Example for thread posted to DoA

The Case of the Missing Warts!

  

At some point in time, back then in the very early seventies the thought donned on me that I too could attend university, that, just because I was a grade ten dropout didn’t necessarily mean that my qualifications were much different than those who had attained their grade thirteen graduation certificates. There was a school of thought which supported the broader idea of Mature Student. This was me, had to be me, I was older, therefore wiser by experience. The decision was honed by observation and experience. My buddy, John the Count had taken me to a few lectures at U of T. At one such lecture Father David Belyea was lecturing to an English class numbering in the hundreds in a huge auditorium. The meat of the lecture was his discourse on the priest in the book Diary of a Country Priest written by George Bernanos. His lecture was nothing less than holy, I was impressed with his grasp of matters pertaining to the soul. On another visit to the campus John had me sit in at a small third year Sociology class which was about the lives of negro street people. The professor in that class had the students read a book titled Tally’s Corner which was about a man who worked now and then in a inner city East Coast American City, it may have been Baltimore. Count used me as a current day example of folk who though not pursuing a scholarly future were wise from experience, just like the guy in the book Tally’s Corner. I remember reading the book, enjoying the simplistic narration the writer wrote about, his observations, his respect for the characters in the book. One section described the method by which the shop keeper would pay his staff for unloading a truck full of merchandise. The owner estimated that the going rate for labour was five dollars an hour, this work took place in the sixties when rates of pay were much less than today, but so were the costs of goods. The owner would then subtract his estimate of how much the worker would steal from him per hour, he came up with the figure of two dollars and fifty cents an hour. The owner deducted this sum from the going rate then paid his workers the sum of $2.50 an hour. Surprisingly, the Count would find himself in a similar situation later in life while he ran the big cheese shop Pasquale Brothers on King Street East in downtown Toronto. John would from time to time actually hire, street folks, drunks, drifters, hoboes to help unload his merchandise and I know he applied the knowledge he learned in this social class to his wage structure.

  

Beside Count taking me to his school he also introduced me to his school friends who were not slouches when it came to scholarly matters. Some of the other guys were attending Universities around the country, one could say that my interest was by osmosis, or simply said, if they can do it, so can I.

  

Being an ardent writer, I penned letters to a few schools, U of T, U of Guelph and the U of Windsor. I recall having an opportunity to attend Guelph however my application arrived too late for the upcoming fall semester and this left Windsor as the school ready to accept me into a full first year of university studies. The roller coaster ride was about to pick up speed.

  

As an added bonus to attending school in Windsor my friend John the Count's brother Pete Kalci was looking for a roommate to share an apartment with as he was entering his second year of studies at Windsor. Using their dad Matts car we drove down to Windsor in late July of 71 to look at a bachelor apartment for the upcoming school year, Pete had gotten the lead from one of the newspapers. The apartment was situated at the back on the second floor in a plain three storey building. A centre stairway cut the building into two sections. The building was situated on University Avenue about a mile or so north of the school itself. An added bonus was that it was situated directly kitty corner to an Ontario Liquor store outlet. Besides that it was walking distance, about ten minutes to the downtown section, clubs/bars etc and a few blocks from a great second hand store. There was a clothing thrift shop in one of the store fronts of the thirty or so unit building. We took the small bachelor apartment without much thought. I believe the rent was around two hundred a month. It was furnished, albeit somewhat sparingly with a green pull out couch, an easy chair, small kitchen table and chairs which fit nicely into the tiny apartment size kitchen, it was the tiniest kitchen, no bigger really than that which a single person could fit into at one time. The eating area was tiny as well, however there was enough room for two to sit at the small rectangular table. Pots and pans and cutlery and dishes were also included. A small bathroom was tucked into the corner of the apt near the kitchen, there was no tub, just a small shower, the tiles were black and white one inch pieces with a black relief every here and there. The floor tiles matched but were a larger size, four inch by four inch. Although the fixtures were ancient, they were of a quality one seldom sees in more modern buildings. Really, everything was just perfect. The large walk in closet was to act as Pete’s bedroom, it was just large enough to accommodate a single bed with a dresser for clothes above which hangers could be hung with shirts and other articles.

  

Having been built I would think in the late thirties, the building was rock solid, the materials used in its construction were plain but durable. Solid wooden railings led to each floor, heavy steel self closing fire doors were present at each entrance. The building itself had character, there was an unusual stairway between the left and right hand sides of the building which was a great place to have a puff and hang out your laundry as a number of clotheslines were strung up for this purpose. Brenda the lease holder had graduated from Windsor and was taking a year off to live and study in Toronto. The neighbours across the hall were Sam, a balding, intellectual sounding Greek, short, barrel chested, Ouzo drinking Chrysler line worker, about thirty five or so years old and his new bride Mary a bit chubby twenty something, farm raised, locally, organic, dark haired woman, his conquest and love interest.

  

It was a hot day that July Saturday in Windsor and this is often the case in far southern Ontario as the location of the city is almost as far south as Canada reaches. We visited the school, there were a lot of empty buildings. I’m just estimating but I would think the campus took in about ten or so city acres. There were several older looking school styles, for the most part the construction was that of a late fourties architectural style with some early sixties buildings that contrasted with the older style. Prior to receiving university status the University of Windsor was known as Assumption College. The campus was growing as a new Arts and a fabulous Science facility were being constructed on the outskirts of the current campus.

 

There was a landscaped buffer zone from the main artery University Ave. A short five minute walk would take you to the central hub of the school, the cafeteria and student affairs building where everyone gathered, ate, attended concerts and generally observed life’s slowly turning pages in the lounges created in the foyer. Across from the cafeteria there was an impressive four storey library, quite new, well landscaped, with elevators to reach the upper floors that housed hundreds of thousands of books in sturdy six foot tall racks made of metal and dark oak wood shelves. Numerous areas had been created for sitting and studying, some had desks with chairs. On each floor there were a number of areas where four modern comfortable easy chairs faced each other. In the basement there was a microfiche department where one could look up information on this predecessor to the computer, computers were still a thing of the future, only large corporations had those newfangled information storage machines at the time. The library also had sound booths with excellent turn tables to play the fine assortment of records from the school library.

  

Trees graced the grounds, along with weed free trimmed lawns and hedges. On this quiet pre fall Saturday just the odd student could be seen coming and going. At the rear of the campus there was a pair of tall eight or ten storey complexes designed for students to live in, residences, beside these buildings there was a low rise building that housed the student pub.

  

Pete and I stopped for a few beers at the local watering hole, a place called Sid’s Bridgehouse, named thusly as it was within view of the large steel Ambassador bridge which connects Windsor to Detroit across the murky Detroit River. Draft rooms were not strange places for Pete and I, as frequent bouts of relaxation would often find us sitting at one of the many draft beer hotels in various parts of Toronto. It seems now as if we knew the city by the location of its drinking holes. With a bit of a glow on we headed over to Detroit to get some Ripple wine on my insistence. We happened upon a herd of streetwalkers, black damsels dressed in various manner many were sashaying in black high heels at the sidewalks edge wearing the kind of butt enhancing short tight miniskirt their cleavage propped up by wire hinged push up bras. It was quite obvious what the girls were up to and what we were looking for. We chatted a mother and daughter act up and we met them around the corner at the Chicago Hotel a three storey grey brick dive of a place that was more of a flop house as well as a hub for the prostitution trade. I can still see the black sign with white neon lettering above the entrance. Now why they would call a Detroit hotel the Chicago Hotel is a mystery. Each lady required ten dollars in advance which was a bargain compared to rates in Toronto at the time. The Hotel itself required a dollar fifty from each of us to use the room, I balked at the extra dollar fifty charge. The burly, dark 350 pound gentleman behind the counter didn’t make any fuss over his attempt to overcharge us, it was either pay the extra fee or leave and risk losing the money we had already paid the ladies in advance. The room was very basic, there was a small bed, a toilet, a sink, one worn thin faded green facecloth and a small once white towel. I let Pete go first, he had the daughter, a skinny thing, much less than twenty, whatever they did they did it fast, he came out of the room with his typical reserved grin and a glint in his pale blue grey eyes after his session. It was now my turn. The thirty something year old lady stripped down to her white panties and white brassiere which I found to be quite a contrast to her dark brown skin, she could have been a member of the Supremes, she cleaned herself down there with the facecloth, then rinsed the threadbare cloth in the little sink and cleaned my bulging apparatus. I couldn't help but notice the contrast in her skin color with that of her clitoris walls, why she was just like a white woman down there! My mind took a permanent snapshot of her anatomy which remains vivid today. She then proceeded to attempt to get me off, it was a while before Henry would cooperate, no amount of lip work or hand persuasion could keep Henry at attention for a very long period. A few attempts at entering her walnut shaped area failed, it was embarrassing. At the time I had a few small genital warts on my pecker that gave me some concern, Mavix jerked me off vigorously for five or so minutes, I finally came. Later that night back in Windsor while having a piss I checked and the warts were gone! She was protesting how long it was taking me to finish but I didn’t remember her saying we were on a time limit! You could say it was not a real touchy feely lovemaking session. Leaving the first floor room I stuck my chest out like a cock in the chicken pen, Pete was sitting with his date on a ratty sofa in the hotel lobby, the girl was chewing gum and primping her hair, the clerk wore a black summer shirt, he had a pencil stuck in his ear, a radio played soul music in the background, the lights were dim. We bought some Ripple wine and slept at the apartment in Windsor as had been arranged with the owner prior to leaving the city, a key was provided beforehand. Indeed life in Windsor was getting off to a very good start.

     

Tuition for the first year in school was going to be paid for by a grant and student loan, which was to be used for living expenses. Besides that money I had saved almost twelve hundred dollars at a summer job delivering Roll It shelving brackets. The total of the combination grant and loan was the sum of three thousand five hundred dollars. A third of that went directly to the University for tuition. Fortunately the Government issued two separate cheques for the grant portion, one in early September and the other shortly after the Christmas holiday or I surely would have spent it all in no time. Now I was pretty good with dollars, knew how to divvy them up, as I had developed my budget back in the Dyer and Miller and White House days. My habit was to take note of what was coming in and what was needed to go out. I’d been living on my own since the age of seventeen. I would make a list just before paydays and write on a piece of paper in order of necessity, the rent, meals at the Silver Tip, tobacco, bus fare, snacks for the room, beer money, HFC payments, I always owed my mom a few bucks. But this was so different, living in an unexplored town, a big town with a big city just across the bridge. My quest for adventure would drain the account in order to properly explore this new horizon. As mentioned the Liquor outlet was less than fifty steps away, it was hot in Windsor in September, to make matters worse there was a province wide beer strike, Pete and I quickly became fond of a beverage called Lite n Easy Sparkling Cider an apple beverage that was similar to beer in its alcohol content and similar in size of bottle and also satisfaction.

  

As mentioned the first week back to school is similar on many campuses, the new pupils gets oriented, they forgot to tell Pete and self and thousands of other students that it was not a week for getting disoriented! Check the local sales of booze in school towns during orientation week, they must be over the top. Pete and I lived like kings, we drank daily starting early in the afternoon. For entertainment I would cruise all the new to me second hand shops seeing which one could fill whatever purpose. Buying new shirts, pants etc was out of the question but poverty or near poverty was no excuse for not looking sharp. There were new goldmines of hand me downs to be explored. An early find was a bassy sounding record player AM FM radio combo, a boxy shaped wooden sound system about three feet tall by two feet wide, when you put on Albert Kings Born Under a Bad Sign album particularly that cut When I Lost My Baby, why you’d almost start to cry. The boxy 50s style system was easy to put on my shoulder and carry the few blocks to the apartment, up the stairs and down the hall on a sunny early fall afternoon.

  

Windsor was divided as are many towns into economical sections, we were living just south of the downtown where there were apartments and shops and side streets with big homes in a neighborhood I would describe as a step up from working class blue collar. Across from the centre of town lay more working class streets where a lot of the plant employees lived. The city’s main employer was Chrysler, they had plants spread out over the area north of the main intersections of Wyandotte and Oulette. While going to the school I was quite unaware of the fact the local economy was spurred by the automobile industry. To me, it was just another working class town, not unlike Toronto, or Hamilton. There was a good size downtown it seemed to have all the usual trappings, bars, clubs, restaurants, Woolworths, Kressges, Eatons, specialty shops, bookstores, curio stores, hospitals, police stations, pizzerias, grocery stores including a new Steinbergs everything one would need including my favourite a handful of second hand stores. One day at a second hand shop run by the St Vincent De Paul organization I found an old black typewriter from the 1920s complete with case. It was in working order I paid five dollars for it, it was a thing of beauty. It had no purpose except to look good, it oozed character but was somewhat dysfunctional as the ribbon that held the ink jammed shortly after I took it home. For assignments, which had to be typewritten and double spaced I used a newer portable electric Smith Corona bought for about seventy five dollars in Toronto complete with an aerodynamic looking plastic case.

  

The Geranium Tea Garden was a gem of a restaurant ran by a couple of older ladies. It was situated on a secondary street a few blocks from the downtown core. On Tuesdays buisness must have been very slow as a hand scrawled red poster board sign in the window beckoned one and all to come and eat the Tuesday luncheon buffet for .89 cents! After the first months partying Pete and I were getting a bit low on money. When we found the Geranium it became a regular event for us to attend this feast on Tuesdays, mid afternoon. Much of the food was casseroles, hamburger hash, leftover lasagna and meatballs, stick to your ribs goulash and other such fare that was probably left over from the previous weekend. Those items along with soggy mixed vegetables and gravy with a formidable skin on it were served from a stainless steel water heated table. Besides those dishes there was always a big tray of breaded pork chops and pieces of breaded fish, as well as southern fried chicken drumsticks. There were tiny rolls, along with those cold one inch squares of butter and plenty of jugs of water to wash it all down with. The deal was you could have two plates full for the cost of .89 cents. Getting the overloaded plate to your table was a bit tricky, I would often slip a half dozen chops and some breaded fish and drumsticks into my brown tweed sports jacket pocket before arriving at the table, before leaving the serving area I would look around and check that the ladies were busy elsewhere. There was a chilled display case that held homemade rice pudding as well as a variety of brightly coloured jellos with small squirts of whipped topping on top, these were also included in the buffet price.

  

Orientation week was coming to an end, a few bands played a free concert in the cafeteria, there were other activities as well. Pete encouraged me to check things out, as up to this point we had pretty much avoided the week long festivities on campus as we were to busy drinking at the apartment and gallivanting downtown. We just happened to go into the cafeteria mid afternoon as a beer chugging contest was winding down after a day of preliminaries. We sat down and ordered some cheap draft to watch the goings on. There were four contestants left on the stage sitting behind small desks. The judges would place six draft in front of each contestant and blow a whistle, whichever drinker finished first would advance to the next round with the second place finisher. As I recall quite a few contestants participated in the advertised event, drinks for all contestants were free of charge. No one knew me, I was a sleeper, an import, a high draft pick! Pete egged me on, our eyes meeting each others in knowing ways. Up on the raised stage there sat one last person, his name was Iggy or something like that he was the president of the local motorcycle gang, the Lone Bunch or Satans Breed, he was a big six foot four, long haired son of a bitch, a brute of a man older than me, shit older than most of the teachers. The judges hushed the crowd and asked if there were any challengers, I looked around, no one dared challenge Iggy! No one except me. As Iggy began to go for the trophy I finally stood up and got out of my chair and swaggered up to the stage, chest out like that cock in the chicken coop. I took a seat, in my mind of minds I projected myself to some of the previous victories I had amassed at places like the Embassy Tavern in Toronto on Belmont Street and of course the Place Pigalle on Avenue Road, the bars in Canton New York like Billy’s Lower, no one could beat me at chugging. They poured us each six draft in seven ounce glasses. We waited for the judge to give us the signal to drink. No one knew I had perfected the 'straight drop' technique, which allows me to open my throat and pour a full glass of beer down without gulping. As the bell rang I looked my competitor in the eye, it was like a shoot out. An alarm sounded, RRRRRIIIINNNGGG the bell went and I drank the six draft in what must have been world record time, Iggy had three left when I had slammed the sixth glass on the table. There was much applause from the drunken audience, I stood up and non chalantly shook my opponents hand and returned to the table with Peter, there was a small write up in the University newspaper marking the occasion, the prize was more free draft. Mature Student.

