Second Life Design Center - SLDC
View allAll Photos Tagged Eco-design
Avant de débarquer sur le sol namurois, le Pavillon a été le symbole de la Belgique à l’exposition universelle de Milan. Cette création de Patrick Genard, primée pour son éco-design, vient compléter avec audace le paysage de la Citadelle.
Aujourd’hui, perché sur son promontoire, le Pavillon se veut le totem d’une transformation numérique. le Pavillon recueille les visions de ceux et celles qui questionnent le présent à travers le numérique. Sa mission ? Permettre à tout un chacun de s’approprier les enjeux de notre époque à travers l’initiation, la découverte et l’expérimentation.
Curieux et audacieux : c’est le mode de configuration du Pavillon. De bois, de clous et de métal à l’extérieur, le Pavillon du dedans se construit comme une joyeuse créature organique, sans cesse en changement. Une évolution qui n’est pas sans rappeler celle du monde, faite d’essais et d’erreurs.
Before landing on Namur soil, the Pavilion was the symbol of Belgium at the Universal Exhibition in Milan. This creation by Patrick Genard, awarded for its eco-design, daringly completes the landscape of the Citadel. Today, perched on its promontory, the Pavilion is the totem pole of digital transformation. the Pavilion collects the visions of those who question the present through digital technology. His mission ? Allow everyone to take ownership of the challenges of our time through initiation, discovery and experimentation. Curious and daring: this is how the Pavilion is configured. Of wood, nails and metal on the outside, the Pavilion of the inside is built like a joyful organic creature, constantly changing. An evolution not unlike that of the world, made up of trial and error.
Avant de débarquer sur le sol namurois, le Pavillon a été le symbole de la Belgique à l’exposition universelle de Milan. Cette création de Patrick Genard, primée pour son éco-design, vient compléter avec audace le paysage de la Citadelle.
Aujourd’hui, perché sur son promontoire, le Pavillon se veut le totem d’une transformation numérique. le Pavillon recueille les visions de ceux et celles qui questionnent le présent à travers le numérique. Sa mission ? Permettre à tout un chacun de s’approprier les enjeux de notre époque à travers l’initiation, la découverte et l’expérimentation.
Curieux et audacieux : c’est le mode de configuration du Pavillon. De bois, de clous et de métal à l’extérieur, le Pavillon du dedans se construit comme une joyeuse créature organique, sans cesse en changement. Une évolution qui n’est pas sans rappeler celle du monde, faite d’essais et d’erreurs.
Before landing on Namur soil, the Pavilion was the symbol of Belgium at the Universal Exhibition in Milan. This creation by Patrick Genard, awarded for its eco-design, daringly completes the landscape of the Citadel. Today, perched on its promontory, the Pavilion is the totem pole of digital transformation. the Pavilion collects the visions of those who question the present through digital technology. His mission ? Allow everyone to take ownership of the challenges of our time through initiation, discovery and experimentation. Curious and daring: this is how the Pavilion is configured. Of wood, nails and metal on the outside, the Pavilion of the inside is built like a joyful organic creature, constantly changing. An evolution not unlike that of the world, made up of trial and error.
Architecte
COLBOC FRANZEN & ASSOCIES
Le design particulier du centre de quartier L’Arbrisseau est mis en valeur par son revêtement en aluminium non traité et en verre. Les fenêtres ouvrantes transparentes offrent différentes vues. Les fenêtres translucides, protégées selon le principe de l'éco-conception, créent différentes qualités de lumière. Ils garantissent des conditions visuelles et thermiques optimales été comme hiver.
The particular design of the L’Arbrisseau neighborhood centre is emphasised by its untreated aluminium and glass sheathing. The transparent opening windows offer different views. Translucide windows, protected according to the principle of eco-design, create different qualities of light. They guarantee optimum visual and thermal conditions in summer and winter.
Avant de débarquer sur le sol namurois, le Pavillon a été le symbole de la Belgique à l’exposition universelle de Milan. Cette création de Patrick Genard, primée pour son éco-design, vient compléter avec audace le paysage de la Citadelle.
Aujourd’hui, perché sur son promontoire, le Pavillon se veut le totem d’une transformation numérique. le Pavillon recueille les visions de ceux et celles qui questionnent le présent à travers le numérique. Sa mission ? Permettre à tout un chacun de s’approprier les enjeux de notre époque à travers l’initiation, la découverte et l’expérimentation.
Curieux et audacieux : c’est le mode de configuration du Pavillon. De bois, de clous et de métal à l’extérieur, le Pavillon du dedans se construit comme une joyeuse créature organique, sans cesse en changement. Une évolution qui n’est pas sans rappeler celle du monde, faite d’essais et d’erreurs.
Before landing on Namur soil, the Pavilion was the symbol of Belgium at the Universal Exhibition in Milan. This creation by Patrick Genard, awarded for its eco-design, daringly completes the landscape of the Citadel. Today, perched on its promontory, the Pavilion is the totem pole of digital transformation. the Pavilion collects the visions of those who question the present through digital technology. His mission ? Allow everyone to take ownership of the challenges of our time through initiation, discovery and experimentation. Curious and daring: this is how the Pavilion is configured. Of wood, nails and metal on the outside, the Pavilion of the inside is built like a joyful organic creature, constantly changing. An evolution not unlike that of the world, made up of trial and error.
Avant de débarquer sur le sol namurois, le Pavillon a été le symbole de la Belgique à l’exposition universelle de Milan. Cette création de Patrick Genard, primée pour son éco-design, vient compléter avec audace le paysage de la Citadelle.
Aujourd’hui, perché sur son promontoire, le Pavillon se veut le totem d’une transformation numérique. le Pavillon recueille les visions de ceux et celles qui questionnent le présent à travers le numérique. Sa mission ? Permettre à tout un chacun de s’approprier les enjeux de notre époque à travers l’initiation, la découverte et l’expérimentation.
Curieux et audacieux : c’est le mode de configuration du Pavillon. De bois, de clous et de métal à l’extérieur, le Pavillon du dedans se construit comme une joyeuse créature organique, sans cesse en changement. Une évolution qui n’est pas sans rappeler celle du monde, faite d’essais et d’erreurs.
Before landing on Namur soil, the Pavilion was the symbol of Belgium at the Universal Exhibition in Milan. This creation by Patrick Genard, awarded for its eco-design, daringly completes the landscape of the Citadel. Today, perched on its promontory, the Pavilion is the totem pole of digital transformation. the Pavilion collects the visions of those who question the present through digital technology. His mission ? Allow everyone to take ownership of the challenges of our time through initiation, discovery and experimentation. Curious and daring: this is how the Pavilion is configured. Of wood, nails and metal on the outside, the Pavilion of the inside is built like a joyful organic creature, constantly changing. An evolution not unlike that of the world, made up of trial and error.
Avant de débarquer sur le sol namurois, le Pavillon a été le symbole de la Belgique à l’exposition universelle de Milan. Cette création de Patrick Genard, primée pour son éco-design, vient compléter avec audace le paysage de la Citadelle.
Aujourd’hui, perché sur son promontoire, le Pavillon se veut le totem d’une transformation numérique. le Pavillon recueille les visions de ceux et celles qui questionnent le présent à travers le numérique. Sa mission ? Permettre à tout un chacun de s’approprier les enjeux de notre époque à travers l’initiation, la découverte et l’expérimentation.
Curieux et audacieux : c’est le mode de configuration du Pavillon. De bois, de clous et de métal à l’extérieur, le Pavillon du dedans se construit comme une joyeuse créature organique, sans cesse en changement. Une évolution qui n’est pas sans rappeler celle du monde, faite d’essais et d’erreurs.
Before landing on Namur soil, the Pavilion was the symbol of Belgium at the Universal Exhibition in Milan. This creation by Patrick Genard, awarded for its eco-design, daringly completes the landscape of the Citadel. Today, perched on its promontory, the Pavilion is the totem pole of digital transformation. the Pavilion collects the visions of those who question the present through digital technology. His mission ? Allow everyone to take ownership of the challenges of our time through initiation, discovery and experimentation. Curious and daring: this is how the Pavilion is configured. Of wood, nails and metal on the outside, the Pavilion of the inside is built like a joyful organic creature, constantly changing. An evolution not unlike that of the world, made up of trial and error.
Avant de débarquer sur le sol namurois, le Pavillon a été le symbole de la Belgique à l’exposition universelle de Milan. Cette création de Patrick Genard, primée pour son éco-design, vient compléter avec audace le paysage de la Citadelle.
Aujourd’hui, perché sur son promontoire, le Pavillon se veut le totem d’une transformation numérique. le Pavillon recueille les visions de ceux et celles qui questionnent le présent à travers le numérique. Sa mission ? Permettre à tout un chacun de s’approprier les enjeux de notre époque à travers l’initiation, la découverte et l’expérimentation.
Curieux et audacieux : c’est le mode de configuration du Pavillon. De bois, de clous et de métal à l’extérieur, le Pavillon du dedans se construit comme une joyeuse créature organique, sans cesse en changement. Une évolution qui n’est pas sans rappeler celle du monde, faite d’essais et d’erreurs.
Before landing on Namur soil, the Pavilion was the symbol of Belgium at the Universal Exhibition in Milan. This creation by Patrick Genard, awarded for its eco-design, daringly completes the landscape of the Citadel. Today, perched on its promontory, the Pavilion is the totem pole of digital transformation. the Pavilion collects the visions of those who question the present through digital technology. His mission ? Allow everyone to take ownership of the challenges of our time through initiation, discovery and experimentation. Curious and daring: this is how the Pavilion is configured. Of wood, nails and metal on the outside, the Pavilion of the inside is built like a joyful organic creature, constantly changing. An evolution not unlike that of the world, made up of trial and error.
Avant de débarquer sur le sol namurois, le Pavillon a été le symbole de la Belgique à l’exposition universelle de Milan. Cette création de Patrick Genard, primée pour son éco-design, vient compléter avec audace le paysage de la Citadelle.
Aujourd’hui, perché sur son promontoire, le Pavillon se veut le totem d’une transformation numérique. le Pavillon recueille les visions de ceux et celles qui questionnent le présent à travers le numérique. Sa mission ? Permettre à tout un chacun de s’approprier les enjeux de notre époque à travers l’initiation, la découverte et l’expérimentation.
Curieux et audacieux : c’est le mode de configuration du Pavillon. De bois, de clous et de métal à l’extérieur, le Pavillon du dedans se construit comme une joyeuse créature organique, sans cesse en changement. Une évolution qui n’est pas sans rappeler celle du monde, faite d’essais et d’erreurs.
Before landing on Namur soil, the Pavilion was the symbol of Belgium at the Universal Exhibition in Milan. This creation by Patrick Genard, awarded for its eco-design, daringly completes the landscape of the Citadel. Today, perched on its promontory, the Pavilion is the totem pole of digital transformation. the Pavilion collects the visions of those who question the present through digital technology. His mission ? Allow everyone to take ownership of the challenges of our time through initiation, discovery and experimentation. Curious and daring: this is how the Pavilion is configured. Of wood, nails and metal on the outside, the Pavilion of the inside is built like a joyful organic creature, constantly changing. An evolution not unlike that of the world, made up of trial and error.
Architecte
COLBOC FRANZEN & ASSOCIES
Le design particulier du centre de quartier L’Arbrisseau est mis en valeur par son revêtement en aluminium non traité et en verre. Les fenêtres ouvrantes transparentes offrent différentes vues. Les fenêtres translucides, protégées selon le principe de l'éco-conception, créent différentes qualités de lumière. Ils garantissent des conditions visuelles et thermiques optimales été comme hiver.
The particular design of the L’Arbrisseau neighborhood centre is emphasised by its untreated aluminium and glass sheathing. The transparent opening windows offer different views. Translucide windows, protected according to the principle of eco-design, create different qualities of light. They guarantee optimum visual and thermal conditions in summer and winter.
