Sentimentalizing”.
Website
mtltwp.pixnet.net/album/set/1265208
www.facebook.com/sonate1c/info
LINKS:
University of California, Berkeley
berkeley.worldcat.org/search?q=Ma%2C+Tianliang&dblist...
berkeley.worldcat.org/title/hun-yun/oclc/813684284?refere...
oskicat.berkeley.edu/record=b11283690~S1
University of Michigan
mirlyn.lib.umich.edu/Record/006237256
catalog.hathitrust.org/Record/006237256
WorldCat® Identities
www.worldcat.org/search?q=au%3AMa%2C+Tianliang%2C&dbl...
www.worldcat.org/wcidentities/np-ma,%20tianliang$1958
Google Books
books.google.co.uk/books?id=PkyaAAAAIAAJ&redir_esc=y
books.google.co.uk/books?id=JfxnMwEACAAJ&dq=editions:...
scholar.google.com/scholar?cluster=3569983911138966023&am...
National Bibliographic Information Network (NBINet)
nbinet3.ncl.edu.tw/search~S10?/a%7bu99AC%7d%7bu5929%7d%7b...
192.83.186.170/search*cht/a%E9%A6%AC%E5%A4%A9%E4%BA%AE
National Yang Ming University 國立陽明大學
library.ym.edu.tw/search~S7*cht?/tThe+Soul%27s+and+sentim...
National Taiwan University of Science and Technology 國立臺灣科技大學
millennium.lib.ntust.edu.tw/record=b1016706~S1
Wikimedia Commons 維基共享資源
commons.wikimedia.org/w/index.php?search=TianLiang+Maa+%E...
commons.wikimedia.org/wiki/File:TianLiang_Maa_馬天亮.jpg
commons.wikimedia.org/wiki/File:馬天亮_TianLiang_Maa.jpg
國家圖書館 期刊文獻資訊網, 臺灣期刊論文索引
readopac3.ncl.edu.tw/nclJournal/search/search_result.jsp?...
聲音藝術的審美角度, 大學雜誌, 天然
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為文化中心把脈, 幼獅文藝
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科學家與守財奴, 中國地方自治
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Yahoo, Bing, Google Search
www.google.com/search?q=Theophilus+Raynsford+Mann
www.google.com/search?q=TianLiang+Maa
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Atomzone
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lurvely.com www.lurvely.com/photographer/77438197_N03/
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Nature - National Library Board Singapore
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画像検索
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Japan Photos and Pictures
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far-east-movement - Blogcu (Turkey)
far-east-movement.blogcu.com/professor-tianliang-maa/1226...
A Story of Professor Theophilus Raynsford Mann
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Sports Wallpapers
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Travel Splash
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Country profile Taiwan
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£10.49 for a 36 exposure colour film to be developed..........I think not.
Boots.........although you're looking at 3 days, is £4.99 with 5x7 prints as well. That's just a quid more than I was getting 'developing only' at my usual place in London. Let's wait and see what the quality is like..........
16 September 2020. The Governors of ADB’s 14 Pacific developing member countries met with ADB President Masatsugu Asakawa, Vice President (Operations 2) Ahmed M. Saeed, and the Pacific Department’s management team to discuss critical development issues facing the Pacific, which have become more challenging due to the COVID-19 pandemic, and the role of ADB in supporting Pacific countries as they respond to these challenges.
ADB’s 53rd ADB Annual Meeting of the Board of Governors (2nd Stage) will be held via virtual meetings and online seminars from 17 to 18 September.
At the event, Ministers from ADB members, ADB Management, and development and industry experts will discuss a range of issues confronting Asia and the Pacific as it responds to the coronavirus disease (COVID-19) pandemic. Webinar topics include universal health coverage, regional cooperation, technology and investments, resilient and inclusive recovery, and domestic resource mobilization. View the full list of webinars and meetings.
The first stage of the 53rd Annual Meeting comprised a reduced-scale meeting of the Board of Governors on 22 May, during which Governors approved ADB’s financial statements and net income allocation in line with ADB institutional requirements.
Read more on:
Sometimes it's not working out with developing but still a nice result. Shot with a Mamiya 645M on Kodak Porta 400
Endogenous lipid pneumonia, sometimes called obstructive pneumonia, develops from the accumulation of lipid-rich debris from destroyed alveolar cells, typically in the setting of bronchial obstruction or chronic inflammation. Unlike exogenous lipid pneumonia, which results from aspiration of external lipid materials, endogenous lipid pneumonia arises from endogenous lipid sources within the lung parenchyma.
The pathogenesis involves disruption of normal alveolar cell turnover and lipid metabolism. Bronchial obstruction leads to impaired clearance mechanisms and accumulation of cellular debris distal to the obstruction. Chronic inflammation damages alveolar epithelial cells and type II pneumocytes, releasing cholesterol and phospholipids into the alveolar spaces. These lipids are then phagocytosed by alveolar macrophages, which become engorged and transform into characteristic foamy macrophages.
