Form photos on Flickr

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shooting the figure by Erin Malone

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spent the weekend at a workshop for studio lighting for the figure. 12 photographers, 3 models, 3 assistants, 1 instructor, and 2 days worth of images to process.

former Der Wienerschnitzel by Debra Jane Seltzer

Alameda, CA

Penrhyn Castle - Victorian Kitchens - Dry Larder - sign by Elliott Brown

A visit to the National Trust property that is Penrhyn Castle

Penrhyn Castle is a country house in Llandygai, Bangor, Gwynedd, North Wales, in the form of a Norman castle. It was originally a medieval fortified manor house, founded by Ednyfed Fychan. In 1438, Ioan ap Gruffudd was granted a licence to crenellate and he founded the stone castle and added a tower house. Samuel Wyatt reconstructed the property in the 1780s.

The present building was created between about 1822 and 1837 to designs by Thomas Hopper, who expanded and transformed the building beyond recognition. However a spiral staircase from the original property can still be seen, and a vaulted basement and other masonry were incorporated into the new structure. Hopper's client was George Hay Dawkins-Pennant, who had inherited the Penrhyn estate on the death of his second cousin, Richard Pennant, who had made his fortune from slavery in Jamaica and local slate quarries. The eldest of George's two daughters, Juliana, married Grenadier Guard, Edward Gordon Douglas, who, on inheriting the estate on George's death in 1845, adopted the hyphenated surname of Douglas-Pennant. The cost of the construction of this vast 'castle' is disputed, and very difficult to work out accurately, as much of the timber came from the family's own forestry, and much of the labour was acquired from within their own workforce at the slate quarry. It cost the Pennant family an estimated £150,000. This is the current equivalent to about £49,500,000.

Penrhyn is one of the most admired of the numerous mock castles built in the United Kingdom in the 19th century; Christopher Hussey called it, "the outstanding instance of Norman revival." The castle is a picturesque composition that stretches over 600 feet from a tall donjon containing family rooms, through the main block built around the earlier house, to the service wing and the stables.

It is built in a sombre style which allows it to possess something of the medieval fortress air despite the ground-level drawing room windows. Hopper designed all the principal interiors in a rich but restrained Norman style, with much fine plasterwork and wood and stone carving. The castle also has some specially designed Norman-style furniture, including a one-ton slate bed made for Queen Victoria when she visited in 1859.

Hugh Napier Douglas-Pennant, 4th Lord Penrhyn, died in 1949, and the castle and estate passed to his niece, Lady Janet Pelham, who, on inheritance, adopted the surname of Douglas-Pennant. In 1951, the castle and 40,000 acres (160 km²) of land were accepted by the treasury in lieu of death duties from Lady Janet. It now belongs to the National Trust and is open to the public. The site received 109,395 visitors in 2017.

Grade I Listed Building

Penrhyn Castle

History

The present house, built in the form of a vast Norman castle, was constructed to the design of Thomas Hopper for George Hay Dawkins-Pennant between 1820 and 1837. It has been very little altered since.

The original house on the site was a medieval manor house of C14 origin, for which a licence to crenellate was given at an unknown date between 1410 and 1431. This house survived until c1782 when it was remodelled in castellated Gothick style, replete with yellow mathematical tiles, by Samuel Wyatt for Richard Pennant. This house, the great hall of which is incorporated in the present drawing room, was remodelled in c1800, but the vast profits from the Penrhyn slate quarries enabled all the rest to be completely swept away by Hopper's vast neo-Norman fantasy, sited and built so that it could be seen not only from the quarries, but most parts of the surrounding estate, thereby emphasizing the local dominance of the Dawkins-Pennant family. The total cost is unknown but it cannot have been less than the £123,000 claimed by Catherine Sinclair in 1839.

Since 1951 the house has belonged to the National Trust, together with over 40,000 acres of the family estates around Ysbyty Ifan and the Ogwen valley.

Exterior

Country house built in the style of a vast Norman castle with other later medieval influences, so huge (its 70 roofs cover an area of over an acre (0.4ha)) that it almost defies meaningful description. The main components of the house, which is built on a north-south axis with the main elevations to east and west, are the 124ft (37.8m) high keep, based on Castle Hedingham (Essex) containing the family quarters on the south, the central range, protected by a 'barbican' terrace on the east, housing the state apartments, and the rectangular-shaped staff/service buildings and stables to the north. The whole is constructed of local rubblestone with internal brick lining, but all elevations are faced in tooled Anglesey limestone ashlar of the finest quality jointing; flat lead roofs concealed by castellated parapets. Close to, the extreme length of the building (it is about 200 yards (182.88m) long) and the fact that the ground slopes away on all sides mean that almost no complete elevation can be seen. That the most frequent views of the exterior are oblique also offered Hopper the opportunity to deploy his towers for picturesque effect, the relationship between the keep and the other towers and turrets frequently obscuring the distances between them. Another significant external feature of the castle is that it actually looks defensible making it secure at least from Pugin's famous slur of 1841 on contemporary "castles" - "Who would hammer against nailed portals, when he could kick his way through the greenhouse?" Certainly, this could never be achieved at Penrhyn and it looks every inch the impregnable fortress both architect and patron intended it to be.