Avant de débarquer sur le sol namurois, le Pavillon a été le symbole de la Belgique à l’exposition universelle de Milan. Cette création de Patrick Genard, primée pour son éco-design, vient compléter avec audace le paysage de la Citadelle.
Aujourd’hui, perché sur son promontoire, le Pavillon se veut le totem d’une transformation numérique. le Pavillon recueille les visions de ceux et celles qui questionnent le présent à travers le numérique. Sa mission ? Permettre à tout un chacun de s’approprier les enjeux de notre époque à travers l’initiation, la découverte et l’expérimentation.
Curieux et audacieux : c’est le mode de configuration du Pavillon. De bois, de clous et de métal à l’extérieur, le Pavillon du dedans se construit comme une joyeuse créature organique, sans cesse en changement. Une évolution qui n’est pas sans rappeler celle du monde, faite d’essais et d’erreurs.
Before landing on Namur soil, the Pavilion was the symbol of Belgium at the Universal Exhibition in Milan. This creation by Patrick Genard, awarded for its eco-design, daringly completes the landscape of the Citadel. Today, perched on its promontory, the Pavilion is the totem pole of digital transformation. the Pavilion collects the visions of those who question the present through digital technology. His mission ? Allow everyone to take ownership of the challenges of our time through initiation, discovery and experimentation. Curious and daring: this is how the Pavilion is configured. Of wood, nails and metal on the outside, the Pavilion of the inside is built like a joyful organic creature, constantly changing. An evolution not unlike that of the world, made up of trial and error.
Le concept : enfermés pendant 24 heures NON STOP, plus de 150 artistes et designers. Quelles que soient leurs disciplines, tous créent en public à partir d'objets et matériaux de récupération et vendent leurs pièces entre 1 & 300 euros.
Dans ce capharnaüm surréaliste, les objets retrouvent une nouvelle vie et de nouveaux propriétaires ! Re-design, Eco-design, Custom en tous genres …. Des process design innovants et des créations uniques issues du recyclage, loin des production de masse.
Avant de débarquer sur le sol namurois, le Pavillon a été le symbole de la Belgique à l’exposition universelle de Milan. Cette création de Patrick Genard, primée pour son éco-design, vient compléter avec audace le paysage de la Citadelle.
Aujourd’hui, perché sur son promontoire, le Pavillon se veut le totem d’une transformation numérique. le Pavillon recueille les visions de ceux et celles qui questionnent le présent à travers le numérique. Sa mission ? Permettre à tout un chacun de s’approprier les enjeux de notre époque à travers l’initiation, la découverte et l’expérimentation.
Curieux et audacieux : c’est le mode de configuration du Pavillon. De bois, de clous et de métal à l’extérieur, le Pavillon du dedans se construit comme une joyeuse créature organique, sans cesse en changement. Une évolution qui n’est pas sans rappeler celle du monde, faite d’essais et d’erreurs.
Before landing on Namur soil, the Pavilion was the symbol of Belgium at the Universal Exhibition in Milan. This creation by Patrick Genard, awarded for its eco-design, daringly completes the landscape of the Citadel. Today, perched on its promontory, the Pavilion is the totem pole of digital transformation. the Pavilion collects the visions of those who question the present through digital technology. His mission ? Allow everyone to take ownership of the challenges of our time through initiation, discovery and experimentation. Curious and daring: this is how the Pavilion is configured. Of wood, nails and metal on the outside, the Pavilion of the inside is built like a joyful organic creature, constantly changing. An evolution not unlike that of the world, made up of trial and error.
Avant de débarquer sur le sol namurois, le Pavillon a été le symbole de la Belgique à l’exposition universelle de Milan. Cette création de Patrick Genard, primée pour son éco-design, vient compléter avec audace le paysage de la Citadelle.
Aujourd’hui, perché sur son promontoire, le Pavillon se veut le totem d’une transformation numérique. le Pavillon recueille les visions de ceux et celles qui questionnent le présent à travers le numérique. Sa mission ? Permettre à tout un chacun de s’approprier les enjeux de notre époque à travers l’initiation, la découverte et l’expérimentation.
Curieux et audacieux : c’est le mode de configuration du Pavillon. De bois, de clous et de métal à l’extérieur, le Pavillon du dedans se construit comme une joyeuse créature organique, sans cesse en changement. Une évolution qui n’est pas sans rappeler celle du monde, faite d’essais et d’erreurs.
Before landing on Namur soil, the Pavilion was the symbol of Belgium at the Universal Exhibition in Milan. This creation by Patrick Genard, awarded for its eco-design, daringly completes the landscape of the Citadel. Today, perched on its promontory, the Pavilion is the totem pole of digital transformation. the Pavilion collects the visions of those who question the present through digital technology. His mission ? Allow everyone to take ownership of the challenges of our time through initiation, discovery and experimentation. Curious and daring: this is how the Pavilion is configured. Of wood, nails and metal on the outside, the Pavilion of the inside is built like a joyful organic creature, constantly changing. An evolution not unlike that of the world, made up of trial and error.
Avant de débarquer sur le sol namurois, le Pavillon a été le symbole de la Belgique à l’exposition universelle de Milan. Cette création de Patrick Genard, primée pour son éco-design, vient compléter avec audace le paysage de la Citadelle.
Aujourd’hui, perché sur son promontoire, le Pavillon se veut le totem d’une transformation numérique. le Pavillon recueille les visions de ceux et celles qui questionnent le présent à travers le numérique. Sa mission ? Permettre à tout un chacun de s’approprier les enjeux de notre époque à travers l’initiation, la découverte et l’expérimentation.
Curieux et audacieux : c’est le mode de configuration du Pavillon. De bois, de clous et de métal à l’extérieur, le Pavillon du dedans se construit comme une joyeuse créature organique, sans cesse en changement. Une évolution qui n’est pas sans rappeler celle du monde, faite d’essais et d’erreurs.
Before landing on Namur soil, the Pavilion was the symbol of Belgium at the Universal Exhibition in Milan. This creation by Patrick Genard, awarded for its eco-design, daringly completes the landscape of the Citadel. Today, perched on its promontory, the Pavilion is the totem pole of digital transformation. the Pavilion collects the visions of those who question the present through digital technology. His mission ? Allow everyone to take ownership of the challenges of our time through initiation, discovery and experimentation. Curious and daring: this is how the Pavilion is configured. Of wood, nails and metal on the outside, the Pavilion of the inside is built like a joyful organic creature, constantly changing. An evolution not unlike that of the world, made up of trial and error.
Trafiqué par mes soins!
Avant de débarquer sur le sol namurois, le Pavillon a été le symbole de la Belgique à l’exposition universelle de Milan. Cette création de Patrick Genard, primée pour son éco-design, vient compléter avec audace le paysage de la Citadelle.
Aujourd’hui, perché sur son promontoire, le Pavillon se veut le totem d’une transformation numérique. le Pavillon recueille les visions de ceux et celles qui questionnent le présent à travers le numérique. Sa mission ? Permettre à tout un chacun de s’approprier les enjeux de notre époque à travers l’initiation, la découverte et l’expérimentation.
Curieux et audacieux : c’est le mode de configuration du Pavillon. De bois, de clous et de métal à l’extérieur, le Pavillon du dedans se construit comme une joyeuse créature organique, sans cesse en changement. Une évolution qui n’est pas sans rappeler celle du monde, faite d’essais et d’erreurs.
Before landing on Namur soil, the Pavilion was the symbol of Belgium at the Universal Exhibition in Milan. This creation by Patrick Genard, awarded for its eco-design, daringly completes the landscape of the Citadel. Today, perched on its promontory, the Pavilion is the totem pole of digital transformation. the Pavilion collects the visions of those who question the present through digital technology. His mission ? Allow everyone to take ownership of the challenges of our time through initiation, discovery and experimentation. Curious and daring: this is how the Pavilion is configured. Of wood, nails and metal on the outside, the Pavilion of the inside is built like a joyful organic creature, constantly changing. An evolution not unlike that of the world, made up of trial and error.
Avant de débarquer sur le sol namurois, le Pavillon a été le symbole de la Belgique à l’exposition universelle de Milan. Cette création de Patrick Genard, primée pour son éco-design, vient compléter avec audace le paysage de la Citadelle.
Aujourd’hui, perché sur son promontoire, le Pavillon se veut le totem d’une transformation numérique. le Pavillon recueille les visions de ceux et celles qui questionnent le présent à travers le numérique. Sa mission ? Permettre à tout un chacun de s’approprier les enjeux de notre époque à travers l’initiation, la découverte et l’expérimentation.
Curieux et audacieux : c’est le mode de configuration du Pavillon. De bois, de clous et de métal à l’extérieur, le Pavillon du dedans se construit comme une joyeuse créature organique, sans cesse en changement. Une évolution qui n’est pas sans rappeler celle du monde, faite d’essais et d’erreurs.
Before landing on Namur soil, the Pavilion was the symbol of Belgium at the Universal Exhibition in Milan. This creation by Patrick Genard, awarded for its eco-design, daringly completes the landscape of the Citadel. Today, perched on its promontory, the Pavilion is the totem pole of digital transformation. the Pavilion collects the visions of those who question the present through digital technology. His mission ? Allow everyone to take ownership of the challenges of our time through initiation, discovery and experimentation. Curious and daring: this is how the Pavilion is configured. Of wood, nails and metal on the outside, the Pavilion of the inside is built like a joyful organic creature, constantly changing. An evolution not unlike that of the world, made up of trial and error.
Avant de débarquer sur le sol namurois, le Pavillon a été le symbole de la Belgique à l’exposition universelle de Milan. Cette création de Patrick Genard, primée pour son éco-design, vient compléter avec audace le paysage de la Citadelle.
Aujourd’hui, perché sur son promontoire, le Pavillon se veut le totem d’une transformation numérique. le Pavillon recueille les visions de ceux et celles qui questionnent le présent à travers le numérique. Sa mission ? Permettre à tout un chacun de s’approprier les enjeux de notre époque à travers l’initiation, la découverte et l’expérimentation.
Curieux et audacieux : c’est le mode de configuration du Pavillon. De bois, de clous et de métal à l’extérieur, le Pavillon du dedans se construit comme une joyeuse créature organique, sans cesse en changement. Une évolution qui n’est pas sans rappeler celle du monde, faite d’essais et d’erreurs.
Before landing on Namur soil, the Pavilion was the symbol of Belgium at the Universal Exhibition in Milan. This creation by Patrick Genard, awarded for its eco-design, daringly completes the landscape of the Citadel. Today, perched on its promontory, the Pavilion is the totem pole of digital transformation. the Pavilion collects the visions of those who question the present through digital technology. His mission ? Allow everyone to take ownership of the challenges of our time through initiation, discovery and experimentation. Curious and daring: this is how the Pavilion is configured. Of wood, nails and metal on the outside, the Pavilion of the inside is built like a joyful organic creature, constantly changing. An evolution not unlike that of the world, made up of trial and error.
Le concept : enfermés pendant 24 heures NON STOP, plus de 150 artistes et designers. Quelles que soient leurs disciplines, tous créent en public à partir d'objets et matériaux de récupération et vendent leurs pièces entre 1 & 300 euros.
Dans ce capharnaüm surréaliste, les objets retrouvent une nouvelle vie et de nouveaux propriétaires ! Re-design, Eco-design, Custom en tous genres …. Des process design innovants et des créations uniques issues du recyclage, loin des production de masse.
Avant de débarquer sur le sol namurois, le Pavillon a été le symbole de la Belgique à l’exposition universelle de Milan. Cette création de Patrick Genard, primée pour son éco-design, vient compléter avec audace le paysage de la Citadelle.
Aujourd’hui, perché sur son promontoire, le Pavillon se veut le totem d’une transformation numérique. le Pavillon recueille les visions de ceux et celles qui questionnent le présent à travers le numérique. Sa mission ? Permettre à tout un chacun de s’approprier les enjeux de notre époque à travers l’initiation, la découverte et l’expérimentation.