Image contributed by Dr. Yale Rosen - @yro854
Maldon.
The Simson family took out pastoral runs around what is now Maldon in 1840. They had the Cairn Curran and the Tarrangower runs. It was near the foot of Mount Tarrangower that gold was discovered in December 1853 precipitating a gold rush in early 1854. The discovered of gold at Maldon was John Mechosk who received numerous government payouts for discovering gold fields apart from the one in Maldon. He also discovered the goldfields at Dunolly, Maryborough and Fryerstown. He received around £1,000 from the Victorian government for his efforts. A town was surveyed and developed in 1854 and it is believed that a member of the survey party suggested the name of Maldon because the hilly country reminded him of Maldon in Essex England. The diggers, up to 20,000 of them, were controlled by the District Gold Commissioner Bernard Smith who arrived and set up camp in 1854.The diggers had their canvas areas throughout the region but the town of Maldon soon had several public buildings including an early timber famed Wesleyan Methodist church built in 1855 and a brewery and several hotels built in 1854.
The Maldon gold finds were especially rich and mining companies developed areas to the north, east and south of the town with mining sites such as the Beehive Mine, the Nuggetty Mine, Eagle Hawk Mine, Bell’s Reef, the North British mine etc. Mining continued for a long period and as late as 1903 there were still over 1,000 diggers on the sites around Maldon following the last gold rush of 1897. But this was the last period of active mining around Maldon and the population had shrunk considerably by the 1920s. Because it was not on a main road to anywhere Maldon languished in semi-isolation for the next 50 years until the National Trust declared it the “First Notable Town in Australia” as its mining sites and historic buildings were still largely intact and the town showcased the life of a 19th century Australian gold mining town. Whole streetscapes of Maldon are heritage listed and a number of significant mining structures are still standing such as the 98 feet high Beehive Mine tower built in 1863. It stands at the top of the main street. The cemetery a few kilometres out of town has a fine Chinese funerary burning chamber probably from around 1865 when the gold mines were at their peak. The cemetery was opened in 1861 and the gate house was built in 1866. 121 Chinese are known to have been buried in the Maldon cemetery but only a couple of headstone are known. But there is little other evidence of the significant Chinese population of diggers that were once in the Maldon district. The town proudly proclaims that fact that over 2.1 million ounces of gold was extracted at Maldon worth about 3 billion dollars at today’s values.
Because of the wealth of Maldon it has numerous outstanding or significant historic buildings although it was never a really large town. Apart from the many fine hotels and commercial buildings the town has the Penny or Denominational School built as an Anglican school in 1856 but open to any child whose parents could afford the fees. 120 pupils were enrolled at this small school in 1857. The building was enlarged and rebuilt in 1862. The state school in Maldon was not built until 1875. It is still an impressive building. Near the Penny School is one of the early churches of Maldon the Welsh Congregational Church which was built in 1863. There were many Welsh and Cornish miners on the Maldon diggings. Nearby are several churches including the Anglican Church (1861), the Catholic Church built 1891 (replacing an earlier 1859 church), the former Wesleyan Methodist Church built in 1863 (replacing the 1855 wooden one), the Presbyterian Church built in 1905 (replacing an earlier 1861 church) and the Welsh Baptist Church built in 1865 with matching 1890 additions. Further away on the hill near the state school is the impressive Maldon Hospital. A wooden temporary hospital was established in 1859 but this grand classical designed hospital was built in 1867 beside the temporary building. One wing of the classical façade hospital was built in 1860 and the other in 1862. In 1867 the temporary structure in the middle was replaced with the central two storey hospital section which still stands. A further wing was added after this. The design for the hospital was chosen from entries to a public competition. The current town museum was once the Maldon Market which was erected in 1859. Near this central government camp area of Maldon which the Gold Commissioners used you can also find the Courthouse built in 1860 and the Post Office built in 1870. Nearby is the Athenaeum Library built in 1934 and still in use as the town library. This 1934 structure replaced the previous Athenaeum library built in 1863 and destroyed by fire in 1933. In addition to the usual commercial buildings, banks and hotels in the main street there is also an old grain store and further away is the railway station. A train line was built to service Maldon in 1884 and a fine red brick station built in 1888. It closed in 1976.
