Exploited By Power.

Imitant monotone intense nerfs voile,

magnus oculos perdidit voluptatem quia ignotus,,

Streitereien Schmerzen verlockend Vibrationen Schrecken Tiefen Himmel,

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σπειροειδή διαδρομή κοσμική ανασταλεί αναλογίες τεράστια χαρτιά ανθίσει,

eigentijdse standpunten kwaad reproduceren getuige vrijheden verdwijnt,

פּאָלעמיקאַל אינטערעסן ינעקסטריקאַבאַל דיווערטיד סטייטמאַנץ כאַמערד סאָמנאָלענט,

centralization umfutho prospector likhipha izinkanuko obucindezela ubufakazi,

sealúchais casta arb éard iad gcliathán tuiscint cumarsáide,

推論の複雑なボードの一枚は、すべてだった!

Steve.D.Hammond.

Exploitant : RATP

Réseau : RATP

Ligne : N53

Lieu : Gare Saint-Lazare (Paris, F-75)

Lien TC Infos : tc-infos.fr/vehicule/2777

exploiting the fear in this manner is playing with fire / exploiter la peur de cette manière, c'est jouer avec le feu

 

Serie... See the world

 

rolleiflex 2.8D + Ilford Delta 3200

LLWYNYPIA COLLIERY, LLWYNYPIA, RHONDDA.

Any recollection of this colliery and its workforce is inseparable from the name of Archibald Hood, a Scotsman who bestrode mid-Rhondda and elsewhere as a colossus of the mining world, and beyond that distinction too. A brief summary of this man’s career –where to do justice, a volume is needed – is that in 1860, when he arrived in Wales from Kilmarnock, Ayrshire, he was merely thirty-seven, but in a brief twenty-five of those years in Scotland, he achieved more than most men of that time would achieve in a lifetime, becoming a qualified mining engineer and coal-owner, genuinely highly-respected in both spheres by his mining peers and workforce. His interest and concern in the latter extended beyond their daily duties, with the provision of good accommodation complete with gardens for food production, and also encouraging their purchase of domestic needs from co-operative initiatives. But, as illustrious as he was in Scotland, he would, over the next forty-two years in Wales, carve a second career that would overtake his first.

Hood’s first Welsh mining involvement was at Tylcha Fach Level in Coed Ely, which exploited the thin bituminous Ty Du seam of less than a yard thickness. The colliery was owned by the Ely Valley Coal Company, and its office and winding-engine house are still in existence, modified into three residences, sitting above Tylcha Fach Estate, an elevated, relatively-new housing development which sits on the valley-side opposite the former Coedely Colliery. He had arrived there in 1860, commissioned by Messrs. Campbell and Mitchell-Innes to determine if a proposed investment in small mines in the area would be profitable, but in an interim period and inexplicably not seeking Hood’s advice, Campbell and Mitchell-Innes were persuaded, unwisely, to buy the level. Although Hood later joined them there, his thoughts were focussed on deep mining at Llwynypia, and when the Ely Valley Coal Company was liquidated, he, Campbell and Mitchell-Inness formed the new Glamorgan Coal Company and began shaft sinkings at Llwynypia Colliery. Eventually, under Hood’s leadership two more deep mines were established at Penrhiwfer and Gilfach Goch.

Evidence of the beginning of Llwynypia Colliery, dated February 27th,1861, is shown on page four (pages 1-3 missing) of Glamorgan Coal Company’s Cash Book, which over the following twenty-eight days showed directors’ cash injections of £3,600, including £300 by Archibald Hood. It provides early-years evidence that though Hood was undoubtedly the driving force at Llwynypia, his periodical purchase of company shares was always much less than his fellow directors! A search for this colliery through officially-recognised sources will be unsuccessful if ‘Glamorgan’ or ‘Scotch’ is used as a search-word, for the correct name is ‘Llwynypia’, which broadly translates as ‘Magpies Grove’. However, for good reason, ‘Glamorgan’ and ‘Scotch’ soon became every-day alternatives, and they are unquestioned and accepted to this day – but why did they originate? Imagine, you are a Scot, beginning work as a miner in a very sparsely populated area, where the native language is predominantly Welsh, a tongue completely foreign to you. Inevitably, at some time, you will be asked your place of residence or employment: do you invite ridicule, by attempting to pronounce ‘Llwynypia’, or do you use your wits, replying with the easily-pronounced ‘Scotch’, a reference to the colliery’s predominantly Scottish workforce imported by Archibald Hood – or the equally easy ‘Glamorgan’, the name of the company owning the colliery?

To accommodate his workforce, Hood found it necessary to build, and eventually, 271 homes were constructed in fifteen terraces adjacent to, and overlooking the colliery, of which 256 are still in occupied existence, together with several impressive managers’ residences built in the proximity of the colliery. More dwellings were built near his Penrhiwfer and Gilfach Goch mines, and to this day, in all three villages, there remain references to the Glamorgan Coal Company, Hood’s nationality, and Scottish landmarks. Sherwood (several), Gilmour, Anderson, Thistle, St. Andrew, Ayton, Campbell, Argyll, Grange, Holyrood, Rosedale, Bruce (Penrhiwfer), Scotch and Dundonnell (both at Gilfach Goch), all are overtly Scottish-influenced place-names, but there were acknowledgements to Wales, with Cambrian, Glamorgan, Llewelyn, Glandwr, Llwynypia, Glyncornel, Iscoed, etc. Missing from all these is a landmark dubbed ‘Hood’ by Hood himself, and perhaps this remarkable, extraordinary man knew there was no need for self-acclaim, for in his modest way he probably realized that his achievements in South Wales would render that self-perpetuation superfluous.

There were six vertical shafts and two levels at Llwynypia. On the Llwynypia side of the River Rhondda Fawr were shafts 1, 2, 3 and 4. Nos 1, and 2 shafts were sunk to exploit the shallow Nos. 2 and 3 Rhondda seams but were eventually deepened to exploit the steam coals in the deeper seams; No. 3 shaft worked the shallow seams too, but, whilst reportedly sunk to also exploit the lower seams, it closed in 1908. The coal in the Nos. 2 and 3 Rhondda seams was bituminous, used as a domestic fuel and also as the basic element in coke production, fuelling the 281 ovens at Llwynypia and Gilfach Goch collieries, where an impressive 1,400 tons was produced weekly. Additionally important, at the floor of these seams was fireclay, a mineral consisting of the roots of dead plants, extracted along with the coal, the decayed vegetation above the plant-roots, both having undergone change, metamorphosis, through heat and deep burial over millions of years. This clay was a valuable by-product, an essential constituent of the 10,000 or so bricks made daily by women in the colliery’s above-ground brick-making plant.

The three shafts (1, 2 and 3) were sunk in a line, parallel to and near the Taff Vale Railway, their extremes contained within an incredible 35.33 yards. No. 4 shaft did not conduct minerals, it was sunk purely to accommodate water pumped from the whole of the colliery’s workings, and its former location is today bordered by a fast-food outlet adjacent to Llwynypia Road. When the colliery ceased production in 1945, the yard remained in use as a rescue-station and central workshop, and the shaft remained open at the No. 3 Rhondda seam, 108 yards level, for water-pumping only until 1966, when total colliery closure took place. The writer recalls, during the mid-1960s, many times travelling to his ventilation duties there, in a very small, single-deck cage, the only one that could be accommodated in this extremely narrow shaft. No. 5 shaft, on the Trealaw side of the river, did not conduct minerals, it was sunk purely to conduct the whole of the colliery’s stale air to the surface, but at times through the colliery’s life this function was fulfilled by other shafts, including No. 6, when No. 5 closed. No. 6 shaft, close to the Collier’s Arms at Ynyscynon Road, was sunk to exploit the deep, steam coals.

In descending order, the seams worked at Llwynypia Colliery were: No. 1 Rhondda (only at an inconsequential, almost mountaintop level, see below); No. 2 Rhondda; No. 3 Rhondda; Pentre; Two Feet Nine Inches; Lower Six Feet; Upper Nine Feet (Red Vein): Lower Nine Feet and Bute; Bute; Five Feet; Lower Five Feet. The Lower Five Feet was the deepest-worked seam and was found at 517 yards in the 525 yards deep No. 1 shaft. The two levels were established on the Trealaw side of the river, with the highly-productive Sherwood Level, whose entrance was adjacent to No. 5 shaft, shallowly traversing under Ynyscynon Nursery as it commenced its 950 yard journey into Rhondda Fach, extracting the No. 2 Rhondda seam. It was opened in 1905, in anticipation of the closure of No. 3 shaft, thereby maintaining the essential supply of bituminous coal and fireclay for the production of coke and bricks, but it closed in 1923 when those reserves were exhausted. That year also saw the closure of Llwynypia Colliery Mountain Level, situated high on the Trealaw mountainside; it was a largely-exploratory, short-lived venture into the No. 1 Rhondda seam for its much-sought bituminous coal and fireclay, but one which was of limited presence due to glacial action and erosion by the elements. Reliable and complete manpower and production figures for Llwynypia are not available, but the colliery was certainly prolific in both, with 4,200 employees in 1902, and 700,000 tons output in 1923 being quoted, although the latter figure, is much lower than the widely-held figure of one million tons per annum.

Archibald Hood was that rarity, a truly-respected coal-owner. He was canny and conservative but also a humanitarian, and at Llwynypia, as in Scotland, he sought to beneficially influence the lives of his workmen and their families. Whereas D. A Thomas, Chairman of Cambrian Collieries Ltd, injected nothing into the Clydach Valley communities, Hood’s hand was everywhere in Llwynypia, manifested by the provision of schools, St. Andrews Church, a Miners Institute, complete with library and billiards tables — a swimming pool, tennis courts, cricket, football and rugby fields, and even the winter-time provision of a large, outdoor ice-skating area! He encouraged his workforce to grow food by providing large garden areas at the fronts of their dwellings, simultaneously seeking to divert the male occupants from alcohol, an imperative, given the volatile temperaments of the Welsh, Scots, and the Irish that later inhabited the community! He was known for his attention to detail, often involved in matters which his minions might have been expected to supervise – the writer’s grandmother lost an arm at Llwynypia when sixteen in 1893, amputated when caught in brick-making machinery, and Hood, then seventy, personally attended the matter, obtaining a job for the one-armed girl at the Tonypandy ironmongery of John Cox – Hood, probably not needing to remind Cox of Glamorgan Coal Company’s patronage!

When he died, aged 79, in 1902, a fund was established to erect a statue, the first in Rhondda, and this likeness, with an arm horizontal, pointing to his colliery, stands to this day, overlooking Llwynypia Road. Such was the respect of his workmen that the fund was heavily over-subscribed, with the surplus being used to provide a gas-lit statue and animal drinking-trough, now modified and situated near Tonypandy Library, removed from its original site at Tonypandy Square. Six years after his death, Llwynypia Colliery was taken under the control of D. A. Thomas’s Cambrian Collieries Ltd, of whom Leonard Llewelyn was General Manager. Today, it is known that Llewelyn was a liar, impostor and opportunist, but when he and Llwynypia Colliery became newspaper headlines in the Tonypandy Coal Strike and the associated rioting of 1910-11, he excelled in concealing and distorting the truth, by manipulating Establishment-based newspapers, the only information source of those times. To expose Llewelyn, one needed mining experience and a source of publication, both possessed by, and available to the writer, but not so in the latter-essential to miners in the 1910-11 period. So, critically, the untruths in those newspapers passed unchallenged, and became immediate history, creating false perceptions of events that deceived many historians and others to the present day. Llewelyn’s lies would not have sat well with Hood, and one wonders, when at the peak of his powers, would he have vetoed the Cambrian purchase of Llwynypia? Had it been possible to configure that time-span, he might have prevented the immense suffering that occurred in mid-Rhondda in 1910-11.

Exploiting the cute factor with a teeny baby Vervet Monkey snuggling its mama, or at least one of the females in the group. There was some baby snatching happening while we watched this group and we were never sure which was the actual parent. September 17, 2016

FORD Transit (1991) / CHAUSSEE DE WAVRE / PHOTO JEAN-PIERRE MARISSENS

Exploitant : Transdev TVO

Réseau : R'Bus (Argenteuil)

Ligne : 8

Lieu : Gare d'Argenteuil (Argenteuil, F-95)

Lien TC Infos : tc-infos.fr/id/21864

Exploitant : Keolis Dijon Mobilités

Réseau : Divia

Ligne : L7

Lieu : Chevigny (Chevigny-Saint-Sauveur, F-21)

Lien TC Infos : tc-infos.fr/vehicule/35251

HMS Exploit entering Corpach sea lock. An Archer-class patrol vessel that is part of the Coastal Forces Squadron.

A reminder that pandas were still being exploited in China as late as 1984, rather than protected. This panda performed as part of the State Circus in Shanghai, riding a rocking horse after initially pushing a pram (with what I think is a toy panda rather than a baby!) (see previous photo in this stream). I think it fair to say that the whole tour group was enthralled with the human performances but shocked at the use of pandas.

French card by Edit. De Marchi Frères, Marseille.

 

Voluptuous American actress Mamie Van Doren (1931) was a sex symbol of the 1950s and 1960s. Van Doren starred in several exploitation films such as Untamed Youth (1957), loaded with rock 'n' roll and juvenile delinquency. Her onscreen wardrobe usually consisted of tight sweaters, low-cut blouses, form-fitting dresses, and daring swimsuits. Mamie and her colleague blonde bombshells Marilyn Monroe and Jayne Mansfield were known as 'The Three M's.'

 

Mamie Van Doren was born Joan Lucille Olander in Rowena, South Dakota, in 1931. She was the daughter of Warner Carl Olander and Lucille Harriet Bennett. In 1942 the family moved to Los Angeles. In early 1946, Van Doren began working as an usher at the Pantages Theatre in Hollywood. The following year, she had a bit part on an early television show. She also sang with Ted Fio Rito's band and entered several beauty contests. She was married for a brief time at seventeen when Van Doren and her first husband, Jack Newman, eloped to Santa Barbara. The marriage was dissolved quickly, upon her discovery of his abusive nature. In the summer of 1949, at age 18, she won the titles Miss Eight Ball and Miss Palm Springs. Van Doren was discovered by producer Howard Hughes the night she was crowned Miss Palm Springs. The pair dated for five years. Hughes provided her with a bit role in Jet Pilot at RKO Radio Pictures. Her line of dialogue inconsisted of one word, "Look!". The following year, 1951, she posed for famous pin-up girl artist Alberto Vargas, the painter of the glamorous Vargas Girls. His painting of Van Doren was on the July 1951 cover of Esquire magazine. Van Doren did a few more bit parts in RKO films, including His Kind of Woman (John Farrow, 1951) starring Robert Mitchum and Jane Russell. Van Doren then began working on the stage. She was a showgirl in New York in Monte Proser's nightclub version of Billion Dollar Baby. Songwriter Jimmy McHugh discovered her for his musicals, then decided she was too good for the chorus line and should have dramatic training. She studied with Ben Bard and Bliss-Hayden. While appearing in the role of Marie in a showcase production of Come Back, Little Sheba, Van Doren was seen by Phil Benjamin, a casting director at Universal International. In 1953, Van Doren signed a contract with Universal Studios. They had big plans for her, hoping she would bring the same kind of success that 20th Century Fox had with Marilyn Monroe. Van Doren, whose signing day coincided with the inauguration of President Eisenhower, was given the first name Mamie for Ike's wife, Mamie Eisenhower. Universal first cast Van Doren in a minor role as a singer in Forbidden (Rudolph Maté, 1953), starring Tony Curtis. Interested in Van Doren's allure, Universal then cast her again opposite Curtis in The All American (Jesse Hibbs, 1953), playing her first major role as Susie Ward, a wayward girl who is the man-trap at a campus beer joint. In Yankee Pasha (Joseph Pevney, 1954), starring Jeff Chandler and Rhonda Fleming, she played a slave girl, Lilith. In 1955, she had a supporting role in the musical Ain't Misbehavin' (Edward Buzzell, 1955) and starred in the crime-drama, Running Wild (Abner Biberman, 1955). Soon thereafter, Van Doren turned down a Broadway role in the play Will Success Spoil Rock Hunter?, and was replaced by newcomer Jayne Mansfield. In 1956, Van Doren appeared in the Western Star in the Dust (Charles F. Haas, 1956). Though Van Doren garnered prominent billing alongside John Agar and Richard Boone, she appears rather briefly, as the daughter of a ranch owner. By this time, Van Doren had grown tired of Universal, which was only casting her in non-breakthrough roles. Therefore, Van Doren began accepting bigger roles in better movies from other studios, such as Teacher's Pet (George Seaton, 1958) with Doris Day and Clark Gable. She appeared in some of the first movies to feature rock 'n' roll music, such as Untamed Youth (Howard W. Koch, 1957). The film was originally condemned by the Catholic Legion of Decency, but that only served to enhance the curiosity factor, resulting in it being a big moneymaker for the studio. Van Doren became identified with this rebellious style, and made some rock records. She went to star in several bad girl movies that later became cult films. These include Born Reckless (Howard W. Koch, 1958), High School Confidential (Jack Arnold, 1958), and The Beat Generation (Charles F. Haas, 1959). After Universal Studios chose not to renew her contract in 1959, Van Doren was now a free agent and had to struggle to find work.

