View allAll Photos Tagged Development
© Tan Bing Dun 2013
===============================
Follow me at Twitter @TBDPhotos
===============================
www.facebook.com/tbdphotographytbd/
A collection of pots and tubs on the patio whils the pond, rockery and raspberry canes are about a yearold here I guess.
Belfry and drawbridge of the fortified island Ville Close, the old quarter of the town of Concarneau, Brittany, France
Siome background information:
Concarneau is an old seaside town with more than 20,000 residents on the south coast of the Breton department of Finistere. The town has two distinct areas: the modern town on the mainland and the medieval Ville Close, a walled town on a long island in the centre of the harbour. The Ville Close is connected to the town by a drawbridge and at the other end by a ferry to the village of Lanriec on the other side of the harbour.
Nearby the town prehistoric and Gallo-Roman habitats were unearthed. In the 10th century a priory was founded on the island as a subsidiary monastery of the abbey of Landévennec. However, the oldest parts of today’s Ville Close date from the 13th century. The first fortificatiions were built by John II, Duke of Brittany. At that time, when these first fortifications appeared, the Ville Close was home to a community of fishermen, who fished in the Bay of La Forêt.
In 1342, during the Hundred Years’ War between England and France (1337 to 1453), Concarneau was occupied by British troops, who came to help John of Montfort, self-proclaimed Duke of Brittany and an ally of King Edward III of England. In the following years the Ville Close was made a British stronghold. However, in 1373, after 31 years of British occupation, Concarenau was liberated by Olivier Du Guesclin, who sieged and finally seized the town on behalf of King Charles V of France.
The major construction of today’s still intact town walls took place in the 15th century, after which Concarneau quickly became one of the very first citadels in Brittany, a ducal city and then even a royal one. During the 16th century, the town prospered thanks to its trade in wheat, fish, wine and salt from Bordeaux. In 1540 a hospital, a prison, a barracks and a public well were built as well as the St-Guénolé church and its cemetery. Sébastien Le Prestre de Vauban decided on various modifications to the city’s defence works and drew up major plans, but these were never to be realised.
Alongside the military function of the town, daily life revolved around the sardine fishing industry. By the end of the 18th century, there were no less than 300 boats at work. Repeatedly revised, supplemented and enhanced, the walls of the city remained a refuge of release for ships of war or commerce until the 19th century. But when the population of the small town, which was enclosed within its walls, increased, more space was needed and the town began to expand on the neighbouring shores, the outskirts of Peneroff and the road to Quimper.
After 1850, fish conserving plants started to appear and later led to about thirty factories employing virtually the whole population, which constituted about 7,000 inhabitants at the time. However the disappearance of the sardine shoals put an end to the fleet, numbering more than 800 boats by then. But the renaissance of trawler net fishing, particularly for tuna, and as consequence thereof the development of the port facilities produced again wealth.
After the Second World War, a new generation of deep sea tuna boats assured Concarneau’s place among France’s premier fishing cities. In fact, With a yearly catch weight of 140,000 tons, Concarneau is the second most important port in France for fresh fish and the busiest in Europe for tuna. Today the fleet employs 1,300 mariners, manning 110 trawlers, and 25 tuna seiners, which sail to the Azores, to the Irish Sea and even to the Indian Ocean. Additionally 140 local fishing boats bring in monkfish, cod, pollock, flounder, hake, ray, shellfish, crustaceans, lobsters, langoustines and also sardines.
But today Concarneau is also a highly popular tourist site. The well-preserved town walls of the Ville Close, the more than one hundred houses from the 15th and 16th centuries within the walls and the nearby beaches make it a great holiday destination for vacationers from far and wide.
was in June 1992 that an unusual architectural manifesto was launched in Great Britain. For the next ten years or more, the manifesto entitled "Urban Villages, a concept for creating mixed-use urban developments on a sustainable scale" continued to make waves, and was much commented and criticised - often unfavourably - in the specialist and general media.
In the language of contemporary British town planning, the expression "urban village" has for many people come to be synonymous with the name "Poundbury", the neo-traditionalist suburban development on the fringes of the rural town of Dorchester, piloted and largely masterminded by the Prince of Wales. Yet although Poundbury is certainly the most extensively developed of Britain's urban village projects, there are many others throughout Britain, and the expression "urban villages" is also used in other English speaking countries to describe modern suburban developments - and in some cases rural developments - that conform (or more or les conform) to certain holistic principles of planning that run against the grain of accepted modern practices in suburban development.
This article takes a concise look at the origins of the "urban village" concept, and its definition, before studying the situation of urban village development in the UK today, looking at Poundbury and the other projects throughout the country that were in 2001 affiliated to the Urban Villages Forum, the think tank set up under the patronage of the Prince of Wales.
Indeed, no discussion of "urban villages" in a British context can begin without reference to the role of the Prince of Wales who, long dissatisfied by much of the dreary suburban development that has occurred in Britain during his lifetime, has used his position to spearhead the development of socially and architecturally successful sustainable communities designed to avoid the failures of the recent past.
The much-used expression "neo-traditionalist", imported from the United States, clearly establishes the conceptual framework that underlies the urban village movement; urban villages are seen as not just an architectural or planning concept, but one predicated on a form of social organisation that has its roots in a long-established model that has stood the test of time. In Britain, as in the United States, the aim of the proponents of urban villages is not just to design modern living environments that reflect those of a previous and supposedly more stable rural society, but to rediscover the forms of living environment that engendered the stability of such traditional rural communities. In this respect, the "urban village" is a concept that takes its place in a historic British - and notably English - paradigm that has previously been illustrated in the model towns of Lever, Cadbury and others, the garden cities of the first half of the twentieth century, and, in community terms at least, in late twentieth century developments such as Newcastle's Byker village.
