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Austria Kunsthistorisches Museum
Federal Museum
Logo KHM
Regulatory authority (ies)/organs to the Federal Ministry for Education, Science and Culture
Founded 17 October 1891
Headquartered Castle Ring (Burgring), Vienna 1, Austria
Management Sabine Haag
www.khm.at website
Main building of the Kunsthistorisches Museum at Maria-Theresa-Square
The Kunsthistorisches Museum (KHM abbreviated) is an art museum in Vienna. It is one of the largest and most important museums in the world. It was opened in 1891 and 2012 visited of 1.351.940 million people.
The museum
The Kunsthistorisches Museum is with its opposite sister building, the Natural History Museum (Naturhistorisches Museum), the most important historicist large buildings of the Ringstrasse time. Together they stand around the Maria Theresa square, on which also the Maria Theresa monument stands. This course spans the former glacis between today's ring road and 2-line, and is forming a historical landmark that also belongs to World Heritage Site Historic Centre of Vienna.
History
Archduke Leopold Wilhelm in his Gallery
The Museum came from the collections of the Habsburgs, especially from the portrait and armor collections of Ferdinand of Tyrol, the collection of Emperor Rudolf II (most of which, however scattered) and the art collection of Archduke Leopold Wilhelm into existence. Already In 1833 asked Joseph Arneth, curator (and later director) of the Imperial Coins and Antiquities Cabinet, bringing together all the imperial collections in a single building .
Architectural History
The contract to build the museum in the city had been given in 1858 by Emperor Franz Joseph. Subsequently, many designs were submitted for the ring road zone. Plans by August Sicard von Sicardsburg and Eduard van der Null planned to build two museum buildings in the immediate aftermath of the Imperial Palace on the left and right of the Heroes' Square (Heldenplatz). The architect Ludwig Förster planned museum buildings between the Schwarzenberg Square and the City Park, Martin Ritter von Kink favored buildings at the corner Währingerstraße/ Scots ring (Schottenring), Peter Joseph, the area Bellariastraße, Moritz von Loehr the south side of the opera ring, and Ludwig Zettl the southeast side of the grain market (Getreidemarkt).
From 1867, a competition was announced for the museums, and thereby set their current position - at the request of the Emperor, the museum should not be too close to the Imperial Palace, but arise beyond the ring road. The architect Carl von Hasenauer participated in this competition and was able the at that time in Zürich operating Gottfried Semper to encourage to work together. The two museum buildings should be built here in the sense of the style of the Italian Renaissance. The plans got the benevolence of the imperial family. In April 1869, there was an audience with of Joseph Semper at the Emperor Franz Joseph and an oral contract was concluded, in July 1870 was issued the written order to Semper and Hasenauer.
Crucial for the success of Semper and Hasenauer against the projects of other architects were among others Semper's vision of a large building complex called "Imperial Forum", in which the museums would have been a part of. Not least by the death of Semper in 1879 came the Imperial Forum not as planned for execution, the two museums were built, however.
Construction of the two museums began without ceremony on 27 November 1871 instead. Semper moved to Vienna in the sequence. From the beginning, there were considerable personal differences between him and Hasenauer, who finally in 1877 took over sole construction management. 1874, the scaffolds were placed up to the attic and the first floor completed, built in 1878, the first windows installed in 1879, the Attica and the balustrade from 1880 to 1881 and built the dome and the Tabernacle. The dome is topped with a bronze statue of Pallas Athena by Johannes Benk.
The lighting and air conditioning concept with double glazing of the ceilings made the renunciation of artificial light (especially at that time, as gas light) possible, but this resulted due to seasonal variations depending on daylight to different opening times .
Kuppelhalle
Entrance (by clicking the link at the end of the side you can see all the pictures here indicated!)
Grand staircase
Hall
Empire
The Kunsthistorisches Museum was on 17 October 1891 officially opened by Emperor Franz Joseph I. Since 22 October 1891 , the museum is accessible to the public. Two years earlier, on 3 November 1889, the collection of arms, Arms and Armour today, had their doors open. On 1 January 1890 the library service resumed its operations. The merger and listing of other collections of the Highest Imperial Family from the Upper and Lower Belvedere, the Hofburg Palace and Ambras in Tyrol will need another two years.
189, the farm museum was organized in seven collections with three directorates:
Directorate of coins, medals and antiquities collection
The Egyptian Collection
The Antique Collection
The coins and medals collection
Management of the collection of weapons, art and industrial objects
Weapons collection
Collection of industrial art objects
Directorate of Art Gallery and Restaurieranstalt (Restoration Office)
Collection of watercolors, drawings, sketches, etc.
Restoration Office
Library
Very soon the room the Court Museum (Hofmuseum) for the imperial collections was offering became too narrow. To provide temporary help, an exhibition of ancient artifacts from Ephesus in the Theseus Temple was designed. However, additional space had to be rented in the Lower Belvedere.
1914, after the assassination of Franz Ferdinand, heir to the throne, his " Estonian Forensic Collection " passed to the administration of the Court Museum. This collection, which emerged from the art collection of the house of d' Este and world travel collection of Franz Ferdinand, was placed in the New Imperial Palace since 1908. For these stocks, the present collection of old musical instruments and the Museum of Ethnology emerged.
The First World War went by, apart from the oppressive economic situation without loss. The farm museum remained during the five years of war regularly open to the public.
Until 1919 the K.K. Art Historical Court Museum was under the authority of the Oberstkämmereramt (head chamberlain office) and belonged to the House of Habsburg-Lorraine. The officials and employees were part of the royal household.
First Republic
The transition from monarchy to republic, in the museum took place in complete tranquility. On 19 November 1918 the two imperial museums on Maria Theresa Square were placed under the state protection of the young Republic of German Austria. Threatening to the stocks of the museum were the claims raised in the following weeks and months of the "successor states" of the monarchy as well as Italy and Belgium on Austrian art collection. In fact, it came on 12th February 1919 to the violent removal of 62 paintings by armed Italian units. This "art theft" left a long time trauma among curators and art historians.
It was not until the Treaty of Saint-Germain of 10 September 1919, providing in Article 195 and 196 the settlement of rights in the cultural field by negotiations. The claims of Belgium, Czechoslovakia, and Italy again could mostly being averted in this way. Only Hungary, which presented the greatest demands by far, was met by more than ten years of negotiation in 147 cases.
On 3 April 1919 was the expropriation of the House of Habsburg-Lorraine by law and the acquisition of its property, including the "Collections of the Imperial House" , by the Republic. Of 18 June 1920 the then provisional administration of the former imperial museums and collections of Este and the secular and clergy treasury passed to the State Office of Internal Affairs and Education, since 10 November 1920, the Federal Ministry of the Interior and Education. A few days later it was renamed the Art History Court Museum in the "Kunsthistorisches Museum, Vienna State", 1921 "Kunsthistorisches Museum" . Of 1st January 1921 the employees of the museum staff passed to the state of the Republic.
Through the acquisition of the former imperial collections owned by the state, the museum found itself in a complete new situation. In order to meet the changed circumstances in the museum area, designed Hans Tietze in 1919 the "Vienna Museum program". It provided a close cooperation between the individual museums to focus at different houses on main collections. So dominated exchange, sales and equalizing the acquisition policy in the interwar period. Thus resulting until today still valid collection trends. Also pointing the way was the relocation of the weapons collection from 1934 in its present premises in the New Castle, where since 1916 the collection of ancient musical instruments was placed.
With the change of the imperial collections in the ownership of the Republic the reorganization of the internal organization went hand in hand, too. Thus the museum was divided in 1919 into the
Egyptian and Near Eastern Collection (with the Oriental coins)
Collection of Classical Antiquities
Collection of ancient coins
Collection of modern coins and medals
Weapons collection
Collection of sculptures and crafts with the Collection of Ancient Musical Instruments
Picture Gallery
The Museum 1938-1945
Count Philipp Ludwig Wenzel Sinzendorf according to Rigaud. Clarisse 1948 by Baroness de Rothschildt "dedicated" to the memory of Baron Alphonse de Rothschildt; restituted to the Rothschilds in 1999, and in 1999 donated by Bettina Looram Rothschild, the last Austrian heiress.
With the "Anschluss" of Austria to the German Reich all Jewish art collections such as the Rothschilds were forcibly "Aryanised". Collections were either "paid" or simply distributed by the Gestapo at the museums. This resulted in a significant increase in stocks. But the KHM was not the only museum that benefited from the linearization. Systematically looted Jewish property was sold to museums, collections or in pawnshops throughout the empire.
After the war, the museum struggled to reimburse the "Aryanised" art to the owners or their heirs. They forced the Rothschild family to leave the most important part of their own collection to the museum and called this "dedications", or "donations". As a reason, was the export law stated, which does not allow owners to perform certain works of art out of the country. Similar methods were used with other former owners. Only on the basis of international diplomatic and media pressure, to a large extent from the United States, the Austrian government decided to make a change in the law (Art Restitution Act of 1998, the so-called Lex Rothschild). The art objects were the Rothschild family refunded only in the 1990s.
The Kunsthistorisches Museum operates on the basis of the federal law on the restitution of art objects from the 4th December 1998 (Federal Law Gazette I, 181 /1998) extensive provenance research. Even before this decree was carried out in-house provenance research at the initiative of the then archive director Herbert Haupt. This was submitted in 1998 by him in collaboration with Lydia Grobl a comprehensive presentation of the facts about the changes in the inventory levels of the Kunsthistorisches Museum during the Nazi era and in the years leading up to the State Treaty of 1955, an important basis for further research provenance.
The two historians Susanne Hehenberger and Monika Löscher are since 1st April 2009 as provenance researchers at the Kunsthistorisches Museum on behalf of the Commission for Provenance Research operating and they deal with the investigation period from 1933 to the recent past.
The museum today
Today the museum is as a federal museum, with 1st January 1999 released to the full legal capacity - it was thus the first of the state museums of Austria, implementing the far-reaching self-financing. It is by far the most visited museum in Austria with 1.3 million visitors (2007).
The Kunsthistorisches Museum is under the name Kunsthistorisches Museum and Museum of Ethnology and the Austrian Theatre Museum with company number 182081t since 11 June 1999 as a research institution under public law of the Federal virtue of the Federal Museums Act, Federal Law Gazette I/115/1998 and the Museum of Procedure of the Kunsthistorisches Museum and Museum of Ethnology and the Austrian Theatre Museum, 3 January 2001, BGBl II 2/ 2001, in force since 1 January 2001, registered.
In fiscal 2008, the turnover was 37.185 million EUR and total assets amounted to EUR 22.204 million. In 2008 an average of 410 workers were employed.
Management
1919-1923: Gustav Glück as the first chairman of the College of science officials
1924-1933: Hermann Julius Hermann 1924-1925 as the first chairman of the College of the scientific officers in 1925 as first director
1933: Arpad Weixlgärtner first director
1934-1938: Alfred Stix first director
1938-1945: Fritz Dworschak 1938 as acting head, from 1938 as a chief in 1941 as first director
1945-1949: August von Loehr 1945-1948 as executive director of the State Art Collections in 1949 as general director of the historical collections of the Federation
1945-1949: Alfred Stix 1945-1948 as executive director of the State Art Collections in 1949 as general director of art historical collections of the Federation
1949-1950: Hans Demel as administrative director
1950: Karl Wisoko-Meytsky as general director of art and historical collections of the Federation
1951-1952: Fritz Eichler as administrative director
1953-1954: Ernst H. Buschbeck as administrative director
1955-1966: Vincent Oberhammer 1955-1959 as administrative director, from 1959 as first director
1967: Edward Holzmair as managing director
1968-1972: Erwin Auer first director
1973-1981: Friderike Klauner first director
1982-1990: Hermann Fillitz first director
1990: George Kugler as interim first director
1990-2008: Wilfried Seipel as general director
Since 2009: Sabine Haag as general director
Collections
To the Kunsthistorisches Museum are also belonging the collections of the New Castle, the Austrian Theatre Museum in Palais Lobkowitz, the Museum of Ethnology and the Wagenburg (wagon fortress) in an outbuilding of Schönbrunn Palace. A branch office is also Ambras in Innsbruck.
Kunsthistorisches Museum (main building)
Picture Gallery
Egyptian and Near Eastern Collection
Collection of Classical Antiquities
Vienna Chamber of Art
Numismatic Collection
Library
New Castle
Ephesus Museum
Collection of Ancient Musical Instruments
Arms and Armour
Archive
Hofburg
The imperial crown in the Treasury
Imperial Treasury of Vienna
Insignia of the Austrian Hereditary Homage
Insignia of imperial Austria
Insignia of the Holy Roman Empire
Burgundian Inheritance and the Order of the Golden Fleece
Habsburg-Lorraine Household Treasure
Ecclesiastical Treasury
Schönbrunn Palace
Imperial Carriage Museum Vienna
Armory in Ambras Castle
Ambras Castle
Collections of Ambras Castle
Major exhibits
Among the most important exhibits of the Art Gallery rank inter alia:
Jan van Eyck: Cardinal Niccolò Albergati, 1438
Martin Schongauer: Holy Family, 1475-80
Albrecht Dürer : Trinity Altar, 1509-16
Portrait Johann Kleeberger, 1526
Parmigianino: Self Portrait in Convex Mirror, 1523/24
Giuseppe Arcimboldo: Summer 1563
Michelangelo Merisi da Caravaggio: Madonna of the Rosary 1606/ 07
Caravaggio: Madonna of the Rosary (1606-1607)
Titian: Nymph and Shepherd to 1570-75
Portrait of Jacopo de Strada, 1567/68
Raffaello Santi: Madonna of the Meadow, 1505 /06
Lorenzo Lotto: Portrait of a young man against white curtain, 1508
Peter Paul Rubens: The altar of St. Ildefonso, 1630-32
The Little Fur, about 1638
Jan Vermeer: The Art of Painting, 1665/66
Pieter Bruegel the Elder: Fight between Carnival and Lent, 1559
Kids, 1560
Tower of Babel, 1563
Christ Carrying the Cross, 1564
Gloomy Day (Early Spring), 1565
Return of the Herd (Autumn), 1565
Hunters in the Snow (Winter) 1565
Bauer and bird thief, 1568
Peasant Wedding, 1568/69
Peasant Dance, 1568/69
Paul's conversion (Conversion of St Paul), 1567
Cabinet of Curiosities:
Saliera from Benvenuto Cellini 1539-1543
Egyptian-Oriental Collection:
Mastaba of Ka Ni Nisut
Collection of Classical Antiquities:
Gemma Augustea
Treasure of Nagyszentmiklós
Gallery: Major exhibits
"The paramount question of the day is not political, is not religious, but is economic. The crying-out demand of today is for a circle of principles that shall forever make it impossible for one man to control another by controlling the means of his existence."
“Anarchism, to me, means not only the denial of authority, not only a new economy, but a revision of the principles of morality. It means the development of the individual as well as the assertion of the individual. It means self-responsibility, and not leader worship.”
"I would rather, much rather, be illegitimate according to the statutes of men, than illegitimate according to the unchanging law of nature."
“If this is the price to be paid for an idea, then let us pay. There is no need of being troubled about it, afraid, or ashamed. This is the time to boldly say, “Yes, I believe in the displacement of this system of injustice by a just one; I believe in the end of starvation, exposure, and the crimes caused by them; I believe in the human soul regnant over all laws which man has made or will make; I believe there is no peace now, and there will never be peace, so long as one rules over another; I believe in the total disintegration and dissolution of the principle and practice of authority; I am an Anarchist, and if for this you condemn me, I stand ready to receive your condemnation.”
“We are bound first to imform ourselves concerning so great a matter as the revolt of millions of people - what they are struggling for, what they are struggling against, and how the struggle stands- from day to day...as best you can; and second, to spread this knowledge among others, and endeavor to do what little you can to awaken the consciousness and sympathy of others.”
“But what the working-class can do, when once they grow into a solidified organization, is to show the possessing class, through a sudden cessation of all work, that the whole social structure rests on them; that the possessions of the others are absolutely worthless to them without the workers' activity; that such protests, such strikes, are inherent in the system of property and will continually recur until the whole thing is abolished -- and having shown that effectively, proceed to expropriate. ”
"For it must needs that offences come, but woe to him through whom the offence cometh." The crimes of the future are the harvests sown of the ruling classes of the present. Woe to the tyrant who shall cause the offense!
Sometimes I dream of this social change. I get a streak of faith in Evolution, and the good in man. I paint a gradual slipping out of the now, to that beautiful then, where there are neither kings, presidents, landlords, national bankers, stockbrokers, railroad magnates, patentright monopolists, or tax and title collectors; where there are no over-stocked markets or hungry children, idle counters and naked creatures, splendor and misery, waste and need. I am told this is farfetched idealism, to paint this happy, povertyless, crimeless, diseaseless world; I have been told I "ought to be behind the bars" for it.
Remarks of that kind rather destroy the white streak of faith. I lose confidence in the slipping process, and am forced to believe that the rulers of the earth are sowing a fearful wind, to reap a most terrible whirlwind. When I look at this poor, bleeding, wounded World, this world that has suffered so long, struggled so much, been scourged so fiercely, thorn-pierced so deeply, crucified so cruelly, I can only shake my head and remember: The giant is blind, but he's thinking: and his locks are growing, fast."
• (In the first line presented here de Cleyre quotes an admonition of Jesus Christ, and in the last line, the giant she refers to is the blinded Samson.)
“I die, as I have lived, a free spirit, an Anarchist, owing no allegiance to rulers, heavenly or earthly.”
Quote Source -> secure.wikimedia.org/wikiquote/en/wiki/Voltairine_de_Cleyre
sunsite.berkeley.edu/goldman/Writings/Essays/voltairine.html
dwardmac.pitzer.edu/Anarchist_Archives/bright/cleyre/Cley...
State of the Vatican City, is a landlocked sovereign city-state whose territory consists of a walled enclave within the city of Rome, the capital city of Italy. It has an area of approximately 44 hectares (110 acres) (0.44 km2), and a population of just over 800.[5][12]
Vatican City is a city-state that came into existence in 1929. It is distinct from the Holy See, which dates back to early Christianity and is the main episcopal see of 1.147 billion Latin and Eastern Catholic adherents around the globe. Ordinances of Vatican City are published in Italian; official documents of the Holy See are issued mainly in Latin. The two entities even have distinct passports: the Holy See, not being a country, only issues diplomatic and service passports; the state of Vatican City issues normal passports. In both cases the passports issued are very few.