 

Mamie Van Doren became known for her provocative roles. She was in prison for Girls Town (Charles F. Haas, 1959), which provoked censors with a shower scene where audiences could see Van Doren's naked back. As Eve in The Private Lives of Adam and Eve (Mickey Rooney, Albert Zugsmith, 1960) she wore only fig leaves, and in other films, like Vice Raid (Edward L. Cahn, 1960) audiences were clued in as to the nature of the films from the titles. Many of these productions were low-budget B-movies which sometimes gained a cult following for their high camp value. An example is Sex Kittens Go to College (Albert Zugsmith, 1960), which co-starred Tuesday Weld and Mijanou Bardot - Brigitte's sister. Mamie also appeared in foreign productions, such as the Italian crime comedy Le bellissime gambe di Sabrina/The Beautiful Legs of Sabrina (Camillo Mastrocinque, 1959) with Antonio Cifariello, and the Argentine film Una americana en Buenos Aires/The Blonde from Buenos Aires (George Cahan, 1961) with Jean-Pierre Aumont. Van Doren took some time off from her career and came back to the screen in 1964. That year she played in the German Western musical Freddy und das Lied der Prärie/In the Wild West (Sobey Martin, 1964), starring Freddy Quinn and Rik Battaglia. Tommy Noonan convinced Van Doren to appear in 3 Nuts in Search of a Bolt (Tommy Noonan, 1964). Van Doren had turned down Noonan's previous offer to star in Promises! Promises!, in which she would have to do nude scenes. She was replaced by Jayne Mansfield. In 3 Nuts in Search of a Bolt, Mamie did a beer-bath scene, but is not seen nude. She posed for Playboy to promote the film. Van Doren next appeared in The Las Vegas Hillbillys (Arthur C. Pierce, 1966) which co-starred Jayne Mansfield. It was the only time two of 'The Three M's' appeared together in a film. A sequel was titled Hillbillys in a Haunted House, but Van Doren turned this role down, and was replaced by Joi Lansing. She appeared in You've Got to Be Smart (Ellis Kadison, 1967), and the sci-fi film, Voyage to the Planet of Prehistoric Women (1968), directed by the young Peter Bogdanovich (as Derek Thomas). In this film astronauts land on Venus and encounter dangerous creatures and meet sexy Venusian women who like to sun-bathe in hip-hugging skin-tight pants and seashell brassieres. In 1968, she was offered the role of a murder victim in the independent horror film The Ice House as a replacement for Mansfield, who died the previous year. She turned the offer down, however, and was replaced by Sabrina. During the Vietnam War, she did tours for U.S. troops in Vietnam for three months in 1968, and again in 1970. Van Doren also developed a nightclub act and did live theater. She performed in stage productions of Gentlemen Prefer Blondes and Dames at Sea at the Drury Lane Theater, Chicago, and appeared in Will Success Spoil Rock Hunter? and The Tender Trap at the Arlington Park Theater. In the 1970s, Van Doren performed a nightclub act in Las Vegas as well. Van Doren had a supporting role in the Western The Arizona Kid (Luciano B. Carlos, 1970). Since then, Van Doren has appeared only in cameo appearances in low-budgeted films. To this date Van Doren's last film appearance was a cameo role in the comedy Slackers (Dewey Nicks, 2002). Van Doren's guest appearances on television include Jukebox Jury, What's My Line, The Bob Cummings Show, The Jack Benny Show, Fantasy Island, Burke's Law, Vega$, and L.A. Law. Van Doren released her autobiography, Playing the Field, in 1987 which brought much new attention and proved to be her biggest media splash in over 25 years. Since the book's publication she has often been interviewed and profiled and has occasionally returned to acting. Van Doren has been married five times. Her first marriage was to sportswear manufacturer Jack Newman whom she married and divorced in 1950. Her second marriage was to bandleader, composer and actor Ray Anthony whom she married in 1955. They had one son, Perry Ray Anthony (1956). The couple later divorced in 1961. When Van Doren's early 1960s, highly publicized, on-again off-again engagement to baseball player Bo Belinsky ended in 1964, she married baseball player Lee Meyers in 1966. They were divorced in 1967. Her fourth marriage was to businessman Ross McClintock in 1972. They met while working on President Nixon's reelection campaign; the marriage was annulled in 1973. Since 1979 she has been married to Thomas Dixon, an actor and dentist.

 

Sources: Wikipedia and IMDb.

The exploitation rights for this text are the property of the Vienna Tourist Board. This text may be reprinted free of charge until further notice, even partially and in edited form. Forward sample copy to: Vienna Tourist Board, Media Management, Invalidenstraße 6, 1030 Vienna; media.rel@wien.info. All information in this text without guarantee.

Author: Andreas Nierhaus, Curator of Architecture/Wien Museum

Last updated January 2014

Architecture in Vienna

Vienna's 2,000-year history is present in a unique density in the cityscape. The layout of the center dates back to the Roman city and medieval road network. Romanesque and Gothic churches characterize the streets and squares as well as palaces and mansions of the baroque city of residence. The ring road is an expression of the modern city of the 19th century, in the 20th century extensive housing developments set accents in the outer districts. Currently, large-scale urban development measures are implemented; distinctive buildings of international star architects complement the silhouette of the city.

Due to its function as residence of the emperor and European power center, Vienna for centuries stood in the focus of international attention, but it was well aware of that too. As a result, developed an outstanding building culture, and still today on a worldwide scale only a few cities can come up with a comparable density of high-quality architecture. For several years now, Vienna has increased its efforts to connect with its historical highlights and is drawing attention to itself with some spectacular new buildings. The fastest growing city in the German-speaking world today most of all in residential construction is setting standards. Constants of the Viennese architecture are respect for existing structures, the palpability of historical layers and the dialogue between old and new.

Culmination of medieval architecture: the Stephansdom

The oldest architectural landmark of the city is St. Stephen's Cathedral. Under the rule of the Habsburgs, defining the face of the city from the late 13th century until 1918 in a decisive way, the cathedral was upgraded into the sacral monument of the political ambitions of the ruling house. The 1433 completed, 137 meters high southern tower, by the Viennese people affectionately named "Steffl", is a masterpiece of late Gothic architecture in Europe. For decades he was the tallest stone structure in Europe, until today he is the undisputed center of the city.

The baroque residence

Vienna's ascension into the ranks of the great European capitals began in Baroque. Among the most important architects are Johann Bernhard Fischer von Erlach and Johann Lucas von Hildebrandt. Outside the city walls arose a chain of summer palaces, including the garden Palais Schwarzenberg (1697-1704) as well as the Upper and Lower Belvedere of Prince Eugene of Savoy (1714-22). Among the most important city palaces are the Winter Palace of Prince Eugene (1695-1724, now a branch of the Belvedere) and the Palais Daun-Kinsky (auction house in Kinsky 1713-19). The emperor himself the Hofburg had complemented by buildings such as the Imperial Library (1722-26) and the Winter Riding School (1729-34). More important, however, for the Habsburgs was the foundation of churches and monasteries. Thus arose before the city walls Fischer von Erlach's Karlskirche (1714-39), which with its formal and thematic complex show façade belongs to the major works of European Baroque. In colored interior rooms like that of St. Peter's Church (1701-22), the contemporary efforts for the synthesis of architecture, painting and sculpture becomes visible.

Upgrading into metropolis: the ring road time (Ringstraßenzeit)

Since the Baroque, reflections on extension of the hopelessly overcrowed city were made, but only Emperor Franz Joseph ordered in 1857 the demolition of the fortifications and the connection of the inner city with the suburbs. 1865, the Ring Road was opened. It is as the most important boulevard of Europe an architectural and in terms of urban development achievement of the highest rank. The original building structure is almost completely preserved and thus conveys the authentic image of a metropolis of the 19th century. The public representational buildings speak, reflecting accurately the historicism, by their style: The Greek Antique forms of Theophil Hansen's Parliament (1871-83) stood for democracy, the Renaissance of the by Heinrich Ferstel built University (1873-84) for the flourishing of humanism, the Gothic of the Town Hall (1872-83) by Friedrich Schmidt for the medieval civic pride.

Dominating remained the buildings of the imperial family: Eduard van der Nüll's and August Sicardsburg's Opera House (1863-69), Gottfried Semper's and Carl Hasenauer's Burgtheater (1874-88), their Museum of Art History and Museum of Natural History (1871-91) and the Neue (New) Hofburg (1881-1918 ). At the same time the ring road was the preferred residential area of mostly Jewish haute bourgeoisie. With luxurious palaces the families Ephrussi, Epstein or Todesco made it clear that they had taken over the cultural leadership role in Viennese society. In the framework of the World Exhibition of 1873, the new Vienna presented itself an international audience. At the ring road many hotels were opened, among them the Hotel Imperial and today's Palais Hansen Kempinski.

Laboratory of modernity: Vienna around 1900

Otto Wagner's Postal Savings Bank (1903-06) was one of the last buildings in the Ring road area Otto Wagner's Postal Savings Bank (1903-06), which with it façade, liberated of ornament, and only decorated with "functional" aluminum buttons and the glass banking hall now is one of the icons of modern architecture. Like no other stood Otto Wagner for the dawn into the 20th century: His Metropolitan Railway buildings made ​​the public transport of the city a topic of architecture, the church of the Psychiatric hospital at Steinhofgründe (1904-07) is considered the first modern church.

With his consistent focus on the function of a building ("Something impractical can not be beautiful"), Wagner marked a whole generation of architects and made Vienna the laboratory of modernity: in addition to Joseph Maria Olbrich, the builder of the Secession (1897-98) and Josef Hoffmann, the architect of the at the western outskirts located Purkersdorf Sanatorium (1904) and founder of the Vienna Workshop (Wiener Werkstätte, 1903) is mainly to mention Adolf Loos, with the Loos House at the square Michaelerplatz (1909-11) making architectural history. The extravagant marble cladding of the business zone stands in maximal contrast, derived from the building function, to the unadorned facade above, whereby its "nudity" became even more obvious - a provocation, as well as his culture-critical texts ("Ornament and Crime"), with which he had greatest impact on the architecture of the 20th century. Public contracts Loos remained denied. His major works therefore include villas, apartment facilities and premises as the still in original state preserved Tailor salon Knize at Graben (1910-13) and the restored Loos Bar (1908-09) near the Kärntner Straße (passageway Kärntner Durchgang).

Between the Wars: International Modern Age and social housing

After the collapse of the monarchy in 1918, Vienna became capital of the newly formed small country of Austria. In the heart of the city, the architects Theiss & Jaksch built 1931-32 the first skyscraper in Vienna as an exclusive residential address (Herrengasse - alley 6-8). To combat the housing shortage for the general population, the social democratic city government in a globally unique building program within a few years 60,000 apartments in hundreds of apartment buildings throughout the city area had built, including the famous Karl Marx-Hof by Karl Ehn (1925-30). An alternative to the multi-storey buildings with the 1932 opened International Werkbundsiedlung was presented, which was attended by 31 architects from Austria, Germany, France, Holland and the USA and showed models for affordable housing in greenfield areas. With buildings of Adolf Loos, André Lurçat, Richard Neutra, Gerrit Rietveld, the Werkbundsiedlung, which currently is being restored at great expense, is one of the most important documents of modern architecture in Austria.

Modernism was also expressed in significant Villa buildings: The House Beer (1929-31) by Josef Frank exemplifies the refined Wiener living culture of the interwar period, while the house Stonborough-Wittgenstein (1926-28, today Bulgarian Cultural Institute), built by the philosopher Ludwig Wittgenstein together with the architect Paul Engelmann for his sister Margarete, by its aesthetic radicalism and mathematical rigor represents a special case within contemporary architecture.

Expulsion, war and reconstruction

After the "Anschluss (Annexation)" to the German Reich in 1938, numerous Jewish builders, architects (female and male ones), who had been largely responsible for the high level of Viennese architecture, have been expelled from Austria. During the Nazi era, Vienna remained largely unaffected by structural transformations, apart from the six flak towers built for air defense of Friedrich Tamms (1942-45), made ​​of solid reinforced concrete which today are present as memorials in the cityscape.

The years after the end of World War II were characterized by the reconstruction of the by bombs heavily damaged city. The architecture of those times was marked by aesthetic pragmatism, but also by the attempt to connect with the period before 1938 and pick up on current international trends. Among the most important buildings of the 1950s are Roland Rainer's City Hall (1952-58), the by Oswald Haerdtl erected Wien Museum at Karlsplatz (1954-59) and the 21er Haus of Karl Schwanzer (1958-62).

The youngsters come

Since the 1960s, a young generation was looking for alternatives to the moderate modernism of the reconstruction years. With visionary designs, conceptual, experimental and above all temporary architectures, interventions and installations, Raimund Abraham, Günther Domenig, Eilfried Huth, Hans Hollein, Walter Pichler and the groups Coop Himmelb(l)au, Haus-Rucker-Co and Missing Link rapidly got international attention. Although for the time being it was more designed than built, was the influence on the postmodern and deconstructivist trends of the 1970s and 1980s also outside Austria great. Hollein's futuristic "Retti" candle shop at Charcoal Market/Kohlmarkt (1964-65) and Domenig's biomorphic building of the Central Savings Bank in Favoriten (10th district of Vienna - 1975-79) are among the earliest examples, later Hollein's Haas-Haus (1985-90), the loft conversion Falkestraße (1987/88) by Coop Himmelb(l)au or Domenig's T Center (2002-04) were added. Especially Domenig, Hollein, Coop Himmelb(l)au and the architects Ortner & Ortner (ancient members of Haus-Rucker-Co) ​​by orders from abroad the new Austrian and Viennese architecture made a fixed international concept.

MuseumQuarter and Gasometer

Since the 1980s, the focus of building in Vienna lies on the compaction of the historic urban fabric that now as urban habitat of high quality no longer is put in question. Among the internationally best known projects is the by Ortner & Ortner planned MuseumsQuartier in the former imperial stables (competition 1987, 1998-2001), which with institutions such as the MUMOK - Museum of Modern Art Foundation Ludwig, the Leopold Museum, the Kunsthalle Wien, the Architecture Center Vienna and the Zoom Children's Museum on a wordwide scale is under the largest cultural complexes. After controversies in the planning phase, here an architectural compromise between old and new has been achieved at the end, whose success as an urban stage with four million visitors (2012) is overwhelming.

The dialogue between old and new, which has to stand on the agenda of building culture of a city that is so strongly influenced by history, also features the reconstruction of the Gasometer in Simmering by Coop Himmelb(l)au, Wilhelm Holzbauer, Jean Nouvel and Manfred Wehdorn (1999-2001). Here was not only created new housing, but also a historical industrial monument reinterpreted into a signal in the urban development area.

New Neighborhood

In recent years, the major railway stations and their surroundings moved into the focus of planning. Here not only necessary infrastructural measures were taken, but at the same time opened up spacious inner-city residential areas and business districts. Among the prestigious projects are included the construction of the new Vienna Central Station, started in 2010 with the surrounding office towers of the Quartier Belvedere and the residential and school buildings of the Midsummer quarter (Sonnwendviertel). Europe's largest wooden tower invites here for a spectacular view to the construction site and the entire city. On the site of the former North Station are currently being built 10,000 homes and 20,000 jobs, on that of the Aspangbahn station is being built at Europe's greatest Passive House settlement "Euro Gate", the area of ​​the North Western Railway Station is expected to be developed from 2020 for living and working. The largest currently under construction residential project but can be found in the north-eastern outskirts, where in Seaside Town Aspern till 2028 living and working space for 40,000 people will be created.

In one of the "green lungs" of Vienna, the Prater, 2013, the WU campus was opened for the largest University of Economics of Europe. Around the central square spectacular buildings of an international architect team from Great Britain, Japan, Spain and Austria are gathered that seem to lead a sometimes very loud conversation about the status quo of contemporary architecture (Hitoshi Abe, BUSarchitektur, Peter Cook, Zaha Hadid, NO MAD Arquitectos, Carme Pinós).

Flying high

International is also the number of architects who have inscribed themselves in the last few years with high-rise buildings in the skyline of Vienna and make St. Stephen's a not always unproblematic competition. Visible from afar is Massimiliano Fuksas' 138 and 127 meters high elegant Twin Tower at Wienerberg (1999-2001). The monolithic, 75-meter-high tower of the Hotel Sofitel at the Danube Canal by Jean Nouvel (2007-10), on the other hand, reacts to the particular urban situation and stages in its top floor new perspectives to the historical center on the other side.

Also at the water stands Dominique Perrault's DC Tower (2010-13) in the Danube City - those high-rise city, in which since the start of construction in 1996, the expansion of the city north of the Danube is condensed symbolically. Even in this environment, the slim and at the same time striking vertically folded tower of Perrault is beyond all known dimensions; from its Sky Bar, from spring 2014 on you are able to enjoy the highest view of Vienna. With 250 meters, the tower is the tallest building of Austria and almost twice as high as the St. Stephen's Cathedral. Vienna, thus, has acquired a new architectural landmark which cannot be overlooked - whether it also has the potential to become a landmark of the new Vienna, only time will tell. The architectural history of Vienna, where European history is presence and new buildings enter into an exciting and not always conflict-free dialogue with a great and outstanding architectural heritage, in any case has yet to offer exciting chapters.

Info: The folder "Architecture: From Art Nouveau to the Presence" is available at the Vienna Tourist Board and can be downloaded on www.wien.info/media/files/guide-architecture-in-wien.pdf.

pixel portrait [the exploration (exploitation) of a pixel] -

 

any use of this image must credit kevin dean and direct a link to: www.betaart.com

Processed with VSCOcam with a6 preset

N°215*

MES : 2008

Immatriculation : Inconnue

Exploitant : Keolis Monts Jura

Ligne : 81 Ginko

Ligne C6 - Arrêt : Procé

Exploitant : SEMITAN

Réseau TAN - Nantes

(Swedish: Muminpappans bravader) Cover illustration of "The Exploits of Moominpappa", the fourth book in the series of Tove Jansson's Moomins books, a novel with illustrations, first published in 1950.

en.wikipedia.org/wiki/The_Exploits_of_Moominpappa

From an exhibition at the Moomin Museum. The books were written and illustrated by Tove Jansson (1914-2001), a Swedish-speaking Finnish author, novelist, painter, illustrator and comic strip author.

en.wikipedia.org/wiki/Tove_Jansson

Exploitant : Transdev TVO

Réseau : R'Bus (Argenteuil)

Ligne : 9

Lieu : Gare d'Argenteuil (Argenteuil, F-95)

Lien TC Infos : tc-infos.fr/id/37467

Legong is a form of Balinese dance. It is a refined dance form characterized by intricate finger movements, complicated footwork, and expressive gestures and facial expressions.

 

An extremely basic definition of legong is a dance traditionally performed by pre-pubescent girls in the palaces of feudal Bali.

 

One translation is that the word is made up of two words. Lega meaning happy and Ing wong meaning person – put them together and you get: “something that makes people happy”. Another one is oleg meaning dance and gong meaning gamelan, the music that accompanies the dance.

 

Legong probably originated in the 19th century as royal entertainment. Today the most common legong dance is Legong Keraton, so named by the Sultanate of Keraton Surakarta when the music and dance composer and genius I Wayan Lotring from Kuta was invited to perform in the 1920s with his Gamelan Pelegongan group in the keraton (palace) in Surakarta.

 

___________________________________________

 

Bali is an island and province of Indonesia. The province includes the island of Bali and a few smaller neighbouring islands, notably Nusa Penida, Nusa Lembongan, and Nusa Ceningan. It is located at the westernmost end of the Lesser Sunda Islands, between Java to the west and Lombok to the east. Its capital of Denpasar is located at the southern part of the island.

 

With a population of 3,890,757 in the 2010 census, and 4,225,000 as of January 2014, the island is home to most of Indonesia's Hindu minority. According to the 2010 Census, 83.5% of Bali's population adhered to Balinese Hinduism, followed by 13.4% Muslim, Christianity at 2.5%, and Buddhism 0.5%.

 

Bali is a popular tourist destination, which has seen a significant rise in numbers since the 1980s. It is renowned for its highly developed arts, including traditional and modern dance, sculpture, painting, leather, metalworking, and music. The Indonesian International Film Festival is held every year in Bali.

 

Bali is part of the Coral Triangle, the area with the highest biodiversity of marine species. In this area alone over 500 reef building coral species can be found. For comparison, this is about 7 times as many as in the entire Caribbean. There is a wide range of dive sites with high quality reefs, all with their own specific attractions. Many sites can have strong currents and swell, so diving without a knowledgeable guide is inadvisable. Most recently, Bali was the host of the 2011 ASEAN Summit, 2013 APEC and Miss World 2013.