The expression "urban village" seems however to be an American invention. The earliest bibliographical reference to the phrase would seem to be a book entitled Urban Village: Population, Community, and Family Structure in Germantown, Pennsylvania, 1683-1800, by Stephanie Grauman, published in 1980. Yet early usages of the expression do not refer to any specific planning concept, but are a more a convenient pairing of words used to describe certain types of close-knit urban communities whose structures reflected traditional rural models. The phrase was even used as a rendering of the Spanish expression "barrio". It was in the early eighties, however, that the first references to the "urban village" as a planning concept began to appear, in the writings of Christopher Leinberger, a Los Angeles based urban affairs consultant (Urban Villages: The Locational Lessons. Wall Street Journal. New York. November 13, 1984) and Charles Lockwood (The Arrival of the Urban Village in Princeton Alumni Weekly November 1986). Leinberger used the phrase "urban villages" to describe what he saw as a new tendency towards mixed-use development in suburban America, resulting from the fact that in post-industrial America, there was no longer any need to separate business and residential areas for environmental reasons (pollution, noise, etc.).
More recently, and notably in the 1990's, the phrase has been used sporadically in discussions of the American "new urbanism" movement, often by and with reference to neotraditionalist planners Leon Krier and the Andres Duany / Elizabeth Plater-Zyberk partnership; yet generally speaking, American writers and planners - until recently - have made considerably more use of the expression "new urbanism", rather than "urban village". The idea of the "village", with its notions of "community", seems to be particularly English, and it was only in the late 1990's, following the international interest aroused by the first of England's "urban villages", Poundbury, that the expression really began to become popular in the United States and Australia.
It was the Prince of Wales who introduced the concept of the "urban village" into the vocabulary of British planning; the expression is used briefly in his 1989 book A Vision of Britain (the follow up to a 1988 television documentary), though not at the time directly in conjunction with the Poundbury project, which is mentioned. It was also this book that clearly established the dual parentage of the urban village concept in the English acceptance of the phrase; on the one hand, the historic English village tradition, on the other hand the American neotraditionalist architectural planners, notably Krier and Duany. In the final pages of A Vision of Britain, a presentation of Krier's archetypal neotraditionalist development in Florida, the town of Seaside, covers a full five pages, compared to just two covering the development of "model villages" in the U.K. from Saltaire to the garden cities.
Yet clearly, however great the influence of Krier on Prince Charles has been, it is the historic English concept of the village, and the idealised view of village life, that form the theoretical models that the British proponents of the "urban village" have sought to translate into a modern idiom.
One may speculate as to whether Prince Charles, while thinking over the possibility of creating a planned modern urban village at Poundbury, on the outskirts of Dorchester, had read P.H.Ditchfield's 1908 book The Charm of the English Village, which had recently been reprinted (1985); there is a lot in this book, most notably perhaps its preoccupation with the small details, the use of materials, and the stylistic and functional variety that characterise traditional English villages, that prefigures the Prince's view of the model community. Along with many other publications, both Prince Charles's and Ditchfield's books are also woven on the loom of nostalgia for a supposed almost utopian past, common to the proponents of New Urbanism, and anathema to many modernists. In an article in Harvard Design Magazine in 1997, marxist geographer David Harvey, professor at Johns Hopkins university wrote :
"The New Urbanism in fact connects to a facile contemporary attempt to transform large and teeming cities, so seemingly out of control, into an interlinked series of 'urban villages', where, it is believed, everyone can relate in a civil and urbane fashion to everyone else."
Harvey, however was looking on new urbanism in the fundamentally North American idiom; and although, historically, many earlier settlers in the United States - notably in New England - transposed onto north American soil social models imitated from those of the English village, on the whole the American model was, by definition, different. Early American villages may not have been subject to the rectilinear grid planning of 19th century American towns and villages, but neither did they evolve slowly over time in the manner of the historic English village. In addition, America's "New Urbanism", as exemplified by Seaside, is rather different from the English "urban village" as first exemplified at Poundbury.
Ditchfield (1908) more than once stresses the particular nature of English villages, even as opposed to villages in other parts of Europe, referring to the particular social structure of the English village as the "village commonwealth", a structure that would more normally be referred to in modern terms as the "village community". It should be noted that the notion of "community" is a fundamental building block in the societies of modern English speaking countries, and is considerably more deeply rooted in the English tradition (and more broadly speaking the Germanic traditions) than in that of any newer country, or even of other European countries in which the structures of pre-industrial society had evolved out of Roman law.
Since the departure of the Romans, the village has been the core community unit in the British Isles. Though England long boasted, in London, Europe's largest city, and though Britain was the first European nation to undergo major population drift to the towns, the village has always survived - in thought, literature or art - as the ideal, and often idealised, social unit. In Roman times, cities became the nuclei of life in Britain; but after the Romans left, most of their great cities, with the exception of London, were largely abandoned, the British populations moving out to occupy new village sites outside the city walls or further afield; and whilst in continental western Europe the great cities of Roman times remained great cities after the Romans left, and in many cases remain so to this day, the same was not true in the British Isles.
In mediaeval Britain, the extensive devolution of power and authority under the Anglo-Norman feudal system - inherited from the Anglo Saxon period - and the territorial representation that existed in English parliaments from the late thirteenth century onwards, played their role in formulating, in the national psyche, an image of England as being a nation represented emblematically by its villages, rather than by its capital city. In the English mind, London has never been the nexus of national identity in the way that Paris has long been the symbol of France and French life. In Shakespeare, the quintessential images of English life are not those of Henry IV and Bolingbroke at court or on the battle field; they are those of Justice Shallow in his orchard in rural Gloucestershire.
The Industrial Revolution completed, by the mid nineteenth century, a process that had been set in motion by the Enclosures Acts of the eighteenth, precipitating Europe's first massive rural exodus, and with it a further pauperisation of the former rural labourers. It was during this period that poets, artists and novelists, from Blake to Constable to William Morris or Thomas Hardy, began to place rural England at the heart of English art and writing, often in an idealised manner that helped give a new impetus to the longstanding perception of the superiority of English rural society over urban society. The apparent immortality of the BBC's classic radio soap opera, the Archers, set in its fictitious village of Ambridge, is just another more modern illustration of the same point.
