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A magnificent example of an early Chinoiserie-style china cabinet. This three part, chest-on-chest, Chinese china cabinet has lots of style and lots of storage-12 storage areas, in addition to the main area. Storage for china, silverware, glassware, napkins, etc. The main storage area is presented behind four oval framed doors with glass. The two center doors open and the two doors at each end slide toward the center to allow access or to remove entirely. The center doors have hidden brass pulls. This interior area is lacquered and finished. The middle chest features a lockable pull out center door, flanked by a door on each side. The lower cabinet has numerous doors and drawers.
The black lacquered finish is adorned with hand-painted images in many hues of brown, black and gold paint. The detailed scenes are of family life, gardens, landscapes, children playing, pomegranate, peaches bamboo shoots, flowers and other Chinese symbols. The hand-painting is repeated on the sides of the cabinet as well.
www.silkroadcollection.com/bk0023y-antique-chinoiserie-ca...
4)“lead by example” www.flickr.com/photos/sethoscope/45785270/
by stethoscope www.flickr.com/photos/sethoscope/
licensed under “CC BY-SA” creativecommons.org/licenses/by-sa/2.0/
modifications: clip, touchup, resize to 1280x720p resolution
There is no greater flattery than to be made an example of so when we were asked some time ago if we would consent to being published in DesignMeltdown's, The Web Designer's Idea Book, I was truly honored.
Today, I received my copy in the mail and was thrilled to find these kind words on page 102 along side a screen shot on page 103:
"A great example of a unified design is the seyDesign site. It has an office theme, and everything flows together perfectly. The corkboard background creates a terrific foundation to tie the site together. It essentially gives the office supplies a place to exist."
Of course this isn't how the site looks today, but for this 2007 iteration of www.seydesign.com/ to be forever immortalized in print is a true sense of accomplishment. To get yourself a copy of this most excellent web design resource, go to www.amazon.com/gp/product/1600610641?ie=UTF8&tag=loui....
An example of the type of thing I do for my day job at the Fort Erie Race Track.
If you like my work click the "Follow" button on Flickr.
Other places to see my work rumimume.blogspot.ca/, Google+ google+, twitter
Roman Catholic
French Gothic Flamboyant
1436-1521
One of the best examples of the Flamboyant style of Gothic architecture in France built during the transition stage from Gothic to Renaissance
Saint-Maclou, along with Rouen Cathedral, the Palais de Justice (also Flamboyant), and the Church of St. Ouen, form a famous ensemble of significant Gothic buildings in Rouen.
St. Maclou was was to replace an existing Romanesque parish church that had suffered from several years of neglect resulting in a collapsed transept roof.
Master mason Pierre Robin created basilica style church with four radiating chapels around an octagonal choir.
Decoration of the church is macabre, with references to the black death.
The famous western facade is towerless with five gabled porches with flying buttresses above the aisles that are attached to the western wall featuring a rose window.
The space above a portal within the arch is referred to as the tympanum. Typically, the tympanum is filled with sculpture of a scene alluding to Heaven and Hell. The tympanum of the main entrance of the Church of Saint Maclou displays Christ standing with his hands held out to people surrounding him, those to his right heading for Heaven and those to his left heading for the fiery pits of Hell. This message, commonly depicted during the Gothic period, was designed to scare and evoke emotion from the public. The architectural plan of the church of Saint-Maclou includes radiating chapels. Saint-Maclou, like most Gothic churches, had many exterior stone statues; however, they suffered much of the French wars of religion, weather conditions, and pollution.
Most inside statues disappeared during the French revolution. Nevertheless, the chapels inside had kept their wooden furniture and decorations made in the 18th century, but most of them were destroyed during the allied bombings in 1944. T
The church was partly damaged by the falling of two bombs. Concerning the Renaissance outside doors with their carvings and the Renaissance organ, they escaped destruction both during the French revolution and the Second World War.
Patrons of Saint-Maclou were of the wealthy merchant class that had experienced an immense social and economic growth during the fourteenth and fifteenth centuries. The family most closely associated with the rebuilding of the church was the Dufour family. The patrons were responsible for the selection of the master mason, Pierre Robin, as well as for part of the overall style of the church. The Dufours and others are cited as being the impetus behind the similarities between Saint-Maclou and Rouen Cathedral.
Goodyear FG-1D Corsair
The Chance Vought F4U Corsair (this example was built under license by the Goodyear Company) was the premiere Navy and Marine fighter of World War II. The Corsair, along with the Grumman Hellcat, are credited with turning the tide of the Pacific air war by overwhelming the once-fearsome Japanese Zero fighter. Besides its role in air-to-air combat, Corsairs were used as fighter-bombers near the end of WWII and throughout the Korean War. The Corsair had an unusually long production run for a WWII-era aircraft with 12,571 examples, the last in 1952.
Chance Vought designer Rex B. Beisel, a graduate of Seattle's Queen Ann High School and the University of Washington, designed the Corsair around the large Pratt & Whitney R-2800 "Double Wasp" 2,250-horsepower engine and massive propeller. Instead of building long, awkward landing gear needed for propeller clearance, Beisel's bent-wing design allowed for shorter, stronger gear for carrier landings. The unusual wing not only gave the Corsair its distinctive shape, but also reduced drag, allowing the "Bent Wing Bird" even greater speed.
The Museum's Corsair was built in April 1945 and served aboard the USS Intrepid. After the war, it was transferred to the Naval Reserve, and eventually stationed at Naval Air Station, Sand Point, Seattle in 1950. That July, Commander Ralph Milleson made a water landing on Lake Washington following a non-fatal midair collision with another Corsair. The aircraft was recovered from the lake in 1983 and restored.
This aircraft was restored and dedicated to the memory of Lt.(jg) Jerome Reese Schucart, USNR, to serve as a tribute to all military aviators. Jerome died April 13, 1989 in the service of his country.
This aircraft is on loan from the National Museum of Naval Aviation at Pensacola, Florida.
Manpasand Shadi Ka Wazifa
for example, love marriage is still low. In the past few years, the changing in the Pakistani society will give equal rights to boys and girls. Consequently, interaction between girls and boys is important for each other. Such kind of marriage strengthens society and family. And in society it does not cause problems. The basic concept of love marriage is fast, a boy or a girl improves life by increasing his life partner. For the love marriage wazifa,Manpasand Shadi Ka Wazifa this is the charity of the winner of love and this is the only one who wants real love.