 

HISTORY

ANCIENT

Bali was inhabited around 2000 BC by Austronesian people who migrated originally from Southeast Asia and Oceania through Maritime Southeast Asia. Culturally and linguistically, the Balinese are closely related to the people of the Indonesian archipelago, Malaysia, the Philippines, and Oceania. Stone tools dating from this time have been found near the village of Cekik in the island's west.

 

In ancient Bali, nine Hindu sects existed, namely Pasupata, Bhairawa, Siwa Shidanta, Waisnawa, Bodha, Brahma, Resi, Sora and Ganapatya. Each sect revered a specific deity as its personal Godhead.

 

Inscriptions from 896 and 911 don't mention a king, until 914, when Sri Kesarivarma is mentioned. They also reveal an independent Bali, with a distinct dialect, where Buddhism and Sivaism were practiced simultaneously. Mpu Sindok's great granddaughter, Mahendradatta (Gunapriyadharmapatni), married the Bali king Udayana Warmadewa (Dharmodayanavarmadeva) around 989, giving birth to Airlangga around 1001. This marriage also brought more Hinduism and Javanese culture to Bali. Princess Sakalendukirana appeared in 1098. Suradhipa reigned from 1115 to 1119, and Jayasakti from 1146 until 1150. Jayapangus appears on inscriptions between 1178 and 1181, while Adikuntiketana and his son Paramesvara in 1204.

 

Balinese culture was strongly influenced by Indian, Chinese, and particularly Hindu culture, beginning around the 1st century AD. The name Bali dwipa ("Bali island") has been discovered from various inscriptions, including the Blanjong pillar inscription written by Sri Kesari Warmadewa in 914 AD and mentioning "Walidwipa". It was during this time that the people developed their complex irrigation system subak to grow rice in wet-field cultivation. Some religious and cultural traditions still practised today can be traced to this period.

 

The Hindu Majapahit Empire (1293–1520 AD) on eastern Java founded a Balinese colony in 1343. The uncle of Hayam Wuruk is mentioned in the charters of 1384-86. A mass Javanese emigration occurred in the next century.

 

PORTUGUESE CONTACTS

The first known European contact with Bali is thought to have been made in 1512, when a Portuguese expedition led by Antonio Abreu and Francisco Serrão sighted its northern shores. It was the first expedition of a series of bi-annual fleets to the Moluccas, that throughout the 16th century usually traveled along the coasts of the Sunda Islands. Bali was also mapped in 1512, in the chart of Francisco Rodrigues, aboard the expedition. In 1585, a ship foundered off the Bukit Peninsula and left a few Portuguese in the service of Dewa Agung.

 

DUTCH EAST INDIA

In 1597 the Dutch explorer Cornelis de Houtman arrived at Bali, and the Dutch East India Company was established in 1602. The Dutch government expanded its control across the Indonesian archipelago during the second half of the 19th century (see Dutch East Indies). Dutch political and economic control over Bali began in the 1840s on the island's north coast, when the Dutch pitted various competing Balinese realms against each other. In the late 1890s, struggles between Balinese kingdoms in the island's south were exploited by the Dutch to increase their control.

 

In June 1860 the famous Welsh naturalist, Alfred Russel Wallace, travelled to Bali from Singapore, landing at Buleleng on the northcoast of the island. Wallace's trip to Bali was instrumental in helping him devise his Wallace Line theory. The Wallace Line is a faunal boundary that runs through the strait between Bali and Lombok. It has been found to be a boundary between species of Asiatic origin in the east and a mixture of Australian and Asian species to the west. In his travel memoir The Malay Archipelago, Wallace wrote of his experience in Bali:

 

I was both astonished and delighted; for as my visit to Java was some years later, I had never beheld so beautiful and well-cultivated a district out of Europe. A slightly undulating plain extends from the seacoast about ten or twelve miles inland, where it is bounded by a fine range of wooded and cultivated hills. Houses and villages, marked out by dense clumps of coconut palms, tamarind and other fruit trees, are dotted about in every direction; while between them extend luxurious rice-grounds, watered by an elaborate system of irrigation that would be the pride of the best cultivated parts of Europe.

 

The Dutch mounted large naval and ground assaults at the Sanur region in 1906 and were met by the thousands of members of the royal family and their followers who fought against the superior Dutch force in a suicidal puputan defensive assault rather than face the humiliation of surrender. Despite Dutch demands for surrender, an estimated 200 Balinese marched to their death against the invaders. In the Dutch intervention in Bali, a similar massacre occurred in the face of a Dutch assault in Klungkung.

 

AFTERWARD THE DUTCH GOVERNORS

exercised administrative control over the island, but local control over religion and culture generally remained intact. Dutch rule over Bali came later and was never as well established as in other parts of Indonesia such as Java and Maluku.

 

n the 1930s, anthropologists Margaret Mead and Gregory Bateson, artists Miguel Covarrubias and Walter Spies, and musicologist Colin McPhee all spent time here. Their accounts of the island and its peoples created a western image of Bali as "an enchanted land of aesthetes at peace with themselves and nature." Western tourists began to visit the island.

 

Imperial Japan occupied Bali during World War II. It was not originally a target in their Netherlands East Indies Campaign, but as the airfields on Borneo were inoperative due to heavy rains, the Imperial Japanese Army decided to occupy Bali, which did not suffer from comparable weather. The island had no regular Royal Netherlands East Indies Army (KNIL) troops. There was only a Native Auxiliary Corps Prajoda (Korps Prajoda) consisting of about 600 native soldiers and several Dutch KNIL officers under command of KNIL Lieutenant Colonel W.P. Roodenburg. On 19 February 1942 the Japanese forces landed near the town of Senoer [Senur]. The island was quickly captured.

 

During the Japanese occupation, a Balinese military officer, Gusti Ngurah Rai, formed a Balinese 'freedom army'. The harshness of war requisitions made Japanese rule more resented than Dutch rule. Following Japan's Pacific surrender in August 1945, the Dutch returned to Indonesia, including Bali, to reinstate their pre-war colonial administration. This was resisted by the Balinese rebels, who now used recovered Japanese weapons. On 20 November 1946, the Battle of Marga was fought in Tabanan in central Bali. Colonel I Gusti Ngurah Rai, by then 29 years old, finally rallied his forces in east Bali at Marga Rana, where they made a suicide attack on the heavily armed Dutch. The Balinese battalion was entirely wiped out, breaking the last thread of Balinese military resistance.

 

INDIPENDENCE FROM THE DUTCH

In 1946, the Dutch constituted Bali as one of the 13 administrative districts of the newly proclaimed State of East Indonesia, a rival state to the Republic of Indonesia, which was proclaimed and headed by Sukarno and Hatta. Bali was included in the "Republic of the United States of Indonesia" when the Netherlands recognised Indonesian independence on 29 December 1949.

 

CONTEMPORARY

The 1963 eruption of Mount Agung killed thousands, created economic havoc and forced many displaced Balinese to be transmigrated to other parts of Indonesia. Mirroring the widening of social divisions across Indonesia in the 1950s and early 1960s, Bali saw conflict between supporters of the traditional caste system, and those rejecting this system. Politically, the opposition was represented by supporters of the Indonesian Communist Party (PKI) and the Indonesian Nationalist Party (PNI), with tensions and ill-feeling further increased by the PKI's land reform programs. An attempted coup in Jakarta was put down by forces led by General Suharto.

 

The army became the dominant power as it instigated a violent anti-communist purge, in which the army blamed the PKI for the coup. Most estimates suggest that at least 500,000 people were killed across Indonesia, with an estimated 80,000 killed in Bali, equivalent to 5% of the island's population. With no Islamic forces involved as in Java and Sumatra, upper-caste PNI landlords led the extermination of PKI members.

 

As a result of the 1965/66 upheavals, Suharto was able to manoeuvre Sukarno out of the presidency. His "New Order" government reestablished relations with western countries. The pre-War Bali as "paradise" was revived in a modern form. The resulting large growth in tourism has led to a dramatic increase in Balinese standards of living and significant foreign exchange earned for the country. A bombing in 2002 by militant Islamists in the tourist area of Kuta killed 202 people, mostly foreigners. This attack, and another in 2005, severely reduced tourism, producing much economic hardship to the island.

 

GEOGRAPHY

The island of Bali lies 3.2 km east of Java, and is approximately 8 degrees south of the equator. Bali and Java are separated by the Bali Strait. East to west, the island is approximately 153 km wide and spans approximately 112 km north to south; administratively it covers 5,780 km2, or 5,577 km2 without Nusa Penida District, its population density is roughly 750 people/km2.

 

Bali's central mountains include several peaks over 3,000 metres in elevation. The highest is Mount Agung (3,031 m), known as the "mother mountain" which is an active volcano rated as one of the world's most likely sites for a massive eruption within the next 100 years. Mountains range from centre to the eastern side, with Mount Agung the easternmost peak. Bali's volcanic nature has contributed to its exceptional fertility and its tall mountain ranges provide the high rainfall that supports the highly productive agriculture sector. South of the mountains is a broad, steadily descending area where most of Bali's large rice crop is grown. The northern side of the mountains slopes more steeply to the sea and is the main coffee producing area of the island, along with rice, vegetables and cattle. The longest river, Ayung River, flows approximately 75 km.

 

The island is surrounded by coral reefs. Beaches in the south tend to have white sand while those in the north and west have black sand. Bali has no major waterways, although the Ho River is navigable by small sampan boats. Black sand beaches between Pasut and Klatingdukuh are being developed for tourism, but apart from the seaside temple of Tanah Lot, they are not yet used for significant tourism.

 

The largest city is the provincial capital, Denpasar, near the southern coast. Its population is around 491,500 (2002). Bali's second-largest city is the old colonial capital, Singaraja, which is located on the north coast and is home to around 100,000 people. Other important cities include the beach resort, Kuta, which is practically part of Denpasar's urban area, and Ubud, situated at the north of Denpasar, is the island's cultural centre.

 

Three small islands lie to the immediate south east and all are administratively part of the Klungkung regency of Bali: Nusa Penida, Nusa Lembongan and Nusa Ceningan. These islands are separated from Bali by the Badung Strait.

 

To the east, the Lombok Strait separates Bali from Lombok and marks the biogeographical division between the fauna of the Indomalayan ecozone and the distinctly different fauna of Australasia. The transition is known as the Wallace Line, named after Alfred Russel Wallace, who first proposed a transition zone between these two major biomes. When sea levels dropped during the Pleistocene ice age, Bali was connected to Java and Sumatra and to the mainland of Asia and shared the Asian fauna, but the deep water of the Lombok Strait continued to keep Lombok Island and the Lesser Sunda archipelago isolated.

 

CLIMATE

Being just 8 degrees south of the equator, Bali has a fairly even climate year round.

 

Day time temperatures at low elevations vary between 20-33⁰ C although it can be much cooler than that in the mountains. The west monsoon is in place from approximately October to April and this can bring significant rain, particularly from December to March. Outside of the monsoon period, humidity is relatively low and any rain unlikely in lowland areas.

 

ECOLOGY

Bali lies just to the west of the Wallace Line, and thus has a fauna that is Asian in character, with very little Australasian influence, and has more in common with Java than with Lombok. An exception is the yellow-crested cockatoo, a member of a primarily Australasian family. There are around 280 species of birds, including the critically endangered Bali myna, which is endemic. Others Include barn swallow, black-naped oriole, black racket-tailed treepie, crested serpent-eagle, crested treeswift, dollarbird, Java sparrow, lesser adjutant, long-tailed shrike, milky stork, Pacific swallow, red-rumped swallow, sacred kingfisher, sea eagle, woodswallow, savanna nightjar, stork-billed kingfisher, yellow-vented bulbul and great egret.

 

Until the early 20th century, Bali was home to several large mammals: the wild banteng, leopard and the endemic Bali tiger. The banteng still occurs in its domestic form, whereas leopards are found only in neighbouring Java, and the Bali tiger is extinct. The last definite record of a tiger on Bali dates from 1937, when one was shot, though the subspecies may have survived until the 1940s or 1950s. The relatively small size of the island, conflict with humans, poaching and habitat reduction drove the Bali tiger to extinction. This was the smallest and rarest of all tiger subspecies and was never caught on film or displayed in zoos, whereas few skins or bones remain in museums around the world. Today, the largest mammals are the Javan rusa deer and the wild boar. A second, smaller species of deer, the Indian muntjac, also occurs. Saltwater crocodiles were once present on the island, but became locally extinct sometime during the last century.

 

Squirrels are quite commonly encountered, less often is the Asian palm civet, which is also kept in coffee farms to produce Kopi Luwak. Bats are well represented, perhaps the most famous place to encounter them remaining the Goa Lawah (Temple of the Bats) where they are worshipped by the locals and also constitute a tourist attraction. They also occur in other cave temples, for instance at Gangga Beach. Two species of monkey occur. The crab-eating macaque, known locally as "kera", is quite common around human settlements and temples, where it becomes accustomed to being fed by humans, particularly in any of the three "monkey forest" temples, such as the popular one in the Ubud area. They are also quite often kept as pets by locals. The second monkey, endemic to Java and some surrounding islands such as Bali, is far rarer and more elusive is the Javan langur, locally known as "lutung". They occur in few places apart from the Bali Barat National Park. They are born an orange colour, though by their first year they would have already changed to a more blackish colouration. In Java however, there is more of a tendency for this species to retain its juvenile orange colour into adulthood, and so you can see a mixture of black and orange monkeys together as a family. Other rarer mammals include the leopard cat, Sunda pangolin and black giant squirrel.

 

Snakes include the king cobra and reticulated python. The water monitor can grow to at least 1.5 m in length and 50 kg and can move quickly.

 

The rich coral reefs around the coast, particularly around popular diving spots such as Tulamben, Amed, Menjangan or neighbouring Nusa Penida, host a wide range of marine life, for instance hawksbill turtle, giant sunfish, giant manta ray, giant moray eel, bumphead parrotfish, hammerhead shark, reef shark, barracuda, and sea snakes. Dolphins are commonly encountered on the north coast near Singaraja and Lovina.

 

A team of scientists conducted a survey from 29 April 2011 to 11 May 2011 at 33 sea sites around Bali. They discovered 952 species of reef fish of which 8 were new discoveries at Pemuteran, Gilimanuk, Nusa Dua, Tulamben and Candidasa, and 393 coral species, including two new ones at Padangbai and between Padangbai and Amed. The average coverage level of healthy coral was 36% (better than in Raja Ampat and Halmahera by 29% or in Fakfak and Kaimana by 25%) with the highest coverage found in Gili Selang and Gili Mimpang in Candidasa, Karangasem regency.

 

Many plants have been introduced by humans within the last centuries, particularly since the 20th century, making it sometimes hard to distinguish what plants are really native.[citation needed] Among the larger trees the most common are: banyan trees, jackfruit, coconuts, bamboo species, acacia trees and also endless rows of coconuts and banana species. Numerous flowers can be seen: hibiscus, frangipani, bougainvillea, poinsettia, oleander, jasmine, water lily, lotus, roses, begonias, orchids and hydrangeas exist. On higher grounds that receive more moisture, for instance around Kintamani, certain species of fern trees, mushrooms and even pine trees thrive well. Rice comes in many varieties. Other plants with agricultural value include: salak, mangosteen, corn, kintamani orange, coffee and water spinach.

 

ENVIRONMENT

Some of the worst erosion has occurred in Lebih Beach, where up to 7 metres of land is lost every year. Decades ago, this beach was used for holy pilgrimages with more than 10,000 people, but they have now moved to Masceti Beach.

 

From ranked third in previous review, in 2010 Bali got score 99.65 of Indonesia's environmental quality index and the highest of all the 33 provinces. The score measured 3 water quality parameters: the level of total suspended solids (TSS), dissolved oxygen (DO) and chemical oxygen demand (COD).

 

Because of over-exploitation by the tourist industry which covers a massive land area, 200 out of 400 rivers on the island have dried up and based on research, the southern part of Bali would face a water shortage up to 2,500 litres of clean water per second by 2015. To ease the shortage, the central government plans to build a water catchment and processing facility at Petanu River in Gianyar. The 300 litres capacity of water per second will be channelled to Denpasar, Badung and Gianyar in 2013.

 

ECONOMY

Three decades ago, the Balinese economy was largely agriculture-based in terms of both output and employment. Tourism is now the largest single industry in terms of income, and as a result, Bali is one of Indonesia's wealthiest regions. In 2003, around 80% of Bali's economy was tourism related. By end of June 2011, non-performing loan of all banks in Bali were 2.23%, lower than the average of Indonesian banking industry non-performing loan (about 5%). The economy, however, suffered significantly as a result of the terrorist bombings 2002 and 2005. The tourism industry has since recovered from these events.

 

AGRICULTURE

Although tourism produces the GDP's largest output, agriculture is still the island's biggest employer; most notably rice cultivation. Crops grown in smaller amounts include fruit, vegetables, Coffea arabica and other cash and subsistence crops. Fishing also provides a significant number of jobs. Bali is also famous for its artisans who produce a vast array of handicrafts, including batik and ikat cloth and clothing, wooden carvings, stone carvings, painted art and silverware. Notably, individual villages typically adopt a single product, such as wind chimes or wooden furniture.

 

The Arabica coffee production region is the highland region of Kintamani near Mount Batur. Generally, Balinese coffee is processed using the wet method. This results in a sweet, soft coffee with good consistency. Typical flavours include lemon and other citrus notes. Many coffee farmers in Kintamani are members of a traditional farming system called Subak Abian, which is based on the Hindu philosophy of "Tri Hita Karana". According to this philosophy, the three causes of happiness are good relations with God, other people and the environment. The Subak Abian system is ideally suited to the production of fair trade and organic coffee production. Arabica coffee from Kintamani is the first product in Indonesia to request a Geographical Indication.

 

TOURISM

The tourism industry is primarily focused in the south, while significant in the other parts of the island as well. The main tourist locations are the town of Kuta (with its beach), and its outer suburbs of Legian and Seminyak (which were once independent townships), the east coast town of Sanur (once the only tourist hub), in the center of the island Ubud, to the south of the Ngurah Rai International Airport, Jimbaran, and the newer development of Nusa Dua and Pecatu.

 

The American government lifted its travel warnings in 2008. The Australian government issued an advice on Friday, 4 May 2012. The overall level of the advice was lowered to 'Exercise a high degree of caution'. The Swedish government issued a new warning on Sunday, 10 June 2012 because of one more tourist who was killed by methanol poisoning. Australia last issued an advice on Monday, 5 January 2015 due to new terrorist threats.

 

An offshoot of tourism is the growing real estate industry. Bali real estate has been rapidly developing in the main tourist areas of Kuta, Legian, Seminyak and Oberoi. Most recently, high-end 5 star projects are under development on the Bukit peninsula, on the south side of the island. Million dollar villas are being developed along the cliff sides of south Bali, commanding panoramic ocean views. Foreign and domestic (many Jakarta individuals and companies are fairly active) investment into other areas of the island also continues to grow. Land prices, despite the worldwide economic crisis, have remained stable.