Curieux et audacieux : c’est le mode de configuration du Pavillon. De bois, de clous et de métal à l’extérieur, le Pavillon du dedans se construit comme une joyeuse créature organique, sans cesse en changement. Une évolution qui n’est pas sans rappeler celle du monde, faite d’essais et d’erreurs.
Before landing on Namur soil, the Pavilion was the symbol of Belgium at the Universal Exhibition in Milan. This creation by Patrick Genard, awarded for its eco-design, daringly completes the landscape of the Citadel. Today, perched on its promontory, the Pavilion is the totem pole of digital transformation. the Pavilion collects the visions of those who question the present through digital technology. His mission ? Allow everyone to take ownership of the challenges of our time through initiation, discovery and experimentation. Curious and daring: this is how the Pavilion is configured. Of wood, nails and metal on the outside, the Pavilion of the inside is built like a joyful organic creature, constantly changing. An evolution not unlike that of the world, made up of trial and error.
Avant de débarquer sur le sol namurois, le Pavillon a été le symbole de la Belgique à l’exposition universelle de Milan. Cette création de Patrick Genard, primée pour son éco-design, vient compléter avec audace le paysage de la Citadelle.
Aujourd’hui, perché sur son promontoire, le Pavillon se veut le totem d’une transformation numérique. le Pavillon recueille les visions de ceux et celles qui questionnent le présent à travers le numérique. Sa mission ? Permettre à tout un chacun de s’approprier les enjeux de notre époque à travers l’initiation, la découverte et l’expérimentation.
Curieux et audacieux : c’est le mode de configuration du Pavillon. De bois, de clous et de métal à l’extérieur, le Pavillon du dedans se construit comme une joyeuse créature organique, sans cesse en changement. Une évolution qui n’est pas sans rappeler celle du monde, faite d’essais et d’erreurs.
Before landing on Namur soil, the Pavilion was the symbol of Belgium at the Universal Exhibition in Milan. This creation by Patrick Genard, awarded for its eco-design, daringly completes the landscape of the Citadel. Today, perched on its promontory, the Pavilion is the totem pole of digital transformation. the Pavilion collects the visions of those who question the present through digital technology. His mission ? Allow everyone to take ownership of the challenges of our time through initiation, discovery and experimentation. Curious and daring: this is how the Pavilion is configured. Of wood, nails and metal on the outside, the Pavilion of the inside is built like a joyful organic creature, constantly changing. An evolution not unlike that of the world, made up of trial and error.
Avant de débarquer sur le sol namurois, le Pavillon a été le symbole de la Belgique à l’exposition universelle de Milan. Cette création de Patrick Genard, primée pour son éco-design, vient compléter avec audace le paysage de la Citadelle.
Aujourd’hui, perché sur son promontoire, le Pavillon se veut le totem d’une transformation numérique. le Pavillon recueille les visions de ceux et celles qui questionnent le présent à travers le numérique. Sa mission ? Permettre à tout un chacun de s’approprier les enjeux de notre époque à travers l’initiation, la découverte et l’expérimentation.
Curieux et audacieux : c’est le mode de configuration du Pavillon. De bois, de clous et de métal à l’extérieur, le Pavillon du dedans se construit comme une joyeuse créature organique, sans cesse en changement. Une évolution qui n’est pas sans rappeler celle du monde, faite d’essais et d’erreurs.
Before landing on Namur soil, the Pavilion was the symbol of Belgium at the Universal Exhibition in Milan. This creation by Patrick Genard, awarded for its eco-design, daringly completes the landscape of the Citadel. Today, perched on its promontory, the Pavilion is the totem pole of digital transformation. the Pavilion collects the visions of those who question the present through digital technology. His mission ? Allow everyone to take ownership of the challenges of our time through initiation, discovery and experimentation. Curious and daring: this is how the Pavilion is configured. Of wood, nails and metal on the outside, the Pavilion of the inside is built like a joyful organic creature, constantly changing. An evolution not unlike that of the world, made up of trial and error.
Avant de débarquer sur le sol namurois, le Pavillon a été le symbole de la Belgique à l’exposition universelle de Milan. Cette création de Patrick Genard, primée pour son éco-design, vient compléter avec audace le paysage de la Citadelle.
Aujourd’hui, perché sur son promontoire, le Pavillon se veut le totem d’une transformation numérique. le Pavillon recueille les visions de ceux et celles qui questionnent le présent à travers le numérique. Sa mission ? Permettre à tout un chacun de s’approprier les enjeux de notre époque à travers l’initiation, la découverte et l’expérimentation.
Curieux et audacieux : c’est le mode de configuration du Pavillon. De bois, de clous et de métal à l’extérieur, le Pavillon du dedans se construit comme une joyeuse créature organique, sans cesse en changement. Une évolution qui n’est pas sans rappeler celle du monde, faite d’essais et d’erreurs.
Before landing on Namur soil, the Pavilion was the symbol of Belgium at the Universal Exhibition in Milan. This creation by Patrick Genard, awarded for its eco-design, daringly completes the landscape of the Citadel. Today, perched on its promontory, the Pavilion is the totem pole of digital transformation. the Pavilion collects the visions of those who question the present through digital technology. His mission ? Allow everyone to take ownership of the challenges of our time through initiation, discovery and experimentation. Curious and daring: this is how the Pavilion is configured. Of wood, nails and metal on the outside, the Pavilion of the inside is built like a joyful organic creature, constantly changing. An evolution not unlike that of the world, made up of trial and error.
Avant de débarquer sur le sol namurois, le Pavillon a été le symbole de la Belgique à l’exposition universelle de Milan. Cette création de Patrick Genard, primée pour son éco-design, vient compléter avec audace le paysage de la Citadelle.
Aujourd’hui, perché sur son promontoire, le Pavillon se veut le totem d’une transformation numérique. le Pavillon recueille les visions de ceux et celles qui questionnent le présent à travers le numérique. Sa mission ? Permettre à tout un chacun de s’approprier les enjeux de notre époque à travers l’initiation, la découverte et l’expérimentation.
Curieux et audacieux : c’est le mode de configuration du Pavillon. De bois, de clous et de métal à l’extérieur, le Pavillon du dedans se construit comme une joyeuse créature organique, sans cesse en changement. Une évolution qui n’est pas sans rappeler celle du monde, faite d’essais et d’erreurs.
Before landing on Namur soil, the Pavilion was the symbol of Belgium at the Universal Exhibition in Milan. This creation by Patrick Genard, awarded for its eco-design, daringly completes the landscape of the Citadel. Today, perched on its promontory, the Pavilion is the totem pole of digital transformation. the Pavilion collects the visions of those who question the present through digital technology. His mission ? Allow everyone to take ownership of the challenges of our time through initiation, discovery and experimentation. Curious and daring: this is how the Pavilion is configured. Of wood, nails and metal on the outside, the Pavilion of the inside is built like a joyful organic creature, constantly changing. An evolution not unlike that of the world, made up of trial and error.
Le concept : enfermés pendant 24 heures NON STOP, plus de 150 artistes et designers. Quelles que soient leurs disciplines, tous créent en public à partir d'objets et matériaux de récupération et vendent leurs pièces entre 1 & 300 euros.
Dans ce capharnaüm surréaliste, les objets retrouvent une nouvelle vie et de nouveaux propriétaires ! Re-design, Eco-design, Custom en tous genres …. Des process design innovants et des créations uniques issues du recyclage, loin des production de masse.
Avant de débarquer sur le sol namurois, le Pavillon a été le symbole de la Belgique à l’exposition universelle de Milan. Cette création de Patrick Genard, primée pour son éco-design, vient compléter avec audace le paysage de la Citadelle.
Aujourd’hui, perché sur son promontoire, le Pavillon se veut le totem d’une transformation numérique. le Pavillon recueille les visions de ceux et celles qui questionnent le présent à travers le numérique. Sa mission ? Permettre à tout un chacun de s’approprier les enjeux de notre époque à travers l’initiation, la découverte et l’expérimentation.
Curieux et audacieux : c’est le mode de configuration du Pavillon. De bois, de clous et de métal à l’extérieur, le Pavillon du dedans se construit comme une joyeuse créature organique, sans cesse en changement. Une évolution qui n’est pas sans rappeler celle du monde, faite d’essais et d’erreurs.
Before landing on Namur soil, the Pavilion was the symbol of Belgium at the Universal Exhibition in Milan. This creation by Patrick Genard, awarded for its eco-design, daringly completes the landscape of the Citadel. Today, perched on its promontory, the Pavilion is the totem pole of digital transformation. the Pavilion collects the visions of those who question the present through digital technology. His mission ? Allow everyone to take ownership of the challenges of our time through initiation, discovery and experimentation. Curious and daring: this is how the Pavilion is configured. Of wood, nails and metal on the outside, the Pavilion of the inside is built like a joyful organic creature, constantly changing. An evolution not unlike that of the world, made up of trial and error.
Here is something new and crazy that I’ve made from wool recently 😊 A wet felted vessel (used as a storage basket) made of local Swedish wool (finull) and decorated with grey Gotland and white Leicester locks Locally produced as well off course 💚
Avant de débarquer sur le sol namurois, le Pavillon a été le symbole de la Belgique à l’exposition universelle de Milan. Cette création de Patrick Genard, primée pour son éco-design, vient compléter avec audace le paysage de la Citadelle.
Aujourd’hui, perché sur son promontoire, le Pavillon se veut le totem d’une transformation numérique. le Pavillon recueille les visions de ceux et celles qui questionnent le présent à travers le numérique. Sa mission ? Permettre à tout un chacun de s’approprier les enjeux de notre époque à travers l’initiation, la découverte et l’expérimentation.
Curieux et audacieux : c’est le mode de configuration du Pavillon. De bois, de clous et de métal à l’extérieur, le Pavillon du dedans se construit comme une joyeuse créature organique, sans cesse en changement. Une évolution qui n’est pas sans rappeler celle du monde, faite d’essais et d’erreurs.
Before landing on Namur soil, the Pavilion was the symbol of Belgium at the Universal Exhibition in Milan. This creation by Patrick Genard, awarded for its eco-design, daringly completes the landscape of the Citadel. Today, perched on its promontory, the Pavilion is the totem pole of digital transformation. the Pavilion collects the visions of those who question the present through digital technology. His mission ? Allow everyone to take ownership of the challenges of our time through initiation, discovery and experimentation. Curious and daring: this is how the Pavilion is configured. Of wood, nails and metal on the outside, the Pavilion of the inside is built like a joyful organic creature, constantly changing. An evolution not unlike that of the world, made up of trial and error.
Avant de débarquer sur le sol namurois, le Pavillon a été le symbole de la Belgique à l’exposition universelle de Milan. Cette création de Patrick Genard, primée pour son éco-design, vient compléter avec audace le paysage de la Citadelle.
Aujourd’hui, perché sur son promontoire, le Pavillon se veut le totem d’une transformation numérique. le Pavillon recueille les visions de ceux et celles qui questionnent le présent à travers le numérique. Sa mission ? Permettre à tout un chacun de s’approprier les enjeux de notre époque à travers l’initiation, la découverte et l’expérimentation.
Curieux et audacieux : c’est le mode de configuration du Pavillon. De bois, de clous et de métal à l’extérieur, le Pavillon du dedans se construit comme une joyeuse créature organique, sans cesse en changement. Une évolution qui n’est pas sans rappeler celle du monde, faite d’essais et d’erreurs.
Before landing on Namur soil, the Pavilion was the symbol of Belgium at the Universal Exhibition in Milan. This creation by Patrick Genard, awarded for its eco-design, daringly completes the landscape of the Citadel. Today, perched on its promontory, the Pavilion is the totem pole of digital transformation. the Pavilion collects the visions of those who question the present through digital technology. His mission ? Allow everyone to take ownership of the challenges of our time through initiation, discovery and experimentation. Curious and daring: this is how the Pavilion is configured. Of wood, nails and metal on the outside, the Pavilion of the inside is built like a joyful organic creature, constantly changing. An evolution not unlike that of the world, made up of trial and error.