It is perhaps significant that Trevor Osborne, chairman of the Urban Villages Group, notes, in the introduction to Urban Villages, that "the term 'urban village' will not be readily understood in mainland Europe; when exported to other EC member states, it will need a different label." One might even add : "or to the USA".
It is clearly by another quirk of coincidence that the first English "Urban Village", Poundbury, should have been located on the outskirts of Dorchester, the town immortalised under the name of Casterbridge, in the novels of Thomas Hardy.
Proposals for a major expansion of Dorchester were first debated in 1987, and two years later outline planning permission for the westward extension of the town was granted by West Dorset District Council, for a mixed-use residential suburb that will eventually stretch over 400 acres (about 190 hectares). The initial development was to cover 35 acres of land.
Prince Charles was involved in the project from the start; the greenfield site on the outskirts of Dorchester was in effect his land, agricultural leasehold land belonging to the Duchy of Cornwall. When the Dorchester council applied to the Duchy to purchase the land for development, the answer they received was more favourable than they had imagined possible. Not only would the Duchy make the land available for development, but Prince Charles himself would oversee the operation, with the aim of establishing an attractive mixed-use and socially mixed suburban development; Britain's first "urban village".
For many in the UK architectural and planning establishment, news that the Prince of Wales was to take charge of a major suburban development project was like a red rag to a bull. Relations between the Prince and many of Britain's leading architects and planners had been, to say the least, tense ever since the Prince had begun airing in public his none-too-complimentary opinions on the architecture and planning of the sixties and seventies. His famous description of Birmingham's new library as looking more like an incinerator than a place of learning, or his much quoted speech to the Royal Institute of British Architects, in 1984, when he described the proposed extension to London's National Gallery as being like a "monstrous carbuncle on the face of a much-loved and elegant friend", had done little to endear him to the modernists in British architecture.
Consequently, and unsurprisingly, reactions to the initial proposals for Poundbury were not favourable, neither in the specialised reviews nor in the architectural columns of the British broadsheets. The project was decried variously as an exercise in retrophilia, a pastiche, an irrelevance, or worse.
That was in 1989; and it is true that Leon Krier's bird's-eye sketch of what Poundbury might look like, published at the time in A Vision of Britain (p138), does look more like a heteroclite exercise in nostalgia than a serious plan for a late twentieth century suburban development.
The reality of Poundbury has been somewhat different: with the first phase of building now complete, the earliest streets have already had time to mellow, and as an urban environment, the general consensus among both residents and the press is that this new "urban village" is a success. After its early hostile coverage, the British mainstream press - including the Guardian, the Telegraph, the Mirror and the Mail - has now changed tack, and since 1998 press coverage of the ever-evolving project has been largely positive.
Among the common complaints voiced by residents now is that Poundbury is a victim of its success, with large numbers of tourists and visiting architects and town planners who invade their space, sometimes in coachloads, turning their residential quarter into an unintended tourist attraction.
So why do they come? What is it that has established Poundbury as a stopping point on the architect's and town planner's tour of Britain in the early twenty-first century? Firstly, of course, there is its curiosity value - an unusual - some would still say eccentric - act of royal patronage, an experiment in suburban architecture and planning, masterminded by an amateur planner who is due to become the next King of England. Secondly they come to see how the ten point theory of the "urban village", laid out in the Vision of Britain, transforms into reality.
Over 22 pages, the book sets out a list of "ten principles we can build upon" in order to create a successful modern urban living environment. These are as follows:
1. Place. That planners should understand the local environment, and design their projects to blend with it.
2. Hierarchy. That the design of buildings should always reflect their hierarchical position in the community, that "public buildings ought to proclaim themselves with pride", and others be designed in function of their value in society.
3. Scale. That buildings should bear relation to the human scale, and the scale of other buildings in an area.
4. Harmony. That buildings should blend harmoniously with others in the vicinity.
5. Enclosure. That spatial identity is of major importance, and that new developments should incorporate such public spaces as squares and courtyards
6. Materials. that building materials used should reflect the diversity of local traditions, and not conform to any national or international standard.
7. Decoration. That decorative craftsmanship should still be, as it always has been, a major feature of the urban environment.
8. Art. That artistic decoration has a major and a symbolic role to play in the enhancement of the urban environment, and that artists as well as architects should have a role to play in the designing of new living environments.
9. Signs and lighting. That these also contribute to the success of the built environment, not detract from it, and should therefore be put up with care and attention.
10. Community. That a successful community is a place where residents feel involved, and contribute to the planning and running of their environment.
While points 1 - 9 can be - and in the case of Poundbury, are being - ensured through the masterplan, point 10 cannot. A successful community can only be brought about by the people who live in it; and so far, in spite of the fact that Poundbury is still very much an ongoing project, those who live there are happy with their environment and, on the whole, consider it to be a successful community.
Besides the above ten points, which essentially concern the architectural and visual aspects of the environment in urban villages, there are other fundamental aspects that distinguish the urban village from other suburban or rural housing projects, aspects that are perhaps rather more fundamental than aesthetics. These are social mixity, and mixed use - together seen as preconditions for the creation of new sustainable communities.
As well as reflecting the ten principles, the masterplan for Poundbury was for a housing development that would include a seamless and indistinguishable mixture of owner-occupied dwellings and social housing. The mixed-use plan also called for the inclusion, within easy walking distance of the residential streets, of shops, workshops and factories, enabling residents to live and work in the community without the need for commuting.
In many details, the masterplan for Poundbury went against conventional planning orthodoxy. Its fundamental tenet, mixed use, ran counter to accepted zoning theory, which prefers to concentrate business in business parks, housing in housing estates, and shops in shopping centers.
As for social diversity, critics of the Poundbury plan argued that the type of home buyers wanting to buy in Poundbury would not wish to buy houses that shared a dividing wall with social housing units; it was also suggested that the densely-packed housing environment was out of keeping with the tastes and expectations of modern middle-class British house-buyers, more usually attracted by the ideal of detached houses in wrap-around gardens.