 

In the last half of 2008, Indonesia's currency had dropped approximately 30% against the US dollar, providing many overseas visitors value for their currencies. Visitor arrivals for 2009 were forecast to drop 8% (which would be higher than 2007 levels), due to the worldwide economic crisis which has also affected the global tourist industry, but not due to any travel warnings.

 

Bali's tourism economy survived the terrorist bombings of 2002 and 2005, and the tourism industry has in fact slowly recovered and surpassed its pre-terrorist bombing levels; the longterm trend has been a steady increase of visitor arrivals. In 2010, Bali received 2.57 million foreign tourists, which surpassed the target of 2.0–2.3 million tourists. The average occupancy of starred hotels achieved 65%, so the island is still able to accommodate tourists for some years without any addition of new rooms/hotels, although at the peak season some of them are fully booked.

 

Bali received the Best Island award from Travel and Leisure in 2010. The island of Bali won because of its attractive surroundings (both mountain and coastal areas), diverse tourist attractions, excellent international and local restaurants, and the friendliness of the local people. According to BBC Travel released in 2011, Bali is one of the World's Best Islands, ranking second after Santorini, Greece.

 

In August 2010, the film Eat Pray Love was released in theatres. The movie was based on Elizabeth Gilbert's best-selling memoir Eat, Pray, Love. It took place at Ubud and Padang-Padang Beach at Bali. The 2006 book, which spent 57 weeks at the No. 1 spot on the New York Times paperback nonfiction best-seller list, had already fuelled a boom in Eat, Pray, Love-related tourism in Ubud, the hill town and cultural and tourist center that was the focus of Gilbert's quest for balance through traditional spirituality and healing that leads to love.

 

In January 2016, after music icon David Bowie died, it was revealed that in his will, Bowie asked for his ashes to be scattered in Bali, conforming to Buddhist rituals. He had visited and performed in a number of Southest Asian cities early in his career, including Bangkok and Singapore.

 

Since 2011, China has displaced Japan as the second-largest supplier of tourists to Bali, while Australia still tops the list. Chinese tourists increased by 17% from last year due to the impact of ACFTA and new direct flights to Bali. In January 2012, Chinese tourists year on year (yoy) increased by 222.18% compared to January 2011, while Japanese tourists declined by 23.54% yoy.

 

Bali reported that it has 2.88 million foreign tourists and 5 million domestic tourists in 2012, marginally surpassing the expectations of 2.8 million foreign tourists. Forecasts for 2013 are at 3.1 million.

 

Based on Bank Indonesia survey in May 2013, 34.39 percent of tourists are upper-middle class with spending between $1,286 to $5,592 and dominated by Australia, France, China, Germany and the US with some China tourists move from low spending before to higher spending currently. While 30.26 percent are middle class with spending between $662 to $1,285.

 

SEX TOURISM

In the twentieth century the incidence of tourism specifically for sex was regularly observed in the era of mass tourism in Indonesia In Bali, prostitution is conducted by both men and women. Bali in particular is notorious for its 'Kuta Cowboys', local gigolos targeting foreign female tourists.

 

Tens of thousands of single women throng the beaches of Bali in Indonesia every year. For decades, young Balinese men have taken advantage of the louche and laid-back atmosphere to find love and lucre from female tourists—Japanese, European and Australian for the most part—who by all accounts seem perfectly happy with the arrangement.

 

By 2013, Indonesia was reportedly the number one destination for Australian child sex tourists, mostly starting in Bali but also travelling to other parts of the country. The problem in Bali was highlighted by Luh Ketut Suryani, head of Psychiatry at Udayana University, as early as 2003. Surayani warned that a low level of awareness of paedophilia in Bali had made it the target of international paedophile organisations. On 19 February 2013, government officials announced measures to combat paedophilia in Bali.

 

TRANSPORTATION

The Ngurah Rai International Airport is located near Jimbaran, on the isthmus at the southernmost part of the island. Lt.Col. Wisnu Airfield is found in north-west Bali.

 

A coastal road circles the island, and three major two-lane arteries cross the central mountains at passes reaching to 1,750m in height (at Penelokan). The Ngurah Rai Bypass is a four-lane expressway that partly encircles Denpasar. Bali has no railway lines.

 

In December 2010 the Government of Indonesia invited investors to build a new Tanah Ampo Cruise Terminal at Karangasem, Bali with a projected worth of $30 million. On 17 July 2011 the first cruise ship (Sun Princess) anchored about 400 meters away from the wharf of Tanah Ampo harbour. The current pier is only 154 meters but will eventually be extended to 300–350 meters to accommodate international cruise ships. The harbour here is safer than the existing facility at Benoa and has a scenic backdrop of east Bali mountains and green rice fields. The tender for improvement was subject to delays, and as of July 2013 the situation remained unclear with cruise line operators complaining and even refusing to use the existing facility at Tanah Ampo.

 

A Memorandum of Understanding has been signed by two ministers, Bali's Governor and Indonesian Train Company to build 565 kilometres of railway along the coast around the island. As of July 2015, no details of this proposed railways have been released.

 

On 16 March 2011 (Tanjung) Benoa port received the "Best Port Welcome 2010" award from London's "Dream World Cruise Destination" magazine. Government plans to expand the role of Benoa port as export-import port to boost Bali's trade and industry sector. The Tourism and Creative Economy Ministry has confirmed that 306 cruise liners are heading for Indonesia in 2013 – an increase of 43 percent compared to the previous year.

 

In May 2011, an integrated Areal Traffic Control System (ATCS) was implemented to reduce traffic jams at four crossing points: Ngurah Rai statue, Dewa Ruci Kuta crossing, Jimbaran crossing and Sanur crossing. ATCS is an integrated system connecting all traffic lights, CCTVs and other traffic signals with a monitoring office at the police headquarters. It has successfully been implemented in other ASEAN countries and will be implemented at other crossings in Bali.

 

On 21 December 2011 construction started on the Nusa Dua-Benoa-Ngurah Rai International Airport toll road which will also provide a special lane for motorcycles. This has been done by seven state-owned enterprises led by PT Jasa Marga with 60% of shares. PT Jasa Marga Bali Tol will construct the 9.91 kilometres toll road (totally 12.7 kilometres with access road). The construction is estimated to cost Rp.2.49 trillion ($273.9 million). The project goes through 2 kilometres of mangrove forest and through 2.3 kilometres of beach, both within 5.4 hectares area. The elevated toll road is built over the mangrove forest on 18,000 concrete pillars which occupied 2 hectares of mangroves forest. It compensated by new planting of 300,000 mangrove trees along the road. On 21 December 2011 the Dewa Ruci 450 meters underpass has also started on the busy Dewa Ruci junction near Bali Kuta Galeria with an estimated cost of Rp136 billion ($14.9 million) from the state budget. On 23 September 2013, the Bali Mandara Toll Road is opened and the Dewa Ruci Junction (Simpang Siur) underpass is opened before. Both are ease the heavy traffic congestion.

 

To solve chronic traffic problems, the province will also build a toll road connecting Serangan with Tohpati, a toll road connecting Kuta, Denpasar and Tohpati and a flyover connecting Kuta and Ngurah Rai Airport.

 

DEMOGRAPHICS

The population of Bali was 3,890,757 as of the 2010 Census; the latest estimate (for January 2014) is 4,225,384. There are an estimated 30,000 expatriates living in Bali.

 

ETHNIC ORIGINS

A DNA study in 2005 by Karafet et al. found that 12% of Balinese Y-chromosomes are of likely Indian origin, while 84% are of likely Austronesian origin, and 2% of likely Melanesian origin. The study does not correlate the DNA samples to the Balinese caste system.

 

CASTE SYSTEM

Bali has a caste system based on the Indian Hindu model, with four castes:

 

- Sudra (Shudra) – peasants constituting close to 93% of Bali's population.

- Wesia (Vaishyas) – the caste of merchants and administrative officials

- Ksatrias (Kshatriyas) – the kingly and warrior caste

- Brahmana (Bramhin) – holy men and priests

 

RELIGION

Unlike most of Muslim-majority Indonesia, about 83.5% of Bali's population adheres to Balinese Hinduism, formed as a combination of existing local beliefs and Hindu influences from mainland Southeast Asia and South Asia. Minority religions include Islam (13.3%), Christianity (1.7%), and Buddhism (0.5%). These figures do not include immigrants from other parts of Indonesia.

 

Balinese Hinduism is an amalgam in which gods and demigods are worshipped together with Buddhist heroes, the spirits of ancestors, indigenous agricultural deities and sacred places. Religion as it is practised in Bali is a composite belief system that embraces not only theology, philosophy, and mythology, but ancestor worship, animism and magic. It pervades nearly every aspect of traditional life. Caste is observed, though less strictly than in India. With an estimated 20,000 puras (temples) and shrines, Bali is known as the "Island of a Thousand Puras", or "Island of the Gods". This is refer to Mahabarata story that behind Bali became island of god or "pulau dewata" in Indonesian language.

 

Balinese Hinduism has roots in Indian Hinduism and Buddhism, and adopted the animistic traditions of the indigenous people. This influence strengthened the belief that the gods and goddesses are present in all things. Every element of nature, therefore, possesses its own power, which reflects the power of the gods. A rock, tree, dagger, or woven cloth is a potential home for spirits whose energy can be directed for good or evil. Balinese Hinduism is deeply interwoven with art and ritual. Ritualizing states of self-control are a notable feature of religious expression among the people, who for this reason have become famous for their graceful and decorous behaviour.

 

Apart from the majority of Balinese Hindus, there also exist Chinese immigrants whose traditions have melded with that of the locals. As a result, these Sino-Balinese not only embrace their original religion, which is a mixture of Buddhism, Christianity, Taoism and Confucianism, but also find a way to harmonise it with the local traditions. Hence, it is not uncommon to find local Sino-Balinese during the local temple's odalan. Moreover, Balinese Hindu priests are invited to perform rites alongside a Chinese priest in the event of the death of a Sino-Balinese. Nevertheless, the Sino-Balinese claim to embrace Buddhism for administrative purposes, such as their Identity Cards.

 

LANGUAGE

Balinese and Indonesian are the most widely spoken languages in Bali, and the vast majority of Balinese people are bilingual or trilingual. The most common spoken language around the tourist areas is Indonesian, as many people in the tourist sector are not solely Balinese, but migrants from Java, Lombok, Sumatra, and other parts of Indonesia. There are several indigenous Balinese languages, but most Balinese can also use the most widely spoken option: modern common Balinese. The usage of different Balinese languages was traditionally determined by the Balinese caste system and by clan membership, but this tradition is diminishing. Kawi and Sanskrit are also commonly used by some Hindu priests in Bali, for Hinduism literature was mostly written in Sanskrit.

 

English and Chinese are the next most common languages (and the primary foreign languages) of many Balinese, owing to the requirements of the tourism industry, as well as the English-speaking community and huge Chinese-Indonesian population. Other foreign languages, such as Japanese, Korean, French, Russian or German are often used in multilingual signs for foreign tourists.

 

CULTURE

Bali is renowned for its diverse and sophisticated art forms, such as painting, sculpture, woodcarving, handcrafts, and performing arts. Balinese cuisine is also distinctive. Balinese percussion orchestra music, known as gamelan, is highly developed and varied. Balinese performing arts often portray stories from Hindu epics such as the Ramayana but with heavy Balinese influence. Famous Balinese dances include pendet, legong, baris, topeng, barong, gong keybar, and kecak (the monkey dance). Bali boasts one of the most diverse and innovative performing arts cultures in the world, with paid performances at thousands of temple festivals, private ceremonies, or public shows.

 

The Hindu New Year, Nyepi, is celebrated in the spring by a day of silence. On this day everyone stays at home and tourists are encouraged to remain in their hotels. On the day before New Year, large and colourful sculptures of ogoh-ogoh monsters are paraded and finally burned in the evening to drive away evil spirits. Other festivals throughout the year are specified by the Balinese pawukon calendrical system.

 

Celebrations are held for many occasions such as a tooth-filing (coming-of-age ritual), cremation or odalan (temple festival). One of the most important concepts that Balinese ceremonies have in common is that of désa kala patra, which refers to how ritual performances must be appropriate in both the specific and general social context. Many of the ceremonial art forms such as wayang kulit and topeng are highly improvisatory, providing flexibility for the performer to adapt the performance to the current situation. Many celebrations call for a loud, boisterous atmosphere with lots of activity and the resulting aesthetic, ramé, is distinctively Balinese. Often two or more gamelan ensembles will be performing well within earshot, and sometimes compete with each other to be heard. Likewise, the audience members talk amongst themselves, get up and walk around, or even cheer on the performance, which adds to the many layers of activity and the liveliness typical of ramé.

 

Kaja and kelod are the Balinese equivalents of North and South, which refer to ones orientation between the island's largest mountain Gunung Agung (kaja), and the sea (kelod). In addition to spatial orientation, kaja and kelod have the connotation of good and evil; gods and ancestors are believed to live on the mountain whereas demons live in the sea. Buildings such as temples and residential homes are spatially oriented by having the most sacred spaces closest to the mountain and the unclean places nearest to the sea.

 

Most temples have an inner courtyard and an outer courtyard which are arranged with the inner courtyard furthest kaja. These spaces serve as performance venues since most Balinese rituals are accompanied by any combination of music, dance and drama. The performances that take place in the inner courtyard are classified as wali, the most sacred rituals which are offerings exclusively for the gods, while the outer courtyard is where bebali ceremonies are held, which are intended for gods and people. Lastly, performances meant solely for the entertainment of humans take place outside the walls of the temple and are called bali-balihan. This three-tiered system of classification was standardised in 1971 by a committee of Balinese officials and artists to better protect the sanctity of the oldest and most sacred Balinese rituals from being performed for a paying audience.

 

Tourism, Bali's chief industry, has provided the island with a foreign audience that is eager to pay for entertainment, thus creating new performance opportunities and more demand for performers. The impact of tourism is controversial since before it became integrated into the economy, the Balinese performing arts did not exist as a capitalist venture, and were not performed for entertainment outside of their respective ritual context. Since the 1930s sacred rituals such as the barong dance have been performed both in their original contexts, as well as exclusively for paying tourists. This has led to new versions of many of these performances which have developed according to the preferences of foreign audiences; some villages have a barong mask specifically for non-ritual performances as well as an older mask which is only used for sacred performances.

 

Balinese society continues to revolve around each family's ancestral village, to which the cycle of life and religion is closely tied. Coercive aspects of traditional society, such as customary law sanctions imposed by traditional authorities such as village councils (including "kasepekang", or shunning) have risen in importance as a consequence of the democratisation and decentralisation of Indonesia since 1998.

 

WIKIPEDIA

Exploits River, Central NL, Canada

In Asia transports are exploited in any different ways than in the West and still all up to the extreme. India does not refrain from habit and it's normal to see three people on a scooter, darting in the city traffic. Sometimes this practice becomes a painting, because of the colors and the transparency of patterned on the air.

-------------------------------------

In Asia i mezzi di trasporto sono sfruttati in modi diversi da quelli a cui siamo abituati in Occidente e comunque tutti fino allo stremo. L'India non si esime da questo quadro e vedere almeno tre persone a bordo di uno scooter che sfreccia nel traffico cittadino è la normalità. Solo che talvolta questa consuetudine diventa un quadro, per i colori e la leggera trasparenza dei tessuti modellati dall'aria.

Delhi.

NEW: The only thing you have to do is use our online generator. MODERN COMBAT 5 BLACKOUT generator saves you a lot of time as well as money. Thanks to the team of developers & hackers who managed to find some loopholes & exploit the server of MODERN COMBAT 5 BLACKOUT. #ModernCombat5BlackoutHack #generator #today #usegenerator #gamecheat #ModernCombat5BlackoutCheat #hacked #iphone #cheat #hacked #free #reddit #TagsForLikes #like4like #facebook #lol #legit #ModernCombat5Blackout #android #games #gamehack #ios #hack |||| Visit Here To Hack MODERN COMBAT 5 BLACKOUT : bit.ly/1R7vXAE ift.tt/1VmVU3K

MES : 08/2007

Immatriculation : DN-116-LR

Exploitant : Grosperrin Tourisme Voyages

Ligne : Parcage

Exploits River, GFW, NL

"Yeah, so you got Creative Commons on your side. Yeah, so the band and artist said it was CC too, and they never made a penny outta it? Ain't they the fools.

 

Read our conditions, and remember, we decide. See them fat lawyers over there? We'll grass you over to the trolls so they can litigate til you run outta money. We're the judge, and if we take you down, there ain't a thing you can do about it. You gonna try fighting it, pretty thing? Go on, you gonna try? I dares yer."

 

YT: "Your dispute wasn't approved.

The claimant has reviewed their claim and has confirmed it was valid.

You may be able to appeal this decision, but if the claimant disagrees with your appeal, you could end up with a strike on your account."

 

As I provided evidence about the music on my video with my original dispute, it seems rather unlikely the claimant is going to suddenly realise they have made an unfortunate error 24 hours later. I know the artist hasn't made a penny out of it, so why should others monetise it?

 

'Shot' at Missing Mile Dark Rural Community: maps.secondlife.com/secondlife/Soap/80/127/27

 

'Less than Zilch'. Proudly Creative Commons on Vimeo: vimeo.com/136958109

Alibates Flint Quarries National Monument is a national monument located in northeastern Potter County, Texas. For thousands of years, people came to the red bluffs above the Canadian River for flint, vital to their existence. Demand for the high quality, rainbow-hued flint is reflected in the distribution of Alibates Flint through the Great Plains and beyond (as far away as Arizona and Minnesota). Indians of the Ice Age Clovis Culture used Alibates flint for spear points to hunt the Imperial Mammoth before the Great Lakes were formed. The flint usually lies just below the surface at ridge level in a layer up to six feet thick. The quarry pits were not very large, between 5 to 25 feet wide and 4 to 7 feet deep. Many of these quarries were exploited by the Antelope Creek people, of the Panhandle culture, between 1200 and 1450. The stone-slabbed, multi-room houses built by the Antelope Creek people have long been of interest to the public and studied by archaeologists. Today this area is protected by the U.S. National Park Service and can only be viewed by ranger-led guided tours, which must be made in advance.

 

Alibates Flint Quarries is the only National Monument in the state of Texas, and is an interesting part of Lake Meredith National Recreation Area, well worth a visit.

 

The monument was authorized as Alibates Flint Quarries and Texas Panhandle Pueblo Culture National Monument on August 21, 1965, but the designation was shortened to the current name on November 10, 1978. The park was named for an American transportation manager named Ali Bates who was integral to the rediscovery of the archeological site in the 20th Century.

Translation / Traduction 🇬🇧 UK

● 1st tram with the Ilévia color.

● 2nd day of exploitation to the Ilévia color.

● 3rd Delivered ( Color ).

Bye Bye Transpole, Hello Ilévia ( New brand since February 28th, 2019 )

 

Translation / Traduction 🇫🇷 Fr.

