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ift.tt/2jWT7yA It's quite common for homeowners to share battle stories regarding what went wrong with their foundation repairs. Here, we share some of the common misconceptions otherwise known as myths, and debunk them using our professional advice. Unfortunately, many homeowners find themselves accepting advice from homeowners with "experience" rather than a trained professional with real experience. While there are many differing opinions regarding how to repair a foundation and which solution is most effective, the below realities are dreamt-up or contrived. These realities are proven fact that we hope will provide a better understanding about foundation repair. Below we investigate proposed myths about concrete block and poured concrete foundations, epoxies and polyurethane sealants, and long lasting foundation replacements. Need more information or have a few questions about something you've heard or seen regarding foundation repair? Continue reading to find who you can contact for the answers to your questions. MYTH: A foundation made from concrete block is inherently weaker and more likely to crack and settle than one made of poured concrete. REALITY: The type of foundation isn't as important as other factors, such as soil conditions at the site, the condition of the footing that supports the wall, and how well the wall was reinforced during construction. Drainage details will also factor-in on how well any foundation wall resists soil and water pressure. When properly constructed, a concrete block foundation is no more likely to sustain damage than a poured concrete foundation. MYTH: Hi-tech epoxies and polyurethane sealants have made it much easier to permanently repair foundation cracks. REALITY: Modern epoxy and polyurethane sealants designed for masonry repairs do an excellent job of sealing foundation cracks. Because they're highly adhesive, strong and flexible, these products usually work more effectively than old-fashioned mortar-based patching compounds. However, there's an important caveat to consider when repairing a cracked foundation. If the conditions that caused the crack aren't addressed, further foundation damage is very likely to occur. For example, if a concrete slab cracks because of soil settlement, repairing the crack treats the symptom rather than the problem. Additional cracking will occur as soil settlement continues. To make a permanent repair, a foundation specialist may determine that steel piers should be driven beneath the slab, connecting it to sound load-bearing soil at greater depth. MYTH: Replacing a damaged foundation with a new foundation is a more long-lasting solution than repairing a damaged foundation. REALITY: This is a common misconception that needlessly costs homeowners huge amounts of money. Concrete gains strength as it ages, so an existing concrete foundation will be stronger than a new concrete foundation. An experienced foundation repair specialist will be able to determine what caused the foundation damage, and then correct the problem using engineered foundation repair products like steel piers and wall anchors. When these products are installed, foundation elements (footings, slabs, walls, concrete stairs, etc.) that have shifted, cracked or settled can usually be jacked back into their original positions. The end result is a permanent repair that's completed more quickly and much more economically than a total replacement job. Article Source: [ift.tt/2j46NcJ] Common Misconceptions About Foundation Repair
I feel like a real grown-up when I wear my Polish-made winter boots. Kids will wear the same pair of Nikes in all weather and all seasons. Grown-ups have a good pair of boots in the closet because we know better: boots keep your feet dry and they insulate against the cold. Which is key to staying outside in freezing weather all day long in toasty comfort.
"Warm feet = warm body, kid," I would have said to Teen Andy.
The teen edition of me would have laughed and scoffed and jeered and headed for Central Park in his sneakers. Then he would have scampered back inside after an hour, wondering how come the heavy coat and the gloves and the hat weren't doing their job.
Adult Andy is wise and kind but he's still immature enough that he'd be kind of a jerk towards Teen Andy. "Leaving so soon?" I'd say. "Gosh, I'm staying out a few more hours because I'm still nice and warm! Plus, I'm going to be drinking alcohol, which i can legally purchase and consume!"
(Advice to teens: don't scoff at your elders. We're SO much better at cultivating grudges than you guys are.)
These boots also represent one of the best consumer experiences of my life. I got 'em a little more than ten years ago, during a week I spent in Anchorage, Alaska. It was shortly before tourist season, which meant that every store was stocked to the gills and every employee was pretty desperate to talk to new faces.
So when I strolled into the 3rd Avenue Army Navy Store and announced that I needed a good pair of winter boots (I'd been looking back in Boston, but every pair was identical to every other pair at every other store) they treated me like Sinatra.
I recall just sort of sitting in place while three people spent a half an hour fetching boots of every conceivable style, in a range of sizes and widths. At one point there was also a bit of an inter-clerk argument over what constituted a "city" boot. The Alpha Clerk made the winning argument that as a suburban dweller, I'd probably be encountering enough mud and rocks that a "light hiking" boot would probably make more sense in the long run.