The Lateran Treaty in 1929, which brought the city-state into existence, spoke of it as a new creation (Preamble and Article III), not as a vestige of the much larger Papal States (756-1870) that had previously encompassed central Italy. Most of this territory was absorbed into the Kingdom of Italy in 1860, and the final portion, namely the city of Rome with a small area close to it, ten years later, in 1870.
Vatican City is an ecclesiastical or sacerdotal-monarchical state, ruled by the bishop of Rome—the Pope. The highest state functionaries are all Catholic clergymen of various nationalities. It is the sovereign territory of the Holy See (Sancta Sedes) and the location of the Pope's residence, referred to as the Apostolic Palace.
The Popes have resided in the area that in 1929 became Vatican City since the return from Avignon in 1377. Previously, they resided in the Lateran Palace on the Caelian Hill on the opposite side of Rome, which site Constantine gave to Pope Miltiades in 313. The signing of the agreements that established the new state took place in the latter building, giving rise to the name of Lateran Pacts, by which they are known.
The name "Vatican" is ancient and predates Christianity, coming from the Latin Mons Vaticanus, meaning Vatican Mount. The territory of Vatican City is part of the Mons Vaticanus, and of the adjacent former Vatican Fields where St. Peter's Basilica, the Apostolic Palace, the Sistine Chapel, and museums were built, along with various other buildings. The area was part of the Roman rione of Borgo until 1929. Being separated from the city, on the west bank of the Tiber river, the area was an outcrop of the city that was protected by being included within the walls of Leo IV (847–55), and later expanded by the current fortification walls, built under Paul III (1534–49), Pius IV (1559–65) and Urban VIII (1623–44). When the Lateran Treaty of 1929 that gave the state its present form was being prepared, the boundaries of the proposed territory were influenced by the fact that much of it was all but enclosed by this loop. For some tracts of the frontier, there was no wall, but the line of certain buildings supplied part of the boundary, and for a small part of the frontier a modern wall was constructed. The territory includes St. Peter's Square, distinguished from the territory of Italy only by a white line along the limit of the square, where it touches Piazza Pio XII. St. Peter's Square is reached through the Via della Conciliazione which runs from the Tiber River to St. Peter's. This grand approach was constructed by Benito Mussolini after the conclusion of the Lateran Treaty.
According to the Lateran Treaty, certain properties of the Holy See that are located in Italian territory, most notably Castel Gandolfo and the major basilicas, enjoy extraterritorial status similar to that of foreign embassies. These properties, scattered all over Rome and Italy, house essential offices and institutions necessary to the character and mission of the Holy See.
Castel Gandolfo and the named basilicas are patrolled internally by police agents of Vatican City State and not by Italian police. St. Peter's Square is ordinarily policed jointly by both.
In this originally uninhabited area (the ager vaticanus) on the opposite side of the Tiber from the city of Rome, Agrippina the Elder (14 BC – 18 October AD 33) drained the hill and environs and built her gardens in the early 1st century AD. Emperor Caligula (37-41) started construction of a circus (AD 40) that was later completed by Nero, the Circus Gaii et Neronis, usually called, simply, the Circus of Nero. The Vatican obelisk was originally taken by Caligula from Heliopolis, Egypt to decorate the spina of his circus and is thus its last visible remnant. This area became the site of martyrdom of many Christians after the Great Fire of Rome in AD 64. Ancient tradition holds that it was in this circus that Saint Peter was crucified upside down. Opposite the circus was a cemetery separated by the Via Cornelia. Funeral monuments and mausoleums and small tombs as well as altars to pagan gods of all kinds of polytheistic religions were constructed lasting until before the construction of the Constantinian Basilica of St. Peter's in the first half of the 4th century. Remains of this ancient necropolis were brought to light sporadically during renovations by various popes throughout the centuries increasing in frequency during the Renaissance until it was systematically excavated by orders of Pope Pius XII from 1939 to 1941.
In 326, the first church, the Constantinian basilica, was built over the site that early Roman Catholic apologists (from the first century on) as well as noted Italian archaeologists argue was the tomb of Saint Peter, buried in a common cemetery on the spot. From then on the area started to become more populated, but mostly only by dwelling houses connected with the activity of St. Peter's. A palace was constructed near the site of the basilica as early as the 5th century during the pontificate of Pope Symmachus (reigned 498–514)
Popes in their secular role gradually came to govern neighbouring regions and, through the Papal States, ruled a large portion of the Italian peninsula for more than a thousand years until the mid 19th century, when all of the territory of the Papal States was seized by the newly created Kingdom of Italy. For much of this time the Vatican was not the habitual residence of the Popes, but rather the Lateran Palace, and in recent centuries, the Quirinal Palace, while the residence from 1309–77 was at Avignon in France.
In 1870, the Pope's holdings were left in an uncertain situation when Rome itself was annexed by the Piedmont-led forces which had united the rest of Italy, after a nominal resistance by the papal forces. Between 1861 and 1929 the status of the Pope was referred to as the "Roman Question". They were undisturbed in their palace, and given certain recognitions by the Law of Guarantees, including the right to send and receive ambassadors. But they did not recognize the Italian king's right to rule in Rome, and they refused to leave the Vatican compound until the dispute was resolved in 1929. Other states continued to maintain international recognition of the Holy See as a sovereign entity. In practice Italy made no attempt to interfere with the Holy See within the Vatican walls. However, they confiscated church property in many other places, including, perhaps most notably, the Quirinal Palace, formerly the pope's official residence. Pope Pius IX (1846–78), the last ruler of the Papal States, claimed that after Rome was annexed he was a "Prisoner in the Vatican". This situation was resolved on 11 February 1929 between the Holy See and the Kingdom of Italy.
The treaty was signed by Benito Mussolini on behalf of King Victor Emmanuel III and by Cardinal Secretary of State Pietro Gasparri for Pope Pius XI. The Lateran Treaty and the Concordat established the independent State of the Vatican City and granted Roman Catholicism special status in Italy. In 1984, a new concordat between the Holy See and Italy modified certain provisions of the earlier treaty, including the position of Roman Catholicism as the Italian state religion.
Ben Thanh market has long been one of Saigon's most famous landmark. The market has been in existence since the French occupation. The original market was located on the shores of Ben Nghe river by old fort Gia Dinh. Its proximity to the fort and the river where merchants and soldiers would land was reason for its name (Ben meaning pier or port and Thanh meaning fort). In 1859, when the French invaded Saigon and overtook fort Gia Dinh, Ben Thanh Market was destroyed. It was rebuilt shortly thereafter and remained standing until it was moved to its present location in 1899.
Built on a landfill of what was once a swamp named Bo Ret (Marais Boresse), the new Ben Thanh Market is located in the center of the city. Under the French government, the area around Ben Thanh Market was called Cu Nhac circle (Rond point Cuniac), named after Mr. Cuniac, the person who proposed filling the swamp to create this area. The area was later renamed Cong truong Dien Hong.
Ben Thanh Market (from Vietnamese Ben meaning "wharf", and Quy Thanh meaning "turtle citadel") is a big marketplace in the downtown area of Ho Chi Minh City, in District 1. The market is one of the earliest surviving structures in Saigon and today is considered one of symbols of Ho Chi Minh City, popular with tourists seeking local handicrafts, textiles, áo dài, and souvenirs, as well as local cuisine.
The market developed from informal markets created by early 17th century street vendors gathering together near the Saigon River. The market was formally established by the French colonial powers after taking over the Gia Dinh citadel in 1859 (see Citadel of Saigon). This market was destroyed by fire in 1870 and rebuilt to become Saigon's largest market. In 1912 the market was moved to a new building and called the New Ben Thanh Market to distinguish over its predecessor. The building was renovated in 1985.[1]
Walking on foot brings you down to the very stark, naked core of existence. We travel too much in airplanes and cars. It’s an existential quality that we are losing. It’s almost like a credo of religion that we should walk.
There is, of course, something inherently romantic—if not heroic—about the extreme solitary explorer enveloped by nature. The very image of Herzog on foot recalls the iconic 19th-century paintings of Caspar David Friedrich, especially his Wanderer Above the Sea of Fog, with its lone figure staring out at the wide vista above the clouds.
'Truth itself wanders through the forests,' Herzog writes near the end. Yet here he embroiders his memories for effect: The vast swath of geography between Munich and Paris is littered with industrial towns and cities.
Once he comes out on the other end, traversing the deforested Champs-Élysées (“We were close to what they call the breath of danger”), Herzog emerges victorious.
― Of Walking in Ice: (Munich-Paris, 23 November–14 December 1974)
by Werner Herzog
Sometimes all it takes is being alone in a field of grass with nature all around to make you feel at peace. We often find our lives consumed with the hustle of daily life and it takes a trip to our happy place to find our center. I don't have to pack too long or travel too far to find my reason for being. My backyard is a wonderland of mystery just waiting to be explored. I may never be anything more than someone you once knew. My only hope is that a piece of me remains to be explored long after I am gone.
I often wonder why I have been placed on this earth. Is it to carry a gun so that you can feel safe and free? I have done that. Is it to change an infinite number of watch batteries so that you can make it to work on time? I have done that too. Or is it to simply capture a moment so that you can experience something you may never see from a side of the planet I have never been? In time the gun will be replaced with something more advanced and the watch battery will be long since expired. My ticket will have been punched, but I hope the life I lived will remain for others to experience for eternity. That is the power of a camera!!!
The Holiday House Geographic, is among the most desirable vintage travel trailers in the world. One of only two currently known to be in existence, the body of this trailer was designed by world renowned industrial engineer, Chuck Pelly, designer of the Scarab race car and founder of Designworks USA, which is BMW's California Studio.
David Holmes, President of "Harry & David" fruit company, began producing the Holiday House travel trailers in November of 1959, in Medford, Oregon. These were aluminum and wood constructed trailers as many of their counterparts of this era, however, the Holiday House trailers stood out as distinctive due to their highly progressive and futuristic design.
In 1958 David Holmes enlisted Chuck Pelly to design the Geographic model, also known as Model X, as a super limited production model, which he dubbed the "Trailer For The Rich". The styling was unlike any trailer of it's time. There are thought to have only been parts of 7 of these strikingly futuristic fiberglass trailers ever made with a price tag of almost $8,500. The Holiday House factory burned down in 1962, and the molds that survived were discarded years later.
This 1961 Holiday House Geographic has been completely restored from the frame up with no expense spared, by Flyte Camp, in Bend, OR.
This trailer would make a wonderful addition to any collection, and is fully equipped as a modern luxury travel trailer.
The Holiday House Geographic Serial Number 007:
The exterior was tastefully re-finished with Axalta finishing systems and coatings, in a two-toned champagne and moss green with bronze colored pin-stripping. The entire running system was upgraded with new axels, brakes, wheels, and 10-ply Diamond Back white wall trailer tires. The exterior is completed with a vintage style fabric awning.
The interior features Black Walnut wall skin, cabinetry and black walnut hard wood flooring with custom aluminum detailing. The bathroom/dressing room features Marmoleum flooring, Walnut & Marmoleum countertops and a Stainless Steel shower with a Teak hardwood shower floor insert. Through out the coach original vintage light sconces are combined with LED lighting. Warm LED strip lighting accents the cabinetry, with lighting in cabinet, under cabinet and along the floor in the living area. The kitchen is outfitted with a stainless two burner cook top, a two drawer stainless 3-way fridge, and a stainless sink with a built-in drain board. Stainless kitchen countertops, and luxury upholstery fabric, in moss, accented with high end custom pleated and lined drapery complete the interior finishes. Behind the scenes an LP on-demand hot water heater provides a steady flow of limitless hot water. Off grid the water holding system is made up of a 35 gallon fresh water tank, a 35 gallon black water tank and 40 gallon grey water holding. The 2000 watt Go Power! inverter system is powered by 4 Trojan 6-volt AGM batteries, and is solar capable. There are both 110 outlets, and 12 volt ports throughout the trailer. The A/V system includes a 32” TV, surround sound and a DVD/Bluetooth stereo system. The Air-conditioning system has a heat pump and is tastefully concealed under the front couch. The front L shaped sofa, is 30” deep with pillows removed and can comfortably sleep two. The gaucho couch also extends to sleep two. There is ample storage, with full extension drawers. Aluminum trim and detailing has been added to the bottom of the cabinetry. No detail has been overlooked including the stainless steel front door threshold which has been laser etched with "Geographic".
The icing on the cake was having Chuck Pelly attended the Palm Springs Modernism event in February of this year to see the completed Geographic, and he added his personal signature to the trailer both inside and out!
This may be the only opportunity to own this priceless piece of history. Please contact Flyte Camp with any questions, and for additional detail photos if desired. We accept payment by Cashiers Check if the check is drawn off of an Institution with a Branch in Bend, Oregon. Otherwise, we accept wire transfer. Please let us know if you have any questions regarding payment, or to schedule pickup. Buyer is responsible for all shipping arrangements. Trailer should be picked up within 30 days of auction end. Contact us if you are an international buyer.
Media:
This trailer will be featured on the official 2018 Hot August Nights poster. Hot August Nights is the largest collectable car show in the US, being held August 7-12th, 2018 in Reno, NV.
The Geo was featured on the cover of the June 2018 edition of Vintage Camper Trailers Magazine. The Geographic took the trophy for Best of Modernism at the 2018 Palm Springs Modernism Vintage Travel Trailer Show, and Best Mobile Mansion at the Pismo Coast Rally in May of 2018. The trailer has also been filmed for an upcoming episode of Extreme RVs on the Travel Channel. Please check out footage of the build on the Flyte Camp YouTube Channel.
Photos curtesy of Hal Thomas Photography, Tim Cash of Far From Earth Films, and Anna Scribner of Flyte Camp, LLC.
Credit: Flyte Camp
Source: eBay
(more pictures or information you can receive by going to the end of page!)
House of the Teutonic Order
The House of the Teutonic Order was as a Viennese commandry of the in 1198 in Acre founded Teutonic Order under Duke Leopold VI in the early years of the 13th Century built. The German Order was next to the Hospitallers and the Templars the third major order of knights of the Middle Ages. Duke Leopold gave him the large area between Stephansplatz, Churhausgasse, Singerstraße and blood alley (Blutgasse). Documentarily proven is the existence of the house from 1222. Here resided the Landkomtur (province commanders) of the Bailiwick of Austria, to which the commandries Vienna, Wiener Neustadt, Graz, Friesach and Groß-Sonntag (Krain) belonged. In the great fire of 1258 all the religious buildings except the church tower burned down. In the Middle Ages the complex of the German monastic house was limited to the area along the Singerstraße and Blutgasse. 1309 exchanged the Order part of the land that was needed for the extension of Stephen's cemetery against a neighboring area. The sprawling building had in its, the Stephansplatz adjacent part a large farm yard, which was surrounded by stables. Since 1526 the Head of the Order bore the title "Grand and German master (Hoch- und Deutschmeister)". The famous Viennese house regiment of the same name by the way in 1696 emerged from those Truppenkontigenten (contigent of troops) which the Order for the Turkish war had provided. After the first Turkish siege of Vienna, numerous residents of the suburbs whose houses had been burned were housed here. From 1667 the already dilapidated buildings were torn down with the exception of the church under the Landkomtur (province commander) Gottfried Freiherr von Lambert and provided by Carlo Canevale with three-storey new buildings. As plasterers Jacob Schlag and Simon Alio were mentioned. 1679/82 increased Canevale and Johann Bernhard Ceresola the complex.
Sala terrena. In the years 1720-1725 the German religious house under the Landkomtur Guidobald Starhemberg by Anton Erhard Martinelli was further extended and baroquised. In 1785 it received under Landkomtur Alois Graf Harrach by placing a fourth storey its present shape. In the 18th Century several fires caused major damages. Especially those of 1735 raged for three days, because the urban fighting personnel the entry was denied by the German Order of Knights. Among the prominent residents of the German religious house, which in the 18th and 19th century first also as a guest house of the Order served and then was largely rented, included Wolfgang Amadeus Mozart (1781), Johannes Brahms (1863 - 1865) and the comedy writer Cornelius Hermann Paul von Ayrenhoff. At the beginning of the 19th Century on Stephansplatz the German Order Cellar (Deutschordenskeller) was opened. Was in its place in the second half of the 20th Century the Restaurant "Deutsches Haus". Since 1809 the German religious house is the residence of the Grand Master of the Teutonic Order. Until then, this one resided in Mergentheim (Baden-Württemberg). From 1864 the Landkomtur Eugen Graf von Haugwitz the church by the cathedral architect from Gran, Josef Lippert, partially had re-gothicised. At that time at the gable above the church windows the already damaged pinnacles and figures were removed. Only the Grand Master coat of arms was left. 1929 the community of the German Teutonic Knights was transformed into a purely religious order. It is one of the very few religious institutions whose top management is not located in Rome. First Grand Master living in Vienna was Archduke Anton Viktor (1804 - 1835).
Church - interior. The House of the Teutonic Order is now a sprawling complex of buildings, grouped around two courtyards. The façade at the Blutgasse is the oldest. Those at the Singerstraße stems from the 17th Century. It represents today the face side of the building. The structuring of the façade by high Baroque inonic giant pilasters followed around 1720. The ground floor is grooved. The two early-Baroque round-arched portals are framed with Tuscan pilasters. The simple façades of the courtyards are held in the style of the 17th Century. On the west side of the pentagonal courtyard on the ground floor walled arched arcades as well as glazed Pawlatschen (access galleries) from the 19th Century on the first floor can be seen. In the courts were various, in 1903 discovered grave plates placed. The ground floor rooms are vaulted, early Baroque lunette barrels and groin vaults prevailing. Among them is the Sala terrene, a with a flat dome vaulted central room which is decorated with illusionistic wall paintings of the late 18th Century. The wall and ceiling frescoes depict mythological scenes and figural ornaments. The hall was once opened to the garden through a portal, but this was later reworked into a window. The tract between Stephansplatz and Blutgasse encloses two two-aisled halls. While the cross vault of the first ones is resting on sturdy pillars is those of the other ones supported by Tuscan columns. In the partially with Rococo and Neoclassical stucco ceilings provided rooms of the first floor are located the library and archives of the Order with documents and books dating back to the 12th Century. Some beautifully crafted wood cabinets were personally manufactured by the Grand and Deutschmeister Archduke Eugen. In the treasure chamber on the second floor are in addition to religious insignias and paintings, inter alia, parts of the Kunstkammer (Art chamber) of the Grand Master Archduke Maximilian III of Austria from the time about 1600 exposed.