● 1er tramway avec la couleur Ilévia.

● 2ème jour d'exploitation Tram n° 01 au nouvelle couleur Ilévia.

● 3ème livrée ( couleur ).

Bye Bye Transpole, Hello Ilévia ( Nouvelle marque depuis le 28 février 2019 )

 

Tramway de Lille Roubaix Tourcoing.

Parc : 24 Tramways

 

Fiche technique :

- Longueur : 29.6 mètres

- Largeur : 2,4 mètres

- Hauteur : 3,425 mètres

- Masse à vide : 40 tonnes

- Capacité avant ◄ 2015 : 200 personnes

( 50 assises et 150 debout )

- Capacité évolué après rénovation ( voir ci-dessous )

- Capacité après ► 2016 : 245 personnes

( 40 assises et 205 debout )

- Vitesse maxi : 80 km/h

- Captage : pantographe unijambiste Faiveley

- Ecartement : voie métrique ( 1 mètre )

- Constructeur : Breda Costruzioni Ferroviaire

Source : Trans'Lille

www.translille.com/spip.php?article4

 

Exploitant ►Ilévia ( Site officiel )

www.ilevia.fr/fr/?gclid=EAIaIQobChMIsK7duc3k4AIViZ3VCh3HD...

 

Ilévia ( Wikipédia )

fr.wikipedia.org/wiki/Il%C3%A9via

 

Tramway de Lille - Roubaix - Tourcoing ( Wikipédia )

fr.wikipedia.org/wiki/Tramway_de_Lille_-_Roubaix_-_Tourcoing

 

Breda ( Wikipédia )

fr.wikipedia.org/wiki/Breda_VLC

fr.wikipedia.org/wiki/Breda_costruzioni_ferroviarie

 

Liste des tramways de France

fr.wikipedia.org/wiki/Liste_des_tramways_de_France

 

Dans notre jardin, un coquelicot prend le soleil... (Cerneux - 77 - Seine & Marne - France)

--------------------------------------------------------------------------------------------------------------------------

Please don't use this image on websites, blogs or other media without my explicit permission.

Ne pas exploiter cette photo sur un site, blog ou tout autre média sans ma permission.

 

Copyright : All right reserved © pgauti

---------------------------------------------------------------------------------------------------------------------------

Zeshan Abdul-Shakoor, 13 years old, looks for other children playing if front of the Badsahi mosque in in Lahore city the capital of Punjab province, Pakistan.Lives in a shelter in Lahore with up to 20 other children. His basic needs are met, but he faces a sometimes-abusive environment and he doesn't like it there. He currently works at a billiard parlour for up to 12 hours a day, earning just over 50 cents a day. Customers sometimes verbally abuse him. He went to live with relatives on the death of his father and later ended up on the streets. On the streets, Zeshan has faced abuse and exploitation.One of the highlights for Zeshan was attending a UNICEF-supported Child Protection Centre last year, where the staff was caring and compassionate, and he learned valuable life skills and had a chance to be a child. Unfortunately the centre had to close due to lack of funding.Zeshan is not happy with his life and would like to be back with his family and living in a better environment. Zeshan is not currently going to school, but liked going to school.

 

For more information about 'The State of the World's Children 2012: Children in an Urban World' please visit www.unicef.org/sowc/index_61804.html

 

10 February 2012

© UNICEF Pakistan/2011/Asad Zaidi

 

To learn more:

www.unicef.org/pakistan

www.facebook.com/unicefpakistan

www.twitter.com/UNICEF_Pakistan

www.unicef.org/photography

Moomo Design Blog take on Fur Neil poster

Exploitant : Transdev TVO

Réseau : R'Bus (Argenteuil)

Ligne : 9

Lieu : Gare d'Argenteuil (Argenteuil, F-95)

Lien TC Infos : tc-infos.fr/id/37467

23 Beekman Place, Turtle Bay, Manhattan

 

Paul Rudolph, one of the most celebrated and innovative American architects of the 20th century, was associated with 23 Beekman Place for more than 35 years, from 1961 until his death in 1997. Trained at the Harvard Graduate School of Design in the 1940s, Rudolph was a second-generation modernist who grew dissatisfied with functional aesthetics but remained committed to exploiting industrial materials to create structures of great formal complexity. From 1958 to 1965, he served as chairman of the Department of Architecture at Yale University, where he designed the well-known Art and Architecture Building, now called Paul Rudolph Hall. Rudolph began leasing an apartment on the fourth floor of 23 Beekman Place in 1961, which became his full-time residence in 1965. He purchased the building in 1976 and converted it into five apartments in 1977-82, adding a remarkable multi-story penthouse that suggests a work of architectonic sculpture. New York Times architecture critic Paul Goldberger praised the steel-and-concrete design, calling it “a handsome composition, a neat arrangement of geometric forms that is visually pleasing in itself and a welcome addition to Beekman Place’s already long list of architectural styles.”

 

23 Beekman Place was also home to actress Katharine Cornell. Dubbed by drama critic Alexander Woolcott the “First Lady of the Theater,” she purchased the building with her husband, director-producer Guthrie McClintic, in 1922 and lived here until the early 1950s. Although the elaborate multi-level interiors have been modified by subsequent owners, the exterior is virtually unchanged. Rudolph completed only six buildings in New York City. 23 Beekman Place stands out as one of his most personal and experimental designs, drawing on themes that he explored throughout his prolific career, as well as anticipating aspects of his later work in Southeast Asia.

 

DESCRIPTION AND ANALYSIS

 

Beekman Place

 

The Paul Rudolph Penthouse & Apartments is located on Beekman Place, a small residential enclave in the Turtle Bay section of Manhattan. Close to the East River, this street extends just two blocks, from Mitchell Place (aka East 49th Street), past 50th Street (aka Dunscombe Place), to 51st Street. Topography has always played a significant role in this neighborhood’s appeal. Because the numbered cross-town streets end slightly to the east, for more than a century Beekman Place developed in quasi-isolation, standing above and apart from early industrial activities in the area, and construction of the United Nations, which began in the mid-1940s. Furthermore, due to the street’s unique and secluded character, it attracted a continuously changing roster of prominent residents, from the late 19th century to the present day.

 

Beekman Place was first opened in the mid-1860s. Most of the property in the area was owned by Samuel W. Dunscombe, a former minister. Four-story houses, faced with brownstone and classical detail, were soon erected on both sides of the new street, as well as a stone retaining wall to separate the rear yards from a narrow piece of river front property that James W. Beekman and family continued to own. These single-family houses were similar to those along 48th and 49th Streets, in what is now the Turtle Bay Gardens Historic District; each building was 20 feet wide, with a continuous metal or wood roof cornice, as well as a stoop rising to the first or parlor floor. Early residents included author Henry Harland, who produced popular novels under the pseudonym Sydney Luska. In Mrs. Peixada (1886) he described the street’s character:

 

Beekman Place, as the reader may not know, is a short, chocolate-colored, unpretentious thoroughfare, perched on the eastern brink of Manhattan Island, and commanding a fine view of the river, of the penitentiary, and of the oil factories of Hunter’s Point.

 

When Beekman sold the property, he promised that any future development would rise no higher than Dunscombe’s retaining wall – about 40 feet. He also promised that “nothing could be built there considered dangerous, noxious or offensive.” In 1914, the estate’s lawyers asked that these restrictions be nullified to allow improvements to the property. They claimed that commercial use was part of the “natural progress of the city,” but the New York State Supreme Court upheld the 1865 agreement, maintaining restrictions. Such litigation had a significant impact on Beekman Place; in addition to protecting views from the houses that faced east, these events brought the area increased attention and a large number of buildings were sold, substantially altered, or demolished.

 

Residential Beekman Place

 

Actress Katharine Cornell (1893-1974) and producer-director Guthrie McClintic (189361) acquired 23 Beekman Place in 1922. They purchased the former town house from Charles Schmid, who acquired it from Maria L. Higgins in 1906. It seems likely that one of these owners removed the stoop and divided the structure into at least two apartments, which were occupied in the 1910s by Schmid and four children, and Roger Howson, who later became chief librarian at Columbia University, as well as his wife, three children, and a governess.

 

Cornell and McClintic met in 1921 and married, forming a professional partnership that lasted four decades. Though relatively little is known about their private lives, they collaborated on 28 theatrical productions, with Cornell in the lead roles. Critic Alexander Woollcott described her as the “First Lady of Theater” and she was often compared to such luminaries as Helen Hayes and Lynn Fontaine. McClintic rivaled Cornell in terms of his contribution to the New York stage, directing 94 theatrical productions, including both classic and contemporary works.

 

Architect Franklin Abbott was hired to “remodel” the front elevation in 1929, as well as the interiors. Simple neo-classical details were added to the facade, as well as round-arched windows at the base and rusticated stonework. It was probably at this time that a service entrance was added to the right side of the ground story, as well as a metal canopy to keep water from collecting in the areaway. The basement was also extended at the rear of the property and walls were built around the garden. According to the United States Census of 1930, McClintic and Cornell occupied the building with two servants, a butler and cook, and possibly, a single tenant. A visitor in the 1940s described their home as “veritable theatrical museum,” with Cornell occupying the third floor, and McClintic, the fourth. They moved to Palisades, New York, in 1951 and the house was sold two years later, in 1953.

 

In the 1920s, Beekman Place developed considerable cachet, attracting prosperous families and cultural figures, such as: John D. and Blanchette Rockefeller III at 1 Beekman Place (Sloan & Robertson, 1929); Noel Coward at 2 (1932); composer Irving Berlin at 17 (1929); landscape architect Ellen Shipman at 19-21 (Butler & Corse, 1920s); CBS executive William S. Paley at 29 (Eldridge Snyder, 1934); art critic and historian Walter Pach at 33 (redesigned by Harrie T. Lindeberg, 1925); and painter Max Ernst and Peggy Guggenheim at 39 (redesigned by John B. Thomas, 1925). Physical changes to the immediate neighborhood also contributed to an aura of exclusivity, starting with construction of the East River (now Franklin Delano Roosevelt) Drive in the 1940s. Built on landfill and pilings, this highway project eliminated commercial wharves and reduced local access to the waterfront. The city also acquired riparian rights to a section of the shoreline between 52nd and 53rd Streets and a pedestrian bridge was constructed above the highway, near 51st Street. This trend continued in the 1950s, with the completion of the United Nations Headquarters, which occupies a 17-acre site, south of 48th Street. Acquired from developer William Zeckendorf, a resident of 30 Beekman Place (Emery Roth, 1932), this large parcel had been occupied by tanneries, breweries, and slaughterhouses. The buildings at 860 and 870 United Nations Plaza, a mixed-use development with the apartment entrances facing 49th Street and Mitchell Place, were erected by the architects Harrison & Abramowitz in the mid1960s. Like “Beekman House,” a neo-Gothic style apartment building at 439 East 51st Street (Treanor & Fatio, 1925) that stands at the street’s north end, this pair of sleek, bronze-colored International Style towers blocks views south and provides a sense of enclosure.

 

Paul Rudolph in New York City

 

Paul Rudolph was an important late 20th century American architect, with a close association with New York City. He moved his practice here at the height of his career, during the mid 1960s, when his tenure as chairman of the Department of Architecture at Yale University was coming to a close and his firm was embarking on many ambitious projects, including a large number in the metropolitan area.

 

Born in Kentucky in 1918, Rudolph received a Bachelor’s Degree in Architecture from the Alabama Polytechnic Institute, now Auburn University, in 1940. During the Second World War, he spent nearly four years as an officer in the U.S. Naval Reserve working at the Brooklyn Navy Yard, where he oversaw ship construction. For a brief period prior to the war (1941-42), and after, he attended the Harvard Graduate School of Design, where he studied with Walter Gropius and Marcel Breuer, formerly of the Bauhaus. Rudolph graduated in 1947 and following travels in Europe, was active in Florida where he worked with the Sarasota architect Ralph Twitchell (1890-1978). The sleek, box-like houses that he produced were widely praised for their imaginative forms and sensitivity to the natural environment. Rudolph also worked for the Museum of Modern Art in New York City, collaborating with design curator Edgar Kaufmann, Jr., on the “Good Design” exhibition of 1952. Several years later, in 1955, he designed “The Family of Man,” organized by photography curator Edward Steichen. With more than five hundred images on display, this immensely popular exhibition included one of the museum’s most daring and memorable installations.

 

Rudolph maintained three architectural offices in the early 1960s: in New Haven, where he designed the controversial and now-celebrated Art and Architecture Building at Yale University; in Cambridge, Massachusetts; and Manhattan. His approach to design became increasingly sculptural and many projects were executed using textured concrete. Though most schemes in the metropolitan area remained unrealized, such as an audacious plan for the Lower Manhattan Expressway (1967-72) and a Graphic Art Center over the West Side Highway (196768), he did execute at least five other projects here: a townhouse at 101 East 63rd Street (1966), Manhattan; Tracy Towers (1967-72), 20/40 West Mosholu Parkway, the Bronx; Davidson Houses for NYC Housing Authority (1967-73), 810 Home Street in the Morrisania section of the Bronx; Middletown Plaza for the NYC Housing Authority (1967-73), 3033 Middletown Road in the Pelham Bay section of the Bronx; and 246 East 58th Street (1989-94), Manhattan.

 

His first office in Manhattan was located on the top floor of 26 West 58th Street, between Fifth and Sixth Avenues. Designed 1964-65, the interiors suggested a terraced garden with distinct and overlapping levels of interconnected workspace that anticipate the general layout of the penthouse. When the 58th Street building was demolished in 1969, Rudolph settled into a smaller space at 54 West 57th Street, near Sixth Avenue, where the alterations to 23 Beekman Place were planned. In the early 1990s, he moved the office to 246 East 58th Street, which he designed and built as an investment. In his final years, he worked at 23 Beekman Place, where he converted his bedroom into a small atelier. During this period, most of his clients were located in Southeast Asia and local firms were responsible for preparing the final production drawings and overseeing construction. Rudolph died in 1997; in his New York Times obituary, architecture critic Herbert Muschamp discussed his evolving reputation and continued significance:

 

Mr. Rudolph leaves behind a perplexing legacy that will take many years to untangle. With the exception of Louis I. Kahn, no American architect of his generation enjoyed higher esteem in the 1960s . . . [he] wielded enormous influence over the direction of American architecture at mid-century. His buildings . . . were widely studied and imitated. In recent years, American architecture students too young to remember the 1960s have rediscovered Mr. Rudolph as a model of rare integrity. In 1993, at a lecture at the Cooper-Hewitt Museum in New York, he drew a standing room only crowd composed mostly of the young and held the audience spellbound, as if he were a visitor from a long-vanished golden age.

 

In the introduction to a 2008 collection of architect’s writings, Robert A. M. Stern declared that Rudolph “possessed the greatest talent of his generation of American architects.”

 

Re-designing 23 Beekman Place

 

Rudolph began his three-decade association with 23 Beekman Place in 1961, leasing the fourth-story from Philomena Marsciano, of the Mariscano Foundation, which had purchased the building as an investment five years earlier. He was currently living in New Haven and probably used the 700-800 square foot apartment on weekends, or occasionally, as a workspace. It became his primary residence in 1965. Two years later, in 1967, New York Times reporter Barbara Plumb wrote: “This one-bedroom apartment may be small, but its influence is likely to be huge because the architect, Paul Rudolph, former chairman of the School of Architecture at Yale University, lives here.”

 

In the mid-1970s, Manhattan’s real estate market was weak and Rudolph purchased 23 Beekman Place for $300,000. Having already completed several significant alterations as a tenant, he wrote in GA Houses:

 

For approximately 15 years I have occupied an 800 square foot apartment overlooking the East River. During this period its constrictions were modified in various ways. Three small windows facing the river, Roosevelt Island, and industrial Queens (complete with its 40’ x 90’ neon signs) were replaced by a glass wall with doors opening onto a small terrace.

 

Though the text devoted considerable attention to the interiors, he concluded with this cryptic sentence: “The apartment no longer exists, but it was never more than a series of sketches, or studies, for other projects.” In saying this, Rudolph hinted at forthcoming changes, not only to his apartment but to the entire structure at 23 Beekman Place.

 

Initial plans for a $120,000 alteration were filed with the Department of Buildings (DOB) in July 1976. Plan examiners expressed objections to the proposed height and the enlargement of the second, third and fourth floors by as much as 25 per cent. Alfonso Duarte, a Queens engineer, presented Rudolph’s case to the Board of Standards and Appeals (BSA), arguing that it was “not feasible or practical nor even economical to erect a new comparable structure on the site” and that by taking specific precautions it would actually improve safety. The BSA granted a variance in February 1977 and a DOB permit was issued in June 1977.

 

Donald Luckenbill, who was employed in Rudolph’s office from 1969 to 1982, served as project architect. Trained at Brooklyn’s Pratt Institute, he remembered 23 Beekman Place as an extremely challenging project that needed to be broken down into “manageable parts.” The rear was demolished and a new steel-and-glass facade was erected that extended out by as much as 17½ feet. Furthermore, the roof-top addition was carefully engineered to support multiple mezzanines, terraces, and cantilevers. At the front of the building, the cantilever projects approximately five feet, matching the depth of the areaway below. Some proposals, however, were rejected by DOB, such as a roof-top swimming pool and rooms without windows. Luckenbill met frequently with plan examiners during 1976 and 1977. He worked closely with contractor Marco Martelli, of the Omar Building Corp., of New Rochelle, as well as structural engineer Vincent J. DeSimone. Though the upper floors are the most conspicuous element, the first stage of work involved rebuilding sections of the brick sidewalls, which were determined unsafe. The penthouse was then erected during late 1977 and 1978 using “exceptionally light” steel supplied by East Bay Iron Works, located in the Hunt’s Point Section of the Bronx, and concrete block panels manufactured by Imperia Brothers, of Pelham Manor, New York.

 

By the end of 1978, most of the interior work on the rental apartments was done and the materials needed for the penthouse were being raised to the fifth floor. The building received temporary certificates of occupancy throughout 1979 and 1980. So that the apartments could be rented at market rates only five units were built. Two were duplexes at the rear of the building, spanning the ground and first floors, as well as the fifth and sixth floors. The penthouse, sometimes described as a quadriplex, was arranged on four interconnected levels. Entered from the main stairs near the west end of the sixth and seventh story, it contained a two-level guest suite on Beekman Place, as well as a private elevator. At the core was a large volume of space ringed by cantilevered floors, narrow bridges, open stairs, windows of varying dimensions, and terraces. In total, there were estimated to be seventeen distinct levels. A final certificate of occupancy was awarded in January 1982.

 

Rudolph would continue to rework the interiors (not part of designation) in subsequent years, often serving as his own contractor. Various completion dates have been proposed, including as late as 1988, when architect-critic Michael Sorkin called the penthouse “one of the most amazing pieces of modern urban domestic architecture produced in this county, a structure packing more finesse and design wallop in its compact volume than many architects manage to produce over entire careers.”