In this far off, every person is suffering from trouble and difficulty. Some people disturbed due to his business and some are domestic problems. Trial and trials try it out. Due to increasing desires, one does not plead on lawful and forbidden, and the poor can commit suicide due to these problems. In the case of one’s wife’s fighting, whose main reason does not have to be married to his favorite choice? If you get Manpasand Shadi Ka Wazifa married to your favorite person, your marvelous life will go well. Every person wants his wedding to be desired. His marriage is like a paradise in the world. And they spend their lives happy. Those whose likes do not get married are not disappointed, young people are disappointed because of disappointment
Those who love each other can marry the likes of them. In the age of all you are aware of whether you are a boy or a girl, especially in today’s age, she looks forward to the kind of love she likes. But their desire is not complete, there are many problems create, if the parents do not agree, then the sisters and brother dose not happy sometimes when relatives are also admired for this deacon. Manpasand Shadi Ka Wazifa you are very happy in this events. There is no evil in marrying likes. If you do not agree with the villagers in the middle, then they are going to tell you the most successful and useful work. Every has on desire to want to love marriage so that contact to Babu jan Bangali for Manpasand Shadi Ka Wazifa and istikhara for love.
Manpasand shadi
Travelling to the Wonderland, by Xu Bing
Installation for the John Madejski Garden - November 2013 to March 2014
Celebrated Chinese artist Xu Bing transformed the V&A’s John Madejski Garden with a new installation inspired by the classic Chinese fable Tao Hua Yuan (The Peach Blossom Spring). The V&A invited Xu Bing to create a major new work to coincide with the Museum’s exhibition, Masterpieces of Chinese Painting 700–1900 (26 October 2013 - 19 January 2014) which brought together the finest examples of Chinese painting to present an overview of one of the world’s greatest artistic traditions.
'…After a dozen steps, it opened into a flood of light. He saw before his eyes a wide, level valley, with houses and fields and farms. There were bamboos and mulberries; farmers were working and dogs and chickens were running about.' - translated by writer and linguist Lin Yutang (1895 - 1976).
This text is quoted from the Peach Blossom Spring, a classic Chinese fable written in 421AD. It describes the moment when a lost fisherman discovers a wonderland hidden behind a mountain where inhabitants live in harmony with nature.
Inspired by the story, Chinese artist Xu Bing transformed the John Madjeski Garden into an idealised landscape. Drawing elements from Chinese landscape scrolls, Xu Bing collected authentic stones from different places in China and made them into a layered mountainscape. He created a dream-like atmosphere with mist, light effects and sounds of birds and insects.
[V&A website]
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Dental Receptionist Resume Example are the occasions that we value you as a kind of perspective can not make everything a terrific resume and right. On the edge of a resume you need to install the parts and fact, as well as its ...
South African conceptual sound artist, James Webb, presenting examples of his work, at the AVLAB Meeting, Johannesburg, 11 August 2011. Under the umbrella of the sound art seminar organized by the Departments of Music and Digital Arts of Wits University, in this meeting the participants were Francisco López (ES), James Webb (RSA), João Orecchia (RSA) and Lukas Ligeti (AUT).
AVLAB is a gathering platform for creation and spreading of visual and sound arts under the concept of an open and collaborative process. Its objective is to offer a point of information, training and diffusion about current sound and audiovisual creation. Apart from workshops and talks, AVLAB meetings are gatherings for the presentation and discussion of projects of experimental, electronic and electro-acoustic music, online creation platforms, sound art, and real time AV processing.
- Handmade 531ST Belgian Frame.
- Front and rear rack bosses.
- Sugino XD2 triple chainset
- Royce titanium BB
- 9 speed XTR M960 rear mech
- Ultegra fd6600 front mech
- Dura Ace bar end shifter mounted on Paul thumbies mounts
- XT M770 hubs on Mavic A719 rims
- Nitto Moustache bars
- Cinelli stem
- XT M740 headset
- Shimano R650 brakes
- Thomson in-line seatpost
- OYB custom saddle bag
- Brooks champion saddle and bar tape
Playground has faded - the last ones are dancing on the horizon - in search of new exciting places - objects and subjects
The Ancient Agora of Athens Athens is the best-known example of an ancient Greek agora, located to the northwest of the Acropolis and is bounded on the south by the hill of the Areopagus and on the west by the hill known as the Colonus Agoraeus.
The agora in Athens had private housing, until it was reorganized by Peisistratus in the 6th century BC. Although he may have lived on the agora himself, he removed the other houses, closed wells, and made it the centre of Athenian government. He also built a drainage system, fountains and a temple to the Olympian gods. Cimon later improved the agora by constructing new buildings and planting trees. In the 5th century BC there were temples constructed to Hephaestus, Zeus and Apollo.
The Areopagus and the assembly of all citizens met elsewhere in Athens, but some public meetings, such as those to discuss ostracism, were held in the agora. Beginning in the period of the radical democracy (after 509 BC), the Boule, or city council, the Prytaneis, or presidents of the council, and the Archons, or magistrates, all met in the agora. The law courts were located there, and anyone who happened to be in the agora when a case was being heard would probably have been able to view the spectacle, though only those adult male citizens appointed by lot would have been able to serve as jurors.
The agora in Athens again became a residential area during,
Graffiti (plural; singular graffiti or graffito, the latter rarely used except in archeology) is art that is written, painted or drawn on a wall or other surface, usually without permission and within public view. Graffiti ranges from simple written words to elaborate wall paintings, and has existed since ancient times, with examples dating back to ancient Egypt, ancient Greece, and the Roman Empire (see also mural).
Graffiti is a controversial subject. In most countries, marking or painting property without permission is considered by property owners and civic authorities as defacement and vandalism, which is a punishable crime, citing the use of graffiti by street gangs to mark territory or to serve as an indicator of gang-related activities. Graffiti has become visualized as a growing urban "problem" for many cities in industrialized nations, spreading from the New York City subway system and Philadelphia in the early 1970s to the rest of the United States and Europe and other world regions
"Graffiti" (usually both singular and plural) and the rare singular form "graffito" are from the Italian word graffiato ("scratched"). The term "graffiti" is used in art history for works of art produced by scratching a design into a surface. A related term is "sgraffito", which involves scratching through one layer of pigment to reveal another beneath it. This technique was primarily used by potters who would glaze their wares and then scratch a design into them. In ancient times graffiti were carved on walls with a sharp object, although sometimes chalk or coal were used. The word originates from Greek γράφειν—graphein—meaning "to write".