Church - Empore. Attention getter and center of the tract at the Singerstraße are the three tall lancet windows of the church of the Teutonic Order. The first chapel already in 1258 fell victim to a town fire. From 1326 it was replaced by Jörg von Schiffering by a new building yet today the core of the Church of the Teutonic Order forming. At that time this one was still but free on three sides. In 1375 it was dedicated to St. Elizabeth. Guidobald Starhemberg 1720/22 the Chapel had remodelled in the Baroque style and flanked at both longitudinal sides by newly built religious houses, by which the three stained glass windows became the central projection of the House of the Teutonic Order. Presumably Anton Erhard Martinelli also was involved in the planning. The quite gothical appearing church facade is a beautiful example of the baroque tinge of the time after the Gothic period of 18th Century, unique in Austria. In the neo-Gothic restoration of 1864/68 the Baroque dome of the narrow and high tower was replaced by a pointed Gothic helmet. After the church was severely damaged in 1945 by bomb hits, followed its restoration 1946/47. Its vaults possess Gothic stucco decorations. In the Baroque reconstruction in the corners eight galleries were built-in, which are accessible from the apartments situated behind. The Dutch polyptych (1520) comes from Mechelen, but was until 1864 in the St. Mary's Church of Danzig. The altarpiece was created in 1667 by Tobias Pock. In the four corners of the room Evangelists Statues by Johann Hutter (1864) replace the missing sculptures by Giovanni Giuliani from the year 1721. On the walls hang several grave slabs, including an epitaph of the scholar Johannes Cuspinian (1515) and the by Jacob Schletterer created grave monument of the Landkomtur Josef Philipp Graf Harrach. Most of the more than eighty coats of arms of German knights, covering the upper part of the walls were designed by Johann Andreas Frank 1722.
Location / Address : 1010 Vienna, Singerstraße 7
Viewing: with the exception of the church and the museum allowed only outside
Along with the likes of Wick, Tuckton, Holdenhurst, Throop, Muscliffe and Kinson, Iford was one of the ancient hamlets that existed along the Stour river long before Bournemouth came into existence.
Iford was one of the few points at which the river could be crossed, albeit not that easily by the inexperienced, and only then when seasonal conditions allowed.
To enable the river to be crossed more easily a bridge was built, and this was possibly as early as the 11th century, although there was certainly a bridge in existence in the 1500s.
Not suprisingly, bridges were crucial structures that facilitated the easy passage of travellers, and were therefore critical to the movement of goods and trades. Local Overseers of the Poor and Almsgivers would ensure the upkeep of the bridge, along with monies specifically left in wills for this purpose.
The present Old Iford Bridge is made up of three main sections, each built at different times, as and when different parts required replacing.
As the Stour is the boundary between Bournemouth and Christchurch, it means that most of the bridge is within Christchurch. The part of the bridge that most people would think of as being Old Iford Bridge, ie that part that spans the main river, dates from 1784, and is half in Bournemouth and half in Christchurch.
The rest of the bridge, wholly within Christchurch, dates from both the mid 1600s and the late 1700s / early 1800s. The whole bridge is grade II listed by English Heritage.
Until the 1920s Iford still retained a very rural feel, with Iford House, farms and thatched cottages, but the relentless march northwards of Bournemouth soon engulfed it and so very little of old Iford remains, having been gobbled up in the name of progress.
The new, and present, Iford Bridge opened in the early 1930s, but before it's existence the Old Iford Bridge was the only bridge other than Longham Bridge, a considerable distance away.
Other crossing points were at the Blackwater Ferry where the Blackwater Junction on the A338 Spur Rd, just north of Holdenhurst Village is now, Pigshoot Ford at Throop and Wick Ferry.
Today, as well as the present Iford Bridge, the A338 Spur Rd crosses the Stour at Blackwater and there is a bridge at Hurn Court, although this is not open to the public, and a footbridge near Throop Mill, as well as the New Rd Bridge between Northbourne and Parley Cross, not to mention Tuckton Bridge, and the aformentioned Wick Ferry that still operates. We are truly spoilt for choice.
FURTHER READING.
Most books on the history of Bournemouth include a page or two about Iford but for more in depth reading i would recommend.........
Iford The Lost Village by Frederick W Barnes - a Bournemouth Local Studies publication ISBN 0 906287 48 0. A wonderfully written booklet about life in Iford during the early part of the 20th century.
Iford by Kathleen M Chilvers - a local studies publication ISBN 0 906287 01 4
Unsmoked ham, wholegrain mustard, mayonnaise, Flora (obviously), and some Boursin. The most awesome sandwich in existence.
For twenty-five years London has been subject to a beautiful onslaught of criminal activity, reprehensible to some, embraced by others, colourful, witty and provocative. Street art, phenomenon of the 1990s, developed from graffiti art, a phenomenon of 1980s, is a regular occurrence on London's streets; in some areas it is ubiquitous. Its existence in London owes much to the city's cultural ties with New York, London's wealth and status and to the talent and determination of Bristol based artist Banksy, who introduced street art to London.
In London there are hives, around which street artists buzz, fanatics hunt and serendipitous locals and tourists register pieces on their mobile phones. These hives are to be found in Camden, East London and Leake Street in Waterloo. The Camden part of Regent's Canal, in 2009, hosted London's first and only street art battle between street-artist par excellence Banksy and an old time graffiti artist Robbo. In Shoreditch, East London, gallery owners, design studios and businesses, inspired by early works of Banksy, commission art on the outside of their buildings. This commissioned work is accompanied by an ever changing pastiche of gratuitous work, which has turned Shoreditch and East London into the spiritual home of street art. Leake Street, a disused railway tunnel just behind Waterloo Train Station became a hive for street artists and graffiti artists after Banksy organised a street art festival there in Spring 2008, which led to the tunnel being designated a legal space for street art and graffiti.
The Chinese say life is both yin and yang and the same can be said for the energies and motivations driving street art. Yin is an explosion of energy, an attempt to mean something to someone, a fire fuelled by a need for recognition and acceptance. Yang is a deep breath out, a chance to reflect, an opportunity to disconnect and feel one's real emotions; to disengage from the zeitgeist. For some, street art is all about the yang about free expression, emotion, creativity and the altruism of the street artist. It is part of an idealistic utopian philosophy that art should be for the people, free and accessible. However, in reality, most artists are guided by yin, fuelled by a desire to make it as an artist, to get a name, to get ahead.
All street artists experience the tension between yin and yang, it causes many to entertain delusions about the greater good of what they are doing, to hide their problematic egoistic tendencies and criminal activity. The fact is, the street artist is a psychopathic charmer, trying to seduce you with the beauty, audacity and complexity of his gift, hoping you forget he has, unilaterally, decided that his need for his art on your wall, is greater than your right to enjoy your wall, as it is, without interference. And London's heart is fluttering. The media celebrate street art, local authorities protect street art works from vandalism; the firm Pearl and Coutts, when it found out that Westminster Council wanted to remove a Banksy exhibit from one of its walls, went to the length of taking Westminster Council to court, to try, unsuccessfully, to have the image protected. In 2008, London art auctioneer Bonhams held London's first auction of street art, ; Village Undeground held an "urban art sale" and a piece by Banksy attracted a bid of £208,100. The elevated status of the street artist prompts invitations for shows from owners hoping to cash in on the cache. Like this the street artist is laundered.
The rise of the internet, which has coincided with the rise of street art, has created a virtual street art world. In the real world of street art those who happen to see the art, and enjoy it, encounter it as a moment of serendipity. Bloggers and web site owners rip the art from their geographical location and juxtapose the images next to each other. Here, viewers of street art get a concentrated experience, delivered to them through the click of a mouse, rather than the motion of their legs. Street art in the real world is transient, in the virtual world, digitally preserved, it lasts forever. The magic that might have been shared by a few, who had the luck to walk down a street at a particular point in time, can now be shared by millions in the virtual world. What we are left to ponder is whether street artists are creating street art, with a view to how this will be seen in the virtual world first, with considerations for people who and experience it in the street, coming second?
“We are strange beings, we seem to go free, but we go in chains - chains of training, custom, convention, association, environment - in a word, Circumstance - and against these bonds the strongest of us struggle in vain” - Mark Twain
Strandfontein Sewage Works
Although the uninitiated will often turn up their noses at the idea of voluntarily visiting a sewage farm, such places are often exceptionally rich in birdlife. This is especially true of the extensive Strandfontein sewage works, arguably the best waterbird locality close to Cape Town, whose existence is under threat from a new motorway. The abundant and diverse birdlife makes it an ideal destination for the beginner and serious twitcher alike, and it is possible to see more than 80 species on a summer morning. A major advantage is the opportunity to bird from the comfort and security of your car, which can be used as a moving hide. The vast network of reed-fringed pans which radiate out from the sewage plant buildings is connected by good gravel roads, but beware of occasionally treacherous sandy patches, especially along the southern coastal road.
To enter the Strandfontein sewage works from the Cape Town side, take the M5 free-way southwards from Cape Town and turn left into Ottery Road at the Ottery turn-off; continue for 4.5 km until the junction with Strandfontein Road (M17); turn right here, and continue (southwards) along Strandfontein Road for 4 km; turn right again at the ‘Zeekoeivlei’ sign (1 on site map, opposite) within a stand of gum trees just after a petrol station and opposite Fifteenth Avenue. To enter the works from the False Bay side, turn north onto Strandfontein Road from Baden Powell Drive, 6.8 km east of the Muizenberg traffic circle, and you’ll reach the Zeekoeivlei turn-off after 4.1 km.
Baden Powell Drive (R310) follows the False Bay coast westwards to Muizenberg and Simon’s Town, and eastwards to the N2 highway near Somerset West. Strandfontein can thus conveniently be visited after Sir Lowry’s Pass (p.60).
The poorly marked entrance to the works is adjacent to a derelict building at the south end of Zeekoeivlei (2), where African Fish Eagles are often seen roosting in the trees to the west. Bird numbers and water levels at Strandfontein vary widely depending on the year and season, and the route suggested below is intended as a general guide to the most productive areas.
Continue along the tar road towards the plant buildings, and check the deep pans on both sides of the road (3 and 4) for Black-necked Grebe, Maccoa Duck, Southern Pochard, and Cape Teal. Here too you will see the first of various other waterfowl species that are common throughout the sewage works, such as Cape Shoveller, Yellow-billed Duck and Red-billed Teal, while Purple Gallinule stalk along the reed-lined edges. Levaillant’s Cisticola is very common in long grass fringing the pans, and agitated birds draw attention to themselves with their characteristically frenetic calls. White-throated and European Swallows (summer) and Brown-throated Martin dart low overhead.
Where the road meets the sewage plant itself, continue to the left of the buildings, and scan pan 5 for a good variety of waterfowl. The adjacent small, muddy pan at 6 often host somewhat scarcer species such as Southern Pochard and Wood Sandpiper. The road between the two pans is regularly used in summer as a roost by large numbers of White-winged Terns, which can be seen flying over pans throughout the area.
At this point, retrace your route and continue to the pan at 7. This pan, and the small, reed-enclosed pond at its northern end, are usually also productive. At the ‘hub’ of the wheel of large pans, turn left. Pan 8, on your right, invariably holds good numbers of birds, notably Black-necked Grebe, White Pelican, Greater Flamingo and Maccoa Duck.
The western and northern corners of pan 9 are always worth investigating. The former often has an exposed beach frequented by waders (including Avocet); the latter is good for scarcer ducks such as Cape Teal and South African Shelduck, and occasionally Hottentot Teal. Continue around the northern apex of pan 9 and head south past pan 0. The reeds in this vicinity are particularly good for African Sedge Warbler, Cape Reed Warbler and, in summer, African Marsh Warbler. Very much more evident in the alien thicket are Cape Francolin and Cape Bulbul. Pan 0 itself usually offers great birding, providing a good selection of waterfowl and wading birds in its northern reaches.
Options are now limited by sandy roads, so we suggest that you retrace your route and turn left along the southern border of pan 9. This is an especially good area for African Marsh Harrier, which is virtually guaranteed to be seen flying low over the alien thicket and adjacent reedbeds. Head south again, and cast a glance over pan A for African Black Oystercatcher. Turn right where the road meets the coastal dunes, where Swift and Sandwich Terns and Little Stint (summer) often roost. Spare a moment to look up from your telescope and enjoy the splendid view over False Bay and its embracing mountains!
Good numbers of waterbirds can reliably be found on pan B. Cape and White-breasted Cormorants, White Pelicans and miscellaneous waterfowl roost on the large, sandy island and on the pan edge (C on map), while rafts of assorted ducks bob on the usually choppy water. A pair of South African Shelduck often frequents this pan, as do flocks of Greater Flamingo.
Having absorbed all pan B has to offer, continue past a series of relatively unexceptional pans before re-entering the central wheel at E. The small pan at D is often productive, as is E. Before leaving, you might find it worthwhile to check pan F for Great Crested Grebe.
The Bumblebee Hummingbird is the second-smallest bird known to be in existence - second only to the Bee Hummingbird. It averages 2.75 inches or 7 cm in length and weighing, on average, 0.1 oz or 3 grams. They are comparable in size to bumble bees and are lighter than a Canadian or U.S. penny.
History of Kraków
First indications of the existence of Krakow approximately stem from the 7th century. In the next following centuries the tribe of Vistulans (Wislanie) populated Krakow, after they centuries ago in the as "Lesser Poland" or Malopolska known region had settled down. From the year 965 stems the first document from Krakow, as Abraham ben Jacob of Cordova, a Jewish merchant, in his book referred to the trading center of Krakow.
In 1000, the Diocese of Krakow was founded and in 1038 declared capital of the Piast dynasty. The Wawel castle and several churches were built in the 11th century and thus the town rapidly grew. 1241 the Mongols invaded the city and burned down Krakow without exception. 1138 Krakow became the seat of the senior prince. 1257 Kraków was awarded its town charter and a city map was drawn up, which remained until today. This one included the arrangement of the checkerboard street configuration with a centrally located market. On the market following the seat of the city government was built. From the historical trading functions until today only the Cloth Halls remained. But on the market not only trade agreements were closed but also courtly and urban festivities celebrated. Furthermore, the urban center served for executions. The defensive walls were built, which surrounded the city and linked it to the Wawel. In the south of Wawel Castle in 1335 the city of Kazimierz was created. By Royal command it was surrounded by defense walls and the churches of St. Catherine, of Corpus Christi and the "Na Skalce" were built. End of the 15th century, Jews settled the later Cracow district. 1364 the Cracow Academy of King Kazimierz Wielki was founded, the famous Polish Jagellonen-University.
With the last king of Jagellonian dynasty, Krakow flourished. The Wawel castle was rebuilt in Renaissance style, the well known Zygmunt chapel was built and the Cloth Halls as well as the patrician houses have been restored. During the reign of King Sigismund III. Vasa the baroque style received introduction in Krakow. The Baroque University Church of St. Anne and the Church of Saints Peter and Paul were built in this period. In 1607 Warsaw was declared headquarters of the King, but Krakow retained its title of the Royal capital. Furthermore, it remained the place of coronations and funerals. Middle of the 17th century, the city was devastated by the Swedes, what at the beginning of the 18th century was produced again.
After the first partition of Poland, Krakow became a frontier town. Austria declared the settlement Podgorze separated city. After the second division in 1794, began the Polish national uprising. After its decline and the third partition of Poland the town fell to the Austrians, which on Wawel Hill caused numerous devastations and adapted buildings to the wishes and needs of the Army. 1809 Cracow was affiliated to the Grand Duchy of Warsaw. After the defeat of Napoleon, Krakow in the Vienna Convention of 1815 was declared Free City of Kraków. Then the remains of folk hero Tadeusz Kosciuszko and of Prince Jozef Poniatowski were brought back to the city. 1820-1823 on the rise of St. Bronislava a hill in honor of the leader of the popular uprising was built. Instead of the city walls, which were largely destroyed, they laid out supporting beams. 1846 Krakow lost its independence and the Austrians erected again on the Wawel barracks and they surrounded the Wawel with fortification complexes. However, Austria but has proved less tyrannical and so the city enjoyed a certain degree of growing cultural and political freedom. 1918 Krakow became the independence back.
Before the outbreak of the Second World War, in Krakow lived about 260,000 inhabitants, of which 65,000 belonged to the Jewish religion. During the war, also Krakow became witness of German war crimes. The for the greater part Jewish district of Kazimierz was eradicated. The Jews from now on lived in ghettos where they either were deported from there to Auschwitz or immediately shot. In spite of the plundering of the Nazis, Krakow became no scene for military combat operations and thus the only large Polish town escaping this fate. Therefore, its old architecture still almost completely is intact.
After the surrender of Germany and the Polish liberation, hastened the Communist government to inspire the traditional life and the city with a large steel plant in Nowa Huta. But the intensive rebuilding of the economy and industry rather promoted an ecological disaster. Buildings that had survived the war undamaged were now devoured and destroyed by acid rain and toxic gases. Carbon dioxide emissions grew so powerful that this has remained a serious and grave problem of the city. After the fall of the Communists and the fall of the Iron Curtain Krakow has benefited greatly from tourism and has adapted itself to a large extent to the Western culture.
A lush garden, with shrubs and flowerbeds pruned in very many artistic shapes, surrounds the palace. Quite obviously; the art of topiary has been in existence in Orchha for centuries. The Mahal was built in honor of the ‘Nightingale of Orchha’, Rai Praveen, and the second floor is resplendent with scenes of Nritya Mudra, the poses and postures of Indian dance.