   

Examples

When it comes to unique, iconic examples of midcentury modern homes, it’s hard to find one quirkier than John Lautner’s “Rawlins House” on Balboa Island in Newport Beach, CA.

 

Built in 1979 as a retirement home for physicist Bob Rawlins and his wife Marjorie, a musician, who both loved the midcentury style, but were looking for something a bit more interesting when they moved out West, the one-of-a-kind Rawlins House is now referred to fondly as the “treasure of Balboa Island”.

 

Due to its whimsical design, often described as looking like an open-mouthed shark or whale, it’s also called “Jaws” by neighbors.

 

John Lautner was their architect of choice for many reasons. He had studied with the renowned world-famous midcentury modern visionary architect Frank Lloyd Wright in the 1930s, but more importantly, the Rawlins liked his specific architectural style, especially his Googie designs.

 

Googie style is kind of a mash-up of classical midcentury modern style and futurism inspired by the Atomic Age and the Space Age. The Rawlins house meshes both design styles with its bold use of glass and wood, its curvaceous exterior aesthetic, the spare, sleek minimalistic lines, the open concept, and its celebration of indoor/outdoor living.

 

The Rawlins House is considered one of Lautner’s most memorable urban designs by architectural critics. Located on South Bay Front in Newport Beach Harbor, the modernistic domed residence, sporting notable architectural features like a stunning copper balcony and roof, is the perfect retreat for entertaining friends and celebrating the sunset beach-side over dinner and drinks or welcoming overnight guests.

 

John Lautner’s House was privately owned by the original owners until 2010. Since 2014 it has been listed for sale by real estate agents in the Beverly Hills and Orange County areas. Originally listed at $5,395 million, the water’s edge residence has been reduced multiple times over the years.

 

It was eventually purchased in 2017 for $3.772. New homeowner, Michael LaFetra, had been eyeing the property for years. LaFetra is a preservationist and architecture restorer as well as a movie producer of horror films such as Stag Night and Night train.

Examples at 300dpi for printing.

 

© PHH Sykes 2022

phhsykes@gmail.com

The Sonoran Desert National Monument contains magnificent examples of untrammeled Sonoran Desert landscape. This National Monument is the most biologically diverse of the North American deserts, and the monument captures a significant portion of that diversity. The most striking aspect of the plant community within the monument is the extensive saguaro cactus forest. The monument contains three distinct mountain ranges, the Maricopa, Sand Tank and Table Top Mountains, as well as the Booth and White Hills, all separated by wide valleys. The monument also contains three Congressionally designated wilderness areas and many significant archaeological and historic sites, and remnants of several important historic trails.

 

Visits to the Sand Tank Mountains, located south of Interstate 8, requires a Barry M Goldwater Range permit. The permit is free, but requires the recipient to watch a 13 minute safety video. Permits are valid for one year, from July 1 through June 30 of the following year. Permits can be obtained in person at BLM's Arizona State Office and Lower Sonoran Field Office.

 

www.blm.gov/visit/sonoran-desert

 

Photo by Bob Wick, BLM.

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Pisa Cathedral (Cattedrale Metropolitana Primaziale di Santa Maria Assunta; Duomo di Pisa) is a medieval Roman Catholic Cathedral dedicated to the Assumption of the Virgin Mary, in the Piazza dei Miracoli in Pisa, Italy. It is a notable example of Romanesque architecture, in particular the style known as Pisan Romanesque. It is the seat of the Archbishop of Pisa. Construction on the cathedral began in 1063 by the architect Buscheto, and expenses were paid using the spoils received fighting against the Muslims in Sicily in 1063. It includes various stylistic elements: classical, Lombard-Emilian, Byzantine, and Islamic, drawing upon the international presence of Pisan merchants at that time. In the same year, St. Mark's Basilica began its reconstruction in Venice, evidence of a strong rivalry between the two maritime republics to see which could create the most beautiful and luxurious place of worship. The church was erected outside Pisa's early medieval walls, to show that Pisa had no fear of being attacked. The chosen area had already been used in the Lombard era as a necropolis and at the beginning of the 11th century a church had been erected here, but never finished, that was to be named Santa Maria. Buscheto's grand new church was initially called Santa Maria Maggiore until it was officially named Santa Maria Assunta. In 1092 the cathedral was declared a primatial church, archbishop Dagobert having been given the title of Primate by Pope Urban II. The cathedral was consecrated in 1118 by Pope Gelasius II, who belonged to the Caetani family which was powerful both in Pisa and in Rome. In the early 12th century the cathedral was enlarged under the direction of architect Rainaldo, who increased the length of the nave by adding three bays consistent with the original style of Buscheto, enlarged the transept, and planned a new facade which was completed by workers under the direction of the sculptors Guglielmo and Biduino. The exact date of the work is unclear: according to some, the work was done right after the death of Buscheto about the year 1100, though others say it was done closer to 1140. In any case, work was finished in 1180, as documented by the date written on the bronze knockers made by Bonanno Pisano found on the main door. The structure's present appearance is the result of numerous restoration campaigns that were carried out in different eras. The first radical interventions occurred after the fire of 1595, following which the roof was replaced and sculptors from the workshop of Giambologna, among whom were Gasparo Mola and Pietro Tacca, created the three bronze doors of the facade. In the early 18th century began the redecoration of the inside walls of the cathedral with large paintings, the "quadroni", depicting stories of the blessed and saints of Pisa. These works were made by the principal artists of the era, and a group of citizens arranged for the special financing of the project. Successive interventions occurred in the 19th century and included both internal and external modifications; among the latter was the removal of the original facade statues (presently in the cathedral museum) and their replacement with copies. Other notable interventions include: the dismantling of Giovanni Pisano's pulpit between 1599 and 1601 that only in 1926 was reassembled and returned to the cathedral (with some original pieces missing, including the staircase); and the dismantling of the monument to Henry VII made by Lupo di Francesco that was found in front of the door of San Ranieri and later substituted by a simpler, symbolic version; in 1987, the whole square was declared a UNESCO World Heritage Site / Tower of Pisa (Torre di Pisa) or simply the Leaning Tower of Pisa (Torre pendente di Pisa) is the campanile, or freestanding bell tower of the cathedral of the Italian city of Pisa, known worldwide for its nearly four-degree lean, the result of an unstable foundation. The tower is situated behind the Pisa Cathedral and is the third-oldest structure in the city's Cathedral Square (Piazza del Duomo), after the cathedral and the Pisa Baptistry. The height of the tower is 183.27 feet from the ground on the low side and 185.93 feet on the high side. The width of the walls at the base is 8 feet. The tower has 296 or 294 steps; the seventh floor has two fewer steps on the north-facing staircase. The tower began to lean during construction in the 12th century, due to soft ground which could not properly support the structure's weight, and it worsened through the completion of construction in the 14th century. By 1990 the tilt had reached 5.5 degrees. The structure was stabilized by remedial work between 1993 and 2001, which reduced the tilt to 3.97 degrees. Between 1589 and 1592, Galileo Galilei, who lived in Pisa at the time, is said to have dropped two cannonballs of different masses from the tower to demonstrate that their speed of descent was independent of their mass. The primary source for this is the biography Racconto istorico della vita di Galileo Galilei (Historical Account of the Life of Galileo Galilei), written by Galileo's pupil and secretary Vincenzo Viviani in 1654, but only published in 1717, long after his death. During World War II, the Allies suspected that the Germans were using the tower as an observation post. A U.S. Army sergeant sent to confirm the presence of German troops in the tower was impressed by the beauty of the cathedral and its campanile, and thus refrained from ordering an artillery strike, sparing it from destruction / Pisa is a city and comune in Tuscany, central Italy, straddling the Arno River just before it empties into the Ligurian Sea. It is the capital city of the Province of Pisa. Although Pisa is known worldwide for its leaning tower (the bell tower of the city's cathedral), the city of over 100,000 residents contains more than 20 other historic churches, several medieval palaces, and various bridges across the Arno. Much of the city's architecture was financed from its history as one of the Italian maritime republics. The city is also home of the University of Pisa, which has a history going back to the 12th century and also has the Scuola Normale Superiore di Pisa, founded by Napoleon in 1810, and its offshoot, the Sant'Anna School of Advanced Studies, as the best-sanctioned Superior Graduate Schools in Italy

The treasury dedicated by the Athenians at Delphi is a representative example of the votive buildings that reproduced on a much smaller scale the form of a temple, with sculpted decoration on the highest parts of the structure (metopes, pediments, acroteria). The small like Doric temple building measures 6,60 m x 8,75 m; the cella opens to east onto a pronaos, distyle in antis. It stood on a high podium without steps, and metal grates ran across the entire front, from the antae to the columns and between the columns themselves. The treasury rests on a triangular terrace, presumably for holding larger votives, but had no steps and was not meant to be regularly entered. Three retaining walls backed onto the hillside; immediately above was the temple terrace, with the temple itself looming over all.

The building’s metopes, 6 x 9, showed the deeds of Herakles (North side) and Theseus (South side). Three compositions extended over multiple panels: the Geryonomachy (six panels on the West side), and the Amazonomachies of Herakles and of Theseus (eight or nine panels total on the East side). The cycle of the Athenian hero Theseus dominated the south side, which was seen by pilgrims as they made their way up to the temple of Apollo. The west pediment depicted a battle; the east, the epiphany of a goddess between chariots.

The entire building, as well as its sculptural decoration, was of white Parian marble. It was built by the Athenians after 490 B.C. with spoils form the Battle of Marathon; the new building replaces an older Treasury of the Athenians of unknown plan.

 

Source: R. Neer, “The Athenian Treasury at Delphi and the Material of Politics”

 

Archaic Period

510 BC - 480 BC

Delphi, Archaeological Site

 

Founded in 1970, Arcosanti is an arcology designed in the Brutalist style by Paolo Soleri to serve as a self-sufficient community on a desert mesa near Cordes Lakes, Arizona. The buildings that comprise the complex, despite being a work-in-progress, were mostly built between 1971 and 1980, with more sporadic work on a few portions of the complex being completed as recently as 2008. The complex is the result of the design philosophy of Soleri, being an example of his theory of an arcology, combining ecology with architecture, making a dense, self-sufficient community that works with the natural landscape, and an alternative to urban sprawl and more conventional development patterns. Soleri guided the project until his death at the age of 92 in 2013, with further phases of construction being planned. However, Arcosanti has struggled to grow beyond a commune of 150 people, taking on a form and size comparable to a traditional pre-industrial rural village, rather than a town or city with thousands of residents as envisioned by Soleri. Most residents of Arcosanti are like-minded, which is required for the community’s ability to function and operate, and consist primarily of artists, environmentalists, farmers, and sustainability advocates, whom each contribute their skills to the community. In addition to the permanent residents, temporary residents whom spend five weeks attending workshops at the site. Despite its shortcomings, Arcosanti’s relationship to the surrounding environment, radical approach in design, philosophical background, and self-sufficiency are key points that are valuable to consider when designing buildings for sustainability and environmental consciousness, along with being an excellent example of Brutalism, which harmonizes nicely with the surrounding desert landscape.

 

The buildings at Arcosanti include the boxy, rectilinear Visitor Center, which appears like a medieval tower rising from the edge of the Mesa, with an open pier foundation that provides shelter to visitors entering and exiting the Visitor Trail, the half-domes for the Ceramics Studio and Metallurgy Foundry, various resident apartments, which demonstrate varying exterior characteristics, a barrel vaulted canopy over the central plaza, known as the vaults, a laboratory that houses a greenhouse and woodshed, allowing for food to be grown more efficiently and for items to be crafted by residents, the East Crescent, which contains resident housing and surrounds a central amphitheater. The site also features a swimming pool, gardens, resident cabins, which mostly date to the first stages of construction in the early 1970s, a self-contained wastewater management system, and guest rooms for visitors. The main complex of buildings are arranged at the edge of a mesa, overlooking a canyon, with smaller buildings located further down into the canyon and in the bottomlands along the Agua Fria River.

 

Arcosanti provides a counterpoint to the modern development pattern, one that is more sensitive and respectful to the landscape and the natural environment, and a design that fosters a strong sense of community, all of which are lacking from most new development being built today. Residents are able to quickly walk to work and to amenities within the community, reducing the dependency on cars and mechanized transportation. Additionally, buildings are designed to be energy efficient, incorporating passive strategies for thermal regulation and lighting. The complex, owned by the Cosanti foundation, remains a work in progress, with only ten percent of the proposed buildings being complete, and cover a very small area of the larger property owned by the foundation, with most of the land being left in its natural state or utilized for agriculture. Tours are available for visitors, along with overnight stays in the guest rooms at the complex, and the complex continues to house and foster a tight-knit, vibrant community.

Richard sent me these very cool techniques along with a great writeup on his blog. Details are now on Swooshable: #1 and #2.

BOC Transhield was created in 1969 when the British Oxygen Company acquired GL Baker, a food distribution company with major contracts with Marks & Spencer Ltd, which used liquid nitrogen in chilled containers. With 1,100 employees, the new company operated from five strategically-located depots in Barnsley, Bristol, Cumbernauld, Faversham and Kirkby. The company continued to expand throughout the 1970s, 1980s and 1990s, with additional depots at Hemel Hempstead and Crewe, before rebranding as Gist Ltd in 2001. The company was a significant user of the Bedford TM with examples of both the narrow and wide cabbed versions (28-Feb-21).

 

All rights reserved. Not to be posted on Facebook or anywhere else without my prior written permission. Please follow the link below for additional information about my Flickr images:

www.flickr.com/photos/northernblue109/6046035749/in/set-7...

General examples for photographic composition.

Beamish Museum is the first regional open-air museum, in England, located at Beamish, near the town of Stanley, in County Durham, England. Beamish pioneered the concept of a living museum. By displaying duplicates or replaceable items, it was also an early example of the now commonplace practice of museums allowing visitors to touch objects.

 

The museum's guiding principle is to preserve an example of everyday life in urban and rural North East England at the climax of industrialisation in the early 20th century. Much of the restoration and interpretation is specific to the late Victorian and Edwardian eras, together with portions of countryside under the influence of Industrial Revolution from 1825. On its 350 acres (140 ha) estate it uses a mixture of translocated, original and replica buildings, a large collection of artefacts, working vehicles and equipment, as well as livestock and costumed interpreters.