The term graffiti originally referred to the inscriptions, figure drawings, and such, found on the walls of ancient sepulchres or ruins, as in the Catacombs of Rome or at Pompeii. Historically, these writings were not considered vanadlism, which today is considered part of the definition of graffiti.
The only known source of the Safaitic language, an ancient form of Arabic, is from graffiti: inscriptions scratched on to the surface of rocks and boulders in the predominantly basalt desert of southern Syria, eastern Jordan and northern Saudi Arabia. Safaitic dates from the first century BC to the fourth century AD.
Some of the oldest cave paintings in the world are 40,000 year old ones found in Australia. The oldest written graffiti was found in ancient Rome around 2500 years ago. Most graffiti from the time was boasts about sexual experiences Graffiti in Ancient Rome was a form of communication, and was not considered vandalism.
Ancient tourists visiting the 5th-century citadel at Sigiriya in Sri Lanka write their names and commentary over the "mirror wall", adding up to over 1800 individual graffiti produced there between the 6th and 18th centuries. Most of the graffiti refer to the frescoes of semi-nude females found there. One reads:
Wet with cool dew drops
fragrant with perfume from the flowers
came the gentle breeze
jasmine and water lily
dance in the spring sunshine
side-long glances
of the golden-hued ladies
stab into my thoughts
heaven itself cannot take my mind
as it has been captivated by one lass
among the five hundred I have seen here.
Among the ancient political graffiti examples were Arab satirist poems. Yazid al-Himyari, an Umayyad Arab and Persian poet, was most known for writing his political poetry on the walls between Sajistan and Basra, manifesting a strong hatred towards the Umayyad regime and its walis, and people used to read and circulate them very widely.
Graffiti, known as Tacherons, were frequently scratched on Romanesque Scandinavian church walls. When Renaissance artists such as Pinturicchio, Raphael, Michelangelo, Ghirlandaio, or Filippino Lippi descended into the ruins of Nero's Domus Aurea, they carved or painted their names and returned to initiate the grottesche style of decoration.
There are also examples of graffiti occurring in American history, such as Independence Rock, a national landmark along the Oregon Trail.
Later, French soldiers carved their names on monuments during the Napoleonic campaign of Egypt in the 1790s. Lord Byron's survives on one of the columns of the Temple of Poseidon at Cape Sounion in Attica, Greece.
The oldest known example of graffiti "monikers" found on traincars created by hobos and railworkers since the late 1800s. The Bozo Texino monikers were documented by filmmaker Bill Daniel in his 2005 film, Who is Bozo Texino?.
In World War II, an inscription on a wall at the fortress of Verdun was seen as an illustration of the US response twice in a generation to the wrongs of the Old World:
During World War II and for decades after, the phrase "Kilroy was here" with an accompanying illustration was widespread throughout the world, due to its use by American troops and ultimately filtering into American popular culture. Shortly after the death of Charlie Parker (nicknamed "Yardbird" or "Bird"), graffiti began appearing around New York with the words "Bird Lives".
Modern graffiti art has its origins with young people in 1960s and 70s in New York City and Philadelphia. Tags were the first form of stylised contemporary graffiti. Eventually, throw-ups and pieces evolved with the desire to create larger art. Writers used spray paint and other kind of materials to leave tags or to create images on the sides subway trains. and eventually moved into the city after the NYC metro began to buy new trains and paint over graffiti.
While the art had many advocates and appreciators—including the cultural critic Norman Mailer—others, including New York City mayor Ed Koch, considered it to be defacement of public property, and saw it as a form of public blight. The ‘taggers’ called what they did ‘writing’—though an important 1974 essay by Mailer referred to it using the term ‘graffiti.’
Contemporary graffiti style has been heavily influenced by hip hop culture and the myriad international styles derived from Philadelphia and New York City Subway graffiti; however, there are many other traditions of notable graffiti in the twentieth century. Graffiti have long appeared on building walls, in latrines, railroad boxcars, subways, and bridges.
An early graffito outside of New York or Philadelphia was the inscription in London reading "Clapton is God" in reference to the guitarist Eric Clapton. Creating the cult of the guitar hero, the phrase was spray-painted by an admirer on a wall in an Islington, north London in the autumn of 1967. The graffito was captured in a photograph, in which a dog is urinating on the wall.
Films like Style Wars in the 80s depicting famous writers such as Skeme, Dondi, MinOne, and ZEPHYR reinforced graffiti's role within New York's emerging hip-hop culture. Although many officers of the New York City Police Department found this film to be controversial, Style Wars is still recognized as the most prolific film representation of what was going on within the young hip hop culture of the early 1980s. Fab 5 Freddy and Futura 2000 took hip hop graffiti to Paris and London as part of the New York City Rap Tour in 1983
Commercialization and entrance into mainstream pop culture
Main article: Commercial graffiti
With the popularity and legitimization of graffiti has come a level of commercialization. In 2001, computer giant IBM launched an advertising campaign in Chicago and San Francisco which involved people spray painting on sidewalks a peace symbol, a heart, and a penguin (Linux mascot), to represent "Peace, Love, and Linux." IBM paid Chicago and San Francisco collectively US$120,000 for punitive damages and clean-up costs.
In 2005, a similar ad campaign was launched by Sony and executed by its advertising agency in New York, Chicago, Atlanta, Philadelphia, Los Angeles, and Miami, to market its handheld PSP gaming system. In this campaign, taking notice of the legal problems of the IBM campaign, Sony paid building owners for the rights to paint on their buildings "a collection of dizzy-eyed urban kids playing with the PSP as if it were a skateboard, a paddle, or a rocking horse".
