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Bałuty | Aleja Pamięci Ofiar Litzmannstadt Getto
During World War II, the Radogoszcz station built originally between 1926 and 1937, was the main railway link of the Łódź Ghetto to the outside world, used predominantly for the Holocaust transports organized by German Nazis.
In 2004, the commemoration ceremonies on the 60th anniversary of the destruction of the Łódź Ghetto in 1944 and the departure of the last transport from Radegast spurred efforts to transform the former station into a Holocaust memorial. On August 28, 2005, a monument commemorating the Jewish victims who passed through the station was unveiled, based on design by Czesław Bielecki, and featuring the 140 metres Tunnel of the Deported. The renovated station building serves as one of the divisions of the Łódź Museum of Independence.
Le projet du sculpteur palermitain Mario Rutelli, achevé et inauguré en 1901, se composait de quatre figures féminines nues en bronze représentant des scènes de nymphes : la Nymphe des Lacs, reconnaissable au cygne qu'elle tient contre elle, la Nymphe des Fleuves, couchée sur un monstre aquatique, la Nymphe des Eaux souterraines, allongée sur un dragon, et la Nymphe des Océans3, en selle sur un cheval, symbole de la mer. Un grand jet d'eau tombe sur les statues, tandis qu'une nombreuse série de petits jets d'eau est dirigée vers l'intérieur.
En 1912, enfin, la fontaine a pris son aspect actuel, avec l'arrangement, dans le centre du groupe du Glauco, où un personnage masculin, nu, saisit un dauphin, symbolisant la domination de l'homme sur les forces naturelles.
The project by Palermo sculptor Mario Rutelli, completed and inaugurated in 1901, consisted of four nude female figures in bronze depicting scenes of nymphs: the Nymph of the Lakes, recognisable by the swan she holds against her, the Nymph of the Rivers, reclining on a water monster, the Nymph of the Subterranean Waters, reclining on a dragon, and the Nymph of the Oceans3, riding a horse, the symbol of the sea. A large jet of water falls on the statues, while a series of smaller jets of water are directed inwards.
Finally, in 1912, the fountain took on its current appearance, with the arrangement in the centre of the Glauco group of a nude male figure holding a dolphin, symbolising man's domination over natural forces.
Here the boundary of the "Jewish quarter" ran along the southern wall of Temler & Szwede tannery, which was not included in the ghetto.
Warsaw ghetto boundary markers: en.wikipedia.org/wiki/Warsaw_Ghetto_boundary_markers
English
the Holocaust should also include the Nazis' systematic murder of millions of people in other groups, including Catholics, ethnic Poles, the Romani, Soviet civilians, Soviet prisoners of war, people with disabilities, homosexuals, Jehovah's Witnesses, and other political and religious opponents. By this definition, the total number of Holocaust victims would be between 11 million and 17 million people. Concentration camps were established in which inmates were used as slave labor until they died of exhaustion or disease. Jews and Romani were confined in overcrowded ghettos before being transported by freight train to extermination camps where, if they survived the journey, the majority of them were killed in gas chambers.
Nederlands
onder de Holocaust moeten ook de systematische moorden van de nazi's op miljoenen mensen in andere groepen genoemd worden, met inbegrip van katholieken, etnische Polen, de Roma, Sovjet-burgers, Russische krijgsgevangenen, mensen met een handicap, homoseksuelen, Jehovah's Getuigen en andere politieke en religieuze tegenstanders . Door deze definitie zou het totaal aantal slachtoffers van de holocaust worden tussen 11 miljoen en 17 miljoen mensen. Concentratiekampen werden opgericht waarin gevangenen werden gebruikt als slaven totdat ze stierven aan uitputting of ziekte. De Joden en Roma werden opgesloten in overbevolkte getto's vóór het vervoer per goederentrein naar vernietigingskampen waar, indien zij de reis overleefden, de meerderheid van hen werden vermoord in gaskamers.
Śródmieście Północne | Próżna
Próżna street, the only preserved street of the warsaw ghetto with its main building undergoing renovation.