Others predicted that industry would not want to relocate in the middle, or even on the edge, of a residential area, and that in the end, Poundbury would end up as no more than a "glorified council estate".
So far at least, this has not been the case - which is exactly what its planners expected. Having conceived Poundbury as a carefully planned (or, in its critics' opinions, contrived) recreation of a traditional organically developed village, they did not expect to encounter the problems facing many other suburban developments.
Like the village, the urban village is conceived as a community of mixed housing, catering for all ages and income groups. At Poundbury, the first phase of housing consisted of 55 units of social housing, administered by a housing association, the Guinness Trust, and 141 freehold owner-occupier homes, as well as retail and commercial premises. By the time the development is completed, towards the year 2020, Poundbury will have between 2,000 and 3,000 housing units, with social housing accounting for about 20% of the total, in line with the national average.
The question that remains, however, is whether the model of Poundbury can be transposed into other settings, or whether the success of this rather middle-class development on the edge of a rather trouble-free county town in the heart of the Westcountry, can be replicated in other areas?
Following the media coverage - both positive and negative - given to the Poundbury project when it was first mooted in the late 1980's, a forum known as the Urban Villages Group was founded in 1989, at the Prince of Wales's behest, under the wing of Business in the Community, an organisation whose purpose is "to tackle economic, social and environmental issues affecting local communities" (Aldous, p8).
Among the founder members of the Group were Leon Krier, plus the chief executives of a number of property development companies, housing corporations, and the Managing Director of the Cooperative Bank. The aim of the Group was to encourage councils and property developers to take the urban village concept nationwide, as a viable - if slightly more costly - alternative to the monotonous standardized run-of-the-mill developments, the "edge cities" that have mushroomed, and will continue to mushroom, on the outskirts of most British urban areas.
As of January 2002, eighteen development projects across England are being carried out in partnership with the Prince's Foundation, according to "urban village" principles; none however is as advanced as Poundbury, and some, such as the Westoe Colliery project at South Shields and the Northwich city centre project, are still on the drawing board. Yet as the location of these two projects shows - one in the heart of the depressed northeast, and the other in the rundown centre of a Cheshire town - the "urban village" concept can be, and is being, applied in areas that are very different from semi-rural Dorset.
Only two other projects are listed, like Poundbury, as "urban extensions" on greenfield sites, one in Basdildon Essex, the other in Northampton; by far the majority of projects are "urban regeneration" projects on brownfield sites.
Some of these are in fact far removed from the "urban village" concept as illustrated by Poundbury. In particular, the Ancoats project in Manchester, the Jewellery quarter in Birmingham and the Little Germany redevelopment in the centre of Bradford appear more like classic industrial heritage preservation programmes, along the lines of the Albert Dock regeneration scheme in Liverpool, or the redevelopment of Butler's Wharf on the South Bank in London.
They are, however, different, inasmuch as these three projects, though they will never become villages in the sense that Poundbury can call itself a large village, have been conceived with the ethos of the urban village concept in mind, and not as just three more chic urban residential areas for the upwardly mobile.
Little Germany and the Jewelry Quarter are interesting cases, both being central urban areas which, in the past, had a clear spatial and social identity, the former as the fiefdom of Bradford's German cloth merchants, the latter as the densely populated network of small streets which housed both the homes and the workshops of Birmingham's hundreds of jewelers and watchmakers - a classic historic example of both mixed usage and a clearly defined urban quarter.
A hundred years ago, Birmingham's Jewellery Quarter provided employment for some 70,000 people – many of whom lived and worked in the quarter. Since then, the number of jobs in the sector has fallen by over 90%, and the residential population has all but disappeared. In 2000, the quarter harboured some 1,200 business, but only about 700 residents. The aim of the project is to redress this imbalance, and rekindle the vibrant community that existed at the start of the twentieth century.
The Ancoats Urban Village, in Manchester, is different - so different indeed that although Ancoats announces itself as an "urban village", the project's development manager herself is not convinced that it really is one.
"I feel uneasy about offering Ancoats as representative of the Urban Villages movement, as it does not conform to many of the criteria that the Urban Villages movement sets out, and although we are still members of the Prince's Foundation, I don't think they would suggest Ancoats as an example of their philosophy; we seem to spend most time disagreeing!" (Lyn Fenton, private letter of 02/01/02).
Ancoats prides itself for its place in urban history, as the world's first industrial suburb – an area in which 13,000 people once lived and worked; the targets of the Urban Village project are to bring people back to live in this historic industrial site, close to the centre of Manchester, through a programme of mixed use residential and business development. Classed as a conservation area in 1989, it is on the UK's short list for designation as a UNESCO world heritage site. In spite of the reservations of the developers, the targets set out in the Ancoats Supplementary Planning Guidance reflect the same principles as those adopted for Poundbury; the fact that this, as some other urban village sites, are not totally new-build areas, does not fundamentally change the perspective.
Naturally perhaps, it is not in Britain's great urban centres that other urban village projects closer to the Poundbury model can be found, but on the edges of Britain's smaller towns and cities, as the following two examples illustrate. The Westoe site in South Shields is being developed by Wimpey on the 17 hectare site of a disused colliery, as a high-density mixed-use and socially mixed suburb with up to 800 homes, its own school, shops and office premises. In Lancashire, the Luneside development at Lancaster, albeit smaller - 6 hectares - is being developed along similar lines.
Finally, although only 18 projects are affiliated to the Prince's Trust as recognised "urban village" developments, neither the Prince nor the trust has exclusive rights to the expression, and other new housing development projects elsewhere in Britain, are taking up the label in order to give themselves a certain cachet.
Indeed, the "urban village" approach to the design and planning of residential areas has now found its way into official UK government guidelines, a new guide from the Department of the Environment, Transport and the Regions showing among its primary inspirations:
" the 'Urban Villages' movement in the UK and neo-traditional design generally. Indeed, the design philosophy promoted is essentially one of working with context, promoting pedestrian friendly environments, returning to traditional perimeter block systems, and - where possible - mixing uses." (DETR Website 2002)
The current popularity of the notion of the "urban village" in contemporary UK planning would tend to indicate that a sea change in planning theory has taken place in the UK since Prince Charles first launched his vision of Britain in 1989. Whether or not this will result in the recreation of something resembling the types of close-knit communities that existed in nineteenth century, or pre-Enclosures English villages, or even in twentieth century industrial villages, and whether "mixed usage" will really have any serious impact on the social habits of the British in the 21st century, other than reducing car usage, are different matters.