Built by Kyokuyo Shipyard, Operated by Japanese domestic container liner Imoto Lines 540TEU Eco Ship "NATORI"
She was the first eco designed container ship by Kyokuyo and the largest ship operated by Imoto lines.
Imoto lines provides container liner service only in japan.
Tsushima Kaikyo (Strait), Japan
Inaugurata il 23 luglio 2002, la London City Hall è uno spettacolare edificio progettato da Norman Foster, dove ha sede la Greater London Authority e la residenza del sindaco della città.
La struttura è stata scenograficamente collocata sulla riva meridionale del Tamigi, proprio di fronte alla Torre di Londra, divenendo in breve tempo uno dei nuovi simboli della capitale del Regno unito.
La sua forma deriva da una sfera geometricamente modificata al fine di minimizzare l'area esposta alla luce solare diretta e, l'edificio, completamente vetrato, è una metafora della trasparenza della democrazia.
L'edificio di 12.000 mq. e 11 piani, compreso uno sotterraneo, accoglie la sede dell'Assemblea, una galleria, una biblioteca pubblica, le stanze della Commissione, gli uffici amministrativi ed i ristoranti. Ai livelli più alti, vi trova spazio anche un centro per i visitatori, con una galleria pubblica di osservazione.
Il progetto di costruzione prevedeva 54 uffici privati, con il restante spazio disponibile per uffici, aperto. Questo spazio è flessibile e può essere suddiviso in un numero più o meno grande di uffici privati, a seconda della richiesta, tramite divisori, che possono essere solidi o trasparenti.
La caratteristica principale dell'interno è una scala dalla rampa lunga 730 metri, che si avvolge a spirale lungo tutti e dieci i piani superiori fino alla sommità dell'edificio. Aperta al pubblico, permette che i cittadini osservino la Greater London Authority durante i lavori. A prima vista, somiglia alla rampa intorno alla cupola del Reichstag di Berlino, anch'essa disegnata da Foster. Come nel Reichstag, la galleria dell'ultimo piano è uno spazio pubblico, creato soprattutto per osservare lo skyline della città. Anche qui, la galleria consente, inoltre, ai visitatori, di guardare dall'alto le teste dei politici mentre dibattono nella stanza dell'Assemblea.
Il design della London City Hall è stato definito "rivoluzionario". Somigliante al casco di un ciclista, la sua estetica risponde ad obiettivi di sostenibilità ambientale. Gli architetti dello studio di Foster hanno lavorato in collaborazione con la famosa ditta di ingegneria Arup per produrre una costruzione di rilievo internazionale che costituisse un esempio di eco-design.
Grazie alla sua forma sferica, la London City Hall ha il 25% in meno di superficie di un cubo dello stesso volume. Ciò che comporta una minor quantità di materiale impiegato per la costruzione ed una minore superficie d'esposizione da riscaldare d'inverno e climatizzare d'estate.
La costruzione ha un sistema integrato dei controlli dell'ambiente per minimizzare l'uso di energia. Si pensa che consumi il 75% in meno di energia sui sistemi meccanici di una tradizionale costruzione commerciale ad aria condizionata.
La costruzione della London City Hall fa parte di un vasto progetto di sviluppo per la riva sud del Tamigi, denominato "More London", che prevede la costruzione di nuovi uffici, negozi, bar ed altri spazi pubblici in una sua sezione abbandonata da decadi. Più della metà dell'area dell'edificio, come in altre architetture di Foster, è riservata a spazio pubblico, ivi comprese due grandi piazze. Una strada sotterranea, che dà l'accesso ad un'infrastruttura di servizio comune a tutti i nuovi edifici della zona, ha consentito al luogo di restare completamente esente dai veicoli, con la creazione di nuovo regno pubblico pedonale lungo il fiume, che sarà accessibile 24 ore al giorno. L'obiettivo riposto nelle London City Hall è che esso possa affermare una nuova tendenza di sviluppo urbanistico, segnando una svolta per il futuro di Londra.
Gli impianti. L'aria di ventilazione entra negli uffici attraverso le griglie nel pavimento. Quando gli sfiati della facciata sono aperti, i sistemi locali di riscaldamento e di raffreddamento sono disattivati per minimizzare lo spreco di energia. Durante l'inverno, il calore e l'umidità sono recuperati dall'aria uscente e le rotelle termiche igroscopiche condizionano l'aria entrata.
Per il raffreddamento della costruzione durante l'estate, l'acqua freatica naturalmente raffreddata è portata in su dallo strato acquifero nei fori alesati attraverso 125 metri dell'argilla di Londra. L'acqua circola negli elementi della struttura vuoti e, senza l'esigenza dei refrigeratori meccanici, il sistema usa una quantità di energia di gran lunga minore rispetto alle unità di aria condizionata. Dopo avere circolato, l'acqua freatica è usata alle tolette a livello, riducendo il fabbisogno idrico della costruzione rispetto ad uno standard cittadino convenzionale. Molti degli elementi della costruzione, mattonelle del pavimento e zerbini di gomma compresi, sono fatti dai materiali riciclati.
L'utilizzo del computer ha permesso di studiare esattamente l'incidenza del sole sulla City Hall ad ogni ora ed ogni giorno dell'anno; conseguentemente è stata calibrata l'opacità dei diversi pannelli vetrati, riducendo al minimo i costi energetici. Ciascuno dei pannelli è unico nella figura e nel formato. Sono stati tagliati al laser sulla base dei dati forniti dallo stesso modello del computer usato per progettare la costruzione, assicurando un alto grado di precisione. Sul retro dell'edificio, a Sud, sono state create delle forti sporgenze per ombreggiare, mentre il lato nord è completamente trasparente consentendo la visione all'esterno della Stanza del Consiglio.
City Hall was designed by Foster and Partners, one of Britain's leading architects, whose design brief was to create a building for the GLA that would become a new landmark for the capital. It is part of the More London development located between London Bridge and Tower Bridge, on the south bank of the Thames. The GLA is leasing City Hall for 25 years. For more information on the building, use the links below.
www.edilone.it/London-City-Hall_opere_y_8.html
Avant de débarquer sur le sol namurois, le Pavillon a été le symbole de la Belgique à l’exposition universelle de Milan. Cette création de Patrick Genard, primée pour son éco-design, vient compléter avec audace le paysage de la Citadelle.
Aujourd’hui, perché sur son promontoire, le Pavillon se veut le totem d’une transformation numérique. le Pavillon recueille les visions de ceux et celles qui questionnent le présent à travers le numérique. Sa mission ? Permettre à tout un chacun de s’approprier les enjeux de notre époque à travers l’initiation, la découverte et l’expérimentation.
Curieux et audacieux : c’est le mode de configuration du Pavillon. De bois, de clous et de métal à l’extérieur, le Pavillon du dedans se construit comme une joyeuse créature organique, sans cesse en changement. Une évolution qui n’est pas sans rappeler celle du monde, faite d’essais et d’erreurs.
Before landing on Namur soil, the Pavilion was the symbol of Belgium at the Universal Exhibition in Milan. This creation by Patrick Genard, awarded for its eco-design, daringly completes the landscape of the Citadel. Today, perched on its promontory, the Pavilion is the totem pole of digital transformation. the Pavilion collects the visions of those who question the present through digital technology. His mission ? Allow everyone to take ownership of the challenges of our time through initiation, discovery and experimentation. Curious and daring: this is how the Pavilion is configured. Of wood, nails and metal on the outside, the Pavilion of the inside is built like a joyful organic creature, constantly changing. An evolution not unlike that of the world, made up of trial and error.
The Sunpet 826 Camera, alternate designs 1-7 of 30 variation sketches
This camera although tiny, plastic, lightweight, and toy-like, has architectural features that caught my eye and call for a theme and variations. It's compact size and quirky lens also make any fantasy design worthwhile. It's my version of the Bach Goldberg Variations. Why Goldberg you might ask? Well, my variations have the same purpose, they deal with sleeping. Goldberg's were to induce sleep for an insomniac, mine are to stave off sleep for fatherhood. These variations make the Sunpet cuter and cuter, just like babies. I'll upload more expansive drawings of some of these soon, probably in my new blog, still under construction. But for now, starting on the upper right and moving clockwise (to the cutest one), here is a very rough synopsis of each variation:
1. Pet Wok - this will be a gray special edition Sunpet camera body, with a yellow wok base, reminiscent of the gold goblet that Bach received as a payment for writing these variations. There are ergonometric finger grips so you can hold the Sunpet just like a goblet, if you so choose, although I hardly think this is as heavy as a Speed Graphic. The thickness of the wok plastic will provide the heft and feel of a love of materials, the architect's consideration.
2. Big Pet - this is done in the Kurazukuri style of buildings that flourished in the Edo period, as the Sunpet is a japanese camera. As such, it is fashioned after to the Tokyo Edo museum. The Sunpet is very protected from water and similar hazards. In a small flood, the Sunpet will not be damaged. The retractable foot has numerous uses. It has marks for water level, It can take a temperature with a built-in probe, if you are shooting winter scenes. It can hold a tiny moss souvenir sample should you be shooting in temple in Kyoto (I know it's not right to steal temple moss, but if you spray the Sunpet's retractable with a little milk, and leave the moss sample inside untouched, after a few days you'll have temple moss crawling up the legs. It's a very green eco design. I am sure modern architectural societies will cover any violations of temple law for you. Lastly, the extra foot provides stability for long exposures.
3. Rink side - I'm an ice hockey (Rangers - you know how I have suffered) fan. What better experience for a child than going to your first game? The most exciting part is the pre-game warm-up skate, when your team does shooting drills right in front of you, as you can go all the way down to the rink side and stand there behind the glass, eating french fries while your Dad drinks beer. What could be better? 15 minutes of sheer bliss. In this variation design, the all-white Sunpet is dwarfed and protected from the elements, with a clear set of glass panes, tempered to a low temperature as it is 1/8 inch to 1/4 -inch glass, beveled edges by special order (money is no object to architects). There is a single dividing line of Goldberg yellow under the glass partitions, and an optional camera sight-line etched for the shooter only, as the glass is treated with a coating as eyeglass lens are. Again, it's special order. This is a consideration to those camera owners who wear glasses and look terribly unfashionable squinting against a tiny viewfinder. The Ying optical rink side glass. The glass will also be sandwiched between a special holder in the back, to rattle slightly as in a hockey game, and to have a compartment for a small autograph notebook and pen. You never know when you'll meet a hockey star in the streets unawares.
4. Wickets Pet - created for my Euro-Asian fans. This Sunpet will have a single foot that resembles a cricket game's wicket. It has a function, as a monopod for those level portraits on the street. the wickets have a tripod screw mount on top. for sentimental reasons, mine would have the wood from my babies' cribs which are white-colored. Again, you can have your favorite cricket stars autograph these, perhaps the entire team can! For structural reasons, you must mount this on grass or dirt, so the Sunpet camera body will have a camouflage tank green and khaki colored palette. For the Asian versions, a luminescent green or a deep blue (for Sri Lanka's team) and other typical team colors. The UK versions will sport a traditional white wicket.
5. Dohyo Pet - this design will resemble a Sumo dohyo mat. It has a generous storage area and a small compartment for purified salt. With this edition Sunpet, also in a gold and white color pairing, the buyer will receive a genuine stage side souvenir bag of sumo snacks (upcoming drawing on my blog). In it's presentation case is a single miniature collectible sumo fan pillow, which you can use to place your film cartridge on. The salt is for blessing subjects before you take their photograph.
6. Snowglobe Pet - the white Sunpet will have a custom-sized globe protruding from the back, and streamlined to give the shooter a feel of heft when holding his/her camera, a consideration for the shooter, not the subject. The size and feel would resemble the Polaroid Swinger, a camera with one of the best ergonometrics. The globe design is simple, a carved figure of yourself, done by an artist who's painting lineage should at least go back as far as John Singer Sargent. Remember, money is no object to architecture. Your personal figure will stand alone in a backdrop of a golden aura, with musical notes above you, reminding you that as a street photographer you stand alone.