 

Architectural and Aesthetic Significance

 

Rudolph was a “second-generation” modernist. Trained at Harvard University in the 1940s, he studied with Bauhaus founder Walter Gropius but eventually grew dissatisfied with the so-called “International Style,” which he described as “monotonous” and “timid” as early as 1952. To Rudolph, functional aesthetics became a cliché after the Second World War and he said that “driving down Park Avenue [was] rather like flipping through the pages of a window manufacturer’s catalogue.” Though he never completely rejected this training, like his classmates Edward Larrabee Barnes, Victor Lundy and I. M. Pei, he saw modernism as “a base on which one could build, not merely a formula.” Rudolph later remarked:

 

I think things grow, one thing from another, and develop, and retard and take side

 

trips and whatnot. [International-style modernists] figured out a lot of things that

 

give you a base to proceed.”

 

Rudolph’s once-distinguished reputation entered a slow period of decline in the 1970s – Post-Modernism (and the rediscovery of traditional ornament) was becoming fashionable. Despite trends, he remained strongly opposed to using historical forms, claiming as early as 1962: “neoclassicism is a dead duck. We have been through almost a decade of neo-classicism, which has nearly ruined American architecture.”

 

23 Beekman Place is a late work in Rudolph’s career that draws on themes that he explored throughout his life, as well as anticipating projects that he would design for Southeast Asian clients during the 1980s. At a time when many of his peers were drawn to stone surfaces with classical detail, he remained committed to experimenting with industrial materials to produce complex abstract forms. Consequently, this project ignored current fashion – not only would it provide him with a spacious residence and rental income, but it would demonstrate his continued vitality as a designer and the enduring relevance of architectural modernism.

 

In New York City, relatively few buildings have been designed and built by architects for their own use. Two significant 20th-century survivors can be viewed in nearby in Turtle Bay, close to Beekman Place: the William Lescaze House & Office (1933-34, a designated New York City Landmark), and the Morris Sanders House & Studio (1934-35, a designated New York City Landmark). Like 23 Beekman Place, these pioneering modern works incorporate industrial materials that contrast sharply with their earlier row house neighbors. Architect Edward Durrell Stone, however, adopted a somewhat different strategy at 130 East 64th Street (1878/1958, part of the Upper East Side Historic District), where he replaced the original masonry facade with a glass curtain wall disguised by a decorative concrete screen. This solution transformed the exterior without sacrificing some of the Victorian-era interiors, including a paneled Eastlakestyle parlor.

 

While many mid-20th-century architects have been criticized for ignoring history and context, these issues did interest Rudolph. He wrote in 1962:

 

Le Corbusier’s solution was to tear down Paris; Gropius tried to reduce planning to a few simple rules and principles; even Wright – not that he was an International Stylist – had nothing to suggest, except that we all move to the country. We have still to learn how to add to the evolving city without tearing down everything in sight . . . Most buildings should be background buildings, so to speak; only a few should stand out to stop a certain sequence …

 

As an urban planner, Rudolph believed scale, rather than ornament, should be used to tie old and new construction together. He also felt that how a building is perceived from the street and sidewalk is as important as how it looks against the sky.

 

What sets 23 Beekman Place apart from earlier Rudolph designs was his decision to place a highly-conspicuous, multi-story addition on top of an existing structure. As a long-term tenant, he was familiar with Beekman Place and the neighborhood’s historic fabric. In effect, he took an aging town house and turned it into a podium, fusing disparate aesthetics and building campaigns into a memorable late 20th-century modern design. Juxtaposing new construction with old, as well as steel, glass, concrete and masonry, it differs significantly from how most New York architects approached roof-top additions. When floors were added to row houses in the late 19th century, the original roof was sometimes replaced by a mansard, inspired by Second Empire French residences and palaces. Steep canted roofs, usually with large windows, were also popular, especially among artists and their patrons. In contrast, additions to most 19th- and early 20th-century office buildings were remarkably seamless, displaying almost identical materials and ornament. One memorable exception to this pattern was the penthouse headquarters that I.

 

M. Pei (in association with William Lescaze) designed for William Zeckendorf in 1952. Erected on the roof of the Webb & Knapp Building at 383 Madison Avenue (1920s), there was a floor of glazed office suites and terraces, as well as remarkable cantilevered circular pavilion. This eye-catching addition contained the developer’s office and private dining room.

 

Penthouses appeal to New Yorkers because they offer increased privacy, superb vistas, cool breezes, and in many cases, substantial prestige. According to the American Heritage Dictionary (2000), the word is derived from the Latin appendre, meaning “to cause to be suspended.” It first appeared in the New York Times in 1924 under the headline “Homes on The Roofs: Penthouses Under the Sky Are Prized by City Dwellers, but Few Can Be Had.” More of these apartments became available in subsequent years, especially in buildings located near public parks and along the riverfront. Many incorporated terraces that were positioned on setbacks required by the 1916 zoning ordinance. After the Second World War, however, slab-like towers came into vogue and cantilevered balconies were much more common. These stacked outdoor spaces were initially large and well-proportioned, as at Manhattan House (1947-51, a designated New York City Landmark), but later examples provided considerably less square footage, with limited benefit to residents.

 

Rudolph’s penthouse fits squarely into this tradition and was conceived as a private refuge, a place where he could escape from and observe the city. Designed to take full advantage of its elevated position, there are five distinct outdoor spaces on four staggered levels. The largest terrace, located at the apex of the building, is L-shaped and opens to the sky. It faces east, providing exceptional views of the East River, Roosevelt Island, and Queens. Like an outdoor room, each space is enclosed by an exposed steel framework that functioned as a pergola. Hung with plants and vines, these natural elements were intended to provide a leafy camouflage, softening the structure’s rectilinear character, while providing shade and visual privacy. Though Rudolph encountered some difficulty finding the right mix of greenery, towards the end of his life the vegetation, sometimes hung by gridded wires, was remembered as full and abundant.

 

Architecture, Rudolph claimed, was a “serious game of space” and the spaces he created at 23 Beekman Place were intended to be as varied and challenging as possible. It served as his private laboratory in which the layered interior organization is expressed on the exterior through the play of open and closed forms that project out, rise up, and recede from the street. Constructed with thin steel elements, these box-like silhouettes display similar proportions to the rooms they adjoin. This treatment recalls the Walker Guest House (1954) on Sanibel Island, Florida, which Rudolph considered one of his most successful early projects. To give this modest beach house increased visual coherence the gridded framework was painted white, but in the case of 23 Beekman Place the steel is brown, to contrast with the color of the concrete panels.

 

Concrete was an essential material in Rudolph’s work. Though some of his best-known projects of the 1960s, such as the Art & Architecture Building at Yale, feature textured surfaces, here the rectangular panels were assembled from concrete blocks and coated with stucco to create a smooth, unbroken appearance. Arranged vertically, they appear to float weightlessly in front of the windows, allowing light to leak through the slender gaps that divide them. Most are lined up along the side elevations, but a large, nearly square panel fronts the terrace that extends over Beekman Place. Similar in texture and color to the lower facade, the panels toward the front of the building screen the windows, while creating a visual link between the penthouse and the floors below.

 

Rudolph frequently employed cantilevers in his institutional designs, but in a residential neighborhood it comes as a complete surprise. While it somewhat recalls the deep extended eaves that crown many of Frank Lloyd Wright’s houses, in other instances it suggests the late, more sculptural work of the French-Swiss architect Le Corbusier, whom he especially admired. Rudolph wrote in 1954:

 

Why do buildings always have to flank the street? Why can they not sometimes

 

be placed over the street, thereby forming an enclosure and a focal point? . . . the

 

tyranny of the endless streets must end.

 

The penthouse hangs over the front areaway and interrupts the street wall, occupying vertical space that is commonly left open. He did this to provide a place for an external stair, to enlarge the guest suite, and perhaps, to make the penthouse even more visible from the street. As an added benefit, this feature increased privacy. In a 1986 interview, he said: “The fact of the matter is that because of the cantilevers you don’t see into the building much. You see underneath the building.” The base of the cantilever is steel, except for two rectangular openings, one filled with clear glass and the other left empty. Like the transparent and reflective materials used throughout the apartment, the juxtaposition of solids and voids was intended to create a sense of dislocation and unease.

 

At the height of his career in 1967, Rudolph’s varied production was justly praised in the New York Times for being “unpredictable” as he urged students and contemporaries to create structures that “give visual delight.” Though some neighbors on Beekman Place objected to the penthouse and the views that were lost, his was certainly a unique solution that reflected a bold and distinctive architectural philosophy. Abstract and minimal, open and closed, classical and industrial, 23 Beekman Place has a strong sculptural quality – a quality rarely found in Manhattan’s residential streetscape.

 

Subsequent Owners

 

Following Rudolph’s death in 1997, 23 Beekman Place was sold to Gabrielle and Michael Boyd in 2000. They converted the four apartments and penthouse into a single-family residence in 2001. Though some writers praised their alterations, others strongly criticized changes to the interiors. The current owner, Rupert LLC, purchased the building in 2003. The architects Jared Della Valle and Andrew Bernheimer began renovating the building in 2004, undertaking structural work and exterior renovations.

 

Description

 

The Paul Rudolph Penthouse & Apartments is located at 23 Beekman Place, on the east side of the street, between 50th Street and 51st Street. Approximately 20 feet wide, the structure has two distinct sections: a five-story masonry structure and four-story roof-top addition that cantilevers over the sidewalk, as well as the rear yard. The front (west) facade is visible from Beekman Place and 50th Street, and the rear (east) facade is visible from Peter Detmold Park, as well as the FDR Drive.

 

The rusticated ground story is set below grade and incorporates three round-arched openings. Reached by steps, the left (north) opening is slightly wider than the two windows and serves as the entrance. Above the door, attached to the keystone, is a non-historic glass-andmetal lighting fixture, flanked by simple decorative reliefs. There is an Adamesque wood-paneled door, probably dating to 1929-30, with an arched transom that incorporates scalloped details similar to those that crown each window. The mullions and wood details are painted black. To the right of the door is an oval plaque, sponsored by the New York Landmarks Preservation Foundation. To the right of the south window, a small metal camera is attached near the top of the wall. Between the ground story and first floor is a continuous flat metal awning supported by four metal columns, probably dating to 1929-30. The metal is painted black, though the underside is painted white. Above the center window, the awning is interrupted and part of the air conditioning unit is visible. Attached to the north column is a metal tube to drain water. Metal railings parallel the sidewalk, as well as along the north and south edges of the areaway.

 

The second story has three nine-over-nine windows, set in recessed frames, with shallow decorative metal screens at the bottom. The third, fourth, and fifth stories have non-historic double-hung windows. The third-story windows have sills and prominent keystones that meet the raised scalloped cornice that extends between the third and fourth stories. On the third story, the sill below the center window has been removed and replaced by a recessed air conditioning unit. The center windows on the fourth and fifth stories are treated in a similar manner.

 

The penthouse begins at the sixth story and cantilevers above the sidewalk. It is constructed with exposed steel I-beams and metal panels, painted brown. It has floor-to-ceiling windows, screened by rectangular concrete block panels, with non-historic metal coping. There are multiple panels along the north and south elevations, and a large, single panel facing Beekman Place. The base of the cantilever has small openings on the left and right side. The left side has a metal grate and the right has been left completely open. Above the concrete panel, at the sixth story, is a wide terrace with stairs on the left side ascending to the uppermost terrace and mezzanine. To shade the stairs, the framework above it is filled with what appears to be tinted plexiglas.

 

The rear facade faces east, overlooking the East River. It is framed with painted steel and is entirely glazed. Each floor has a shallow terrace that extends the full width of the building. The south facade is partly visible from 50th Street and Beekman Place, and points to the southeast. The west section consists of vertical concrete panels of various widths, separated by small gaps, the rest of the facade is mostly faced with stucco. Single rectangular windows are visible near the east end, on the fourth, fifth, and sixth floors. The widest window, consisting of slender vertical mullions and glass panes, extends across the east side of the seventh floor. A slender vertical strip of windows, near the center of the south facade, extends from the seventh to eighth floors. The north facade is partly visible from Beekman Place, and points to the northeast. Near the west end, the penthouse levels are enclosed with concrete panels, steel, and glass. The east end is less visible and features cage-like steel framing.

 

- From the 2010 NYCLPC Landmark Designation Report

N°539

MES : 2008

Immatriculation : CG-859-YQ

Exploitant : Keolis BM

Ligne : 4

Exploitant : Transdev TVO

Réseau : R'Bus (Argenteuil)

Ligne : 3

Lieu : Pont de Bezons (Bezons, F-95)

Lien TC Infos : tc-infos.fr/id/25202

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Author: Andreas Nierhaus, Curator of Architecture/Wien Museum

Last updated January 2014

Architecture in Vienna

Vienna's 2,000-year history is present in a unique density in the cityscape. The layout of the center dates back to the Roman city and medieval road network. Romanesque and Gothic churches characterize the streets and squares as well as palaces and mansions of the baroque city of residence. The ring road is an expression of the modern city of the 19th century, in the 20th century extensive housing developments set accents in the outer districts. Currently, large-scale urban development measures are implemented; distinctive buildings of international star architects complement the silhouette of the city.

Due to its function as residence of the emperor and European power center, Vienna for centuries stood in the focus of international attention, but it was well aware of that too. As a result, developed an outstanding building culture, and still today on a worldwide scale only a few cities can come up with a comparable density of high-quality architecture. For several years now, Vienna has increased its efforts to connect with its historical highlights and is drawing attention to itself with some spectacular new buildings. The fastest growing city in the German-speaking world today most of all in residential construction is setting standards. Constants of the Viennese architecture are respect for existing structures, the palpability of historical layers and the dialogue between old and new.

Culmination of medieval architecture: the Stephansdom

The oldest architectural landmark of the city is St. Stephen's Cathedral. Under the rule of the Habsburgs, defining the face of the city from the late 13th century until 1918 in a decisive way, the cathedral was upgraded into the sacral monument of the political ambitions of the ruling house. The 1433 completed, 137 meters high southern tower, by the Viennese people affectionately named "Steffl", is a masterpiece of late Gothic architecture in Europe. For decades he was the tallest stone structure in Europe, until today he is the undisputed center of the city.

The baroque residence

Vienna's ascension into the ranks of the great European capitals began in Baroque. Among the most important architects are Johann Bernhard Fischer von Erlach and Johann Lucas von Hildebrandt. Outside the city walls arose a chain of summer palaces, including the garden Palais Schwarzenberg (1697-1704) as well as the Upper and Lower Belvedere of Prince Eugene of Savoy (1714-22). Among the most important city palaces are the Winter Palace of Prince Eugene (1695-1724, now a branch of the Belvedere) and the Palais Daun-Kinsky (auction house in Kinsky 1713-19). The emperor himself the Hofburg had complemented by buildings such as the Imperial Library (1722-26) and the Winter Riding School (1729-34). More important, however, for the Habsburgs was the foundation of churches and monasteries. Thus arose before the city walls Fischer von Erlach's Karlskirche (1714-39), which with its formal and thematic complex show façade belongs to the major works of European Baroque. In colored interior rooms like that of St. Peter's Church (1701-22), the contemporary efforts for the synthesis of architecture, painting and sculpture becomes visible.

Upgrading into metropolis: the ring road time (Ringstraßenzeit)

Since the Baroque, reflections on extension of the hopelessly overcrowed city were made, but only Emperor Franz Joseph ordered in 1857 the demolition of the fortifications and the connection of the inner city with the suburbs. 1865, the Ring Road was opened. It is as the most important boulevard of Europe an architectural and in terms of urban development achievement of the highest rank. The original building structure is almost completely preserved and thus conveys the authentic image of a metropolis of the 19th century. The public representational buildings speak, reflecting accurately the historicism, by their style: The Greek Antique forms of Theophil Hansen's Parliament (1871-83) stood for democracy, the Renaissance of the by Heinrich Ferstel built University (1873-84) for the flourishing of humanism, the Gothic of the Town Hall (1872-83) by Friedrich Schmidt for the medieval civic pride.

Dominating remained the buildings of the imperial family: Eduard van der Nüll's and August Sicardsburg's Opera House (1863-69), Gottfried Semper's and Carl Hasenauer's Burgtheater (1874-88), their Museum of Art History and Museum of Natural History (1871-91) and the Neue (New) Hofburg (1881-1918 ). At the same time the ring road was the preferred residential area of mostly Jewish haute bourgeoisie. With luxurious palaces the families Ephrussi, Epstein or Todesco made it clear that they had taken over the cultural leadership role in Viennese society. In the framework of the World Exhibition of 1873, the new Vienna presented itself an international audience. At the ring road many hotels were opened, among them the Hotel Imperial and today's Palais Hansen Kempinski.

Laboratory of modernity: Vienna around 1900

Otto Wagner's Postal Savings Bank (1903-06) was one of the last buildings in the Ring road area Otto Wagner's Postal Savings Bank (1903-06), which with it façade, liberated of ornament, and only decorated with "functional" aluminum buttons and the glass banking hall now is one of the icons of modern architecture. Like no other stood Otto Wagner for the dawn into the 20th century: His Metropolitan Railway buildings made ​​the public transport of the city a topic of architecture, the church of the Psychiatric hospital at Steinhofgründe (1904-07) is considered the first modern church.

With his consistent focus on the function of a building ("Something impractical can not be beautiful"), Wagner marked a whole generation of architects and made Vienna the laboratory of modernity: in addition to Joseph Maria Olbrich, the builder of the Secession (1897-98) and Josef Hoffmann, the architect of the at the western outskirts located Purkersdorf Sanatorium (1904) and founder of the Vienna Workshop (Wiener Werkstätte, 1903) is mainly to mention Adolf Loos, with the Loos House at the square Michaelerplatz (1909-11) making architectural history. The extravagant marble cladding of the business zone stands in maximal contrast, derived from the building function, to the unadorned facade above, whereby its "nudity" became even more obvious - a provocation, as well as his culture-critical texts ("Ornament and Crime"), with which he had greatest impact on the architecture of the 20th century. Public contracts Loos remained denied. His major works therefore include villas, apartment facilities and premises as the still in original state preserved Tailor salon Knize at Graben (1910-13) and the restored Loos Bar (1908-09) near the Kärntner Straße (passageway Kärntner Durchgang).

Between the Wars: International Modern Age and social housing

After the collapse of the monarchy in 1918, Vienna became capital of the newly formed small country of Austria. In the heart of the city, the architects Theiss & Jaksch built 1931-32 the first skyscraper in Vienna as an exclusive residential address (Herrengasse - alley 6-8). To combat the housing shortage for the general population, the social democratic city government in a globally unique building program within a few years 60,000 apartments in hundreds of apartment buildings throughout the city area had built, including the famous Karl Marx-Hof by Karl Ehn (1925-30). An alternative to the multi-storey buildings with the 1932 opened International Werkbundsiedlung was presented, which was attended by 31 architects from Austria, Germany, France, Holland and the USA and showed models for affordable housing in greenfield areas. With buildings of Adolf Loos, André Lurçat, Richard Neutra, Gerrit Rietveld, the Werkbundsiedlung, which currently is being restored at great expense, is one of the most important documents of modern architecture in Austria.