 

The museum has received a number of awards since it opened to visitors in 1972 and has influenced other living museums.[citation needed] It is an educational resource, and also helps to preserve some traditional and rare north-country livestock breeds.

 

In 1958, days after starting as director of the Bowes Museum, inspired by Scandinavian folk museums, and realising the North East's traditional industries and communities were disappearing, Frank Atkinson presented a report to Durham County Council urging that a collection of items of everyday history on a large scale should begin as soon as possible, so that eventually an open air museum could be established. As well as objects, Atkinson was also aiming to preserve the region's customs and dialect. He stated the new museum should "attempt to make the history of the region live" and illustrate the way of life of ordinary people. He hoped the museum would be run by, be about and exist for the local populace, desiring them to see the museum as theirs, featuring items collected from them.

 

Fearing it was now almost too late, Atkinson adopted a policy of "unselective collecting" — "you offer it to us and we will collect it." Donations ranged in size from small items to locomotives and shops, and Atkinson initially took advantage of a surplus of space available in the 19th-century French chateau-style building housing the Bowes Museum to store items donated for the open air museum. With this space soon filled, a former British Army tank depot at Brancepeth was taken over, although in just a short time its entire complement of 22 huts and hangars had been filled, too.

 

In 1966, a working party was established to set up a museum "for the purpose of studying, collecting, preserving and exhibiting buildings, machinery, objects and information illustrating the development of industry and the way of life of the north of England", and it selected Beamish Hall, having been vacated by the National Coal Board, as a suitable location.

 

In August 1970, with Atkinson appointed as its first full-time director together with three staff members, the museum was first established by moving some of the collections into the hall. In 1971, an introductory exhibition, "Museum in the Making" opened at the hall.

 

The museum was opened to visitors on its current site for the first time in 1972, with the first translocated buildings (the railway station and colliery winding engine) being erected the following year. The first trams began operating on a short demonstration line in 1973. The Town station was formally opened in 1976, the same year the reconstruction of the colliery winding engine house was completed, and the miners' cottages were relocated. Opening of the drift mine as an exhibit followed in 1979.

 

In 1975 the museum was visited by the Queen Elizabeth The Queen Mother, and by Anne, Princess Royal, in 2002. In 2006, as the Grand Master of the United Grand Lodge of England, The Duke of Kent visited, to open the town masonic lodge.

 

With the Co-op having opened in 1984, the town area was officially opened in 1985. The pub had opened in the same year, with Ravensworth Terrace having been reconstructed from 1980 to 1985. The newspaper branch office had also been built in the mid-1980s. Elsewhere, the farm on the west side of the site (which became Home Farm) opened in 1983. The present arrangement of visitors entering from the south was introduced in 1986.

 

At the beginning of the 1990s, further developments in the Pit Village were opened, the chapel in 1990, and the board school in 1992. The whole tram circle was in operation by 1993. Further additions to the Town came in 1994 with the opening of the sweet shop and motor garage,Beamish Museum 2014 followed by the bank in 1999. The first Georgian component of the museum arrived when Pockerley Old Hall opened in 1995, followed by the Pockerley Waggonway in 2001.

 

In the early 2000s two large modern buildings were added, to augment the museum's operations and storage capacity - the Regional Resource Centre on the west side opened in 2001, followed by the Regional Museums Store next to the railway station in 2002. Due to its proximity, the latter has been cosmetically presented as Beamish Waggon and Iron Works. Additions to display areas came in the form of the Masonic lodge (2006) and the Lamp Cabin in the Colliery (2009). In 2010, the entrance building and tea rooms were refurbished.

 

Into the 2010s, further buildings were added - the fish and chip shop (opened 2011) band hall (opened 2013) and pit pony stables (built 2013/14) in the Pit Village, plus a bakery (opened 2013) and chemist and photographers (opened 2016) being added to the town. St Helen's Church, in the Georgian landscape, opened in November 2015.

Forest Meteorological site Hartheim, Scots pine forest

This image shows an example of a bipolar planetary nebula known as PN Hb 12 — also known as Hubble 12 — in the constellation Cassiopeia. The striking shape of this nebula, reminiscent of a butterfly or an hourglass, was formed as a Sun-like star approached the end of its life and puffed its outer layers into the surrounding space. For bipolar nebulae, this material is funneled toward the poles of the aging star, creating the distinctive double-lobed structure.

 

Observations using NASA's Hubble Space Telescope and the New Technology Telescope have found that bipolar planetary nebulae located towards the central bulge of our Milky Way appear to be preferentially oriented with respect to the galactic disk — a surprising result given their varied and chaotic formation.

 

For more information please visit:

hubblesite.org/image/3240/news_release/2013-37

 

Credit: NASA, ESA, and A. Zijlstra (The University of Manchester)

 

Acknowledgment: J. Barrington (Hubble's Hidden Treasures Competition)

 

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In Wittenberg ist zum Reformationsjubiläum 2017 ein besonderes Projekt entanden: Wittenberg zur Zeit der Reformation. In einem 360°-Panorama des Künstlers Yadegar Asisi, für das eigens ein Rundgebäude errichtet wurde, wird die Lutherstadt zur Zeit der Reformation lebendig. Nach einigem Warten habe ich jetzt von Yadegar Asisi die Genehmigung erhalten, die Bilder, die ich bei einem Besuch gemacht habe, auf Flickr zu posten. Der Besucher steht in der Mitte der Rotunde und fühlt sich mitten in Wittenberg zur Lutherzeit. Der Eindruck wird verstärkt durch Geräusche, durch Reden, Musik und den Wechsel der Tageszeiten. Das ist zumindest teilweise nachvollziehbar in diesem Video. Allerdings ist mir schon bei der Aufnahme aufgefallen, dass die Farben der Dämmerung zu sehr nach Rot, die der Nacht zu sehr nach Blau verschoben waren. Es ist mir leider nicht gelungen, sie exakt zu rekonstruieren.

  

www.wittenberg360.de/

  

On the occasion of the 500th anniversary of the Protestant Reformation in 2017, the Berlin artist Yadegar Asisi created in Wittenberg a 360° panorama of the city in the year of 1517. For this purpose, a rotunda was erected near the city centre. After some weeks of waiting, I received Yadegar Asisi's authorization to post photos I made there on my Flickr account. The visitor stands on a high platform in the middle of the rotunda feeling as if he or she were standing in the medieval city, hearing sounds, music, sermons, speeches and the alternation of day and night. This video can give a faint example of what visitors experience in the rotunda. I noticed already during filming that the colours of the evening dusk were pushed to the red side and that of the night considerably to blue. I lament to say that I did not succeed in reconstablishing the original colours, although I tried.

  

www.wittenberg360.de/

 

Resolution example 6x4,5cm

 

A test to show what print sizes make sense from a given format. This one is a shot with my PhaseOne AF and an old MF 35mm Mamiya Lens on Provia 100F.

  

This one would print 1,7m with 300dpi. Drumscanned with 3000% or 9112dpi.

  

to get a feeling, how the print would look like I have to zoom on 36,6% in Photoshop, on different monitors it may be an other resolution. Show the rulers in PS and zoom until 1cm on the ruler is 1 real cm. In my opinion it would print reaonably well in this size.

  

Click on "show all sizes" to see full size image (133MB).

  

www.fineartdrumscanning.de

 

The Grade I Listed Salisbury Cathedral, (formally known as the Cathedral Church of the Blessed Virgin Mary), one of the leading examples of Early English architecture. The main body of the cathedral was completed in only 38 years, from 1220 to 1258. The cathedral is the mother church of the Diocese of Salisbury and seat of the Bishop of Salisbury. In Salisbury, Wiltshire.

 

As a response to deteriorating relations between the clergy and the military at Old Sarum Cathedral, the decision was taken to resite the cathedral and the bishopric was moved to Salisbury. The move occurred during the tenure of Bishop Richard Poore, a wealthy man who donated the land on which it was built. The new cathedral was paid for by donations, principally from the canons and vicars of southeast England who were asked to contribute a fixed annual sum until it was completed. A legend tells that the Bishop of Old Sarum shot an arrow in the direction he would build the cathedral but the arrow hit a deer that died in the place where Salisbury Cathedral is now. The cathedral crossing, Old Sarum and Stonehenge are reputed to be aligned on a ley line, though Clive L.N. Ruggles asserts that the site, on marshland, was chosen because a preferred site several miles to the west could not be obtained.

 

The foundation stone was laid on 28 April 1220. Much of the freestone for the cathedral came from Teffont Evias quarries. As a result of the high water table in the new location, the cathedral was built on only four feet of foundations, and by 1258 the nave, transepts and choir were complete. The only major sections built later were the cloisters in 1240, the chapter house in 1263, tower and spire, which at 404 feet (123 m) dominated the skyline from 1320. Because most of the cathedral was built in only 38 years, it has a single consistent architectural style, Early English Gothic.

 

Although the spire is the cathedral's most impressive feature, it has proved to be troublesome. Together with the tower, it added 6,397 tons (6,500 tonnes) to the weight of the building. Without the addition of buttresses, bracing arches and anchor irons over the succeeding centuries, it would have suffered the fate of spires on later great ecclesiastical buildings (such as Malmesbury Abbey) and fallen down; instead, Salisbury remains the tallest church spire in the UK. The large supporting pillars at the corners of the spire are seen to bend inwards under the stress. The addition of reinforcing tie beams above the crossing, designed by Christopher Wren in 1668, arrested further deformation. The beams were hidden by a false ceiling, installed below the lantern stage of the tower.

 

Significant changes to the cathedral were made by the architect James Wyatt in 1790, including replacement of the original rood screen and demolition of a bell tower which stood about 320 feet (100 m) north west of the main building. Salisbury is one of only three English cathedrals to lack a ring of bells, the others are Norwich Cathedral and Ely Cathedral. However it does strike the time every 15 minutes with bells. In total, 70,000 tons of stone, 3,000 tons of timber and 450 tons of lead were used in the construction of the cathedral.

 

Yesterday was the first day of new route SL1 (previously proposed X34) running between Walthamstow Central and North Finchley allocated with ex-78 HAs from Palmers Green (AD) garage. One of its examples is HA11, which can be seen arriving at its terminus at Walthamstow Bus Station heading towards North Finchley. 09/12/23

Essaouira), formerly known as Mogador, is a city in the western Morocca on the Atlantic coast. The modern name means "the little rampart", a reference to the fortress walls that still enclose part of the city. Essaouria has been described as " everybody's favourite Moroccan seaside town and it does not disappoint. Essaourira is 750 kilometres down the coast from Tangier Med. The medina is home to many small arts and crafts businesses, notably cabinet making and 'thuya' wood-carving (using roots of the Tetraclinis tree), both of which have been practised in Essaouira for centuries. Some of the wooden cabinets are particularly well crafted and are worth a look at for their craftsmanship. The beach and promenade are really nice with some lovely coffee shops and bars.

The southern end of the beach has camel rides and wind surfing. Nestled in the bay is the Ile de Mogador, a former prison that is now a bird sanctuary, it provided a spectacular backdrop against the setting sun in January.

We stayed in the town's only campsite and that was a real disappointment, there is an aire des services parking very near the beach and that may have been a better bet, both are a pleasant walk or cycle of 2.5 kilometres to the medina.

The medina is a wonderful experience, without the hard hassle of Marrakech and is an outstanding example of a fortified town of the mid-eighteenth century, surrounded by a wall Essaouira has played a major role over the centuries as an international trading seaport, linking Morocco and sub-Saharan Africa with Europe and the rest of the world. The town is also an example of a multicultural centre as proven by the coexistence, since its foundation, of diverse ethnic groups, such as the Amazighs, Arabs, Africans, and Europeans.. Known for a long time as the Port of Timbuktu, Essaouira became one of the major Atlantic commercial centres between Africa and Europe at the end of the 18th century and during the 19th century.

Model "US Truck T1 MkII" is build with LEGO® in scale 1:17,5 and motorized using LEGO® Power Functions. It is not build after a specific brand or type of truck. This build represents the more aerodynamic US truck models like for example the Freightliner Cascadia.

The truck features: solid axle suspension on all axles, PF powered driving with power transmitted independently to both rear axles, Ackerman geometry on steering axle, Servo powered steering, fully functional fifth wheel, modeled engine, detailed cabin interior and 3 light units.

Also can you build it yourself. To do so you can buy the building instructions and check the inventory/parts lists!.

 

The original build of this model is in Red, but maybe you prefer to build it in a different colors. So here are the different colors this model could be build in. Please feel free to change even more if you want to, but be aware of availability of the needed parts. I checked these color schemes and parts can be found as easy as with the original Red color scheme.

 

The LEGO® Power Functions® Servo is used to enable the steering. Aligned with the trucks chassis the Servo is sitting inside of the cabin right behind the modeled engine in between both seats. With a 90 degrees conversion the motion of the Servo is transferred to the steering axle.

 

This truck model is powered by a CAT® CT15 which is revealed with the hood opened and its yellow color makes is an eye catcher. This power source is an inline 6 cylinder engine with a displacement of 15.21L. With a horsepower range from 450 up to 550 HP and this engine has a torque range from 1550 to 1850 lb-ft. (1202 - 2508 Nm) at 1200 rpm peak torque.

The modeled engine is a small object that really improves the realism of this model. The engine is very nice to build and to give it those realistic looks a total number of about 120 parts is used. Engine is detailed with for example engine oil dipstick, fan, fan belt, pulleys, hoses, oil filters including by-pass oil filter, turbo, exhaust manifold and so on. Together with much more engine bay details which are added the looks are phenomenal. These include break fluid reservoir, windshield washer container, internal air cleaner system and steering shaft.

 

A lot of detail is added to the cabin's interior as well in the colors Tan and Dark Bluish Gray. By opening this model’s doors one can access the cabin. Openable doors give the model very realistic looks and makes the detailed interior visible. The interior's colors really standout because of the rather dark color scheme of the truck's body work.

Dark Bluish Gray is used for both the interior and the exterior in order to link both color palettes. For the driver's comfort the interior has gauges, switches, speakers, cup holders, comfortable seats. Other details are a glove compartment, more compartments in both doors, angled dash and gauge panel, a steering wheel and a gear shift.

 

Two examples of the unique DC culture of discount liquor stores located at the border with Maryland or Virginia. Here are two NE shops: Sammy's at 2725 Bladensburg Rd NE and District Line Liquors at 405 61st St NE.

Taken from the fast moving car, Weka Pass, May 31, 2012 on our way back to Christchurch.

 

Weka Pass Historic Reserve was officially established in 1969. The main feature of Weka Pass Historic Reserve, North Canterbury, is a large limestone overhang shelter, containing examples of rock art. A floor to ceiling fence protects the drawings from vandals. A walkway crossing farmland takes you to the rock art site - 40 minutes walking each way.

 

Māori first explored the Weka Pass area about 1000 years ago. The area was originally forested, and Māori would visit the area on their seasonal round for mahinga kai - food gathering. Birds were abundant, and included the now extinct moa and koreke / quail, as well as weka, kererū, kākā, kiwi in the forest, and a variety of waterfowl and freshwater fish in the streams.

 

Māori used the large overhanging limestone shelter as a temporary overnight camp. It was during these stays that they drew on the shelter wall, using charcoal from their fires, and red ochre (haematite) often called kōkōwai.

 

The subjects of their drawings were simple human figures, fish and dogs. Some drawings are more imaginative; others are little more than scribbles.