7. The Chinatown DIm Sum Pet - I saved my 1st of 4 architectonic stresses (there are 30 variations in 4 sets) for last in this drawing. It is a bright all vermillion-red Sunpet camera body (how auspicious!) against a backdrop of lozenge-shaped clear plastic sculpture, the various slats glued together by special plastic chemical adhesive that is very strong and requires no other structural support. Each slat is actually a tube. holding a single golden colored wood strip for Chinese characters. The camera owner can use a pen and write his favorite dim sum names on each strip. In the drawing, I've got my chicken wings with garlic and hot peppers written. Now you can go to your dim sum house and just hand the waiter a gold strip and get your food (and your strip back too). This model will be a Ying digitized Sunpet, so there will be a M4/3 in the back holding the structure very well together and giving it an architecturally designed flair as there will be a regal alternation of contrasting raw materials: plastic to wood to metal.
You can see a photo of a naked Sunpet camera at Ozbox's stream:
The port of Calais is a French port located on the border of the English Channel and the North Sea . Only 38 km from the British coast, it is one of the shortest crossing points between continental Europe and the British Isles - the Pas de Calais -, making the Calais - Dover axis an important link. between France and Great Britain. Leading French port for cross-Channel traffic and leading passenger port in continental Europe. Just under 9 million passengers crossed the Channel from the port of Calais in 2017 1 while almost 43 million tonnes of goods passed from the port of Calais to Dover.
Since 2015, the ports of Calais and Boulogne , united in a common entity, the Boulogne-Calais port, have been managed by the Société d'exploitation des ports du détrait (SEPD) as part of a public service delegation and are the property of the Hauts-de-France region .
Former strategic port on the Strait of Calais; military and fishing port, the port of Calais has continued to expand.
In 997 , Baudoin IV , known as the Bearded One , Count of Flanders, had the port dug and enlarged near which Philippe, Count of Boulogne built a fortified castle, beginning to surround the town of Calais with thick walls; having supplies of wood and stones brought by land and sea, and, “ following the example of his father, set about ensuring his land was respected by the defenses with which he covered it ” 3 .
In 1190 , Henri de Lorraine granted a concession to the “aldermen and bourgeois” of Calais 4 .
In 1347 , the port was only an open basin with a quay to the north (at a place currently called Paradis) 5 At the end of 1347, Edward III of England improved the port of Calais which he had just conquered; Jean and Alexandre Lestrauge, sergeants at arms, are sent to stock up on fascines and other objects necessary for the repair of Paradis 6 .
Around 1444 , the English built two piers, then and an inner port equipped with a dam allowing the water retained behind to be released to flush out the silt which was accumulating in the port 5 .
In 1520 , the west pier measured 70 toises long and the east pier 90, in front of the Risban.
Around 1550 , Henry VIII had a large guard lock built at “Fort Nieulay” 4
In 1557 , theDecember 27, the English governors of Calais and Guînes alert Queen Mary of England about the French plan to retake Calais. They complained of the weakness of the garrisons of Guînes , Hames , Fort Nieulay and Fort Risban as well and the lack of provisions. The queen did not appreciate the threat and lost Calais 10 days later 6 .
In 1366 , the English built a “Stage” in Calais for the transit of wool between England and Flanders 4
In 1580 , the earthquake of April 6, 1580 had an epicenter retrospectively located in the Pas de Calais , between France and England. Boulogne and Calais were hit by a small tsunami (or a succession of large waves?) which would also have put ships in difficulty at sea. But in this region which has suffered numerous wars, there remain few precise accounts of this period. .
In 1604 , a new enclosure, flanked by two bastions, protected Fort Risban 4 ,
In 1620 , theDecember 28, Louis XIII orders that the great Risban dike be built , which was done in 4 months by Gabriel de Lattaignant 7
In 1697 , then on several occasions including in 1842, the piers were further extended 5 ,
In 1843 , on Christmas Day, the Raffeneau de Lisle lock was inaugurated , with a party where the centuries-old importance of the port was recalled and the memory of the engineer who died a few days before and Mr. Nehou , his student, was celebrated. 5
In 1846 , the tide quay 5 was widened and in 1849 the Paradis maritime station and the West basin pier were put into service 4 ,
From 1875 to 1889 , the new port was built while it was managed at the end of the 19th century by Jean Sanson 8 , with in 1920 the repair of the gates and the masonry of the lock (21 m) of the “Carnot Bassin » 4 . In the 20th century Calais, although strongly affected by two world wars (the port was almost completely rebuilt in 1946) 4 then became a very important industrial, hovercraft and ro-ro transit port.
In 2004, a second Ro-ro footbridge was built, and the Plaisance Basin was ISO 9001 certified . In 2009, it had around 300 rings (places) 4 .
A recent extension (Port-Est) desired by the Calais Chamber of Commerce and Industry was the subject of a unanimous vote by the Regional Council (which became “owner” of the port as part of port decentralization French) theJune 25, 2009. Following the agreement of the National Commission for Public Debate ofJuly 1 , 2009, a public debate relating to this project called “Calais port 2015” took place fromSeptember 11thAtNovember 24, 2009.
InOctober 2015, the rail highway terminal at the eastern port is inaugurated.
Passenger traffic
The port of Calais is also a preferred crossing point between the United Kingdom and the continent for millions of users, mainly British. Two ferry companies operate up to 50 crossings daily between the port of Dover and the port of Calais: P&O ferries and DFDS.
In 2016, 9,090,694 passengers crossed the Channel by ferry to reach France or the United Kingdom 9 . Following the dismantling of the Jungle and the efforts made by Port Boulogne Calais to secure the surroundings of port infrastructure, the port now wants to see travelers return in 2017, in particular thanks to its competitive advantages over its competitors.
This French port is among the twenty most important seaports in the EU for passenger traffic. It is ranked by Eurostat as the fifth port with eight million nine hundred and ninety passengers in 2017 10 .
Freight traffic
Cross-Channel freight traffic was approximately 42,996,737 tonnes of freight in 2016 11 . This makes Port Boulogne Calais the leading French port for ro-ro traffic (goods traffic excluding containers) after Marseille, Le Havre and Dunkirk.
THEApril 25, 2017, the Port Boulogne Calais announced a resumption of freight traffic in the first quarter of 2017 and which enabled the port of Calais to achieve the best quarter in its entire history with an absolute record for the month of March during which 181,005 freight units used Calais port facilities. The number of heavy goods vehicles passing through the port of Calais increased by 11.2% compared to the first quarter of 2016, recording the passage of 507,851 heavy goods vehicles 12 . This record for heavy goods vehicle traffic allows the port of Calais to consolidate its position as leader in cross-Channel freight traffic with 47.72% market share.
SinceMarch 29, 2016, the VIIA Britanica rail highway linking Le Boulou (Pyrénées Orientales) to Calais entered service 13 . With 1,200 km of roads avoided for road hauliers, VIIA Britanica allows trains carrying 40 unaccompanied semi-trailers to cross France in just 22 hours.
After a temporary suspension of the rail highway between July andOctober 2016following the migration crisis, VIIA, operator of the rail motorway, decided to put it back into service, judging that security had returned to the area around the port of Calais 14 .
In the first quarter of 2017, 13,185 trailers arriving by road and train passed through the port of Calais and traveled unaccompanied.
Existing infrastructure
The current infrastructure of the port of Calais consists of:
The old and inner port;
The deep water quay “Paul Devot” which borders a dredged mine at -10.00 m, over 240 meters, accommodating cargo ships up to 9 meters draft and 190 m long;
The “inland waterway basin”; which communicates with the “Carnot” basin and the Calais-Saint-Omer canal (VNF) connecting the port to regional and European waterways;
The “Carnot” basin (more than 13 ha, closed by the Carnot lock);
The marina (managed by the Edeis company for which it has the concession);
The “new port”, around the President Henri Ravisse basin (1.2 km x 0.2 km), able to accommodate large cargo ships in deep water. It is a port subject to tides, maintained by dredging at the coast (-9m, compared to the datum of the nautical chart ), with a northern quay in deep water (served by railways, with a marshalling beam).
Calais port 2015
Conceived in 2002, at the initiative of the Calais Chamber of Commerce and Industry, then port concessionaire, and supported by the Hauts-de-France Region, the Calais Port 2015 project entered its implementation phase in 2016 and was successfully completed. to the doubling of port infrastructureJanuary 202115 . Costing 650 million euros, Calais Port 2015 is the first priority maritime infrastructure project in the European Union.
It was designed to meet a dual challenge: welcoming future generations of ferries and ro-ro ships and coping with the increase in traffic expected by 2020/2025.
Calais Port 2015 will make it possible to adapt current port infrastructures and equipment to new generation ships as well as new data from Calais maritime traffic 16 . Eco-designed, Calais Port 2015 respects the commitments to preserve flora and fauna made by the Hauts-de-France Region during the public inquiry and before the National Nature Protection Council .
The dike
The construction of the dike is the common thread in the completion of the extension of the port of Calais. Started in 2016, the new seawall at the port of Calais will be completed in 2021.
The project consists of building a dike of approximately three kilometers, dredging the bottom of the future basin and using the materials resulting from these dredgings to build new embankments reclaimed from the sea by storing them behind temporary dikes.
The main dike will be used to protect navigation and port equipment, within a 90 ha basin. Its shell made of Xblocks is designed to withstand storms and rising water levels over the next hundred years.
The basin
If the dike allows the basin to be surrounded while protecting it from currents, swells and storms, the basin will allow the docking and maneuvering of ferries 240 meters long, but also other types of ships that can exceed this size. . The basin thus houses several turning zones, allowing several vessels to maneuver at the same time.
As the port was built for the very long term, the shape and depth of the basin were designed to accommodate larger vessels that consume less energy. These units remain to be built, but they will allow cross-Channel companies to support the growth in traffic, while rationalizing their fleet.
Security
Significant efforts have been made to secure access to the tunnel and the Calais port areas. Since 2015, a major security system has been put in place in Calais with the deployment of 1,300 police officers 17 at the height of the migratory influx and 50 kilometers of barbed wire to protect the arrival of travelers at the cross-Channel terminal.
The Le Touquet agreements of 2003 entrusted France with management of the Franco-British border, and in return Paris obtained substantial aid from the United Kingdom to secure access to the tunnel and port infrastructure. In 2016, the United Kingdom released an envelope of 22 million euros 18 to contribute to the border protection effort.
Concerning the strengthening of security within the port, control systems have been made available to all drivers who present themselves before accessing the cross-Channel platform. A complete network of surveillance cameras ensures control of the cross-Channel terminal. To date, no accident has occurred in the port area.
Port Authority
The Hauts-de-France region has become, as part of port decentralization , the new owner of the port of Calais since theJanuary 1 , 2007. According to Law No. 2004-809 ofAugust 13, 2004relating to local freedoms and responsibilities, the powers transferred extend to the ownership, development, maintenance and management of the maritime ports concerned. They encompass the rights and obligations of the owner.
The Hauts-de-France region thus becomes the “port authority” of the ports of Boulogne-sur-Mer and Calais, responsible for the public port service and, where applicable, the granting authority.
His skills are broken down into the following areas:
the definition of the development strategy of the port concerned and the national development of the available land;
project management (studies, investment decisions, procurement, etc.) of non-concessioned infrastructure and port extensions;
in compliance with the applicable common law provisions, the determination of the operating regime of the seaport (direct management, subcontracting or public service delegation) and, where applicable, the choice of the operator or operators;
the organization of port financing.
To these skills are added those of the owner, particularly in terms of property management, with the latitude to downgrade and alienate property that has become useless to the public service, in compliance with the legislative and regulatory provisions in force, in particular article L. 321-5 of the environmental code for the use of the maritime public domain. Correlatively, the region ensures the policing of exploitation and conservation.