Other buildings of note in Maldon are MacArthur’s Cottage in High Street with the very unusual three dimensional brick work effect around the door and windows. It is next door to the Anglican Holy Trinity church. McArthur’s cottage was built in 1860s. The old Grain Store and Brooks’ Store were built in 1866 for the Maldon Cooperative Trading Company. This cooperative was not successful and went into liquidation in 1872 when John Brooks acquired the property and it is probably at this time additions were added. Members of the Brooks family ran this store until 1986. The Maldon Hotel was built in 1909 and the adjacent Shakespeare House and gallery was erected in 1907. Across the street is the 1854 established McArthur’s Bakery. The sign on this building relates to the establishment of the bakery not the actual building. This corner bakery was built in 1895. The old Beehive Market in Maldon began life as Franklin’s boot and shoe warehouse in 1870. The building later became a timber yard. Upton’s Butcher shop in the Main Street was established on this site in 1859 and the store was built then with the veranda added in 1860. The parapet is more modern being added to the shop in 1907. The Maldon Timber and Hardware building with the fancy parapet was built in 1897 after the earlier building on this site burnt down. It began life as a drapery.
16 September 2020. The Governors of ADB’s 14 Pacific developing member countries met with ADB President Masatsugu Asakawa, Vice President (Operations 2) Ahmed M. Saeed, and the Pacific Department’s management team to discuss critical development issues facing the Pacific, which have become more challenging due to the COVID-19 pandemic, and the role of ADB in supporting Pacific countries as they respond to these challenges.
ADB’s 53rd ADB Annual Meeting of the Board of Governors (2nd Stage) will be held via virtual meetings and online seminars from 17 to 18 September.
At the event, Ministers from ADB members, ADB Management, and development and industry experts will discuss a range of issues confronting Asia and the Pacific as it responds to the coronavirus disease (COVID-19) pandemic. Webinar topics include universal health coverage, regional cooperation, technology and investments, resilient and inclusive recovery, and domestic resource mobilization. View the full list of webinars and meetings.
The first stage of the 53rd Annual Meeting comprised a reduced-scale meeting of the Board of Governors on 22 May, during which Governors approved ADB’s financial statements and net income allocation in line with ADB institutional requirements.
A combination of straight lines, circle arcs and s-curves on a circle divided in 10.
I know that morning glories are five-sided, but they have a pronounced crease in the middle of each side.
Well - what I set out to be as a Sautoir (necklace), turned out to be a devant de corsage and sautoir combined. Still - I am pleased with the result so far. The next step is to ink the design in, then it will be highlighted with silver gouache, and then touched up with the ink - and finally colored in.
Camera: Rolleiflex 2.8F
Lens: Carl Zeiss Planar80mm/f. 2.8 with Rolleinar 1
Film: Kodak Tri-X 400
Develop: Kodak D-76 (Full Strenght)
Scan from film
Scanner: Epson V 700
Marina Bay Sands is an integrated resort fronting Marina Bay in Singapore. Developed by Las Vegas Sands, it is billed as the world's most expensive standalone casino property at S$8 billion, including cost of the prime land. With the casino complete, the resort features a 2,561-room hotel, a 1,300,000 square foot convention-exhibition centre, the 800,000 square foot The Shoppes at Marina Bay Sands mall, an iconic ArtScience museum, two large theatres, seven "celebrity chef" restaurants, two floating Crystal Pavilions, an ice skating rink, and the world's largest atrium casino with 500 tables and 1,600 slot machines. The complex is topped by a 340m-long SkyPark with a capacity of 3,900 people and a 150m infinity swimming pool, set on top of the world's largest public cantilevered platform, which overhangs the north tower by 67m. The grand opening of Marina Bay Sands was held on 17 February 2011. It also marked the opening of the seven celebrity chef restaurants.
Vintage analogue (and scanned) photograph of the model
Some background:
The VF-1 was developed by Stonewell/Bellcom/Shinnakasu for the U.N. Spacy by using alien Overtechnology obtained from the SDF-1 Macross alien spaceship. Its production was preceded by an aerodynamic proving version of its airframe, the VF-X. Unlike all later VF vehicles, the VF-X was strictly a jet aircraft, built to demonstrate that a jet fighter with the features necessary to convert to Battroid mode was aerodynamically feasible. After the VF-X's testing was finished, an advanced concept atmospheric-only prototype, the VF-0 Phoenix, was flight-tested from 2005 to 2007 and briefly served as an active-duty fighter from 2007 to the VF-1's rollout in late 2008, while the bugs were being worked out of the full-up VF-1 prototype (VF-X-1).
The space-capable VF-1's combat debut was on February 7, 2009, during the Battle of South Ataria Island - the first battle of Space War I - and remained the mainstay fighter of the U.N. Spacy for the entire conflict. Introduced in 2008, the VF-1 would be out of frontline service just five years later, though.
The VF-1 proved to be an extremely capable craft, successfully combating a variety of Zentraedi mecha even in most sorties which saw UN Spacy forces significantly outnumbered. The versatility of the Valkyrie design enabled the variable fighter to act as both large-scale infantry and as air/space superiority fighter. The signature skills of U.N. Spacy ace pilot Maximilian Jenius exemplified the effectiveness of the variable systems as he near-constantly transformed the Valkyrie in battle to seize advantages of each mode as combat conditions changed from moment to moment.