Rai Praveen was as well identified for her charming beauty as for her poetry and music. The paramour of Indrajit Singh, in whose court she performed, her fame inevitably spread far and wide and finally reached the Imperial Court of Akbar. The Mughal emperor was smitten by her, and he arrogantly summoned her to his durbar. Indrajit Singh, Rai Parveen’s paramour, was too weak-kneed a ruler to defy the Imperial summons. Touched by her loyalty, Akbar decided to restore her to Orchha with both her dignity and that of her kingdom intact. The palace is now a fitting memorial to this lady.
The Orchha Fort complex, which houses a large number of ancient monuments consisting of the fort, palaces, temple and other edifices, is located in the Orchha town in the Indian state of Madhya Pradesh. The fort and other structures within it were built by the Bundela Rajputs starting from early 16th century by King Rudra Pratap Singh of the Orchha State and others who followed him.
The fort complex, which is accessed from an arched causeway, leads to a large gateway. This is followed by a large quadrangular open yard surrounded by palaces. These are Raja Mahal or Raja Mandir, Sheesh Mahal, Jahangir Mahal, a temple, gardens and pavilions. The battlements of the fort have ornamentation. Notable architectural features in the fort complex are projected balconies, open flat areas and decorated latticed windows.
LOCATION
The fort complex is located in the Tikamgarh district of Madhya Pradesh in the erstwhile state of Orchha. The fort complex is within an island formed by the confluence of the Betwa River and Jamni River in Orchha town. Approach to the complex from the eastern part of the market in the town is through a multiple arched bridge with 14 arches built in granite stones.
Orchha town is approximately 80 kilometres away from Tikamgarh town, which is the district headquarters of the district of the same name. Jhansi town is 15 kilometres away. Orchha is a railway station of the Central Railway on the Jhansi-Manikpur section.
HISTORY
The fort was built following the founding of the Orchha State in 1501 AD by Rudra Pratap Singh (r. 1501–1531), a Bundela rajput. The palaces and temples within the fort complex were built over a period of time by successive Maharajas of the Orchha State. Of these, the Raja Mandir or Raja Mahal was built by Madhukar Shah who ruled from 1554 to 1591. Jahangir Mahal and Sawan Bhadon Mahal were built during the reign of Vir Singh Deo (r. 1605–1627). The features of "pepper pots and domes" seen in the fort complex are believed to have inspired Lutyens in the architecture of the structures which he built in New Delhi.
MONUMENTS
The fort complex, accessed from an arched causeway, leads to a large gateway followed by a large quadrangular open space which is surrounded by palaces such as Raja Mahal or Raja Mandir, Sheesh Mahal, Jahangir Mahal, a temple, gardens and pavilions. The fort walls have battlements, which have ornamentation. Notable architectural features seen in the fort complex consist of projected balconies, open flat areas and decorated latticed windows.
RAJA MAHAL
The Raja Mahal (King’s Palace), where the kings and the queens had resided till it was abandoned in 1783, was built in the early part of 16th century. Its exterior is simple without any embellishments but the interior chambers of the palace are elaborately royal in its architectural design, decorated with murals of social and religious themes of gods, mythical animals and people. In the upper floor of the palace there are traces of mirrors in the ceilings and walls. Its windows, arcaded passages and layout plan are designed in such a way that the "sunlight and shadow create areas of different moods and temperatures throughout the day". The interior walls of the Mahal have murals of Lord Vishnu. The Mahal has several secret passages.
A part of this Mahal was converted into a temple and named Rama Raja Temple in honour of the god Rama. There is legend associated with naming it as a temple. According to a local legend, the temple was built following Rani Ganeshkuwari, the queen getting a "dream visitation" by Lord Rama directing her to build a temple for Him; while Madhukar Shah was a devotee of Krishna, his wife's dedication was to Rama. Following this a new temple known as the Chaturbuj Temple was approved to be built, and the queen went to Ayodhya to obtain an image of Lord Rama that was to be enshrined in her new temple. When she came back from Ayodhya with the image of Rama, initially she kept the idol in her palace as the Chaturbuj Temple was still under construction. She was, however, unaware of an injunction that the image to be deified in a temple could not be kept in a palace. Once the temple construction was completed and the idol of the lord had to be moved for installation at the Chatrubhuj Temple, it refused to be shifted from the palace. Hence, instead of the Chaturbhuj Temple, the Rama's idol remained in the palace where as the Chaturbhuj Temple remained without an idol in its sanctum. As Rama was worshipped in the palace, part of the palace was converted into the Rama Raja Temple; it is the only shrine in the country where Rama is worshipped as a King. The temple is guarded by a police force and the deity, Lord Rama, is considered as the king and is given a gun salute of honour every day.
SHEESH MAHAL
Sheesh Mahal is flanked on either side by the Raja Mahal and the Jahangir Mahal. This has royal accommodation, which was built for king Udait Singh. It has now been converted into a hotel. The interior of this edifice consists of a huge impressive hall with high ceiling, which is the dining hall. Its recent colour scheme renovations are an eyesore. But staying in two of its royal suites on the upper floor, which provide scenic views of the town, gives the guest a feeling of royalty.
JAHANGIR MAHAL
Jahangir Mahal is a palace that was exclusively built by Bir Singh Deo in 1605 to humor the Mughal emperor Jahangir who was a guest of the Maharaja for one night only. The palace is built in four levels with elegant architectural features of both Muslim and Rajput architecture. Its layout is a symmetrical square built in the inner courtyard of the fort and has eight large domes. It has a plethora of rooms with arcaded openings, projecting platforms and windows with lattice design work. The roof above top floor of this Mahal is accessed through a steep stairway. It provides picture perfect views of the temples and the Betwa River outside the fort complex. The palace also houses a small archaeological museum.
The entrance gate from this palace, which was earlier the main gate and which has carved ornamentation, leads to the royal baths and then to an elegant small dwelling unit built within a garden in typical Mughal architectural style; this had been built exclusively for Rai Parveen, the female escort of the Raja Indramani (1672 – 76); her large-size portrait in a revealing and seductive attire adorns hall in this Mahal. She was a poet and musician. The building is a double storied structure built with bricks, rising to the height of the trees in the well tended garden called Anand Mahal. The garden is laid out with octagonal flower beds and has good network of water supply. There are niches in the Mahal which permit natural light to the main hall and smaller rooms.
It is said that Emperor Akbar (r. 1556 – 1605) who was enamored by Parveen's beauty had taken her to his palace in Agra to be his courtesan. But Parveen, who wanted to get out of the situation, composed a gazal or a couplet which stated her status as an already used woman not fit for an emperor, which enabled her to get release from Akbar's court and return to Orchha.
PHOOL BAGH
Phool Bagh is an elegantly laid out garden in the fort complex which has a line of water fountains that terminates in a "palace-pavilion" which has eight pillars. Below this garden is an underground structure which was used by the royalty as a cool summer retreat. This cooling system consists of water ventilation system that is linked to an underground palace with "Chandan Katora", which is in the shape of a bowl from where fountains of droplets trickle through the roof creating rainfall.
WIKIPEDIA
Postumus Ӕ Double Sestertius. Lugdunum, AD 261. IMP C M CASS LAT POSTVMVS P F AVG, radiate,draped and cuirassed bust right / LAETITIA AVG, galley right with four rowers. RIC 143; Bastien 87. 15.92g, 32mm, 6h.
Virtually Mint State – apart from a light patina, this remarkable specimen is otherwise exactly as it was when it left the die.
One of the very finest known sestertii of Postumus in existence.
Ex Roma Numismatics VII, 22 March 2014, lot 1223.
Postumus appears to have been an imperial legate of Lower Germany when he defeated a Juthungian army which was returning from Italy, laden with goods and captives (even though they had been turned back by Gallienus at Mediolanum). Postumus had already distributed the captured wealth to the legions he commanded when he received the command of Gallienus’ son and Caesar, Saloninus, to hand over the recovered spoils. Renouncing Gallienus and Saloninus, the troops hailed Postumus as emperor, and proceeded to attack Colonia Claudia Ara Agrippinensium and kill Saloninus. Postumus immediately secured the loyalty of Gaul, Upper and Lower Germania, and Raetia. The following year Britannia, Gallia Narbonensis and Hispania followed suit.
Though Postumus relied on the army which kept him in power for a decade, the safety of the provinces was not solely an army matter, for the coasts required protection also, and so it is reasonable that his navy deserved mention on the coinage. The issues which couple the reverse legends FELICITAS and LAETITIA with scenes of a galley probably show that the emperor by no means neglected his navy, and perhaps that it achieved success.
The type of galley depicted on the reverse of the present coin could be a navis lusoria, which was a small military vessel of the late Roman Empire that served as a troop transport. It was smaller and narrower than similar earlier vessels, and ideally suited to the rivers close to the Limes Germanicus; the presence of this type of vessel in the Classis Germanica is shown through the discovery of the Mainz Roman ships in 1981-2, thus proving that they operated on the Rhine and Danube.
ROMA13, 894
A lush garden, with shrubs and flowerbeds pruned in very many artistic shapes, surrounds the palace. Quite obviously; the art of topiary has been in existence in Orchha for centuries. The Mahal was built in honor of the ‘Nightingale of Orchha’, Rai Praveen, and the second floor is resplendent with scenes of Nritya Mudra, the poses and postures of Indian dance.
Rai Praveen was as well identified for her charming beauty as for her poetry and music. The paramour of Indrajit Singh, in whose court she performed, her fame inevitably spread far and wide and finally reached the Imperial Court of Akbar. The Mughal emperor was smitten by her, and he arrogantly summoned her to his durbar. Indrajit Singh, Rai Parveen’s paramour, was too weak-kneed a ruler to defy the Imperial summons. Touched by her loyalty, Akbar decided to restore her to Orchha with both her dignity and that of her kingdom intact. The palace is now a fitting memorial to this lady.
The Orchha Fort complex, which houses a large number of ancient monuments consisting of the fort, palaces, temple and other edifices, is located in the Orchha town in the Indian state of Madhya Pradesh. The fort and other structures within it were built by the Bundela Rajputs starting from early 16th century by King Rudra Pratap Singh of the Orchha State and others who followed him.
The fort complex, which is accessed from an arched causeway, leads to a large gateway. This is followed by a large quadrangular open yard surrounded by palaces. These are Raja Mahal or Raja Mandir, Sheesh Mahal, Jahangir Mahal, a temple, gardens and pavilions. The battlements of the fort have ornamentation. Notable architectural features in the fort complex are projected balconies, open flat areas and decorated latticed windows.
LOCATION
The fort complex is located in the Tikamgarh district of Madhya Pradesh in the erstwhile state of Orchha. The fort complex is within an island formed by the confluence of the Betwa River and Jamni River in Orchha town. Approach to the complex from the eastern part of the market in the town is through a multiple arched bridge with 14 arches built in granite stones.
Orchha town is approximately 80 kilometres away from Tikamgarh town, which is the district headquarters of the district of the same name. Jhansi town is 15 kilometres away. Orchha is a railway station of the Central Railway on the Jhansi-Manikpur section.
HISTORY
The fort was built following the founding of the Orchha State in 1501 AD by Rudra Pratap Singh (r. 1501–1531), a Bundela rajput. The palaces and temples within the fort complex were built over a period of time by successive Maharajas of the Orchha State. Of these, the Raja Mandir or Raja Mahal was built by Madhukar Shah who ruled from 1554 to 1591. Jahangir Mahal and Sawan Bhadon Mahal were built during the reign of Vir Singh Deo (r. 1605–1627). The features of "pepper pots and domes" seen in the fort complex are believed to have inspired Lutyens in the architecture of the structures which he built in New Delhi.
MONUMENTS
The fort complex, accessed from an arched causeway, leads to a large gateway followed by a large quadrangular open space which is surrounded by palaces such as Raja Mahal or Raja Mandir, Sheesh Mahal, Jahangir Mahal, a temple, gardens and pavilions. The fort walls have battlements, which have ornamentation. Notable architectural features seen in the fort complex consist of projected balconies, open flat areas and decorated latticed windows.
RAJA MAHAL
The Raja Mahal (King’s Palace), where the kings and the queens had resided till it was abandoned in 1783, was built in the early part of 16th century. Its exterior is simple without any embellishments but the interior chambers of the palace are elaborately royal in its architectural design, decorated with murals of social and religious themes of gods, mythical animals and people. In the upper floor of the palace there are traces of mirrors in the ceilings and walls. Its windows, arcaded passages and layout plan are designed in such a way that the "sunlight and shadow create areas of different moods and temperatures throughout the day". The interior walls of the Mahal have murals of Lord Vishnu. The Mahal has several secret passages.
A part of this Mahal was converted into a temple and named Rama Raja Temple in honour of the god Rama. There is legend associated with naming it as a temple. According to a local legend, the temple was built following Rani Ganeshkuwari, the queen getting a "dream visitation" by Lord Rama directing her to build a temple for Him; while Madhukar Shah was a devotee of Krishna, his wife's dedication was to Rama. Following this a new temple known as the Chaturbuj Temple was approved to be built, and the queen went to Ayodhya to obtain an image of Lord Rama that was to be enshrined in her new temple. When she came back from Ayodhya with the image of Rama, initially she kept the idol in her palace as the Chaturbuj Temple was still under construction. She was, however, unaware of an injunction that the image to be deified in a temple could not be kept in a palace. Once the temple construction was completed and the idol of the lord had to be moved for installation at the Chatrubhuj Temple, it refused to be shifted from the palace. Hence, instead of the Chaturbhuj Temple, the Rama's idol remained in the palace where as the Chaturbhuj Temple remained without an idol in its sanctum. As Rama was worshipped in the palace, part of the palace was converted into the Rama Raja Temple; it is the only shrine in the country where Rama is worshipped as a King. The temple is guarded by a police force and the deity, Lord Rama, is considered as the king and is given a gun salute of honour every day.
SHEESH MAHAL
Sheesh Mahal is flanked on either side by the Raja Mahal and the Jahangir Mahal. This has royal accommodation, which was built for king Udait Singh. It has now been converted into a hotel. The interior of this edifice consists of a huge impressive hall with high ceiling, which is the dining hall. Its recent colour scheme renovations are an eyesore. But staying in two of its royal suites on the upper floor, which provide scenic views of the town, gives the guest a feeling of royalty.
JAHANGIR MAHAL
Jahangir Mahal is a palace that was exclusively built by Bir Singh Deo in 1605 to humor the Mughal emperor Jahangir who was a guest of the Maharaja for one night only. The palace is built in four levels with elegant architectural features of both Muslim and Rajput architecture. Its layout is a symmetrical square built in the inner courtyard of the fort and has eight large domes. It has a plethora of rooms with arcaded openings, projecting platforms and windows with lattice design work. The roof above top floor of this Mahal is accessed through a steep stairway. It provides picture perfect views of the temples and the Betwa River outside the fort complex. The palace also houses a small archaeological museum.
The entrance gate from this palace, which was earlier the main gate and which has carved ornamentation, leads to the royal baths and then to an elegant small dwelling unit built within a garden in typical Mughal architectural style; this had been built exclusively for Rai Parveen, the female escort of the Raja Indramani (1672 – 76); her large-size portrait in a revealing and seductive attire adorns hall in this Mahal. She was a poet and musician. The building is a double storied structure built with bricks, rising to the height of the trees in the well tended garden called Anand Mahal. The garden is laid out with octagonal flower beds and has good network of water supply. There are niches in the Mahal which permit natural light to the main hall and smaller rooms.
It is said that Emperor Akbar (r. 1556 – 1605) who was enamored by Parveen's beauty had taken her to his palace in Agra to be his courtesan. But Parveen, who wanted to get out of the situation, composed a gazal or a couplet which stated her status as an already used woman not fit for an emperor, which enabled her to get release from Akbar's court and return to Orchha.
PHOOL BAGH
Phool Bagh is an elegantly laid out garden in the fort complex which has a line of water fountains that terminates in a "palace-pavilion" which has eight pillars. Below this garden is an underground structure which was used by the royalty as a cool summer retreat. This cooling system consists of water ventilation system that is linked to an underground palace with "Chandan Katora", which is in the shape of a bowl from where fountains of droplets trickle through the roof creating rainfall.
WIKIPEDIA
Quorn.
The first European squatters and pastoralists arrived in the Quorn area in the 1850s but the town did not come into existence until 1875. It was named after Quorn in Leicestershire by Governor Jervois whose private secretary came from there. South Australian Railways chose the site for the town of Quorn and in 1878 the government sold the first blocks of land. In 1879 Quorn became the first terminus of the Great Northern Railway line from Port Augusta. The current station with its charming Dutch gables was built in 1916. However Quorn’s greatest period of importance as a railway centre was between 1917 and 1937 when it was the junction for both the western line to Perth and the northern line to Oodnadatta and Alice Springs. This importance continued during World War II when over 400 people in the town were employed by the railways as it was a major troop stop over point with the Country Women’s Association providing over 1 million meals to the servicemen. The establishment of a new standard gauge railway to Marree and the Leigh Creek coal fields west of the Flinders Ranges in 1956 saw the town decline. The various hotels in the main street located to service the needs of travelling rail passengers then became a movie set for several films including: The Sundowners, Sunday Too Far Away, Robbery under Arms, The Shiralee and more recently Gallipoli.
Quorn’s early development was similar to that of many SA towns. One of the first structures (1878) was a flour mill for the wheat farmers built by Mr Cowan. Mr Dunn the wealthy flour miller of Mt Barker built a second three storied flour mill in 1879. It was converted to a motel in the 1960s and is now a backpacker’s accommodation centre. Other early buildings were the Austral Hotel (1878), where many of us will stay, and the Criterion Hotel built in 1881 and the Transcontinental Hotel in 1878. The first National Bank opened in 1878, along with the Post Office, the Court House (1879) and Matthews Emporium (1886). The first church in town was a Methodist Church in 1880, followed by the Anglican (1880 replaced in 1897), Catholic (1883), the Salvation Army Hall in 1884(now a gallery) and the Lutheran Church in 1890. Three years after its founding, Quorn had a population of 540 and was the 19th largest town north of Adelaide! A reservoir was made for the railways and the town. Other important public town buildings were the Institute (1881) and the Town Hall (1907). A school started soon after the founding of the town and in 1909 it became a Higher Primary School and then in 1914 it became a High School. It was the first high school in the north of SA. Quorn continued to grow in importance once the railway was extended from Quorn through to Oodnadatta in 1891.