The walkway in front of the POLIN Museum of the History of Polish Jews has been named after Irena Sendler....
Le projet du sculpteur palermitain Mario Rutelli, achevé et inauguré en 1901, se composait de quatre figures féminines nues en bronze représentant des scènes de nymphes : la Nymphe des Lacs, reconnaissable au cygne qu'elle tient contre elle, la Nymphe des Fleuves, couchée sur un monstre aquatique, la Nymphe des Eaux souterraines, allongée sur un dragon, et la Nymphe des Océans3, en selle sur un cheval, symbole de la mer. Un grand jet d'eau tombe sur les statues, tandis qu'une nombreuse série de petits jets d'eau est dirigée vers l'intérieur.
En 1912, enfin, la fontaine a pris son aspect actuel, avec l'arrangement, dans le centre du groupe du Glauco, où un personnage masculin, nu, saisit un dauphin, symbolisant la domination de l'homme sur les forces naturelles.
The project by Palermo sculptor Mario Rutelli, completed and inaugurated in 1901, consisted of four nude female figures in bronze depicting scenes of nymphs: the Nymph of the Lakes, recognisable by the swan she holds against her, the Nymph of the Rivers, reclining on a water monster, the Nymph of the Subterranean Waters, reclining on a dragon, and the Nymph of the Oceans3, riding a horse, the symbol of the sea. A large jet of water falls on the statues, while a series of smaller jets of water are directed inwards.
Finally, in 1912, the fountain took on its current appearance, with the arrangement in the centre of the Glauco group of a nude male figure holding a dolphin, symbolising man's domination over natural forces.
Black and Yellow meet the warm Orange and raise "The greatest Beauty". Orange spreds his vitality, his Eros and his desire to confirm himself into the energy and the freedom of Yellow and the dark side of Black. Everywhere feels the positive power of Orange, capable to give a new sense about things.
The video shows us the final part of the creative process, trasforming the Matter by a jet of warm air.
The collage, in the final seconds of the video, is my final interpretation of my work. It will be nice, that the viewer creates his/her new one (a new interpretation).
January 2016
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Nero e giallo incontrano il caldo arancione e formano "La più grande delle bellezze" ( The greatest Beauty). L'arancione espande la sua vitalità, il suo Eros e la sua voglia di affermare se stesso nell'energia e libertà del giallo e nella oscurità del nero. Ovunque si percepisce il potere dell'arancione, capace di dare un senso nuovo alle cose.
Il video mostra la parte finale del processo creativo, in cui la materia è trasformata da un getto di aria calda.
Il collage a fine video è l'interpretazione di questo mio lavoro, sulla sperimentazione con questi 3 colori (soprattutto con l'arancione). Sarebbe bello che l'osservatore ne creasse uno suo.
Gennaio 2016
La Cascata delle Marmore è un sito naturale dalla bellezza impressionante. Sentieri nel verde, escursioni, attività e uno spettacolare salto di 165 metri capace di emozionare grandi e piccoli! Si tratta infatti della cascata più alta d'Italia, tra le più alte di tutta Europa.
Il dislivello complessivo è suddiviso in tre salti, compiuti in successione dalle acque del fiume Velino che in questo modo si getta e confluisce nel nera. La progressione di salti crea una cornice d'insieme ancora più suggestiva, quasi unica nel suo genere. Anche perché il bianco del getto della cascata risalta ancor di più grazie al verde nel quali è immersa, parte dell'area protetta del Parco Fluviale del Nera.
Una visita alla Cascata è un'esperienza a 360°: oltre alla bellezza del salto del fiume in sè, è possibile approfittare dei tanti sentieri escursionistici dell'area o delle attività sportive praticabili, dal rafting al torrentismo.
Questo luogo affonda le sue radici nell'antichità dell'Umbria, quando i Romani irruppero nella vita di umbri ed etruschi che popolavano queste terre. Essi portarono con loro la civiltà romana, già molto avanzata, fondando città, bonificando intere aree, costruendo strade, acquedotti, templi e ville.