I mean, it was a whole (wonderful) production. They even broke open a new pair of hunting socks for me to put on...they noted that the pair I had on were rather thin and thus might throw off the fit.
A half an hour later, I walked out of there wearing precisely the sort of boots I wanted, in exactly the right size. To this day, they're still just about the most comfortable shoes I own. Ten years of wear certainly helps.
After the completion of the largest concrete pours of the first stage of construction, the foundation of the Mukilteo Multimodal Terminal starts to take shape. The foundation will provide support to the passenger building, overhead loading facilities, and the vehicle transfer span.
Oh, what a week. When the excavator dug to find our sewer pipe and add a coupler for the studio, he found the original clay sewer pipe, mangled and askew. Sewage had been seeping into the ground for years. So, it all had to be replaced. At least we'll never have to worry about it again.
The worst part was being without water/sewer for part of Wednesday and the majority of yesterday. As you would imagine, there was a serious pileup of dishes.
barnes Foundation
"The Temptation of St. Anthony," formerly ascribed by the Barnes to Bosch, is now said to be a 16th-century copy by an unknown artist.
August 27, 2005
The Barnes Revises Attributions of Old Masters
By JULIA M. KLEIN
PHILADELPHIA, Aug. 26 - A review of the vast collection and archives of the Barnes Foundation is upending attributions of some of its old master paintings and revealing new details of its founder's relationships with painters, collectors and other artistic luminaries of the 20th century, administrators say.
Among the 22 paintings whose attributions are changing in a continuing assessment project, now four years old, are works formerly credited to El Greco, Rubens, Titian, Tintoretto, Veronese, Giorgione and Bosch.
"I don't think any of it was shocking or surprising," said Emily Croll, the Barnes Foundation's senior administrative officer, who has headed the project at the foundation, in suburban Merion, Pa. "For decades people have been saying some of our old masters weren't what we said they were."
Lending momentum to such stock-taking is an eight-month-old court ruling clearing the way for the financially troubled Barnes to relocate to Philadelphia, where it is expected to draw far bigger crowds. Students affiliated with the Barnes had challenged the move, saying it would violate the terms under which the patent-medicine magnate Albert C. Barnes founded the institution in 1922.
Although a study of the foundation's large holdings of Matisse and Renoir is under way, said Joseph J. Rishel, a senior curator at the Philadelphia Museum of Art who is chairman of the assessment committee, none of the 19th- or 20th-century works for which the Barnes is renowned are likely to be reattributed.
"These are very published, very exposed paintings," Mr. Rishel said of the collection's Renoirs, Cézannes, Matisses and Picassos. "When purchased, they were some of the most famous things of their kind."
The de-attributions of old master works were reported on Sunday by The Philadelphia Inquirer.
In an interview with The New York Times, Larry Silver, professor of art history at the University of Pennsylvania, said he had known for years that "The Temptation of St. Anthony" ascribed to Bosch (circa 1450-1516) in the Barnes collection was a copy, in part because he has seen the original twice in Lisbon and again at an exhibition in Washington.
Mr. Silver, one of 39 consultants involved in reassessing works owned by the Barnes, said the mid-16th- century copy represents only an excerpt of the original canvas and lacks Bosch's "handling - the way he uses paint in thin, rather loosely brushed layers, and his color harmonies, which are much more delicate in undoubted originals."
On the other hand, Mr. Silver said, his review confirmed the authenticity of other Northern European paintings in the collection, including "a spectacular example" of a late portrait by the 17th-century artist Frans Hals ("Portrait of a Man Holding a Watch") and "The Square Watch-Tower," a landscape by Jan van Goyen that the professor said would be the envy of many museums. The assessment project, which also includes the organization and preservation of the archives, digitizing files and images from the collection, and conservation assessment, is intended to remedy what Ms. Croll described as "80 years" of benign neglect since the foundation was established.
Conservation assessment at the Barnes over the last several years has turned up an array of problems, including Pueblo ceramics in the gallery with "inactive mold," moth-eaten Navajo rugs at the Barnes's Ker-Feal estate in Chester Springs, Pa., and a need for stabilization of paintings and especially works on paper. "We're stopping the damage," said Barbara Buckley, the foundation's chief conservator.
As for authorship, Ms. Croll said, "reattributions are something that every museum does constantly, and we haven't had the opportunity to do it officially till very recently," she said.
