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Le Puy Mary
Sommet emblématique des Monts du Cantal par sa forme pyramidale de type « horn* », le Puy Mary domine fièrement puys, dômes, éperons rocheux qui composent le plus grand volcan d’Europe. Le nom même du Puy Mary provient de Marius, nom du disciple de Saint Austremoine, premier évangéliste du Cantal.
Dôme* d’environ 6.5 Ma, constitué par accumulation de laves visqueuses au-dessus de la cheminée* d’alimentation, le Puy Mary rappelle un passé tulmutueux et fascinant.Sa forme pyramidale est le fruit de l’érosion glaciaire.
De ses 1787 mètres d’altitude, le Puy Mary offre un panorama époustouflant, sept vallées glaciaires rayonnent en étoile autour du sommet : la Santoire, la Petite Rhue, le Mars, la Maronne, l’Aspre, la Bertrande et la Jordanne. Une table d’orientation permet d’identifier les reliefs alentours et même d’apercevoir le Mont Blanc lors des belles journées d’automne. Les paysagistes ne s’y trompent pas : « Les caractères de pureté et de grandeur font de ce site un autre monde, d’un autre temps » Alain Mazas (paysagiste dplg).
Site exceptionnel, de notoriété nationale (près de 600 000 visiteurs de juin à septembre sur le site protégé), le massif du Puy Mary offre un panel d’activités : promenades et randonnées pédestres, VTT, activités de loisirs sportifs, de détente et de découverte.
Le massif du Cantal est le plus vaste strato-volcan d’Europe possédant une superficie de presque 2700 km² en un cercle de 70 Km de diamètre. Un strato-volcan est un édifice de grande taille formé d’un cône central stratifié (alternance de coulées de lave et de tephras*) et d’un piémont d’accumulation périphérique pouvant recouvrir plusieurs milliers de km². Le strato-volcan cantalien a pu atteindre 3500 à 4000 mètres d’altitude selon certaines hypothèses.
Morphologiquement, cet édifice majeur du patrimoine naturel européen se distingue en deux secteurs :
• Une zone dite centrale, montagneuse avec un relief accidenté. Les principaux sommets de cette zone sont : le Plomb du Cantal (1855 m), le Puy du Rocher (1813 m), le Peyre Arse (1806 m), le Puy Brunet (1806 m), le Puy Mary (1787 m) et le Puy Griou (1690 m).
• Une zone périphérique, constituée de plateaux de forme triangulaire à faible pente, recouverts d’une carapace basaltique. Ces plateaux, appelés «planèzes», sont limités par des vallées larges et profondes aux dimensions alpines.
Flaque du : 11 Mars 2011, 15h20
Pieds : 1 Seul (le droit)
Formes Principales Possibles : Visage de côté avec un gros œil (larme possible) et un pinch // une Silhouette d’un Homme (à l’envers) // Un oiseau qui tombe avec des plumes (juste le haut de la flaque) et une branche ou un serpent
Résidus d’eau : Beaucoup
État Physique : Normal, un peu fatigué
État Mental à la prise de vue : Neutre, un peu préoccupé, mais calme, impression de solitude
État Mental à la fin de la journée : Assez heureux, après une soirée entre amis
Évocation D’un Futur Possible : N/A
Évocation D’un Passé Possible : N/A
Autre : Oiseau : J’ai entendus les premiers corbeaux du printemps le matin suivant
Analyse :
Le visage : il me représente quand même bien … la larme et la barbe
La silhouette : elle est obscure et semble émané du noir… il lui manque une jambe et sa tête est rabaissée
L’oiseau : ressemble étrangement au signe du groupe de musique Insomnium… l’oiseau semble en chute libre, le reste de la flaque tente de le rejoindre … ou est-ce un serpent qui vient pour manger sa victime?
The Secondary school at Buttershaw has had a number of name changes since its opening in 1956.
In 1956 it opened as Buttershaw Secondary School , since then it has been Buttershaw Comprehensive, Buttershaw Upper School and Buttershaw High School. Currently it enjoys the name of Buttershaw Business and Enterprise College.
The original 1956 buildings were extended in the early 1960. Further building work continued during the 70’s 80’ and 90’s.
In 2008 the new building was opened and the old building demolished.
A 3D printed jewellery piece created with a Formlabs Form 2 SLA 3D printer. Right is the printed Castable Wax Resin part, ready to be fired, the other is a finished gold cast piece.
Free for use under Creative Commons license. If you use this image, please link to "formlabs.com/3d-printers/" in your attribution.
Johannes Luebbers Dectet
Formed in 2007, the Johannes Luebbers Dectet is one of Perth’s most exciting young jazz ensembles. Composer and arranger Johannes Luebbers has won a host of national awards, including Best Jazz Composition at the 2009 ‘Bell’ Awards. Johannes was also named the 2009 WA Youth Arts Citizen of the Year and was a finalist for the 2009 Young Australian Jazz Artist of the Year. Johannes graduated from the WA Academy of Performing Arts in 2006, completing a BMus (Honours), majoring in jazz arranging and composition. He was presented with the 2006 Bob Wyllie scholarship, awarded to the most outstanding graduating jazz student, and was also the recipient of the 2006 APRA Professional Development Award for Jazz, which funded a trip to Europe to study with jazz composers Maria Schneider and Ed Partyka. Since 2007 Johannes has taught Jazz Arranging and Aural at WAAPA and in 2008 took up the position of ‘composer in residence’ there.
Johannes Luebbers, Emily Thomas, Steph Nicholls, Ben Collins, Sean Little, Callum G Froerer, Wendy Tait, Tillman Robinson, Chris Foster, Nick Abbey, Ben Falle,
Winning form returns against CIYMS
by Roger Corbett
In this important fixture, it was Bangor who took the victory against CIYMS by 22-5 resulting in the two sides swapping places in the league.
Bangor got the game underway, kicking off into a stiff breeze. Within 3 minutes, Bangor conceded the first penalty of the game, which CIYMS elected to kick for goal, but failed to convert. The Bangor back line looked sharp, with Davy Charles coming in from full back to break the CIYMS line and set up a promising attack. James Henly came close but the CIYMS defence was sound.
The Bangor pack had seen a number of changes as the result of ongoing injury problems, but it performed well in both scrum and lineout set pieces. In fact it was from a lineout after just 9 minutes that the ball was cleanly won and passed quickly to Jason Morgan at out half, who produced another great line to wrong foot the CIYMS defence and ghost in to score under the posts. The conversion was successfully taken by Neil Cuthbertson, putting Bangor into the lead by 7-0.
This gave Bangor the boost they needed, and they continued to dominate play. After a further 6 minutes, from a scrum just inside the CIYMS half, scrum half Craig Harper passed to Morgan who then off-loaded to Mike Aspley in the centre. Although tackled, he managed to get the ball to Phil Whyte who had followed up from propping in the scrum. Drawing the defending tacklers, he then passed to flanker James Henly who burst through to run in unopposed for Bangor’s second try under the posts. Again, the simple kick was converted by Cuthbertson, doubling the lead to 14-0.
CIYMS responded well, using the wind advantage wisely to bring play repeatedly back into Bangor’s territory, but mistakes at crucial periods of play denied them any meaningful scoring opportunities. Bangor, on the other hand, stuck to their plan and continued to apply pressure. This soon forced CIYMS to concede a kickable penalty, which Cuthbertson converted to increase the lead to 17-0 after 23 minutes of play.
However, just 3 minutes later, the referee showed the yellow card to captain Jamie Clegg after he was judged to have deliberately knocked on the ball while defending a CIYMS attack. From the subsequent penalty, CIYMS passed the ball wide to the left and made a push for the line. What looked like a certain try was prevented by great Bangor defending, as they managed to hold the ball up and win the turnover.
Within minutes of Clegg’s return from the sin bin, the circumstances that led to his penalty were repeated, this time by Jason Morgan who similarly was shown the referee’s yellow card. From this penalty, the CIYMS players didn’t make the same mistake as before, and finally managed to touch down for a try in the left hand corner. The difficult kick was missed, but CIYMS were now on the scoreboard, reducing Bangor’s lead to 17-5 as the first half drew to a close.
As the teams turned around and CIYMS got the second half underway, hopes were high that Bangor would build on their first half tries and use the wind to keep their opponents pinned down in their own twenty two. However, it’s fair to say that CIYMS came out the stronger and frustrated Bangor’s attacks, while moving the ball through their backs with more purpose and accuracy.