Tristan Manco wrote that Brazil "boasts a unique and particularly rich, graffiti scene ... [earning] it an international reputation as the place to go for artistic inspiration". Graffiti "flourishes in every conceivable space in Brazil's cities". Artistic parallels "are often drawn between the energy of São Paulo today and 1970s New York". The "sprawling metropolis", of São Paulo has "become the new shrine to graffiti"; Manco alludes to "poverty and unemployment ... [and] the epic struggles and conditions of the country's marginalised peoples", and to "Brazil's chronic poverty", as the main engines that "have fuelled a vibrant graffiti culture". In world terms, Brazil has "one of the most uneven distributions of income. Laws and taxes change frequently". Such factors, Manco argues, contribute to a very fluid society, riven with those economic divisions and social tensions that underpin and feed the "folkloric vandalism and an urban sport for the disenfranchised", that is South American graffiti art.
Prominent Brazilian writers include Os Gêmeos, Boleta, Nunca, Nina, Speto, Tikka, and T.Freak. Their artistic success and involvement in commercial design ventures has highlighted divisions within the Brazilian graffiti community between adherents of the cruder transgressive form of pichação and the more conventionally artistic values of the practitioners of grafite.
Graffiti in the Middle East has emerged slowly, with taggers operating in Egypt, Lebanon, the Gulf countries like Bahrain or the United Arab Emirates, Israel, and in Iran. The major Iranian newspaper Hamshahri has published two articles on illegal writers in the city with photographic coverage of Iranian artist A1one's works on Tehran walls. Tokyo-based design magazine, PingMag, has interviewed A1one and featured photographs of his work. The Israeli West Bank barrier has become a site for graffiti, reminiscent in this sense of the Berlin Wall. Many writers in Israel come from other places around the globe, such as JUIF from Los Angeles and DEVIONE from London. The religious reference "נ נח נחמ נחמן מאומן" ("Na Nach Nachma Nachman Meuman") is commonly seen in graffiti around Israel.
Graffiti has played an important role within the street art scene in the Middle East and North Africa (MENA), especially following the events of the Arab Spring of 2011 or the Sudanese Revolution of 2018/19. Graffiti is a tool of expression in the context of conflict in the region, allowing people to raise their voices politically and socially. Famous street artist Banksy has had an important effect in the street art scene in the MENA area, especially in Palestine where some of his works are located in the West Bank barrier and Bethlehem.
There are also a large number of graffiti influences in Southeast Asian countries that mostly come from modern Western culture, such as Malaysia, where graffiti have long been a common sight in Malaysia's capital city, Kuala Lumpur. Since 2010, the country has begun hosting a street festival to encourage all generations and people from all walks of life to enjoy and encourage Malaysian street culture.
The modern-day graffitists can be found with an arsenal of various materials that allow for a successful production of a piece. This includes such techniques as scribing. However, spray paint in aerosol cans is the number one medium for graffiti. From this commodity comes different styles, technique, and abilities to form master works of graffiti. Spray paint can be found at hardware and art stores and comes in virtually every color.
Stencil graffiti is created by cutting out shapes and designs in a stiff material (such as cardboard or subject folders) to form an overall design or image. The stencil is then placed on the "canvas" gently and with quick, easy strokes of the aerosol can, the image begins to appear on the intended surface.
Some of the first examples were created in 1981 by artists Blek le Rat in Paris, in 1982 by Jef Aerosol in Tours (France); by 1985 stencils had appeared in other cities including New York City, Sydney, and Melbourne, where they were documented by American photographer Charles Gatewood and Australian photographer Rennie Ellis
Tagging is the practice of someone spray-painting "their name, initial or logo onto a public surface" in a handstyle unique to the writer. Tags were the first form of modern graffiti.
Modern graffiti art often incorporates additional arts and technologies. For example, Graffiti Research Lab has encouraged the use of projected images and magnetic light-emitting diodes (throwies) as new media for graffitists. yarnbombing is another recent form of graffiti. Yarnbombers occasionally target previous graffiti for modification, which had been avoided among the majority of graffitists.
Theories on the use of graffiti by avant-garde artists have a history dating back at least to the Asger Jorn, who in 1962 painting declared in a graffiti-like gesture "the avant-garde won't give up"
Many contemporary analysts and even art critics have begun to see artistic value in some graffiti and to recognize it as a form of public art. According to many art researchers, particularly in the Netherlands and in Los Angeles, that type of public art is, in fact an effective tool of social emancipation or, in the achievement of a political goal
In times of conflict, such murals have offered a means of communication and self-expression for members of these socially, ethnically, or racially divided communities, and have proven themselves as effective tools in establishing dialog and thus, of addressing cleavages in the long run. The Berlin Wall was also extensively covered by graffiti reflecting social pressures relating to the oppressive Soviet rule over the GDR.
Many artists involved with graffiti are also concerned with the similar activity of stenciling. Essentially, this entails stenciling a print of one or more colors using spray-paint. Recognized while exhibiting and publishing several of her coloured stencils and paintings portraying the Sri Lankan Civil War and urban Britain in the early 2000s, graffitists Mathangi Arulpragasam, aka M.I.A., has also become known for integrating her imagery of political violence into her music videos for singles "Galang" and "Bucky Done Gun", and her cover art. Stickers of her artwork also often appear around places such as London in Brick Lane, stuck to lamp posts and street signs, she having become a muse for other graffitists and painters worldwide in cities including Seville.
Graffitist believes that art should be on display for everyone in the public eye or in plain sight, not hidden away in a museum or a gallery. Art should color the streets, not the inside of some building. Graffiti is a form of art that cannot be owned or bought. It does not last forever, it is temporary, yet one of a kind. It is a form of self promotion for the artist that can be displayed anywhere form sidewalks, roofs, subways, building wall, etc. Art to them is for everyone and should be showed to everyone for free.
Graffiti is a way of communicating and a way of expressing what one feels in the moment. It is both art and a functional thing that can warn people of something or inform people of something. However, graffiti is to some people a form of art, but to some a form of vandalism. And many graffitists choose to protect their identities and remain anonymous or to hinder prosecution.
With the commercialization of graffiti (and hip hop in general), in most cases, even with legally painted "graffiti" art, graffitists tend to choose anonymity. This may be attributed to various reasons or a combination of reasons. Graffiti still remains the one of four hip hop elements that is not considered "performance art" despite the image of the "singing and dancing star" that sells hip hop culture to the mainstream. Being a graphic form of art, it might also be said that many graffitists still fall in the category of the introverted archetypal artist.