Among the other reattributed works are "The Disrobing of Christ" (now considered "School of El Greco") and an "Annunciation" (described as a "possibly 17th-century" copy of an El Greco); "The Holy Family With St. John and an Angel" (ascribed to the workshop of Peter Paul Rubens); "Christ and the Woman of Samaria" (ascribed to a follower of Tintoretto), and "Portrait of a Gentleman and Son" (credited now to an "unidentified artist, Brescian School" rather than Titian).
Ms. Croll said the project has also helped the foundation identify previously unidentified works, confirm the authenticity of others and establish the quality of some of its less-well-known collections of objects. For example, Edwin L. Wade, senior vice president of the Museum of Northern Arizona, described the Barnes's Navajo jewelry as "one of the finest holdings of its kind in the United States."
The Barnes Foundation is celebrated internationally for its multibillion-dollar collection of Impressionist, Post-Impressionist and early modern masterpieces. Most hang in ensembles assembled by Barnes himself in his galleries, with sculpture, textiles, ironwork and decorative arts objects.
The move to the Benjamin Franklin Parkway in downtown Philadelphia will allow the Barnes to expand its visiting hours and facilities. Rebecca W. Rimel, president and chief executive of the Pew Charitable Trusts, said yesterday that more than $110 million had been pledged toward a $150 million fund-raising goal to pay for the move and an endowment. The Pew is spearheading the drive with the Annenberg and Lenfest Foundations.
Ms. Rimel said that she was hopeful that a new Barnes could open on the parkway by late 2008. "If we beat that, that would be great," she said. The search for an architect has not yet begun, she added.
Ms. Rimel also said that the Barnes board of trustees had named the search firm of Russell Reynolds Associates to find a replacement for Kimberly Camp, the former Barnes president and chief executive who resigned in June. That search should be completed in about four months, Ms. Rimel said.
Mr. Rishel said the assessment project, which has been supported by more than $2.1 million from the Andrew W. Mellon Foundation, $1 million from Pew and other grants, had yielded significant new information about Barnes's collecting habits. The archives are "a treasure trove," he said. "It's a whole level of documentation that was not known before."
"What's most fascinating is Barnes's own take on what he did and didn't buy," Mr. Rishel said. "Even then, it was clear how shrewd he was in his choices, and how he did have a very broad number of choices. He was a very famous collector and a very rich man. The world's greatest collectors spread a great bounty of temptations before him."
Katy Rawdon-Faucett, the foundation's archivist, said that among "the things that really make me say wow" was correspondence in the 1930's and 40's between Barnes and the American landscape artist Georgia O'Keeffe. "It's really a back and forth between two people who knew each other and had some kind of connection and understanding," Ms. Rawdon-Faucett said.
In a letter dated March 21, 1930, Barnes, who had purchased two paintings from O'Keeffe that he called "Still Life" and "Indian Girl," praises them as "authentic expressions of yourself and therefore, genuine art." But he adds, "Like every other new arrival in our gallery, they will survive or die on what they have in themselves." Ms. Rawdon-Faucett said Barnes later returned the two paintings with apologies, and although O'Keeffe expressed disappointment, their friendship continued.
In a July 17, 1914, letter to Leo Stein, the art collector and brother of the writer Gertrude Stein, Barnes tries to explain his fascination with Renoir, which has mystified some contemporary critics.
"Renoir has been to me the most all-satisfying of any man's work I know," Barnes writes. "Perhaps the thing that most interests me in Renoir, that most strikes a personal response is, what seems to me, his joy in painting the real life of red-blooded people, and his skill in conveying his sensations to my consciousness."
Ms. Rawdon-Faucett said that as far as she knew, that material had not previously been published.
She said that when she first entered the storage room in the Barnes administration building that housed much of the archives, "it was basically like the attic of an old house," with filing cabinets, boxes and other material in disarray.
Along with Barnes's letters and writings, she said, the archives contain blueprints and drawings of foundation buildings and the arboretum, photographs and institutional records, including deeds for the land dating back to the 18th century.
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Paying It Forward ...
70 Cookie Artists, from 24 states and 3 countries, lovingly joined forces for a huge bake sale in a tiny community in Sister Bay, Wisconsin, to honor an incredible 13-year-old boy, his message and his foundation. We were unbelievably humbled by the outpouring of support and selfless generosity of these amazing Cookie Artists, who heard about Bo’s journey with Extramedullary Acute Myeloid Leukemia and his simple, yet profound message:
“Love each other, help each other, have your neighbor's back. If you see someone in need — even a stranger — reach out and help. This world can be a better place if we care and help each other.”