Calais is a port city in the Pas-de-Calais department, of which it is a subprefecture. Although Calais is by far the largest city in Pas-de-Calais, the department's prefecture is its third-largest city of Arras. The population of the city proper is 67,544; that of the urban area is 144,625 (2020). Calais overlooks the Strait of Dover, the narrowest point in the English Channel, which is only 34 km (21 mi) wide here, and is the closest French town to England. The White Cliffs of Dover can easily be seen on a clear day from Calais. Calais is a major port for ferries between France and England, and since 1994, the Channel Tunnel has linked nearby Coquelles to Folkestone by rail.
Due to its position, Calais since the Middle Ages has been a major port and a very important centre for transport and trading with England. Calais came under English control after Edward III of England captured the city in 1347, followed by a treaty in 1360 that formally assigned Calais to English rule. Calais grew into a thriving centre for wool production, and came to be called the "brightest jewel in the English crown" owing to its great importance as the gateway for the tin, lead, lace and wool trades (or "staples"). Calais remained under English control until its capture by France in 1558.
During World War II, the town was virtually razed to the ground: in May 1940, it was a strategic bombing target of the invading German forces who took it during the siege of Calais. The Germans built massive bunkers along the coast in preparation for launching missiles at England.
The old part of the town, Calais-Nord, is situated on an artificial island surrounded by canals and harbours. The modern part of the town, St-Pierre, lies to the south and south-east. In the centre of the old town is the Place d'Armes, in which stands the Tour du Guet, or watch-tower, a structure built in the 13th century, which was used as a lighthouse until 1848 when a new lighthouse was built by the port. South east of the Place is the church of Notre-Dame, built during the English occupancy of Calais. Arguably, it is the only church built in the English perpendicular style in all of France. In this church, former French President Charles de Gaulle married Yvonne Vendroux. South of the Place and opposite the Parc St Pierre is the Hôtel-de-ville (the town hall), and the belfry from the early 20th century. Today, Calais is visited by more than 10 million annually. Aside from being a key transport hub, Calais is also a notable fishing port and a centre for fish marketing, and some 3,000 people are still employed in the lace industry for which the town is also famed.
History
Early history
Sources on the early history of habitation in the area is limited. It is sometimes claimed that the Romans called the settlement Caletum and that it was the departure point for Julius Caesar's invasion of Britain. However, the name Caletum does not appear in Caesar's accounts of the invasion. Caesar describes his departure point as Portus Itius, which is believed to have been near Boulogne. At that time Calais was an island in the North Sea.
Calais was an English outpost for many centuries while it was an island surrounded by marshes, and difficult to attack from the mainland. At some time before the 10th century, it would have been a Dutch-speaking fishing village on a sandy beach backed by pebbles and a creek, with a natural harbour[11] at the west edge of the early medieval estuary of the river Aa. As the pebble and sand ridge extended eastward from Calais, the haven behind it developed into fen, as the estuary progressively filled with silt and peat. Afterwards, canals were cut between Saint-Omer, the trading centre formerly at the head of the estuary, and three places to the west, centre and east on the newly formed coast: respectively Calais, Gravelines and Dunkirk. Calais was improved by the Count of Flanders in 997 and fortified by the Count of Boulogne in 1224.
The first document mentioning the existence of this community is the town charter granted by Mathieu d'Alsace, Count of Boulogne, in 1181 to Gerard de Guelders; Calais thus became part of the county of Boulogne. In 1189, Richard the Lionheart is documented to have landed at Calais on his journey to the Third Crusade.
14th–15th century; the Pale of Calais
English wool trade interests and King Edward III's claims to be heir to the Kingdom of France led to the Battle of Crécy between England and France in 1346,[14] followed by Edward's siege and capture of Calais in 1347.[15] Angered, the English king demanded reprisals against the town's citizens for holding out for so long ("obstinate defense") and ordered that the town's population be killed en masse.[citation needed] He agreed, however, to spare them, on condition that six of the principal citizens would come to him, bareheaded and barefooted and with ropes around their necks, and give themselves up to death. On their arrival he ordered their execution, but pardoned them when his queen, Philippa of Hainault, begged him to spare their lives. This event is commemorated in The Burghers of Calais (Les Bourgeois de Calais), one of the most famous sculptures by Auguste Rodin, erected in the city in 1895. Though sparing the lives of the delegation members, King Edward drove out most of the French inhabitants, and settled the town with English. The municipal charter of Calais, previously granted by the Countess of Artois, was reconfirmed by Edward that year (1347).
In 1360 the Treaty of Brétigny assigned Guînes, Marck and Calais—collectively the "Pale of Calais"—to English rule in perpetuity, but this assignment was informally and only partially implemented. On 9 February 1363 the town was made a staple port. It remained part of the Diocese of Thérouanne from 1379, keeping an ecclesiastical tie with France.
The town came to be called the "brightest jewel in the English crown" owing to its great importance as The Staple a gateway port for the tin, lead, cloth and wool trades (or "staples"). Its customs revenues amounted at times to a third of the English government's revenue, with wool being the most important element by far. Of its population of about 12,000 people, as many as 5,400 were recorded as having been connected with the wool trade. The governorship or Captaincy of Calais was a lucrative and highly prized public office; the famous Dick Whittington was simultaneously Lord Mayor of the City of London and Mayor of the Staple in 1407.
Calais was regarded for many years as being an integral part of the Kingdom of England, with its representatives sitting in the English Parliament. The continued English hold on Calais however depended on expensively maintained fortifications, as the town lacked any natural defences. Maintaining Calais was a costly business that was frequently tested by the forces of France and the Duchy of Burgundy, with the Franco-Burgundian border running nearby. The British historian Geoffrey Elton once remarked "Calais—expensive and useless—was better lost than kept". The duration of the English hold over Calais was, to a large extent, the result of the feud between Burgundy and France: both sides coveted the town, but preferred to see England control it rather than their domestic rivals. The stalemate was broken by the victory of the French crown over Burgundy following Joan of Arc's final battle in the siege of Compiègne in 1430, and the later incorporation of the duchy into France.
16th century
In 1532, the English King Henry VIII visited Calais and his men calculated that the town had about 2400 beds and stabling to keep some 2000 horses. Following the royal visit, the town's governance was reformed in 1536, aiming to strengthen ties with England. As part of this move, Calais became a parliamentary borough sending burgesses to the House of Commons of the Parliament of England.
In September 1552, the English adventurer Thomas Stukley, who had been for some time in the French service, betrayed to the authorities in London some French plans for the capture of Calais, to be followed by a descent upon England. Stukley himself might have been the author of these plans.
On 7 January 1558, King Henry II of France sent forces led by Francis, Duke of Guise, who laid siege to Calais. When the French attacked, they were able to surprise the English at the critical strongpoint of Fort Nieulay and the sluice gates, which could have flooded the attackers, remained unopened. The loss was regarded by Queen Mary I of England as a dreadful misfortune. When she heard the news, she reportedly said, "When I am dead and opened, you shall find 'Philip' [her husband] and 'Calais' lying in my heart." The region around Calais, then-known as the Calaisis, was renamed the Pays Reconquis ("Reconquered Country") in commemoration of its recovery by the French. Use of the term is reminiscent of the Spanish Reconquista, with which the French were certainly familiar—and, since it occurred in the context of a war with Spain (Philip II of Spain was at the time Queen Mary's consort), might have been intended as a deliberate snub.
The town was captured by the Spanish on 24 April 1596 in an invasion mounted from the nearby Spanish Netherlands by Archduke Albert of Austria, but it was returned to France under the Treaty of Vervins in May 1598.
17th century to World War I
Calais remained an important maritime city and smuggling centre throughout the 17th century. However, during the next century, the port of Calais began to stagnate gradually, as the nearby ports of Boulogne and Dunkirk began to rise and compete.
The French revolution at the end of the 18th century did not disturb Calais and no executions took place.
In 1805, Calais hosted part of Napoleon's army and invasion fleet for several months before his aborted invasion of Britain. From October to December 1818, the British army used Calais as their departing port to return home after occupying post-Waterloo France. General Murray appointed Sir Manley Power to oversee the evacuation of British troops from France. Cordial relations had been restored by that time and on 3 December, the mayor of Calais wrote a letter to Power to express thanks for his "considerate treatment of the French and of the town of Calais during the embarkation."
The population in 1847 was 12,580, many of whom were English. It was one of the main ports for British travellers to Europe.
In World War I the British Expeditionary Force or BEF arrived in Calais on its way to the nearby frontline cutting through Nord-Pas-de-Calais and Flanders. Calais was a key port for the supply of arms and reinforcements to the Western Front. In the 1930s, the town was known for being a politically socialist stronghold.
World War II
Calais was virtually razed to the ground during World War II. In May 1940, it was a key objective of the invading German forces and became the scene of a last-ditch defence—the siege of Calais—which diverted a sizable amount of German forces for several days immediately prior to the Battle of Dunkirk. A total of 3,000 British and 800 French troops, assisted by Royal Navy warships, held out from 22 to 27 May 1940 against the 10th Panzer Division. The town was flattened by artillery and precision dive bombing and only 30 of the 3800-strong defending force were evacuated before the town fell. This may have helped Operation Dynamo, the evacuation of Allied forces at Dunkirk, as 10th Panzer would have been involved on the Dunkirk perimeter had it not been busy at Calais. Between 26 May and 4 June 1940, some 330,000 Allied troops escaped from the Germans at Dunkirk.
During the ensuing German occupation, it became the command post for German forces in the Pas-de-Calais/Flanders region and was very heavily fortified, as the Germans generally believed that the Allies would invade there. It was also used as a launch site for V1 flying bombs and for much of the war, the Germans used the region as the site for railway guns to bombard the south-eastern corner of England. In 1943 they built massive bunkers along the coast in preparation for launching missiles on the southeast of England. Despite heavy preparations for defence against an amphibious assault, the Allied invasion took place well to the west in Normandy on D-Day. Calais was very heavily bombed and shelled in a successful effort to disrupt German communications and persuade them that the Allies would target the Pas-de-Calais for invasion (rather than Normandy). The town, by then largely in ruins, was laid siege to and liberated by General Daniel Spry's 3rd Canadian Infantry Division between 25 September and 1 October 1944. On 27 February 1945 Calais experienced its last bombing raid—this time by Royal Air Force bombers who mistook the town for Dunkirk, which was at that time still occupied by German forces. After the war there was little rebuilding of the historic city and most buildings were modern ones.
21st century – migration issues
Since 1999 or earlier, an increasingly large number of illegal immigrants and asylum seekers started to arrive in the vicinity of Calais, living in the Calais jungle, the nickname given to a series of makeshift camps. The people lived there while attempting to enter the United Kingdom by stowing away on lorries, ferries, cars, or trains travelling through the Port of Calais or the Eurotunnel Calais Terminal, or while waiting for their French asylum claims to be processed. The people were a mix of asylum seekers and economic migrants from Darfur, Afghanistan, Syria, Iraq, Eritrea and other underdeveloped or conflict-stricken countries in Africa and Asia.
The Calais migrant crisis led to escalating tension between the UK and France in the summer of 2015. The UK blamed France for not doing enough to stop migrants from entering the Channel Tunnel or attempting to scale fences built along the border. The British Prime Minister David Cameron released a statement saying that illegal immigrants would be removed from the UK even if they reached the island. To discourage migrants and refugees from jumping on train shuttles at Calais, the UK government supplied fencing to be installed around the Eurotunnel complex, where the vehicles are loaded onto train shuttles in Calais.
On 26 October 2016, French authorities announced that the camp had been cleared. By January 2017, 500–1,000 migrants, mostly unaccompanied minors, had returned and were living rough in Calais and there has been a presence ever since.
The port of Calais is a French port located on the border of the English Channel and the North Sea . Only 38 km from the British coast, it is one of the shortest crossing points between continental Europe and the British Isles - the Pas de Calais -, making the Calais - Dover axis an important link. between France and Great Britain. Leading French port for cross-Channel traffic and leading passenger port in continental Europe. Just under 9 million passengers crossed the Channel from the port of Calais in 2017 1 while almost 43 million tonnes of goods passed from the port of Calais to Dover.