The basic VF-1 was deployed in four minor variants (designated A, D, J, and S) and its success was increased by continued development of various enhancements including the GBP-1S "Armored" Valkyrie, FAST Pack "Super" Valkyrie and the additional RÖ-X2 heavy cannon pack weapon system for the VF-1S for additional firepower.
The FAST Pack system was designed to enhance the VF-1 Valkyrie variable fighter, and the initial V1.0 came in the form of conformal pallets that could be attached to the fighter’s leg flanks for additional fuel – primarily for Long Range Interdiction tasks in atmospheric environment. Later FAST Packs were designed for space operations.
The following FAST Pack 2.0 system featured two 120.000 kg class P&W+EF-2001 booster thrusters (mounted on the dorsal section of the VF-1) and two CTB-04 conformal propellant/coolant tanks (mounted on the leg/engines), since the VF-1's internal tanks could not carry enough propellant to achieve a stable orbit from Earth bases and needed the help of a booster pack to reach Low Earth Orbit. Anyway, the FAST Pack 2.0 wasn't adapted for atmospheric use, due to its impact on a Valkyrie's aerodynamics and its weight; as such, it needed to be discarded before atmospheric entry.
Included in the FAST Pack boosters and conformal tanks were six high-maneuverability vernier thrusters and two low-thrust vernier thrusters beneath multipurpose hook/handles in two dorsal-mounted NP-BP-01, as well as ten more high-maneuverability vernier thrusters and two low-thrust vernier thrusters beneath multipurpose hook/handles in the two leg/engine-mounted NP-FB-01 systems.
Granting the VF-1 a significantly increased weapons payload as well as greater fuel and thrust, Shinnakasu Heavy Industry's FAST Pack system 2.0 was in every way a major success in space combat. The first VF-1 equipped with FAST Packs was deployed in January 2010 for an interception mission.
Following first operational deployment and its effectiveness, the FAST Pack system was embraced enthusiastically by the U.N. Spacy and found wide use. By February 2010, there were already over 300+ so-called "Super Valkyries" stationed onboard the SDF-1 Macross alone.
After the end of Space War I, the VF-1 continued to be manufactured both in the Sol system and throughout the UNG space colonies. Although the VF-1 would eventually be replaced as the primary Variable Fighter of the U.N. Spacy by the more capable, but also much bigger, VF-4 Lightning III in 2020, a long service record and continued production after the war proved the lasting worth of the design.
The VF-1 was without doubt the most recognizable variable fighter of Space War I and was seen as a vibrant symbol of the U.N. Spacy even into the first year of the New Era 0001 in 2013. At the end of 2015 the final rollout of the VF-1 was celebrated at a special ceremony, commemorating this most famous of variable fighters. The VF-1 Valkryie was built from 2006 to 2013 with a total production of 5,459 VF-1 variable fighters with several variants (VF-1A = 5,093, VF-1D = 85, VF-1J = 49, VF-1S = 30, VF-1G = 12, VE-1 = 122, VT-1 = 68)
However, the fighter remained active in many second line units and continued to show its worthiness years later, e. g. through Milia Jenius who would use her old VF-1 fighter in defense of the colonization fleet - 35 years after the type's service introduction.
General characteristics:
All-environment variable fighter and tactical combat Battroid,
used by U.N. Spacy, U.N. Navy, U.N. Space Air Force
Accommodation:
Pilot only in Marty & Beck Mk-7 zero/zero ejection seat
Dimensions:
Fighter Mode:
Length 14.23 meters
Wingspan 14.78 meters (at 20° minimum sweep)
Height 3.84 meters
Battroid Mode:
Height 12.68 meters
Width 7.3 meters
Length 4.0 meters
Empty weight: 13.25 metric tons;
Standard T-O mass: 18.5 metric tons;
MTOW: 37.0 metric tons
Power Plant:
2x Shinnakasu Heavy Industry/P&W/Roice FF-2001 thermonuclear reaction turbine engines, output 650 MW each, rated at 11,500 kg in standard or in overboost (225.63 kN x 2)
4 x Shinnakasu Heavy Industry NBS-1 high-thrust vernier thrusters (1 x counter reverse vernier thruster nozzle mounted on the side of each leg nacelle/air intake, 1 x wing thruster roll control system on each wingtip);
18 x P&W LHP04 low-thrust vernier thrusters beneath multipurpose hook/handles
The S-FAST Pack added 4x P&W+EF-2001 booster thrusters with 120.000 kg each, plus a total of 28x P&W LHP04 low-thrust vernier thrusters
Performance:
Battroid Mode: maximum walking speed 160 km/h
Fighter Mode: at 10,000 m Mach 2.71; at 30,000+ m Mach 3.87
g limit: in space +7
Thrust-to-weight ratio: empty 3.47; standard T-O 2.49; maximum T-O 1.24
Design Features:
3-mode variable transformation; variable geometry wing; vertical take-off and landing; control-configurable vehicle; single-axis thrust vectoring; three "magic hand" manipulators for maintenance use; retractable canopy shield for Battroid mode and atmospheric reentry; option of GBP-1S system, atmospheric-escape booster, or FAST Pack system
Transformation:
Standard time from Fighter to Battroid (automated): under 5 sec.