And in the end, it is perhaps of little matter in the context of this paper, in which I have set out to show the peculiarly high value attached to the word village in England, and the particularly strong belief that runs through English thought and culture, that the village - and notably the idealised village with its green spaces, flowered gardens, and friendly folk, is the finest possible form of spatial and social organisation - even in the resolutely urban society of the start of the third millennium. In this respect, the phrase "urban village" has readily come to be seen not as a contradiction in terms, but as a means of having one's cake and eating it, or at least getting the best of both worlds.
Bibliography
Aldous, Tony. Urban Villages, a concept for creating mixed-use urban developments on a sustainable scale, London, The Urban Villages Group 1992.
Ditchfield, P.H. The Charm of the English Village, 1908, reprinted London, Bracken Books, 1985,
Harvey, David. The New Urbanism and the Communitarian Trap, in Harvard Design Magazine, Winter/Spring 1997, no. 1.
Miller, Anthony. The role of Landscape Architecture in fostering community; Byker, a case study, in L'Espace Urbain Européen, Cahiers du Créhu 6. Annales littéraires de l'Université de Franche Comté 1996
Mumford, Lewis. T, The City in History, Secker & Warburg 1961, reprinted Penguin Books, Harmondsworth, 1973 &&.
Rossiter, Andrew. Retour à l'Utopie? Poundbury; redéfinir la banlieue en village urbain. In Ville et Utopie, Cahiers du Créhu no. 10, actes du Colloque. Presses Universitaires de Franche Comté, 2001.
Wales, Charles, Prince of. A Vision of Britain, a personal view of architecture. London, Doubleday, 1989
Webography:
Thandani, Diriu A. New Urbanism Bibliography, published by the Architectural Resources Network
periferia.org/publications/cnubibliography.html
Department of the Environment, Transport and the Regions:
www.planning.detr.gov.uk/livingplaces/02/03.htm
Copyright :
About-Britain academic : texts © Authors and About-Britain.com
Andrew Rossiter, Université de Franche Comté
From a paper presented at the International Symposium on Urban and Rural Britain at the University of Valenciennes, France, 2002
Giving further credence to the status of Punjab as a favoured destination for investors, ITC Limited today announced to double its investment in Punjab from the earlier Rs 700 crore to Rs 1400 crore. Disclosing this during my interaction with the top corporate honchos here, the President of FMCG Businesses, ITC Limited Mr. Sanjiv Puri said his company had succeeded in making Kinnow juice and it would be in the market within the current financial year.
The Managing Director of Godrej Agrovet Limited - Mr. Balram Yadav said his company would evaluate setting up a green house and food park over 100 acres. I told him that the government was ready to create the entire infrastructure for the green house at Ladhowal.
Molson Coors president Ravi Kaza announced his company was upgrading its plant by investing Rs 50 crore. Representatives of Marks and Spencer, Cannon, Shaktibhog Atta, Walmart and Dabur also held one to one meetings with me and all sounded very upbeat about investing in Punjab. Walmart representatives said there was scope of opening a dozen more Walmart stores in Punjab as the company's stores in Punjab had the best sales.
Looking forward to a really Progressive Punjab!!!
In an exclusive interview with China.org.cn on March 3, Sri Lankan Ambassador to China Karunatilaka Amunugama discussed his travels within the country and his expectations in attending the annual sessions of the 11th National Committee of the Chinese People's Political Consultative Conference (CPPCC) and the National People's Congress (NPC).
One of the most important issues to be discussed at this year's sessions was regional imbalances, Amunugama said. On a recent tour of Qinghai and Gansu provinces in northwest China, the ambassador observed that the government has been looking for ways to accelerate growth in underdeveloped regions. The ambassador noted that in his travels, he noticed various factors can contribute to urban development.
"Inner Mongolia is one of the largest provinces in China with a very small population. Its Erdos is a newly emerging city with its per-capita GDP reaching as high as US$30,000. It is a very rich city because they have a lot of coal and minerals," Amunugama said. Gansu, he said in comparison, "has well-established schools and hospitals, but it doesn't have many [natural] resources. So the development of those particular counties or cities doesn't necessarily reflect people's incomes." The ambassador said he believed that this point would be brought up during this week's sessions.
"We would like to see China become more global and work with the international community on common issues," Amunugama said.
China has had the tradition of allowing foreign ambassadors to observe its CPPCC and NPC sessions to promote understanding of the country's policy deliberations in the international community.
The CPPCC is a very important part of people's lives, Amunugama said, because it discusses "what the country needs at the village level and also the national level."
"We can listen to what Chinese leaders think of the past as well as the future. These [issues] are not only important to Chinese people, they are also important to the international community, particularly Asian countries," Amunugama said.
"We are looking forward to seeing the opening ceremony," Amunugama told China.org.cn prior to the start of this year's CPPCC session.
This year saw the 63rd celebration of Sri Lanka's Independence, which fell on February 4, and it will also mark the 54th anniversary of the establishment of diplomatic relations between China and Sri Lanka. On March 10, the Sri Lankan embassy will hold its National Day celebrations in Beijing.
These are described as "the Niagara Falls of the west without all the commercial development". That fits as we saw it with lots of spring water crashing over.