East elevation: to the left is the loosely attached 4-storey keep on battered plinth with 4 tiers of deeply splayed Norman windows, 2 to each face, with chevron decoration and nook-shafts, topped by 4 square corner turrets. The dining room (distinguished by the intersecting tracery above the windows) and breakfast room to the right of the entrance gallery are protected by the long sweep of the machicolated 'barbican' terrace (carriage forecourt), curved in front of the 2 rooms and then running northwards before returning at right-angles to the west to include the gatehouse, which formed the original main entrance to the castle, and ending in a tall rectangular tower with machicolated parapet. To the right of the gatehouse are the recessed buildings of the kitchen court and to the right again the long, largely unbroken outer wall of the stable court, terminated by the square footmen's tower to the left and the rather more exuberant projecting circular dung tower with its spectacularly cantilevered bartizan on the right. From here the wall runs at right-angles to the west incorporating the impressive gatehouse to the stable court.

West elevation: beginning at the left is the hexagonal smithy tower, followed by the long run of the stable court, well provided with windows on this side as the stables lie directly behind. At the end of this the wall turns at right-angles to the west, incorporating the narrow circular-turreted gatehouse to the outer court and terminating in the machicolated circular ice tower. From here the wall runs again at a lower height enclosing the remainder of the outer court. It is, of course, the state apartments which make up the chief architectural display on the central part of this elevation, beginning with a strongly articulated but essentially rectangular tower to the left, while both the drawing room and the library have Norman windows leading directly onto the lawns, the latter terminating in a slender machicolated circular corner tower. To the right is the keep, considerably set back on this side.

Interior

Only those parts of the castle generally accessible to visitors are recorded in this description. Although not described here much of the furniture and many of the paintings (including family portraits) are also original to the house. Similarly, it should be noted that in the interests of brevity and clarity, not all significant architectural features are itemised in the following description.

Entrance gallery: one of the last parts of the castle to be built, this narrow cloister-like passage was added to the main block to heighten the sensation of entering the vast Grand Hall, which is made only partly visible by the deliberate offsetting of the intervening doorways; bronze lamp standards with wolf-heads on stone bases. Grand Hall: entering the columned aisle of this huge space, the visitor stands at a cross-roads between the 3 principal areas of the castle's plan; to the left the passage leads up to the family's private apartments on the 4 floors of the keep, to the right the door at the end leads to the extensive service quarters while ahead lies the sequence of state rooms used for entertaining guests and displayed to the public ever since the castle was built. The hall itself resembles in form, style and scale the transept of a great Norman cathedral, the great clustered columns extending upwards to a "triforium" formed on 2 sides of extraordinary compound arches; stained glass with signs of the zodiac and months of the year as in a book of hours by Thomas Willement (completed 1835). Library: has very much the atmosphere of a gentlemen’s London club with walls, columned arches and ceilings covered in the most lavish ornamentation; superb architectural bookcases and panelled walls are of oak but the arches are plaster grained to match; ornamental bosses and other devices to the rich plaster ceiling refer to the ancestry of the Dawkins and Pennant families, as do the stained glass lunettes above the windows, possibly by David Evans of Shrewsbury; 4 chimneypieces of polished Anglesey "marble", one with a frieze of fantastical carved mummers in the capitals. Drawing room (great hall of the late C18 house and its medieval predecessor): again in a neo-Norman style but the decoration is lighter and the columns more slender, the spirit of the room reflected in the 2000 delicate Maltese gilt crosses to the vaulted ceiling. Ebony room: so called on account of its furniture and "ebonised" chimneypiece and plasterwork, has at its entrance a spiral staircase from the medieval house. Grand Staircase hall: in many ways the greatest architectural achievement at Penrhyn, taking 10 years to complete, the carving in 2 contrasting stones of the highest quality; repeating abstract decorative motifs contrast with the infinitely inventive figurative carving in the newels and capitals; to the top the intricate plaster panels of the domed lantern are formed in exceptionally high relief and display both Norse and Celtic influences. Next to the grand stair is the secondary stair, itself a magnificent structure in grey sandstone with lantern, built immediately next to the grand stair so that family or guests should not meet staff on the same staircase. Reached from the columned aisle of the grand hall are the 2 remaining principal ground-floor rooms, the dining room and the breakfast room, among the last parts of the castle to be completed and clearly intended to be picture galleries as much as dining areas, the stencilled treatment of the walls in the dining room allowing both the provision of an appropriately elaborate "Norman" scheme and a large flat surface for the hanging of paintings; black marble fireplace carved by Richard Westmacott and extremely ornate ceiling with leaf bosses encircled by bands of figurative mouldings derived from the Romanesque church of Kilpeck, Herefordshire. Breakfast room has cambered beam ceiling with oak-grained finish.

Grand hall gallery: at the top of the grand staircase is vaulted and continues around the grand hall below to link with the passage to the keep, which at this level (as on the other floors) contains a suite of rooms comprising a sitting room, dressing room, bedroom and small ante-chamber, the room containing the famous slate bed also with a red Mona marble chimneypiece, one of the most spectacular in the castle. Returning to the grand hall gallery and continuing straight on rather than returning to the grand staircase the Lower India room is reached to the right: this contains an Anglesey limestone chimneypiece painted to match the ground colour of the room's Chinese wallpaper. Coming out of this room, the chapel corridor leads to the chapel gallery (used by the family) and the chapel proper below (used by staff), the latter with encaustic tiles probably reused from the old medieval chapel; stained and painted glass by David Evans (c1833).