To read more about this amazing young boy:
www.ppulse.com/Articles-Features-c-2012-09-05-103945.1141...
For more information on the GO BO! Foundation, please visit:
www.facebook.com/pages/Go-Bo-Foundation/490237340988852
To donate money directly to the GO BO! Foundation:
GO BO!
Associated Bank
PO Box 507
Sister Bay, WI 54234
Please feel free to use this photo but be sure to credit ArmchairBuilder.com and provide this link...
armchairbuilder.com/resources/how-to-build-your-own-home
Thanks,
Michael
ArmchairBuilder.com
To pass the time, A group of Georgia Warm Springs Foundation patients formed an orchestra. They are playing in the dining room of the Meriwether Inn.
The Wallaroo Town Hall foundation stone was laid by the Mayor William Richardson, after a procession of infantry and school children. The Song of Australia was sung by the children.
On 19 November 1902 the hall was opened by the Premier, J G Jenkins.
Architect: Claude Lindsay, Unley.
Contractor: C H Coltman.
Ref’s: The Yorkes Peninsula Advertiser 28-3-1902, Advertiser (Adelaide) 21-11-1902.
On 17 March 1923 Mrs S McKee laid the foundation stone of the Soldiers’ Arch Memorial, commemorating local fallen soldiers of the Great War 1914–1919. Of 281 enlistees 52 paid the supreme sacrifice. The Wallaroo town band led the proceedings and the song of Australia was sung. Mr S E Martin, AMIE, of Wallaroo designed the granite and marble arch sited in front of the Wallaroo Town Hall.
The Arch Memorial was erected through the efforts of the ladies of The Wallaroo Cheer Up Society and the local branch of the R.S.S.I.L.A. Supported by the public.
Column inside panels display enlistees of World War Two 1939–1945 and Vietnam. Names listed are from the Royal Australian Navy,
Australian Imperial Force and the Royal Australian Air Force.
Ref: Kadina and Wallaroo Times 21-2-1923.
* Fire - Wallaroo Town Hall Destroyed December 26
The town hall, built about 15 years ago, was totally destroyed by fire this morning. The municipal picture show was held last night, and the caretaker left everything in order at midnight. The police report that at 3 o'clock this morning there was no sign of fire. About 5 o'clock the sounding of the smelting works' whistle gave the alarm, but nothing could be done to save the building.
The Savings Bank branch is located in the building, and — thanks to heroic work of the fire fighters—the books and most of the contents were saved.
Two pianos, the whole of the furniture, and everything else in the hall were destroyed. The total loss is estimated at £7,000, which is partly covered by insurance. The fire represents a calamity to the town. The corporation will meet today to consider the position. The police have the matter in hand.
Ref: Journal (Adelaide SA)Wednesday 26 December 1917.
*Fine Building Destroyed
A fire mysteriously occurred in the Town Hall at Wallaroo on Boxing Day, resulting in the building being completely gutted.
One drawback to the fire fighters was the lack of a brigade or proper fire-fighting appliances.
Ref: Chronicle (Adelaide SA) Saturday 5 January 1918.
*Wallaroo Town Hall Fire Inquest
Mr James Malcolm (coroner) held an inquest on the town hall fire at the courthouse, Wallaroo, on December 27. Mounted-Constable O'Connell appeared for the police, And Mr Paine and Mr Richard Tonkin for insurance companies.
John Henry Lindsay, caretaker of the town hall deposed that on the evening of the 25th inst he extinguished the lights after the picture show had closed.
George Gordon Hollands, picture show proprietor, said there were various ways a fire could be caused by the cinematograph machinery driven by electricity. At the conclusion of the performance the majority of the cinema machines were covered with a cloth. Should the cloth come in contact with the lamp-house, not momentarily, but for a length of time, that might cause a fire.
Every practical operator made a point of examining all electrical connections, from the main switch that entered the building to the terminals of the arc lamp occasionally.