1 UNCOMPROMISING IMAGE QUALITY
2 COMPATIBILITY AS A MATTER OF PRINCIPLE
3 ENDURING PERFORMANCE AND VALUE
4 SILENCE AND DISCRETION
5 SPEED AND FLEXIBILITY
6 COMPLETE CONTROL OF ALL PICTURE PARAMETERS
With its extremely high-resolution image sensor in full-frame 35-mm format and cutting-edge image-processing system, the Leica M9 is uncompromisingly dedicated to capturing images of the very highest quality. The photographer may choose between image storage in JPEG format for fast processing, or as raw data in DNG format that supports a multitude of post-processing options. Alternatively, both formats may be stored simultaneously. In the DNG format, photo- graphers may also choose between a compressed, but faster and greater space-saving option, or an uncompressed version that preserves maximum image quality.
Of course the Leica M9 offers photographers access to the complete Leica M lens system lenses, long acclaimed by experts and users as the best in the world. Its development began in 1954, and the M-System has been continually advanced and improved ever since. The high-resolution, full-format image sensor of the M9 fully exploits the performance of legendary Leica lenses from corner to corner.
It is hardly unusual that a Leica, once owned, becomes a lifelong companion. This also applies to the digital M9: Its closed, full-metal housing, crafted from a high-strength magnesium alloy, and its top deck and bottom plate machined from large blocks of brass, provide perfect protec- tion for its precious inner mechanisms. The digital components and shutter assembly of the M9 are similarly constructed with endurance in mind. Free firmware updates ensure that the camera benefits from the latest technology. In short: The Leica M9 is an investment for a lifetime.
Discretion and unobtrusiveness are particular strengths of the M-system. In operation, the shutter of the M9 is as quiet as a whisper. An extremely low noise level when cocking the shutter is ensured by a sophisticated motor and gearing system. In discreet mode, the shutter is only cocked after the photographer‘s finger is lifted from the shutter release button when, for instance, the camera is concealed under a jacket. When shooting handheld at long exposure times, or whenever extreme steadiness is essential, slight pressure on the shutter release button in ‘soft release’ mode is sufficient to trigger the camera. In addition to these advantages, the fact that the combination of camera and lens is significantly more compact than any other full-frame camera system contributes to the fact that M photographers are frequently unnoticed and often simply blend into the background.
The Leica M9 adapts to its intended uses in a seamlessly flexible manner. Its sensitivity ranges from ISO 80 for wide-open apertures on bright days to ISO 2500 for low-light image capture. Very low noise levels and finely detailed images are achieved throughout the sensitivity range, even at the highest ISO settings. Very low image noise characteristics, an extremely bright viewfinder/rangefinder, low-vibration shutter and the availability of super fast lenses make the M9 the perfect camera for available-light photography.
The Leica M9 aids photographers with automatic functions whenever they’re required, but it never dictates how to shoot or interferes with the picture-taking process. Depending on the light level, the automatic ISO shift function increases the sensitivity of the camera as soon as the shutter speed falls below a hand-holdable value. At the same time, it also limits the shift to a maximum value determined by the photographer. This means that correct exposure without camera shake and the lowest possible sensitivity is always available to guarantee the best possible image quality in all situations. In addition, the M9 also offers automatic exposure bracketing with a user-selectable number of shots and exposure increments. This function ensures that even high-contrast subjects are perfectly captured.
Like every M camera of the past half century, the M9 is concentrated, by design, on the most photographically relevant functions. Its manual focusing – based on the combined viewfinder and rangefinder concept – and aperture priority exposure mode enable photographers to achieve maximum creative expression without imposing any limitations on their creative freedom. In combination with the 2.5-inch LCD monitor on the back, the simple, intuitive menu navigation system controlled by only a few buttons ensures rapid access to the entire range of camera functions.
7 FULL FRAME 24 × 36 MM – WITHOUT ANY COMPROMISES
8 OPTIMIZED SENSOR
9 INTUITIVE CONTROLS
10 ALL INFORMATION AT THE PUSH
OF A BUTTON
The CCD image sensor in the M9 was specifically designed and developed for this camera and offers full 35-mm film format without any compromises. All M lenses mounted on the M9 offer the same exact angle of view they had when shooting film material and therefore can now be used to an optimum effect. In other words, all the outstanding characteristics of Leica M lenses are now fully maintained for digital photography as well. In short, the high resolution and superior image quality of the M9 has the ability to fully exploit the enormous potential of M lenses.
In the case of the M9, it wasn’t a matter of modifying the lenses to match the image sensor, but rather the other way around. Our dedication to further developing the image sensor has resulted in a component perfectly matched to its intended role in the very compact M-System as well as to the performance of M lenses. The special layout of the micro lenses found in the M9 sensor makes it tolerant of oblique light rays impinging on its surface, thus assuring uniform exposure and extreme sharpness from corner to corner in every image. As a result, future Leica M lenses can be designed and optimized with uncompromising dedication to the achievement of the highest performance and compact construction. A newly developed sensor filter ensures the suppression of undesirable infrared light. The conscious decision to do without a moiré filter, a cause of image deterioration through loss of resolution, ensures maximum resolution of fine detail. The optimized signal-noise ratio of the CCD image sensor reduces the need for digital post-processing and ensures that M9 images possess an unrivaled and natural visual impact.
The key control element of the M9 is an intuitive four-way switch and dial combination used in conjunction with the 2.5-inch LCD monitor on the back. To set the ISO sensitivity, simply maintain light pressure on the ISO button while simultaneously turning the dial to select the required setting. All other functions important for everyday situations are quickly and easily accessible by pressing the set button: white balance, image-data compression, resolution, exposure correction, exposure bracketing, and programmable user profiles. The user profiles can be programmed with any combination of camera and shooting settings, stored under an assigned name, and accessed quickly whenever required for a particular situation. An additional pre-defined snapshot profile is also available. In snapshot mode, the M9 automa- tically sets as many settings as possible, thus providing a valuable aid to spontaneous and discreet photography. All other functions – from automatic lens recognition via six-bit lens- mount coding and selection of the required color space to cleaning of the sensor – are easily found in the clearly arranged main camera menu.
Pressing the “info” button in shooting mode displays the precise charge level of the battery, the remaining number of frames on the installed memory card, and the most important basic shooting settings, for example the shutter speed, on the camera’s brilliant 2.5-inch LCD monitor. In image-view mode, users can switch between an image-only view (with a zoom option up to single pixel level) or access other information by simply turning the dial. The available data includes information on the ISO sensitivity setting and shutter speed in use, plus a precise histogram display.