La Cascata delle Marmore si inserisce proprio in questo contesto: si tratta infatti di una straordinaria opera ingegneristica di sistemazione idraulica dovuta ai Romani. All'epoca, il Velino aveva un letto del fiume molto largo che formava una vasta zona di acque stagnanti, paludose e spesso malsane per la popolazione stessa. Il console romano Curzio Dentato decise di intervenire: per assicurare il deflusso di queste acque, fece scavare un canale che potesse convogliarle verso la rupe di Marmore, per poi farle precipitare nell'alveo sottostante del Nera.
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The Marmore Falls is a natural site of impressive beauty. Paths in the green, excursions, activities and a spectacular jump of 165 metres capable of thrilling adults and children alike! It is in fact the highest waterfall in Italy, among the highest in Europe.
The overall difference in height is divided into three jumps, made in succession by the waters of the river Velino, which in this way flows into the black. The progression of jumps creates an even more evocative overall frame, almost unique of its kind. Also because the white of the waterfall's jet stands out even more thanks to the green in which it is immersed, part of the protected area of the Parco Fluviale del Nera.
A visit to the Waterfall is a 360° experience: in addition to the beauty of the jump of the river itself, it is possible to take advantage of the many hiking trails in the area or the sports activities available, from rafting to canyoning.
This place has its roots in the antiquity of Umbria, when the Romans broke into the life of the Umbrians and Etruscans who populated these lands. They brought with them the Roman civilization, already very advanced, founding cities, reclaiming entire areas, building roads, aqueducts, temples and villas.
The Marmore Falls is part of this context: in fact, it is an extraordinary engineering work of hydraulic arrangement due to the Romans. At that time, the Velino had a very wide river bed that formed a vast area of stagnant, marshy and often unhealthy waters for the population itself. The Roman consul Curzio Dentato decided to intervene: to ensure the runoff of these waters, he had a canal dug to channel them towards the Marmore cliff, and then plunged them into the riverbed below the Nera.
Translated with www.deepl.com/Translator (free version)
La Fontana Hochstrahlbrunnen (getto di acqua verso l'alto)
Piazza di Schwarzenberg, nel 1880 prende il nome dal feldmaresciallo Karl Philipp zu Schwarzenberg (1771-1820); fu dal 1788 nel servizio militare austriaco ed è stato promosso dopo la partecipazione alla guerra contro i Turchi nel 1789 e la prima guerra della prima Coalizione nel 1796 maggiore generale. Nel 1813 era comandante in capo delle forze alleate contro Napoleone nella battaglia di Lipsia e si mosse come un maresciallo di campo nel 1814 vittoriosamente a Parigi; nel 1815 divenne presidente del Consiglio imperiale di guerra. La caserma Schwarzenberg a Wals-Siezenheim (Salisburgo) è chiamato anche dopo di lui. La piazza era già nel 1873 registrata in "Kiesling's Wiener Baedeker" come tale, ma non in l'indirizzo di Lehmann dove è stato allevato nel 1880 come parte di la strada di Schwarzenberg. La piazza originariamente giunse dalla strada di circonvallazione al ponte di Schwarzenberg al di là del fiume Vienna presso de la strada dei Lorenese ed è stata estesa nel 3° e 4° distretto nel corso della costruzione della copertura in luogo del ponte nel 1904; là, la parte della piazza è stato nominato 1946-1956 la piazza di Iosif Vissarionovič Džugašvili (in russo: Иосиф Виссарионович Джугашвили) - Stalin.