Modernism was also expressed in significant Villa buildings: The House Beer (1929-31) by Josef Frank exemplifies the refined Wiener living culture of the interwar period, while the house Stonborough-Wittgenstein (1926-28, today Bulgarian Cultural Institute), built by the philosopher Ludwig Wittgenstein together with the architect Paul Engelmann for his sister Margarete, by its aesthetic radicalism and mathematical rigor represents a special case within contemporary architecture.

Expulsion, war and reconstruction

After the "Anschluss (Annexation)" to the German Reich in 1938, numerous Jewish builders, architects (female and male ones), who had been largely responsible for the high level of Viennese architecture, have been expelled from Austria. During the Nazi era, Vienna remained largely unaffected by structural transformations, apart from the six flak towers built for air defense of Friedrich Tamms (1942-45), made ​​of solid reinforced concrete which today are present as memorials in the cityscape.

The years after the end of World War II were characterized by the reconstruction of the by bombs heavily damaged city. The architecture of those times was marked by aesthetic pragmatism, but also by the attempt to connect with the period before 1938 and pick up on current international trends. Among the most important buildings of the 1950s are Roland Rainer's City Hall (1952-58), the by Oswald Haerdtl erected Wien Museum at Karlsplatz (1954-59) and the 21er Haus of Karl Schwanzer (1958-62).

The youngsters come

Since the 1960s, a young generation was looking for alternatives to the moderate modernism of the reconstruction years. With visionary designs, conceptual, experimental and above all temporary architectures, interventions and installations, Raimund Abraham, Günther Domenig, Eilfried Huth, Hans Hollein, Walter Pichler and the groups Coop Himmelb(l)au, Haus-Rucker-Co and Missing Link rapidly got international attention. Although for the time being it was more designed than built, was the influence on the postmodern and deconstructivist trends of the 1970s and 1980s also outside Austria great. Hollein's futuristic "Retti" candle shop at Charcoal Market/Kohlmarkt (1964-65) and Domenig's biomorphic building of the Central Savings Bank in Favoriten (10th district of Vienna - 1975-79) are among the earliest examples, later Hollein's Haas-Haus (1985-90), the loft conversion Falkestraße (1987/88) by Coop Himmelb(l)au or Domenig's T Center (2002-04) were added. Especially Domenig, Hollein, Coop Himmelb(l)au and the architects Ortner & Ortner (ancient members of Haus-Rucker-Co) ​​by orders from abroad the new Austrian and Viennese architecture made a fixed international concept.

MuseumQuarter and Gasometer

Since the 1980s, the focus of building in Vienna lies on the compaction of the historic urban fabric that now as urban habitat of high quality no longer is put in question. Among the internationally best known projects is the by Ortner & Ortner planned MuseumsQuartier in the former imperial stables (competition 1987, 1998-2001), which with institutions such as the MUMOK - Museum of Modern Art Foundation Ludwig, the Leopold Museum, the Kunsthalle Wien, the Architecture Center Vienna and the Zoom Children's Museum on a wordwide scale is under the largest cultural complexes. After controversies in the planning phase, here an architectural compromise between old and new has been achieved at the end, whose success as an urban stage with four million visitors (2012) is overwhelming.

The dialogue between old and new, which has to stand on the agenda of building culture of a city that is so strongly influenced by history, also features the reconstruction of the Gasometer in Simmering by Coop Himmelb(l)au, Wilhelm Holzbauer, Jean Nouvel and Manfred Wehdorn (1999-2001). Here was not only created new housing, but also a historical industrial monument reinterpreted into a signal in the urban development area.

New Neighborhood

In recent years, the major railway stations and their surroundings moved into the focus of planning. Here not only necessary infrastructural measures were taken, but at the same time opened up spacious inner-city residential areas and business districts. Among the prestigious projects are included the construction of the new Vienna Central Station, started in 2010 with the surrounding office towers of the Quartier Belvedere and the residential and school buildings of the Midsummer quarter (Sonnwendviertel). Europe's largest wooden tower invites here for a spectacular view to the construction site and the entire city. On the site of the former North Station are currently being built 10,000 homes and 20,000 jobs, on that of the Aspangbahn station is being built at Europe's greatest Passive House settlement "Euro Gate", the area of ​​the North Western Railway Station is expected to be developed from 2020 for living and working. The largest currently under construction residential project but can be found in the north-eastern outskirts, where in Seaside Town Aspern till 2028 living and working space for 40,000 people will be created.

In one of the "green lungs" of Vienna, the Prater, 2013, the WU campus was opened for the largest University of Economics of Europe. Around the central square spectacular buildings of an international architect team from Great Britain, Japan, Spain and Austria are gathered that seem to lead a sometimes very loud conversation about the status quo of contemporary architecture (Hitoshi Abe, BUSarchitektur, Peter Cook, Zaha Hadid, NO MAD Arquitectos, Carme Pinós).

Flying high

International is also the number of architects who have inscribed themselves in the last few years with high-rise buildings in the skyline of Vienna and make St. Stephen's a not always unproblematic competition. Visible from afar is Massimiliano Fuksas' 138 and 127 meters high elegant Twin Tower at Wienerberg (1999-2001). The monolithic, 75-meter-high tower of the Hotel Sofitel at the Danube Canal by Jean Nouvel (2007-10), on the other hand, reacts to the particular urban situation and stages in its top floor new perspectives to the historical center on the other side.

Also at the water stands Dominique Perrault's DC Tower (2010-13) in the Danube City - those high-rise city, in which since the start of construction in 1996, the expansion of the city north of the Danube is condensed symbolically. Even in this environment, the slim and at the same time striking vertically folded tower of Perrault is beyond all known dimensions; from its Sky Bar, from spring 2014 on you are able to enjoy the highest view of Vienna. With 250 meters, the tower is the tallest building of Austria and almost twice as high as the St. Stephen's Cathedral. Vienna, thus, has acquired a new architectural landmark which cannot be overlooked - whether it also has the potential to become a landmark of the new Vienna, only time will tell. The architectural history of Vienna, where European history is presence and new buildings enter into an exciting and not always conflict-free dialogue with a great and outstanding architectural heritage, in any case has yet to offer exciting chapters.

Info: The folder "Architecture: From Art Nouveau to the Presence" is available at the Vienna Tourist Board and can be downloaded on www.wien.info/media/files/guide-architecture-in-wien.pdf.

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Late April 1998. Raymond Skinner prepares his canoe at the head of navigation of the Wolf River. This is in the upper part of the Holly Springs National Forest in Benton County, Mississippi. The river flows north from there into West Tennessee's Fayette County and into Memphis, where it spills into the Mississippi.

 

This photo is licensed under Creative Commons-attribution-noncommercial. To use this image, you must give "Gary Bridgman" or "garybridgman.com" as a legible photo credit. You may not use this image for commercial purposes without my expressed permission

 

There are a lot more images of our exploits on the Wolf River here.

 

Here is my account of this canoe trip, published in Oxford Town and the the Wolf River Conservancy's newsletter in the summer of 1998.

  

A River Creeps Through It

 

by Gary Bridgman

 

OT editor's note: On May 1, 1998, Ole Miss graduate student, William "Fitz" FitzGerald, became the first person in recorded history to travel the entire length of the Wolf River. WRC board member and Oxford, MS, resident, Gary Bridgman, became the second person to do this...about three seconds later (he was in the back of the canoe), as the two completed the "Wolf River Survey." Gary and Fitz hiked and paddled from Baker's Pond to the foot of Union Avenue to help raise awareness about the river as a whole. Sponsors included the Wolf River Conservancy, Outdoors Inc., Ghost River Canoe Rentals, and BellSouth Mobility. What follows is Gary's rather unscientific, non-chronological account of the trip.

 

There's a distinction between being drunk on a river and being drunk with a river. One does not need alcohol or drugs to have mind altering (or life changing) experiences in a canoe. Fast moving streams like the Nantahala and the Ocoee are what I call "adrenaline rivers," while the Wolf is an "endorphin river." It offers canoeists a priceless glimpse of what all other rivers' headwaters in this region looked like before the Corps of Engineers channelized them.

 

William Faulkner described such swampy, untamed rivers as "the thick, slow, black, unsunned streams almost without current, which once each year ceased to flow at all and then reversed, spreading, drowning the rich land and subsiding again, leaving it still richer." They are intoxicating, to say the least.

 

The Wolf River is teeming with wildlife and wetland vegetation, but my favorite part about our recent "expedition" was not its biodiversity, but its psychodiversity: all the interesting people I met in the process --- interesting people like the two cops who almost busted us for vagrancy.

 

"Good Cop/Bad Cop"

Memphis, May 1, 8 miles from the Mississippi River: "Hey! Get up! MPD!" shouts a Memphis police officer.

 

William FitzGerald ("Fitz") and I are stumbling out of the tent into the glare of their Mag-Lites, my left leg is still tangled in my sleeping bag.

 

"What are you doing here?" the other officer calmly asks.

 

It's 3 a.m. We are camped illegally in a city park located on the Wolf, having built an equally illegal campfire. I've explained that we aren't vagrants and that there is a canoe hidden in the tall grass over there and that we're paddling the entire length of this river on behalf of the Wolf River Conservancy.

 

Now the policemen are more relaxed. They're even giving me pointers on how to delay being raped or murdered in case some of the local toughs come by. (It didn't look like a rough neighborhood from the river.)

 

We had been at it for six days by the time the police woke us up in Kennedy Park: hiking and paddling (and wading) some 90 miles by that point. Just a few more miles to go to reach the Mississippi River . . . .

 

"Thirteen Weeks Earlier"

 

Moscow, Tenn., January 24: The whole thing started when my friend Chris Stahl, who runs a canoe rental service on the Wolf River, asked me how he could attract more people to the river. "Canoe the whole thing in one lick, man," I said, not very helpfully.

 

Chris was asking me for ideas about popular day trips for families and church groups, not about some kind of pilgrimage out of the heart of darkness into the middle of industrial North Memphis. There were remote sections of that river no one had navigated in decades --- too shallow, too narrow, too overgrown, too full of fallen trees. We could count on crawling out of the canoe to lift it over logs several hundred times in the process.

 

Chris liked my thinking anyhow, but business commitments and common sense kept him on the shore for most of the trip. So I enlisted Fitz to make the trip with me instead. From January onward, one or both of us spent nearly every weekend scouting different sections of the river and meeting peculiar people.

 

Walnut, Miss., February 8: "You can put this in the Bible if you want to, but I like snakes more than I like most people," said one man we met while scouting a swamp. "You can trust a cottonmouth; all you have to do is know how his mind works." He viewed our "People's Republic of Oxford" Lafayette County license tags with suspicion, wondering if we were more "dope smoking a__holes" trespassing on his land, but we've since developed an interesting friendship.

 

"Gary, so far I think you're a decent person, but if you ever cross me, I can give away one of my motorcycles to someone in Memphis who'll do anything to you that I ask!" Great. I gave up being a Republican for this?

 

"The Trip Begins"

 

Baker's Pond, Holly Springs National Forest, April 25, 98 miles from the Mississippi River: We had to hike around and wade through 18 miles of swampy bottomland this first day of the actual trip. (Our canoes were waiting for us downstream).

 

When we scrambled up to the first dirt road that crossed the Wolf, a nice lady in curlers skidded her old pickup truck to a halt beside us. "Are y'all the canoe people?" she asked with a disbelieving smile. We were now 30 seconds into our 15 minutes of fame.

 

Canaan, Mississippi, April 26, 80 miles from the Mississippi River: This was the hardest day of canoeing in my short life. Fitz and I were joined by Ray Skinner (pictured above) and Bill Lawrence, who is something of a Yoda or Ben Kenobe figure in the uppermost Wolf and an invaluable guide to us for this section. We pulled our gear-heavy canoe out of the shallow water and over fallen trees almost every 150 feet of river channel. We only made five miles that day. It rained its butt off that night, which was good. Come Hell or high water, I'll take the latter.

 

"More Cops, Three Mayors, and a Waitress"

 

LaGrange, Tenn., April 27, 60 miles from the Mississippi River: I was driven up to town from the river bottom by a Fayette County sheriff's deputy at the end of a long, but very productive day --- triple the mileage of the day before. The deputy had been dispatched at the request of Mayor John Huffman of nearby Piperton, Tennessee.

 

John, who is also the president of the Wolf River Conservancy, was having a lot of fun keeping track of us via walkie-talkies. Here's an excerpt from and e-mail he copied to dozens of people two hours later: "Who would like to bet that this was the only time in young Bridgman's life that he was happy to find out that the Law was looking for him? With the lightning and heavy rain present in Fayette County, they are no doubt thinking about how it might of been if they had not made it to LaGrange and been forced to camp along the river."

 

Actually --- at that very moment --- I was thinking about pouring another glass of cabernet while that massive thunderstorm was making the lights flicker. Fitz and I were holed up in a bed & breakfast two miles upland, owned by a Conservancy member. I refilled the glass of LaGrange's mayor, Lucy Cogbill, who stopped by to check on us and enjoy a dry view of the passing monsoon from the back porch.

 

But I was also thinking about how the mayor of Rossville, Tennessee (25 miles downstream) didn't give a crap about our expedition because he was having to supervise the partial evacuation of his town due to flash flooding.

 

My friend Naomi visited briefly, then drove west back into Memphis along the length of the river's floodplain. "Driving out of LaGrange," Naomi wrote in her own mass e-mail report, "the radio was reporting: flood advisories for Collierville; tornadoes in northern Mississippi; and flash flooding, evacuations, and possible road closure at Rossville. This should make for a speedy and exhilarating ride for Gary and Fitz tomorrow."

 

Rossville, Tenn., April 28, 45 miles from the Mississippi River: Exhilarating. Right. More like "intimidating," as we constantly ducked under tree limbs that were coming at us at twice their normal speed. I took the only unplanned swim of the trip after being swept out of the canoe by one of those passing limbs.

 

Fitz is a very even-tempered First Lieutenant in the National Guard, but he sounded more like a drill sergeant as he coached me up onto a half-submerged tree. "Get up on that tree, Bridgman! Let's get some adrenaline flowing!" he shouted. I obeyed both commands. Fitz carefully maneuvered the canoe underneath my unsteady perch, enabling me to flop down into the boat like a stunned raccoon.

 

That night, near Rossville, we stayed in a hotel after stuffing ourselves at the Wolf River Cafe. Our waitress, Dorene, was the first of many people to give us the once-over, trying to figure out why we were wearing two-way radios and carrying cell phones while our shabby personal appearance suggested that we lived in an abandoned station wagon.

 

Earlier that morning, Fitz and I floated through the most amazing stretch of the river, known popularly as the Ghost River section.

 

Keith Kirkland once described it this way: "About halfway through the trip, small braids of river begin to split off the main channel, disappearing into a dense, standing-water Cypress-Tupelo Gum swamp just before the river abruptly hits a dead end. Only one among the dozens of narrow, twisting corridors splitting off to the left of your canoe will lead you through the full mile of swamp. The rest dissolve into a forest of impassable knees and floating islands of Itea and Buttonbush. The river seems to be everywhere, but nowhere - like a disorienting funhouse hall of mirrors."

 

April 28 was my 35th float through the Ghost River section and in our haste we paddled it in near-record time, but it's never, ever a "routine" trip for me. I see something new and wonderful every time!

 

Germantown, Tenn., April 29, 15 miles from the Mississippi: The next mayor on our itinerary was Germantown's Sharon Goldsworthy, who fed us her prized beef stew and corn muffins while hearing about our progress.

 

The next cop on our itinerary was at Germantown Centre, the city's sprawling performing arts and recreation complex.

 

"Hello, Mayor!" he said in a cheerful-yet-bewildered tone as Sharon walked us through the health club on the way to the showers. It was fun watching his eyes dart back and forth between his commander-in-chief and the two muddy hoboes trailing her.

 

"The Voyage Home"

 

Memphis, May 1, 0.5 miles from the Mississippi: The journey began where the Wolf River is three feet wide, in a county that hasn't a single traffic light. On this last day, in the shadow of the Pyramid, it was nearly 300 yards wide.

 

I was glad to see that Wood Ducks and Great Blue Heron were thriving on the river all the way downtown.

 

As we passed under the Hernando DeSoto Bridge (which also spans the Mississippi) and then the monorail bridge leading to Mud Island, within sight of the mouth of the river, we heard a terrible racket: screaming school children.

 

"Two, four, six, eight, who do we appreciate? Gary and Fitz! Yeahhhhh!" they chanted, having been tipped off about us earlier.

 

This "endorphin river" was becoming more of a hallucinogenic river. Speaking of which . . .

 

The night after my first float through the Ghost River section, in 1992, I had a weird dream. No plot to it really, just an image of the water slowly flowing in the darkness, beneath the canopy of trees and dense shrub and rotten logs, while I lay safe in my Midtown Memphis home.

 

I remember feeling strangely guilty that I wasn't still out there with the current, but also relieved to no longer be in that stygian gloom. I've since come to love that gloom, and all the surrounding light that defines it. And as Fitz and I neared the Mississippi River, I knew that I had finally accompanied that current all the way to its home.

 

Gary Bridgman is a WRC board member whose devotion to the Wolf River's protection is only equalled by his penchant for getting gloriously lost in its swamps.

 

Copyright 1998, Oxford Town, Wolf River Conservancy, Gary Bridgman

   

Enrico Caruso’s ascendancy coincided with the dawn of the twentieth century, when the world of opera was moving away from the contrived bel canto (“beautiful singing”) style, with its emphasis on artifice and vibrato, to a verismo (“realism”) approach. The warmth and sincerity of his voice—and personality— shone in this more natural style and set the standard for contemporary greats like Luciano Pavarotti, Placido Domingo, and José Carreras. Through his exploitation of the nascent phonograph industry, Caruso is also largely responsible for the sweeping interest in opera of the 1910s and ’20s. And for this, Stanley Jackson wrote in his book Caruso, he may never be rivaled, for later tenors could not hope to find themselves in a similarly fortuitous position and thus would most certainly “find it more difficult to win such universal affection as the bubbly, warm-hearted little Neapolitan whose voice soared and sobbed from the first wheezy phonographs to bring a new magic into countless lives.”

 

Born in Naples, Italy, in 1873, the third of seven children (early sources erroneously state that he was the 18th of 21), Caruso was raised in squalor. His birthplace, according to Jackson, was a “two-storeyed house, flaky with peeling stucco, [accommodating] several families, who shared a solitary cold-water tap on the landing, and like every other dwelling in that locality it lacked indoor sanitation.” As a boy, Caruso received very little formal education; his only training in a social setting came from his church choir, where he displayed a pure voice and a keen memory for songs. More often than not, however, he skipped choir practice to sing with street minstrels for café patrons.