Since 2015, the ports of Calais and Boulogne , united in a common entity, the Boulogne-Calais port, have been managed by the Société d'exploitation des ports du détrait (SEPD) as part of a public service delegation and are the property of the Hauts-de-France region .
Former strategic port on the Strait of Calais; military and fishing port, the port of Calais has continued to expand.
In 997 , Baudoin IV , known as the Bearded One , Count of Flanders, had the port dug and enlarged near which Philippe, Count of Boulogne built a fortified castle, beginning to surround the town of Calais with thick walls; having supplies of wood and stones brought by land and sea, and, “ following the example of his father, set about ensuring his land was respected by the defenses with which he covered it ” 3 .
In 1190 , Henri de Lorraine granted a concession to the “aldermen and bourgeois” of Calais 4 .
In 1347 , the port was only an open basin with a quay to the north (at a place currently called Paradis) 5 At the end of 1347, Edward III of England improved the port of Calais which he had just conquered; Jean and Alexandre Lestrauge, sergeants at arms, are sent to stock up on fascines and other objects necessary for the repair of Paradis 6 .
Around 1444 , the English built two piers, then and an inner port equipped with a dam allowing the water retained behind to be released to flush out the silt which was accumulating in the port 5 .
In 1520 , the west pier measured 70 toises long and the east pier 90, in front of the Risban.
Around 1550 , Henry VIII had a large guard lock built at “Fort Nieulay” 4
In 1557 , theDecember 27, the English governors of Calais and Guînes alert Queen Mary of England about the French plan to retake Calais. They complained of the weakness of the garrisons of Guînes , Hames , Fort Nieulay and Fort Risban as well and the lack of provisions. The queen did not appreciate the threat and lost Calais 10 days later 6 .
In 1366 , the English built a “Stage” in Calais for the transit of wool between England and Flanders 4
In 1580 , the earthquake of April 6, 1580 had an epicenter retrospectively located in the Pas de Calais , between France and England. Boulogne and Calais were hit by a small tsunami (or a succession of large waves?) which would also have put ships in difficulty at sea. But in this region which has suffered numerous wars, there remain few precise accounts of this period. .
In 1604 , a new enclosure, flanked by two bastions, protected Fort Risban 4 ,
In 1620 , theDecember 28, Louis XIII orders that the great Risban dike be built , which was done in 4 months by Gabriel de Lattaignant 7
In 1697 , then on several occasions including in 1842, the piers were further extended 5 ,
In 1843 , on Christmas Day, the Raffeneau de Lisle lock was inaugurated , with a party where the centuries-old importance of the port was recalled and the memory of the engineer who died a few days before and Mr. Nehou , his student, was celebrated. 5
In 1846 , the tide quay 5 was widened and in 1849 the Paradis maritime station and the West basin pier were put into service 4 ,
From 1875 to 1889 , the new port was built while it was managed at the end of the 19th century by Jean Sanson 8 , with in 1920 the repair of the gates and the masonry of the lock (21 m) of the “Carnot Bassin » 4 . In the 20th century Calais, although strongly affected by two world wars (the port was almost completely rebuilt in 1946) 4 then became a very important industrial, hovercraft and ro-ro transit port.
In 2004, a second Ro-ro footbridge was built, and the Plaisance Basin was ISO 9001 certified . In 2009, it had around 300 rings (places) 4 .
A recent extension (Port-Est) desired by the Calais Chamber of Commerce and Industry was the subject of a unanimous vote by the Regional Council (which became “owner” of the port as part of port decentralization French) theJune 25, 2009. Following the agreement of the National Commission for Public Debate ofJuly 1 , 2009, a public debate relating to this project called “Calais port 2015” took place fromSeptember 11thAtNovember 24, 2009.
InOctober 2015, the rail highway terminal at the eastern port is inaugurated.
Passenger traffic
The port of Calais is also a preferred crossing point between the United Kingdom and the continent for millions of users, mainly British. Two ferry companies operate up to 50 crossings daily between the port of Dover and the port of Calais: P&O ferries and DFDS.
In 2016, 9,090,694 passengers crossed the Channel by ferry to reach France or the United Kingdom 9 . Following the dismantling of the Jungle and the efforts made by Port Boulogne Calais to secure the surroundings of port infrastructure, the port now wants to see travelers return in 2017, in particular thanks to its competitive advantages over its competitors.
This French port is among the twenty most important seaports in the EU for passenger traffic. It is ranked by Eurostat as the fifth port with eight million nine hundred and ninety passengers in 2017 10 .
Freight traffic
Cross-Channel freight traffic was approximately 42,996,737 tonnes of freight in 2016 11 . This makes Port Boulogne Calais the leading French port for ro-ro traffic (goods traffic excluding containers) after Marseille, Le Havre and Dunkirk.
THEApril 25, 2017, the Port Boulogne Calais announced a resumption of freight traffic in the first quarter of 2017 and which enabled the port of Calais to achieve the best quarter in its entire history with an absolute record for the month of March during which 181,005 freight units used Calais port facilities. The number of heavy goods vehicles passing through the port of Calais increased by 11.2% compared to the first quarter of 2016, recording the passage of 507,851 heavy goods vehicles 12 . This record for heavy goods vehicle traffic allows the port of Calais to consolidate its position as leader in cross-Channel freight traffic with 47.72% market share.
SinceMarch 29, 2016, the VIIA Britanica rail highway linking Le Boulou (Pyrénées Orientales) to Calais entered service 13 . With 1,200 km of roads avoided for road hauliers, VIIA Britanica allows trains carrying 40 unaccompanied semi-trailers to cross France in just 22 hours.
After a temporary suspension of the rail highway between July andOctober 2016following the migration crisis, VIIA, operator of the rail motorway, decided to put it back into service, judging that security had returned to the area around the port of Calais 14 .
In the first quarter of 2017, 13,185 trailers arriving by road and train passed through the port of Calais and traveled unaccompanied.
Existing infrastructure
The current infrastructure of the port of Calais consists of:
The old and inner port;
The deep water quay “Paul Devot” which borders a dredged mine at -10.00 m, over 240 meters, accommodating cargo ships up to 9 meters draft and 190 m long;
The “inland waterway basin”; which communicates with the “Carnot” basin and the Calais-Saint-Omer canal (VNF) connecting the port to regional and European waterways;
The “Carnot” basin (more than 13 ha, closed by the Carnot lock);
The marina (managed by the Edeis company for which it has the concession);
The “new port”, around the President Henri Ravisse basin (1.2 km x 0.2 km), able to accommodate large cargo ships in deep water. It is a port subject to tides, maintained by dredging at the coast (-9m, compared to the datum of the nautical chart ), with a northern quay in deep water (served by railways, with a marshalling beam).
Calais port 2015
Conceived in 2002, at the initiative of the Calais Chamber of Commerce and Industry, then port concessionaire, and supported by the Hauts-de-France Region, the Calais Port 2015 project entered its implementation phase in 2016 and was successfully completed. to the doubling of port infrastructureJanuary 202115 . Costing 650 million euros, Calais Port 2015 is the first priority maritime infrastructure project in the European Union.
It was designed to meet a dual challenge: welcoming future generations of ferries and ro-ro ships and coping with the increase in traffic expected by 2020/2025.
Calais Port 2015 will make it possible to adapt current port infrastructures and equipment to new generation ships as well as new data from Calais maritime traffic 16 . Eco-designed, Calais Port 2015 respects the commitments to preserve flora and fauna made by the Hauts-de-France Region during the public inquiry and before the National Nature Protection Council .
The dike
The construction of the dike is the common thread in the completion of the extension of the port of Calais. Started in 2016, the new seawall at the port of Calais will be completed in 2021.
The project consists of building a dike of approximately three kilometers, dredging the bottom of the future basin and using the materials resulting from these dredgings to build new embankments reclaimed from the sea by storing them behind temporary dikes.
The main dike will be used to protect navigation and port equipment, within a 90 ha basin. Its shell made of Xblocks is designed to withstand storms and rising water levels over the next hundred years.
The basin
If the dike allows the basin to be surrounded while protecting it from currents, swells and storms, the basin will allow the docking and maneuvering of ferries 240 meters long, but also other types of ships that can exceed this size. . The basin thus houses several turning zones, allowing several vessels to maneuver at the same time.
As the port was built for the very long term, the shape and depth of the basin were designed to accommodate larger vessels that consume less energy. These units remain to be built, but they will allow cross-Channel companies to support the growth in traffic, while rationalizing their fleet.
Security
Significant efforts have been made to secure access to the tunnel and the Calais port areas. Since 2015, a major security system has been put in place in Calais with the deployment of 1,300 police officers 17 at the height of the migratory influx and 50 kilometers of barbed wire to protect the arrival of travelers at the cross-Channel terminal.
The Le Touquet agreements of 2003 entrusted France with management of the Franco-British border, and in return Paris obtained substantial aid from the United Kingdom to secure access to the tunnel and port infrastructure. In 2016, the United Kingdom released an envelope of 22 million euros 18 to contribute to the border protection effort.
Concerning the strengthening of security within the port, control systems have been made available to all drivers who present themselves before accessing the cross-Channel platform. A complete network of surveillance cameras ensures control of the cross-Channel terminal. To date, no accident has occurred in the port area.
Port Authority
The Hauts-de-France region has become, as part of port decentralization , the new owner of the port of Calais since theJanuary 1 , 2007. According to Law No. 2004-809 ofAugust 13, 2004relating to local freedoms and responsibilities, the powers transferred extend to the ownership, development, maintenance and management of the maritime ports concerned. They encompass the rights and obligations of the owner.
The Hauts-de-France region thus becomes the “port authority” of the ports of Boulogne-sur-Mer and Calais, responsible for the public port service and, where applicable, the granting authority.
His skills are broken down into the following areas:
the definition of the development strategy of the port concerned and the national development of the available land;
project management (studies, investment decisions, procurement, etc.) of non-concessioned infrastructure and port extensions;
in compliance with the applicable common law provisions, the determination of the operating regime of the seaport (direct management, subcontracting or public service delegation) and, where applicable, the choice of the operator or operators;
the organization of port financing.
To these skills are added those of the owner, particularly in terms of property management, with the latitude to downgrade and alienate property that has become useless to the public service, in compliance with the legislative and regulatory provisions in force, in particular article L. 321-5 of the environmental code for the use of the maritime public domain. Correlatively, the region ensures the policing of exploitation and conservation.
Calais is a port city in the Pas-de-Calais department, of which it is a subprefecture. Although Calais is by far the largest city in Pas-de-Calais, the department's prefecture is its third-largest city of Arras. The population of the city proper is 67,544; that of the urban area is 144,625 (2020). Calais overlooks the Strait of Dover, the narrowest point in the English Channel, which is only 34 km (21 mi) wide here, and is the closest French town to England. The White Cliffs of Dover can easily be seen on a clear day from Calais. Calais is a major port for ferries between France and England, and since 1994, the Channel Tunnel has linked nearby Coquelles to Folkestone by rail.
Due to its position, Calais since the Middle Ages has been a major port and a very important centre for transport and trading with England. Calais came under English control after Edward III of England captured the city in 1347, followed by a treaty in 1360 that formally assigned Calais to English rule. Calais grew into a thriving centre for wool production, and came to be called the "brightest jewel in the English crown" owing to its great importance as the gateway for the tin, lead, lace and wool trades (or "staples"). Calais remained under English control until its capture by France in 1558.
During World War II, the town was virtually razed to the ground: in May 1940, it was a strategic bombing target of the invading German forces who took it during the siege of Calais. The Germans built massive bunkers along the coast in preparation for launching missiles at England.