Colebrook Home in Quorn was established by the Australian Aborigines Mission. It began as a children’s home for Aboriginals in Oodnadatta in1926 .In 1927 the home moved to Quorn with 12 children in residence. In 1933 the Mission got a new house, 2 miles outside Quorn and in 1935 the 30 resident children were sent to Magill for the summer holidays. This practice continued until 1940 when the children spent the summer holidays at Eden Hills. Following this, the Mission established Colebrook Children’s Home at Eden Hills. Among the children raised at Colebrook were several prominent Aboriginal leaders in SA including Lowitcha O’Donoghue, Faith Thomas and Ruby Ahchee( Hammond).
It enslaves the women of Earth! It looked like a gardenia but it was the most vicious drug in existence. Framed and disgraced space pilot Charles Farradyne is offered one shot at redemption by finding out who was peddling the deadly ultra-aphrodisiac Hellflowers and infiltrating the interstellar organization trafficking it — and he might just discover who framed him in the process . . . [Prologue]
“Farradyne had committed the one unpardonable error a Space Master could make. He didn't die along with the other 32 passengers when his ship smashed into the Bog on Venus. They broke him—exiled him to the rotting fungus fields of Venus. Now his only desire in existence was to return to the cool, gleaming sea of deep space. And there was a way—only one. But he would have to become the vilest parasite in the universe—peddler of a poison that stripped the spirit, before it consumed the body...." – Goodreads.com
George O. Smith, born on April 9, 1911, was an American science fiction author renowned for his contributions during the Golden Age of Science Fiction. He frequently published stories in “Astounding Science Fiction” and is best known for his “Venus Equilateral” series, which revolved around a communications station in outer space. His notable works include "Operation Interstellar" (1950) and "Lost in Space" (1959). Smith's career spanned several decades, with his writing peaking in the 1940s and 1950s.
Smith's personal life was as intriguing as his stories. He married Doña Campbell, the first wife of Astounding's editor John W. Campbell, in 1949. Despite a prolific early career, his output diminished in the 1960s due to a demanding job. He was honored with the First Fandom Hall of Fame Award in 1980, a testament to his lasting impact on the science fiction community. George O. Smith passed away on May 27, 1981, leaving behind a legacy of imaginative and technically rich science fiction. [Sources: Wikipedia and Fancyclopedia.org]
[Note: "Lost in Space" by George O. Smith is a classic story about a lost space lifeboat. The book is told from the perspectives of the searchers, the missing passengers, and the aliens closing in. It is not connected to the 1965 TV series of the same name.]
What would become the largest airline in the world owes its existence to the boll weevil. In response to weevil infestations of Southern cotton fields, Collett Woolman proposed using aerial cropdusting. No one had ever tried aerial spraying before, and Woolman’s Huff Daland Dusters became the world’s first cropdusting company. Huff Daland began spraying from Macon, Georgia in May 1924; a year later, it moved to Louisiana.
Eventually, Woolman raised enough money to buy Huff Daland outright, and in anticipation of expanding into airmail and passenger operations, renamed it Delta Air Service in reference to the Mississippi Delta region it would be operating from. Delta rapidly expanded its routes throughout the South, but nearly went out of business when the US government awarded airmail routes through the South to American Airlines; when it was learned that American was involved in a bribery scandal, Delta was able to get the route instead, ensuring its survival. In 1941, Delta moved its headquarters to Atlanta, which had become the central hub of its operations.
Postwar, Delta began to expand once more. It acquired Chicago and Southern Airlines in 1953, which gave Delta its first boost: before 1953, its routes were limited to the US South and its primary aircraft were war-surplus Douglas DC-3s and DC-4s. Using Chicago and Southern’s Lockheed L-049 Constellations, Delta could now fly routes through the Caribbean and into Canada.
In 1959, Delta entered the jet age by purchasing Douglas DC-8s; to represent their new aircraft, Delta changed its livery to introduce the “widget”—a stylized Greek-alphabet delta, referencing the airline name and its new swept-wing jets. The widget remains Delta’s logo to the present day. The airline went transcontinental soon thereafter, and to boost traffic on this route, became one of the launch customers of the Convair 880. Though the airline could boast a flight time between Atlanta and Los Angeles of less than three hours in the sleek 880, the airliner’s reputation as a gas hog would not keep it in Delta’s fleet for long. The last of its DC-7s were sold in 1970, making the airline all-jet.
Delta had a near stranglehold on the Southern market and extensive contacts in the Midwest, but lacked any sort of presence in the West or Northeast, and, aside from its Caribbean connections, none overseas. The airline took steps to rectify that situation: in 1972, it bought out Northeast Airlines, giving it significant routes in the Boston-New York area. To boost its transcontinental routes, Delta bought its first wide-body aircraft, Boeing 747s, in 1970, but these proved to be unprofitable and were sold; instead, Delta took on Lockheed L-1011 Tristars, and would go on to become the world’s largest operator of the L-1011 and one of the longest. Finally, in 1978, Delta was able to acquire a European route from Atlanta to London using Tristars.
Delta weathered the deregulation period of the early 1980s carefully, concentrating on its domestic routes and continuing its expansion slowly, rather than overreaching—a trend that was to lead to the demise of many of its competitors. In 1987, Western, facing bankruptcy and unable to conclude a deal with Continental, was taken over by Delta, giving the latter its long-awaited network in the American West and Pacific Northwest. It also left Delta as the largest airline in the US and allowed Delta to expand into Latin America.
Delta also began its Delta Connection service in 1987, partnering with Comair, Skywest, and Atlantic Southeast, which remained independent companies but repainted its aircraft in Delta liveries. In 1991, Delta bought a controlling interest in Pan American, with the promises to keep the latter in business. However, it was more profitable for Delta to let the legendary airline die off and take over its transatlantic routes, and by 1992, Delta was now the largest American transatlantic carrier. With the acquisition of Pan Am’s fleet, it also allowed Delta to make inroads into the Asian market.
The post-9/11 recession and the week-long grounding of US airlines hit Delta particularly hard, losing so much money that not even a government bailout could do more than delay further losses. The airline dropped most of its Asian routes, consolidated its fleet by retiring the aging L-1011 fleet and selling MD-11s inherited from Western, moved some business from its regional hubs to Atlanta, and cut salaries. Delta still ended up filing bankruptcy in 2005. Nonetheless, the austerity measures worked. Delta was also able to save money by refurbishing its MD-80 fleet rather than replacing them—the MD-80s were cheaper to operate than many newer airliners—and sold off some of its Delta Connection airlines or absorbed them entirely. After fending off an attempt at a buyout by US Airways, Delta emerged from bankruptcy in 2007; in celebration, the airline introduced another livery (its third in seven years) that reintroduced the widget.
It would expand still further. In 2008, it was announced that Delta and Northwest Airlines would merge, with the latter being absorbed by Delta. With a combined fleet of nearly 800 aircraft, this made Delta the largest airline in the world by fleet size, and in the top five by passengers flown annually. Today, Delta retains this title, with a worldwide network to every continent, with 300 destinations.
N484DA is finished in Delta's late 1999s-early 2000s scheme, the one time in Delta's modern history that the widget disappeared from the tail. This was not very popular, which led to the widget's reintroduction in the current scheme in 2007. N484DA wore this scheme for only a short time before Delta retired its 727 fleet in 1999; it had spent its entire career with the airline, which it joined in 1974. It was scrapped sometime between 1999 and 2003.
This 40 PS Mercedes-Simplex is the oldest Mercedes still in existence. It was the direct successor to the 35 PS Mercedes designed by Wilhelm Maybach, which was the world’s first automobile of the modern age. The addition of the word “Simplex” related to the relative ease with which it handled for the period.
6.785 cc
4 Cylinder
40 ps @ 1.100 rpm
Vmax : 80 km
Mercedes-Benz Museum
Mercedesstraße 100
Stuttgart
Deutschland - Germany
December 2013 / July 2014
Survival for Existence is becoming so difficult due to harsh climate/weather.
Many flowers get wilted in no time.. very few stand tall.
Buryed down, a century to a half since.
Pulled up from the cemetery and placed on gravel with a dozenth of others.
At the end of its usefulness and forgotten.
Captured at the end of the Graveyard of Akureyri, my hometown.
2019-01-29: H.E. Mr. Aziz Rabbah, Minister of Energy, Mines and Sustainable Development, Kingdom of Morocco addressing the audience during the conference of CIF's 10 year of existence in Ouarzazate, Morocco.
I find myslef sitting in the same place i was a year ago and remembering Sakura (to the new members that did not know her she was also a flickr member) who passed away almost the same time last year.
_______________________________________________________________________
"Existence" is strange.. we are here then we are not. Makes me think about things that matter family & friends... People in general and how we treat one another. If I die today what impression have i left on this world? on people? We never know when we will travel to the "other side".. (if you believe in it).
There is a quote that goes something like.. "never leave anything you could say today for tomorow." i cant remember for the life of me where i got it from but i know its from somewhere. And never leave something you could do today for tomorow...
im just thinking and remembering.. *sigh*
Video Mapping Philipp Geist_Germany+Brazil 2013-2014_- Santa Marta 2014_©Fred Pacífico/Porã
„VideoInstallation by Philipp Geist“, "Philipp Geist", „Copyright 2014 Philipp Geist / VG Bildkunst 2014", www.videogeist.de, mail@videogeist.de, „Rio de Janeiro“, "Santa Marta“, „Cristo Redentor“, „Dona Marta“, „Deutschland + Brasilien 2013-2014“, “Alemanha + Brasil 2013-2014”
Photo by Fred Pacífico
©2014 Philipp Geist / VG BIldkunst Bonn
Rio de Janeiro / Brazil 2014
Christ statue (Cristo Redentor) – May 12
Dona Marta favela – May 15 and 16,2014
Light Art-Video-Mapping-Installations Philipp Geist in Rio de Janeiro / Brazil 2014
on the Christ statue (Cristo Redentor) - May 12 and in the Dona Marta favela - May 15 and 16,
2014
Installation Philipp Geist Year of Germany in Brazil 2013/2014
Concept Time Drifts May 2014
At the end of the Year of Germany in Brazil 2013/2014, the artist Philipp Geist (Berlin, 1976)
develops two light installations in Rio this year; the first one on the world-famous Christ statue
(Cristo Redentor) and the other installation in the Santa Marta favela. For the installation the
artist presents artistic-liberal and poetic German and Brazilian themes and develops a building
and floor light installation of colored words and phrases in Portuguese, German, and in other
international languages. The installation deals with cultural characteristics and achievements of
both countries and visualizes the issues of time and space, volatility and presence in a free
artistic style. The two projects are in fact a double project which is combined. The installation
on the symbol of Rio and Brazil, the Christ statue, is recorded and projected onto the small
buildings and huts of the favela. The Christ statue, which has been built to protect the city and
the sailors, is symbolically projected on the shantytown, the favela, in a protective way. The
installation in the favela will be seen not only on a facade as a large cinema projection or as a
static image, but on several winding buildings, the roofs, the floor and on the steps. Thus, the
visitor becomes a part of the installation and can immerse into the projection and the light and
introduce himself. Chalk crayons are put out on the streets in the favela and the young and old
residents and visitors can write and paint words on the street, the ground, the stairs or even on
the house walls. The residents and several institutions should be addressed to submit words and
associations dealing with Rio, Brazil and Germany.
For the installation, which was shown at the Luminale in 2012, the artist Philipp Geist won the
German Lighting Design Award 2013 (Deutscher Lichtdesign-Preis 2013) in the category Light Art.
The series 'Time Drifts' is characterized by the complex and subtle way of visualizing various
currents and voices in cultural contexts and to provide institutions and visitors with the
opportunity of substantive participation: different personalities, visitors and institutions may be
addressed in advance and then contribute words and associations. Current and historico-cultural
topics are researched in advance by the artist and then integrated in a sensitive and subtle way.
The projection dismisses the use of screens, because concepts and associations are projected on
a large area onto the floor surface on several facades and in theater fog. Over the course of two
days, the installation can be seen on-site in the favela on May 15 and 16 and on the Cristo
Redentor on May 12 for a day.
Short, tall, young and old visitors can interactively participate in the installation by tracing and
adding words with colored chalk crayons available on the streets. Thus, over the period of the
installation, a carpet of words is evolved with terms that are contributed locally by the visitors
by means of the temporary and volatile 'medium' of chalk crayons. Philipp Geist develops in this
way a dialogue between the place, the visitors and his artistic work.
The concrete, tangible projection of the architecture and the static terms on the floor area
represents the facts and visible relics that are responsible for our understanding of history. The
transparent and volatile projection in the fog reminds us that part of the history can not be
preserved and that it is created in our individual imagination in a single moment. Words are
briefly visible as a metaphor for transience and then disappear again. This interplay of the
various text and image layers in the space refers to the location and the history/-ies of Brazil
and Germany and the cultural exchange between the two countries. The visitors themselves are
part of the installation: they dive into the large floor projection. In this way, different
perspectives and experiences of space are unified. Abstract passages which are created, then
overlapped and displaced by each other symbolize the constant changes in history, the passage
of time and the transience of existence. Even the understanding of the past is in the flux. The
modern writings and formations created on the computer establish a connection to the present
and the possibilities of today's technology and show that the perception of history and culture
depends always on the possibilities and constraints of the present.
'Time Drifts - Words of Berlin' is part of a series of installations, which has been shown in recent
years by Philipp Geist, and which are always re-developed site-specifically and adapted to the
local conditions: In October 2012, Philipp Geist showed the installation on the entire Potsdamer
Platz (public square) and the Kolhoff Tower and Renzo Piano Tower skyscrapers. In April 2012
the installation was shown at the Luminale in Frankfurt where it was seen by more than 40,000
visitors and thus the main project of the Luminale 2012. In 2011, Philipp Geist presented the
'Time Drifts' installation in Vancouver at the Jack Poole Plaza, as well as in Montreal on the
Place des Arts in 2010. The 'Timing' installation was shown at the 2009 Glow Festival in
Eindhoven. In the end of 2009, on the occasion of the birthday of the King of Thailand, 2-3
million visitors saw his facade installation at the royal throne in Bangkok. Other projects
include: 'Timelines' at the prestigious Pallazzio delle Esposizioni (Rome, 2007), 'Time Fades'
at the Cultural Forum of Berlin and 'Broken Time Lines' at the old spa Kurhaus Ahrenshoop
(Germany, 2008).
Geist's projects are primarily characterized by their complexity concerning the integration of
space, sound and motion images. His video mapping installations waive screens and transform a
wide range of architectures in moving, picturesque light sculptures which challenge the viewer's
perception of two- and three-dimensionality.
www.alemanha-brasil.org/br/node/8542
www.alemanha-brasil.org/Programme/Dia/2014-05-12
www.alemanha-brasil.org/Programme/Dia/2014-05-15
www.alemanha-brasil.org/Programme/Dia/2014-05-16
---------------
Arte de luz - Instalações de Mapeamento de Vídeo por Philipp Geist no Rio de Janeiro / Brasil
2014 no Cristo Redentor no dia 12 de maio e na favela Santa Marta nos dias 15 e 16 de maio de
2014
Instalação Philipp Geist Ano Alemanha + Brasil 2013/2014
Conceito Time Drifts Maio 2014
No final do ano Alemnaha + Brasil 2013/2014, o artista Philipp Geist (1976, Berlim) desenvolverá
duas instalações de luz no Rio; uma delas será exibida na mundialmente famosa estátua do
Cristo Redentor, e a outra na favela Santa Marta. Para a instalação, o artista traz temas teutobrasileiros
de maneira liberal-artística e poética desenvolvendo instalações de luz em edifícios e
no solo a partir de palavras e conceitos coloridos em Português, Alemão e em outros idiomas
internacionais. A instalação lida com as peculiaridades e realizações culturais de ambos os países
e visualiza as questões de tempo e espaço e de volatilidade e presença no estilo liberal-artístico.
Os dois projetos em questão representam um projeto duplo que é combinado. A instalação na
estátua do Cristo Redentor, como um símbolo do Rio e do Brasil, será gravada e projetada nos
pequenos prédios e barracos da favela. A estátua do Cristo Redentor, que foi erguida para
proteger a cidade e os marinheiros, será então projetada como um símbolo de proteção em uma
favela. A instalação na favela é visto não apenas em uma fachada como uma projeção grande de
cinema ou como uma imagem estática, mas em vários prédios sinuosos, em telhados, no solo e
nas escadas. Desta maneira, o visitante conseguirá ser parte da instalação e imergir e mergulhar
na projeção e na luz. Na favela, será distribuído giz para pintura de rua, e os moradores e
visitantes, tanto jovens quanto velhos, podem escrever e pintar conceitos na rua, no solo, nas
escadas ou até mesmo nas paredes das casas. Os moradores e diversas instituições serão
convidados a contribuir com conceitos e associações que representam o Rio, o Brasil e a
Alemanha.
Para as instalações apresentadas na Luminal em 2012, o artista Philipp Geist ganhou o
'Deutscher Lichtdesign-Preis 2013” (Prêmio Alemão de Desenho de Luz de 2013) na categoria
Arte de Luz. A série Time Drifts caracteriza-se pela forma complexa e sutil de visualizar várias
correntes e vozes em contextos culturais e de oferecer a instituições e aos visitantes a
oportunidade de participar: diferentes personalidades, visitantes e instituições podem ser
contatados antecipadamente para contribuir com termos e associações. Temas atuais, históricos
e culturais serão previamente pesquisados pelo artista e, depois, integrados de uma forma
sensível e sutil. A projeção é realizada sem o uso de telas porque conceitos e associações são
projetados, em grande estilo, sobre a superfície do solo, em diversas frentes e envolvidos em
fumaça. Ao longo de dois dias, a instalação estará em exibição em 15 e 16 de maio na favela, e
em 12 de maio, por um dia, no Cristo Redentor.
Visitantes jovens e velhos podem envolver-se na instalação e traçar ou adicionar palavras com
giz colorido, que será distribuído, e assim participar interativamente na instalação. Desta
maneira, durante a duração da instalação, será desenvolvido um tapete de palavras. As palavras
serão fornecidas, no próprio local, pelos visitantes usando o giz, um meio temporário e volátil.