Constable O'Connell said a man named Theim reported at the police station that the town hall building was on fire. He communicated with the fire brigade at Kadina by telephone. They stated they could not come. He then proceeded to the town hall building. A good number of men were present. He saw Mr Thorpe the Savings Bank manager, and assistants taking books and documents from the rooms in the building used as a Savings Bank. He walked round the building to the rear of the premises. The greatest flame appeared under the dress circle. The fire had not reached the rear of the premises, nor had it properly entered the corporation offices. The window was broken from the outside by Councillor Young, and Mr Lindsay, and a quantity of books and stationery, the property of the corporation, was removed through the window.
Ref: Chronicle (Adelaide SA) Saturday 5 January 1918.
*Wallaroo Town Hall Fire. A Verdict of Arson
The inquest into the fire at the Town Hall, which was adjourned on December 27, was reopened at the Courthouse on January 1, before Mr James Malcolm and a jury.
William Theim a farmer who first reported the fire stated he was passing the hall about 4.30 am, and noticed smoke. The flames appeared to be on the south side of the building. He saw no persons in the vicinity, and after he reported the matter to his wife he hurried to the police station and gave the alarm.
Leonard Jeffery Iron, a loco man employed at the railway workshops, stated that he first noticed the smoke about 4 o'clock. On arrival at the hall he entered the building through the south ante-room door, which he found closed but not locked. The flames had then a good hold of the building, and the seat of the fire appeared to be in the south side directly under the dress circle. He had to get out of the building as quickly as possible owing to the smoke and fumes.
William Camden Hotton, engineer and manager of the Municipal Pictures, stated that the strictest precautions had been observed regarding the operation of the cinema. In every possible manner everything was done to prevent a fire. He produced the motor and film box in Court, and asserted that from practical experience he could show that the fire did not originate in or near the lantern house.
The witness, who remained in the box for nearly an hour, was closely examined by Coroner, solicitor, and police officer.
Frederick Symons electrical engineer, tendered evidence of the efficiency of the installation of the town hall, and particularly regarding the resistance. He scouted the idea that the fire originated from the resistance room, and was equally emphatic regarding the theory advanced in previous evidence regarding a fire originating from "static" electricity.
The Coroner, in summing up, said the jury should bear in mind the fact that the nation was at war. It was the policy of the enemy to have his agents who would destroy public buildings. From the nature of the evidence tendered he was of the opinion that the circumstances were suspicious. The fact that smoke had been discovered in an air vent leading to the floor, near the south side where the fire was considered to have originated, was very significant. It was the only air opening in the building disturbed, and directly near to the supposed seat of the fire. The jury brought in a verdict that the town hall was set on fire by some person or persons unknown on the morning of December 26.
It is considered that the corporation will, in view of the verdict, offer a substantial reward for information. On the morning after the fire it is stated that the watchman reported that a motor car, drove to the hall at 2 am and stopped. The occupants on observing that a watchman was in charge, restarted the car, and made off without any explanation of their visit. The whole affair is shrouded in mystery, and many residents are convinced that the building could not have been destroyed so quickly unless it had been purposely set alight.
Ref: Observer (Adelaide SA) Saturday 12 January 1918.
*Wallaroo’s Town Hall
Our local correspondent writes—The Wallaroo Town Hall, originally erected in 1902 at a cost of about £3,500, and destroyed by fire on December 26, 1917, has been rebuilt, and the work is now completed. The opening ceremony will take place this week and will be performed by the ex-Mayor (Mr T E Ashton). The corporation have spared no expense in making the new building up to date. Mr Quinton Bruce, of Adelaide, was engaged as architect, and the whole of the work has been carried out under his personal supervision. The contract was let to Messrs Emmet & Sons, of Norwood, and operations started in June 1918.
Except for the main walls the building has been completely remodelled. The general appointments, furnishings, and fittings are far in advance of the average hall, and the opinion is freely expressed by visitors and others that Wallaroo possesses the most handsome and up-to-date country town hall in the State.
It boasts of a stage the dimensions of 45 ft x 29 ft, a capacious and luxuriously decorated auditorium, and a striking facade. The main hall has seating accommodation for 630 persons, and an additional 240 can be accommodated in the dress circle upstairs.
All the provisions of the Entertainments Act have been complied with.
Spacious dressing rooms, lavatories, a kitchen, and other conveniences are also provided. The ornate and massive ceiling, constructed of moulded fibrous plaster, is the admiration of all. There are three lofty ventilators, and the roof is constructed on the sliding principle, so as to provide for ample ventilation.
A grand concert piano, costing £100 (the gift of the Rowing Club), and a second-grade instrument are installed.