Schwarzenbergplatz, 1880 benannt nach Feldmarschall Karl Philipp zu Schwarzenberg (1771–1820); er stand seit 1788 in österreichischen Militärdiensten und wurde nach der Teilnahme am Türkenkrieg 1789 und am Ersten Koalitionskrieg 1796 zum Generalmajor befördert. 1813 war er war der Oberbefehlshaber der verbündeten Streitkräfte gegen Napoleon in der Völkerschlacht bei Leipzig und zog als Feldmarschall 1814 siegreich in Paris ein; 1815 wurde er Präsident des Hofkriegsrats. Die Schwarzenbergkaserne in Wals-Siezenheim (Salzburg) ist ebenfalls nach ihm benannt. Der Platz war bereits 1873 in „Kiessling's Wiener Baedeker“ als solcher eingetragen,[17] nicht aber in Lehmanns Adressbuch, wo er bis 1880 als Teil der Schwarzenbergstraße geführt wurde. Er reichte ursprünglich vom Ring bis zur Schwarzenbergbrücke über den Wienfluss bei der Lothringerstraße und wurde im Zuge des Baus der Einwölbung statt der Brücke 1904 in den 3. und 4. Bezirk erweitert; der dortige Platzteil hieß 1946–1956 Stalinplatz.
de.wikipedia.org/wiki/Liste_der_Stra%C3%9Fennamen_von_Wie...
When the "Jewish quarter" was first closed in 1940 it included a small north eastern enclave bordered by Sapieżyńska, Freta and Świętojerska streets - and there was a gate here at the intersection of Świętojerska Street and Nowiniarska Street.
This area was removed from the ghetto in December 1941....
Warsaw ghetto boundary markers: en.wikipedia.org/wiki/Warsaw_Ghetto_boundary_markers
Portami il tramonto in una tazza
conta le anfore del mattino
le gocce di rugiada.
Dimmi fin dove arriva il mattino -
quando dorme colui che tesse
d'azzurro gli spazi.
Scrivimi quante sono le note
nell'estasi del nuovo pettirosso
tra i rami stupefatti - quanti passetti
fa la tartaruga -
Quante coppe di rugiada beve
l'ape viziosa.
E chi gettò i ponti dell'arcobaleno
chi conduce le docili sfere
con intrecci di tenero azzurro.
Quali dita congiungono le stalattiti,
chi conta le conchiglie della notte
attento che non ne manchi una.
Chi costruì questa casetta bianca
e chiuse così bene le finestre
che non riesco a vedere fuori.
Chi mi farà uscire con quanto mi occorre
in un giorno di festa -
per volare via - in pompa magna.
-- Emily Dickinson
Bring me the sunset in a cup
Bring me the sunset in a cup,
Reckon the morning's flagons up
And say how many Dew,
Tell me how far the morning leaps—
Tell me what time the weaver sleeps
Who spun the breadth of blue!
Write me how many notes there be
In the new Robin's ecstasy
Among astonished boughs—
How many trips the Tortoise makes—
How many cups the Bee partakes,
The Debauchee of Dews!
Also, who laid the Rainbow's piers,
Also, who leads the docile spheres
By withes of supple blue?
Whose fingers string the stalactite—
Who counts the wampum of the night
To see that none is due?
Who built this little Alban House
And shut the windows down so close
My spirit cannot see?
Who'll let me out some gala day
With implements to fly away,
Passing Pomposity?
-- Emily Dickinson
Ritenuta una delle fontane più belle di Roma fu realizzata in travertino da Gian Lorenzo Bernini nel 1643. Fra le code dei delfini che sorreggono la conchiglia sulla quale si accovaccia il tritone, il Bernini ha posizionato due stemmi dei Barberini. Il tritone che soffia con impeto in una conchiglia fa uscire il getto d'acqua che, ricadendo nelle valve e poi dalle scannellature di queste nella vasca sottostante, crea una coreografia di grande effetto.
Thought to be one of the most beautiful Roman fountains, it was built in travertine by Gian Lorenzo Bernini in 1643. Between the dophins' tails which support the shell on which the Triton crouches, Bernini placed two coats of arms of the Barberini family. The Triton which blows in the shell pushes out a jet of water, which, falling on the valves which direct it into the basin below, creates an incredibly choreographic effect.
The remains of the walls of the Krakow ghetto that existed from 1941 till 1943.
Persecution of the Jewish population of Kraków began soon after the Germans entered the city in September 6, 1939 during their Invasion of Poland. Jews were obliged to take part in forced labor from September on. In November 1939, all Jews 12 years or older were required to wear identifying armbands. Throughout Kraków, synagogues were ordered closed and all their relics and valuables turned over to the Nazi authorities.