 

Early Pākehā visitors to North Canterbury - shepherds and farmers - also used the limestone overhang for shelter, for themselves and their stock. They bought the drawings to the attention of scientific investigators, but not before many Pākehā visitors had added their own marks to the shelter walls and ceilings.

Taken from: www.doc.govt.nz/conservation/historic/by-region/canterbur...

 

en.wikipedia.org/wiki/Beamish_Museum

 

Beamish Museum is the first regional open-air museum, in England, located at Beamish, near the town of Stanley, in County Durham, England. Beamish pioneered the concept of a living museum. By displaying duplicates or replaceable items, it was also an early example of the now commonplace practice of museums allowing visitors to touch objects.

 

The museum's guiding principle is to preserve an example of everyday life in urban and rural North East England at the climax of industrialisation in the early 20th century. Much of the restoration and interpretation is specific to the late Victorian and Edwardian eras, together with portions of countryside under the influence of industrial revolution from 1825. On its 350 acres (140 ha) estate it uses a mixture of translocated, original and replica buildings, a large collection of artefacts, working vehicles and equipment, as well as livestock and costumed interpreters.

 

The museum has received a number of awards since it opened to visitors in 1972 and has influenced other living museums. It is an educational resource, and also helps to preserve some traditional and rare north-country livestock breeds.

 

History

Genesis

In 1958, days after starting as director of the Bowes Museum, inspired by Scandinavian folk museums, and realising the North East's traditional industries and communities were disappearing, Frank Atkinson presented a report to Durham County Council urging that a collection of items of everyday history on a large scale should begin as soon as possible, so that eventually an open air museum could be established. As well as objects, Atkinson was also aiming to preserve the region's customs and dialect. He stated the new museum should "attempt to make the history of the region live" and illustrate the way of life of ordinary people. He hoped the museum would be run by, be about and exist for the local populace, desiring them to see the museum as theirs, featuring items collected from them.

 

Fearing it was now almost too late, Atkinson adopted a policy of "unselective collecting" — "you offer it to us and we will collect it." Donations ranged in size from small items to locomotives and shops, and Atkinson initially took advantage of a surplus of space available in the 19th-century French chateau-style building housing the Bowes Museum to store items donated for the open air museum. With this space soon filled, a former British Army tank depot at Brancepeth was taken over, although in just a short time its entire complement of 22 huts and hangars had been filled, too.

 

In 1966, a working party was established to set up a museum "for the purpose of studying, collecting, preserving and exhibiting buildings, machinery, objects and information illustrating the development of industry and the way of life of the north of England", and it selected Beamish Hall, having been vacated by the National Coal Board, as a suitable location.

 

Establishment and expansion

In August 1970, with Atkinson appointed as its first full-time director together with three staff members, the museum was first established by moving some of the collections into the hall. In 1971, an introductory exhibition, "Museum in the Making" opened at the hall.

 

The museum was opened to visitors on its current site for the first time in 1972, with the first translocated buildings (the railway station and colliery winding engine) being erected the following year. The first trams began operating on a short demonstration line in 1973. The Town station was formally opened in 1976, the same year the reconstruction of the colliery winding engine house was completed, and the miners' cottages were relocated. Opening of the drift mine as an exhibit followed in 1979.

 

In 1975 the museum was visited by the Queen Elizabeth The Queen Mother, and by Anne, Princess Royal, in 2002. In 2006, as the Grand Master of the United Grand Lodge of England, The Duke of Kent visited, to open the town masonic lodge.

 

With the Co-op having opened in 1984, the town area was officially opened in 1985. The pub had opened in the same year, with Ravensworth Terrace having been reconstructed from 1980 to 1985. The newspaper branch office had also been built in the mid-1980s. Elsewhere, the farm on the west side of the site (which became Home Farm) opened in 1983. The present arrangement of visitors entering from the south was introduced in 1986.

 

At the beginning of the 1990s, further developments in the Pit Village were opened, the chapel in 1990, and the board school in 1992. The whole tram circle was in operation by 1993.[8] Further additions to the Town came in 1994 with the opening of the sweet shop and motor garage, followed by the bank in 1999. The first Georgian component of the museum arrived when Pockerley Old Hall opened in 1995, followed by the Pockerley Waggonway in 2001.

 

In the early 2000s two large modern buildings were added, to augment the museum's operations and storage capacity - the Regional Resource Centre on the west side opened in 2001, followed by the Regional Museums Store next to the railway station in 2002. Due to its proximity, the latter has been cosmetically presented as Beamish Waggon and Iron Works. Additions to display areas came in the form of the Masonic lodge (2006) and the Lamp Cabin in the Colliery (2009). In 2010, the entrance building and tea rooms were refurbished.

 

Into the 2010s, further buildings were added - the fish and chip shop (opened 2011)[28] band hall (opened 2013) and pit pony stables (built 2013/14) in the Pit Village, plus a bakery (opened 2013) and chemist and photographers (opened 2016) being added to the town. St Helen's Church, in the Georgian landscape, opened in November 2015.

 

Remaking Beamish

A major development, named 'Remaking Beamish', was approved by Durham County Council in April 2016, with £10.7m having been raised from the Heritage Lottery Fund and £3.3m from other sources.

 

As of September 2022, new exhibits as part of this project have included a quilter's cottage, a welfare hall, 1950s terrace, recreation park, bus depot, and 1950s farm (all discussed in the relevant sections of this article). The coming years will see replicas of aged miners' homes from South Shields, a cinema from Ryhope, and social housing will feature a block of four relocated Airey houses, prefabricated concrete homes originally designed by Sir Edwin Airey, which previously stood in Kibblesworth. Then-recently vacated and due for demolition, they were instead offered to the museum by The Gateshead Housing Company and accepted in 2012.

 

Museum site

The approximately 350-acre (1.4 km2) current site, once belonging to the Eden and Shafto families, is a basin-shaped steep-sided valley with woodland areas, a river, some level ground and a south-facing aspect.

 

Visitors enter the site through an entrance arch formed by a steam hammer, across a former opencast mining site and through a converted stable block (from Greencroft, near Lanchester, County Durham).

 

Visitors can navigate the site via assorted marked footpaths, including adjacent (or near to) the entire tramway oval. According to the museum, it takes 20 minutes to walk at a relaxed pace from the entrance to the town. The tramway oval serves as both an exhibit and as a free means of transport around the site for visitors, with stops at the entrance (south), Home Farm (west), Pockerley (east) and the Town (north). Visitors can also use the museum's buses as a free form of transport between various parts of the museum. Although visitors can also ride on the Town railway and Pockerley Waggonway, these do not form part of the site's transport system (as they start and finish from the same platforms).

 

Governance

Beamish was the first English museum to be financed and administered by a consortium of county councils (Cleveland, Durham, Northumberland and Tyne and Wear) The museum is now operated as a registered charity, but continues to receive support from local authorities - Durham County Council, Sunderland City Council, Gateshead Council, South Tyneside Council and North Tyneside Council. The supporting Friends of Beamish organisation was established in 1968. Frank Atkinson retired as director in 1987. The museum has been 96% self-funding for some years (mainly from admission charges).

 

Sections of the museum

1913

The town area, officially opened in 1985, depicts chiefly Victorian buildings in an evolved urban setting of 1913.

 

Tramway

The Beamish Tramway is 1.5 miles (2.4 km) long, with four passing loops. The line makes a circuit of the museum site forming an important element of the visitor transportation system.

 

The first trams began operating on a short demonstration line in 1973, with the whole circle in operation by 1993.[8] It represents the era of electric powered trams, which were being introduced to meet the needs of growing towns and cities across the North East from the late 1890s, replacing earlier horse drawn systems.

 

Bakery

Presented as Joseph Herron, Baker & Confectioner, the bakery was opened in 2013 and features working ovens which produce food for sale to visitors. A two-storey curved building, only the ground floor is used as the exhibit. A bakery has been included to represent the new businesses which sprang up to cater for the growing middle classes - the ovens being of the modern electric type which were growing in use. The building was sourced from Anfield Plain (which had a bakery trading as Joseph Herron), and was moved to Beamish in the late 1970s and early 1980s. The frontage features a stained glass from a baker's shop in South Shields. It also uses fittings from Stockton-on-Tees.

 

Motor garage

Presented as Beamish Motor & Cycle Works, the motor garage opened in 1994. Reflecting the custom nature of the early motor trade, where only one in 232 people owned a car in 1913, the shop features a showroom to the front (not accessible to visitors), with a garage area to the rear, accessed via the adjacent archway. The works is a replica of a typical garage of the era. Much of the museum's car, motorcycle and bicycle collection, both working and static, is stored in the garage. The frontage has two storeys, but the upper floor is only a small mezzanine and is not used as part of the display.

 

Department Store

Presented as the Annfield Plain Industrial Co-operative Society Ltd, (but more commonly referred to as the Anfield Plain Co-op Store) this department store opened in 1984, and was relocated to Beamish from Annfield Plain in County Durham. The Annfield Plain co-operative society was originally established in 1870, with the museum store stocking various products from the Co-operative Wholesale Society (CWS), established 1863. A two-storey building, the ground floor comprises the three departments - grocery, drapery and hardware; the upper floor is taken up by the tea rooms (accessed from Redman Park via a ramp to the rear). Most of the items are for display only, but a small amount of goods are sold to visitors. The store features an operational cash carrier system, of the Lamson Cash Ball design - common in many large stores of the era, but especially essential to Co-ops, where customer's dividends had to be logged.

 

Ravensworth Terrace

Ravensworth Terrace is a row of terraced houses, presented as the premises and living areas of various professionals. Representing the expanding housing stock of the era, it was relocated from its original site on Bensham Bank, having been built for professionals and tradesmen between 1830 and 1845. Original former residents included painter John Wilson Carmichael and Gateshead mayor Alexander Gillies. Originally featuring 25 homes, the terrace was to be demolished when the museum saved it in the 1970s, reconstructing six of them on the Town site between 1980 and 1985. They are two storey buildings, with most featuring display rooms on both floors - originally the houses would have also housed a servant in the attic. The front gardens are presented in a mix of the formal style, and the natural style that was becoming increasingly popular.

 

No. 2 is presented as the home of Miss Florence Smith, a music teacher, with old fashioned mid-Victorian furnishings as if inherited from her parents. No. 3 & 4 is presented as the practice and home respectively (with a knocked through door) of dentist J. Jones - the exterior nameplate having come from the surgery of Mr. J. Jones in Hartlepool. Representing the state of dental health at the time, it features both a check-up room and surgery for extraction, and a technicians room for creating dentures - a common practice at the time being the giving to daughters a set on their 21st birthday, to save any future husband the cost at a later date. His home is presented as more modern than No.2, furnished in the Edwardian style the modern day utilities of an enamelled bathroom with flushing toilet, a controllable heat kitchen range and gas cooker. No. 5 is presented as a solicitor's office, based on that of Robert Spence Watson, a Quaker from Newcastle. Reflecting the trade of the era, downstairs is laid out as the partner's or principal office, and the general or clerk's office in the rear. Included is a set of books sourced from ER Hanby Holmes, who practised in Barnard Castle.

 

Pub

Presented as The Sun Inn, the pub opened in the town in 1985. It had originally stood in Bondgate in Bishop Auckland, and was donated to the museum by its final owners, the Scottish and Newcastle Breweries. Originally a "one-up one down" cottage, the earliest ownership has been traced to James Thompson, on 21 January 1806. Known as The Tiger Inn until the 1850s, from 1857 to 1899 under the ownership of the Leng family, it flourished under the patronage of miners from Newton Cap and other collieries. Latterly run by Elsie Edes, it came under brewery ownership in the 20th Century when bought by S&N antecedent, James Deuchar Ltd. The pub is fully operational, and features both a front and back bar, the two stories above not being part of the exhibit. The interior decoration features the stuffed racing greyhound Jake's Bonny Mary, which won nine trophies before being put on display in The Gerry in White le Head near Tantobie.

 

Town stables

Reflecting the reliance on horses for a variety of transport needs in the era, the town features a centrally located stables, situated behind the sweet shop, with its courtyard being accessed from the archway next to the pub. It is presented as a typical jobmaster's yard, with stables and a tack room in the building on its north side. A small, brick built open air, carriage shed is sited on the back of the printworks building. On the east side of the courtyard is a much larger metal shed (utilising iron roof trusses from Fleetwood), arranged mainly as carriage storage, but with a blacksmith's shop in the corner. The building on the west side of the yard is not part of any display. The interior fittings for the harness room came from Callaly Caste. Many of the horses and horse-drawn vehicles used by the museum are housed in the stables and sheds.

 

Printer, stationer and newspaper branch office

Presented as the Beamish Branch Office of the Northern Daily Mail and the Sunderland Daily Echo, the two storey replica building was built in the mid-1980s and represents the trade practices of the era. Downstairs, on the right, is the branch office, where newspapers would be sold directly and distributed to local newsagents and street vendors, and where orders for advertising copy would be taken. Supplementing it is a stationer's shop on the left hand side, with both display items and a small number of gift items on public sale. Upstairs is a jobbing printers workshop, which would not produce the newspapers, but would instead print leaflets, posters and office stationery. Split into a composing area and a print shop, the shop itself has a number of presses - a Columbian built in 1837 by Clymer and Dixon, an Albion dating back to 1863, an Arab Platen of c. 1900, and a Wharfedale flat bed press, built by Dawson & Son in around 1870. Much of the machinery was sourced from the print works of Jack Ascough's of Barnard Castle. Many of the posters seen around the museum are printed in the works, with the operation of the machinery being part of the display.

 

Sweet shop

Presented as Jubilee Confectioners, the two storey sweet shop opened in 1994 and is meant to represent the typical family run shops of the era, with living quarters above the shop (the second storey not being part of the display). To the front of the ground floor is a shop, where traditional sweets and chocolate (which was still relatively expensive at the time) are sold to visitors, while in the rear of the ground floor is a manufacturing area where visitors can view the techniques of the time (accessed via the arched walkway on the side of the building). The sweet rollers were sourced from a variety of shops and factories.

 

Bank

Presented as a branch of Barclays Bank (Barclay & Company Ltd) using period currency, the bank opened in 1999. It represents the trend of the era when regional banks were being acquired and merged into national banks such as Barclays, formed in 1896. Built to a three-storey design typical of the era, and featuring bricks in the upper storeys sourced from Park House, Gateshead, the Swedish imperial red shade used on the ground floor frontage is intended to represent stability and security. On the ground floor are windows for bank tellers, plus the bank manager's office. Included in a basement level are two vaults. The upper two storeys are not part of the display. It features components sourced from Southport and Gateshead

 

Masonic Hall

The Masonic Hall opened in 2006, and features the frontage from a former masonic hall sited in Park Terrace, Sunderland. Reflecting the popularity of the masons in North East England, as well as the main hall, which takes up the full height of the structure, in a small two story arrangement to the front of the hall is also a Robing Room and the Tyler's Room on the ground floor, and a Museum Room upstairs, featuring display cabinets of masonic regalia donated from various lodges. Upstairs is also a class room, with large stained glass window.