It was not until 30 minutes had been played that the second half deadlock was broken. From a long CIYMS clearance kick, the ball was safely taken by Harper inside his own half. Two long and quickly made passes, saw the ball move via Jason Morgan to Davy Charles whose pace was too much for the thinly spread CIYMS defence. Running wide, he rounded the final CIYMS players to score on the right hand side. Cuthbertson’s kick was just wide of the posts, but Bangor were now 3 tries to the good, and within sight of another bonus point victory.
However, just 2 minutes later, and with CIYMS moving back into Bangor territory, the game produced another sting for the home side. In his attempt to intercept a long CIYMS pass, he knocked the ball forward and stopped the CIYMS attack. The referee deemed this to be deliberate once again and produced a second yellow card which in turn led to a red card, and Morgan was to take no further part in the game. Stung by this set-back, and with just 8 minutes remaining, Bangor re-grouped and wisely focussed on defending their lead and denying CIYMS any further scoring chances. This they did, and as the final whistle was blown, they could celebrate a return to winning ways, and a return to their previously held 3rd position in the league.
This was an encouraging team performance that should give added confidence as the players now set their sights on the first round of the Towns Cup (next weekend, at home to City of Derry 2nds), followed by a challenging journey to league leaders Clogher Valley in the league afterwards.
Bangor side: P Whyte, A Jackson, J Leary (J Harrison), A Rushe, D Kelly, J Henly, R Latimer, J Clegg (c), C Harper, J Morgan, M Widdowson, M Aspley, C Morgan (G Caughey), N Cuthbertson, D Charles
Subs: J Harrison, G Caughey
Bangor scores: J Morgan (1T), J Henly (1T), D Charles (1T), N Cuthbertson (2C, 1P)
Winning form returns against CIYMS
by Roger Corbett
In this important fixture, it was Bangor who took the victory against CIYMS by 22-5 resulting in the two sides swapping places in the league.
Bangor got the game underway, kicking off into a stiff breeze. Within 3 minutes, Bangor conceded the first penalty of the game, which CIYMS elected to kick for goal, but failed to convert. The Bangor back line looked sharp, with Davy Charles coming in from full back to break the CIYMS line and set up a promising attack. James Henly came close but the CIYMS defence was sound.
The Bangor pack had seen a number of changes as the result of ongoing injury problems, but it performed well in both scrum and lineout set pieces. In fact it was from a lineout after just 9 minutes that the ball was cleanly won and passed quickly to Jason Morgan at out half, who produced another great line to wrong foot the CIYMS defence and ghost in to score under the posts. The conversion was successfully taken by Neil Cuthbertson, putting Bangor into the lead by 7-0.
This gave Bangor the boost they needed, and they continued to dominate play. After a further 6 minutes, from a scrum just inside the CIYMS half, scrum half Craig Harper passed to Morgan who then off-loaded to Mike Aspley in the centre. Although tackled, he managed to get the ball to Phil Whyte who had followed up from propping in the scrum. Drawing the defending tacklers, he then passed to flanker James Henly who burst through to run in unopposed for Bangor’s second try under the posts. Again, the simple kick was converted by Cuthbertson, doubling the lead to 14-0.
CIYMS responded well, using the wind advantage wisely to bring play repeatedly back into Bangor’s territory, but mistakes at crucial periods of play denied them any meaningful scoring opportunities. Bangor, on the other hand, stuck to their plan and continued to apply pressure. This soon forced CIYMS to concede a kickable penalty, which Cuthbertson converted to increase the lead to 17-0 after 23 minutes of play.
However, just 3 minutes later, the referee showed the yellow card to captain Jamie Clegg after he was judged to have deliberately knocked on the ball while defending a CIYMS attack. From the subsequent penalty, CIYMS passed the ball wide to the left and made a push for the line. What looked like a certain try was prevented by great Bangor defending, as they managed to hold the ball up and win the turnover.
Within minutes of Clegg’s return from the sin bin, the circumstances that led to his penalty were repeated, this time by Jason Morgan who similarly was shown the referee’s yellow card. From this penalty, the CIYMS players didn’t make the same mistake as before, and finally managed to touch down for a try in the left hand corner. The difficult kick was missed, but CIYMS were now on the scoreboard, reducing Bangor’s lead to 17-5 as the first half drew to a close.
As the teams turned around and CIYMS got the second half underway, hopes were high that Bangor would build on their first half tries and use the wind to keep their opponents pinned down in their own twenty two. However, it’s fair to say that CIYMS came out the stronger and frustrated Bangor’s attacks, while moving the ball through their backs with more purpose and accuracy.
It was not until 30 minutes had been played that the second half deadlock was broken. From a long CIYMS clearance kick, the ball was safely taken by Harper inside his own half. Two long and quickly made passes, saw the ball move via Jason Morgan to Davy Charles whose pace was too much for the thinly spread CIYMS defence. Running wide, he rounded the final CIYMS players to score on the right hand side. Cuthbertson’s kick was just wide of the posts, but Bangor were now 3 tries to the good, and within sight of another bonus point victory.
However, just 2 minutes later, and with CIYMS moving back into Bangor territory, the game produced another sting for the home side. In his attempt to intercept a long CIYMS pass, he knocked the ball forward and stopped the CIYMS attack. The referee deemed this to be deliberate once again and produced a second yellow card which in turn led to a red card, and Morgan was to take no further part in the game. Stung by this set-back, and with just 8 minutes remaining, Bangor re-grouped and wisely focussed on defending their lead and denying CIYMS any further scoring chances. This they did, and as the final whistle was blown, they could celebrate a return to winning ways, and a return to their previously held 3rd position in the league.
This was an encouraging team performance that should give added confidence as the players now set their sights on the first round of the Towns Cup (next weekend, at home to City of Derry 2nds), followed by a challenging journey to league leaders Clogher Valley in the league afterwards.
Bangor side: P Whyte, A Jackson, J Leary (J Harrison), A Rushe, D Kelly, J Henly, R Latimer, J Clegg (c), C Harper, J Morgan, M Widdowson, M Aspley, C Morgan (G Caughey), N Cuthbertson, D Charles
Subs: J Harrison, G Caughey
Bangor scores: J Morgan (1T), J Henly (1T), D Charles (1T), N Cuthbertson (2C, 1P)
Second day-trip to Panthertown Valley, NC. This is a near-wilderness area that has been set aside for hiking, fishing, and outdoor enjoyment. The first day up there was anything but enjoyable for us. Long story short: we missed the first (and most important) trail turnoff, and got lost. Many hours later, we happened upon a Boy Scout group that seemed to know their way around, and gave us directions back to where we began the day...
The second day was much more productive, since we met up with our photography buddy, KT, who had been in the area a time or two previously.
On this day, our final destination was to be a white pine "plantation" that provided cover for a large group of Cypripedium acaule (Pink Lady's-slipper Orchids). We had no trouble finding several rather large populations of this beautiful orchid as well a a rare white form. During this part of the spring season, there are other wildflowers in the area, as well: Rhododendron, Flame Azalea, and Mountain Laurel to mention a few...
Part of Azzedine Alaïa: The Couturier
(May to October 2018)
Azzedine Alaïa’s innovations in stretch fabrics were at least as important as his elevation of leather. In his hands, these transformed the silhouette of the wearer.
Rather than creating clothes anchored at strategic points – conventionally, the waist and the shoulders – Alaïa’s bandage dresses cling to the wearer’s form, conscious of the entire body. The stretch fabric allows these minimal silhouettes to move freely.
Debuted in 1986, these variations on the ‘Bandelette’ (bandage) dress are clearly inspired by ancient Egyptian mummification, but also perhaps by the swaddling of infants. The garments join Western and Eastern traditions – highly fitted and precision-cut, with a body simply and sensually wrapped in cloth.
The dresses seem simple, but each band of fabric is precisely engineered and cut to specific dimensions, according to its place on the figure. These creations ushered in the notion of physique-delineating ‘bodycon’ dressing, the defining aesthetic of the early 1990s.
Conceived and co-curated with Monsieur Alaïa before his death in November 2017, the exhibition charts his incredible journey from sculptor to couturier, his nonconformist nature and his infectious energy for fashion, friendship and the female body.