By May 1940, the German occupation authority announced that Kraków should become the "cleanest" city in the General Government, an occupied, but unannexed part of Poland. Massive deportation of Jews from the city were ordered. Of the more than 68,000 Jews in Kraków when the Germans invaded, only 15,000 workers and their families were permitted to remain. All other Jews were ordered out of the city, to be resettled into surrounding rural areas.
The Kraków Ghetto was formally established on March 3, 1941 in the Podgórze district, not in the Jewish district of Kazimierz. Displaced Polish families from Podgórze took up residences in the former Jewish dwellings outside the newly established Ghetto. Meanwhile, 15,000 Jews were crammed into an area previously inhabited by 3,000 people who used to live in a district consisting of 30 streets, 320 residential buildings, and 3,167 rooms. As a result, one apartment was allocated to every four Jewish families, and many less fortunate lived on the street.
The Ghetto was surrounded by walls that kept it separated from the rest of the city. All windows and doors that gave onto the "Aryan" side were ordered bricked up. Only four guarded entrances allowed traffic to pass through. In a grim foreshadowing of the near future, these walls contained panels in the shape of tombstones. Small sections of the wall still remain today.
From May 30, 1942 onward, the Nazis implemented systematic deportations from the Ghetto to surrounding concentration camps. Thousands of Jews were transported in the succeeding months as part of the Aktion Krakau headed by SS-Oberführer Julian Scherner. Jews were assembled on Zgody Square first and then escorted to the railway station in Prokocim. The first transport consisted of 7,000 persons, the second, of additional 4,000 Jews deported to Belzec extermination camp on 5 June 1942. On March 13-March 14, 1943 the Nazis carried out the final 'liquidation' of the ghetto under the command of SS-Untersturmführer Amon Göth. Eight thousand Jews deemed able to work were transported to the Plaszow labor camp. Those deemed unfit for work – some 2,000 Jews – were killed in the streets of the ghetto on those days. Any remaining were sent to die in Auschwitz.
(wikipedia)
Bałuty | Aleja Pamięci Ofiar Litzmannstadt Getto
During World War II, the Radogoszcz station built originally between 1926 and 1937, was the main railway link of the Łódź Ghetto to the outside world, used predominantly for the Holocaust transports organized by German Nazis.
In 2004, the commemoration ceremonies on the 60th anniversary of the destruction of the Łódź Ghetto in 1944 and the departure of the last transport from Radegast spurred efforts to transform the former station into a Holocaust memorial. On August 28, 2005, a monument commemorating the Jewish victims who passed through the station was unveiled, based on design by Czesław Bielecki, and featuring the 140 metres Tunnel of the Deported. The renovated station building serves as one of the divisions of the Łódź Museum of Independence.
This was the eastern edge of the northern part of the Warsaw ghetto from November 1940 to December 1941....
Warsaw ghetto boundary markers: en.wikipedia.org/wiki/Warsaw_Ghetto_boundary_markers
Walls are finished with Getto-shi paper. All lighting tubes are concealed behind the thine wood plates just above the Shoji.
Four and a half tatami size room, Suginami, Tokyo, Japan
Encore un light painting avec Cosé ( www.flickr.com/photos/sosart/ ) pour le f4 de la semaine. Voir les autres photos f4 : f4.silveric.com
Iceland 2016
La cascata Seljalandsfoss,una delle più belle cascate dell'Islanda sud occidentale.
Seljalandsfoss è una splendida cascata visibile anche dalla strada principale, ed è facilmente accessibile. L'acqua salta da una scarpata rocciosa e si tuffa in un piccolo laghetto. Si può anche passare dietro il getto della cascata camminando lungo un sentiero che passa vicino la roccia.
The Seljalandsfoss waterfall, one of the most beautiful south western Iceland's waterfalls.
Seljalandsfoss is a beautiful waterfall visible from the main road, and is easily accessible. Water jumps from a rocky escarpment and dives in a small pond. You can also go behind the spray of the waterfall walking along a trail passing by the rock.