 

At the age of ten Caruso began working a variety of menial jobs—mechanic, jute weaver—but his passion for singing often led him back to the streets. Eight years later, an aspiring baritone named Eduardo Missiano heard Caruso singing by a local swimming pool. Impressed, Missiano took Caruso to his voice teacher, Guglielmo Vergine. Vergine on hearing Caruso, compared the tenor’s voice to “the wind whistling through the chimney,” Michael Scott recounted in The Great Caruso. Although he disliked Caruso’s Neapolitan café style, flashy gestures, and unrefined and unrestrained vocalizing, Vergine finally agreed to accept Caruso as his student. But “the lessons ended after three years,” John Kobler wrote in American Heritage, “and Caruso’s formal musical training thereafter remained almost as meager as his scholastic education. He could read a score only with difficulty. He played no musical instrument. He sang largely by ear.”

 

On March 15, 1895, Caruso made his professional debut in L’Amico Francesco, a now-forgotten opera by an amateur composer. He was not an immediate sensation.

For the Record…

 

Bom Errico Caruso (adopted more formal Enrico for stage), February 27 (some sources say 25), 1873, in Naples, Italy; died of pneumonia and peritonitis in 1921 in Naples; son of Marcellino (a mechanic) and Anna (Baldini) Caruso; married Dorothy Park Benjamin, 1918; children: Gloria; (with Ada Giachetti) Rodolfo, Enrico Jr. Education: Studied voice with Guglielmo Vergine, 1891-94, and Vincenzo Lombardi, 1896-97.

 

Worked as laborer, including jobs as mechanic and jute weaver, beginning c. 1883; debuted in L’Amico Francesco at Teatro Nuovo, Naples, 1894; expanded repertoire to include La Traviata, Rigoletto, Aida, and Faust, among others; first sang Canio in I Pagliacci, 1896, and Rodolfo in La Bohème, 1897; debuted in La Bohème at La Scala, Milan, 1899; performed internationally, including appearances in Moscow, Buenos Aries, Monte Carlo, and London, beginning in 1899; made first recordings, 1902; debuted in U.S. at Metropolitan Opera, New York City, 1903. Appeared in silent films My Cousin and A Splendid Romance, 1918; subject of fictional film biography The Great Caruso, 1950.

 

Awards: Order of the Commendatore of the Crown of Italy; Grand Officer of the French Legion of Honor; Order of the Crown Eagle of Prussia; honorary captain of the New York City Police Department.

 

His vocal range was limited; he often had to transpose the musical score down a halftone since he had trouble in the upper register, especially hitting high C. But impresarios who heard Caruso recognized his innate gift and cast him in significant productions such as Faust, Rigoletto, and La Traviata. With stage experience and brief training with another vocal teacher, Vincenzo Lombardo, the singer made steady progress, refining the natural beauty of his voice.

“Who Has Sent You to Me? God?”

 

In 1897, studying for the part of Rodolpho in Giacomo Puccini’s La Bohème, Caruso went to the composer’s villa to secure Puccini’s consent of his interpretation. As told by author Jackson, after Caruso sang a few measures of the first-act aria, “Che gelida manima,” Puccini “swivelled in his chair and murmured in amazement, ’Who has sent you to me? God?’”

 

Caruso’s instrument was “a voice of the South, full of warmth, charm, and lusciousness,” described a commentator of the era who was quoted in Howard Greenfeld’s book Caruso. But what truly set Caruso apart—from his predecessors, contemporaries, and successors—was his ability to eliminate the space between singer and listener, to intensify “the emotional effects upon his audience,” testified American Heritage contributor Kobler. “His vocalized feelings, variously spiritual, earthy, carnal, seemed to resonate within the hearer’s body. Rosa Ponselle, the American soprano who made her debut opposite Caruso, called it “a voice that loves you.’”

 

And his timbre was matched by sheer power; at the height of his career, Caruso gave concerts in venues as large as New York City’s Yankee Stadium without microphones and was clearly heard by all. Still, he reached his greatest audience, across both distance and time, through the small, recorded medium of the phonograph. “Few performers deserve . . . recognition more than Caruso,” David Hamilton proclaimed in the New York Times. “[His] records made him the universal model for later generations of tenors, while his reputation played a major role in establishing the phonograph socially and economically.”

Recording Pioneer

 

Caruso made his first recording on April 11, 1902, in a hotel suite in Milan, Italy. Over the remaining 19 years of his life he made an additional 488 recordings, almost all for the Victor label. He earned more than two million dollars from recording alone, the company almost twice that. But, most important, his recordings brought grand opera to the uninitiated. Millions cried along with his version of Canio’s sobbing “Vesti la giubba,” from/Pagliacci. The development of the American opera audience from a rarefied community at the turn of the century to a diverse populace in modern times can be directly attributed to Caruso’s recordings.

 

But Caruso’s allure was not solely the result of his singing. “Quick to laughter and to tears, amorous, buffoonish,... speaking a comically fractured English, round and paunchy, Caruso presented an image that appealed enormously to multitudes of ordinary Americans,” Kobler pointed out. Indeed, his offstage behavior was as interesting to the public as that of his onstage personas. He had numerous affairs with women, which often ended in court. He had an 11-year relationship, beginning in 1897, with soprano Ada Giachetti, who had left her husband and son for the much younger tenor. She bore Caruso two sons, then ran off with the family chauffeur. Three years later, Giachetti sued Caruso for attempting to damage her career and for theft of her jewelry. The suit was eventually dismissed.

Offstage Shenanigans

 

Caruso was not exonerated, however, in what became known as the “Monkey House Case.” On November 16, 1906, Caruso went to the Monkey House in the Central Park Zoo, one of his favorite retreats in his adopted hometown of New York City. There a young woman accused him of pinching her bottom. A policeman on the scene immediately took Caruso—confused and sobbing—to jail. The woman failed to appear at the consequent trial, and police were unable to produce any witnesses other than the arresting officer, who turned out to have been best man at the accuser’s wedding. The judge found Caruso guilty of disorderly conduct and fined him ten dollars. The public, for its part, though initially unsure of Caruso’s innocence, soon returned to its thunderous approval of his performances.

 

Despite these episodes, Caruso’s life outside the theater was not entirely tumultuous. His marriage to Dorothy Park Benjamin in 1918 was happy and secure. His celebrated earnings allowed him to collect art, stamps, and coins. His clothing and furnishings were luxurious. He ate with gusto. And he was extremely generous. A gifted caricaturist, Caruso often gave drawings away. He would fill his pockets with gold coins and shower stagehands with them at the end of Christmastime productions. He also supported many family members, gave numerous charity concerts, and helped raise millions of dollars for the Allied cause during World War I. This remarkable man even paid his taxes early. “If I wait, something might happen to me, then it would be hard to collect,” Caruso reasoned, as recounted by Kobler. “Now I pay, then if something happen to me the money belongs to the United States, and that is good.”

 

Caruso’s expansive approach to life, however, rendered his own short. Constant recording and performance demands and the singer’s unchecked appetites took their toll on his health; he died in Naples, in 1921, from pneumonia and peritonitis. He was 48 years old. “Caruso may have been a greater master of comedy than tragedy,” Great Caruso author Scott wrote, “yet there was no levity in his approach to his art, for as each year passed and he became an ever more celebrated singer, his fame—ably demonstrated by frequent new issues of ever improving records—made increasing demands of him. In those last years he rode a tiger.”

Selected discography

 

Enrico Caruso: 21 Favorite Arias, RCA, 1987.

 

Enrico Caruso, Pearl, 1988.

 

Enrico Caruso in Arias, Duets, and Songs, Supraphon, 1988.

 

Caruso in Opera, Nimbus, 1989.

 

Caruso in Song, Nimbus, 1990.

 

The Compíete Caruso, BMG Classics, 1990.

 

Enrico Caruso in Opera: Early New York Recordings (1904-06), Conifer, 1990.

 

The Caruso Edition: Volume 1 (1902-1908), Pearl, 1991.

 

The Caruso Edition: Volume 2 (1908-1912), Pearl, 1991.

 

The Caruso Edition: Volume 3 (1912-1916), Pearl, 1991.

 

The Caruso Edition: Volume 4 (1916-1921),, Pearl, 1991.

 

Caruso in Ensemble, Nimbus, 1992.

 

Addio Mia Bella Napoli, Replay/Qualiton, 1993.

Sources

Books

 

Caruso, Enrico, Jr., and Andrew Farkas, Enrico Caruso: My Father and My Family, Amadeus Press, 1990.

 

Greenfeld, Howard, Caruso, Putnam, 1983.

 

Jackson, Stanley, Caruso, Stein & Day, 1972.

 

Scott, Michael, The Great Caruso, Knopf, 1988.

Periodicals

 

American Heritage, February/March 1984.

 

Economist, March 9, 1991.

 

New Republic, August 8, 1988.

 

New York Times, January 6, 1991.

 

—Rob Nagel

 

Cite this article

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#enrico-picciotto, enrico picciotto

Patrouilleur type Archer.

Patrol vessel Archer class.

Me left, Eds right, and Wattie Buchan (of The Exploited) second from right.

Processed with VSCOcam with a6 preset

Autocars du Tournaisi.

Flotte d Autocars Haut de Gamme, Royal Class, Vip Class, Eerste Klas, Top Class, First Class.

 

Le plus moderne parc d' Autocars de Haut Standing à Hautes Technologies des chercheurs et constructeurs d' autocars d' allemagne.

 

Le plus grand soucis des Autocars Jovial Cars est La Sécurité pour les passagers. Les grands constructeurs d'autocars en collaboration avec les chercheurs de hautes technologies en matière de sécurités adaptent au choix du client leurs véhicules.

C'est comme cela que la firme Leroy compte aujourd'hui + de 65 années de confiance avec les usines Setra et Néoplan de Stuttgard.

 

La Flotte des autocars LEROY se compsent des plus grandes marques:

 

Setra, série 400, Double Decker à 3 essieux

Néoplan, Cityliner 2 et 3 essieux.

Néoplan Super-Cityliner 2 et 3 essieux

Néoplan Starliner 2 et 3 essieux dont les nouvelles versions SHDL EEV

Néoplan Super-Mégaliner 91 places Royal Class monté sur 4 essieux impériale

Néoplan double étage impériale

Starleroy Cityleroy 2, 3 et 4 essieux

Mercedes - Volvo - Scania - Man - Néoplan - Setra

 

Tous ces modèles avec options- Label Royal Class, Vip Claas, First Class, Top Class...

 

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-JOVIAL CAR-

--L E R O Y ---

dmc.

Jake(right) along with unknown on Colfax in Denver

Exploitant : Keolis Val-d'Oise

Réseau : Navette Substitution SNCF Île-de-France

Ligne : Navette Transilien H

Lieu : Gare d'Enghien-les-Bains (Enghien-les-Bains, F-95)

by David T. Hill : Updated March 9, 2020 Anno Domini

 

"Copper is great at killing superbugs – so why don’t hospitals use it?

 

Copper and its alloys exhibit impressive antibacterial, anti-fungal and antiviral properties. Copper has been exploited for health purposes since ancient times. Egyptian and Babylonian soldiers would sharpen their bronze swords (an alloy of copper and tin) after a battle, and place the filings in their wounds to reduce infection and speed healing.

 

The process involves the release of copper ions (electrically charged particles) when microbes, transferred by touching, sneezing or vomiting, land on the copper surface. The ions prevent cell respiration, punch holes in the bacterial cell membrane or disrupt the viral coat, and destroy the DNA and RNA inside.

 

This latter property is important as it means that no mutation can occur – preventing the microbe from developing resistance to copper. Copper alloys kill superbugs, including MRSA and those from the notorious ESKAPE group of pathogens – the leading cause of hospital-acquired infections."

 

theconversation.com/copper-is-great-at-killing-superbugs-...

 

It has been recorded that both Kids and Women (and probably African Americans) have more immunity to Coronavirus then adult Men and the probable reason is that these groups have higher Copper content in their systems. See quotes below.

 

Copper Tincture :

 

"Put some copper pennies into vinegar overnight. The vinegar may turn pale blue - that is the cuprous ion. Add a drop of that to your coffee, tea or food for copper. Good idea, but don't overdo it. Copper coating on pennies is fine since it is still copper. You can buy copper supplements but I'd rather do it this way."

 

lunaticoutpost.com/thread-167147-post-3115235.html?fbclid...

 

You can use this for ingestion and you could also make a bigger batch and use it for cleaning - dampen a rag and wipe down all surfaces - tables, counters, door handles, etc. You could even take a sponge bath with it. Mix it with vaseline and dab it in your nostrils and every time you breathe in you will be putting copper ions into your lungs but this should probably only be done if you have actually contracted the virus.

 

The Masks are virtually useless (because they don't make an air tight seal so its a waste of time shaving your beards boys) but if you soak one in this solution it will kill the virus (making masks reusable) and wear it damp every time you breathe in you will be breathing in Copper Ions which will kill the Virus in your lungs as well as making it into your Blood Stream. But you will need to monitor for Copper Toxicity (Headaches, acne, greenish complexion, etc., see url below).

 

You could pour this solution into a Humidifier and, in theory, Ionize an entire room and turn it into an impromptu clinic if you needed to but, again, this should be only if you have contracted the virus.

 

There is no proof that Colloidal Silver or Vitamin C kills viruses (see quotes below) and, in fact, the Aids Community tried both and neither one worked so they discarded that practice so you probably don't want to waste your time with Silver or Vitamins to stop a Weaponized Virus (Antiviral Research, Vol. 16, April 2020, Article : The spike glycoprotein of the new coronavirus 2019-nCoV contains a furin-like cleavage site absent in CoV of the same clade) which is probably Airborne like Influenza (New England Journal of Medicine, Feb. 19, 2020 SARS-CoV-2, Article : Viral Load in Upper Respiratory Specimens of Infected Patients). Copper Ions, however, have been proven to kill both the HIV Virus and Coronavirus (see quote below).

 

Some multivitamins have copper in them. You can make some impromptu 'silverware' so you ingest particulates of copper on a regular basis so it gets in your blood. You can make rings out of copper grounding wire and wear them on you hands and then everything you touch will have copper particles on them. You can even carry a penny in you mouth off and on but make sure you use an older penny cause the recent ones are only copper coated.

 

"You can buy colloidal copper in liquid form (gold too)."

 

lunaticoutpost.com/thread-167147-post-3115387.html?fbclid...

 

You can ask at any pharmacy like Walmart or any good Vitamin Store and they should be able to order liquid colloidal copper for you if they don't already carry it in stock and it should have the normal dosage suggestions on the bottle.

 

What is Colloidal Copper :

 

www.healthline.com/health/colloidal-copper

 

Colloidal Silver :

 

"Proponents of colloidal silver claim that it can have antiviral effects in your body. Some studies have suggested that different types of silver nanoparticles may help kill viral compounds. However, the amount of nanoparticles in a colloid solution can vary and a recent study found colloidal silver to be ineffective at killing viruses, even in test-tube conditions."

 

www.healthline.com/nutrition/colloidal-silver?fbclid=IwAR...

 

Vitamin C :

 

"Several years ago there was much interest in high-dose Vitamin C as an HIV treatment. By the end of 1987 this interest had greatly diminished, although some people continue to use the treatment today. One reason we have been skeptical of Vitamin C is that if the treatment had worked well, it seems unlikely that the community would have stopped using it."

 

www.aids.org/2010/10/vitamin-c-laboratory-tests-indicate-...

 

HIV :

 

"Incorporation of copper alloy surfaces in conjunction with effective cleaning regimens and good clinical practice could help to control transmission of respiratory coronaviruses, including MERS and SARS.

 

Copper alloys have demonstrated excellent antibacterial and antifungal activity against a range of pathogens in laboratory studies (14,–19). Copper ion release has been found to be essential to maintaining efficacy, but the mechanism of action is variable (20, 21). A reduction in microbial bioburden and acquisition of nosocomial infection has now been observed in clinical trials of incorporation of copper alloy surfaces in health care facilities (22,–25).

 

Rapid inactivation of human coronavirus occurs on brass and copper nickel surfaces at room temperature (21°C).Inactivation of coronavirus on copper and copper alloy surfaces results in fragmentation of the viral genome, ensuring that inactivation is irreversible.

 

Copper ions have been shown to directly inhibit proteases by reacting with surface cysteine and to inflict damage to the viral genome in HIV and herpes simplex virus (40, 41).

 

The mechanism of bacterial death on copper surfaces is complex, involving not only direct action of copper ion on multiple targets but also the generation of destructive oxygen radicals, resulting in “metabolic suicide” (20). This was not observed for norovirus destruction on copper, presumably because of the lack of respiratory machinery (26). However, it appears that superoxide and hydroxyl radical generation may be important in the inactivation of coronaviruses on copper alloys but that inactivation on 100% copper surfaces is primarily due to the direct effect of copper ions.

 

In this study, we observed rapid damage, including clumping, breakage, membrane damage, and loss of surface spikes, to the coronavirus particles following exposure to copper, and some particles appeared smaller and seemed to have lost rigidity, folding up on themselves. These changes were not observed with virus recovered from stainless steel surfaces.

 

There is now a large body of evidence from laboratory studies and small clinical trials to suggest that incorporation of copper surfaces could play a significant role in reducing infection transmission from contaminated surfaces."

 

www.ncbi.nlm.nih.gov/pmc/articles/PMC4659470/

 

Plasma Copper in Human Subjects

 

"Plasma copper was not correlated with age among control subjects or AD patients. Plasma and cerebrospinal fluid copper were not correlated in any group.

 

Plasma copper is increased in human female (1008 ± 51) compared to male (836 ± 41) control subjects (P = 0.01) when all age groups were combined. When the control subjects were divided by age group, trends to higher plasma copper in females were appreciated in the middle-aged and old control subjects, but not the young subjects."

 

www.ncbi.nlm.nih.gov/pmc/articles/PMC3199105/

 

"Copper levels in plasma and erythrocytes in healthy Japanese children and adults.

 

This study showed differences in plasma and erythrocyte copper concentrations in children and adults. All determinations were performed with a flameless atomic absorption spectrophotometer. The mean plasma copper level at 1 month of age was significantly lower than in adults. After 1 month of age the mean concentration in plasma increased to its peak value at 2 to 5 yr of age, then decreased gradually with age. At 7 months to 10 yr of age, the copper levels in plasma were significantly higher than in adults. The erythrocyte copper levels at 1 month to 1 yr of age were significantly higher than in adults. The copper content of erythrocytes was highest at 2 to 6 months of age and then decreased gradually. The copper concentration of erythrocytes may reflect more accurately liver and total body copper levels than does the plasma copper level. There is less possibility of copper contamination in erythrocytes than in hair. Therefore, the measurement of erythrocyte copper concentration may well be a helpful index of the total copper status."

 

www.ncbi.nlm.nih.gov/pubmed/7064868

  

Copper Toxicity Symptoms :

 

www.holistic-back-relief.com/images/x7-signs-of-Copper-to...

 

Original Post :

 

theoferrum.activeboard.com/t66302031/copper-ions-the-silv...