Banksy is one of the world's most notorious and popular street artists who continues to remain faceless in today's society. He is known for his political, anti-war stencil art mainly in Bristol, England, but his work may be seen anywhere from Los Angeles to Palestine. In the UK, Banksy is the most recognizable icon for this cultural artistic movement and keeps his identity a secret to avoid arrest. Much of Banksy's artwork may be seen around the streets of London and surrounding suburbs, although he has painted pictures throughout the world, including the Middle East, where he has painted on Israel's controversial West Bank barrier with satirical images of life on the other side. One depicted a hole in the wall with an idyllic beach, while another shows a mountain landscape on the other side. A number of exhibitions also have taken place since 2000, and recent works of art have fetched vast sums of money. Banksy's art is a prime example of the classic controversy: vandalism vs. art. Art supporters endorse his work distributed in urban areas as pieces of art and some councils, such as Bristol and Islington, have officially protected them, while officials of other areas have deemed his work to be vandalism and have removed it.
Pixnit is another artist who chooses to keep her identity from the general public. Her work focuses on beauty and design aspects of graffiti as opposed to Banksy's anti-government shock value. Her paintings are often of flower designs above shops and stores in her local urban area of Cambridge, Massachusetts. Some store owners endorse her work and encourage others to do similar work as well. "One of the pieces was left up above Steve's Kitchen, because it looks pretty awesome"- Erin Scott, the manager of New England Comics in Allston, Massachusetts.
Graffiti artists may become offended if photographs of their art are published in a commercial context without their permission. In March 2020, the Finnish graffiti artist Psyke expressed his displeasure at the newspaper Ilta-Sanomat publishing a photograph of a Peugeot 208 in an article about new cars, with his graffiti prominently shown on the background. The artist claims he does not want his art being used in commercial context, not even if he were to receive compensation.
Territorial graffiti marks urban neighborhoods with tags and logos to differentiate certain groups from others. These images are meant to show outsiders a stern look at whose turf is whose. The subject matter of gang-related graffiti consists of cryptic symbols and initials strictly fashioned with unique calligraphies. Gang members use graffiti to designate membership throughout the gang, to differentiate rivals and associates and, most commonly, to mark borders which are both territorial and ideological.
Graffiti has been used as a means of advertising both legally and illegally. Bronx-based TATS CRU has made a name for themselves doing legal advertising campaigns for companies such as Coca-Cola, McDonald's, Toyota, and MTV. In the UK, Covent Garden's Boxfresh used stencil images of a Zapatista revolutionary in the hopes that cross referencing would promote their store.
Smirnoff hired artists to use reverse graffiti (the use of high pressure hoses to clean dirty surfaces to leave a clean image in the surrounding dirt) to increase awareness of their product.
Graffiti often has a reputation as part of a subculture that rebels against authority, although the considerations of the practitioners often diverge and can relate to a wide range of attitudes. It can express a political practice and can form just one tool in an array of resistance techniques. One early example includes the anarcho-punk band Crass, who conducted a campaign of stenciling anti-war, anarchist, feminist, and anti-consumerist messages throughout the London Underground system during the late 1970s and early 1980s. In Amsterdam graffiti was a major part of the punk scene. The city was covered with names such as "De Zoot", "Vendex", and "Dr Rat". To document the graffiti a punk magazine was started that was called Gallery Anus. So when hip hop came to Europe in the early 1980s there was already a vibrant graffiti culture.
The student protests and general strike of May 1968 saw Paris bedecked in revolutionary, anarchistic, and situationist slogans such as L'ennui est contre-révolutionnaire ("Boredom is counterrevolutionary") and Lisez moins, vivez plus ("Read less, live more"). While not exhaustive, the graffiti gave a sense of the 'millenarian' and rebellious spirit, tempered with a good deal of verbal wit, of the strikers.
I think graffiti writing is a way of defining what our generation is like. Excuse the French, we're not a bunch of p---- artists. Traditionally artists have been considered soft and mellow people, a little bit kooky. Maybe we're a little bit more like pirates that way. We defend our territory, whatever space we steal to paint on, we defend it fiercely.
The developments of graffiti art which took place in art galleries and colleges as well as "on the street" or "underground", contributed to the resurfacing in the 1990s of a far more overtly politicized art form in the subvertising, culture jamming, or tactical media movements. These movements or styles tend to classify the artists by their relationship to their social and economic contexts, since, in most countries, graffiti art remains illegal in many forms except when using non-permanent paint. Since the 1990s with the rise of Street Art, a growing number of artists are switching to non-permanent paints and non-traditional forms of painting.
Contemporary practitioners, accordingly, have varied and often conflicting practices. Some individuals, such as Alexander Brener, have used the medium to politicize other art forms, and have used the prison sentences enforced on them as a means of further protest. The practices of anonymous groups and individuals also vary widely, and practitioners by no means always agree with each other's practices. For example, the anti-capitalist art group the Space Hijackers did a piece in 2004 about the contradiction between the capitalistic elements of Banksy and his use of political imagery.
Berlin human rights activist Irmela Mensah-Schramm has received global media attention and numerous awards for her 35-year campaign of effacing neo-Nazi and other right-wing extremist graffiti throughout Germany, often by altering hate speech in humorous ways.
In Serbian capital, Belgrade, the graffiti depicting a uniformed former general of Serb army and war criminal, convicted at ICTY for war crimes and crimes against humanity, including genocide and ethnic cleansing in Bosnian War, Ratko Mladić, appeared in a military salute alongside the words "General, thank to your mother". Aleks Eror, Berlin-based journalist, explains how "veneration of historical and wartime figures" through street art is not a new phenomenon in the region of former Yugoslavia, and that "in most cases is firmly focused on the future, rather than retelling the past". Eror is not only analyst pointing to danger of such an expressions for the region's future. In a long expose on the subject of Bosnian genocide denial, at Balkan Diskurs magazine and multimedia platform website, Kristina Gadže and Taylor Whitsell referred to these experiences as a young generations' "cultural heritage", in which young are being exposed to celebration and affirmation of war-criminals as part of their "formal education" and "inheritance".