The domestic quarters of the castle are reached along the passage from the breakfast room, which turns at right-angles to the right at the foot of the secondary staircase, the most important areas being the butler's pantry, steward's office, servants' hall, housekeeper's room, still room, housekeeper's store and housemaids' tower, while the kitchen (with its cast-iron range flanked by large and hygienic vertical slabs of Penrhyn slate) is housed on the lower ground floor. From this kitchen court, which also includes a coal store, oil vaults, brushing room, lamp room, pastry room, larder, scullery and laundry are reached the outer court with its soup kitchen, brewhouse and 2-storey ice tower and the much larger stables court which, along with the stables themselves containing their extensive slate-partitioned stalls and loose boxes, incorporates the coach house, covered ride, smithy tower, dung tower with gardeners' messroom above and footmen's tower.

Reasons for Listing

Included at Grade I as one of the most important large country houses in Wales; a superb example of the relatively short-lived Norman Revival of the early C19 and generally regarded as the masterpiece of its architect, Thomas Hopper.

Victorian Kitchens

Dry Larder

sign

Alitalia Douglas DC-9 by Benjamin Donnelly

Alitalia—a combination of the Italian words for “Air Italy” and the Italian flag carrier airline—was formed in September 1946 as Aerolinee Italiane Internazionali at the request of the Italian postwar government. Alitalia was meant from the start to be the Italian flag carrier, and the Italian government held a 48% controlling interest in the airline; British European Airways (BEA), who was to assist the establishment of Alitalia, held another 40%. It did not begin operations until 1947, with a mixed fleet of Fiat G.12s, Savoia-Marchetti SM.95s, and Avro Lancastrians—all converted World War II-era aircraft, with the latter converted from bombers. Despite the distance involved, the Lancastrians were used to immediately establish international routes to South America. More modern equipment arrived in 1949 in the form of dedicated airliners—Douglas DC-3s for domestic routes and DC-4s for international service.

Eleven years after its foundation, Alitalia absorbed its main rival, Italian Airlines (Linee Aeree Italiane), formally taking the name Alitalia-Linee Aeree Italiane. By this time, it had acquired turboprop Vickers Viscounts for European service, and in 1960 Alitalia entered the jet age by putting into service the Douglas DC-8 and Sud-Aviation Caravelle on the same day. In 1961, BEA relinquished its holdings in Alitalia, with the Italian government acquiring slightly more shares; other shares were acquired by Trans World Airlines (TWA) and Air France, with the remainder going to private investment.

It continued to expand its network and modernize its fleet, which by 1970 included wide-bodied airliners such as the 747. Alitalia also became one of the world’s largest users of the DC-9, as no less than 43 DC-9s were in service with the airline on domestic routes by the 1980s. It adopted its current livery in 1973 and became known in the 1980s as the “Pope’s airline,” as Alitalia usually flew Pope John Paul II on his frequent overseas trips.

By 1987, Alitalia was also known for its financial problems: continued problems with labor unions and Italy’s volatile politics left the airline constantly in debt (it would only turn a profit for one year of the 20th Century, 1998), and the Italian government was forced to increase its share to 83% to keep Alitalia from going bankrupt. A major restructuring occurred that at least lowered the debt for some time. The post 9/11 airline downturn made Alitalia’s ongoing troubles worse, and by 2006, Italy’s government, itself facing financial crisis, could no longer afford to keep loaning billions of euros to Alitalia. Attempts to privatize the airline failed, as did an attempted merger with KLM. Making matters worse, Alitalia was embroiled in several lawsuits from other airlines after a failed attempt to take over Air Europe and its move to the larger Milan-Malpensa airport, which the other airlines felt gave Alitalia too much of an advantage in the southern European market. (It was a moot point: by 2007, Alitalia instead moved most of its operations to Rome.)

In 2008, the Italian government announced that Alitalia was bankrupt and put its shares up for sale. The airline—which never ceased operations—was acquired by Compagnia Aerea Italiana (CAI), which already owned Alitalia’s biggest competitor, the low-cost airline Air One. Under the terms of the agreement, CAI acquired 75% of Alitalia, leaving the other 25% in the hands of Air France-KLM. Air One continued to exist, now taking over some of Alitalia’s domestic routes and acting as a low-cost subsidiary. Alitalia consolidated its fleet and routes, but while it has done better under CAI ownership, it continues to face financial difficulty. Nonetheless, this troubled airline remains the Italian flag carrier and the 19th largest airline in the world.

2016 Jueves Santo . Semana Santa de Madridejos by JOSE-MARIA MORENO GARCIA

2016 Jueves Santo . Semana Santa de Madridejos

Autor: José-María Moreno García. Fotógrafo humanista y documentalista.Cronista Oficial de la Villa de Madridejos.