Philipp Geist desenvolve assim um diálogo entre o local, os visitantes e seu trabalho artístico.
A área de projeção concreta e tangível da arquitetura e os termos estáticos sobre a superfície do
solo representam os fatos e as relíquias visíveis que compõem a nossa compreensão da história. A
área de projeção transparente e sumindo por dentro da fumaça lembra que parte da história não
pode ser preservada e que ela é criada na nossa imaginação individual momentaneamente.
Conceitos são brevemente visíveis, como uma metáfora para a transitoriedade e, logo mais,
desaparecem. Esta interação entre as várias camadas de texto e de imagens no espaço refere-se
à localização e a(s) história(s) do Brasil e da Alemanha e o intercâmbio cultural entre os dois
países. Os próprios visitantes tornam-se parte da instalação: eles imergem na grande projeção
do solo. Desta forma, diferentes perspectivas e experiências de espaço são unidas. Passagens
abstratas que são formadas, sobrepostas e suprimidas pela próxima simbolizam as mudanças
contínuas na história, a passagem do tempo e a transitoriedade da existência. A compreensão do
passado também está no fluxo. As fontes e formações modernas criadas no computador
estabelecem uma conexão com o presente e com as possibilidades da tecnologia de hoje: a
percepção da história e da cultura sempre dependende das capacidades e limitações do
presente.
'Time Drifts - Words of Berlin' faz parte de uma série de instalações, que foram apresentadas
durante os últimos anos por Philipp Geist e que são sempre redesenvolvidas para as condições
locais específicas: em outubro de 2012, Philipp Geist exibiu a instalação em toda a praça
Potsdamer Platz (Berlim) e nos dois arranha-céus Kolhoff Tower (Berlim) e Renzo Piano Tower
(Londres). Em abril de 2012, a instalação foi apresentada no evento da Luminal em Frankfurt
onde foi vista por mais de 40.000 visitantes sendo o principal projeto da Luminal de 2012. Em
2011, Philipp Geist mostrou a instalação Time Drifts na praça Jack Poole Plaza em Vancouver
bem como em Montreal, Canadá, no centro de arte Place des Arts, em 2010. A instalação Timing
foi exibida no Glow Festival de 2009 in Eindhoven, Holanda. No final de 2009 e por ocasião do
aniversário do rei tailandês, aprox. 2 a 3 milhões de visitantes viram a instalação de fachada do
artista no trono real em Banguecoque. Seus outros projetos incluem: Time Lines, no prestigiado
museu Palazzio delle Esposizioni (Roma, 2007); Time Fades, no Fórum Cultural de Berlim;
Broken Time Lines, no antigo spa Kurhaus Ahrenshoop (Alemanha, 2008).
Os projetos de Geist são principalmente caracterizados por sua complexidade na integração de
espaço, som e imagens de movimento. Suas instalações de mapeamento de vídeo renunciam
telas e transformam uma ampla gama de arquiteturas em esculturas móveis e pitorescas que
desafiam a percepção do espectador de duas e três dimensões.
www.alemanha-brasil.org/br/node/8542
www.alemanha-brasil.org/Programme/Dia/2014-05-12
www.alemanha-brasil.org/Programme/Dia/2014-05-15
www.alemanha-brasil.org/Programme/Dia/2014-05-16
---------------
Lichtkunst-VideoMappingInstallationen Philipp Geist in Rio de Janeiro / Brasilien 2014
an der Christstatue (Cristo Redender) 12.5 und in der Favela Santa Marta 15./16.5.2014
Installation Philipp Geist Deutsch-Brasilianisches Jahr 2013/2014
Konzept Time Drifts Mai 2014
Zum Abschluss des Deutsch-Brasilianischen-Jahres 2013/2014 entwickelt der Berliner Künstler
Philipp Geist (1976) zwei Lichtinstallation in Rio d.J.; eine an der weltbekannten Christstatue
(Cristo Redender) und in die andere Installation in der Favela Santa Marta. Bei der Installation
greift der Künstler künstlerisch frei und poetisch deutsch brasilianische Themen auf und
entwickelt eine Gebäude- und Boden-Lichtinstallation aus farbigen Wörtern und Begriffen in
portugiesischer, deutscher, und in weiteren internationalen Sprachen. Die Installation thematisiert
kulturelle Besonderheiten und Errungenschaften beider Länder und visualisiert die Themen Zeit
und Raum, Flüchtigkeit und Präsenz in freien künstlerischen Art. Bei den beiden Projekten handelt
es sich um ein Doppelprojekt welches kombiniert wird. Die Installation auf das Wahrzeichen von
Rio und Brasilien die Christstatue, wird aufgenommen und auf die kleinen Gebäude und Hütten
der Favela projiziert. Die Christstatue die errichtet worden ist um die Stadt und Seeleute zu
schützen, wird so symbolisch schützend über ein Armenviertel die Favela projiziert. Dabei ist die
Installation in der Favela nicht nur auf einer Fassade als große Kinoprojektion oder als statisches
Bild zu sehen, sondern auf mehreren verwinkelten Gebäuden, den Dächern, den Boden und auf
den Stufen. Der Besucher wird vielmehr auf diese Weise selbst Teil der Installation und kann in die
Projektion und das Licht eintauchen und sich einbringen. In der Favela werden Strassenmalkreide
ausgelegt und die Bewohner und Besucher ob jung oder alt können Begriffe auf die Strasse, den
Boden, die Treppenstufen oder sogar auf die Hauswände schreiben und malen. Die Bewohner und
verschiedene Institutionen sollen angesprochen werden Assoziationen und Begriffe die für Rio,
Brasilien und Deutschland stehen einzureichen.
Für die 2012 bei der Luminale gezeigten Installation hat der Künstler Philipp Geist den Deutschen
Lichtdesign-Preis 2013 in der der Kategorie Lichtkunst gewonnen. Die Serie 'Time Drifts' zeichnet
sich aus durch die komplexe und die subtile Möglichkeit, verschiedenste Strömungen und
Stimmen in kulturellen Kontexten sichtbar zu machen und Institutionen und Besuchern die
Möglichkeit zur inhaltlichen Partizipation zu geben: Es können verschiedene Persönlichkeiten,
Besucher und Institute im Vorfeld angesprochen werden, die Begriffe und Assoziationen
beisteuern. Aktuelle und kulturhistorische Themen werden im Vorfeld vom Künstler recherchiert
und auf sensible und subtile Weise integriert. Die Projektion verzichtet auf den Einsatz von
Leinwänden, denn Begriffe und Assoziationen werden grossflächig auf die Bodenfläche, auf
mehrere Fassaden und in Theaternebel projiziert. Über den Zeitraum von 2 Tagen wird die
Installation vor Ort in der Favela am 15/16.Mai und die Installation am Cristo Redentor am 12.Mai
für einen Tag zu sehen sein.!
Kleine, große, junge und alte Besucher können sich einbringen in die Installation und mit farbiger
Straßenmalkreide, die ausgelegt wird, Wörter nachzeichnen und hinzufügen und so interaktiv an
der Installation teilnehmen. Über die Installationsdauer entsteht somit ein Wörterteppich aus
Begriffen, die vor Ort von den Besuchern selbst mittels dem temporären und flüchtigen 'Medium'
der Strassenmalkreide beigesteuert werden. Geist entwickelt auf diese Weise einen Dialog
zwischen dem Ort, den Besuchern und seiner künstlerischen Arbeit. ! !
Die konkrete, greifbare Projektionsfläche der Architektur und die statischen Begriffe auf der
Bodenfläche stehen für die Fakten und sichtbaren Relikte, welche unser Geschichtsverständnis
ausmachen. Die transparente, sich verflüchtigende Projektionsfläche im Nebel erinnert daran,
dass ein Teil der Geschichte nicht konserviert werden kann und im Moment in unserer individuellen
Vorstellung entsteht. Begriffe werden als Metapher für die Vergänglichkeit kurzzeitig sichtbar und
verschwinden sofort wieder. Dieses Zusammenspiel der verschiedenen Text- und Bildschichten im
Raum verweist auf den Ort und die Geschichte(n) Brasiliens und Deutschlands und den kulturellen
Austausch beider Länder. Die Besucher selbst werden Teil der Installation: sie tauchen in die
großflächige Bodenprojektion ein. Auf diese Weise vereinen sich unterschiedliche Perspektiven
und Raumerfahrungen. Abstrakte Passagen, die sich aufbauen, überlagern und gegenseitig
verdrängen, symbolisieren die ständigen Veränderungen in der Geschichte, den Lauf der Zeit und
die Flüchtigkeit des Seins. Auch das Verständnis von der Vergangenheit ist im Fluss. Die
modernen Schriften und Formationen, die am Computer entstanden sind, stellen eine Verbindung
zur Gegenwart und den Möglichkeiten der heutigen Technik her und zeigen, dass die Erfahrbarkeit
von Geschichte und Kultur immer von den Möglichkeiten und Rahmenbedingungen der Gegenwart
abhängig ist.
'Time Drifts - Words of Berlin' ist Teil einer Serie von Installationen, die Philipp Geist in den letzten
Jahren gezeigt hat, und die dabei immer wieder neu an die örtlichen Gegebenheiten ortsspezifisch
weiterentwickelt wird: Im Oktober 2012 zeigte Geist die Installation auf dem gesamten Potsdamer
Platz und den beiden Hochhäusern Kolhoff Tower und Renzo Piano Tower. Im April 2012 wurde die
Installation in Frankfurt auf der Luminale gezeigt, wurde von mehr als 40.000 Besuchern gesehen
und war das Hauptprojekt der Luminale 2012. Im Jahr 2011 zeigte Geist die Installation Time Drifts
in Vancouver am Jack-Poole Plaza, ebenso wie in Montreal am Place des Arts in 2010. Die
Installation 'Timing' war 2009 auf dem Glow Festival in Eindhoven zu sehen. Ende 2009 sahen
anlässlich des Geburtstages des thailändischen Königs ca. 2-3 Millionen Besucher seine
Fassadeninstallation am königlichen Thron in Bangkok. Andere Projekte waren u.a.: 'Time Lines'
am renommierten Museum delle Esposizioni (2007), 'Time Fades' am Berliner Kulturforum,
'Broken Time Lines' am alten Kurhaus Ahrenshoop (2008).
Geists Projekte sind in erster Linie gekennzeichnet durch ihre Komplexität in der Integration von
Raum, Ton und Bewegbild. Seine Video-Mapping-Installationen verzichten auf Leinwände und
verwandeln verschiedenste Architekturen in bewegte, malerische Lichtskulpturen, die die
Wahrnehmung der Betrachter von Zwei- und Dreidimensionalität herausfordern.
Video Mapping Philipp Geist_Ano da Alemanha no Brasil - Cristo Redentor 2014
Photo by Fred Pacífico
©2014 Philipp Geist / VG BIldkunst Bonn
Rio de Janeiro / Brazil 2014
Christ statue (Cristo Redentor) – May 12
Dona Marta favela – May 15 and 16,2014
Light Art-Video-Mapping-Installations Philipp Geist in Rio de Janeiro / Brazil 2014
on the Christ statue (Cristo Redentor) - May 12 and in the Dona Marta favela - May 15 and 16,
2014
Installation Philipp Geist Year of Germany in Brazil 2013/2014
Concept Time Drifts May 2014
At the end of the Year of Germany in Brazil 2013/2014, the artist Philipp Geist (Berlin, 1976)
develops two light installations in Rio this year; the first one on the world-famous Christ statue
(Cristo Redentor) and the other installation in the Santa Marta favela. For the installation the
artist presents artistic-liberal and poetic German and Brazilian themes and develops a building
and floor light installation of colored words and phrases in Portuguese, German, and in other
international languages. The installation deals with cultural characteristics and achievements of
both countries and visualizes the issues of time and space, volatility and presence in a free
artistic style. The two projects are in fact a double project which is combined. The installation
on the symbol of Rio and Brazil, the Christ statue, is recorded and projected onto the small
buildings and huts of the favela. The Christ statue, which has been built to protect the city and
the sailors, is symbolically projected on the shantytown, the favela, in a protective way. The
installation in the favela will be seen not only on a facade as a large cinema projection or as a
static image, but on several winding buildings, the roofs, the floor and on the steps. Thus, the
visitor becomes a part of the installation and can immerse into the projection and the light and
introduce himself. Chalk crayons are put out on the streets in the favela and the young and old
residents and visitors can write and paint words on the street, the ground, the stairs or even on
the house walls. The residents and several institutions should be addressed to submit words and
associations dealing with Rio, Brazil and Germany.
For the installation, which was shown at the Luminale in 2012, the artist Philipp Geist won the
German Lighting Design Award 2013 (Deutscher Lichtdesign-Preis 2013) in the category Light Art.
The series 'Time Drifts' is characterized by the complex and subtle way of visualizing various
currents and voices in cultural contexts and to provide institutions and visitors with the
opportunity of substantive participation: different personalities, visitors and institutions may be
addressed in advance and then contribute words and associations. Current and historico-cultural
topics are researched in advance by the artist and then integrated in a sensitive and subtle way.
The projection dismisses the use of screens, because concepts and associations are projected on
a large area onto the floor surface on several facades and in theater fog. Over the course of two
days, the installation can be seen on-site in the favela on May 15 and 16 and on the Cristo
Redentor on May 12 for a day.
Short, tall, young and old visitors can interactively participate in the installation by tracing and
adding words with colored chalk crayons available on the streets. Thus, over the period of the
installation, a carpet of words is evolved with terms that are contributed locally by the visitors
by means of the temporary and volatile 'medium' of chalk crayons. Philipp Geist develops in this
way a dialogue between the place, the visitors and his artistic work.
The concrete, tangible projection of the architecture and the static terms on the floor area
represents the facts and visible relics that are responsible for our understanding of history. The
transparent and volatile projection in the fog reminds us that part of the history can not be
preserved and that it is created in our individual imagination in a single moment. Words are
briefly visible as a metaphor for transience and then disappear again. This interplay of the
various text and image layers in the space refers to the location and the history/-ies of Brazil
and Germany and the cultural exchange between the two countries. The visitors themselves are
part of the installation: they dive into the large floor projection. In this way, different
perspectives and experiences of space are unified. Abstract passages which are created, then
overlapped and displaced by each other symbolize the constant changes in history, the passage
of time and the transience of existence. Even the understanding of the past is in the flux. The
modern writings and formations created on the computer establish a connection to the present
and the possibilities of today's technology and show that the perception of history and culture
depends always on the possibilities and constraints of the present.
'Time Drifts - Words of Berlin' is part of a series of installations, which has been shown in recent
years by Philipp Geist, and which are always re-developed site-specifically and adapted to the
local conditions: In October 2012, Philipp Geist showed the installation on the entire Potsdamer
Platz (public square) and the Kolhoff Tower and Renzo Piano Tower skyscrapers. In April 2012
the installation was shown at the Luminale in Frankfurt where it was seen by more than 40,000
visitors and thus the main project of the Luminale 2012. In 2011, Philipp Geist presented the
'Time Drifts' installation in Vancouver at the Jack Poole Plaza, as well as in Montreal on the
Place des Arts in 2010. The 'Timing' installation was shown at the 2009 Glow Festival in
Eindhoven. In the end of 2009, on the occasion of the birthday of the King of Thailand, 2-3
million visitors saw his facade installation at the royal throne in Bangkok. Other projects
include: 'Timelines' at the prestigious Pallazzio delle Esposizioni (Rome, 2007), 'Time Fades'
at the Cultural Forum of Berlin and 'Broken Time Lines' at the old spa Kurhaus Ahrenshoop
(Germany, 2008).
Geist's projects are primarily characterized by their complexity concerning the integration of
space, sound and motion images. His video mapping installations waive screens and transform a
wide range of architectures in moving, picturesque light sculptures which challenge the viewer's
perception of two- and three-dimensionality.
www.alemanha-brasil.org/br/node/8542
www.alemanha-brasil.org/Programme/Dia/2014-05-12
www.alemanha-brasil.org/Programme/Dia/2014-05-15
www.alemanha-brasil.org/Programme/Dia/2014-05-16
---------------
Arte de luz - Instalações de Mapeamento de Vídeo por Philipp Geist no Rio de Janeiro / Brasil
2014 no Cristo Redentor no dia 12 de maio e na favela Santa Marta nos dias 15 e 16 de maio de
2014
Instalação Philipp Geist Ano Alemanha + Brasil 2013/2014
Conceito Time Drifts Maio 2014
No final do ano Alemnaha + Brasil 2013/2014, o artista Philipp Geist (1976, Berlim) desenvolverá
duas instalações de luz no Rio; uma delas será exibida na mundialmente famosa estátua do
Cristo Redentor, e a outra na favela Santa Marta. Para a instalação, o artista traz temas teutobrasileiros
de maneira liberal-artística e poética desenvolvendo instalações de luz em edifícios e
no solo a partir de palavras e conceitos coloridos em Português, Alemão e em outros idiomas
internacionais. A instalação lida com as peculiaridades e realizações culturais de ambos os países
e visualiza as questões de tempo e espaço e de volatilidade e presença no estilo liberal-artístico.
Os dois projetos em questão representam um projeto duplo que é combinado. A instalação na
estátua do Cristo Redentor, como um símbolo do Rio e do Brasil, será gravada e projetada nos
pequenos prédios e barracos da favela. A estátua do Cristo Redentor, que foi erguida para
proteger a cidade e os marinheiros, será então projetada como um símbolo de proteção em uma
favela. A instalação na favela é visto não apenas em uma fachada como uma projeção grande de
cinema ou como uma imagem estática, mas em vários prédios sinuosos, em telhados, no solo e
nas escadas. Desta maneira, o visitante conseguirá ser parte da instalação e imergir e mergulhar
na projeção e na luz. Na favela, será distribuído giz para pintura de rua, e os moradores e
visitantes, tanto jovens quanto velhos, podem escrever e pintar conceitos na rua, no solo, nas
escadas ou até mesmo nas paredes das casas. Os moradores e diversas instituições serão
convidados a contribuir com conceitos e associações que representam o Rio, o Brasil e a
Alemanha.