The Leica M9 embodies the heritage and amassed experience of more than five decades of the M-System. It is also, simultaneously, a digital system camera at the absolute pinnacle of modern technology. For Leica designers, photography has always been their prime concern – whether film or digital. The combination of an extremely efficient image sensor, the latest digital components, and the classic viewfinder/rangefinder principle – consistently optimized over many years – make the Leica M9 absolutely unique in all the world.
1
WORKFLOW SOFTWARE IS INCLUDED
The digital image processing workflow solution Adobe® Photoshop® Lightroom® is included in the M9 package.
The M9 is supplied complete with Adobe® Photoshop® Lightroom®, a professional digital work- flow solution for Apple Mac® OS X and Microsoft Windows®. The software is available as a free of charge online download for all Leica M9 customers. This also ensures that the latest release is always readily available. Adobe® Photoshop® Lightroom® offers a vast range of functions for the administration, processing, and exporting of digital images. If the images from the M9 are saved as raw data in the standardized and future-proof Adobe Digital Negative Format (DNG), then the sophisticated and precise processing options of Adobe® Photoshop® Lightroom® guarantee direct and extremely high-quality image processing with maximum image quality. At the same time, the 16-bit per channel color information captured by the image sensor is maintained throughout the processing workflow from image import to image export, ensuring that the most delicate tonal differentiations are preserved in maximum quality after completion of the post-processing sequence.
The Leica M9 can display a precise RGB tonal value histogram of the captured image after each shot, and also offers optional integration of the histogram in the automatic image view display. The clipping warning display over- and underexposed zones in each image, warning the photographer of potentially unusable images. An innovative feature is that the histogram is recalculated every time a new part of the image is viewed, thus enabling a precise quality assessment of small image areas and even the finest image details.
Modern new houses mushrooming near the ancient village of Kokana (in the background)Lalitpur, Nepal.
Cranes - one working on the new development, the other an old wharf crane that operated on the river here.
26-27 November 2019
2019 Green Growth and Sustainable Development Forum - GGSD
OECD Headquarters, Paris, France
Photo: OECD/Andrew Wheeler
Event: 2016 Integrated Product Development Trade Show
Location: Ross School of Business
Photographer: Philip Dattilo
Rights: © 2016 Regents of the University of Michigan. ALL RIGHTS RESERVED.
(734) 647-0308. Tauber.umich.edu
Ingic has hard core skills inAndroid Mobile App Development. We not only create apps also promote and get most out of it.
Man with a Stop Sign at the construction site near the West Side Rail Yards at the Highline Park.
Olympus E-M5 with a Lumix 12-35mm f2.8 Lens
April 09, 2019 - WASHINGTON DC - 2019 World Bank/ IMF Spring Meetings. World Bank Group CEO Kristalina Georgieva, IFC VP for Latin America & the Caribbean and Europe and Central Asia Georgina Baker, and the Sexual Violence Research Initiative founder Claudia Garcia-Moreno, 11 winners from around the world were awarded prize money to design, implement, and capture results of new solutions, including the first-ever private sector winner. Photo: World Bank / Grant Ellis
My workspace right now. Pretty much my ideal combination of glass-and-steel cleanliness, device integration and wireless freedom.
Another image of the construction in London. In this scene i used ND filters to achieve a different shot. The tall cranes boldly tower into the sky above. The lengthened shutter helped to lose the little detail into the sky, leaving behind an almost white screen for the cranes to stand against. The traffic below also deserved a place in the shot. Blurring the cars with the use of a 3 stop ND filter allows this additional depth to be added to the shot without distracting the image.
I am very pleased with the feel that i captured in this image. The detail in the construction work contrasting with the deliberate blur in the foreground I find works very well.Ricky Adam's 35mm work really came to my mind when shooting this scene. For some reason the site seemed to be quite old fashioned and retro. I think its because the building carcasses appeared to be very basic, 1970s flats style. The conversion to monochrome i believe finalised the shot, capturing the moment well.
The British Martin-Baker MB 5 was the ultimate development of a series of prototype fighter aircraft built during the Second World War. Neither the MB 5 nor its predecessors ever entered production, despite what test pilots described as excellent performance.
Design and development;
Martin-Baker Aircraft actually began the MB 5 as the second Martin-Baker MB 3 prototype, designed to Air Ministry Specification F.18/39 for an agile, sturdy Royal Air Force fighter, able to fly faster than 400 mph. After the first MB 3 crashed in 1942, killing Val Baker, the second prototype was delayed. A modified MB 3 with a Rolls-Royce Griffon was planned as the MB 4, but a full redesign was chosen instead.
The re-designed aircraft, designated MB 5, used wings similar to the MB 3, but had an entirely new steel-tube fuselage. Power came from a Rolls-Royce Griffon 83 liquid-cooled V-12 engine, producing 2,340 hp (1,745 kW) and driving two three-bladed contra-rotating propellers. Armament was four 20 mm Hispano cannon, mounted in the wings outboard of the widely spaced retractable undercarriage. A key feature of the design was ease of manufacture and maintenance: much of the structure was box-like, favouring straight lines and simple conformation.
It was built under the same contract that covered the building of the MB.3.
Flight testing;
The first flight of the MB 5 prototype, serial R2496, took place on 23 May 1944. Performance was considered outstanding by test pilots, and the cockpit layout was praised by the Aeroplane and Armament Experimental Establishment (A&AEE). The accessibility of the fuselage for maintenance was excellent, thanks to a system of detachable panels.
"In my opinion this is an outstanding aircraft, particularly when regarded in the light of the fact that it made its maiden flight as early as 23rd May 1944"
– Test pilot Capt. Eric Brown, 1948
Acknowledged as one of the best aerobatic pilots in the UK, S/L Janusz Żurakowski from the A&AEE at RAF Boscombe Down gave a spectacular display at the Farnborough Air Show in June 1946, with the Martin-Baker MB 5, a design he considered as a superlative piston-engined fighter, better in many ways than the Spitfire.