Min. time from Fighter to Battroid (manual): 0.9 sec.
Armament:
1x internal Mauler RÖV-20 anti-aircraft laser cannon, firing 6,000 pulses per minute
1x Howard GU-11 55 mm three-barrel Gatling gun pod with 200 RPG, fired at 1,200 rds/min
4x underwing hard points for a wide variety of ordnance, including
12x AMM-1 hybrid guided multipurpose missiles (3/point), or
12x MK-82 LDGB conventional bombs (3/point), or
6x RMS-1 large anti-ship reaction missiles (2/outboard point, 1/inboard point), or
4x UUM-7 micro-missile pods (1/point) each carrying 15 x Bifors HMM-01 micro-missiles,
or a combination of above load-outs
The optional Shinnakasu Heavy Industry S-FAST Pack 2.1 augmentative space weapon system added:
6x micro-missiles in two NP-AR-01 micro-missile launcher pods (mounted rearward under center ventral section in Fighter mode or on lower arm sections in GERWALK/Battroid mode)
4x12 micro missiles in four HMMP-02 micro-missile launchers, one inside each booster pod
The model and its assembly:
This is a major kit conversion, or better a kitbashing with major scratch work involved. By the time I built this model, there were no convincing 1:100 kits of the so-called "Super / Strike Valkyries" around. These VF-1s carry rocket boosters for non-atmospheric use, so-called FAST packages ("Fuel And Sensor Trays"). However, parts for these space operation packages are included in some ARII Battroid kits – so there’s the option to create one with the help of several donor kits.
This is the second of such conversions I did on the basis of a 1:100 Bandai (ex Arii) Gerwalk Valkyrie model, with additional leftover pieces from Super Valkyrie kits in Battroid mode and even from vintage Imai transformable kits.
The legs in retracted position were completely built through kitbashing, since the FAST packages would hardly fit under the body. The folded arms between the legs were improvised and heavily tailored to fit into the narrow space between the legs as good as possible. Real arm parts would not fit at all!
The "UUM-7" rocket launchers with 5 x 3 HMM-01missiles each were built from scratch. other added details include a pilot figure and better cockpit interior parts, plus some other details like antennae that the simple, original kits lack.
Painting and markings:
The color scheme is based on the standard VF-1A livery, even though I used a lighter tan (RAF "Hemp", B.S. 4800/10B21, e .g. used on Nimrod sea patrol aircrafts or VC-10 tankers - Humbrol 168) instead of brown. The lighter contrast areas were painted in ivory (Humbrol 41) instead of pure white, the FAST packs received a grey finish (FS 36081, Humbrol 32).
What's a bit special about the colored details of this semi-fictional Valkyrie is that the squadron insignia is original Japanese: The panda with the red lightning is the emblem of the 203rd hikotai, a real world JASDF fighter squadron that used to fly F-86 Sabre and F-104 Starfighters – with some fantasy, you can read the "203" in the lightning's outline! The kit's idea was to show what a machine from such a "real" squadron might look like if it was (still) existent in the Macross universe?
National Museum of the US Air Force
Chrysler SM-78/PGM-19A JUPITER
The Jupiter Intermediate Range Ballistic Missile (IRBM), in service from 1960 to 1963, was an important link between early, short-range rockets and later weapons that could reach any point on Earth. Jupiter was a close relative of the Army's Redstone missile, and its development began in 1956 as a joint US Army and US Navy project. Rocket pioneer Wernher von Braun conceived the Jupiter after the Redstone proved successful, and rockets with a range of up to 1,500 miles seemed possible. Soviet development of similar missiles around the same time underscored the need for Jupiter. President Dwight Eisenhower gave the IRBM high priority in weapons development, second only to the Intercontinental Ballistic Missile (ICBM).
Originally designed for shipboard use, Jupiter was a compromise between Army and Navy designs. In 1956, the Department of Defense gave the USAF responsibility for building and operating all missiles with more than a 200-mile range, but the Army continued developing Jupiter in case the Air Force's Thor IRBM program failed. The first successful Jupiter launch took place in May 1957.
In October 1957, the USSR launched Sputnik, the first satellite-an event that caused the US to greatly speed up missile development to counter the Soviet threat. As Jupiter was quickly made ready, the US explored basing options. The single-stage missile's range of 1,500 miles required bases on the periphery of the USSR. Negotiations with France proved unsuccessful, and finally Italy and Turkey accepted IRBM bases. Italian and Turkish crews trained to operate the missiles, but Americans controlled the nuclear warheads. Two squadrons with a total of 30 missiles were operational at Gioia del Colle, Italy, by 1961; a single squadron of 15 Jupiters became operational at Cigli Air Base, Turkey, in 1962. Due in part to the Cuban Missile Crisis of 1962, the US removed its Jupiter missiles from Italy and Turkey by July 1963.