Una de las mejores formas de conocer la historia de un pueblo es a través de sus imágenes; en ellas se conserva no sólo su realidad tangible, calles, plazas, monumentos, si no también sus costumbres, fiestas, tradiciones, lenguaje, indumentaria, gestos y miradas, que nos dicen sin palabras como se vivía, cuales eran sus esperanzas y temores, qué había en su pasado, qué esperaban del futuro. Uno de los objetivos más ambiciosos es recuperar y catalogar todo el material gráfico existente en nuestra familia desde 1.915, para después ponerlo a disposición de vosotros, que la historia volviera a sus protagonistas, y los que aún siguen con nosotros pudieran disfrutar con ello. VISITA La colección "CIEN AÑOS DE FOTOGRAFÍA FAMILIA MORENO (1915-2015)" en www.josemariamorenogarcia.es y www.madridejos.net

SI ALGUIEN NO DESEA APARECER EN EL ÁLBUM POR FAVOR COMUNÍCALO A josemariamorenogarcia@gmail.com

forms by paul teesdale

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Le rêve des formes : Michel Blazy by Touristos

Exposition

Du 14/06/2017 au 10/09/2017

L’exposition Le Rêve des formes, présentée à l’occasion du vingtième anniversaire du Fresnoy – Studio national des arts contemporains, est conçue comme un paysage imaginaire, un jardin monstrueux où se cultivent des formes périssables et des surfaces en germination, des organismes protubérants et de plates silhouettes.

Les artistes et chercheurs rassemblés dans Le Rêve des formes témoignent de leur rencontre avec de nouvelles possibilités de représentation, issues de découvertes scientifiques et techniques récentes, qui bouleversent notre façon de voir et de montrer. En renouvelant grâce à cela le champ du perceptible – nanotechnologies, imagerie de synthèse, scan 3D, stéréolithographie… –, ces nouvelles visualisations nous laissent présumer de géométries encore inconnues.

Des images, des transcriptions, des modélisations, des formes spéculatives produites par les inventeurs et savants des sciences prospectives, issues des mathématiques, de la physique, de la biologie, de l’optique ou de la chimie par exemple, rejoignent ou inspirent des œuvres qui résultent des greffes opérées entre art et science, entre spéculation et invention, par une vingtaine d’artistes contemporains.

Avec : Francis Alÿs, Hicham Berrada & Sylvain Courrech du Pont & Simon de Dreuille, Michel Blazy, Juliette Bonneviot, Dora Budor, Damien Cadio, Julian Charrière, Sylvie Chartrand, Clément Cogitore, Hugo Deverchère, Bertrand Dezoteux, Mimosa Echard, Alain Fleischer, Fabien Giraud & Raphaël Siboni, Bruno Gironcoli, Spiros Hadjidjanos, Patrick Jouin, Ryoichi Kurokawa, Annick Lesne & Julien Mozziconacci, Adrien Missika, Jean-Luc Moulène, Marie-Jeanne Musiol, Katja Novitskova, Jonathan Pêpe & Thibaut Rostagnat & David Chavalarias, Olivier Perriquet & Jean-Paul Delahaye, Arnaud Petit, Jean-François Peyret & Alain Prochiantz, Gaëtan Robillard, Gwendal Sartre, SMITH & Antonin-Tri Hoang, Anicka Yi

Shapes and form by Rashe...

Monkeys at Batu Caves by CaptDanger

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The limestone forming Batu Caves is said to be around 400 million years old. Some of the cave entrances were used as shelters by the indigenous Temuan people (a tribe of Orang Asli).

As early as 1860, Chinese settlers began excavating guano for fertilising their vegetable patches. However, they became famous only after the limestone hills were recorded by colonial authorities including Daly and Syers as well as American Naturalist, William Hornaday in 1878.

Batu Caves was promoted as a place of worship by K. Thamboosamy Pillai, an Indian trader. He was inspired by the 'vel'-shaped entrance of the main cave and was inspired to dedicate a temple to Lord Murugan within the caves. In 1890, Pillai, who also founded the Sri Mahamariamman Temple, Kuala Lumpur, installed the murti (consecrated statue) of Sri Murugan Swami in what is today known as the Temple Cave. Since 1892, the Thaipusam festival in the Tamil month of Thai (which falls in late January/early February) has been celebrated there.

Wooden steps up to the Temple Cave were built in 1920 and have since been replaced by 272 concrete steps. Of the various cave temples that comprise the site, the largest and best known is the Temple Cave, so named because it houses several Hindu shrines beneath its high vaulted ceiling.

Claudius Fraktur form by bielerpr

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bielerpressv.blogspot.com/2010/02/claudius-fraktur-type-s...

Form and Function by Anne Rowlison Martinez

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Vestre Folk+Form Anniversary Book Series by Vestre Street Furniture

Photo: Calle Huth / Studio Illegal

Design: Snøhetta

Publisher: Press

Author: Renate Nedregård

FLUIDITY IN FORM by Lemjay Lucas

D’Leedon Condominium | Singapore

Designed by internationally renowned Pritzker Architecture Prize winner Zaha Hadid, D’Leedon Condominium is shaped into sweeping fluid forms—a style that characterizes the intricate work of one of the greatest Architects of our time.