Serial production, had it been authorised, would have begun in time for squadron service over Germany. Instead, the RAF directed their attention towards jet-powered fighters and the MB 5 remained unordered. Perhaps one of the reasons that the MB 5 did not go into production, was because the Rolls-Royce Griffon engine failed when the MB 5 was being demonstrated to Prime Minister, Winston Churchill, the Chief of the Air Staff and a host of other VIPs at an important display of British and captured German aircraft at Farnborough. Another reason, stated by Michael Bowyer, is that Martin-Baker may have lacked both facilities and sufficient government support. The company's slow progress with the machine could have been due to a lack of facilities.
The original MB 5 was reputedly destroyed on a gunnery range. Martin-Baker went on to become one of the world's leading builders of ejection seats.
Replica construction;
A partial replica is being built in Reno, Nevada, USA by John Marlin using wings from a P-51 Mustang. The website stated in 2006 that it was nearing completion, and as of 2010, an undated entry shows a photograph of the aircraft taxiing and says that it is nearing completion. (wiki)
Photo Credit's: Unknown to me (reprint scan).
Adopting technology based solution becomes a recent mindset of businesses from small and midsized businesses to large sized enterprises in order to explore new horizons of their ventures. Mobile app becomes a one of the most popular trend adopted by businesses, today. Based on one survey,...
voxilltec.com/2017/03/06/selecting-a-right-mobile-app-dev...
December 11, 2010.
Shot with Mamiya 6 (75 mm lens), 1 sec. exposure, handheld, on Shanghai GP3 100 film, expiry date July, 2012. Developed in Calbe R09 ("Rodinal" clone), 1+125 solution, for 1 hour, 20 seconds water rinse and 6 minutes fix. – View large.
My new GYM and RP system with auto attaching HUD system, bento MMA fighting , scoring, database system, holds 1000 players, create you MMA Gym today! My gym is open for the public and host weekly fights, 20L training points and lots of fun work out equipment, my gym membership is free, Free to fight, free to earn training points. To own this system is not free 2500L$ gets you life time support and a really nice RP server system.
visit the Gym
maps.secondlife.com/secondlife/Olympus/150/40/22
at working demo to my system
#Secondlife
Peterlee, is a New Town in County Durham, named after Peter Lee the miner's leader and county councillor. George Grenfell-Baines was the primary architect on the project, having replaced Berthold Lubetkin who resigned from the Peterlee Development Corporation in 1950, his ambitious plans for tower blocks having been rejected as unsuitable for the geology of the area which had been weakened by mining works.
Photographed during a day visit in February 2014.
View from the Kln Hills looking alone the center line of the proposed new runway. (Source: Henley Lo)
Title: Product development and design discussion panel, Varian Techtron, 679 Springvale Road, Mulgrave
Author / Creator: Sievers, Wolfgang, 1913-2007 photographer.
Date: 1974
Note the 3 cigarette packs on the table.
Varian Techtron was the result of a merger between the Australian company Techtron and the American firm Varian Associates in 1967. The Springvale Road site (then in Springvale North, but now in Mulgrave) was established by Techtron and is still in use, but now as Agilent Technologies (which acquired Varian in 2009). Techtron Appliances was established in 1938 and it and its successor companies have produced a variety of electronic and analytic equipment for industry and scientific research, notably including Atomic Absorption Spectrophotometers (AAS) to CSIRO specifications.
See locale on Google Maps.
Contents / Summary: Shows a group of staff, all male seated around a small table while another staff member is using a whiteboard.
Subjects:
Varian Techtron Employees.
Gelatin silver prints.
Index terms:
Australia; Victoria; Wolfgang Sievers; Varian Techtron; employees; Mulgrave
Notes: Job number inscribed in pencil on reverse of image: 4314 AD
Vintage print with the photographer's studio stamp on reverse.
Title taken from information supplied by Varian Australia, courtesy of the photographer.
Printed by Wolfgang Sievers at an unknown date from his negative made in 1974.
Copyright status: This work is in copyright
Conditions of use: Copyright restrictions apply.
For Copyright queries, please contact the National Library of Australia.
Source: SLV
Identifier(s): Accession no: H2000.195/243
Source / Donor
Purchased 2000.
Series / Collection: Wolfgang Sievers collection.
Link to online item:
handle.slv.vic.gov.au/10381/308814
Link to this record:
search.slv.vic.gov.au/permalink/f/1fe7t3h/SLV_ROSETTAIE18...
search.slv.vic.gov.au/permalink/f/1fe7t3h/SLV_VOYAGER1757463
April 13, 2019 - WASHINGTON DC - 2019 World Bank/ IMF Spring Meetings.Development Committee Meeting. Photo: World Bank
Photo ID : 041319_DEV COM Overhead Photo_PRESTON
This photograph shows prefabricated units being placed in position at a building berth in the East Yard of William Doxford & Sons Ltd, Pallion, c1950s.
Reference: DS.DOX/6/11/7/6
Sunderland has a remarkable history of innovation in shipbuilding and marine engineering. From the development of turret ships in the 1890s and the production of Doxford opposed piston engines after the First World War through to the designs for Liberty ships in the 1940s and SD14s in the 1960s. Sunderland has much to be proud of.
Tyne & Wear Archives cares for tens of thousands of photographs in its shipbuilding collections. Most of these focus on the ships – in particular their construction, launch and sea trials. This set looks to redress the balance and to celebrate the work of the men and women who have played such a vital part in the region’s history. The images show the human side of this great story, with many relating to the world famous shipbuilding and engineering firm William Doxford & Sons Ltd.
The Archives has produced a short blog to accompany these images.
(Copyright) We're happy for you to share these digital images within the spirit of The Commons. Please cite 'Tyne & Wear Archives & Museums' when reusing. Certain restrictions on high quality reproductions and commercial use of the original physical version apply though; if you're unsure please email archives@twmuseums.org.uk