A cinema house will be in demand for the picture business.
Upstairs in the front portion the Mayor's parlour and council chambers are located, and a suite of offices for the Town Clerk and Savings Bank, all elegantly furnished, add considerably to the value of the place.
The electric light has been installed throughout. Attention has been given to the beautifying of the approaches, and instead of a barren and unsightly entrance, lawns and evergreen hedges have been planted and a garden prepared in front.
The contract for the ceiling was carried out by Messrs A E Pitt & Sons, and the scenery was executed by Mr Nelson Wood.
The total expenditure, including the town clock to arrive shortly (the gift of Mr Richard Tonkin), will amount approximately to £10,000.
Ref: Observer (Adelaide SA) Saturday 22 February 1919.
THE BEAUTY AND THE BEAST
Eco Art Project by Nataly Cnyrim-Kimmel
for the Eco Art Parade International of Monte Carlo 2009
Benefitting the Prince Albert II of Monaco Foundation &
Under the Haute Patronage of
His Serene Highness Prince Albert II of Monaco
Contact Info :
E mail : nataly.kimmel@yahoo.de
Skype : natalykimmel
Webpage : www.natalykimmel.com
THE V.I.P. Feathers
( already signed )
by
Bill Clinton
Sharon Stone
Sir Cliff Richard
Claudia Schiiffer
Donatella Versace
Zucchero
Christopher Lee
Anastacia
Hans Juergen Baeumler
Elle MACPHERSON
Marianne Faithfull
Marylin Carlson Nelson
Gery Keszler
Danielle Thoma
Regine Sixt
Hans Mahr
Ester
Dr.Mario Theissen
Josef Bulva
President Barack Obama
Hillary Rodham Clinton
Mikhael Gorbachev
Nelson Mandela
Claudia Cardinale
Kofi Annan
Felipe, Prince of Asturias
Britney Spears
George Clooney
Ted Turner
Catherine Zeta-Jones
Al Gore
Madonna
Queen Sirikit of Thailand
Carmen Electra
Hugh Grant
Kylie Minogue
Liv Tyler
Esther MUJAWAYO-KEINER
Vivienne Westwood
CINDY CRAWFORD
Queen Noor of Jordan
PRESENTATION
www.authorstream.com/Presentation/natalykimmel-148327-bea...
To honor the beauty and the rights of the Bonelli Eagles, Nataly Cnyrim-Kimmel has conceived an art project entitled “The Beauty and The Beast. Self-Destruction”. While the sculptural project is clearly making reference to the famous fairy tale, it is also offering a new version of the story, with an eco-reading to it. In this interpretation, Beauty lies in the animal world and Man is revealed to be the Beast, endangering all living beings and as a consequence its own human world. The cycle of life must be preserved, the Beauty can be saved, and the Beast be tamed again. Adorned like a totemic animal by the many colors of a joyful palette, the Bonelli Eagle is presented in a thorn cage, fractured by the power of the Beauty taking off. Despite the thrust, the flight does not take place, hands seize his legs and the bird looses many of his feathers as he struggles to break free. His plumage gets hurt, scattered about in the cage, suspended in the air. The statement is clear: our planet has become a thorny environment, uncomfortable and unwelcoming, in which life can only damage itself.
Despite our love of Beauty, our square rational human logic is not always serving the spirit and dignity of all the living beings it shares the planet with. It is time for Humans to question the logic that has driven them. The Bonelli Eagle becomes in this project the symbol of the Natural Beauty in this world. The Eagle is loosing its mean to fly, its identity and life force. But there is a chance to change: the process can be reversed. Preservation and measures can be put into place to act now. Helping the Bonelli Eagles to survive is a meaningful gesture. To signify this crucial opportunity, Nataly Cnyrim-Kimmel has conceived the feathers as multicolored rubber modules. As a suggestion for the end of the ECO ART PARADE : The first symbolical step could be to reversing the dreadful prospect of the extinction of this specie would be to put back the feathers on. The second step would be to be to bring back peacefully the eagle into our world, changing the logic of our actions. So that by protecting him, we will protect our planet, we will protect ourselves.