Para as instalações apresentadas na Luminal em 2012, o artista Philipp Geist ganhou o
'Deutscher Lichtdesign-Preis 2013” (Prêmio Alemão de Desenho de Luz de 2013) na categoria
Arte de Luz. A série Time Drifts caracteriza-se pela forma complexa e sutil de visualizar várias
correntes e vozes em contextos culturais e de oferecer a instituições e aos visitantes a
oportunidade de participar: diferentes personalidades, visitantes e instituições podem ser
contatados antecipadamente para contribuir com termos e associações. Temas atuais, históricos
e culturais serão previamente pesquisados pelo artista e, depois, integrados de uma forma
sensível e sutil. A projeção é realizada sem o uso de telas porque conceitos e associações são
projetados, em grande estilo, sobre a superfície do solo, em diversas frentes e envolvidos em
fumaça. Ao longo de dois dias, a instalação estará em exibição em 15 e 16 de maio na favela, e
em 12 de maio, por um dia, no Cristo Redentor.
Visitantes jovens e velhos podem envolver-se na instalação e traçar ou adicionar palavras com
giz colorido, que será distribuído, e assim participar interativamente na instalação. Desta
maneira, durante a duração da instalação, será desenvolvido um tapete de palavras. As palavras
serão fornecidas, no próprio local, pelos visitantes usando o giz, um meio temporário e volátil.
Philipp Geist desenvolve assim um diálogo entre o local, os visitantes e seu trabalho artístico.
A área de projeção concreta e tangível da arquitetura e os termos estáticos sobre a superfície do
solo representam os fatos e as relíquias visíveis que compõem a nossa compreensão da história. A
área de projeção transparente e sumindo por dentro da fumaça lembra que parte da história não
pode ser preservada e que ela é criada na nossa imaginação individual momentaneamente.
Conceitos são brevemente visíveis, como uma metáfora para a transitoriedade e, logo mais,
desaparecem. Esta interação entre as várias camadas de texto e de imagens no espaço refere-se
à localização e a(s) história(s) do Brasil e da Alemanha e o intercâmbio cultural entre os dois
países. Os próprios visitantes tornam-se parte da instalação: eles imergem na grande projeção
do solo. Desta forma, diferentes perspectivas e experiências de espaço são unidas. Passagens
abstratas que são formadas, sobrepostas e suprimidas pela próxima simbolizam as mudanças
contínuas na história, a passagem do tempo e a transitoriedade da existência. A compreensão do
passado também está no fluxo. As fontes e formações modernas criadas no computador
estabelecem uma conexão com o presente e com as possibilidades da tecnologia de hoje: a
percepção da história e da cultura sempre dependende das capacidades e limitações do
presente.
'Time Drifts - Words of Berlin' faz parte de uma série de instalações, que foram apresentadas
durante os últimos anos por Philipp Geist e que são sempre redesenvolvidas para as condições
locais específicas: em outubro de 2012, Philipp Geist exibiu a instalação em toda a praça
Potsdamer Platz (Berlim) e nos dois arranha-céus Kolhoff Tower (Berlim) e Renzo Piano Tower
(Londres). Em abril de 2012, a instalação foi apresentada no evento da Luminal em Frankfurt
onde foi vista por mais de 40.000 visitantes sendo o principal projeto da Luminal de 2012. Em
2011, Philipp Geist mostrou a instalação Time Drifts na praça Jack Poole Plaza em Vancouver
bem como em Montreal, Canadá, no centro de arte Place des Arts, em 2010. A instalação Timing
foi exibida no Glow Festival de 2009 in Eindhoven, Holanda. No final de 2009 e por ocasião do
aniversário do rei tailandês, aprox. 2 a 3 milhões de visitantes viram a instalação de fachada do
artista no trono real em Banguecoque. Seus outros projetos incluem: Time Lines, no prestigiado
museu Palazzio delle Esposizioni (Roma, 2007); Time Fades, no Fórum Cultural de Berlim;
Broken Time Lines, no antigo spa Kurhaus Ahrenshoop (Alemanha, 2008).
Os projetos de Geist são principalmente caracterizados por sua complexidade na integração de
espaço, som e imagens de movimento. Suas instalações de mapeamento de vídeo renunciam
telas e transformam uma ampla gama de arquiteturas em esculturas móveis e pitorescas que
desafiam a percepção do espectador de duas e três dimensões.
www.alemanha-brasil.org/br/node/8542
www.alemanha-brasil.org/Programme/Dia/2014-05-12
www.alemanha-brasil.org/Programme/Dia/2014-05-15
www.alemanha-brasil.org/Programme/Dia/2014-05-16
---------------
Lichtkunst-VideoMappingInstallationen Philipp Geist in Rio de Janeiro / Brasilien 2014
an der Christstatue (Cristo Redender) 12.5 und in der Favela Santa Marta 15./16.5.2014
Installation Philipp Geist Deutsch-Brasilianisches Jahr 2013/2014
Konzept Time Drifts Mai 2014
Zum Abschluss des Deutsch-Brasilianischen-Jahres 2013/2014 entwickelt der Berliner Künstler
Philipp Geist (1976) zwei Lichtinstallation in Rio d.J.; eine an der weltbekannten Christstatue
(Cristo Redender) und in die andere Installation in der Favela Santa Marta. Bei der Installation
greift der Künstler künstlerisch frei und poetisch deutsch brasilianische Themen auf und
entwickelt eine Gebäude- und Boden-Lichtinstallation aus farbigen Wörtern und Begriffen in
portugiesischer, deutscher, und in weiteren internationalen Sprachen. Die Installation thematisiert
kulturelle Besonderheiten und Errungenschaften beider Länder und visualisiert die Themen Zeit
und Raum, Flüchtigkeit und Präsenz in freien künstlerischen Art. Bei den beiden Projekten handelt
es sich um ein Doppelprojekt welches kombiniert wird. Die Installation auf das Wahrzeichen von
Rio und Brasilien die Christstatue, wird aufgenommen und auf die kleinen Gebäude und Hütten
der Favela projiziert. Die Christstatue die errichtet worden ist um die Stadt und Seeleute zu
schützen, wird so symbolisch schützend über ein Armenviertel die Favela projiziert. Dabei ist die
Installation in der Favela nicht nur auf einer Fassade als große Kinoprojektion oder als statisches
Bild zu sehen, sondern auf mehreren verwinkelten Gebäuden, den Dächern, den Boden und auf
den Stufen. Der Besucher wird vielmehr auf diese Weise selbst Teil der Installation und kann in die
Projektion und das Licht eintauchen und sich einbringen. In der Favela werden Strassenmalkreide
ausgelegt und die Bewohner und Besucher ob jung oder alt können Begriffe auf die Strasse, den
Boden, die Treppenstufen oder sogar auf die Hauswände schreiben und malen. Die Bewohner und
verschiedene Institutionen sollen angesprochen werden Assoziationen und Begriffe die für Rio,
Brasilien und Deutschland stehen einzureichen.
Für die 2012 bei der Luminale gezeigten Installation hat der Künstler Philipp Geist den Deutschen
Lichtdesign-Preis 2013 in der der Kategorie Lichtkunst gewonnen. Die Serie 'Time Drifts' zeichnet
sich aus durch die komplexe und die subtile Möglichkeit, verschiedenste Strömungen und
Stimmen in kulturellen Kontexten sichtbar zu machen und Institutionen und Besuchern die
Möglichkeit zur inhaltlichen Partizipation zu geben: Es können verschiedene Persönlichkeiten,
Besucher und Institute im Vorfeld angesprochen werden, die Begriffe und Assoziationen
beisteuern. Aktuelle und kulturhistorische Themen werden im Vorfeld vom Künstler recherchiert
und auf sensible und subtile Weise integriert. Die Projektion verzichtet auf den Einsatz von
Leinwänden, denn Begriffe und Assoziationen werden grossflächig auf die Bodenfläche, auf
mehrere Fassaden und in Theaternebel projiziert. Über den Zeitraum von 2 Tagen wird die
Installation vor Ort in der Favela am 15/16.Mai und die Installation am Cristo Redentor am 12.Mai
für einen Tag zu sehen sein.!
Kleine, große, junge und alte Besucher können sich einbringen in die Installation und mit farbiger
Straßenmalkreide, die ausgelegt wird, Wörter nachzeichnen und hinzufügen und so interaktiv an
der Installation teilnehmen. Über die Installationsdauer entsteht somit ein Wörterteppich aus
Begriffen, die vor Ort von den Besuchern selbst mittels dem temporären und flüchtigen 'Medium'
der Strassenmalkreide beigesteuert werden. Geist entwickelt auf diese Weise einen Dialog
zwischen dem Ort, den Besuchern und seiner künstlerischen Arbeit. ! !
Die konkrete, greifbare Projektionsfläche der Architektur und die statischen Begriffe auf der
Bodenfläche stehen für die Fakten und sichtbaren Relikte, welche unser Geschichtsverständnis
ausmachen. Die transparente, sich verflüchtigende Projektionsfläche im Nebel erinnert daran,
dass ein Teil der Geschichte nicht konserviert werden kann und im Moment in unserer individuellen
Vorstellung entsteht. Begriffe werden als Metapher für die Vergänglichkeit kurzzeitig sichtbar und
verschwinden sofort wieder. Dieses Zusammenspiel der verschiedenen Text- und Bildschichten im
Raum verweist auf den Ort und die Geschichte(n) Brasiliens und Deutschlands und den kulturellen
Austausch beider Länder. Die Besucher selbst werden Teil der Installation: sie tauchen in die
großflächige Bodenprojektion ein. Auf diese Weise vereinen sich unterschiedliche Perspektiven
und Raumerfahrungen. Abstrakte Passagen, die sich aufbauen, überlagern und gegenseitig
verdrängen, symbolisieren die ständigen Veränderungen in der Geschichte, den Lauf der Zeit und
die Flüchtigkeit des Seins. Auch das Verständnis von der Vergangenheit ist im Fluss. Die
modernen Schriften und Formationen, die am Computer entstanden sind, stellen eine Verbindung
zur Gegenwart und den Möglichkeiten der heutigen Technik her und zeigen, dass die Erfahrbarkeit
von Geschichte und Kultur immer von den Möglichkeiten und Rahmenbedingungen der Gegenwart
abhängig ist.
'Time Drifts - Words of Berlin' ist Teil einer Serie von Installationen, die Philipp Geist in den letzten
Jahren gezeigt hat, und die dabei immer wieder neu an die örtlichen Gegebenheiten ortsspezifisch
weiterentwickelt wird: Im Oktober 2012 zeigte Geist die Installation auf dem gesamten Potsdamer
Platz und den beiden Hochhäusern Kolhoff Tower und Renzo Piano Tower. Im April 2012 wurde die
Installation in Frankfurt auf der Luminale gezeigt, wurde von mehr als 40.000 Besuchern gesehen
und war das Hauptprojekt der Luminale 2012. Im Jahr 2011 zeigte Geist die Installation Time Drifts
in Vancouver am Jack-Poole Plaza, ebenso wie in Montreal am Place des Arts in 2010. Die
Installation 'Timing' war 2009 auf dem Glow Festival in Eindhoven zu sehen. Ende 2009 sahen
anlässlich des Geburtstages des thailändischen Königs ca. 2-3 Millionen Besucher seine
Fassadeninstallation am königlichen Thron in Bangkok. Andere Projekte waren u.a.: 'Time Lines'
am renommierten Museum delle Esposizioni (2007), 'Time Fades' am Berliner Kulturforum,
'Broken Time Lines' am alten Kurhaus Ahrenshoop (2008).
Geists Projekte sind in erster Linie gekennzeichnet durch ihre Komplexität in der Integration von
Raum, Ton und Bewegbild. Seine Video-Mapping-Installationen verzichten auf Leinwände und
verwandeln verschiedenste Architekturen in bewegte, malerische Lichtskulpturen, die die
Wahrnehmung der Betrachter von Zwei- und Dreidimensionalität herausfordern.
Video Mapping Philipp Geist_Ano da Alemanha no Brasil - Cristo Redentor 2014
Photo by Fred Pacífico
©2014 Philipp Geist / VG BIldkunst Bonn
Rio de Janeiro / Brazil 2014
Christ statue (Cristo Redentor) – May 12
Dona Marta favela – May 15 and 16,2014
Light Art-Video-Mapping-Installations Philipp Geist in Rio de Janeiro / Brazil 2014
on the Christ statue (Cristo Redentor) - May 12 and in the Dona Marta favela - May 15 and 16,
2014
Installation Philipp Geist Year of Germany in Brazil 2013/2014
Concept Time Drifts May 2014
At the end of the Year of Germany in Brazil 2013/2014, the artist Philipp Geist (Berlin, 1976)
develops two light installations in Rio this year; the first one on the world-famous Christ statue
(Cristo Redentor) and the other installation in the Santa Marta favela. For the installation the
artist presents artistic-liberal and poetic German and Brazilian themes and develops a building
and floor light installation of colored words and phrases in Portuguese, German, and in other
international languages. The installation deals with cultural characteristics and achievements of
both countries and visualizes the issues of time and space, volatility and presence in a free
artistic style. The two projects are in fact a double project which is combined. The installation
on the symbol of Rio and Brazil, the Christ statue, is recorded and projected onto the small
buildings and huts of the favela. The Christ statue, which has been built to protect the city and
the sailors, is symbolically projected on the shantytown, the favela, in a protective way. The
installation in the favela will be seen not only on a facade as a large cinema projection or as a
static image, but on several winding buildings, the roofs, the floor and on the steps. Thus, the
visitor becomes a part of the installation and can immerse into the projection and the light and
introduce himself. Chalk crayons are put out on the streets in the favela and the young and old
residents and visitors can write and paint words on the street, the ground, the stairs or even on
the house walls. The residents and several institutions should be addressed to submit words and
associations dealing with Rio, Brazil and Germany.
For the installation, which was shown at the Luminale in 2012, the artist Philipp Geist won the
German Lighting Design Award 2013 (Deutscher Lichtdesign-Preis 2013) in the category Light Art.
The series 'Time Drifts' is characterized by the complex and subtle way of visualizing various
currents and voices in cultural contexts and to provide institutions and visitors with the
opportunity of substantive participation: different personalities, visitors and institutions may be
addressed in advance and then contribute words and associations. Current and historico-cultural
topics are researched in advance by the artist and then integrated in a sensitive and subtle way.
The projection dismisses the use of screens, because concepts and associations are projected on
a large area onto the floor surface on several facades and in theater fog. Over the course of two
days, the installation can be seen on-site in the favela on May 15 and 16 and on the Cristo
Redentor on May 12 for a day.
Short, tall, young and old visitors can interactively participate in the installation by tracing and
adding words with colored chalk crayons available on the streets. Thus, over the period of the
installation, a carpet of words is evolved with terms that are contributed locally by the visitors
by means of the temporary and volatile 'medium' of chalk crayons. Philipp Geist develops in this
way a dialogue between the place, the visitors and his artistic work.
The concrete, tangible projection of the architecture and the static terms on the floor area
represents the facts and visible relics that are responsible for our understanding of history. The
transparent and volatile projection in the fog reminds us that part of the history can not be
preserved and that it is created in our individual imagination in a single moment. Words are
briefly visible as a metaphor for transience and then disappear again. This interplay of the
various text and image layers in the space refers to the location and the history/-ies of Brazil
and Germany and the cultural exchange between the two countries. The visitors themselves are
part of the installation: they dive into the large floor projection. In this way, different
perspectives and experiences of space are unified. Abstract passages which are created, then
overlapped and displaced by each other symbolize the constant changes in history, the passage
of time and the transience of existence. Even the understanding of the past is in the flux. The
modern writings and formations created on the computer establish a connection to the present
and the possibilities of today's technology and show that the perception of history and culture
depends always on the possibilities and constraints of the present.
'Time Drifts - Words of Berlin' is part of a series of installations, which has been shown in recent
years by Philipp Geist, and which are always re-developed site-specifically and adapted to the
local conditions: In October 2012, Philipp Geist showed the installation on the entire Potsdamer
Platz (public square) and the Kolhoff Tower and Renzo Piano Tower skyscrapers. In April 2012
the installation was shown at the Luminale in Frankfurt where it was seen by more than 40,000
visitors and thus the main project of the Luminale 2012. In 2011, Philipp Geist presented the
'Time Drifts' installation in Vancouver at the Jack Poole Plaza, as well as in Montreal on the
Place des Arts in 2010. The 'Timing' installation was shown at the 2009 Glow Festival in
Eindhoven. In the end of 2009, on the occasion of the birthday of the King of Thailand, 2-3
million visitors saw his facade installation at the royal throne in Bangkok. Other projects
include: 'Timelines' at the prestigious Pallazzio delle Esposizioni (Rome, 2007), 'Time Fades'
at the Cultural Forum of Berlin and 'Broken Time Lines' at the old spa Kurhaus Ahrenshoop
(Germany, 2008).
Geist's projects are primarily characterized by their complexity concerning the integration of
space, sound and motion images. His video mapping installations waive screens and transform a
wide range of architectures in moving, picturesque light sculptures which challenge the viewer's
perception of two- and three-dimensionality.
www.alemanha-brasil.org/br/node/8542
www.alemanha-brasil.org/Programme/Dia/2014-05-12
www.alemanha-brasil.org/Programme/Dia/2014-05-15
www.alemanha-brasil.org/Programme/Dia/2014-05-16
---------------
Arte de luz - Instalações de Mapeamento de Vídeo por Philipp Geist no Rio de Janeiro / Brasil
2014 no Cristo Redentor no dia 12 de maio e na favela Santa Marta nos dias 15 e 16 de maio de
2014
Instalação Philipp Geist Ano Alemanha + Brasil 2013/2014
Conceito Time Drifts Maio 2014
No final do ano Alemnaha + Brasil 2013/2014, o artista Philipp Geist (1976, Berlim) desenvolverá
duas instalações de luz no Rio; uma delas será exibida na mundialmente famosa estátua do
Cristo Redentor, e a outra na favela Santa Marta. Para a instalação, o artista traz temas teutobrasileiros
de maneira liberal-artística e poética desenvolvendo instalações de luz em edifícios e
no solo a partir de palavras e conceitos coloridos em Português, Alemão e em outros idiomas
internacionais. A instalação lida com as peculiaridades e realizações culturais de ambos os países
e visualiza as questões de tempo e espaço e de volatilidade e presença no estilo liberal-artístico.