There are numerous examples of genocide denial through celebration and affirmation of war criminals throughout the region of Western Balkans inhabited by Serbs using this form of artistic expression. Several more of these graffiti are found in Serbian capital, and many more across Serbia and Bosnian and Herzegovinian administrative entity, Republika Srpska, which is the ethnic Serbian majority enclave. Critics point that Serbia as a state, is willing to defend the mural of convicted war criminal, and have no intention to react on cases of genocide denial, noting that Interior Minister of Serbia, Aleksandar Vulin decision to ban any gathering with an intent to remove the mural, with the deployment of riot police, sends the message of "tacit endorsement". Consequently, on 9 November 2021, Serbian heavy police in riot gear, with graffiti creators and their supporters, blocked the access to the mural to prevent human rights groups and other activists to paint over it and mark the International Day Against Fascism and Antisemitism in that way, and even arrested two civic activist for throwing eggs at the graffiti.
Graffiti may also be used as an offensive expression. This form of graffiti may be difficult to identify, as it is mostly removed by the local authority (as councils which have adopted strategies of criminalization also strive to remove graffiti quickly). Therefore, existing racist graffiti is mostly more subtle and at first sight, not easily recognized as "racist". It can then be understood only if one knows the relevant "local code" (social, historical, political, temporal, and spatial), which is seen as heteroglot and thus a 'unique set of conditions' in a cultural context.
A spatial code for example, could be that there is a certain youth group in an area that is engaging heavily in racist activities. So, for residents (knowing the local code), a graffiti containing only the name or abbreviation of this gang already is a racist expression, reminding the offended people of their gang activities. Also a graffiti is in most cases, the herald of more serious criminal activity to come. A person who does not know these gang activities would not be able to recognize the meaning of this graffiti. Also if a tag of this youth group or gang is placed on a building occupied by asylum seekers, for example, its racist character is even stronger.
By making the graffiti less explicit (as adapted to social and legal constraints), these drawings are less likely to be removed, but do not lose their threatening and offensive character.
Elsewhere, activists in Russia have used painted caricatures of local officials with their mouths as potholes, to show their anger about the poor state of the roads. In Manchester, England, a graffitists painted obscene images around potholes, which often resulted in them being repaired within 48 hours.
In the early 1980s, the first art galleries to show graffitists to the public were Fashion Moda in the Bronx, Now Gallery and Fun Gallery, both in the East Village, Manhattan.
A 2006 exhibition at the Brooklyn Museum displayed graffiti as an art form that began in New York's outer boroughs and reached great heights in the early 1980s with the work of Crash, Lee, Daze, Keith Haring, and Jean-Michel Basquiat. It displayed 22 works by New York graffitists, including Crash, Daze, and Lady Pink. In an article about the exhibition in the magazine Time Out, curator Charlotta Kotik said that she hoped the exhibition would cause viewers to rethink their assumptions about graffiti.
From the 1970s onwards, Burhan Doğançay photographed urban walls all over the world; these he then archived for use as sources of inspiration for his painterly works. The project today known as "Walls of the World" grew beyond even his own expectations and comprises about 30,000 individual images. It spans a period of 40 years across five continents and 114 countries. In 1982, photographs from this project comprised a one-man exhibition titled "Les murs murmurent, ils crient, ils chantent ..." (The walls whisper, shout and sing ...) at the Centre Georges Pompidou in Paris.
In Australia, art historians have judged some local graffiti of sufficient creative merit to rank them firmly within the arts. Oxford University Press's art history text Australian Painting 1788–2000 concludes with a long discussion of graffiti's key place within contemporary visual culture, including the work of several Australian practitioners.
Between March and April 2009, 150 artists exhibited 300 pieces of graffiti at the Grand Palais in Paris.
Spray paint has many negative environmental effects. The paint contains toxic chemicals, and the can uses volatile hydrocarbon gases to spray the paint onto a surface.
Volatile organic compound (VOC) leads to ground level ozone formation and most of graffiti related emissions are VOCs. A 2010 paper estimates 4,862 tons of VOCs were released in the United States in activities related to graffiti.
In China, Mao Zedong in the 1920s used revolutionary slogans and paintings in public places to galvanize the country's communist movement.
Based on different national conditions, many people believe that China's attitude towards Graffiti is fierce, but in fact, according to Lance Crayon in his film Spray Paint Beijing: Graffiti in the Capital of China, Graffiti is generally accepted in Beijing, with artists not seeing much police interference. Political and religiously sensitive graffiti, however, is not allowed.
In Hong Kong, Tsang Tsou Choi was known as the King of Kowloon for his calligraphy graffiti over many years, in which he claimed ownership of the area. Now some of his work is preserved officially.
In Taiwan, the government has made some concessions to graffitists. Since 2005 they have been allowed to freely display their work along some sections of riverside retaining walls in designated "Graffiti Zones". From 2007, Taipei's department of cultural affairs also began permitting graffiti on fences around major public construction sites. Department head Yong-ping Lee (李永萍) stated, "We will promote graffiti starting with the public sector, and then later in the private sector too. It's our goal to beautify the city with graffiti". The government later helped organize a graffiti contest in Ximending, a popular shopping district. graffitists caught working outside of these designated areas still face fines up to NT$6,000 under a department of environmental protection regulation. However, Taiwanese authorities can be relatively lenient, one veteran police officer stating anonymously, "Unless someone complains about vandalism, we won't get involved. We don't go after it proactively."
In 1993, after several expensive cars in Singapore were spray-painted, the police arrested a student from the Singapore American School, Michael P. Fay, questioned him, and subsequently charged him with vandalism. Fay pleaded guilty to vandalizing a car in addition to stealing road signs. Under the 1966 Vandalism Act of Singapore, originally passed to curb the spread of communist graffiti in Singapore, the court sentenced him to four months in jail, a fine of S$3,500 (US$2,233), and a caning. The New York Times ran several editorials and op-eds that condemned the punishment and called on the American public to flood the Singaporean embassy with protests. Although the Singapore government received many calls for clemency, Fay's caning took place in Singapore on 5 May 1994. Fay had originally received a sentence of six strokes of the cane, but the presiding president of Singapore, Ong Teng Cheong, agreed to reduce his caning sentence to four lashes.