TECHNICAL NOTES
Warhead: Single W-49 in the megaton range
Engine: One Rocketdyne LR-79 of 150,000 lbs thrust
Guidance: All-inertial
Range: 1,500 miles
Length: 60 ft
Diameter: 8 ft 9 in
Weight: 108,804 lbs (fully fueled)
-------------------
Martin Marietta SM-68A/HGM-25A TITAN I Intercontinental Ballistic Missile
Entering operational service in 1962, Titan I was the United States' first multi-stage ICBM (Intercontinental Ballistic Missile). Incorporating the latest design technology, Titan provided an additional nuclear deterrent to complement the US Air Force's Atlas missile. Though the SM-68A was operational for only three years, it was an important step in building the Air Force's strategic nuclear forces.
The first American ICBM based in underground silos, Titan I gave USAF managers, contractors, and missile crews valuable experience building and working in vast bunkers containing every thing the missiles and crews needed for operation and survival. These early silos, however, had certain drawbacks. First, the missiles took about fifteen minutes to fuel, and then had to be lifted to the surface on huge elevators for launching, which slowed their reaction time. Rapid launching was crucial to avoid possible destruction by incoming missiles, even though Titan shelters were designed to withstand nuclear blasts. Second, the missiles' placement close together in groups of three-necessary because they shared a single ground-based radio guidance system-made them vulnerable to nuclear attack. All-inertial guidance, which does not depend on ground computers, was not yet perfected
In its brief career, Titan I equipped six squadrons of nine missiles each, in Colorado, Idaho, California, Washington state, and South Dakota. Although Titan I's two stages gave it true intercontinental range and foreshadowed future multistage rockets, its propellants were dangerous and hard to handle. Super-chilled liquid oxygen oxidizer had to be pumped aboard the missile just before launch, and complex equipment was required to store and move this liquid. Kerosene fuel also was pumped aboard just before launch.
Titan I allowed USAF missileers to perfect techniques for efficiently operating strategic missile facilities spread across several states and requiring great coordination and skill. Still, the SM-68A was a transitional missile. Even as the USAF deployed 54 Titan Is on operational alert from 1963-65, it prepared to deploy more advanced Titan Ils in their place. Later missiles, like Titan II, used safer fuels and more advanced guidance, but followed the SM-68A example of underground basing and multiple stages.
TECHNICAL NOTES
Warhead: Single W-38 in the megaton range.
Re-entry vehicle: Avco Mark 4, ablative
Engines:
(1st stage) Aerojet LR87-AJ-1 of 300,000 lbs thrust,
(2nd stage) Aerojet LR91-AJ-1 of 80,000 lbs thrust
Propellants: RP-1 kerosene fuel and liquid oxygen oxidizer
Range: 6,300 miles
Length: 98 ft
Diameter: 10 ft
Weight: 220,000 lbs fueled
---------------------
Martin Marietta SM-68B/LGM-25C TITAN II Intercontinental Ballistic Missile
Titan II was the longest-serving ICBM (Intercontinental Ballistic Missile) in the US Air Force strategic arsenal. The SM-68B, developed from the Titan I ICBM, was on operational alert from 1963 to 1987. For most of its nearly 25 years of operation, Titan Il was the largest and most powerful American nuclear- armed missile. The Titan design also enjoyed a long career as a space launch vehicle, sending satellites and manned spacecraft into earth orbit.
While the SM-68A Titan I system was becoming operational, the USAF recognized that it could be simplified and improved. Using the same manufacturing and test facilities, the SM-68B took shape as a major step forward in ICBM technology. Perhaps Titan Il's most important feature was its quick-launch capability. It could be launched in about 60 seconds from inside its underground silo (Titan I took 15 minutes and had to be elevated above ground first). This speed was crucial in responding to a preemptive nuclear attack before incoming missiles arrived.
New "hypergolic" liquid fuels made Titan Il's quick launches possible. Hypergolic fuels ignite on contact with one another, eliminating the need for an ignition system, and they can be stored at room temperature inside the missile. Partly as a result of using these new propellants, the SM-68B had fewer parts and a simpler design than the SM-68A. Also, a new silo design vented the tremendous blast of Titan Il's improved engines away from the missile, allowing in-silo launching and eliminating the need to elevate the SM-68B to ground level before launch.
Titan Il's advanced "all-inertial" guidance system made the missile less vulnerable to enemy attack. Each SM-68B carried its own self-contained guidance equipment and did not rely on ground computers. This improvement made widely dispersed bases possible, and Titan II sites were typically several miles apart, enhancing survivability during a potential nuclear strike.