Having found this vantage point, I was in awe of the masterpiece in front of me and was stoked to have finally immortalized it in a frame.

instagram.com/LemjayLucas

Forming 4 by Dennis Pomales

4 1

pencil, water, color on 6" x 6" watercolor paper

www.etsy.com/listing/56479804/forming-4

SAM_6872 by ABECAO Olimpia

Curso de “Corte e Costura” ABECAO

As beneficiárias da Oficina de Corte e Costura da ABECAO estão colocando em prática as técnicas adquiridas nas aulas, confeccionando vários modelos de vestuários. O objetivo do curso visa resgatar este projeto de qualificação tradicional, ensinando as técnicas para confecção de vestuários de maneira clara, objetiva e completa de como cortar e costurar, promovendo a profissionalização da mão de obra prioritariamente às pessoas em risco social, formando profissionais atendendo a necessidade do mercado de trabalho, estimulando o desenvolvimento da criatividade com qualidade as alunas, Natalia Aparecida Silva Santos, Alessandra Carla da Silva, Aparecida Castanha Vieira, Elaine Pereira Gomes, Graziela Pereira Celestino, Lindalva Leite Melo Barboza, Maria Aparecida Olmedo, Rose Mara Domelas de Castro,Tassiana de Menezes da Silva, demonstra grande aptidão profissional como mostra as fotos, parabéns as alunas e a monitora Marlene Canhada.

NGC7822 Star forming region by Graem Lourens

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NGC7822 is a young star forming region in the constellation of Cepheus. The younger components are estimated to be no more than a few million years old.

Distance to earth: 3’000 lightyears

Apparent size: 90 arcminutes (3 x the moon)

Imaging time: 16.6 hours

Equipment:

Mount: SW AZEQ6GT

Telescope: SW Evostar 80ED

Camera: Atik 460EX Mono

Capture information:

Date: September – November 2015

Total exposure time: 16.6 hours

Color combination: SII=Red, HA=Green, OIII=Blue

Image data:

25 x 1200s HA

12 x 1200s OIII

13 x 1200s SII

Theatre of Dionysus by nrares

The Theatre of Dionysus was a major open air theatre in ancient Greece, built at the foot of the Athenian Acropolis and forming part of the temenos of "Dionysus Eleuthereus" (or Eleutherios, for "Dionysus, the Liberator"). Dedicated to Dionysus, the god of plays and wine (among other things), the theatre could seat as many as 17,000 people, making it an ideal location for ancient Athens' biggest theatrical celebration, the Dionysia. It became the prototype for all theatres of ancient Greece.

It was the first stone theatre ever built[citation needed] — cut into the southern cliff face of the Acropolis — and the birthplace of Greek tragedy. The remains of a restored and redesigned Roman version can still be seen at the site today.

At the Dionysus the audience sat around three sides of a large flat playing space called the Orchestra.[1] Traditionally this was the performing area for the chorus although as Peter Arnott argues "it is quite possible that actors playing the named roles may also have used this space during the play."[1] In his book An Introduction to Greek Theatre Graham Ley argues that "the extent to which the action of the plays were confined to the Orchestra is somewhat dubious."[2] Ley highlights that in Aeschylus' Persians (472 BC) "the Queen of Persia arrives in a chariot, and in the early plays most characters arrive in the playing space from "elsewhere", apparently from side paths."[2]

Situated directly behind the Orchestra was the skene where the actors could make their entrances and this was also possibly used a dressing room." With the construction of a skene in the theater of Dionysus, it is clear that some characters appear from it, and characters may enter it.[2]

Whilst there is little doubt that the Theatre of Dionysus was a spectacular construction and pathed the way to many exciting and large scale performances it is also clear that it posed many problems to actors of the time and more importantly for audiences. The raked auditorium stretched so far back and up the natural slope of the Acropolis it is highly likely that the smallest gesture and the quietest of whispers was lost regardless of the excellent acoustics.[1] The actors would have to overcome these problems by big acting and very clear gestures. And this raises questions about just how believable the performances were. The pressures on the actors would have been enormous and when we consider that the playwright was only permitted to use three actors any one actor could be called upon to play a great number of roles.

In Classical Athens, when the theatre was the venue for the Greater Dionysia, competitions were held between Greek dramatists as part of the occasion. The categories that could be entered were Greek Tragedy, Comedy and Satyr play. The plays were performed by a Chorus, and the audience served as judges. Amongst those to have competed are all of the renowned dramatists of the Classical era, such as Sophocles, Euripides, Aristophanes and Aeschylus.

In the mid 4th century BC, racked stone tiers were constructed (where wooden benches probably resided before) in order to allow more seating. After this the theatre fell into disuse and little is recorded until 61 AD where there is evidence of major renovations done by the emperor Nero.

Currently the biggest problem we have in assessing the pros and cons of the Theatre of Dionysus is the relative lack of surviving reliable evidence. Therefore when studying this fascinating topic one should treat any evidence they find with a dose of caution

Views From the Green by Dartmouth College

Students formed the word "PRIDE" by lying on the grass during Pride week, which ran from April 27 through May 3. (Photo by Eli Burakian '00)

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form by barry keogh

3 4

Forming by Volpin Props

When the resin was about 90% cured, I wrapped it around a piece of steel pipe to get the correct diameter

A guided walk around Grainger Town and Bigg Market by Jelltex

Wednesday

A day of rain.

And a trip to Newcastle.

Hmmmm, Newcastle.

We woke up at half seven, outside it was overcast with the promise of much rain through the day. We planned to go to Hexham to catch the train into the city, wander round, have lunch, take shots and come back. And it still sounded a good idea in the morning. So, after breakfast, we gathered our stuff, our new waterproof jackets and walking boots, packed the car and set off down the valley to Hexham.

There is an even more local station nearer the cottage, but only has a two-hourly service through the day. A 15 minute drive to Hexham opens the possibility of half hourly trains, if we got bored in the city.

Two pounds to park the car all day outside the station, seven quid for a return ticket. A cheap day it seemed.

We had timed it just right, and 5 minutes after arriving, our train, a class 156, pulled up and we all got on for the half hour trundle into town. The line runs beside the river Tyne, and is very picturesque, even from a rattly diesel DMU.

We pulled into Newcastle, over Stephenson’s high level bridge, with glorious views over the river and city. It had just begun to rain, but we were prepared.

Outside the station, we looked up the wide street in front, and I saw a memorial, which should mean there was a square, maybe the centre of the city, so we set off, dodging shoppers and waiting bus passengers. However, we were thirsty. And hungry. And seeing an Italian ice cream parlour, we go inside to have breakfast.

I order sausage roll and a coffee: Jools has quiche. And a coffee. Now, that we did not specify what kind of coffee we wanted should have meant we got a cup of filter. Or so we thought. But what we did get was a cup of milky coffee, the kind that my parents used to drink, made with almost all hot milk, and horrible.

I tried to tell myself this was some kind of retro food experience, but my main thought was to drink it as soon as possible before a skin formed on the top, which would have made me retch.

Further up the street, we saw a sign saying ‘central arcade’; we thought it looked interesting and went in. Just as well we did, as inside it was decorated with splendid tiles, in a fine art deco fashion. In admiring them, we caught the attention of a woman, who engaged us in conversation. Turns out she was a guide, and for four pounds each would take us on a 90 minute tour round the city.

Sounded fair to us, so we paid, and our guide explained the history of the arcade and the surrounding area, all gentrified in the 1830s, which so resembled fine Parisian boulevards. It was a wonderful area, and the style, Tyne Gothic was very nice and almost chic. It has been renovated in recent times, and looks like it did when new, except for the pawnbrokers and other modern shops now occupying the ground floors.

We walk along a narrow alley past pubs and old workshops, our guide giving us history behind the buildings. The world's fattest man lived and died here, King Charles 1st had dinner there. And so on. Until we came to Bigg Market.....

Bigg Market is where the young Geordie goes to have fun, or used to; according to our guide. It is not as popular as it once was, as many now go down to the Riverside. And Bigg Market is to be 'redeveloped'. So, this may be the last chances to see some of these fine old buildings, some of which now have demolition orders against them. All things must change. Apparently.

Pumphrey's was a temperance bar, anmed after it's founder. Needless to say, despite keeping the name, it is now a wine Bar.

Balmbras is where the song, Blaydon Races' was written, a song my Grandad learned whilst in the army, and taught me when I was a child. It is to be knocked down.

We were shown the indoor market, the Theatre Royal, all the time heading down towards the river. We stop at The Black Gate, the old main entrance to the city, and next to it the Norman, or New, castle. I know that from the top fine views of trains arriving and leaving from the station could be had, and so I planned to return later in the day.

FORM AND BRANCH IDENTITY by Philipp Zurmöhle

FORM AND BRANCH Icons –www.philippzm.com/form-and-branch

Form and Shadow by Eric Meyer

Formes by Laurette.C

4 4

Glass, Glass, Form by Daniel Colvin

5 11

On the far right, the wooden form that made the molds for the two pieces of glass here. You can see how varied the surface and color can be. The one on the far left used a mixture of corn flour in the sand which makes for a more clear finish.

G13 Valencia de Alcántara_10 by mp4j Mi cuarto Plan de Juventud de Extremadura

El total de participantes fue de 27 personas (12 hombres y 15 mujeres), de

edades comprendidas entre los 25 y los 50 años. El grupo estaba formado por

responsables políticos/as, técnicos/as de los distintos Ayuntamientos y la

Mancomunidad: presidente, gerente, dinamizadores/as deportivos/as y

socioculturales, representando así a los diferentes Municipios de la

Mancomunidad: Valencia de Alcántara, San Vicente de Alcántara, Santiago de

Alcántara, Cedillo y Herreruela.

Por lo que respecta a la representación institucional, en este grupo de debate

contamos con la presencia de la Directora del Instituto de la Juventud de

Extremadura, Susana Martín Gijón, el Presidente de la Mancomunidad Sierra de

San Pedro, Juan Garlito Batalla y el Alcalde de Valencia de Alcántara, Cándido

Moreno Morgado.

A. CONOCIMIENTO DE LA REALIDAD JUVENIL

¿Cómo ven a los/as jóvenes de la Mancomunidad?

La mayoría de los/as técnicos/as, responsables políticos/as y agentes sociales

afirman que los/as jóvenes de la Mancomunidad son pasivos/as, no tienen

objetivos claros y son despreocupados/as.

Consideran que están desorientados/as por su futuro laboral, por no saber

cuáles son los estudios idóneos que les garanticen una estabilidad en el futuro.

Una juventud apática y desilusionada, con pocas habilidades sociales,

desorganizada y conformista, con poca iniciativa y sin responsabilidades.

No obstante, otro grupo considera que tenemos una juventud muy preparada y

bastante emprendedora, activa y responsable, sincera, participativa y con

mucho potencial.

Unos/as jóvenes inquietos/as, inteligentes y con una energía que necesitan

encauzar en alternativas que se ajusten a sus demandas, intereses e

inquietudes.

En general, podemos afirmar que había dos grupos perfectamente

diferenciados, el primero de ellos representado por los/las técnicos/as,

responsables políticos y/o agentes sociales que tienen una percepción bastante

negativa de los/las jóvenes de la Mancomunidad y el otro, el de los/las

técnicos/as, responsables políticos/as y/o agentes sociales que tienen una

percepción más positiva de la juventud de la Mancomunidad y la consideran

dinámica, dispuesta y comprometida.

B. PROGRAMAS Y RECURSOS DISPONIBLES

En este bloque se exponen las conclusiones del grupo en torno a tres

cuestiones: ¿existen programas comarcales de juventud? ¿en qué consisten? ¿y

estructuras de juventud?

Al igual que con el primer bloque del debate, también en este hubo dos grupos

con opiniones diferentes, por un lado están los/as participantes que opinan que

no existen programas comarcales de juventud, alegando como motivos la falta

de medios y de interés por parte de las autoridades y de los/as técnicos/as. Por

otro lado se encuentra el grupo que expone que a nivel local y mancomunado

existen los siguientes programas: Pueblos (aunque éste concretamente

suscitó el reproche de que son actuaciones puntuales y con una duración muy

limitada para ver resultados concretos), dinamización deportiva, orientación

laboral y autoempleo, diferentes actividades de ocio y tiempo libre, educación

en valores, fomento del asociacionismo juvenil, jornadas de educación y

seguridad vial, planes de fomento de la lectura, actividades culturales, viajes,

convivencias y encuentros comarcales, talleres de verano, sala de ordenadores

y biblioteca.

La mayoría de los/las participantes señalan como una importante y nueva

creación en su Mancomunidad, el Consejo Comarcal de la Juventud, que está

comenzando a preparar sus actividades y en el que tienen puesta mucha

confianza de cara al futuro.

C. PROPUESTAS DE ACCIONES, COMPROMISOS

(Trascripción literal de las propuestas)

Según los/as dinamizadores/as deportivos/as se necesita personal

especializado en deportes o bailes de moda que roten por los pueblos,

porque ellos/as no los dominan y es difícil impartirlos.

Proponen que todas las asociaciones, concejalías de juventud, técnicos/as,

etc. deben unirse y trabajar juntos/as, por este motivo confían en el Consejo

Comarcal de Juventud.

Solicitan más personal técnico y mejores infraestructuras, al igual que sacar

más partido a las infraestructuras que ya existen y que no se potencian

demasiado.

Las diferencias materiales entre las distintas localidades de la

Mancomunidad también preocupaba a los/las participantes, insistieron en

que deberían organizarse actividades que se extiendan por todos los

municipios y no sólo por los más grandes. Por este motivo, solicitan la

puesta en marcha de actividades que no dependan del número de

jóvenes existentes, porque hay que tener en cuenta la escasez de

niños/as en algunos municipios.

Pasar encuestas para ver si los/as principales beneficiarios/as conocen los

programas, porque hay buenos programas, pero los desconocen.

El técnico de juventud de la Mancomunidad opina que los/as jóvenes

necesitan más información y acceso a actividades para su edad, además

añade que a las instituciones les falta presupuesto.

El Presidente de la Mancomunidad está muy preocupado por el elevado

índice de jóvenes de la Mancomunidad que pese a estar muy bien

formados/as se marchan a trabajar fuera. Él cree que hay que potenciar de

alguna manera diferentes programas que provoquen que los/as jóvenes se

queden a trabajar en la Mancomunidad. Insiste en elaborar un plan

formativo que desarrolle una política económica y proponer desde ahí una

serie de actividades de formación para intentar que los/as jóvenes no se

vayan fuera.

En cuanto a los compromisos: El presidente de la Mancomunidad afirma “la

juventud es el futuro, porque es lo que tenemos en casa y hay que

mantenerlo”. Asimismo, el concejal de Herreruela, dice que las políticas de

juventud existen en los ayuntamientos y que ellos/as están elaborando un

plan de juventud, fomentan las inquietudes de los y las jóvenes y el

asociacionismo juvenil.

Sesión con Jóvenes

PERFIL DEL GRUPO DE JÓVENES

Participaron un total de 42 personas, 22 chicas y 20 chicos, con edades

comprendidas entre los 13 y los 26 años. La mayoría son estudiantes y algún/a

trabajador/a. Los municipios representados fueron: Valencia de Alcántara, San

Vicente de Alcántara, Santiago de Alcántara, Cedillo y Herreruela.

A. VALORACIÓN DEL III PLAN DE JUVENTUD

Actividades en las que han participado:

Los/as participantes manifestaron haber participado en las siguientes

actividades: el Día de la Mancomunidad, excursiones, rutas nocturnas,

actividades deportivas (torneo de fútbol), manualidades, talleres de graffiti,

educación vial, conciertos: extremúsica y otros, camping, el botellón dicen que

es una de las cosas que más les divierte, etc.

Valoración de las actividades:

Les gustó mucho el Día de la Mancomunidad, al igual que todas las actividades

deportivas, por lo que insisten en que continúen e incluyan más variedad.

Los conciertos también tienen mucho éxito entre ellos/as aunque les gustaría

que hubiera más y con diferentes estilos de música.

Todos/as valoran muy positivamente las actividades que han realizado en el

marco del III Plan de Juventud.

B. ANÁLISIS DE LA REALIDAD JOVEN

Principales problemas de los y las jóvenes:

Se repite con frecuencia que existe “escasa información sobre recursos y pocas

actividades de ocio en los pueblos pequeños”. Destacan también la escasez de

empleo para todos y todas las/los jóvenes que lo demandan, el tener que

abandonar los pueblos por la ausencia de trabajo, no poder independizarse, les

preocupa mucho la existencia de empresas que no les dan de alta en la

seguridad social.

Opinan que la Mancomunidad, Concejalías y Ayuntamientos deberían poner

más de su parte porque tienen pocos recursos y lugares de ocio y tiempo libre,

además, cuando la Mancomunidad prepara actividades no tienen muy en

cuenta los gustos de la juventud y no hay talleres en las casas de cultura.

También afirman que la mayoría de los/as jóvenes no quieren asumir

responsabilidades y que sí hay actividades, pero tienen poco interés en ellas.

Añaden que tampoco se implican con el medio ambiente.

C. PROPUESTAS Y COMPROMISOS EN RELACIÓN CON LOS EJES DEL

IV PLAN INTEGRAL DE JUVENTUD

(Trascripción literal de propuestas por ejes)

Eje 1. Emancipación y autonomía

-Vivienda más barata, ayudas para acceder a las viviendas, bajar el alquiler

de los pisos.

-Facilidades de acceso al primer empleo, más empleos y más accesibles.

-Más empresas en las zonas rurales.

-Más ayudas para estudiantes.

-Becas más generalizadas y para segundos estudios.

-Se repiten: sueldos más altos, más cursos de orientación laboral y de

formación, aprender inglés.

Eje 2. Ciudadanía y diálogo

-Convivencias y acampadas entre jóvenes de la mancomunidad, Cooperación.

-Recaudar fondos para distintas organizaciones, campañas solidarias:

mercadillos, conciertos, etc.

-Compartir actividades, intercambios con otras asociaciones de la

mancomunidad y fuera de ella.

-Fomentar y dinamizar el Asociacionismo.

-Viajes al extranjero.

-Promover la democracia participativa, organizando para ello reuniones

abiertas con los/as responsables de las instituciones para que escuchen las

propuestas y necesidades de los/as jóvenes.

Eje 3. Responsabilidad cívica

-Más información, cursos, charlas y actividades sobre salud: Campaña sobre

la droga, educación sexual, enfermedades de transmisión sexual, trastornos

alimentarios, desayuno saludable.

-Campañas sobre educación vial orientadas tanto a mayores como a niños/as

en colegios (circuitos sobre señalización, charlas para prevenir

accidentes,...), carné de conducir más barato.

-Que haya una buena distribución de contenedores para el reciclaje además

de más cantidad de ellos.

Eje 4. Ocio y creación

-Construcción de un espacio joven o punto de información.

-Creación de espacios para las asociaciones, boletines juveniles, publicidad.

-Exposiciones, conciertos, excursiones, ludoteca, cine, discoteca.

-Competiciones deportivas a nivel de mancomunidad, Variedad de

actividades deportivas, cursos de distintos tipos de baile, torneo de fútbol,

piscina climatizada, creación de un gimnasio, circuito de motocross, pista

para Karting y monopatín, gymkhana.

-Centro de conexión inalámbrica, zona wifi, cibercafé.

-Rutas de senderismo e históricas por los pueblos cercanos.

-Zona de recreativos, campeonatos de juegos.

-Habilitar más zonas para el botellón (repiten 4 grupos)

-Concursos, más actividades de ocio, socioculturales y deportivas.

-Discotecas, césped artificial y de mejor calidad en el campo de fútbol.

-Festivales de música, un cine y una piscina en buenas condiciones.

-Renovar los centros de salud para evitar trasladarse lejos para poder ir al

médico.

-Campamentos e intercambios juveniles.

COMPROMISOS

Los/as jóvenes se comprometen a:

-Participar más en las actividades que se realizan en el pueblo y en

algunas especialmente para que sigan adelante.

-Estudiar una carrera.

-Actuar con juicio y no abusar de los consumos.

-Ayudar en las tareas del hogar para irse habituando.

-Crear una asociación de fútbol.

-Una asociación tiene el proyecto de hacer un centro joven.

-Consumir menos energía, reciclar y ahorrar agua.