 

Chemist and photographer

Presented as W Smith's Chemist and JR & D Edis Photographers, a two-storey building housing both a chemist and photographers shops under one roof opened on 7 May 2016 and represents the growing popularity of photography in the era, with shops often growing out of or alongside chemists, who had the necessary supplies for developing photographs. The chemist features a dispensary, and equipment from various shops including John Walker, inventor of the friction match. The photographers features a studio, where visitors can dress in period costume and have a photograph taken. The corner building is based on a real building on Elvet Bridge in Durham City, opposite the Durham Marriot Hotel (the Royal County), although the second storey is not part of the display. The chemist also sells aerated water (an early form of carbonated soft drinks) to visitors, sold in marble-stopper sealed Codd bottles (although made to a modern design to prevent the safety issue that saw the original bottles banned). Aerated waters grew in popularity in the era, due to the need for a safe alternative to water, and the temperance movement - being sold in chemists due to the perception they were healthy in the same way mineral waters were.

 

Costing around £600,000 and begun on 18 August 2014, the building's brickwork and timber was built by the museum's own staff and apprentices, using Georgian bricks salvaged from demolition works to widen the A1. Unlike previous buildings built on the site, the museum had to replicate rather than relocate this one due to the fact that fewer buildings are being demolished compared to the 1970s, and in any case it was deemed unlikely one could be found to fit the curved shape of the plot. The studio is named after a real business run by John Reed Edis and his daughter Daisy. Mr Edis, originally at 27 Sherburn Road, Durham, in 1895, then 52 Saddler Street from 1897. The museum collection features several photographs, signs and equipment from the Edis studio. The name for the chemist is a reference to the business run by William Smith, who relocated to Silver Street, near the original building, in 1902. According to records, the original Edis company had been supplied by chemicals from the original (and still extant) Smith business.

 

Redman Park

Redman Park is a small lawned space with flower borders, opposite Ravensworth Terrace. Its centrepiece is a Victorian bandstand sourced from Saltwell Park, where it stood on an island in the middle of a lake. It represents the recognised need of the time for areas where people could relax away from the growing industrial landscape.

 

Other

Included in the Town are drinking fountains and other period examples of street furniture. In between the bank and the sweet shop is a combined tram and bus waiting room and public convenience.

 

Unbuilt

When construction of the Town began, the projected town plan incorporated a market square and buildings including a gas works, fire station, ice cream parlour (originally the Central Cafe at Consett), a cast iron bus station from Durham City, school, public baths and a fish and chip shop.

 

Railway station

East of the Town is the Railway Station, depicting a typical small passenger and goods facility operated by the main railway company in the region at the time, the North Eastern Railway (NER). A short running line extends west in a cutting around the north side of the Town itself, with trains visible from the windows of the stables. It runs for a distance of 1⁄4 mile - the line used to connect to the colliery sidings until 1993 when it was lifted between the town and the colliery so that the tram line could be extended. During 2009 the running line was relaid so that passenger rides could recommence from the station during 2010.

 

Rowley station

Representing passenger services is Rowley Station, a station building on a single platform, opened in 1976, having been relocated to the museum from the village of Rowley near Consett, just a few miles from Beamish.

 

The original Rowley railway station was opened in 1845 (as Cold Rowley, renamed Rowley in 1868) by the NER antecedent, the Stockton and Darlington Railway, consisting of just a platform. Under NER ownership, as a result of increasing use, in 1873 the station building was added. As demand declined, passenger service was withdrawn in 1939, followed by the goods service in 1966. Trains continued to use the line for another three years before it closed, the track being lifted in 1970. Although in a state of disrepair, the museum acquired the building, dismantling it in 1972, being officially unveiled in its new location by railway campaigner and poet, Sir John Betjeman.

 

The station building is presented as an Edwardian station, lit by oil lamp, having never been connected to gas or electricity supplies in its lifetime. It features both an open waiting area and a visitor accessible waiting room (western half), and a booking and ticket office (eastern half), with the latter only visible from a small viewing entrance. Adorning the waiting room is a large tiled NER route map.

 

Signal box

The signal box dates from 1896, and was relocated from Carr House East near Consett. It features assorted signalling equipment, basic furnishings for the signaller, and a lever frame, controlling the stations numerous points, interlocks and semaphore signals. The frame is not an operational part of the railway, the points being hand operated using track side levers. Visitors can only view the interior from a small area inside the door.

 

Goods shed

The goods shed is originally from Alnwick. The goods area represents how general cargo would have been moved on the railway, and for onward transport. The goods shed features a covered platform where road vehicles (wagons and carriages) can be loaded with the items unloaded from railway vans. The shed sits on a triangular platform serving two sidings, with a platform mounted hand-crane, which would have been used for transhipment activity (transfer of goods from one wagon to another, only being stored for a short time on the platform, if at all).

 

Coal yard

The coal yard represents how coal would have been distributed from incoming trains to local merchants - it features a coal drop which unloads railway wagons into road going wagons below. At the road entrance to the yard is a weighbridge (with office) and coal merchant's office - both being appropriately furnished with display items, but only viewable from outside.

 

The coal drop was sourced from West Boldon, and would have been a common sight on smaller stations. The weighbridge came from Glanton, while the coal office is from Hexham.

 

Bridges and level crossing

The station is equipped with two footbridges, a wrought iron example to the east having come from Howden-le-Wear, and a cast iron example to the west sourced from Dunston. Next to the western bridge, a roadway from the coal yard is presented as crossing the tracks via a gated level crossing (although in reality the road goes nowhere on the north side).

 

Waggon and Iron Works

Dominating the station is the large building externally presented as Beamish Waggon and Iron Works, estd 1857. In reality this is the Regional Museums Store (see below), although attached to the north side of the store are two covered sidings (not accessible to visitors), used to service and store the locomotives and stock used on the railway.

 

Other

A corrugated iron hut adjacent to the 'iron works' is presented as belonging to the local council, and houses associated road vehicles, wagons and other items.

 

Fairground

Adjacent to the station is an events field and fairground with a set of Frederick Savage built steam powered Gallopers dating from 1893.

 

Colliery

Presented as Beamish Colliery (owned by James Joicey & Co., and managed by William Severs), the colliery represents the coal mining industry which dominated the North East for generations - the museum site is in the former Durham coalfield, where 165,246 men and boys worked in 304 mines in 1913. By the time period represented by Beamish's 1900s era, the industry was booming - production in the Great Northern Coalfield had peaked in 1913, and miners were relatively well paid (double that of agriculture, the next largest employer), but the work was dangerous. Children could be employed from age 12 (the school leaving age), but could not go underground until 14.

 

Deep mine

Reconstructed pitworks buildings showing winding gear

Dominating the colliery site are the above ground structures of a deep (i.e. vertical shaft) mine - the brick built Winding Engine House, and the red painted wooden Heapstead. These were relocated to the museum (which never had its own vertical shaft), the winding house coming from Beamish Chophill Colliery, and the Heapstead from Ravensworth Park Mine in Gateshead. The winding engine and its enclosing house are both listed.

 

The winding engine was the source of power for hauling miners, equipment and coal up and down the shaft in a cage, the top of the shaft being in the adjacent heapstead, which encloses the frame holding the wheel around which the hoist cable travels. Inside the Heapstead, tubs of coal from the shaft were weighed on a weighbridge, then tipped onto jigging screens, which sifted the solid lumps from small particles and dust - these were then sent along the picking belt, where pickers, often women, elderly or disabled people or young boys (i.e. workers incapable of mining), would separate out unwanted stone, wood and rubbish. Finally, the coal was tipped onto waiting railway wagons below, while the unwanted waste sent to the adjacent heap by an external conveyor.

 

Chophill Colliery was closed by the National Coal Board in 1962, but the winding engine and tower were left in place. When the site was later leased, Beamish founder Frank Atkinson intervened to have both spot listed to prevent their demolition. After a protracted and difficult process to gain the necessary permissions to move a listed structure, the tower and engine were eventually relocated to the museum, work being completed in 1976. The winding engine itself is the only surviving example of the type which was once common, and was still in use at Chophill upon its closure. It was built in 1855 by J&G Joicey of Newcastle, to an 1800 design by Phineas Crowther.

 

Inside the winding engine house, supplementing the winding engine is a smaller jack engine, housed in the rear. These were used to lift heavy equipment, and in deep mines, act as a relief winding engine.

 

Outdoors, next to the Heapstead, is a sinking engine, mounted on red bricks. Brought to the museum from Silksworth Colliery in 1971, it was built by Burlington's of Sunderland in 1868 and is the sole surviving example of its kind. Sinking engines were used for the construction of shafts, after which the winding engine would become the source of hoist power. It is believed the Silksworth engine was retained because it was powerful enough to serve as a backup winding engine, and could be used to lift heavy equipment (i.e. the same role as the jack engine inside the winding house).

 

Drift mine

The Mahogany Drift Mine is original to Beamish, having opened in 1855 and after closing, was brought back into use in 1921 to transport coal from Beamish Park Drift to Beamish Cophill Colliery. It opened as a museum display in 1979. Included in the display is the winding engine and a short section of trackway used to transport tubs of coal to the surface, and a mine office. Visitor access into the mine shaft is by guided tour.

 

Lamp cabin

The Lamp Cabin opened in 2009, and is a recreation of a typical design used in collieries to house safety lamps, a necessary piece of equipment for miners although were not required in the Mahogany Drift Mine, due to it being gas-free. The building is split into two main rooms; in one half, the lamp cabin interior is recreated, with a collection of lamps on shelves, and the system of safety tokens used to track which miners were underground. Included in the display is a 1927 Hailwood and Ackroyd lamp-cleaning machine sourced from Morrison Busty Colliery in Annfield Plain. In the second room is an educational display, i.e., not a period interior.

 

Colliery railways

The colliery features both a standard gauge railway, representing how coal was transported to its onward destination, and narrow-gauge typically used by Edwardian collieries for internal purposes. The standard gauge railway is laid out to serve the deep mine - wagons being loaded by dropping coal from the heapstead - and runs out of the yard to sidings laid out along the northern-edge of the Pit Village.

 

The standard gauge railway has two engine sheds in the colliery yard, the smaller brick, wood and metal structure being an operational building; the larger brick-built structure is presented as Beamish Engine Works, a reconstruction of an engine shed formerly at Beamish 2nd Pit. Used for locomotive and stock storage, it is a long, single track shed featuring a servicing pit for part of its length. Visitors can walk along the full length in a segregated corridor. A third engine shed in brick (lower half) and corrugated iron has been constructed at the southern end of the yard, on the other side of the heapstead to the other two sheds, and is used for both narrow and standard gauge vehicles (on one road), although it is not connected to either system - instead being fed by low-loaders and used for long-term storage only.

 

The narrow gauge railway is serviced by a corrugate iron engine shed, and is being expanded to eventually encompass several sidings.

 

There are a number of industrial steam locomotives (including rare examples by Stephen Lewin from Seaham and Black, Hawthorn & Co) and many chaldron wagons, the region's traditional type of colliery railway rolling stock, which became a symbol of Beamish Museum. The locomotive Coffee Pot No 1 is often in steam during the summer.

 

Other

On the south eastern corner of the colliery site is the Power House, brought to the museum from Houghton Colliery. These were used to store explosives.

 

Pit Village

Alongside the colliery is the pit village, representing life in the mining communities that grew alongside coal production sites in the North East, many having come into existence solely because of the industry, such as Seaham Harbour, West Hartlepool, Esh Winning and Bedlington.

 

Miner's Cottages

The row of six miner's cottages in Francis Street represent the tied-housing provided by colliery owners to mine workers. Relocated to the museum in 1976, they were originally built in the 1860s in Hetton-le-Hole by Hetton Coal Company. They feature the common layout of a single-storey with a kitchen to the rear, the main room of the house, and parlour to the front, rarely used (although it was common for both rooms to be used for sleeping, with disguised folding "dess" beds common), and with children sleeping in attic spaces upstairs. In front are long gardens, used for food production, with associated sheds. An outdoor toilet and coal bunker were in the rear yards, and beyond the cobbled back lane to their rear are assorted sheds used for cultivation, repairs and hobbies. Chalkboard slates attached to the rear wall were used by the occupier to tell the mine's "knocker up" when they wished to be woken for their next shift.

 

No.2 is presented as a Methodist family's home, featuring good quality "Pitman's mahogany" furniture; No.3 is presented as occupied by a second generation well off Irish Catholic immigrant family featuring many items of value (so they could be readily sold off in times of need) and an early 1890s range; No.3 is presented as more impoverished than the others with just a simple convector style Newcastle oven, being inhabited by a miner's widow allowed to remain as her son is also a miner, and supplementing her income doing laundry and making/mending for other families. All the cottages feature examples of the folk art objects typical of mining communities. Also included in the row is an office for the miner's paymaster.[11] In the rear alleyway of the cottages is a communal bread oven, which were commonplace until miner's cottages gradually obtained their own kitchen ranges. They were used to bake traditional breads such as the Stottie, as well as sweet items, such as tea cakes. With no extant examples, the museum's oven had to be created from photographs and oral history.

 

School

The school opened in 1992, and represents the typical board school in the educational system of the era (the stone built single storey structure being inscribed with the foundation date of 1891, Beamish School Board), by which time attendance at a state approved school was compulsory, but the leaving age was 12, and lessons featured learning by rote and corporal punishment. The building originally stood in East Stanley, having been set up by the local school board, and would have numbered around 150 pupils. Having been donated by Durham County Council, the museum now has a special relationship with the primary school that replaced it. With separate entrances and cloakrooms for boys and girls at either end, the main building is split into three class rooms (all accessible to visitors), connected by a corridor along the rear. To the rear is a red brick bike shed, and in the playground visitors can play traditional games of the era.

 

Chapel

Pit Hill Chapel opened in 1990, and represents the Wesleyan Methodist tradition which was growing in North East England, with the chapels used for both religious worship and as community venues, which continue in its role in the museum display. Opened in the 1850s, it originally stood not far from its present site, having been built in what would eventually become Beamish village, near the museum entrance. A stained glass window of The Light of The World by William Holman Hunt came from a chapel in Bedlington. A two handled Love Feast Mug dates from 1868, and came from a chapel in Shildon Colliery. On the eastern wall, above the elevated altar area, is an angled plain white surface used for magic lantern shows, generated using a replica of the double-lensed acetylene gas powered lanterns of the period, mounted in the aisle of the main seating area. Off the western end of the hall is the vestry, featuring a small library and communion sets from Trimdon Colliery and Catchgate.

 

Fish bar

Presented as Davey's Fried Fish & Chip Potato Restaurant, the fish and chip shop opened in 2011, and represents the typical style of shop found in the era as they were becoming rapidly popular in the region - the brick built Victorian style fryery would most often have previously been used for another trade, and the attached corrugated iron hut serves as a saloon with tables and benches, where customers would eat and socialise. Featuring coal fired ranges using beef-dripping, the shop is named in honour of the last coal fired shop in Tyneside, in Winlaton Mill, and which closed in 2007. Latterly run by brothers Brian and Ramsay Davy, it had been established by their grandfather in 1937. The serving counter and one of the shop's three fryers, a 1934 Nuttal, came from the original Davy shop. The other two fryers are a 1920s Mabbott used near Chester until the 1960s, and a GW Atkinson New Castle Range, donated from a shop in Prudhoe in 1973. The latter is one of only two known late Victorian examples to survive. The decorative wall tiles in the fryery came to the museum in 1979 from Cowes Fish and Game Shop in Berwick upon Tweed. The shop also features both an early electric and hand-powered potato rumblers (cleaners), and a gas powered chip chopper built around 1900. Built behind the chapel, the fryery is arranged so the counter faces the rear, stretching the full length of the building. Outside is a brick built row of outdoor toilets. Supplementing the fish bar is the restored Berriman's mobile chip van, used in Spennymoor until the early 1970s.