At the height of SM-68B operations, the USAF deployed 54 Titan lls at three bases in Arizona, Kansas, and Arkansas. Each base had two squadrons of nine missiles each. The combat crew for a single missile included two officers and two enlisted personnel, but many support troops were required to maintain the missiles, train crews, and provide security.
In 1981, the USAF undertook a missile modernization program, and Titan II ICBM operations ceased in 1987. Spare SM-68BS were converted to space boosters and used to launch satellites. This role was not new for Titan II, since this powerful and reliable rocket had been used for many years in civil and military space programs. Titan lls launched manned Gemini missions for NASA in the mid-1960s, and later Titans evolved into more powerful space boosters with the addition of "strap-on" solid rockets, launching some of the most important US military satellites.
TECHNICAL NOTES
Warhead: Single W-53 in the megaton range
Re-entry vehicle: General Electric Mark 6, ablative
Engines:
(1st stage) Aerojet LR87-AJ-5 of 430,000 lbs thrust each
(2nd stage) Aerojet LR91-AJ-5 of 100,000 lbs thrust
Propellants: Aerozine 50 fuel and nitrogen tetroxide oxidizer
Range: 9,000 miles
Length: 108 ft
Diameter: 10 ft
Weight: 330,000 lbs fueled
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DOUGLAS SM-75/PGM-17A THOR Intermediate Range Ballistic Missile
The SM-75/PGM-17A Thor intermediate range ballistic missile (IRBM) was the product of the early Cold War race to deploy nuclear armed missiles before the Soviets. Thor was designed to be an interim nuclear deterrent while the US Air Force developed long-range intercontinental ballistic missiles (ICBMs) as a top national priority. The IRBM concept called for a missile with a range of about 1,500 miles that would be based in Europe. Great Britain agreed to host four IRBM bases, and Thors were operational in England from June 1959 to August 1963. Royal Air Force crews operated the missiles, but USAF personnel controlled their nuclear warheads.
The USAF developed the SM-75 quickly, in just over three years beginning in 1956. Interservice competition to control the emerging strategic missile mission meant that the US Army developed its Jupiter missile, which was ultimately assigned to the Air Force, at the same time. Thor's rapid design and deployment resulted from having much in common with the Atlas ICBM, which was then still in the planning stages. Thor's engine, guidance, and warhead came from the Atlas program, and only its airframe was new. After three failed test flights, Thor's first fully successful flight took place in September 1957. The following month, the USSR launched its Sputnik satellite-proving Soviet rocket capability and generating much anxiety in the US-and President Dwight Eisenhower rushed Thor into production as a result.
The SM-75 was a one-stage liquid fueled rocket. Powered by liquid oxygen and kerosene, the vehicle could reach an altitude of about 280 miles before releasing its war- head on a ballistic (unpowered) trajectory toward its target. The missile required about 15 minutes to prepare for launch from its above-ground shelter, and could reach its target after about 18 minutes of flight.
Following its withdrawal as an IRBM when the Atlas ICBM became available, the Air Force used Thor as a nuclear atmospheric test vehicle and an antisatellite weapon. The USAF and NASA also adapted the Thor design to a very successful variety of space launch roles.
TECHNICAL NOTES
Warhead: Single W-49 in the kiloton range
Engines: One Rocketdyne LR79-NA-9 of 150,000 lbs thrust; two Rocketdyne LR101-NA vernier engines (for small thrust and direction adjustments) of 1,000 lbs thrust each
Guidance: All-inertial
Range: 1,500 miles
Length: 65 ft
Diameter: 8 ft
Weight: 110,000 lbs (fully fueled)
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BOEING LGM-118A PEACEKEEPER
The Peacekeeper was the US Air Force's most powerful, accurate, and technologically advanced intercontinental ballistic missile (ICBM) when it served as a deterrent from 1986 to 2005. The USAF began planning for a missile to replace Minuteman ICBMS in 1972, and named the projected weapon "missile X," or MX. It would use the latest targeting technology to deliver many independently targeted nuclear warheads by each missile. The ability to deliver several warheads on one missile is known as MIRV, or Multiple Independently targeted Re-entry Vehicles. MX eventually was named Peacekeeper and designated LGM-118A.
Full-scale development of the Peacekeeper began in 1979, and the first test flight took place in 1983 at Vandenberg AFB, California. It became operational in 1986, when ten missiles were deployed at F.E. Warren AFB, Wyoming. By 1988, 50 missiles were in service there.
Basing-whether in stationary hardened silos or on mobile railways that would keep the Soviets guessing at the missiles' true location-was a major issue during Peacekeeper's development. Funding problems and competing ideas about the wisdom of each basing solution delayed Peacekeeper production and deployment. Eventually, it was decided to base all LGM-118As in hardened, underground silos.