To sensitize the public to the Eagle’s cause, the artist would like to propose to the Eco-Art Parade a few events around the production of multicolored feathers, the creation of a The feathers would become the ambassadors of the Eagle’s cause. They would be sent around the world to be signed by VIPs and celebrities of the art and environmental world present in Monaco would be gathered for a signing event. Moreover an edition of the feathers as pen, pencils or more complex objects could be made for the general public. Sotheby’s International could in addition to the sale of the Eagle, auction some of the special signed feathers conceived as collectibles. Multiple forms of events and production of secondary products to mark the importance of the Eco-Parade and the Bonelli Eagles could be imagined on the basis of this sculptural project. All proceeds of the sales via auctions or shops, online or on site, of the signed and unsigned feathers and feather-objects would benefit the Prince Albert II of Monaco Foundation.
Feather - Mania !!!
An educational program involving the schools of the Principality would be designed for children to learn about the environment and the Bonelli Eagles. Special Arts and crafts workshops would be lead by the artist, as she feels very committed to youth and the role of the arts in contributing to better the world. During one of the workshops, the children could participate in a determinant action to gather the feathers scattered in the exhibited cage and put them back on the sculpture. The artist and a young aware generation would join in this gesture full of hope for the future. To seal the Parade in a poetic and concrete manner, a couple of Bonelli Eagles (Male & Female) equipped with a tracking system could be released and their flight toward a safe new life could be monitored on a giant public screen as well as on the web. The movement from Art to Life would thus be accomplished, and the Bonelli Eagles, all plumage on being a reality to the people of the Eco Art Parade. Please see the technical documents and portfolio of sketches accompanying this text to have a visual idea of the proposal. The studio is at your entire disposition should you need more information!
Material Description
Feather : The feathers will be conceived as a decorative modular system. Made out of rubber they can fit together like a puzzle to create many different patterns and designs. The individual pieces come in 8 different forms, 8 standard colors, 3 metallic colors and 3 velvet colors. The size of each piece is customizable. The feathers will be water resistant and can be created in different materials in order to fit specific needs. They can be used as interior and/or exterior decorations, shower mats, lampshade, floors and wall coverings. They could be turned easily into pencils or ball pen holders
Panels :
Size: 270x270x3,7mm Weight-Piece: 98g Material: Erbit C-Hooks : 2g
Eagle Cage :
Cube Acrylic frame / cube shape Size 2100 x 2100 x 2100 mm Square acrylic tube 25 x 25 mm Three way junction at each corner
One of the essential parts of my project is the uniquely conceived, colorful feathers, which I will place on and around the Bonelli Eagle sculpture symbolizing the disappearance of animal life from our natural environment. The feathers that are attached to the Eagle will contain the signatures of various celebrities, dignitaries and supporters like you. I have already received signatures from Bill Clinton , Queen Noor of Jordan, Anastacia, etc.
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Projet de Nataly Cnyrim-Kimmel
Afin d’honorer la beauté et les droits des Aigles Bonelli, Nataly Cnyrim-Kimmel a conçu un projet intitulé “ La Belle et la Bête. Auto-Destruction”. Tout en faisant référence au conte de fée, ce projet propose une lecture écologique du conte. Dans cette nouvelle interprétation, la Belle est l’oiseau et c’est à l’homme que revient le rôle de la Bête, mettant en danger tous les êtres du monde et en conséquence l’humanité. Le cycle de vie doit être préservé, la Belle peut être sauvée, et la Bête apprivoisée.
Paré de couleurs joyeuses tel un animal totémique, l’Aigle Bonelli est enfermé dans une cage épineuse qu’il brise en prenant son envol. Malgré son élan vers le ciel, l’échappée n’a pas lieu, des mains se saisissent de lui et luttant pour s’envoler l’oiseau perds ses plumes. Son plumage est endommagé, les plumes sont éparpillées dans la cage, suspendues dans les airs.
Le propos est clair: la planète est devenue un environnement hardu, inhospitalié, même dangeureux, où il ne fait plus bon vivre. Malgré notre amour de la Beauté, notre raison cartésienne qui appréhende la vie de facon peut être un peu trop mathématique, ne prends pas toujours en consideration l’esprit et la dignité des êtres qui partagent cette planète avec nous. Il est temps pour les humains de remettre en question leur logique de vie sur terre.