 

Band hall

The Hetton Silver Band Hall opened in 2013, and features displays reflecting the role colliery bands played in mining life. Built in 1912, it was relocated from its original location in South Market Street, Hetton-le-Hole, where it was used by the Hetton Silver Band, founded in 1887. They built the hall using prize money from a music competition, and the band decided to donate the hall to the museum after they merged with Broughtons Brass Band of South Hetton (to form the Durham Miners' Association Brass Band). It is believed to be the only purpose built band hall in the region. The structure consists of the main hall, plus a small kitchen to the rear; as part of the museum it is still used for performances.

 

Pit pony stables

The Pit Pony Stables were built in 2013/14, and house the museum's pit ponies. They replace a wooden stable a few metres away in the field opposite the school (the wooden structure remaining). It represents the sort of stables that were used in drift mines (ponies in deep mines living their whole lives underground), pit ponies having been in use in the north east as late as 1994, in Ellington Colliery. The structure is a recreation of an original building that stood at Rickless Drift Mine, between High Spen and Greenside; it was built using a yellow brick that was common across the Durham coalfield.

 

Other

Doubling as one of the museum's refreshment buildings, Sinker's Bait Cabin represents the temporary structures that would have served as living quarters, canteens and drying areas for sinkers, the itinerant workforce that would dig new vertical mine shafts.

 

Representing other traditional past-times, the village fields include a quoits pitch, with another refreshment hut alongside it, resembling a wooden clubhouse.

 

In one of the fields in the village stands the Cupola, a small round flat topped brick built tower; such structures were commonly placed on top of disused or ventilation shafts, also used as an emergency exit from the upper seams.

 

The Georgian North (1825)

A late Georgian landscape based around the original Pockerley farm represents the period of change in the region as transport links were improved and as agriculture changed as machinery and field management developed, and breeding stock was improved. It became part of the museum in 1990, having latterly been occupied by a tenant farmer, and was opened as an exhibit in 1995. The hill top position suggests the site was the location of an Iron Age fort - the first recorded mention of a dwelling is in the 1183 Buke of Boldon (the region's equivalent of the Domesday Book). The name Pockerley has Saxon origins - "Pock" or "Pokor" meaning "pimple of bag-like" hill, and "Ley" meaning woodland clearing.

 

The surrounding farmlands have been returned to a post-enclosure landscape with ridge and furrow topography, divided into smaller fields by traditional riven oak fencing. The land is worked and grazed by traditional methods and breeds.

 

Pockerley Old Hall

The estate of Pockerley Old Hall is presented as that of a well off tenant farmer, in a position to take advantage of the agricultural advances of the era. The hall itself consists of the Old House, which is adjoined (but not connected to) the New House, both south facing two storey sandstone built buildings, the Old House also having a small north–south aligned extension. Roof timbers in the sandstone built Old House have been dated to the 1440s, but the lower storey (the undercroft) may be from even earlier. The New House dates to the late 1700s, and replaced a medieval manor house to the east of the Old House as the main farm house - once replaced itself, the Old House is believed to have been let to the farm manager. Visitors can access all rooms in the New and Old House, except the north–south extension which is now a toilet block. Displays include traditional cooking, such as the drying of oatcakes over a wooden rack (flake) over the fireplace in the Old House.

 

Inside the New House the downstairs consists of a main kitchen and a secondary kitchen (scullery) with pantry. It also includes a living room, although as the main room of the house, most meals would have been eaten in the main kitchen, equipped with an early range, boiler and hot air oven. Upstairs is a main bedroom and a second bedroom for children; to the rear (i.e. the colder, north side), are bedrooms for a servant and the servant lad respectively. Above the kitchen (for transferred warmth) is a grain and fleece store, with attached bacon loft, a narrow space behind the wall where bacon or hams, usually salted first, would be hung to be smoked by the kitchen fire (entering through a small door in the chimney).

 

Presented as having sparse and more old fashioned furnishings, the Old House is presented as being occupied in the upper story only, consisting of a main room used as the kitchen, bedroom and for washing, with the only other rooms being an adjoining second bedroom and an overhanging toilet. The main bed is an oak box bed dating to 1712, obtained from Star House in Baldersdale in 1962. Originally a defensive house in its own right, the lower level of the Old House is an undercroft, or vaulted basement chamber, with 1.5 metre thick walls - in times of attack the original tenant family would have retreated here with their valuables, although in its later use as the farm managers house, it is now presented as a storage and work room, housing a large wooden cheese press.[68] More children would have slept in the attic of the Old House (not accessible as a display).

 

To the front of the hall is a terraced garden featuring an ornamental garden with herbs and flowers, a vegetable garden, and an orchard, all laid out and planted according to the designs of William Falla of Gateshead, who had the largest nursery in Britain from 1804 to 1830.

 

The buildings to the east of the hall, across a north–south track, are the original farmstead buildings dating from around 1800. These include stables and a cart shed arranged around a fold yard. The horses and carts on display are typical of North Eastern farms of the era, Fells or Dales ponies and Cleveland Bay horses, and two wheeled long carts for hilly terrain (as opposed to four wheel carts).

 

Pockerley Waggonway

The Pockerley Waggonway opened in 2001, and represents the year 1825, as the year the Stockton and Darlington Railway opened. Waggonways had appeared around 1600, and by the 1800s were common in mining areas - prior to 1800 they had been either horse or gravity powered, before the invention of steam engines (initially used as static winding engines), and later mobile steam locomotives.

 

Housing the locomotives and rolling stock is the Great Shed, which opened in 2001 and is based on Timothy Hackworth's erecting shop, Shildon railway works, and incorporating some material from Robert Stephenson and Company's Newcastle works. Visitors can walk around the locomotives in the shed, and when in steam, can take rides to the end of the track and back in the line's assorted rolling stock - situated next to the Great Shed is a single platform for passenger use. In the corner of the main shed is a corner office, presented as a locomotive designer's office (only visible to visitors through windows). Off the pedestrian entrance in the southern side is a room presented as the engine crew's break room. Atop the Great Shed is a weather vane depicting a waggonway train approaching a cow, a reference to a famous quote by George Stephenson when asked by parliament in 1825 what would happen in such an eventuality - "very awkward indeed - for the coo!".

 

At the far end of the waggonway is the (fictional) coal mine Pockerley Gin Pit, which the waggonway notionally exists to serve. The pit head features a horse powered wooden whim gin, which was the method used before steam engines for hauling men and material up and down mineshafts - coal was carried in corves (wicker baskets), while miners held onto the rope with their foot in an attached loop.

 

Wooden waggonway

Following creation of the Pockerley Waggonway, the museum went back a chapter in railway history to create a horse-worked wooden waggonway.

 

St Helen's Church

St Helen's Church represents a typical type of country church found in North Yorkshire, and was relocated from its original site in Eston, North Yorkshire. It is the oldest and most complex building moved to the museum. It opened in November 2015, but will not be consecrated as this would place restrictions on what could be done with the building under church law.

 

The church had existed on its original site since around 1100. As the congregation grew, it was replaced by two nearby churches, and latterly became a cemetery chapel. After closing in 1985, it fell into disrepair and by 1996 was burnt out and vandalised leading to the decision by the local authority in 1998 to demolish it. Working to a deadline of a threatened demolition within six months, the building was deconstructed and moved to Beamish, reconstruction being authorised in 2011, with the exterior build completed by 2012.

 

While the structure was found to contain some stones from the 1100 era, the building itself however dates from three distinct building phases - the chancel on the east end dates from around 1450, while the nave, which was built at the same time, was modernised in 1822 in the Churchwarden style, adding a vestry. The bell tower dates from the late 1600s - one of the two bells is a rare dated Tudor example. Gargoyles, originally hidden in the walls and believed to have been pranks by the original builders, have been made visible in the reconstruction.

 

Restored to its 1822 condition, the interior has been furnished with Georgian box pews sourced from a church in Somerset. Visitors can access all parts except the bell tower. The nave includes a small gallery level, at the tower end, while the chancel includes a church office.

 

Joe the Quilter's Cottage

The most recent addition to the area opened to the public in 2018 is a recreation of a heather-thatched cottage which features stones from the Georgian quilter Joseph Hedley's original home in Northumberland. It was uncovered during an archaeological dig by Beamish. His original cottage was demolished in 1872 and has been carefully recreated with the help of a drawing on a postcard. The exhibit tells the story of quilting and the growth of cottage industries in the early 1800s. Within there is often a volunteer or member of staff not only telling the story of how Joe was murdered in 1826, a crime that remains unsolved to this day, but also giving visitors the opportunity to learn more and even have a go at quilting.

 

Other

A pack pony track passes through the scene - pack horses having been the mode of transport for all manner of heavy goods where no waggonway exists, being also able to reach places where carriages and wagons could not access. Beside the waggonway is a gibbet.

 

Farm (1940s)

Presented as Home Farm, this represents the role of North East farms as part of the British Home Front during World War II, depicting life indoors, and outside on the land. Much of the farmstead is original, and opened as a museum display in 1983. The farm is laid out across a north–south public road; to the west is the farmhouse and most of the farm buildings, while on the east side are a pair of cottages, the British Kitchen, an outdoor toilet ("netty"), a bull field, duck pond and large shed.

 

The farm complex was rebuilt in the mid-19th century as a model farm incorporating a horse mill and a steam-powered threshing mill. It was not presented as a 1940s farm until early 2014.

 

The farmhouse is presented as having been modernised, following the installation of electric power and an Aga cooker in the scullery, although the main kitchen still has the typical coal-fired black range. Lino flooring allowed quicker cleaning times, while a radio set allowed the family to keep up to date with wartime news. An office next to the kitchen would have served both as the administration centre for the wartime farm, and as a local Home Guard office. Outside the farmhouse is an improvised Home Guard pillbox fashioned from half an egg-ended steam boiler, relocated from its original position near Durham.

 

The farm is equipped with three tractors which would have all seen service during the war: a Case, a Fordson N and a 1924 Fordson F. The farm also features horse-drawn traps, reflecting the effect wartime rationing of petrol would have had on car use. The farming equipment in the cart and machinery sheds reflects the transition of the time from horse-drawn to tractor-pulled implements, with some older equipment put back into use due to the war, as well as a large Foster thresher, vital for cereal crops, and built specifically for the war effort, sold at the Newcastle Show. Although the wartime focus was on crops, the farm also features breeds of sheep, cattle, pigs and poultry that would have been typical for the time. The farm also has a portable steam engine, not in use, but presented as having been left out for collection as part of a wartime scrap metal drive.

 

The cottages would have housed farm labourers, but are presented as having new uses for the war: Orchard Cottage housing a family of evacuees, and Garden Cottage serving as a billet for members of the Women's Land Army (Land Girls). Orchard Cottage is named for an orchard next to it, which also contains an Anderson shelter, reconstructed from partial pieces of ones recovered from around the region. Orchard Cottage, which has both front and back kitchens, is presented as having an up to date blue enameled kitchen range, with hot water supplied from a coke stove, as well as a modern accessible bathroom. Orchard Cottage is also used to stage recreations of wartime activities for schools, elderly groups and those living with dementia. Garden Cottage is sparsely furnished with a mix of items, reflecting the few possessions Land Girls were able to take with them, although unusually the cottage is depicted with a bathroom, and electricity (due to proximity to a colliery).

 

The British Kitchen is both a display and one of the museum's catering facilities; it represents an installation of one of the wartime British Restaurants, complete with propaganda posters and a suitably patriotic menu.

 

Town (1950s)

As part of the Remaking Beamish project, with significant funding from the National Lottery Heritage Fund, the museum is creating a 1950s town. Opened in July 2019, the Welfare Hall is an exact replica of the Leasingthorne Colliery Welfare Hall and Community Centre which was built in 1957 near Bishop Auckland. Visitors can 'take part in activities including dancing, crafts, Meccano, beetle drive, keep fit and amateur dramatics' while also taking a look at the National Health Service exhibition on display, recreating the environment of an NHS clinic. A recreation and play park, named Coronation Park was opened in May 2022 to coincide with the celebrations around the Platinum Jubilee of Elizabeth II.

 

The museum's first 1950s terrace opened in February 2022. This included a fish and chip shop from Middleton St George, a cafe, a replica of Norman Cornish's home, and a hairdressers. Future developments opposite the existing 1950s terrace will see a recreation of The Grand Cinema, from Ryhope, in Sunderland, and toy and electricians shops. Also underdevelopment are a 1950s bowling green and pavilion, police houses and aged miner's cottages. Also under construction are semi-detached houses; for this exhibit, a competition was held to recreate a particular home at Beamish, which was won by a family from Sunderland.

 

As well as the town, a 1950s Northern bus depot has been opened on the western side of the museum – the purpose of this is to provide additional capacity for bus, trolleybus and tram storage once the planned trolleybus extension and the new area are completed, providing extra capacity and meeting the need for modified routing.

 

Spain's Field Farm

In March 2022, the museum opened Spain's Field Farm. It had stood for centuries at Eastgate in Weardale, and was moved to Beamish stone-by-stone. It is exhibited as it would have been in the 1950s.

 

1820s Expansion

In the area surrounding the current Pockerley Old Hall and Steam Wagon Way more development is on the way. The first of these was planned to be a Georgian Coaching Inn that would be the museum's first venture into overnight accommodation. However following the COVID-19 pandemic this was abandoned, in favour of self-catering accommodation in existing cottages.

 

There are also plans for 1820s industries including a blacksmith's forge and a pottery.

 

Museum stores

There are two stores on the museum site, used to house donated objects. In contrast to the traditional rotation practice used in museums where items are exchanged regularly between store and display, it is Beamish policy that most of their exhibits are to be in use and on display - those items that must be stored are to be used in the museum's future developments.

 

Open Store

Housed in the Regional Resource Centre, the Open Store is accessible to visitors. Objects are housed on racks along one wall, while the bulk of items are in a rolling archive, with one set of shelves opened, with perspex across their fronts to permit viewing without touching.

 

Regional Museums Store

The real purposes of the building presented as Beamish Waggon and Iron Works next to Rowley Station is as the Regional Museums Store, completed in 2002, which Beamish shares with Tyne and Wear Museums. This houses, amongst other things, a large marine diesel engine by William Doxford & Sons of Pallion, Sunderland (1977); and several boats including the Tyne wherry (a traditional local type of lighter) Elswick No. 2 (1930). The store is only open at selected times, and for special tours which can be arranged through the museum; however, a number of viewing windows have been provided for use at other times.

 

Transport collection

Main article: Beamish Museum transport collection

The museum contains much of transport interest, and the size of its site makes good internal transportation for visitors and staff purposes a necessity.

 

The collection contains a variety of historical vehicles for road, rail and tramways. In addition there are some modern working replicas to enhance the various scenes in the museum.

 

Agriculture

The museum's two farms help to preserve traditional northcountry and in some cases rare livestock breeds such as Durham Shorthorn Cattle; Clydesdale and Cleveland Bay working horses; Dales ponies; Teeswater sheep; Saddleback pigs; and poultry.

 

Regional heritage

Other large exhibits collected by the museum include a tracked steam shovel, and a coal drop from Seaham Harbour.