Unlike many of his contemporaries, Alaïa personally constructed each garment by hand and refused to bow to the pressures of fashion week deadlines, instead working to his own schedule. His collaborative approach earned him an esteemed client list, including Greta Garbo, Grace Jones, Michelle Obama and Rihanna.
Rather than a retrospective, the show interlaces stories of his life and career alongside personally selected garments, ranging from the rare to the iconic and spanning the early 1980s to his most recent collection in 2017.
[Design Museum]
Positive Runway Global Catwalk African Fashion Show African Ambassadors & Diaspora Interactive Form AAIF United Nations buildings International Maritime Organization HQ IMO London.
Agujas con forma de cala o lirio para las amigas intimas de la novia, para que tengan un recuerdo de su ramo de flores ya que no le podrá dar el ramo a todas.
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Barockkirche
Als die Bruderschaft der heiligsten Dreifaltigkeit 1676 feierlich in die Peterskirche eingeführt wurde, erreichte sie bald einen hohen Mitgliederstand. Ein großer Teil der Mitglieder zählte zu den reichsten und angesehensten Bürgern von Wien. Auch der Adel war bis in die höchsten Spitzen vertreten. Die Bruderschaft verfügte daher über die entsprechenden Mittel und so fasste sie im Jahr 1700 den Entschluss, die alte Kirche niederzureißen und einen Neubau aufzuführen, dessen Form an die Peterskirche zu Rom erinnern sollte. Bereits ein Jahr zuvor, im Pestjahr 1679 gelobte Leopold I., anstelle der baufälligen Kirche einen der Heiligen Dreifaltigkeit gewidmeten Neubau zu errichten. Man ließ von Baumeister Jankel einen Kosten-Überschlag machen. Für den von ihm gezeichneten Bauriss erhielt er 50 Gulden.
Nach dem technischen Führer durch Wien (Ing. Martin Paul) werden die Erbauer in den Inschriften im Kuppelknauf angegeben: Francesco Martinelli, Franz Jänggl und Christian Oettl. Die Literaturangaben gehen jedoch hierüber weit auseinander. Nach dem Handbuch der deutschen Kunstdenkmäler von Georg Dehio wurde der Bau nach dem Plan von Gabriele Montani 1702 begonnen, von diesem bis 1703 weitergeführt, sodann, wahrscheinlich von Johann Lukas Hildebrandt nach verändertem Plan 1708 im Rohbau vollendet und am 25. Oktober 1708 geweiht. 1708-1715 folgte die Innenausstattung, 1713-1717 wurde der Kuppelraum in seiner gegenwärtigen malerischen und plastischen Ausgestaltung vollendet, jedoch erst 1730-1733 baute man den Hauptchor. 1733 weihte Kardinal Kollonitsch die Peterskirche. Das Grabmal des Wolfgang Lazius, der in der alten Peterskirche 1565 bestattet worden war, wurde in die neue Peterskirche übertragen. Nach wie vor umgab der Petersfreithof die Kirche; er wurde erst unter Joseph II. aufgelassen. 1844 restaurierte man die Fassade, wobei auch die vielen an die Kirche angebauten Verkaufsbuden verschwanden, die nach der Auflassung des Friedhofs entstanden waren.
Die Geschichte von St. Peter im Barock
Als man 1701 die alte Kirche abtrug, will man bei dieser Gelegenheit den Grundstein der ersten Kirche gefunden haben, der "eine alten Paritkel von Papst Leo III.“, dem Freunde und Zeitgenossen Karls des Großen, enthielt.
Ein altes Gedenkbuch aus der Pfarre bemerkt, dass der Partikel noch 1749 vorhanden war, schreibt aber nichts über die Art desselben. Die Auffinder des merkwürdigen Grundsteines behaupteten, dass er im Jahr 800 gelegt worden sein müsse und an dieser Überzeugung hielt man fest, sodass danach die Inschrift des Grundsteines für die neue Kirche verfasst wurde, welche lautet:
"Ecclesia quae IX ultra saecula steterat, fundata supra firmam Petram prinzipis Apostolorum Petri Coeli Clavigeri Sacris honoribus a Carolo I. Caesare Magno anno post virginis partum DCCC extructe novis ex fundamentis D.O.M- uni in Trinitate Deo et S. Petri honoriter augusta surrexit. Lapidem in titulum cen alter Jacob restauravit Leopoldus uterque Felix.“
Die deutsche Übersetzung ist etwa wie folgt:
"Diese Kirche, die über neun Jahrhunderte stand, gegründet zu heiligen Ehren auf dem festen Felsen des Apostelfürsten Paulus, des Schlüsselträgers des Himmels, von Karl dem Großen Kaiser im Jahr 800, nachdem die Jungfrau gebar, ist dem allmächtigen Gott, der einig ist in der Dreiheit und dem heiligen Petrus zu Ehren prachtvoll wiedererstanden. Als zweiter Jakob hat den Grundstein gelegt Leopold der ebenso Große als Glückliche."
Diese Grundsteinlegung geschah in feierlicher Weise durch Kaiser Leopold I. am 30. Juni 1702 (laut Harrer; Czeike benennt den 22. April 1702).
Schon zur Zeit des Baubeginnes war ein Unfall zu verzeichnen:
Anlässlich einer feierlichen Prozession am 29. Oktober 1702, an der auch der Kaiser mit seinem Hofstaat teilnahm, stürzte infolge der Überlastung die über die Fundamente gelegten Bretter ein und etwa 50 Personen, meistens Hofkavaliere und Pagen stürzten in die Tiefe.
Die Vollendung der Kirche ging sehr langsam voran. Noch während des Baues wurde das Holz der Kuppel schadhaft, sodass dieses 1722 durch eine Kuppeldeckung ersetzt werden musste, wozu Kaiser Karl VI. als oberster Schutzherr und Mitglied der Bruderschaft der heiligen Dreifaltigkeit das Kupfer lieferte. Jahrelang fehlte die Fassade und die Türme hatten keinen Abschluss.
Am 17. Mai 1733 konnte die Kirche endlich durch den Kardinal Graf Sigismund Kollonitsch geweiht werden.
Äußeres
Das äußere Bild das die Peterskirche darbietet, wird beherrschend bestimmt durch die 56 Meter hohe, gewaltige Kuppel, die in ihrer Konfiguration an die Kuppel von St. Peter erinnert. Es handelt sich um eine zweigeschossige Fassade von gedrungener Wirkung, deren schräggestellte Türme den konkav einschwingenden Mittelteil flankieren und der von der Kuppel des Zentralbaus überragt wird. Der Bau selbst verherrlicht die Regierung des Kaisers Leopold I., dessen Wahlspruch im Innen über dem Chorbogen prangt. Der reizvolle, pavillonartige Portalvorbau aus grauem Marmor wurde nach einem Entwurfe von Andrea Altomonte erst 1751 bis 1753 errichtet. Figürlicher Schmuck aus Blei von Franz Kohl, einem Schüler und Gehilfen von Georg Raphael Donner, ziert ihn. Zu Oberst die Statuen Glaube, Hoffnung und Liebe, sowie Engelfiguren, welche Tiara und Schlüssel, die Insignien der päpstlichen Souveränität, tragen. Am Giebelfenster an der Vorderseite und den Vasen an der Seite Reliefs: Darstellungen aus dem Leben Petri. Das Hauptportal zeigt reiches Schnitzwerk und schöne Beschläge; eine Inschrift erinnert an das kaiserliche Pestgelübde.
In den Nischen unterhalb der beiden schiefgestellten Türme, welche die Vorderseite der Kirche flankieren, stehen folgende Sandsteinfiguren: St. Petrus und St. Simon, Johannes Evangelist (laut Paul Harrer St. Paulus) und Judas Thaddäus. An der Rückseite des Chores (Außenwand der Kirche) befinden sich Steinplastiken vom heiligen Petrus und vom Heiligen Michael, die von Lorenz Matitelli um 1730 ausgeführt wurden.
An der östlichen Seitenwand des Gotteshauses, gegenüber dem Ausgang der Goldschmiedgasse ist in die Steinmauer ein Marmorrelief eingelassen, das die sagenhafte Kreuzerrichtung an dieser Stelle durch Karl den Großen vergegenwärtigt. Von Rudolf Weyr geschafften, wurde es 1906 enthüllt.