In South Korea, Park Jung-soo was fined two million South Korean won by the Seoul Central District Court for spray-painting a rat on posters of the G-20 Summit a few days before the event in November 2011. Park alleged that the initial in "G-20" sounds like the Korean word for "rat", but Korean government prosecutors alleged that Park was making a derogatory statement about the president of South Korea, Lee Myung-bak, the host of the summit. This case led to public outcry and debate on the lack of government tolerance and in support of freedom of expression. The court ruled that the painting, "an ominous creature like a rat" amounts to "an organized criminal activity" and upheld the fine while denying the prosecution's request for imprisonment for Park.
In Europe, community cleaning squads have responded to graffiti, in some cases with reckless abandon, as when in 1992 in France a local Scout group, attempting to remove modern graffiti, damaged two prehistoric paintings of bison in the Cave of Mayrière supérieure near the French village of Bruniquel in Tarn-et-Garonne, earning them the 1992 Ig Nobel Prize in archeology.
In September 2006, the European Parliament directed the European Commission to create urban environment policies to prevent and eliminate dirt, litter, graffiti, animal excrement, and excessive noise from domestic and vehicular music systems in European cities, along with other concerns over urban life.
In Budapest, Hungary, both a city-backed movement called I Love Budapest and a special police division tackle the problem, including the provision of approved areas.
The Anti-social Behaviour Act 2003 became Britain's latest anti-graffiti legislation. In August 2004, the Keep Britain Tidy campaign issued a press release calling for zero tolerance of graffiti and supporting proposals such as issuing "on the spot" fines to graffiti offenders and banning the sale of aerosol paint to anyone under the age of 16. The press release also condemned the use of graffiti images in advertising and in music videos, arguing that real-world experience of graffiti stood far removed from its often-portrayed "cool" or "edgy'" image.
To back the campaign, 123 Members of Parliament (MPs) (including then Prime Minister Tony Blair), signed a charter which stated: "Graffiti is not art, it's crime. On behalf of my constituents, I will do all I can to rid our community of this problem."
In the UK, city councils have the power to take action against the owner of any property that has been defaced under the Anti-social Behaviour Act 2003 (as amended by the Clean Neighbourhoods and Environment Act 2005) or, in certain cases, the Highways Act. This is often used against owners of property that are complacent in allowing protective boards to be defaced so long as the property is not damaged.
In July 2008, a conspiracy charge was used to convict graffitists for the first time. After a three-month police surveillance operation, nine members of the DPM crew were convicted of conspiracy to commit criminal damage costing at least £1 million. Five of them received prison sentences, ranging from eighteen months to two years. The unprecedented scale of the investigation and the severity of the sentences rekindled public debate over whether graffiti should be considered art or crime.
Some councils, like those of Stroud and Loerrach, provide approved areas in the town where graffitists can showcase their talents, including underpasses, car parks, and walls that might otherwise prove a target for the "spray and run".
Graffiti Tunnel, University of Sydney at Camperdown (2009)
In an effort to reduce vandalism, many cities in Australia have designated walls or areas exclusively for use by graffitists. One early example is the "Graffiti Tunnel" located at the Camperdown Campus of the University of Sydney, which is available for use by any student at the university to tag, advertise, poster, and paint. Advocates of this idea suggest that this discourages petty vandalism yet encourages artists to take their time and produce great art, without worry of being caught or arrested for vandalism or trespassing.[108][109] Others disagree with this approach, arguing that the presence of legal graffiti walls does not demonstrably reduce illegal graffiti elsewhere. Some local government areas throughout Australia have introduced "anti-graffiti squads", who clean graffiti in the area, and such crews as BCW (Buffers Can't Win) have taken steps to keep one step ahead of local graffiti cleaners.
Many state governments have banned the sale or possession of spray paint to those under the age of 18 (age of majority). However, a number of local governments in Victoria have taken steps to recognize the cultural heritage value of some examples of graffiti, such as prominent political graffiti. Tough new graffiti laws have been introduced in Australia with fines of up to A$26,000 and two years in prison.
Melbourne is a prominent graffiti city of Australia with many of its lanes being tourist attractions, such as Hosier Lane in particular, a popular destination for photographers, wedding photography, and backdrops for corporate print advertising. The Lonely Planet travel guide cites Melbourne's street as a major attraction. All forms of graffiti, including sticker art, poster, stencil art, and wheatpasting, can be found in many places throughout the city. Prominent street art precincts include; Fitzroy, Collingwood, Northcote, Brunswick, St. Kilda, and the CBD, where stencil and sticker art is prominent. As one moves farther away from the city, mostly along suburban train lines, graffiti tags become more prominent. Many international artists such as Banksy have left their work in Melbourne and in early 2008 a perspex screen was installed to prevent a Banksy stencil art piece from being destroyed, it has survived since 2003 through the respect of local street artists avoiding posting over it, although it has recently had paint tipped over it.
In February 2008 Helen Clark, the New Zealand prime minister at that time, announced a government crackdown on tagging and other forms of graffiti vandalism, describing it as a destructive crime representing an invasion of public and private property. New legislation subsequently adopted included a ban on the sale of paint spray cans to persons under 18 and increases in maximum fines for the offence from NZ$200 to NZ$2,000 or extended community service. The issue of tagging become a widely debated one following an incident in Auckland during January 2008 in which a middle-aged property owner stabbed one of two teenage taggers to death and was subsequently convicted of manslaughter.
Graffiti databases have increased in the past decade because they allow vandalism incidents to be fully documented against an offender and help the police and prosecution charge and prosecute offenders for multiple counts of vandalism. They also provide law enforcement the ability to rapidly search for an offender's moniker or tag in a simple, effective, and comprehensive way. These systems can also help track costs of damage to a city to help allocate an anti-graffiti budget. The theory is that when an offender is caught putting up graffiti, they are not just charged with one count of vandalism; they can be held accountable for all the other damage for which they are responsible. This has two main benefits for law enforcement. One, it sends a signal to the offenders that their vandalism is being tracked. Two, a city can seek restitution from offenders for all the damage that they have committed, not merely a single incident. These systems give law enforcement personnel real-time, street-level intelligence that allows them not only to focus on the worst graffiti offenders and their damage, but also to monitor potential gang violence that is associated with the graffiti.