 

In 2001 a new-build Regional Resource Centre (accessible to visitors by appointment) opened on the site to provide accommodation for the museum's core collections of smaller items. These include over 300,000 historic photographs, printed books and ephemera, and oral history recordings. The object collections cover the museum's specialities. These include quilts; "clippy mats" (rag rugs); Trade union banners; floor cloth; advertising (including archives from United Biscuits and Rowntree's); locally made pottery; folk art; and occupational costume. Much of the collection is viewable online and the arts of quilting, rug making and cookery in the local traditions are demonstrated at the museum.

 

Filming location

The site has been used as the backdrop for many film and television productions, particularly Catherine Cookson dramas, produced by Tyne Tees Television, and the final episode and the feature film version of Downton Abbey. Some of the children's television series Supergran was shot here.

 

Visitor numbers

On its opening day the museum set a record by attracting a two-hour queue. Visitor numbers rose rapidly to around 450,000 p.a. during the first decade of opening to the public, with the millionth visitor arriving in 1978.

 

Awards

Museum of the Year1986

European Museum of the Year Award1987

Living Museum of the Year2002

Large Visitor Attraction of the YearNorth East England Tourism awards2014 & 2015

Large Visitor Attraction of the Year (bronze)VisitEngland awards2016

It was designated by the Museums, Libraries and Archives Council in 1997 as a museum with outstanding collections.

 

Critical responses

In responding to criticism that it trades on nostalgia the museum is unapologetic. A former director has written: "As individuals and communities we have a deep need and desire to understand ourselves in time."

 

According to the BBC writing in its 40th anniversary year, Beamish was a mould-breaking museum that became a great success due to its collection policy, and what sets it apart from other museums is the use of costumed people to impart knowledge to visitors, rather than labels or interpretive panels (although some such panels do exist on the site), which means it "engages the visitor with history in a unique way".

 

Legacy

Beamish was influential on the Black Country Living Museum, Blists Hill Victorian Town and, in the view of museologist Kenneth Hudson, more widely in the museum community and is a significant educational resource locally. It can also demonstrate its benefit to the contemporary local economy.

 

The unselective collecting policy has created a lasting bond between museum and community.

Recently replaced some old bushes in our front drive with 20 rose bushes. My wife and I couldn't resist this one.

 

www.flickriver.com/photos

My own version of the Hulkbuster build out of Lego bricks.

 

This figure is 23 cm /9,06 inches tall.

I think that my model does have the right proportions in comparison with the original movie design.

This Hulkbuster has a very good articulation and poseability, for example the chest opens, the waist rotates, the knees, ankles and the toes are on the ball joint and moves in any direction.

*Purge Members: One example of the many things you can do with the road standards. This was intended to be an abandoned construction site, but I wasn't able to find my shovel and 2-3 red hard hats, so the details here are lacking. Something I also forgot to add, and will update in the future, are street lights >.>

 

Hope everyone enjoys, and you can expect a full break down of it soon, but it really is just a lightly modified version of [Carter]'s ApocaLego Road...

 

*Inspirations tagged*

a fine example of the Queen Anne style, built in 1892

Built in 1935-1939, this Modern house, an example of Organic Architecture, was designed by Frank Lloyd Wright for the family of department store owner Edgar J. Kaufmann, Sr. to serve as a weekend retreat. The house was a catalyst for the revitalization of Frank Lloyd Wright’s career, who was in his mid-60s at the time, along with two other commissions around the same time, the Johnson Wax Headquarters and the Jacobs House I, which were critically acclaimed and explored a bold new direction of organic architecture that was heavily inspired from their natural surroundings, and were streamlined, dropping most of the ornamental pretenses of his earlier work. The house was built for department store owner Edgar J. Kaufmann, Sr., his wife, Liliane Kaufmann, and their only son, Edgar Kaufmann, Jr., to serve as the family’s weekend retreat, with room to accommodate a small staff and guests alongside the family. The Kaufmann family became acquainted with the work of Wright through Edgar Kaufmann, Jr., who read Frank Lloyd Wright’s autobiography in 1934, and was so impressed that he decided to intern at the Taliesin Fellowship, where Edgar, Sr. and Liliane first met Wright while visiting Edgar, Jr. The family, at the time, resided in a traditional-style mansion in Fox Chapel, near Pittsburgh, and had a small rustic cabin overlooking the waterfall at the Fallingwater site. The cabins were falling into disrepair in the mid-1930s, which prompted the Kaufmann family to contact Wright to design a replacement structure. Wright visited and surveyed the area around Bear Run in 1934, but shelved the project while pursuing other work for the next few months, thinking through the design, before being surprised by a visit from Edgar J. Kaufmann, Sr. in September 1935, which prompted Wright to quickly draw a concept for a house at Bear Run, producing the initial design drawings in two hours. Edgar, Sr., upon seeing the plans, was surprised to see the house soaring above the waterfall, as he had expected it to sit below the falls in order to view them from a distance, but Wright’s charisma convinced a skeptical Kaufmann to buy into the concept.

 

The house was designed by Wright with input from structural engineers Mendel Glickman and William Wesley Peters to feature large cantilevers, which allowed it to embrace the waterfall and topography below, while providing ample outdoor space and the desired number of bedrooms and living spaces within. A second wing was constructed above the main house, linked to it via a covered breezeway, which houses a carport, servants quarters, and a guest suite. The stone utilized in the house’s construction was quarried on the site, and it utilized reinforced concrete in its construction, a building technique with which Wright was inexperienced, but which the design would be impossible to implement without utilizing. Kaufmann was skeptical of Wright’s experience with the technique, as well as the cantilevered forms of the structure, and commissioned an engineering report, compiled by an engineering firm, which caused Wright to threaten to walk away from the incomplete project. Kaufmann relented in the face of Wright’s ultimatum, and had the documents buried. However, the contractor, feeling uneasy about the strength of Wright’s design, added extra reinforcement in secret, which was revealed during the building’s restoration. Other changes were made due to skepticism of the cantilevered design, but many of these were reversed, which proved the resiliency and strength of the design. The house came in far over budget, but despite these cost overruns and complications with the design, the Kaufmann family enjoyed it as a weekend retreat between 1937 and 1963. Liliane Kaufmann died in 1952, and Edgar Kaufmann, Sr. died in 1955, leaving the house to their son, Edgar Kaufmann, Jr., who continued to utilize the house as a weekend retreat, with his life partner, Paul Mayén, becoming a regular visitor to the house as well. In 1963, Edgar, Jr. donated the property to the Western Pennsylvania Conservancy, along with the surrounding property, which was converted into a nature reserve, and the house was opened for public tours.

 

The house features multiple reinforced concrete cantilevers, wrap-around windows facing the falls and Bear Run, open, transparent corners on the side of the building facing the creek, stone cladding on the more opaque portions of the facade, large terraces on the cantilevered portions of the building, open tread staircases inside and outside the building, red metal trim, a suspended concrete canopy over the breezeway connecting the guest wing and carport with the main house, a swimming pool on the terrace outside the guest wing, rocks embedded into the floors of the interior of the house, a staircase from the living room down to Bear Run below, and red concrete floors inside. A driveway, following Bear Run, crosses a bridge next to the main wing of the house before following a narrow corridor between the main wing and an adjacent stone outcropping, before turning and arriving at the upper wing, which originally housed a four-bay carport on the lower floor. The interior of the house is very open to the exterior, with low furnishings that allow for maximization of the views out of the windows, and is home to art that was collected by Liliane, books collected by Edgar, Jr. and Paul, and furnishings collected by Edgar, Sr. The house’s kitchen features yellow-painted metal cabinets and appliances, and chrome handles, the living room features a fireplace with a spherical beverage warmer that is designed to swing over to the fireplace from its storage location next to the fireplace and coffered ceilings, and horizontal bands of trim, and various portions of the house feature built-in desks, cabinets, wooden slat screens, and bookshelves, simple beds featuring wooden headboards and nightstands in the bedrooms, and bathrooms with cork tiles, sunken bathtubs, ceiling-mounted shower heads, and toilets with wall-embedded tanks. The upper wing of the house has a carport and guest suite on the lower floor, with servants quarters above, and the main house features a living room, dining room, kitchen, terraces and lounge on the first floor, a primary suite and secondary bedroom and bathroom with large terraces on the second floor, and a suite intended for Edgar, Jr. on the third floor, which was later partially converted into an office. The house is very broad in the direction parallel to Bear Run and has a living room that cantilevers over the creek, but it is very thin, being rather thin, with primary interior spaces featuring windows that look out onto Bear Run below. The house, despite its size appearing massive due to its spatial arrangement, has only a small interior square footage, but the space is efficiently designed to offer maximum utility to the occupants, and allow a close connection with nature.

 

The house was designated a National Historic Landmark in 1966, and was listed on the National Register of Historic Places in 1974. It was designated as part of a UNESCO World Heritage Site, The 20th-Century Architecture of Frank Lloyd Wright, in 2019. A visitor center was constructed on the property in 1977-1979, designed by Paul Mayen. The most visible modification to the house since it was opened to the public were the enclosure of three carport bays to house a museum and presentation space for visitors. The house underwent major alterations to its structural systems in 1995-2002, involving analyzing the performance of the cantilevers over time since the house’s construction, as the bold cantilevered forms had insufficient reinforcement and had deflected substantially, nearing their failure points. Additional steel supports and post-tensioning in the form of steel cables were added to the building to support the cantilevers, which has halted the progression of the deflection of the structure, though it is monitored by the Western Pennsylvania Conservancy in order to detect any further movement of the structure. The house today sees over one-hundred thousand visitors annually, and is one of the most well-known works of Wright, as well as being one of the best-known houses in the United States.

The bus is the last example of Volvo Super Olympian 10.6m and the motor vehicle licence expires on 8 Mar, 2023 .

HMS Example in Lossie.

+++ DISCLAIMER +++

Nothing you see here is real, even though the conversion or the presented background story might be based on historical facts. BEWARE!

  

Some background:

Following good performance from the pioneering diesel-hydraulic locomotive the DB Class V 80, the Deutsche Bundesbahn planned in 1953 to build several types of new diesel locomotive, primarily to replace steam powered locomotives.These were: V 60, and V 65, both shunters, the V 65.2, also for shunting as well as light freight trains, the heavy DB Class V 200, for express passenger trains, and the universal V 160 for both freight and passenger work on the main network.

 

The new V 160 class was a central piece in this line-up, because it would replace important steam-powered engines such as the BR 03, BR 23, BR 38.10 (former Prussian P 8 class), BR 39 (ex P 10), BR 50, BR 57 (ex G 10) and BR 78 (ex T 18). Steam heating for passenger coaches was necessary, and a top speed of 120 km/h was specified. Initially, a 1,600 hp powerplant, consisting of two engines of the same type as in the light V 80 was planned, the first newly developed diesel locomotive built for main line service by the Deutsche Bundesbahn (but only built in 10 examples). This dual engine arrangement had already been successfully introduced in the heavy V 200, which was initially powered by two 1,000 hp diesel engines. However, it was soon realized, that, if a single, high-powered engine could be used, weight, complexity and therefore maintenance and other costs would be considerably reduced. The V 160’s design was modified accordingly and a single MTU V16 four-stroke diesel engine was chosen. Both two-axle bogies were powered via drive shafts from a two speed hydraulic drive from Voith, which offered a compromise between the requested high speed for light passenger trains and the alternative reduced second gear with lower top speed, but much higher torque, for freight train service. Gears could only be switched when the locomotive was standing still, though.

 

In the spring of 1956, V 160 development began at Krupp. Welded steel components along with other lightweight materials were used to keep the axle load well below 20t, so that the V 160 could be safely operated on secondary lines. However, in the main production series of locomotives, some of the lighter weight welded construction was abandoned in favor of less expensively produced components - leading to an increase in axle weight from ~18.5 to ~20t, which was still acceptable but lowered overall production costs. This was furthermore not regarded as a major problem since the DB perspectively started to abandon branch lines, switching to more economical diesel multiple units or giving them up altogether towards the Seventies.

 

The first V 160 unit was delivered on 6 August 1960, with eight more following by 1962 from both Krupp and Henschel. These prototype units, due to their rounded, “busty” front end, were later to become unusual amongst the entire V 160 family and earned them the nickname “Lollo” (in allusion to Gina Lollobrigida). A final prototype V 160 010, the tenth, was manufactured by Henschel in 1963 and the first to feature the serial locomotives’ angled front end, which was inspired by the design of the super-heavy V 320 Henschel prototype.

 

Despite the single main engine, the V 160 was still a complex locomotive. In addition to the main engine, the V 160 featured a small, independent auxiliary diesel engine, driving a generator providing the 110 V electrical supply for lighting as well as driving an electric air compressor for the brakes. The steam heating apparatus, sourced from Hagenuk and powered by fuel oil, took up one end of the locomotive, between the engine and drivers cabin. It had the capacity to satisfactorily heat 10 coaches when the outside temperature was -10°C. For passenger train service, most V 160 locomotives were also equipped for push-pull operation, as well as for multiple working, controlled via a 36 pin control cable and respective sockets on the locomotives front ends.

 

The prototypes performed well, and volume production began, numbers V 160 011 to V 160 224 being built between 1964 and 1968 by Krupp, Henschel, KHD, Krauss-Maffei and MaK. The first V 160/216 locomotives entered service on the Hamburg to Lübeck line, working push-pull double decked passenger trains, replacing the BR 38.10 and BR 78 steam engines. The engines were also used on freight workings as well. On push-pull passenger working, the locomotives were sometimes found in the middle of the train - which facilitated easier separation of carriages en route.

 

By the time the 156th example was under completion, the Deutsche Bundesbahn changed its numbering system. From then on, the V 160 class were re-designated as Class (Baureihe = BR) 216, with the individual unit numbering continuing as before. Over the next decade, because of changing requirements – mostly in terms of increased power, speed as well as the requirement for electrical passenger heating – a number of related classes sprang up, the BR 210, 215, 217, 218 and 219. Although some were a little longer and carried additional components (e.g. an auxiliary jet engine), all of them were essentially based on the original V 160 and more than 800 machines of all types were eventually built.

 

Since the 1990s, the Bundesbahn’s BR 216 locomotives scope of work started to shift more on freight than on passenger trains because of the lack of steam-heated passenger stock. From 2000 onwards, the Deutsche Bahn AG’s BR 216 fleet was phased out, with the last locomotive being decommissioned in 2004.

Several locomotives were sold to private operators like rail construction companies and remained in frequent use, and some retired BR 216s were re-built and offered for sale, too. The first in the series of rebuilt Class 216s was called type “DH 1504” and created in 1998 by the firm 'On Rail'. Despite only little external changes, the result was an almost completely new locomotive, only the transmission, bogies and frame were saved from the original locomotive. The original V16 diesel engine with 1,370 kW (1.900 hp), was replaced with a lighter but more powerful 1500 kW (2,085 hp) V12 four-stroke diesel engine, also from MTU. On customer demand, a new electric Webasto heating system could be installed instead of the original steam heating system, making the DH 1504 capable of operating modern passenger trains, and for this purpose the units were also fitted for multiple working as well as for remote control operation (e.g. for shunting). Another option was additional ballast, so that the axle load could be kept at 20 tons for better traction. Otherwise, 18 t axle load was standard for the revamped DH 1504.