W4B19-1b Capital - Reconciliation of Jacob and Esau
This capital forms the turning point of the narrative account of the old testament patriarch Jacob. It commemorates the reconciliation between both progenitors, Jacob and Esau, in the presence of Jacob’s wife, Rachel, and her sister, Leah, whose attendant and sons with their flocks are also represented.
The encircling inscription labels not only the single figures and their families, but also the animals, which Jacob presents to his brother as a gift:
LIA / RACHEL / FILII / JACOB / ESAU / ANCILLE (north side) / FAMILIA ESAU / FAMILIA JACOB (west side) / TURMA CAMELORUM (south side) / GREX PECORUM (east side).
Aosta (Piemonte) chiostro Sant'Orso, cloister
W3EB18-9b Kapitell Jakob bei Laban - Rahel & Lea mit Tierherde 25a
Detailed information on the capitals of this cloister Sant'Orso in a common project by Kunsthistorisches Institut Florenz and other Institutions on cenobium.isti.cnr.it/aosta
Ele, pela forma como descreveu a sua arriscada e grande viagem aos reis de Espanha, poderá e deverá ser considerado o primeiro jornalista do Novo Mundo. É pois também justo relevar esta sua faceta de homem da comunicação que, naqueles tempos, se exercia duma forma muito mais difícil que nos dias de hoje.
Por outra lado, João Rodrigues Cabrilho é dentre todos o herói mais ignorado daquela época áurea dos descobrimentos. Tanto em Portugal como em Espanha, João Rodrigues Cabrilho raramente é mencionado como figura de grande relevo. Em Espanha ainda se compreende porque está científicamente provado que ele era português e em Portugal porque outras figuras notáveis (felizmente são muitos os heróis portugueses de Quinhentos) ocupam o seu lugar. Portanto, há aqui uma obrigação acrescida dos portugueses em geral e dos barrosões em particular de lembrar a memória de João Rodrigues. Valha-nos o facto da comunidade de S. Diego da Califórnia, Estados Unidos da América, todos os anos, em finais de Setembro, comemorar a chegada de Cabrilho à baía desta linda cidade com um programa de âmbito nacional e de grandiosa espectacularidade. Portugal, Espanha, México, para além dos Estados Unidos fazem-se representar nessas comemorações americanas.
A pessoa por nós escolhida para falar sobre o herói das terras de Barroso é o Dr. João Soares Tavares, um investigador com obra de mérito e consagrada. Apesar de beirão, ele vem, mais uma vez, demonstrar com novos dados que João Rodrigues Cabrilho é de Lapela, de Cabril. Aliás, como será do conhecimento geral, hoje por hoje, e ao contrário de há duas ou três décadas atrás, ninguém contesta a naturalidade barrosã de João Rodrigues.
Contamos que na sessão compareçam os montalegrenses e os barrosões em geral para tomarem mais conhecimento da nossa história barrosã. É que lembrar os feitos dos nossos heróis e apontá-los como exemplo aos mais jovens é tarefa obrigatória de todos porque só deste modo se conseguirá uma sociedade mais justa e com mais autoestima.
Carvalho de Moura
Inn Notícias de Barroso, de 27 de Dezembro de 2007. omontalegrense.blogspot.com/2007/12/joo-rodrigues-cabrilh...
Coniston Water is an example of a ribbon lake formed by glaciation. The lake sits in a deep U-shaped glaciated valley scoured by a glacier in the surrounding volcanic and limestone rocks during the last ice age . To the north-west of the lake rises the Old Man of Coniston, the highest fell in the Coniston Fells group.
Average depth: 24.1 m (79.1 ft)
Location: Lake District, Cumbria
Max. depth: 56.1 m (184.1 ft)
Water volume: 1.133×10⁸ m³ (4.00×10⁹ cu ft)
History
Remains of agricultural settlements from the Bronze Age have been found near the shores of Coniston Water. The Romans mined copper from the fells above the lake. A potash kiln and two iron bloomeries show that industrial activity continued in medieval times. In the 13th and 14th centuries, Coniston Water was an important source of fish for the monks of Furness Abbey who owned the lake and much of the surrounding land. Copper mining continued in the area until the 19th century.
The lake was formerly known as "Thurston Water", a name derived from the Old Norse personal name 'Thursteinn' + Old English 'waeter'. This name was used as an alternative to Coniston Water until the late 18th century.
The Victorian artist and philosopher John Ruskin owned Brantwood House on the eastern shore of the lake, and lived in it from 1872 until his death in 1900. Ruskin is buried in the churchyard in the village of Coniston, at the northern end of the lake. His secretary the antiquarian W. G. Collingwood wrote a historical novel Thorstein of the Mere about the Northmen who settled on the island in the lake. The Victorian and Edwardian artist Henry Robinson Hall settled in Coniston during the Great War and is buried in the parish church graveyard.
Arthur Ransome set his children's novel Swallows and Amazons and the sequels Swallowdale, Winter Holiday, Pigeon Post and The Picts and the Martyrs around a fictional lake derived from a combination of Coniston Water and Windermere. The fictional lake resembles Windermere, but the surrounding hills and fells resemble those of Coniston Water. Some of Coniston Water's islands and other local landmarks can be identified in the novels. In particular the books' Wild Cat Island with its secret harbour is based on Peel Island. The Amazon River is based on the River Crake. The Swallows and Amazons series involve school holiday adventures in the 1930s. Historically, Coniston was part of Lancashire (North of the Sands), until Local Government reorganisation in 1974 when Cumbria was created.
Waterspeed record
In the 20th century Coniston Water was the scene of many attempts to break the world water speed record. On 19 August 1939 Sir Malcolm Campbell set the record at 141.74 miles per hour (228.108 km/h or 123.168 kn) in Blue Bird K4. Between 1956 and 1959 Sir Malcolm's son Donald Campbell set four successive records on the lake in Bluebird K7, a hydroplane.
In 1966 Donald Campbell decided that he needed to exceed 300 miles per hour (483 km/h) in order to retain the record. On 4 January 1967, he achieved a top speed of over 320 miles per hour (515 km/h or 278 kn) in Bluebird K7 on the return leg of a record-breaking attempt. He then lost control of Bluebird, which somersaulted and crashed, sinking rapidly; Campbell was decapitated by the K7's windscreen. The attempt could not be counted as a record-breaking run because the second leg was not completed. The remains of Bluebird were recovered from the water in 2001 and the majority of Campbell's body was recovered later in the same year.
Lady in the Lake
In recent times, Coniston Water has become known for a controversial murder case. Mrs Carol Park was dubbed the "Lady in the Lake" after the Raymond Chandler novel of the same name.
Boating
The lake is ideal for kayaking and canoeing and there are a number of good sites for launching and recovery. It is paddled as the second leg of the Three Lakes Challenge. The steam yacht Gondola tours the lake in the summer months, along with two smaller motorised launches.
Boats can be hired from the lakeside near the steam yacht, with various sizes of boat for hire, from small canoes and kayaks to large personal craft. Along with Ullswater and Derwentwater, Coniston Water has a mandatory waterspeed limit of 10 miles per hour (8.7 kn; 16 km/h). This is suspended temporarily for boats attempting new world waterspeed records during Records Week, usually the first week in November.
Rome - Forma / La città moderna e il suo passato (2004).
www.electaweb.it/catalogo/scheda/978883703189/it?language...
Abstract
Proposal by Fuksas and Mandrelli to transform Via dei Fori Imperiali,
the street that bisects the archaeological park that encompasses the
Republican and Imperial forums, into a viaduct hovering above the
ruins.
Subject/Artist
Fuksas, Massimiliano, 1944-; Mandrelli, Doriana O; Mussolini, Benito,
1883-1945; Streets -- Alterations and additions -- Italy -- Rome --
Via dei Fori Imperiali; Fascism and architecture -- Italy -- Rome
______________
Al Colosseo e' aperta una mostra, "Forma. La città moderna e il suo passato", al cui termine e' esposto il progetto dell'architetto Fuksas per la sistemazione dell'area archeologica centrale e di via dei Fori Imperiali.
www.architettiroma.it/dettagli.asp?id=5940
www.architettiroma.it/dettagli-p.asp?id=5931
www.kwart.kataweb.it/kwart/ita/recensionidett.jsp?idConte...