Many restrictions of civil gang injunctions are designed to help address and protect the physical environment and limit graffiti. Provisions of gang injunctions include things such as restricting the possession of marker pens, spray paint cans, or other sharp objects capable of defacing private or public property; spray painting, or marking with marker pens, scratching, applying stickers, or otherwise applying graffiti on any public or private property, including, but not limited to the street, alley, residences, block walls, and fences, vehicles or any other real or personal property. Some injunctions contain wording that restricts damaging or vandalizing both public and private property, including but not limited to any vehicle, light fixture, door, fence, wall, gate, window, building, street sign, utility box, telephone box, tree, or power pole.
To help address many of these issues, many local jurisdictions have set up graffiti abatement hotlines, where citizens can call in and report vandalism and have it removed. San Diego's hotline receives more than 5,000 calls per year, in addition to reporting the graffiti, callers can learn more about prevention. One of the complaints about these hotlines is the response time; there is often a lag time between a property owner calling about the graffiti and its removal. The length of delay should be a consideration for any jurisdiction planning on operating a hotline. Local jurisdictions must convince the callers that their complaint of vandalism will be a priority and cleaned off right away. If the jurisdiction does not have the resources to respond to complaints in a timely manner, the value of the hotline diminishes. Crews must be able to respond to individual service calls made to the graffiti hotline as well as focus on cleanup near schools, parks, and major intersections and transit routes to have the biggest impact. Some cities offer a reward for information leading to the arrest and prosecution of suspects for tagging or graffiti related vandalism. The amount of the reward is based on the information provided, and the action taken.
When police obtain search warrants in connection with a vandalism investigation, they are often seeking judicial approval to look for items such as cans of spray paint and nozzles from other kinds of aerosol sprays; etching tools, or other sharp or pointed objects, which could be used to etch or scratch glass and other hard surfaces; permanent marking pens, markers, or paint sticks; evidence of membership or affiliation with any gang or tagging crew; paraphernalia including any reference to "(tagger's name)"; any drawings, writing, objects, or graffiti depicting taggers' names, initials, logos, monikers, slogans, or any mention of tagging crew membership; and any newspaper clippings relating to graffiti crime.
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.
this classic example of victrorian liberalism was founded in 1859 by colonel edward akroyd. he was one of halifax's leading woollen and worsted manufactures, and his stated aim for the project was the provision of 'a convenient andf safe reservoir, into which the worker could squeeze drop by drop from his scanty earnings all that he could spare above the minimum needed to keep his family'.
the original use for this site is evidenced by the name of the street; today, the building stands empty, the yorkshire bank of today having moved to a number of smaller branches thoughout the city (including one on the oposite side of the street.
(former) yorkshire bank, infirmary street, leeds
Top Row:
1. Dallas Cowboys (Regina, 1996)
2. Dallas Cowboys (Shannon, 1996)
3. New York Knicks (Jessica, 2007)
4. Kansas City Chiefs (Haley, 2007)
5. Phoenix Suns (Sumer, 2009)
Bottom Row:
1. Tampa Bay Buccaneers (Timra, 2008)
2. Baltimore Ravens (Abbie, 2009)
3. Oklahoma City Thunder (Erica, 2009)
4. Oklahoma City Thunder (Alexis, 2009)
5. Buffalo Bills (Christina, 2008)
O local onde se situa a villa de S. Cucufate inicia a sua longa e diversificada história com a ocupação do local a partir do Neolítico Final, tendo sido depois habitado por uma população pré-romana.
A villa romana apresenta-se como o tipo clássico de propriedade de exploração intensa, exclusivamente orientada para o mercado. Em termos arqueológicos encontra-se articulada com as vias de comunicação e nas proximidades das cidades. Esta ainda pressupõe a existência de uma força de trabalho de cerca 10/12 pessoas de condição servil ou livre, mas não ligada ao proprietário. Assim em meados do século I d.C. deu-se lugar à construção de uma villa, de condições e dimensões ainda muito rústicas, mas que adivinhava já a implantação ou reconstrução de uma nova villa adaptada às necessidades arquitectónicas, estéticas e funcionais da época, ou seja do século II d.C., constituindo um dos poucos exemplares da Península Ibérica de Villae cum turris.
O edifício é abandonado aquando das grandes invasões bárbaras, e só volta a ser ocupado, mais tarde, por volta do século X d.C., pelas comunidades muçulmanas. Aquando da Reconquista Cristã, no século XII, é de novo abandonado pelos seus ocupantes, só voltando a ter vida no século XIII, onde se estabeleceu um convento, que permanece até ao século XVI e cujo santo padroeiro deu o nome ao edifício que é hoje S. Cucufate.
Apesar de ter sido evacuada provavelmente com a ameaça de ruir, a villa manteve a sua capela, cujo culto foi perpetuado até ao século XVIII.
Monumento de altíssimo valor e extremamente bem conservado, a villa de S. Cucufate ficava situada na circunscrição administrativa de Pax Iulia, tendo esta cidade sido, provavelmente, a sua grande cliente no mercado de vinho, pão e de azeite, tendo este tipo de produção ficado atestado pela descoberta de grainhas de uvas perto de uns pesos de prensas, e pelo respectivo lagar.
The place where is located the Villa of S. Cucufate initiates is long and diversified history with the occupation of the place from the Final Neolithic period, having been later inhabited by a pré-roman population.
The roman Villa presents itself as the classic type of property of intense exploration, exclusively guided for the market. In archaeological terms is combined with the communication routes and nearby the cities. This type of property estimates the existence of a work force about 10/12 persons of servile condition or exempts, but not connected with the proprietary. So in the middle of I century AD has been held to build a villa, with conditions and sizes still too rustic, but that it guessed already the implantation or reconstruction of a new Villa adapted to the architectural, aesthetic and functional necessities of the time, namely the II century AD, constituting one of the few examples in Iberian Peninsula Villae cum turris.
The building is abandoned during the great barbarian invasions, and only comes back to be reoccupyed, later, around X century AD, by Muslim communities. During the Christian Reconquest, in the XII century, is again abandoned by its occupants, only to return to life in the XIII century, where was established a monastery, which remains until the XVI century and whose patron saint gave the name to the building which today is S. Cucufate.
Although it was probably evacuated with the threat of collapse, the village kept its chapel, whose cult was perpetuated until the XVIII century.
Monument of high value and extremely well preserved, the villa of S. Cucufate was located in the administrative district of Pax Iulia, this city has been, probably, its major customer in the market for wine, bread and olive oil, being this type of production become certified by the discovery of grape pips near some presses weights, and by the respective mill.