TECHNICAL NOTES
Payload: 10 Avco MK-21 re-entry vehicles
Stages:
(1st) solid fuel, Thiokol
(2nd) solid fuel, Aerojet
(3rd) solid fuel, Hercules
(4th) storable liquid fuel, Rocketdyne
Maximum speed: Approximately 15,000 mph
Range: Greater than 6,000 miles
Guidance: Inertial
Height: 71 ft
Weight: 195,000 lbs
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LGM-30G MINUTEMAN III INTERCONTINENTAL BALLISTIC MISSILE
The Minuteman III Intercontinental Ballistic Missile, or ICBM, is currently the United States' only operational land-based strategic nuclear missile. It is one leg of the nuclear deterrent "triad" that also includes USAF bombers and US Navy submarine-launched missiles. US nuclear forces are on alert at all times, ensuring a swift response in the event of a nuclear attack.
Minuteman III became operational in 1970, and is the most modem missile in the Minuteman family. The Minuteman series was the first in the US ICBM arsenal to use solid fuel. This important feature allows the missile to be stored for long periods in its silo, requiring much less maintenance and fewer technicians than older liquid-fueled missiles like Titan and Atlas. It can also be launched almost instantly. Minuteman III was the world's first missile to carry more than one warhead, using a "Multiple Independently-targetable Re-entry Vehicle" (MIRV) system. Though Minuteman III can carry three warheads, each missile has been limited to one by international treaty since 2005.
The Minuteman system was designed in the 1950s. Minuteman I, the first of the family, became operational in 1962 during the Cuban Missile Crisis. Later, the retirement of the US Air Force's Minuteman II missiles in 1995 and Peacekeeper missiles in 2005 left Minuteman Ill as the only American land-based ICBM. Today, Minuteman III missiles are located in widely-separated, hardened underground silos at three bases-F.E. Warren AFB, Wyoming, Malmstrom AFB, Montana, and Minot AFB, North Dakota
HPD pupils are developing concept models as part of their Developing Design Proposals Unit. As usual lighting remains a popular choice. Pupils are also developing proposals on themes as diverse as seating, kitchen utensils and sportswear equipment.
Good to see evidencs of great strides being made in quich modeling techniques using materials like plasticine, copper wire, plywood and foam. The glue gun gets a lot of use at the moment as does the bandsaw and fretsaw.
Fortunately, Cathy, our cleaner has been very understanding. The mess at times you would not believe!
Good work everybody. Have a great Christmas break, get some rest. You'll need all your energy for the new year!
16 September 2020. The Governors of ADB’s 14 Pacific developing member countries met with ADB President Masatsugu Asakawa, Vice President (Operations 2) Ahmed M. Saeed, and the Pacific Department’s management team to discuss critical development issues facing the Pacific, which have become more challenging due to the COVID-19 pandemic, and the role of ADB in supporting Pacific countries as they respond to these challenges.
ADB’s 53rd ADB Annual Meeting of the Board of Governors (2nd Stage) will be held via virtual meetings and online seminars from 17 to 18 September.
At the event, Ministers from ADB members, ADB Management, and development and industry experts will discuss a range of issues confronting Asia and the Pacific as it responds to the coronavirus disease (COVID-19) pandemic. Webinar topics include universal health coverage, regional cooperation, technology and investments, resilient and inclusive recovery, and domestic resource mobilization. View the full list of webinars and meetings.
The first stage of the 53rd Annual Meeting comprised a reduced-scale meeting of the Board of Governors on 22 May, during which Governors approved ADB’s financial statements and net income allocation in line with ADB institutional requirements.
The Barchetta was developed between 1990 and 1994 under the project name Tipo B Spider 176. It was designed by Andreas Zapatinas and Alessandro Cavazza under the supervision of Peter Barrett Davis and other car designers at the Fiat Centro Stile, and prototyping was carried out by Stola.
Production began in February 1995 and lasted until June 2005, with a brief pause due to the bankruptcy of coachbuilder Maggiora. The Barchetta was based on the chassis of the Mark 1 Fiat Punto. The Barchetta has 1,747 cc DOHC petrol engine fitted with variable camshaft timing, used for the first time in a Fiat production car, after being patented in 1970. The engine has 132 PS (97 kW; 130 hp) and 164 N·m (121 lb·ft) of torque. The Barchetta weighs 1056 kg (2328 lb) without air conditioning and can accelerate to 100 km/h (62 mph) in 8.9 seconds and has a top speed of 200 km/h (124 mph). It came in various trim levels which offered different features, for example, diamond cross stitch - patterned red leather instead of the standard black leather or fabric seats, alloy wheels instead of steel wheels, or fog-lights as an option. Arguably one of the biggest external cosmetic changes was made by the addition of the third brake light, first introduced by Fiat on the Lido and Riviera in 2000, and on sub models thereafter.
The Barchetta was revised in 2003, for its relaunch the following year, with some alterations inside and out. The most notable changes were the revised front spoiler and rear bumper. Production of the car eventually stopped in June 2005.