Pour ce projet, l’Aigle Bonelli est devenu le symbole de la Beauté Naturelle dans ce monde. L’aigle a perdu les moyens de voler, son identité, sa force de vie. Mais il est possible de changer: le processus peut être inversé. Des mesures de préservations peuvent être implémentées pour agir rapidement. Protéger l’Aigle Bonelli est un geste exemplaire. Pour souligner ce fait, Nataly Cnyrim-Kimmel a conçu le plumage multicolore de sa sculpture de telle facon que les plumes soient des modules légers facilement détachables et ratachables au modèle de l’oiseau. Le premier geste symbolique pour protéger cette espèce en voie de disparition serait de remettre sur l’oiseau les plumes éparpillées et suspendues dans la cage. Le second plus concret serait de réintégrer et de sauvegarder l’Aigle Bonelli dans nos environs, nous changerions ainsi la logique de nos actions. En le protegeant nous protégeons notre planète et nous nous protégeons nous-même.
Pour sensibiliser le public à la cause de l’Aigle Bonelli, l’artiste voudrait proposer quelques évènements et la production de plumes de couleurs, la création d’une Plume Mania ! Les plumes deviendraient les ambassadeurs de l’Aigle Bonelli. Elles seraient envoyées autour du monde à des VIP, et les célébrités de l’art et de l’environnement présents à Monaco seraient invités à une signature de plume ! De plus les plumes pourraient être offertes au grand public sous forme de stylots, crayons mais aussi sous la forme d’autres objets un peu plus développés.
Tout comme la sculpture de l’aigle, une edition limitée de plumes signées pourraient être vendue aux enchères par Sothebys International en clôture de Parade. Plusieurs formes d’évènements et de produits dérivés pourraient être imaginés sur la base de ce projet. Tous les bénéfices des ventes en magasins ou en salles des ventes, en ligne ou sur place reviendraient à la Fondation Prince Albert II de Monaco.
Un programme éducatif établi en collaboration avec les écoles de la Principauté aurait pour but de sensibiliser les enfants à la cause de l’Aigle Bonelli et plus généralement aux problèmes de l’environnement. L’artiste dirigerait elle-même les ateliers d’art plastiques. Nataly Cnyrim-Kimmel tient beaucoup à assurer ce role de liaison avec la jeunesse et à utiliser l’art comme véhicule de sensibilisation pour une cause importante. Lors du dernier atelier, les enfants pourraient participer avec elle à une action déterminante pour le projet : rassembler les plumes éparpillées dans la cage exposée et de les rattacher à la sculpture. L’artiste et une jeune génération alerte feraient ensemble ce geste qui porte en lui un espoir pour le futur.
Pour clôre la Parade de façon poétique et concrète, un couple d’Aigle Bonelli pourrait être relaché en liberté équipé d’un système de surveillance électronique. Leurs vols pourraient être diffusé sur des écrans géants et sur un site internet. L’art nous renvérait ainsi vers la vie et l’Aigle Bonelli tout plumage lissé serait une realité pour les spectateurs de L’Eco Art Parade de Monaco.
Pour voir les esquisses pour le projet vous pouvez vous référer aux fiches techniques et au portfolio qui accompagnent ce texte. Le studio est à votre entière disposition si vous avez besoin de plus d’information!
Chicago Architecture Foundation tour. Didn't personally need the bar at 10 a.m., but it's nice to know it's there if I did.
Durante la visita de Mons. Álvaro del Portillo a En 1990 un grupo de profesionales, por el impulso de Mons. Álvaro del Portillo, puso en marcha como un pequeño hospital orientado hacia la familia en Enugu (Nigeria) www.opusdei.es/es-es/article/niger-foundation-hospital/
Title: Alcoa Foundation Scholarship
Digital Publisher: Digital: Cushing Memorial Library and Archives, Texas A&M University, College Station, Texas
Physical Publisher: Physical: Graphic Services, Texas A&M University
Date Issued: 2011-08-17
Date Created: 1964
Dimensions: 4 x 5 inches
Format Medium: Photographic negative
Type: image
Identifier: Photograph Location: Graphic Services Photos, Box 22, File 22-220
Rights: It is the users responsibility to secure permission from the copyright holders for publication of any materials. Permission must be obtained in writing prior to publication. Please contact the Cushing Memorial Library for further information
Visit to Stahls Automotive Foundation in Chesterfield, Michigan on April 3, 2012. The museum is open to the public on Tuesday afternoons from 1 - 4 pm.
Ariel-Foundation Park in Mount Vernon, OH is built on the site of the former Pittsburgh Plate Glass factory, with some of the original structures in various states of ruin. The images in this series were taken on Lomography Redscale film with the Canon EOS Rebel Ti.
Here's a link to a video overview of Redscale film: