View allAll Photos Tagged Form
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.
A rather grubby, and somewhat unloved, war memorial found right in Gloucester's City Centre. It's located on the exterior west wall of St Michael's church tower, and it is a little difficult to read in places.
I'm still trying to find out about the two units mentioned on the memorial:
The Volunteer Training Corps was a voluntary home defence militia. A sort of Home Guard.
Not yet found out anything much about the Gloucester VTC, but there's an article on the KORL museum site which explains how things were organised in their Lancashire area.
"The Volunteer movement of 1914-1919 appears to have originated spontaneously, mainly from the action taken by ex-officers and members of the old Volunteer Force in forming Miniature Rifle Clubs and later, “Volunteer Training Corps”, entirely self-supporting and not under War Office recognition."
---------------------------------------------------------------------------------------------------------------------------------
"1914 - 1918
Gloucester Volunteer Training Corps and 'A' Company III Volunteer Battalion, Gloucestershire Regiment.
In Memory of those who passed through to the Supreme Sacrifice for Honour and Freedom in the Great War.
...
Erected by grateful Comrades"
--------------------------------------------------------------------------------------------------------------------------------
R. I. P.
L/Cpl PLY/2444(S) Clifford Andrews (probable match)
06.04.18 Pozières Memorial
1st Royal Marine Battalion, R.N. Division, Royal Marine Light Infantry
The following information was found on the Great War Forum site (thanks to Somerset Sniper)
Service History:
Enlisted at Gloucester 19/9/17 age 27 ; Embarked RM Brigade 16/11/17 ; Draft for BEF 19/3/18, posted to 1st RM Bn. from Base Depot Calais 24/3/18-6/4/18
Appointed Lance Corporal (paid) 26/1/18
Previous occupation: A Slaughterman
Next of kin:
Mother:- Sarah Andrews, Stoborough, Wareham, Dorset (ADM/159)
Wife:- Eliza E.J. Andrews, 1 Alma Terrace, Bristol Rd., Gloucester (ADM/242)
-------------------------
09.04.18 Loos Memorial
157th Siege Bty, Royal Garrison Artillery
20.03.17 Rouen
2nd Battalion, Devonshire Regt
Age 18
L/Cpl CH/2657(S) Claude A. Browning (possible match)
07.10.18 Buegny, nr Cambrai
1st Royal Marine Battalion, R.N. Division, Royal Marine Light Infantry
Captain Basil V. Bruton Mentioned in Despatches
15.06.18 Boscon, nr Asiago, Italy
1/5th Battalion, Gloucestershire Regt
Gunner/Signaller 107017 Francis H. Chubb
01.07.17 Vlamertinghe, nr Ypres
262nd Siege Battery, Royal Garrison Artillery
Pte 7/18827 Henry J. Coleman (possible match)
13.04.18 St Omer
96th Battalion, Training Reserve
transferred to (378296) Base Depot, (attached XV Corps School) Labour Corps
01.05.18 Godewaersvelde, nr Poperinge
298th Siege Battery, Royal Garrison Artillery
formerly Pte (30364) Gloucestershire Regt., and Gunner (13935) RGA
WO 372/5/222385
27.04.18 Robecq, nr Bethune
2/4th Battalion, Royal Berkshire Regt
formerly Pte (46146) Hampshire Regt
WO 372/6/206483
Harold D. Evans
Pte 128339 Kingsley S. Franklin
29.04.18 Villars-Bretonneux
Machine Guns Corps (Infantry)
Age 19
24.10.18 Ramillies, nr Cambrai
'A' Company, 1st Battalion, Somerset Light Infantry
James C. Jenkins (possible match)
Air Mechanic 263531 2nd Class David L. Kiddle
18.09.19 Wimille, nr Boulogne
91st Wing, Royal Air Force
Age 18
22.10.18 Lijssenthoek, nr Ypres
1/1st Battalion, Herefordshire Regt
04.10.17 Tyne Cot Memorial
1/5th Gloucestershire Regt
WO 372/12/76653
Stanley. W. E. Lewis Military Medal (possible match)
10.08.17 Menin Gate Memorial
7th Battalion, Bedfordshire Regt
21.09.17 Tyne Cot Memorial
Bedfordshire Regt (posted to 1/1st Herefordshire Regt)
William A. Palmer
Thomas G. Smith
Pte 61059 Stanley Victor Stubbs
22.10.18 Kalamaria, Greece
78th Sanitary Section, Royal Army Medical Corps
Henry I. Thomas
Pte 38044 Gilbert G. Trenfield
25.02.19 Gloucester
Labour Company, Hampshire Regt, transf. to (108513) 275th Area Employment Company, Labour Corps
--------------------------------------------------------------------------------------------------------------------------------
From The Citizen: Friday 7th December 1917
"Gloucester Volunteer Corps
'A' Company, 3rd Battalion Gloucester Volunteer Regiment
Captain: W. Jarratt Thorpe
Orders for Week Ending 14th December 1947
Officer on Duty: Lieut T. L. Drury
Orderley Sergeant: Sgt J. W. Brown
Orderly Corporal: Corp W. T. Chinery
Sunday 9th December at 2.30pm
Drill Order
If wet, Great Coats to be worn
Band and Recruits to attend
Tuesday 11th
Platoon 3 at 7.30pm and 8.30pm
Wednesday 12th
Platoon 4 at 7.30pm and 8.30pm
Hotchkiss Class at 7.30pm
Thursday 13th
Officers and N.C.O.'s to attend a lecture at City Drill Hall, Brunswick Road at 7.30pm
Friday 14th
Platoons 1 and 2 at 7.30pm and 8.30pm
Recruits to attend Tuesday and Friday at 7.30pm and 8.30pm
Band to attend Wednesday at 8pm
---------------------------------------------------------------------------------------------------------------------------------
Gloucestershire Archives:
D11985: William Jarratt Thorpe, soldier, exponent of badger digging: diaries detailing badger digging, terrier breeding and hunt activity across Gloucestershire 1913-1925
See Gloucester Journal around 1st August 1917 for death announcement
DESIGNERS’ OWN HOMES: JIM JENNINGS | 2009
Emphasizing Form and Light in His Elegantly Spare Palm Springs Retreat
The Southern California desert has a sensuality all its own—hot, dry air, strong winds, flash floods, chaparral, fan palms, skies clarified to a molten blue. A house in Palm Springs designed by the San Francisco-based architect Jim Jennings, for himself and his partner, writer Therese Bissell, draws on the vernacular of this landscape in elemental ways. On a plot of virgin land near the San Jacinto Mountains, Jennings built a wall and created a world inside—at once a refuge from the desert and an homage to its spaces and extraordinary light.
He and Bissell bought the land in 1999. “Once we had the property, I couldn’t resist designing a house,” reports Jennings. He had not built a residence for himself from the ground up before. Still, he took his time: “When you’re your own client, you can be as demanding as you like. And you know how difficult everything will be, especially when it appears simple.” The house was completed a decade later, and the couple started spending time at their desert retreat in January 2009.
An eight-foot wall of painted concrete block defines the Jennings house, enclosing 3,000 square feet of space. A flat roof seems to float above the building, just as the entire structure seems to float in the landscape. There is no driveway. You approach across white desert sand, past creosote bush, up to the carport in the north side of the white wall. On a sunny day (Palm Springs normally has more than 350 sunny days a year), light filtering through the carport’s painted-steel trellis roof draws vertical stripes on the horizontal blocks. Then you step from the carport through a clear-anodized-aluminum pivot door into the entrance courtyard and pure astonishment.
From the courtyard you see all the way through the living room to a second courtyard with a lap pool at the far (west) end and a mountain beyond. The east and west walls of the living room are sliding glass doors; on each side, three five-foot-wide panels telescope on separate tracks into a wall recess. (The doors stay entirely open most of the time.) With the privacy afforded by the enclosing wall, Jennings gives new definition to indoor-outdoor living, inverting the idea of 1950s post-and-beam Palm Springs architecture, which was about openness as an extension of the surrounding landscape. The Jennings house is all about enclosure, with the openness inside.
The interior section of the residence occupies just 750 square feet: living room and bedroom separated by an in-line kitchen and a luxuriant bath. “We simply wanted a space for the two of us,” says Bissell. Another 15-foot set of glass doors opens from the bedroom to the 1,730-square-foot courtyard.
The inspired steel-deck roof, supported by steel beams, sits above clerestories facing north and south that effectively float the roof above the house. Eight-foot overhangs cantilevered to the east and west provide essential shade. From the living room sofa, the owners can see the neighboring mountain both through the clerestory to the south and above the wall of the pool courtyard to the west. “The emptiness of the pool courtyard intensifies one’s sense of the mountain,” Jennings notes. “It is a void that works in counterpoint with the solid.”
The décor complements the spare aesthetic of the architecture. The couple bought almost nothing new, using pieces they already owned—architectural drawings, a Parentesi lamp, a Charles Eames splint—and others that Jennings designed: the gel-coated-fiberglass table and benches in the entrance/dining courtyard; a powdercoated-aluminum panel bed set on a wood base. In searching for a chair that would work indoors and out, Bissell looked at hundreds of designs—she wanted “no surface that can’t be sat on in a wet bathing suit”—until she found Cappellini’s Spring plastic chair by Ronan and Erwan Bouroullec: It even has a drain hole of sorts.
Hailing from a family of architects, Bissell has design in her blood. “Architecturally,” says Jennings, “she was my muse. For every other aspect of this project she was my collaborator.” Bissell, for her part, says, “Jim and I think alike. I was very interested in what he was doing. But if he had said, ‘I’m going to build a house for us, and we’ll fly down there in about three years,’ that would have been fine, too.”
From Wikipedia:
"The Vesper is a cocktail that was originally made of gin, vodka, and Kina Lillet. Since that form of Lillet is no longer produced, modern bartenders need to modify the recipe to mimic the original taste, with Lillet Blanc or Cocchi Americano as a typical substitute.
The drink was popularised by author Ian Fleming (1908–1964) in his 1953 novel Casino Royale, in which the character James Bond invents the recipe and names the cocktail. Fleming's Bond calls it a "special martini", and though it lacks the vermouth that defined a martini in Fleming's day, it is sometimes called a Vesper martini."
IMG_0675
MLC Students belong to various age brackets and come form different backgrounds and cultures, namely public and private sector employees, businessmen, international and local undergraduate, graduate and postgraduate students, housewives and many others.
Through our courses, our main concern is to focus on the four vital language skills: Speaking, Writing, Reading, and Listening. We make sure that our students are be able to speak the language effectively, fluently, and that they can interact with others and realize their ambitions.
Summer courses for high school kids constitute the backbone of our summer activities. Our summer program has a two-tier purpose: a) English teaching as the focus of our attention b) summer activities including skating, swimming, horse riding, trips by bus, and other activities. Our students enjoy both the humane and academic nature of our trips.
Housewives are usually good participants, they form social gatherings during their free time in the mornings. They get to know each other and benefit from their special conversational course with an American teacher. They feel they belong to a women’s club in which they discuss many things, including cooking recipes and most important of all fashion in English.
Adults and businessmen are welcome all the year round, and private organizations get the lion’s share. This is where they need us the most. We extend our technical assistance to them, vocational and educational expertise as well. This is a mutual cooperation so that they can fulfill their objectives.
It’s been years now since we have been teaching English to make communication easier for all of us. Now the time has come for non-Arabs to learn Arabic. The MLC has just completed an Arabic course to make it easier for foreigners to study Arabic. Please pay us a visit at the MLC, and I am sure you will not be disappointed. Certainly, you will not only love it, but you will enjoy it.
We always look forward to seeing our graduates make it through colleges & universities. Now, It is a requirement that all graduates in Jordan pass the TOEFL or the IELTS in order to obtain their degrees. The MLC is committed to our future generations to make it possible for them to pass one of these international tests. It’s through us (MLC) that they make their dreams come true.
La cathédrale Notre-Dame-de-l'Assomption de Clermont est une cathédrale gothique située à Clermont-Ferrand. Elle a été édifiée à partir de 1248 au centre de la ville de Clermont, la capitale historique de l'Auvergne. Elle a remplacé une cathédrale romane située au même endroit qui elle-même avait été précédée par deux autres sanctuaires chrétiens. Son patronage initial est celui de saint-Vital et saint-Agricol. La majeure partie de la construction actuelle date de la seconde moitié du XIIIe siècle, c'est le premier exemple d'utilisation en architecture de la pierre de Volvic. La façade occidentale et d'autres rénovations ont été effectuées par Eugène Viollet-le-Duc au cours de la seconde moitié du XIXe siècle.
Featured Image from Sonata Series
Sonata concentrates on seeing rather than looking. In our waking-state, we look at things all the time but consciously unless chosen to do we make the effort to see. This on-going series concentrates on the elements of design ; color, line, shape texture form and pattern. Each image composes of a singular point of interest to achieve photographic satisfaction. Here the visible, mundane & overlooked has its moment.
Nkosi.artiste@gmail.com
ABOUT THE ARTIST
Chance Nkosi Gomez known initiated by H.H Swami Jyotirmayanda as Sri Govinda walks an integral yogic path in which photography is the primary creative field of expression. The medium was introduced during sophomore year of high school by educator Dr. Devin Marsh of Robert Morgan Educational Center. Coming into alignment with light, its nature and articulating the camera was the focus during that time. Thereafter while completing a Photographic Technology Degree, the realization of what made an image “striking” came to the foreground of the inner dialogue. These college years brought forth major absorption and reflection as an apprentice to photographer and educator Tony A. Chirinos of Miami Dade College. The process of working towards a singular idea of interest and thus building a series became the heading from here on while the camera aided in cultivating an adherence to the present moment. The viewfinder resembles a doorway to the unified field of consciousness in which line, shape, form, color, value, texture all dissolve. It is here that the yogi is reminded of sat-chit-ananda (the supreme reality as all-pervading; pure consciousness). As of May 2024 Govinda has completed his 300hr yoga teacher training program at Sattva Yoga Academy studying from Master Yogi Anand Mehrotra in Rishikesh, India, Himalayas. This has strengthened his personal Sadhana and allows one to carry and share ancient Vedic Technology leading others in ultimately directing their intellect to bloom into intuition. As awareness and self-realization grows so does the imagery that is all at once divine in the mastery of capturing and controlling light. Over the last seven years he has self-published six photographic books, Follow me i’ll be right behind you (2017), Sonata - Minimal Study (2018), Birds Singing Lies (2018), Rwanda (2019), Where does the body begin? (2019) & Swayam Jyotis (2023). Currently, Govinda is employed at the Leica Store Miami as a camera specialist and starting his journey as a practitioner of yoga ॐ
With the start of construction on the interior walls for the new SR 520 Pontoons just weeks away the fabrication yard is buzzing with carpenters' saws and activity. The precision work is creating the forms in which the concrete walls will be cast.
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.
Title: The Avaitor
Anniversary Speed Graphic
101mm Ektar f4.5
Home made 4x5 Glass plate negative
Scan of 4x5 Contact Print
about 30 seconds at f4.5
Historia
Su construcción sería iniciada a fines del siglo XI, cuando se mencione por primera vez en 1095, en el documento de donación de los Condes de Galicia, D. Raimundo de Borgoña y Dª. Urraca. Imitaría el modelo de la catedral de Santiago de Compostela, con girola y transepto de tres naves. El estilo inicial es el románico, con una extraordinaria riqueza e importancia, su influencia se extendería a toda la región del Miño gallego y portugués en donde las iglesias parroquiales e monacales conservadas mantienen las formas decorativas del románico tudense: Santa María de Tomiño, San Miguel de Pexegueiro, Santa María de Tebra, San Salvador de Budiño, ejemplos en la parte gallega; Salvador de Ganfei, São Fins de Friestas, São João de Longos Vales, São Salvador de Bravães, São Cristóvão de Rio Mau, São Pedro de Rubiães, en la parte portuguesa.
Descripción
Los capiteles románicos tudenses aportan una riqueza decorativa con elementos vegetales y también con una importante colección del bestiario medieval: grifos, leones, harpías, sagitarios, monstruos, anfisbenas, bucraneos, etc. Los capiteles historiados también tienen cabida, con uno dedicado al nacimiento y adoración de los reyes magos, con la curiosa representación de la Virgen en una cama junto al niño Jesús. Importante ejemplo románico es la Sala Capitular, datada en el año 1138, está considera como la mayor sala capitular de las catedralicias en España. Está compuesta por una arcada de ocho arcos apeados en columnas pareadas y un arco central de entrada. Conserva parte de los capiteles, la mayoría rotos por haberse adaptado la sala a partir del siglo XVI en que entra en desuso. Los capiteles visibles contienen motivos vegetales y carneros topando sus testas y una loba amamantando a su lobezno. Las obras románicas hasta el transepto estarían acabadas a mediados de la centuria, 1156, coincidiendo con la muerte del obispo Pelayo Menéndez, gran impulsor de sus obras y de la instauración en 1138 de la regla de San Agustín en el Cabildo. La portada norte, en estilo románico, a pesar de la sobriedad de sus formas tiene la originalidad de sus soluciones deocrativas y estructurales. Un doble arco cobija la portada, con triple arquivolta, las primeras en sogueado y el trasdos en ajedrezado. Las mochetas que sostienen el tímpano representan a un oso y a lobo. La solución exterior del templo tudense también abrigó formas orginales, tanto por su sobriedad como elegancia al partir de paramentos libres de volúmenes y solo alternados por el juego de ventanas románicas. En los extremos del edificio catedralicio se diseñarían las torres, dos y dos en los extremos del transepto, y dos torreones en los pies. Estas líneas afirmaban el carácter y firmeza del edificio, tendiendo a súa aspecto defensivo, que sería reforzado en 1424 con la torre de San Andrés en la parte norte, y la torre de Soutomaior en el ángulo suroeste del Claustro gótico en 1408. Las torres del transepto serían desmochadas en el siglo XVIII, sólo sobreviviendo la torre de las campanas.
En el último cuarto del siglo XII la Catedral de Tuy se completaría en estilo gótico, principalmente en su nave longitudinal y las bóvedas.
El cierre del conjunto, en su fachada occidental, aportaría la excepcional portada gótica de la Catedral de Tuy. Esta portada está considerada el primer conjunto escultórico gótico de la península ibérica, además de esta singularidad se añade la originalidad de su disposición que la hacen única. La obra está atribuida a canteros franceses, relacionados con Laon, Sens, Senlis y Chartres. Las estatuas columnas de la izquierda muestran a Moisés, Isaías, San Pedro y San Juan Bautista, minetras que las de la derecha tendríamos a Salomnón, la Reina de Saba, Jeremías y Daniel. El tímpano se desarrolla con el ciclo de la Natividad; el registro inferior muestra la Anunciación, el Nacimiento 8de nuevo la Virgen en una cama) y la Anunciación a los Pastores. El registro superior está la entrevista de los Reyes Magos con Herodes y la Adoración de los Reyes. La portada estaría finalizada en el año 1225 cuando el obispo Esteban Egea consagra la Catedral. La portada occidental se complementa con un pórtico realizado hacia 1250, y que de facto prolonga el espacio sagrado del templo hacia la plaza que está en frente del edificio.[cita requerida]
Otro importante elemento gótico de la Catedral de Tuy es su claustro, único medieval conservado de todas las catedrales gallegas, además de sus considerables dimensiones. El claustro fue realizado en la segunda mitad del siglo XIII, en estilo gótico cisterciense. Sufriría una importante restauración en 1408 por peligro de ruina del muro sur, momento en el cual se integrarían varios entarramientos góticos y la torre defensiva de su ángulo suroeste. En el año 1424 se añadiría al costado norte de la catedral la torre de San Andrés, capilla funeraria del Obispo Juan Fernandes de Soutomaior II. Esta torre constituye un ejemplo del carácter de fortaleza del templo tudense. Entre 1482 y 1485 el obispo D. Diego de Muros añadiría al costado sur y sobre la vieja capilla de Santa Catalina un gran torre-palacio, ejemplo escaso del gótico civil gallego. La catedral sufriría su última gran obra medieval a fines del siglo XV. Entre el año 1495 y 1499 se reformaría toda la cabecera románica, transformándose en un testero triple y plano que ahonda la verticalidad y función defensiva del edificio. El motivo de esta importante transformación tendría lugar por el peligro de ruina que debía sufrir esta parte del templo, sin duda originada por las constantes guerras que asolarían Tuy en el siglo XV, sobre todo entre 1467, Revolución Irmandiña, y 1480 con las guerras nobiliares y de Sucesión a la Corona de Castilla entre Afonso V de Portugal y los Reyes Católicos.
El cimborrio sería rehecho por el obispo D. Diego de Avellaneda en el año 1530. En el siglo XVI la capilla de San Telmo aportaría el primer espacio propio para el santo dominico cuyos restos se custodian en esta catedral, siendo realizada la obra por el obispo D. Diego de Torquemada en 1579. En el año 1732 se ampliaría la capilla, prolongándola longitudinalmente hacia oriente, y formando un espacio urbano a la espalda de la catedral de gran belleza, la plaza de la Misericordia.
Informacion de Wikipedia
I felt weirdly Dr Zhivago-ish today. And maybe a little overdressed for the Toronto's Santa Claus Parade. But whatever.
Dress- Joe Fresh
Jacket - H&M (about 12 years ago!)
Faux fur scarf - Dunnes
Tights - Primark
Boots - Duo
When visiting the Valley of Mo'ara on the Alpha Centauri moon we call "Pandora," keep an eye out for native wildlife. I found this exotic creature just off the walking path leading to a repurposed laboratory that offers tourists the chance to link with an avatar flying on a mountain Banshee.
It is a surprising example of parallel evolution, as it closely resembles a southern leopard frog found on earth. (Perhaps it really is an Earth frog inadvertently brought to Pandora by the Resources Development Administration.)
Maktua enters his nearly perfected true form, red evil aura furiously erupts him like an angry Saiyan or Dark Digivolution Sinka, his power boiling and overflowing, armor turning menacing crimson, his Dark Scythe gains a extra large beam blade, his gauntlet morphs into Armament Alpha, a large fist for strong punches and a great defense. Dark and Furious power is projected from it & around his body.
Power & Defense goes up
Speed & Concentration/IQ goes down, behavior falls from his former intelligent self to a mad raging feral
An armed Formed Police Unit from Nigeria in full gear after it was issued to him on arrival in Mogadishu on 6th January 2014. Seventy officers arrived to replace seventy officers who were rotating out on the same day. The AMISOM Police which comprises Ugandan, Nigerian, Ghanaian, Sierra Leoneian police,has the mandate to provide mentoring and advisory support to SPF on basic police duties, such as human rights observation, crime prevention strategies, community policing, search procedures and investigations. AU UN IST PHOTO / David Mutua
La cerise est le fruit comestible du cerisier. Il s'agit d'une drupe (fruit charnu à noyau), de forme sphérique, de couleur généralement rouge plus ou moins foncé jusque noire, plus rarement jaune. Ce petit fruit compte environ 50 calories pour 100 grammes. La fleur est généralement blanche.
Le cerisier sauvage ou merisier, Prunus avium est présent en Europe dès l'époque néolithique, comme l'attestent les découvertes archéologiques.
Les cultivars de cerises douces sont très proches des formes du Prunus avium sauvage que l'on trouve dans toute l'Europe tempérée, dans le Caucase et le Nord de la Turquie. Les fruits de ce merisier sauvage sont de la même couleur rouge foncé. Mûrs, ils ont une chair sucrée mais qui peut être amère, sans être acide. Avant d'être cultivées, ces merises sauvages étaient récoltées comme l'attestent les noyaux trouvés sur des sites néolithiques et de l'Âge du Bronze, en Europe centrale.
La culture du merisier pour ses fruits remonterait au ive siècle avant notre ère, d'après les traces archéologiques trouvées en Asie Mineure (Caucase, Anatolie). Les premières cultures seraient grecques puis romaines. La cerise aurait été ramenée de Cerasus du Pont à Rome par Lucullus, après sa campagne contre Mithridate.
Jules Verne, dans un ouvrage peu connu Kéraban-le-Têtu, fait passer ses héros le long de la mer Noire en direction d’Istanbul, ils traversent alors une ville nommée Kérésoum où « le cerisier abonde ». L'auteur mentionne aussi le fait que le bois de ces arbres est utilisé également pour faire des pipes.
Les termes français cerise, anglais cherry (issu du normand cherise, avec [z] pris pour un pluriel), espagnol cereza, allemand Kirsche, vieil anglais cirse procèdent tous du latin vulgaire *cerĕsia, issu lui-même du bas latin ceresium pour cerasium, emprunt au grec κερἀσιον. La cerise a donné son nom à des villages et à des familles.
En France, il fut cultivé pour le commerce dès le haut Moyen Âge ; ses fruits délicats et sucrés étaient appréciés, mais aussi son bois, à la texture et à la finesse délicates.
Jean Morelot, de Fontenoy-le-Château, qui rapporta de ses voyages en Asie Mineure des plants de cerisiers, fut anobli en 1585 par le duc de Lorraine ; lui ont été octroyées des armes parlantes portant un « cerisier de sinople fruité de gueules ».
Cependant, c’est à Louis XV, qui aimait beaucoup ce fruit, que l’on doit l’optimisation et la culture intensive du cerisier moderne en France.
Le nom de la cerise désigne, par analogie, d'autres fruits. Il désigne aussi le fruit du caféier, qui contient deux noyaux, et les grains de café, par analogie à cause de leur couleur rouge. On parle aussi de tomate cerise à propos des variétés de tomates à petits fruits.
Cerise peut être un prénom. En France, un arrêt de la 1re chambre civile de la Cour de cassation en date du 10 juin 1981 (connu sous le nom d'arrêt « Cerise ») a rappelé que : « d'après l'article I de la loi du 11 germinal an XI relative aux prénoms et aux changements de nom, peuvent notamment être reçus comme prénoms les noms en usage dans les différents calendriers [...] les parents peuvent choisir comme prénoms, sous la réserve générale que dans l'intérêt de l'enfant ils ne soient pas jugés ridicules, les noms en usage dans les différents calendriers » et qu'« il n'existe aucune liste officielle des prénoms autorisés. »
La cerise apparaît dans plusieurs expressions et proverbes. On la rencontre dans plusieurs proverbes français : « avoir la cerise » ou « avoir la guigne », c’est manquer de chance. « Mettre une cerise sur le gâteau », c’est terminer une activité. « C’est la cerise sur le gâteau » signifie (parfois ironiquement) « c’est le petit détail final qui parfait une réalisation ».
Par tradition, les bataillons français de chasseurs à pied ou alpins, bleu cerise est employé à la place de rouge pour désigner cette dernière couleur, sauf dans trois cas : la couleur du drapeau ; l'insigne ou le ruban de la Légion d'honneur ; « les lèvres de la femme aimée ».
En physique, on parle de rouge cerise quand un métal porté à incandescence atteint une température d’environ 900 °C.
En informatique, le terme « cerise » commence à avoir une grande diffusion ; c’est en fait le crack / patch concernant un logiciel (réseau P2P principalement).
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.
One of a series of minimalist digital abstracts inspired by the the Synthetic Cubism and constructivism of the English artist Ben Nicholson (1894-1982). In particular his 1940s work where he further explored the earlier reflief compositions of the 1930s in works such as 1943 (painting) now owned by the British Council, and 1940-42 (two forms) now in Southampton City Art Gallery. These works represent exercises in arranging colours and forms exactly as a mathematician would seek to devise 'elegant' solutions to problems of calculation and measurement.
Muchos de los 911 decorados con colores policiales se fabricaron y decoraron de esta forma para ser utilizados como vehículos de demostración en ferias y exposiciones de las fuerzas de seguridad y en salones del automóvil, mientras que otros llegaron incluso a ser utilizados como auténticos vehículos caza-deportivos, como es el de la fotografía que perteneció a la policía de Stutgart.
La relación del clásico coupé alemán con las fuerzas de seguridad viene de mucho antes, y es que ya en los 70 había algunos 911 al servicio de la ley.
En 1973 la policia belga realiza un pedido de 20 Porsche 911, como complemento a las Harley Davidson que ya tenían como vehículos de intervención. Con 6 cilindros, 2343 cc que desarrollaban 190 cv a 6000 rpm. Con un 0 a 100 km/h de 7,4 segundos y una velocidad punta de 220 km/h, eran unas máquinas muy eficaces para cazar delincuentes en aquella época.
Unos años despues los gendarmes solicitaron un modelo sin techo para poder hacer señas a los vehículos que pretendían interceptar. Para ellos Porsche les ofreció en 1976 la versión Targa que montaba el motor del Carrera RS, consiguiendo ahora un motor de 230 cv, más potente que los anteriores. Los gendarmes preferían ir sin techo, pero debido a que Porsche les explicó que a la larga la lluvia podía deteriorar el interior, la mayoría de los techos rígidos se mantuvieron.
En 1976 se entregaron 20 unidades del 911 SC y años despues se siguieron entregando más unidades hasta llegar a un total de 40 hasta 1982. En 1986 fueron remplazados por BMW 325
Durante su tiempo en circulación, los Porsche 911 de la policía belga protagonizaron numerosas persecuciones y sirvieron como eficaces máquinas de interceptar delincuentes. No obstante en alguna ocasión no fueron tan eficaces e incluso protagonizaron un problema diplomático con las autoridades francesas.
Sucedió la noche entre el 14 y el 15 de Agosto de 1985, cuando un Volvo de la gendarmería empezó a perseguir a un Saab al que dieron el alto por un exceso de velocidad y éste hizo caso omiso, pero el Volvo no conseguía dar caza al Saab, por lo que entró en la persecución un Porsche 911 SC que tambien tenía dificultades para darle caza.
El Volvo al poco tiempo sufrió un pinchazo que le dejó fuera de juego, mientras que el Porsche continuaba detrás del Saab cuando la persecución se había trasladado ya a la autopista que une Bruselas con París y poco despues el perseguido y su perseguidor entrarían en territorio francés, donde el 911 quedó inevitablemente fuera de juego tras la rotura del alternador.
El resultado no solo fue la cara colorada que se le debió quedar a los gendarmes que manejaban el Porsche que no consiguieron dar caza al conductor del Saab que al día siguiente se entregó voluntariamente en la comisaria de la zona donde comenzó la persecución, sino tambien un incidente diplomático con Francia que no había autorizado una persecución, y más a la excesiva velocidad que se produjo, en las carreteras de su territorio.