 

Since 1998, 6 of these locomotives were re-built for private operators in Germany. By late 2019, three DH 1504 locomotives were in the use of the Osthannoversche Eisenbahnen (OHE), two work for the Niederrheinische Verkehrsbetriebe (NIAG) and one for the Mindener Kreisbahnen (MKB). However, the biggest sales success for OnRail’s modernized BR 216 was the export to Poland, where the PKP (Polskie Koleje Państwowe, Polish State Railways). After its privatization in 2001, the PKP was looking for a low-cost replacement for its last ST-43 Class diesel electric freight locomotives of Romanian origin, which dated back to the 1960ies. Twenty DH 1504 locomotives for mixed duties were built by OnRail between 2001 and 2005 and entered PKP service as Class SU-29 (spalinowa uniwersalna = mixed-traffic diesel locomotive with hydraulic transmission and multiple-unit control). Their initial primary field of duty was the cross-border freight traffic on the east-west relation on the PKP “Polskie line Kolejowe”, the so-called “Niederschlesische Gütermagistrale”. Since 2005, this route had been expanded, electrified and became double-railed, so that the SU-29s gradually took over more and more passenger train duties on non-electrified major lines. The SU-29 machines are expected to remain in PKP service beyond 2030.

  

General characteristics:

Gauge: 1,435 mm (4 ft 8½ in) standard gauge

UIC axle arrangement: B´B´

Overall length: 16,800 mm (52 ft 57⁄8 in)

Pivot distance: 8,600 mm

Bogie distance: 2,800 mm

Wheel diameter (when new): 1000 mm

Fuel supply: 3,800 l

Service weight: 80 t

 

Engine:

MTU 4000R20 V12diesel engine with 1500 kW (2,085 hp) at 1,800 RPM

 

Gearbox:

Voith L821rs 2-speed gearbox

 

Performance:

Maximum speed: 120 km/h (75 mph) or 80 km/h (50 mph)

Torque: 235,2 kN

 

The kit and its assembly:

Well, this is a rather unusual what-if “build”, since this not a model kit as such but rather the conversion of a readymade H0 gauge model railway locomotive for the “Back into service” group build at whatifmodelers.com in late 2019.

 

The inspiration was not original, though: some time ago I stumbled across a gift set from the former East-German manufacturer Piko, apparently for the Polish market. It contained a set of double deck passenger wagons, and a (highly simplified, toy-like) German BR 216 in PKP markings. It was called SU-29 and carried a very crude and garish green livery with yellow front ends – inspired by real world PKP diesel locomotives, but… wrong. I found this so bizarre that it stuck in my mind. When I dug a little further, my surprise even grew when I found out that there were other national adaptations of this simple Piko BR 216 (e .g. for Denmark) and that Piko’s competitor Roco offered a similar BR 215 in PKP colors, too! This time, the fictional locomotive was designated SU-47 (which cannot be since this would indicate a locomotive with electric power transmission – poor job!), and it also wore a bright green livery with yellow front markings. Bizarre… And the PKP does NOT operate any BR 216 at all?!

 

However, with the GB topic in mind, I decided to create my own interpretation of this interesting topic – apparently, there’s a market for whiffy model locomotives? The basis became a 2nd hand Märklin 3075 (a BR 216 in the original red DB livery), not a big investment since this is a very common item.

In order to easy painting, the locomotive was disassembled into its major sections and the body stripped of any paint in a one-week bath in oven cleaner foam, a very mild and effective method.

 

The heavy metal chassis was not modified, it just received a visual update (see below).

 

The upper body underwent some cosmetic surgery, though, but nothing dramatic or structural, since the DH 1504 described above only differs in minor external details from the original BR 216. I decided to modify the front ends, especially the lights: Locomotives in PKP service tend to have VERY large lamps, and I tried to incorporate this characteristic feature through masks that were added over the original light conductors, scratched from styrene tube material.

In the course of this facial surgery, the molded handles at the lower front corners were lost. They were later replaced with three-dimensional silver wire, mounted into small holes that were drilled into the hull at the appropriate positions. Fiddly stuff, but I think the effort was worth it.

 

The original vent grills between the lower lamps were sanded away and covers for the multiple working cable adapters on the front ends added – scratched with small styrene profile bits.

For a cleaner, modern look, I removed the original decorative aluminum profile frame around the upper row of cooling louvers. The roof was modified, too: beyond the bigger headlight fairing, the exhaust for the auxiliary diesel engine was removed, as well as the chimney for the old steam heating system. The diesel engine’s exhaust pipes were lengthened (inspired by similar devices carried by DB BR 218), so that the fumes would be deviated away from the locomotive’s hull and the following wagons. Horns and a blade antenna for each driver’s cabin were added, too.

  

Painting and markings:

Both Piko and Roco V 160s in PKP markings look garish – righteously, though, since PKP locomotives used to carry for many years very striking colors, primarily a dark green body with a light green/teal contrast area on the flanks and yellow quick recognition front markings. However, I did not find any of the two model designs convincing, since they rather looked like a simple toy (Piko) or just wrong (Roco, with a surreal grass green contrast tone instead of the pale teal).

 

I rather went for something inspired by real world locomotives, like the PKP’s SU- and SP-45s. The basic design is an upper body with a dark green base (Humbrol 76, Uniform Green) and a pale green-grey area around the upper row of louvres (an individual mix of Humbrol 96 and 78). The kink under the front windows was used for waterline reference, the front section under the windows (in the dark green base) was painted in bright yellow (Humbrol 69) as a high-viz contrast, a typical feature of PKP locomotives. The chassis received a grey-green frame (somewhat visually stretching the locomotive) with bright red (Humbrol 19) headstocks, a nice color contrast to the green body and the yellow bib.

Silver 1.5mm decal stripes (TL Modellbau) were used to create a thin cheatline along and around the whole lower section. At some time I considered another cheatline between the light and dark green, but eventually ignored this idea because it would have looked too retro. The locomotive’s roof became medium grey (Revell 47).

 

The running gear and the tanks between the bogies were painted in very dark grey (Humbrol 67, similar to the original DB livery in RAL 7021) and weathered with a light black ink wash, some thinned Burnt Umbra (simulating dust and rust) plus some light dry-brushing with dark grey that emphasized the surface details. This used look was also taken to the upper body of the locomotive with watercolours (Grey, Black and some Sienna and Burnt Umbra) for a more natural look of daily service – rather subtle, and I emphasized the louvres, esp. on the light background, where they tended to disappear.

 

Individual markings consist of single decal letters in silver and white in various sizes (also TL Modellbau) for the locomotive’s registration code as well as of H0 scale catenary warnings from Nothaft Hobbybedarf, plus some generic stencils from various model decal sheets (incl. Cyrillic stencils from an 1:72 MiG-21 decal sheet…).

 

For a uniform finish I gave the locomotive an overall coat of matt acrylic varnish from the rattle can – it still has a slightly sheen finish and matches well the look of Märklin’s standard rolling stock.

  

A different kind of what-if project, but this has not been my first H0 scale locomotive conversion. The fictional PKP SU-29 looks a bit weird, with the garish paint scheme and the oversized headlights, but this strangeness makes this model IMHO quite convincing. The model is fully functional, even the light works well in the enlarged headlight fairings. Maybe I’ll sell it, since I do not have the appropriate model railway set at hand to effectively use it (which is also the reason for the rather limited scope of pictures of the finished item). And I am curious what people might be willing to pay for such a unique, fictional item?

 

This example shows, how you can, in some way, manage contrast of final wet plate picture with exposure time.

There are tree versions of the same scenery. Exposure difference is not dramatic - around quarter stop increase from the first to the second and another quarter or less was added in the third, brightest one picture.

The first, darkest picture on the left has perfect whites, but there is too much of pure black black parts without details. Increasing time started colouring overexposed whites down from pure white to creamy white. The white porcelain vase looks best on the darkest version, but in this case I’d gladly trade loos in whites for more details in darks. I considered the first picture as underexposed, but both the second and the third version are OK for me.

 

Some of my plates are on eBay

ebay.eu/YqAQyy

© All rights reserved

A crappy picture but how many can you count. Most of my eagle photos are shot in the winter when the eagles are concentrated along the ocean because the rivers and lakes are frozen. This shot was taken on the spit at Homer Alaska. It dosent show but a tiny fraction. I counted one evening and there were 107 just looking one direction. Its suggested that in the neighborhood of 500 winter in and around Homer. I also shoot quite a bit in and around Eagle River (Appropriate Name) Alaska in February. The larger problem shooting winter eagles is you relly go through the batterys. I have had a couple ocassion where I went through 8 in a day. And remember they are short days in Alaska winters.

Don asked on another post how many gig I shot in Homer in March. A bit over 16 in less than 7 true hours of shooting in 6 days. We were weathered out most of the trip.

If your heart say you just must go on a major eagle excursion then alaska in the winter is the place. BUT be prepared to be weathered out and temps than can be -20F or worse. Homer shooting will never be what it was in the past due to some restrictions passed by the city council. I will give it a go one more time next march but I fear disappointment is in my future.

Another place you might look into is Haines Alaska. They have a Bald Eagle festival every November. I have been 3 times and got some decent shooting but snowflakes big as silver dollars everytime.

baldeaglefestival.org/

I had planned to attend again this year with a friend from BC but I got taped to teach a class in Nome Alaska that week. Oh And another in Bethel Alaska the last week of November. Dang I must be living right. 2 clases this fall and both in the bush. Yea Right!!!!!!!!!!!!!! But I just know canon is gonna have that 40D on the market before spring migration and these classes will cover it and a couple new pieces of glass. My poor ol 20d is right close to 60 thousand shots.

Ok I have bore you enough. If yall knew how long it took me to type all this you would understand why my comments are most times short.

Alison Grinnell, CEO, RAK Hospitality Holding

Noel Irwin Hentschel, Chairman & CEO, AmericanTours International

Dan Richards, CEO, Global Rescue

 

Moderator: Shereen Mitwalli, Presenter & Entrepreneur

Example image from Nikon D5500 Experience, guide book for the D5500.

Last but not least here are examples of the Radiating Rays silkscreen design in use. More info on the silkscreens can be found here: www.helenbreil.com/silkscreens.html

The baking mix is another example of the new Fred's logo, which blends itself nicely into the design, unlike the in-your-face, previous lowercase logo that was already a decade out of date when it premiered! Truth be told, I really did like that lowercase logo for the longest time. Then this new retro-looking logo came out, and once I got used to it, I realized how much the lowercase one actually sucked XD

____________________________________

Fred's, 1977-built, closed June 2019, Northwest Dr. near Main St., Southaven MS

 

More Southaven Fred's photos tomorrow, in honor of this long-running location closing... And oops, with all the Schedulr issues I've been having, almost forgot this week's music:

 

Breaking Benjamin (Dark Before Dawn) - Dawn

Styx (The Grand Illusion) - Come Sail Away

Billy Joel (The Stranger) - Movin' Out (Anthony's Song)

Saving Abel (Miss America) - Hell of a Ride

10 Years (The Autumn Effect) - Wasteland

The Police (Zenyatta Mondatta) - Driven to Tears

Chevelle (12 Bloody Spies) - The Gist

30 Seconds to Mars (A Beautiful Lie) - Attack

ASHES dIVIDE (Keep Telling Myself It's Alright) - Too Late

Trapt (Trapt) - Still Frame

Molly Hatchet (Flirtin' with Disaster) - One Man's Pleasure

Enigma (Love, Sensuality and Devotion - The Remix Collection) - Push the Limits [ATB Remix]

Kopek (Rise) - Light Up My Room

Donald Fagen (The Nightfly) - The Nightfly

Godsmack (Awake) - Awake

ZZ Top (Tres Hombres) - Beer Drinkers & Hell Raisers

Blondie (Eat to the Beat) - Living in the Real World

Janus (Red Right Return) - Say It

epaselect epa04540896 A girl plays in the snow in Sion, Switzerland, 27 December 2014. Switzerland experienced the warmest fall and early winter ever recorded in weather statistics. EPA/OLIVIER MAIRE

Monday, 29 March 2021: our temperature is -6C (windchill -16C) at 1:30 pm. A short while ago, it was -9C (windchill -21C). Sunrise is at 7:19 am, and sunset is at 8:04 pm. Sunny with clouds. Still extremely windy but, thankfully, not much snow fell overnight. Wind is 52N km/h, with gusts of 69 km/h. The best place to be today is safely at home, if one is able. Ha, on a day like this, many birds have more sense than humans : )

 

All five photos were taken on 4 July 2015, at the Olds College Botanic Gardens and Wetlands. I am adding the description that I wrote under a previously posted image taken on the same trip. It was an interesting and enjoyable outing, including seeing the barn and a cluster of mushrooms.

 

"Yesterday, 4 July 2015, was the Nature Calgary annual bus trip, and this year it was a visit to the Olds College Botanic Gardens and Wetlands. The College is approximately 95.0 km north of Calgary, roughly a 55 minute drive. This once-a-year outing always feels so good for everyone - no driving, simply relaxing on a bus. We had about three hours there, which sounded short, but in fact worked out quite well.

 

The mission of the College is:

 

"Our goal is to develop a Botanic Garden on the Olds College campus, which introduces, conserves, and maintains a diverse, well-documented and accurately labeled collection of prairie hardy plants.

 

Our collections will preserve our natural heritage, expand the role of Olds College as a Centre of Excellence in Horticulture, and gain formal recognition with the Canadian Botanical Conservation Network (CBCN) and the American Public Garden Association (APGA).

 

Olds College Botanic Garden will enhance and support education, training, demonstration, and applied research programs that span the generations and encourage the exchange of information and ideas with industry, students, other botanical gardens and the public.

 

The Botanical Garden will also raise awareness with the public regarding the importance of sustainable environments."

 

About the College:

 

"Not just a walk down the garden path, the gardens are designed to meet the instructional needs of courses and programs on campus, and are used as the location and subject matter for research projects. The Botanic Gardens are an aesthetically beautiful, diverse and well-maintained garden and constructed wetlands. Highlights include our collections of hardy peonies, lilies and roses, natural areas, a wide variety of aquatics, herb garden, fabulous annual displays each year and much more.

 

The Gardens are comprised of three phases spread over 25 acres and are populated with a wide ranging collection of prairie hardy plant material, both native and ornamental. The most established parts of the garden are the Central Portion opened in 2002.

 

The third and most recent phase of our Botanic Gardens is the East Portion which contains the Treatment Wetlands, opened in early September of 2013.

 

The three phases when considered together include naturalized landscapes, specialty gardens, walking trails, demonstration plots, an arboretum and 20 constructed treatment wetlands and display ponds. The area is complete with two public gazebos, an amphitheater and event areas. The Botanic Gardens & Treatment Wetlands has the ability to host weddings, reunions, graduations, workshops, and boasts 1.3 kilometers of trails throughout the gardens and wetlands.

 

Botanic gardens are quite different from other public garden spaces or show gardens. To be able to be identified as a botanic garden, several criteria must be met. For example, botanic gardens must:

 

Be open to the public

1. Exhibit a degree of permanence

2. Use a scientific basis as the foundation for their collections

3. Document and monitor the collection

4. Communicate information to other gardens, institutions and the public

The Botanic Gardens and Treatment Wetlands at Olds College is dedicated to meeting all criteria and continuing to expand its value to the college and extended community."

 

www.oldscollege.ca/about-us/botanic-gardens/about-us/index