** Comments regarding the Fuksas Project in Rome (Aug. 2004), by an Italian archaeologist in Rome affiliated with the Imperial Fora excavations and studies (1989-present). **
In sintesi (forse eccessiva) via dei Fori Imperiali, ormai storicizzata,
resta, pedonalizzata per sei mesi l'anno (l'estate si prevede solo il
passaggio dei mezzi pubblici), ma su una serie di arcate che scavalcano
le aree archeologiche Queste formano dunque un unico spazio, senza
soluzione di continuità, tra Fori Imperiali e il Foro Romano (e oltre,
fino al Colosseo e al Circo Massimo, Delle passerelle, sempre
sopraelevate, tagliano qua e la' l'area dei Fori Imperiali, seguendo
(più o meno) il tracciato delle vie del quartiere alessandrino, quello
buttato giù da Mussolini negli anni '30. Dalle passerelle delle rampe
in corrispondenza delle attuali aree alberate con pini, che vengono
mantenute, scendono nell'area archeologica. Ci sono poi anche delle
piattaforme che si dipartono dalle passerelle, coperte in materiale
trasparente e che possono essere utilizzate come belvedere, come centri
informativi e/o espositivi, ma anche per caffe', librerie, ecc., in
mododa rendere questo percorso aereo anche un posto dove stare, da
raggiungere, e non solo vie di passaggio. Piattaforme e (suppongo)
passerelle poggiano su sostegni sottili. A quanto si dice le opere previste sono comunque reversibili e di costo abbastanza limitato (ovvio, tutto e' relativo).
Si tratta come sottolinea lo stesso architetto non di un progetto
definitivo, per ora, ma di un'idea, di un concetto, sebbene già
tradotto in immagini. E' bene sottolinearlo perche' ci sono, almeno per l'occhio
di chi conosca bene le aree, alcune incongruenze e non sembra calibrata
in funzione quanto meno *anche* dei resti antichi, la posizione di
questi elementi moderni. Ma sono ovviamente tutte cose che si possono
meglio calibrare in un progetto vero e proprio.
La mia impressione sul progetto? non l'ho ancora ben chiara.
Le piattaforme sembrano piccoli grappoli di oblunghe bolle trasparenti,
delle astronavi sospese in aria Le forme sono bellissime, ma
onestamente mi lasciano un po' "stranita" delle astronavi aliene che si
librano sopra l'area archeologica dei Fori, davanti alle colonne del tempio di
Marte Ultore o della Basilica Ulpia. Non so, puo' essere che mi debba
abituare all'idea e che sia un'operazione simile a quella della
piramide nel cortile del Louvre (che a me personalmente piace molto). O forse
effettivamente finiscono per lasciare un segno moderno dove forse
avrebbe senso essere il più possibile sommessi. Insomma se devo fare
una balaustra di protezione, o un elemento a servizio della visita, che
ovviamente sono in parte inevitabili, e' giustissimo dare a questi
oggetti una qualità estetica, anche a contrasto (e forse meglio a
contrasto, per rendere immediatamente evidente che di aggiunte si
tratta). Ma diventa giusto se questa vista distrae il visitatore dalla
percezione delle architetture antiche? (la piramide del Louvre non lo
fa, mi sembra, e lo stesso palazzo del Louvre, nonostante il prestigio
del suo museo, non e' i Fori Imperiali...).
L'idea di cui si propone questa realizzazione non e' sbagliata: sia il
fatto di lasciare la via dei Fori Imperiali su arcate, ma di lasciarla
(e io non la chiuderei al traffico, mi sembra sufficiente e sensato
farlo per la domenica e i di' di festa. Oppure, all'interno di
un'operazione urbanistica (oddio, forse impossibile) che comprenda
viabilità alternative la renderei pedonale tutto l'anno....). Non e'
peraltro un'idea nuovissima, e veniva abbastanza spontanea come
soluzione, essendoci i soldi per farlo e trovando le soluzioni tecniche.
Anche l'idea delle passerelle sopraelevate (reversibili, leggere) non
mi sembra sbagliata. Ottima anche l'idea di tracciare con questo percorso
aereo il tracciato delle strade del quartiere distrutto e riproporre
dunque la stratificazione storica ora scomparsa.
Pero' il percorso e la quantità di queste passerelle forse andrebbe
meglio valutato. Nelle ricostruzioni (proposte rapidamente in
diapositive che scorrevano, e dunque difficilmente percepibili nei
particolari) ne ho colto una che passava tra le colonne del tempio di
Venere Genitrice e le colonne dei portici della piazza del Foro di
Cesare che io onestamente non avrei messo, anche se fosse sulla
linea di una di queste perdute strade (e posto che lo sia: dovrei
controllare, ma non mi pare che i percorsi storici siano rispecchiati con
precisione). E mi chiedo che senso abbia demolire l'esistente via
Alessandrina, per rimpiazzarla con una passerella, varrebbe forse piu'
la pena aprire, come e' stato fatto per alcuni passaggi, tutte le
arcate del muro di recinzione moderno e lasciarla anch'essa su arcate
(ovviamente non ho le competenze per capirne la difficoltà tecnica,
magari non si puo'), con il vantaggio di avere per la funzione che
serve l'elemento originale, la strada, ancora conservatasi pur senza le sue
case intorno, invece che un elemento nuovo che la ricalchi. O forse
sbaglio e forse la strada cosi' mutiliata in effetti non ha senso e
sarebbe meglio un segno moderno, ma più lineare e più leggero che si
limitasse a ricordarne la memoria.
Un'altra idea che condivido e' quella di rendere viva la zona, un punto
di arrivo e non solo di passaggio, aprendovi, caffe', librerie, centri
informativi, gallerie, e via dicendo. Ma magari farlo proprio in mezzo
alle aree archeologiche, ancorche' in posizione sopraelevata, non so,
e' davvero necessario? se uno usasse, che so, zone dei marciapiedi di via
dei Fori dove sono più larghi? chioschi nelle aree alberate che
giustamente si vogliono conservare? E dei belvedere, magari giusto ci
siano (sebbene i Fori, visti dall'alto si possano capire, ma non
percepire e sentire, starci dentro), ma al limite degli allargamenti
delle passerelle, che belvedere lo sarebbero poi le passerelle stesse.
Delle cose dette dall'architetto progettista e dal Soprintendente La
Regina, condivido assolutamente la necessità di porre il problema: gli
scavi delle aree sono stati fatti, ma occorre per renderli davvero
"fruibili" a tutti pensare, con attenzione, ad una loro
sistemazione. La faccenda e' delicata: quali delle testimonianze dei secoli
successivi trovate in gran copia nell'area della piazza del Foro Traiano, ad
esempio, abbiamo diritto di demolire? Possiamo probabilmente farlo con
le cantine delle case cinquecentesche, ma i resti del convento
duecentesco di S.Urbano? il laboratorio del ceramista rinascimentale? e
penso che a nessuno venga in mente di demolire l'unico esempio di una
casa signorile di età carolingia, trovato nell'area del Foro di Nerva.
Siccome tutte queste cose, piu' e meno importanti, una volta demolite
saranno perse per sempre (nonostante tutta la documentazione, ovvio),
credo sia necessario valutare con molta attenzione, lasciarsi anche il
tempo di farlo bene. Ci sono anche legate tutta una serie di faccende
pratiche (tipo il luogo di deposito dei materiali archeologici, o
l'installazione dei servizi tecnologici, dei bagni e di altri servizi
indispensabili in un'area archeologica cosi' vasta (solo sulle
piattaforme sopraelevate? e cosa, bagni chimici? o altrimenti dove
dovrebbero scaricare? E poi, se vogliamo permettere il libero accesso
su tutta l'area, quanti custodi ci serviranno? e come si salvaguardano, in
modo che non vadano perdute per il calpestio, le tracce della
pavimentazione marmorea della piazza del Foro Traiano?
A proposito poi dell'accesso gratuito. Ottima cosa, naturalmente.
Permette ai cittadini di riappropriarsi delle aree, e probabilmente,
anche solo attraverso una percezione non ragionata, di trasmettere il
valore della cultura e della conoscenza del passato.
Pero'.... e qui forse sbaglio, non so: intanto la mancanza di supporti
didattici (che secondo il Soprintendente non servono perche' tanto c'e'
*altrove* una messe enorme di informazioni e chi si vuole informare ha
dunque ampie possibilità di farlo), ma anche l'inevitabile tracciare
percorsi obbligati, chiudendo le aree più delicate (cosi' e' avvenuto
nel Foro Romano: non si entra più nella Basilica Emilia, non si entra
più nella Casa delle Vestali, praticamente si puo' solo seguire la
strada) appiattisce tutti i visitatori su un'unica possibile
frequentazione "di base", generica e impedisce ogni
approfondimento. Ho dei dubbi (e' vero, non sono sicura) che sia davvero meglio per la diffusione della cultura, tendere ad appiattire tutto "verso il basso", verso un utilizzo più diffuso e più in fondo, superficiale, invece di
cercare di portare tutti verso "l'alto".
Ecco, queste sono le mie (prolisse) impressioni.
Voi, che ne pensate?
Guardate che io, personalmente, avrei proprio bisogno di confrontarmi
con qualcuno che magari sia un po' meno legato di me alle aree in
questione, per capire se il fatto di lavorarci non alteri le mie
impressioni......
The Albertina
The architectural history of the Palais
"It is my will that the expansion of the inner city of Vienna with regard to a suitable connection of the same with the suburbs as soon as possible is tackled and at this on Regulirung (regulation) and beautifying of my Residence and Imperial Capital is taken into account. To this end I grant the withdrawal of the ramparts and fortifications of the inner city and the trenches around the same".
This decree of Emperor Franz Joseph I, published on 25 December 1857 in the Wiener Zeitung, formed the basis for the largest the surface concerning and architecturally most significant transformation of the Viennese cityscape. Involving several renowned domestic and foreign architects a "master plan" took form, which included the construction of a boulevard instead of the ramparts between the inner city and its radially upstream suburbs. In the 50-years during implementation phase, an impressive architectural ensemble developed, consisting of imperial and private representational buildings, public administration and cultural buildings, churches and barracks, marking the era under the term "ring-street style". Already in the first year tithe decided a senior member of the Austrian imperial family to decorate the facades of his palace according to the new design principles, and thus certified the aristocratic claim that this also "historicism" said style on the part of the imperial house was attributed.
It was the palace of Archduke Albrecht (1817-1895), the Senior of the Habsburg Family Council, who as Field Marshal held the overall command over the Austro-Hungarian army. The building was incorporated into the imperial residence of the Hofburg complex, forming the south-west corner and extending eleven meters above street level on the so-called Augustinerbastei.
The close proximity of the palace to the imperial residence corresponded not only with Emperor Franz Joseph I and Archduke Albert with a close familial relationship between the owner of the palace and the monarch. Even the former inhabitants were always in close relationship to the imperial family, whether by birth or marriage. An exception here again proves the rule: Don Emanuel Teles da Silva Conde Tarouca (1696-1771), for which Maria Theresa in 1744 the palace had built, was just a close friend and advisor of the monarch. Silva Tarouca underpins the rule with a second exception, because he belonged to the administrative services as Generalhofbaudirektor (general court architect) and President of the Austrian-Dutch administration, while all other him subsequent owners were highest ranking military.
In the annals of Austrian history, especially those of military history, they either went into as commander of the Imperial Army, or the Austrian, later kk Army. In chronological order, this applies to Duke Carl Alexander of Lorraine, the brother-of-law of Maria Theresa, as Imperial Marshal, her son-in-law Duke Albert of Saxe-Teschen, also field marshal, whos adopted son, Archduke Charles of Austria, the last imperial field marshal and only Generalissimo of Austria, his son Archduke Albrecht of Austria as Feldmarschalil and army Supreme commander, and most recently his nephew Archduke Friedrich of Austria, who held as field marshal from 1914 to 1916 the command of the Austro-Hungarian troops. Despite their military profession, all five generals conceived themselves as patrons of the arts and promoted large sums of money to build large collections, the construction of magnificent buildings and cultural life. Charles Alexander of Lorraine promoted as governor of the Austrian Netherlands from 1741 to 1780 the Academy of Fine Arts, the Théâtre de Ja Monnaie and the companies Bourgeois Concert and Concert Noble, he founded the Academie royale et imperial des Sciences et des Lettres, opened the Bibliotheque Royal for the population and supported artistic talents with high scholarships. World fame got his porcelain collection, which however had to be sold by Emperor Joseph II to pay off his debts. Duke Albert began in 1776 according to the concept of conte Durazzo to set up an encyclopedic collection of prints, which forms the core of the world-famous "Albertina" today.
1816 declared to Fideikommiss and thus in future indivisible, inalienable and inseparable, the collection 1822 passed into the possession of Archduke Carl, who, like his descendants, it broadened. Under him, the collection was introduced together with the sumptuously equipped palace on the Augustinerbastei in the so-called "Carl Ludwig'schen fideicommissum in 1826, by which the building and the in it kept collection fused into an indissoluble unity. At this time had from the Palais Tarouca by structural expansion or acquisition a veritable Residenz palace evolved. Duke Albert of Saxe-Teschen was first in 1800 the third floor of the adjacent Augustinian convent wing adapted to house his collection and he had after 1802 by his Belgian architect Louis de Montoyer at the suburban side built a magnificent extension, called the wing of staterooms, it was equipped in the style of Louis XVI. Only two decades later, Archduke Carl the entire palace newly set up. According to scetches of the architect Joseph Kornhäusel the 1822-1825 retreaded premises presented themselves in the Empire style. The interior of the palace testified from now in an impressive way the high rank and the prominent position of its owner. Under Archduke Albrecht the outer appearance also should meet the requirements. He had the facade of the palace in the style of historicism orchestrated and added to the Palais front against the suburbs an offshore covered access. Inside, he limited himself, apart from the redesign of the Rococo room in the manner of the second Blondel style, to the retention of the paternal stock. Archduke Friedrich's plans for an expansion of the palace were omitted, however, because of the outbreak of the First World War so that his contribution to the state rooms, especially, consists in the layout of the Spanish apartment, which he in 1895 for his sister, the Queen of Spain Maria Christina, had set up as a permanent residence.
The era of stately representation with handing down their cultural values found its most obvious visualization inside the palace through the design and features of the staterooms. On one hand, by the use of the finest materials and the purchase of masterfully manufactured pieces of equipment, such as on the other hand by the permanent reuse of older equipment parts. This period lasted until 1919, when Archduke Friedrich was expropriated by the newly founded Republic of Austria. With the republicanization of the collection and the building first of all finished the tradition that the owner's name was synonymous with the building name:
After Palais Tarouca or tarokkisches house it was called Lorraine House, afterwards Duke Albert Palais and Palais Archduke Carl. Due to the new construction of an adjacently located administration building it received in 1865 the prefix "Upper" and was referred to as Upper Palais Archduke Albrecht and Upper Palais Archduke Frederick. For the state a special reference to the Habsburg past was certainly politically no longer opportune, which is why was decided to name the building according to the in it kept collection "Albertina".
This name derives from the term "La Collection Albertina" which had been used by the gallery Inspector Maurice von Thausing in 1870 in the Gazette des Beaux-Arts for the former graphics collection of Duke Albert. For this reason, it was the first time since the foundation of the palace that the name of the collection had become synonymous with the room shell. Room shell, hence, because the Republic of Austria Archduke Friedrich had allowed to take along all the movable goods from the palace in his Hungarian exile: crystal chandeliers, curtains and carpets as well as sculptures, vases and clocks. Particularly stressed should be the exquisite furniture, which stems of three facilities phases: the Louis XVI furnitures of Duke Albert, which had been manufactured on the basis of fraternal relations between his wife Archduchess Marie Christine and the French Queen Marie Antoinette after 1780 in the French Hofmanufakturen, also the on behalf of Archduke Charles 1822-1825 in the Vienna Porcelain Manufactory by Joseph Danhauser produced Empire furnitures and thirdly additions of the same style of Archduke Friedrich, which this about 1900 at Portois & Ffix as well as at Friedrich Otto Schmidt had commissioned.
The "swept clean" building got due to the strained financial situation after the First World War initially only a makeshift facility. However, since until 1999 no revision of the emergency equipment took place, but differently designed, primarily the utilitarianism committed office furnitures complementarily had been added, the equipment of the former state rooms presented itself at the end of the 20th century as an inhomogeneous administrative mingle-mangle of insignificant parts, where, however, dwelt a certain quaint charm. From the magnificent state rooms had evolved depots, storage rooms, a library, a study hall and several officed.
Worse it hit the outer appearance of the palace, because in times of continued anti-Habsburg sentiment after the Second World War and inspired by an intolerant destruction will, it came by pickaxe to a ministerial erasure of history. In contrast to the graphic collection possessed the richly decorated facades with the conspicuous insignia of the former owner an object-immanent reference to the Habsburg past and thus exhibited the monarchial traditions and values of the era of Francis Joseph significantly. As part of the remedial measures after a bomb damage, in 1948 the aristocratic, by Archduke Albert initiated, historicist facade structuring along with all decorations was cut off, many facade figures demolished and the Hapsburg crest emblems plunged to the ground. Since in addition the old ramp also had been cancelled and the main entrance of the bastion level had been moved down to the second basement storey at street level, ended the presence of the old Archduke's palace after more than 200 years. At the reopening of the "Albertina Graphic Collection" in 1952, the former Hapsburg Palais of splendour presented itself as one of his identity robbed, formally trivial, soulless room shell, whose successful republicanization an oversized and also unproportional eagle above the new main entrance to the Augustinian road symbolized. The emocratic throw of monuments had wiped out the Hapsburg palace from the urban appeareance, whereby in the perception only existed a nondescript, nameless and ahistorical building that henceforth served the lodging and presentation of world-famous graphic collection of the Albertina. The condition was not changed by the decision to the refurbishment because there were only planned collection specific extensions, but no restoration of the palace.
This paradigm shift corresponded to a blatant reversal of the historical circumstances, as the travel guides and travel books for kk Residence and imperial capital of Vienna dedicated itself primarily with the magnificent, aristocratic palace on the Augustinerbastei with the sumptuously fitted out reception rooms and mentioned the collection kept there - if at all - only in passing. Only with the repositioning of the Albertina in 2000 under the direction of Klaus Albrecht Schröder, the palace was within the meaning and in fulfillment of the Fideikommiss of Archduke Charles in 1826 again met with the high regard, from which could result a further inseparable bond between the magnificent mansions and the world-famous collection. In view of the knowing about politically motivated errors and omissions of the past, the facades should get back their noble, historicist designing, the staterooms regain their glamorous, prestigious appearance and culturally unique equippment be repurchased. From this presumption, eventually grew the full commitment to revise the history of redemption and the return of the stately palace in the public consciousness.
The smoothed palace facades were returned to their original condition and present themselves today - with the exception of the not anymore reconstructed Attica figures - again with the historicist decoration and layout elements that Archduke Albrecht had given after the razing of the Augustinerbastei in 1865 in order. The neoclassical interiors, today called after the former inhabitants "Habsburg Staterooms", receiving a meticulous and detailed restoration taking place at the premises of originality and authenticity, got back their venerable and sumptuous appearance. From the world wide scattered historical pieces of equipment have been bought back 70 properties or could be returned through permanent loan to its original location, by which to the visitors is made experiencable again that atmosphere in 1919 the state rooms of the last Habsburg owner Archduke Frederick had owned. The for the first time in 80 years public accessible "Habsburg State Rooms" at the Palais Albertina enable now again as eloquent testimony to our Habsburg past and as a unique cultural heritage fundamental and essential insights into the Austrian cultural history. With the relocation of the main entrance to the level of the Augustinerbastei the recollection to this so valuable Austrian Cultural Heritage formally and functionally came to completion. The vision of the restoration and recovery of the grand palace was a pillar on which the new Albertina should arise again, the other embody the four large newly built exhibition halls, which allow for the first time in the history of the Albertina, to exhibit the collection throughout its encyclopedic breadh under optimal conservation conditions.
The palace presents itself now in its appearance in the historicist style of the Ringstrassenära, almost as if nothing had happened in the meantime. But will the wheel of time should not, cannot and must not be turned back, so that the double standards of the "Albertina Palace" said museum - on the one hand Habsburg grandeur palaces and other modern museum for the arts of graphics - should be symbolized by a modern character: The in 2003 by Hans Hollein designed far into the Albertina square cantilevering, elegant floating flying roof. 64 meters long, it symbolizes in the form of a dynamic wedge the accelerated urban spatial connectivity and public access to the palace. It advertises the major changes in the interior as well as the huge underground extensions of the repositioned "Albertina".
Christian Benedictine
Art historian with research interests History of Architecture, building industry of the Hapsburgs, Hofburg and Zeremonialwissenschaft (ceremonial sciences). Since 1990 he works in the architecture collection of the Albertina. Since 2000 he supervises as director of the newly founded department "Staterooms" the restoration and furnishing of the state rooms and the restoration of the facades and explores the history of the palace and its inhabitants.
Carl von Linné: Hortus Cliffortianus
Amsterdam: 1737
Sp Coll Old Library Bi1-a.3
This work, along with the author's "Genera plantarum" and "Species plantarum", forms the starting point of modern systematic botany. Linnaeus established the principles of class, order, genus and species for all plants and animals. His botanical system was based mainly on flower parts, which tend to remain unchanged during the course of evolution.
Seriously M@...did you think I wouldn't come through?
I don't think I had to be physically falling, did I? It's been a looooong day people...
For FGR's "Mid Falling" and for Sunshine M@ who likes Dodge.
King Felix is an electronic music group formed in 2011 in Los Angeles, California. King Felix produces and Djs a wide variety electronic music such as: bass music, electro-house, progressive house/trance, instrumental hip hop, glitch, dub-step, industrial, ambient, and experimental electronica
The live performances feature Dj sets incorporated with live instruments such as: analog synthesizers, pianos, vocoders, drums, bass guitars, vocals, guitars, and other virtual instruments. In addition, when King Felix performs they create their own animations/visuals to accompany the performance. King Felix states, "Nothing means more to us than our fans, we want them to just forget about their daily lives and have a good time when they go out to a show."
In November 2012 the group released a series of HD/VHS style music videos. King Felix created every element of the music and videos including animation, editing, music production and mastering. These videos have a vintage psychedelic ambiance as they were mixed down through a VHS player to give the videos a nostalgic flavor. The music video for King Felix's song "Touching Basses" alone has received over 300,000 views on YouTube as of 2013.
www.facebook.com/kingfelixmusic
www.youtube.com/kingfelixmusic
King Felix has released several albums since their formation in 2011. The albums the "The Healing Code" and "Home Free/Medical Hookers E.P." can be found on itunes, beatport, amazon, ect.
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itunes.apple.com/us/album/the-healing-code/id620033782
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However, King Felix has released several songs and albums free of charge on their bandcamp site @ www.KingFelix.bandcamp.com
Bio
Itchy Tasty Records is a Los Angeles based Electronic Music Record Label. Itchy Tasty Records is a Label that aims to represent/promote undiscovered original, talented, musicians/groups within the electronic musical field.
Are you itchin to hear something awesome?
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Itchy Tasty Records current artists - King Felix, Huxley's Nightmare, Super Awesome Ultra Cool, Wh1ch House?, Dynamite Jacksin, Kanga, Lara FM, Dj Fresh'n Nasty
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www.ItchyTastyRecords.bandcamp.com
www.facebook.com/ItchyTastyRecords
www.soundcloud.com/ItchyTastyRecords
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itunes.apple.com/us/album/the-healing-code/id620033782
www.youtube.com/kingfelixmusic
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www.soundcloud.com/HuxleysNightmare
www.twitter.com/HuxleysNightmare
www.tumblr.HuxleysNightmare.com
www.youtube.com/HuxleysNightmare
itunes.apple.com/us/album/crunchy-single/id640237695
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soundcloud.com/superawesomeultracool
www.SuperAwesomeUltraCool.bandcamp.com
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www.soundcloud.com/dynamitejacksin
www.DynamiteJacksin.bandcamp.com
We Love Innovation, Itchy Tasty Records fully supports underground groups and individual artists who excel in electronic music. We have talent in almost every genre of electronic including but not exlusive to: Hip/glitch/trip hop, rap, Electro, house, minimal, Chillstep, experimental, new wave, dark wave, electronica, beats ambient, Dubstep, Funkronica, Witch House, downtempo, 80s, Trap, Dark electronica, idm and edm.
www.soundcloud.com/ItchyTastyRecords/dropbox for Music Submissions
We reply to both Artists who we think have what it takes to be on Itchy Tasty as well as artist who have potential in the near future.
Art is about life, love, joy, pain, growth, and learning; Itchy Tasty Records will give careful consideration to all artists who live and love art and innovation
Itchy Tasty Records |2012|
From Wikipedia, the free encyclopedia
Oregon Coast
The Oregon Coast is a region of the U.S. state of Oregon. It runs generally north-south along the Pacific Ocean, forming the western border of the state; the region is bounded to the east by the Oregon Coast Range. The Oregon Coast stretches approximately 363 miles (584 km) from the Columbia River in the north to the Oregon–California state border in the south. The Oregon Coast is not a specific geological, environmental, or political entity but, instead, includes the entire coastline of Oregon, including the Columbia River Estuary.
1967's Oregon Beach Bill allows free beach access to everyone. This bill allows private beach landowners to retain certain beach land rights, but it removes the property tax obligation of the beach landowner. In exchange, the beach landowner grants an easement passage to pedestrians. The Beach Bill grants a public access easement on the beach that cannot be taken away by the landowner nor can the landowner build on the beach.[1]
Traditionally, the Oregon Coast is regarded as three distinct sub-regions,[2] each with its own local features and regional history. While there are no legal or objective boundaries, most Oregonians consider the three regions to be:
The North Coast, which stretches from the Columbia River to Neskowin.[3]
The Central Coast, which stretches from Lincoln City to Florence.[4]
The South Coast, which stretches from Reedsport to the Oregon–California border.[5]
The largest city along the Oregon Coast is Coos Bay—population 16,000[6]—in Coos County on the South Coast. U.S. Route 101 is the primary highway from Astoria to Brookings, and is known for its scenic overlooks of the Pacific Ocean. There are over 80 state parks and recreation areas along the Oregon Coast. However, there are only a few highways that cross the coast mountains from the interior to the coast. This has led to highways US-20, US-30, US-26, SR-18 and SR-22, all serving the Willamette Valley / Portland area to the North and Central Coasts as being considered some of the worst in terms of traffic,[7] a conclusion disputed by the Oregon Department of Transportation. Highways SR-18 and US-20 are considered two of the most dangerous roads in the state.[8]
The Oregon Coast includes Clatsop County, Tillamook County, Lincoln County, western Lane County, western Douglas County, Coos County, and Curry County.
for more en.wikipedia.org/wiki/Oregon_Coast
Today is the day we're supposed to post our hollow form rings, according to the guidelines of the second ring challenge:
*Make a Hollow Form Ring
*The ring should have at least one gemstone in a setting of your choice.
*Post the photos of your Ring (in the Jefferson and Ring-a-Day group pools) on May 16th (not earlier)
You're free to interpret this in your own way, as long as it is a hollow form ring.
My first though was to make a tulip ring, as I was -and still am- obssessed with tulips :-)
I had a few more ideas but I decided to go with the first one. I'm also posting some process pics . Fortunately, making it didn't involve any serious accidents but it took a lot of time to fabricate.
When I finished it, I wasn't entirely happy with it, it reminded me more of fire flames, not a tulip. I wore it a few times, some people said it was tulip, some others though they were flames. Anyway, last night I was asked by someone to reserve it for her and I couldn't be happier. Luckily, it fits her and I won't have to make it again in her size :-)
Listed 9/3/2019
Millbrook, New York
Reference number: 100004333
Innisfree is a public garden of approximately 200 acres, blending Japanese, Chinese, Modern, and ecological design principles in Millbrook, a rural area roughly in the center of Dutchess County, New York. Innisfree’s distinctive sloping, rocky landscape, which forms the literal and visual foundation for the garden, is set within a natural bowl wrapping around the 40-acre Tyrrel Lake. This bowl, with no other signs of human intervention visible beyond the garden, creates a profound sense of intimacy and privacy at Innisfree that is one of its defining characteristics. A product of postwar ideas in American landscape architecture, Innisfree merges the essence of Modernist and Romantic ideas with traditional Chinese and Japanese garden design principles in a form that evolved through subtle, sculptural handling of the site and slow, science-based manipulation of its ecology. The result is a distinctly American stroll garden organized around placemaking techniques used in ancient Chinese villa gardens and described as “cup gardens.”
Innisfree, one of the largest intact modern designed landscapes in America, is the masterwork of Lester Collins (1914-1993), a seminal figure in American twentieth century landscape architecture. Lester Collins, fellow of the American Society of Landscape Architects, was one of the most sought-after designers and influential educators of his generation. Innisfree’s design reflects the philosophies and practices that guided Collins’s approach throughout his career, integrates innovative, sometimes truly groundbreaking horticultural and environmental engineering practices, and embodies the distinctive characteristics of postwar Modernist landscape architecture.
Innisfree began as the private estate of Walter and Marion Beck, who started initial work on the garden during the early 1930s. Starting in 1938, they continued its development in collaboration with and under the direction of Lester Collins. In 1960, following the deaths of the Becks and pursuant to their wishes, Collins transformed Innisfree from a private estate garden into a substantially larger, more nuanced public garden. He ran the public
garden while continuing to gradually develop and transform the landscape until his death in 1993.
Innisfree demonstrates Collins’s focus on the experience of people in the landscape; his ability to respond adroitly to the particularities of site and program; his approach and aesthetics as a Modernist; his scholarly understanding of landscape history, particularly of Romantic, Chinese, and Japanese gardens; and his innovative use of scientific and engineering principles to develop an environmentally and economically sustainable landscape. Innisfree has long been a mecca for designers from all over the world and it is now attracting similar attention from the global horticultural
community.
The primary features of Innisfree’s design are its principal cup gardens (loosely understood as garden rooms), Tyrrel Lake, and the Lake Path. Collins used the unifying features of the lake and lake path to integrate the many cup gardens into one dynamic experience in the natural landscape. The cup gardens vary in form, scale, and materials. One is an organically shaped meadow bisected by a wildly meandering stream and dotted with sculptural rocks and specimen trees. Another is a bog garden that has been carefully but lightly managed so that a new plant community emerged to play a particular aesthetic role. One more still is an elaborate complex of rock terraces stepping down a slope, each with its own vocabulary of design, materials, and mood.
Throughout the garden, there are themes and motifs that recur in varied forms. There is a dynamic tension between what appears to be natural and what appears to be cultivated. At a macro scale, this is evidenced by the entirety of the garden itself emerging from apparent wooded wilderness. Undulating, almost surreal natural topography is echoed in the rounded forms of clipped trees and constructed berms. Tall, straight pine trunks are mirrored in a 60’ high fountain jet. Naturalistic bogs are discreetly cultivated while areas that look like traditional planted beds are allowed to evolve and change like native plant communities.
While there are some exceptional horticultural specimens at Innisfree, the vast majority of the plants are native or naturalized. Instead of labor-intensive maintenance to strictly adhere to a fixed planting plan, plants are encouraged to find locations where they thrive just as they do in the wild and then gently edited for aesthetics. Sometimes this is achieved simply by allowing plants to self-sow; sometimes by sowing seed or moving plants in from elsewhere on site to increase a successful population; sometimes by limited hybridization to develop strains that are more ideally suited to specific local conditions. As a result, the overall plantings at Innisfree have an unstudied visual character punctuated by a handful of carefully placed, carefully sculpted trees.
There is also a deliberate choreographing of human perceptual experiences throughout Innisfree. Collins paid particular attention to these ideas. Scale ranges from massive to intimate. Spaces are open and bright, or tight and shadowy. Surfaces vary in material, texture, slope, and sound. Water changes form, scale, and sound. Design and planting details are dense or spare.
Another important motif at Innisfree is sculptural landforms. Collins began to clear trees to reveal the undulating glacial landforms. Collins felt that “land shapes, both natural and man-made…separate but also knit together sequences of cup gardens. Just like the sculptural rocks, these land forms are permanent design features in the garden, for they do not grow and their health is not subject to vagaries.” In the 1970s and early 1980s, Collins created dramatic berms in the garden to echo and emphasize the natural landforms.
In the nearly 70 years since Innisfree opened to the public, the garden has delighted and captured the imagination of experts and non-experts alike. Garden lovers, landscape writers and critics have sought to capture the unique aesthetic qualities and unusual design sophistication of Innisfree in various descriptive terms.
National Register of Historic Places Homepage