The old part of the town, Calais-Nord, is situated on an artificial island surrounded by canals and harbours. The modern part of the town, St-Pierre, lies to the south and south-east. In the centre of the old town is the Place d'Armes, in which stands the Tour du Guet, or watch-tower, a structure built in the 13th century, which was used as a lighthouse until 1848 when a new lighthouse was built by the port. South east of the Place is the church of Notre-Dame, built during the English occupancy of Calais. Arguably, it is the only church built in the English perpendicular style in all of France. In this church, former French President Charles de Gaulle married Yvonne Vendroux. South of the Place and opposite the Parc St Pierre is the Hôtel-de-ville (the town hall), and the belfry from the early 20th century. Today, Calais is visited by more than 10 million annually. Aside from being a key transport hub, Calais is also a notable fishing port and a centre for fish marketing, and some 3,000 people are still employed in the lace industry for which the town is also famed.
History
Early history
Sources on the early history of habitation in the area is limited. It is sometimes claimed that the Romans called the settlement Caletum and that it was the departure point for Julius Caesar's invasion of Britain. However, the name Caletum does not appear in Caesar's accounts of the invasion. Caesar describes his departure point as Portus Itius, which is believed to have been near Boulogne. At that time Calais was an island in the North Sea.
Calais was an English outpost for many centuries while it was an island surrounded by marshes, and difficult to attack from the mainland. At some time before the 10th century, it would have been a Dutch-speaking fishing village on a sandy beach backed by pebbles and a creek, with a natural harbour[11] at the west edge of the early medieval estuary of the river Aa. As the pebble and sand ridge extended eastward from Calais, the haven behind it developed into fen, as the estuary progressively filled with silt and peat. Afterwards, canals were cut between Saint-Omer, the trading centre formerly at the head of the estuary, and three places to the west, centre and east on the newly formed coast: respectively Calais, Gravelines and Dunkirk. Calais was improved by the Count of Flanders in 997 and fortified by the Count of Boulogne in 1224.
The first document mentioning the existence of this community is the town charter granted by Mathieu d'Alsace, Count of Boulogne, in 1181 to Gerard de Guelders; Calais thus became part of the county of Boulogne. In 1189, Richard the Lionheart is documented to have landed at Calais on his journey to the Third Crusade.
14th–15th century; the Pale of Calais
English wool trade interests and King Edward III's claims to be heir to the Kingdom of France led to the Battle of Crécy between England and France in 1346,[14] followed by Edward's siege and capture of Calais in 1347.[15] Angered, the English king demanded reprisals against the town's citizens for holding out for so long ("obstinate defense") and ordered that the town's population be killed en masse.[citation needed] He agreed, however, to spare them, on condition that six of the principal citizens would come to him, bareheaded and barefooted and with ropes around their necks, and give themselves up to death. On their arrival he ordered their execution, but pardoned them when his queen, Philippa of Hainault, begged him to spare their lives. This event is commemorated in The Burghers of Calais (Les Bourgeois de Calais), one of the most famous sculptures by Auguste Rodin, erected in the city in 1895. Though sparing the lives of the delegation members, King Edward drove out most of the French inhabitants, and settled the town with English. The municipal charter of Calais, previously granted by the Countess of Artois, was reconfirmed by Edward that year (1347).
In 1360 the Treaty of Brétigny assigned Guînes, Marck and Calais—collectively the "Pale of Calais"—to English rule in perpetuity, but this assignment was informally and only partially implemented. On 9 February 1363 the town was made a staple port. It remained part of the Diocese of Thérouanne from 1379, keeping an ecclesiastical tie with France.
The town came to be called the "brightest jewel in the English crown" owing to its great importance as The Staple a gateway port for the tin, lead, cloth and wool trades (or "staples"). Its customs revenues amounted at times to a third of the English government's revenue, with wool being the most important element by far. Of its population of about 12,000 people, as many as 5,400 were recorded as having been connected with the wool trade. The governorship or Captaincy of Calais was a lucrative and highly prized public office; the famous Dick Whittington was simultaneously Lord Mayor of the City of London and Mayor of the Staple in 1407.
Calais was regarded for many years as being an integral part of the Kingdom of England, with its representatives sitting in the English Parliament. The continued English hold on Calais however depended on expensively maintained fortifications, as the town lacked any natural defences. Maintaining Calais was a costly business that was frequently tested by the forces of France and the Duchy of Burgundy, with the Franco-Burgundian border running nearby. The British historian Geoffrey Elton once remarked "Calais—expensive and useless—was better lost than kept". The duration of the English hold over Calais was, to a large extent, the result of the feud between Burgundy and France: both sides coveted the town, but preferred to see England control it rather than their domestic rivals. The stalemate was broken by the victory of the French crown over Burgundy following Joan of Arc's final battle in the siege of Compiègne in 1430, and the later incorporation of the duchy into France.
16th century
In 1532, the English King Henry VIII visited Calais and his men calculated that the town had about 2400 beds and stabling to keep some 2000 horses. Following the royal visit, the town's governance was reformed in 1536, aiming to strengthen ties with England. As part of this move, Calais became a parliamentary borough sending burgesses to the House of Commons of the Parliament of England.
In September 1552, the English adventurer Thomas Stukley, who had been for some time in the French service, betrayed to the authorities in London some French plans for the capture of Calais, to be followed by a descent upon England. Stukley himself might have been the author of these plans.
On 7 January 1558, King Henry II of France sent forces led by Francis, Duke of Guise, who laid siege to Calais. When the French attacked, they were able to surprise the English at the critical strongpoint of Fort Nieulay and the sluice gates, which could have flooded the attackers, remained unopened. The loss was regarded by Queen Mary I of England as a dreadful misfortune. When she heard the news, she reportedly said, "When I am dead and opened, you shall find 'Philip' [her husband] and 'Calais' lying in my heart." The region around Calais, then-known as the Calaisis, was renamed the Pays Reconquis ("Reconquered Country") in commemoration of its recovery by the French. Use of the term is reminiscent of the Spanish Reconquista, with which the French were certainly familiar—and, since it occurred in the context of a war with Spain (Philip II of Spain was at the time Queen Mary's consort), might have been intended as a deliberate snub.
The town was captured by the Spanish on 24 April 1596 in an invasion mounted from the nearby Spanish Netherlands by Archduke Albert of Austria, but it was returned to France under the Treaty of Vervins in May 1598.
17th century to World War I
Calais remained an important maritime city and smuggling centre throughout the 17th century. However, during the next century, the port of Calais began to stagnate gradually, as the nearby ports of Boulogne and Dunkirk began to rise and compete.
The French revolution at the end of the 18th century did not disturb Calais and no executions took place.
In 1805, Calais hosted part of Napoleon's army and invasion fleet for several months before his aborted invasion of Britain. From October to December 1818, the British army used Calais as their departing port to return home after occupying post-Waterloo France. General Murray appointed Sir Manley Power to oversee the evacuation of British troops from France. Cordial relations had been restored by that time and on 3 December, the mayor of Calais wrote a letter to Power to express thanks for his "considerate treatment of the French and of the town of Calais during the embarkation."
The population in 1847 was 12,580, many of whom were English. It was one of the main ports for British travellers to Europe.
In World War I the British Expeditionary Force or BEF arrived in Calais on its way to the nearby frontline cutting through Nord-Pas-de-Calais and Flanders. Calais was a key port for the supply of arms and reinforcements to the Western Front. In the 1930s, the town was known for being a politically socialist stronghold.
World War II
Calais was virtually razed to the ground during World War II. In May 1940, it was a key objective of the invading German forces and became the scene of a last-ditch defence—the siege of Calais—which diverted a sizable amount of German forces for several days immediately prior to the Battle of Dunkirk. A total of 3,000 British and 800 French troops, assisted by Royal Navy warships, held out from 22 to 27 May 1940 against the 10th Panzer Division. The town was flattened by artillery and precision dive bombing and only 30 of the 3800-strong defending force were evacuated before the town fell. This may have helped Operation Dynamo, the evacuation of Allied forces at Dunkirk, as 10th Panzer would have been involved on the Dunkirk perimeter had it not been busy at Calais. Between 26 May and 4 June 1940, some 330,000 Allied troops escaped from the Germans at Dunkirk.
During the ensuing German occupation, it became the command post for German forces in the Pas-de-Calais/Flanders region and was very heavily fortified, as the Germans generally believed that the Allies would invade there. It was also used as a launch site for V1 flying bombs and for much of the war, the Germans used the region as the site for railway guns to bombard the south-eastern corner of England. In 1943 they built massive bunkers along the coast in preparation for launching missiles on the southeast of England. Despite heavy preparations for defence against an amphibious assault, the Allied invasion took place well to the west in Normandy on D-Day. Calais was very heavily bombed and shelled in a successful effort to disrupt German communications and persuade them that the Allies would target the Pas-de-Calais for invasion (rather than Normandy). The town, by then largely in ruins, was laid siege to and liberated by General Daniel Spry's 3rd Canadian Infantry Division between 25 September and 1 October 1944. On 27 February 1945 Calais experienced its last bombing raid—this time by Royal Air Force bombers who mistook the town for Dunkirk, which was at that time still occupied by German forces. After the war there was little rebuilding of the historic city and most buildings were modern ones.
21st century – migration issues
Since 1999 or earlier, an increasingly large number of illegal immigrants and asylum seekers started to arrive in the vicinity of Calais, living in the Calais jungle, the nickname given to a series of makeshift camps. The people lived there while attempting to enter the United Kingdom by stowing away on lorries, ferries, cars, or trains travelling through the Port of Calais or the Eurotunnel Calais Terminal, or while waiting for their French asylum claims to be processed. The people were a mix of asylum seekers and economic migrants from Darfur, Afghanistan, Syria, Iraq, Eritrea and other underdeveloped or conflict-stricken countries in Africa and Asia.
The Calais migrant crisis led to escalating tension between the UK and France in the summer of 2015. The UK blamed France for not doing enough to stop migrants from entering the Channel Tunnel or attempting to scale fences built along the border. The British Prime Minister David Cameron released a statement saying that illegal immigrants would be removed from the UK even if they reached the island. To discourage migrants and refugees from jumping on train shuttles at Calais, the UK government supplied fencing to be installed around the Eurotunnel complex, where the vehicles are loaded onto train shuttles in Calais.
On 26 October 2016, French authorities announced that the camp had been cleared. By January 2017, 500–1,000 migrants, mostly unaccompanied minors, had returned and were living rough in Calais and there has been a presence ever since.
Technology Image of the Week: Clean Space board game
It might not look like a training exercise: space engineers sitting around a meeting table, throwing down cards on a board game. But they are busily learning about the hidden environmental costs of space missions.
ESA’s Clean Space initiative – tasked with reducing the environmental footprints of the space industry both on Earth and in orbit – includes a dedicated ‘ecodesign’ element. As part of this effort, this new board game was created by the Quantis company.
Terrestrial industry uses the ‘life cycle assessment’ method to assess the environmental impacts across a product’s entire life. Now it is being harnessed for space projects, too.
At the start, the players are presented with a board showing a mission’s complete life,from initial planning to design and manufacture of the satellite and its launcher, the launch campaign and mission operations, concluding with its end-of-life and disposal.
The group is handed cards marked with differing sources of environmental impacts, such as air, road, rail or sea transport, office electricity use or material manufacturing, applying their knowledge to place these cards at the life cycle stages, or remove them entirely if they are judged irrelevant.
Next, they are given a set of tokens representing the impacts themselves, spanning a trio of classes: Global Warming Potential, Resource Depletion and Human Toxicity. The players have to assign these impacts around the life cycle in turn.
“At the end of the game, the board will represent the group’s combined understanding and best guesses of impacts arising along a space mission’s life,” explains Julian Austin of Clean Space.
“Then comes the moment when the group is shown the actual results – based on the detailed research we have already performed across the sector. Comparing their perceptions with the facts helps demonstrate principles in a clear and obvious way, leading in turn to brainstorming of ways to make space missions less damaging in future.”
The game is being used by ESA as part of internal ecodesign training sessions, set to be extended to industry in future.
Credit: ESA– J. Delaval
More info here.
The goal of the Décor(k) Tour – which will visit 16 cities across the United States and Canada – is to educate consumers about the different styles and varieties of Portuguese cork flooring, and will feature a 53 foot-long mobile showroom designed by “Divine Design” host Candice Olson.
For more information please go to www.realcorkfloors.com