Os dois projetos em questão representam um projeto duplo que é combinado. A instalação na
estátua do Cristo Redentor, como um símbolo do Rio e do Brasil, será gravada e projetada nos
pequenos prédios e barracos da favela. A estátua do Cristo Redentor, que foi erguida para
proteger a cidade e os marinheiros, será então projetada como um símbolo de proteção em uma
favela. A instalação na favela é visto não apenas em uma fachada como uma projeção grande de
cinema ou como uma imagem estática, mas em vários prédios sinuosos, em telhados, no solo e
nas escadas. Desta maneira, o visitante conseguirá ser parte da instalação e imergir e mergulhar
na projeção e na luz. Na favela, será distribuído giz para pintura de rua, e os moradores e
visitantes, tanto jovens quanto velhos, podem escrever e pintar conceitos na rua, no solo, nas
escadas ou até mesmo nas paredes das casas. Os moradores e diversas instituições serão
convidados a contribuir com conceitos e associações que representam o Rio, o Brasil e a
Alemanha.
Para as instalações apresentadas na Luminal em 2012, o artista Philipp Geist ganhou o
'Deutscher Lichtdesign-Preis 2013” (Prêmio Alemão de Desenho de Luz de 2013) na categoria
Arte de Luz. A série Time Drifts caracteriza-se pela forma complexa e sutil de visualizar várias
correntes e vozes em contextos culturais e de oferecer a instituições e aos visitantes a
oportunidade de participar: diferentes personalidades, visitantes e instituições podem ser
contatados antecipadamente para contribuir com termos e associações. Temas atuais, históricos
e culturais serão previamente pesquisados pelo artista e, depois, integrados de uma forma
sensível e sutil. A projeção é realizada sem o uso de telas porque conceitos e associações são
projetados, em grande estilo, sobre a superfície do solo, em diversas frentes e envolvidos em
fumaça. Ao longo de dois dias, a instalação estará em exibição em 15 e 16 de maio na favela, e
em 12 de maio, por um dia, no Cristo Redentor.
Visitantes jovens e velhos podem envolver-se na instalação e traçar ou adicionar palavras com
giz colorido, que será distribuído, e assim participar interativamente na instalação. Desta
maneira, durante a duração da instalação, será desenvolvido um tapete de palavras. As palavras
serão fornecidas, no próprio local, pelos visitantes usando o giz, um meio temporário e volátil.
Philipp Geist desenvolve assim um diálogo entre o local, os visitantes e seu trabalho artístico.
A área de projeção concreta e tangível da arquitetura e os termos estáticos sobre a superfície do
solo representam os fatos e as relíquias visíveis que compõem a nossa compreensão da história. A
área de projeção transparente e sumindo por dentro da fumaça lembra que parte da história não
pode ser preservada e que ela é criada na nossa imaginação individual momentaneamente.
Conceitos são brevemente visíveis, como uma metáfora para a transitoriedade e, logo mais,
desaparecem. Esta interação entre as várias camadas de texto e de imagens no espaço refere-se
à localização e a(s) história(s) do Brasil e da Alemanha e o intercâmbio cultural entre os dois
países. Os próprios visitantes tornam-se parte da instalação: eles imergem na grande projeção
do solo. Desta forma, diferentes perspectivas e experiências de espaço são unidas. Passagens
abstratas que são formadas, sobrepostas e suprimidas pela próxima simbolizam as mudanças
contínuas na história, a passagem do tempo e a transitoriedade da existência. A compreensão do
passado também está no fluxo. As fontes e formações modernas criadas no computador
estabelecem uma conexão com o presente e com as possibilidades da tecnologia de hoje: a
percepção da história e da cultura sempre dependende das capacidades e limitações do
presente.
'Time Drifts - Words of Berlin' faz parte de uma série de instalações, que foram apresentadas
durante os últimos anos por Philipp Geist e que são sempre redesenvolvidas para as condições
locais específicas: em outubro de 2012, Philipp Geist exibiu a instalação em toda a praça
Potsdamer Platz (Berlim) e nos dois arranha-céus Kolhoff Tower (Berlim) e Renzo Piano Tower
(Londres). Em abril de 2012, a instalação foi apresentada no evento da Luminal em Frankfurt
onde foi vista por mais de 40.000 visitantes sendo o principal projeto da Luminal de 2012. Em
2011, Philipp Geist mostrou a instalação Time Drifts na praça Jack Poole Plaza em Vancouver
bem como em Montreal, Canadá, no centro de arte Place des Arts, em 2010. A instalação Timing
foi exibida no Glow Festival de 2009 in Eindhoven, Holanda. No final de 2009 e por ocasião do
aniversário do rei tailandês, aprox. 2 a 3 milhões de visitantes viram a instalação de fachada do
artista no trono real em Banguecoque. Seus outros projetos incluem: Time Lines, no prestigiado
museu Palazzio delle Esposizioni (Roma, 2007); Time Fades, no Fórum Cultural de Berlim;
Broken Time Lines, no antigo spa Kurhaus Ahrenshoop (Alemanha, 2008).
Os projetos de Geist são principalmente caracterizados por sua complexidade na integração de
espaço, som e imagens de movimento. Suas instalações de mapeamento de vídeo renunciam
telas e transformam uma ampla gama de arquiteturas em esculturas móveis e pitorescas que
desafiam a percepção do espectador de duas e três dimensões.
www.alemanha-brasil.org/br/node/8542
www.alemanha-brasil.org/Programme/Dia/2014-05-12
www.alemanha-brasil.org/Programme/Dia/2014-05-15
www.alemanha-brasil.org/Programme/Dia/2014-05-16
---------------
Lichtkunst-VideoMappingInstallationen Philipp Geist in Rio de Janeiro / Brasilien 2014
an der Christstatue (Cristo Redender) 12.5 und in der Favela Santa Marta 15./16.5.2014
Installation Philipp Geist Deutsch-Brasilianisches Jahr 2013/2014
Konzept Time Drifts Mai 2014
Zum Abschluss des Deutsch-Brasilianischen-Jahres 2013/2014 entwickelt der Berliner Künstler
Philipp Geist (1976) zwei Lichtinstallation in Rio d.J.; eine an der weltbekannten Christstatue
(Cristo Redender) und in die andere Installation in der Favela Santa Marta. Bei der Installation
greift der Künstler künstlerisch frei und poetisch deutsch brasilianische Themen auf und
entwickelt eine Gebäude- und Boden-Lichtinstallation aus farbigen Wörtern und Begriffen in
portugiesischer, deutscher, und in weiteren internationalen Sprachen. Die Installation thematisiert
kulturelle Besonderheiten und Errungenschaften beider Länder und visualisiert die Themen Zeit
und Raum, Flüchtigkeit und Präsenz in freien künstlerischen Art. Bei den beiden Projekten handelt
es sich um ein Doppelprojekt welches kombiniert wird. Die Installation auf das Wahrzeichen von
Rio und Brasilien die Christstatue, wird aufgenommen und auf die kleinen Gebäude und Hütten
der Favela projiziert. Die Christstatue die errichtet worden ist um die Stadt und Seeleute zu
schützen, wird so symbolisch schützend über ein Armenviertel die Favela projiziert. Dabei ist die
Installation in der Favela nicht nur auf einer Fassade als große Kinoprojektion oder als statisches
Bild zu sehen, sondern auf mehreren verwinkelten Gebäuden, den Dächern, den Boden und auf
den Stufen. Der Besucher wird vielmehr auf diese Weise selbst Teil der Installation und kann in die
Projektion und das Licht eintauchen und sich einbringen. In der Favela werden Strassenmalkreide
ausgelegt und die Bewohner und Besucher ob jung oder alt können Begriffe auf die Strasse, den
Boden, die Treppenstufen oder sogar auf die Hauswände schreiben und malen. Die Bewohner und
verschiedene Institutionen sollen angesprochen werden Assoziationen und Begriffe die für Rio,
Brasilien und Deutschland stehen einzureichen.
Für die 2012 bei der Luminale gezeigten Installation hat der Künstler Philipp Geist den Deutschen
Lichtdesign-Preis 2013 in der der Kategorie Lichtkunst gewonnen. Die Serie 'Time Drifts' zeichnet
sich aus durch die komplexe und die subtile Möglichkeit, verschiedenste Strömungen und
Stimmen in kulturellen Kontexten sichtbar zu machen und Institutionen und Besuchern die
Möglichkeit zur inhaltlichen Partizipation zu geben: Es können verschiedene Persönlichkeiten,
Besucher und Institute im Vorfeld angesprochen werden, die Begriffe und Assoziationen
beisteuern. Aktuelle und kulturhistorische Themen werden im Vorfeld vom Künstler recherchiert
und auf sensible und subtile Weise integriert. Die Projektion verzichtet auf den Einsatz von
Leinwänden, denn Begriffe und Assoziationen werden grossflächig auf die Bodenfläche, auf
mehrere Fassaden und in Theaternebel projiziert. Über den Zeitraum von 2 Tagen wird die
Installation vor Ort in der Favela am 15/16.Mai und die Installation am Cristo Redentor am 12.Mai
für einen Tag zu sehen sein.!
Kleine, große, junge und alte Besucher können sich einbringen in die Installation und mit farbiger
Straßenmalkreide, die ausgelegt wird, Wörter nachzeichnen und hinzufügen und so interaktiv an
der Installation teilnehmen. Über die Installationsdauer entsteht somit ein Wörterteppich aus
Begriffen, die vor Ort von den Besuchern selbst mittels dem temporären und flüchtigen 'Medium'
der Strassenmalkreide beigesteuert werden. Geist entwickelt auf diese Weise einen Dialog
zwischen dem Ort, den Besuchern und seiner künstlerischen Arbeit. ! !
Die konkrete, greifbare Projektionsfläche der Architektur und die statischen Begriffe auf der
Bodenfläche stehen für die Fakten und sichtbaren Relikte, welche unser Geschichtsverständnis
ausmachen. Die transparente, sich verflüchtigende Projektionsfläche im Nebel erinnert daran,
dass ein Teil der Geschichte nicht konserviert werden kann und im Moment in unserer individuellen
Vorstellung entsteht. Begriffe werden als Metapher für die Vergänglichkeit kurzzeitig sichtbar und
verschwinden sofort wieder. Dieses Zusammenspiel der verschiedenen Text- und Bildschichten im
Raum verweist auf den Ort und die Geschichte(n) Brasiliens und Deutschlands und den kulturellen
Austausch beider Länder. Die Besucher selbst werden Teil der Installation: sie tauchen in die
großflächige Bodenprojektion ein. Auf diese Weise vereinen sich unterschiedliche Perspektiven
und Raumerfahrungen. Abstrakte Passagen, die sich aufbauen, überlagern und gegenseitig
verdrängen, symbolisieren die ständigen Veränderungen in der Geschichte, den Lauf der Zeit und
die Flüchtigkeit des Seins. Auch das Verständnis von der Vergangenheit ist im Fluss. Die
modernen Schriften und Formationen, die am Computer entstanden sind, stellen eine Verbindung
zur Gegenwart und den Möglichkeiten der heutigen Technik her und zeigen, dass die Erfahrbarkeit
von Geschichte und Kultur immer von den Möglichkeiten und Rahmenbedingungen der Gegenwart
abhängig ist.
'Time Drifts - Words of Berlin' ist Teil einer Serie von Installationen, die Philipp Geist in den letzten
Jahren gezeigt hat, und die dabei immer wieder neu an die örtlichen Gegebenheiten ortsspezifisch
weiterentwickelt wird: Im Oktober 2012 zeigte Geist die Installation auf dem gesamten Potsdamer
Platz und den beiden Hochhäusern Kolhoff Tower und Renzo Piano Tower. Im April 2012 wurde die
Installation in Frankfurt auf der Luminale gezeigt, wurde von mehr als 40.000 Besuchern gesehen
und war das Hauptprojekt der Luminale 2012. Im Jahr 2011 zeigte Geist die Installation Time Drifts
in Vancouver am Jack-Poole Plaza, ebenso wie in Montreal am Place des Arts in 2010. Die
Installation 'Timing' war 2009 auf dem Glow Festival in Eindhoven zu sehen. Ende 2009 sahen
anlässlich des Geburtstages des thailändischen Königs ca. 2-3 Millionen Besucher seine
Fassadeninstallation am königlichen Thron in Bangkok. Andere Projekte waren u.a.: 'Time Lines'
am renommierten Museum delle Esposizioni (2007), 'Time Fades' am Berliner Kulturforum,
'Broken Time Lines' am alten Kurhaus Ahrenshoop (2008).
Geists Projekte sind in erster Linie gekennzeichnet durch ihre Komplexität in der Integration von
Raum, Ton und Bewegbild. Seine Video-Mapping-Installationen verzichten auf Leinwände und
verwandeln verschiedenste Architekturen in bewegte, malerische Lichtskulpturen, die die
Wahrnehmung der Betrachter von Zwei- und Dreidimensionalität herausfordern.
DSC00186
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Although in existence during earlier centuries, the "Marteau d'arme" was officially introduced as an offensive weapon by the mid 13th century. It was adopted by the infantry capable to inflict heavy damage to the armoured knights..
By the 15th century the marteau d'arme evolved in a weapon with a longer wooden handle whose metal end had a hatchet combined with a hook - "falcon's beak". These weapons were soon used by the cavalrymen, but with a shorter handle entirely made of metal until they were abandoned in the 16th centurywhen they were replaced by pistols.
In Eastern Europe the marteau d'arme was used for much longer, then in Central and Western Europe, as pistols were more expensive and rarer to come by.
This explains why the marteau remained popular for much longer in Ukraine, Poland, Moldavia, Hungary and preserved an undomitable "white arm" for highwaymen.
By the end of the 18th century, beginning of the 19th century, the marteau d''arme remained a symbol of power and social rank among aristocracy.
There are some beautiful examples of period engravings, soon after the Napoleonic wars, when Hungarian noblemen were displaying marteau d'armes as fashionable acoutrements, in the manner in which their English counterparts would use walking sticks.. During uncertain times such 'elegant" objects would always come in useful as defence weapons in case one was aggressed. the look of it was enough to inhibit any potential attacker who might be hammered and hacked to pieces.
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Arme de guerre dérivée de l'outil du même nom. Le marteau de guerre se composait d'un manche de bois terminé par une tête en plomb ou en fer et souvent munie d'une pointe dans le prolongement du manche. Bien que de telles armes furent certainement utilisées bien avant, le marteau d'arme semble avoir été admis dans les armées vers le milieu du XIIIe siècle. C'était une arme très lourdes, utilisée par les fantassins, capables de provoquer de gros dégâts et qui accélérât sans doute l'usage des armures de plates complètes. Au XVe siècle, le manche devient plus allonge et la partie métallique s'enrichit souvent d'une hache ou d'une pointe latérale(bec de faucon). A la même époque, apparaît un marteau plus court porté par les cavaliers et parfois entièrement fait de fer (cf. image). Ces marteaux furent en usage jusqu'au XVIe siècle dans la cavalerie avant d'être abandonnés au profit du pistolet.
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NOTE on the ORIGIN of the HUTZUL People:
The Hutsul (Romanian - Huţul) are mountain peoples with occupations in cattle breeding, and shepherding, forestry, and timber, who live in the upper reaches of the river Prut, in Pokutia (Romanian - Pocuţia). The origin of the Hutsul has been suggested to be one of the migrating peoples - Cuman, Scythian, Celtic, Gothic, Dacian, Romanian etc. However, they speak a dialect of Ukrainian and are generally thought to be Slavic, but have many Romanian influences in their language, costume and customs,
In the 9th century the political unity of the Ukraine was formed around the Poianian tribe of the Kiev region. Most of the original tribal names are only left as geographical and territorial names but in the mountainous Carpathians some diversity and traces of the old tribal characteristics have been preserved in the Slavic peoples of the Hutsul, Lemko and Boiko peoples.
The first references to the Hutsul are in the 14th century in current southern Ukraine. During the 15th century they colonised along the Prut river, over the mountains and along the Tisa river into Maramureş, and along the Ceremuş river towards northern Moldavia. In the 17th century they migrated across the mountains to the upper Suceava valley. By the late 17th century there were around 40 villages and further migration continued into the upper valleys of the Moldova and Bistriţa rivers.
Rabari temple (Dubhrej village).
Rabaris are devout Hindus. According to their myth of existence they were created by Parvati, the consort of Lord Shiva, who wiped the dust and sweat from Shiva as he was meditating and fashioned the very first camel from the dust balls she collected from his body. Once Shiva had breathed life into this camel, it kept running away, so Parvati fashioned a man, and the first Rabari was given life so he could mind the camel. Keeping animals has thus always been a pious occupation and Rabaris see themselves primarily as custodians of animals during their moral existence, rather than their owners. It is also their beliefs that the mother goddess presides over them. Her advice is taken about when to start out migration, and animals are commended to her care.
This photograph was taken at 11:10am on Wednesday 4th May 2016 off Sooke River Road in the grounds of Sooke Potholes Provincial Park, a free to visit seven hectare provincial park on Vancouver Island, British Columbia, Canada.
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Nikon D800 160mm 1/125s f/2.8 iso100 RAW (14Bit) Hand held with Nikkor VR vibration reduction on. Nikon back focus button enabled. AF-C Continuous point focus with 3-D tracking. Manual exposure. Matrix metering. Auto white balance.Nikon AF Fine Tune on (+5)
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RAW (TIFF) FILE SIZE: 103.00MB
PROCESSED (JPeg) SIZE: 23.45MB
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PROCESSING POWER:
Nikon D800 Firmware versions A 1.10 B 1.10 L 2.009 (Lens distortion control version 2)
HP 110-352na Desktop PC with AMD Quad-Core A6-5200 APU processor. AMD Radeon HD8400 graphics. 8 GB DDR3 Memory with 1TB SATA storage. 64-bit Windows 10. Verbatim USB 2.0 1TB desktop hard drive. WD My Passport Ultra 1tb USB3 Portable hard drive. Nikon ViewNX2 Version 2.10.3 64bit. Adobe photoshop Elements 8 Version 8.0 64bit.