Rumbach Street Synagogue, built from1869 to 1872.
Style: Moorish Revival
Architect: Otto Wagner & Kallina Mór (Moritz Kallina)
en.wikipedia.org/wiki/Otto_Wagner
mek.oszk.hu/04000/04093/html/szocikk/12423.htm
Exodus 34:4 "So Moses carved out two stone tablets like the first ones, got up early in the morning, and climbed Mount Sinai, just as the LORD had commanded him. He took with him the two stone tablets. "
en.wikipedia.org/wiki/Rumbach_Street_synagogue
en.wikipedia.org/wiki/Otto_Wagner
hu.wikipedia.org/wiki/Rumbach_utcai_zsinag%C3%B3ga
hu.wikipedia.org/wiki/Otto_Wagner
A „zsinagóga háromszög” (a volt gettó területe):
www.mazsike.hu/a+%E2%80%9Elezart+dossziet%E2%80%9D+ujra+m...
www.mazsike.hu/a+%E2%80%9Elezart+dossziet%E2%80%9D+ujra+m...
The eighteenth granite block - mounted on the wall of 10 Stawki Street.
After being herded towards the Umschlagplatz, the people of the Warsaw ghetto were detained in this building prior to being transported to Treblinka.
On 1st August 1944 - the first day of the Warsaw Uprising - a group of approximately 50 Jews who had been kept behind as slave labourers after the Germans liquidated the ghetto were liberated when the Polish resistance captured the building....
Photo, c. 1887 of the Finlay Ross home at 821 North Waco Avenue in Wichita, KS. This residence is confirmed to have been built by William Henry Sternberg (1832 - 1906) and many of
Sternberg's design influences can be seen in this home. Sternberg was the leading designer and builder of fine homes such as this one in the Wichita area in the last quarter century of the 1800s. Finlay Ross was a prominent businessman in Wichita and later on became Mayor of Wichita during which time he established Riverside Park - ever popular today. While headquartered in Wichita KS, Sternberg did branch out and build fine homes and buildings throughout southern Kansas and Missouri. To wit, in the late 1800s, Sternberg built the original limestone City Hall in Springfield MO (now the Greene County Historical Museum), still standing today and on the National Register of Historic Places.
Sternberg was a highly skilled and popular builder during Wichita’s boom years of the 1870s and 1880s. Mr. Sternberg came to Kansas from New York in 1875. He grew up on a family farm in Norwich, New York helping his father in the family saw mill, felling and hauling trees, cutting lumber, woodworking and working as a carpenter on local homes and buildings. As years passed and Sternberg continued working as a contractor and a carpenter, his skills in building grew and he became well-known throughout New York State for his elegant and innovative building designs, his integrity, work quality and prudent approach to costs. People far and wide knew of his reputation for quality and knew him as a fair man in his dealings with customers. Partly as a result of his reputation for being a fair and honest man, he was elected Mayor of Norwich for a period of several years. Although comfortable with his life in New York, Mr. Sternberg increasingly heard about Wichita, Kansas ~ a rapidly growing nucleus on the plains. Indeed the growth bubble (from the late 1870’s until about 1890) was so significant that Wichita was by some estimates the fastest growing city in the country. At one point, the absolute value of real estate transactions in Wichita ranked it the third highest in the nation in terms of dollars transacted. This was behind only New York City and Kansas City! People were speculating on land and buildings and making handsome profits in return.
“In the first five months of 1887 real estate transactions
totaled $34,893,565 according to Dunn and Bradstreet’s
reports. Wichita was third in the nation in total real estate
transactions. Only New York and Kansas City were ahead
of Wichita (in terms of volume). Chicago was fourth having
$33,173,950 in transactions.”
However... in terms of the dollar value PER CAPITA (dollars per person), Wichita was first in the nation for a period of several years in the mid-late 1880s. New York and Kansas City had much larger populations than Wichita to produce a higher absolute volume of real estate transactions. But their dollar volumes per capita were in fact lower than Wichita, KS. With its new found wealth, Wichita was progressive in its early days and news of its budding wealth traveled the country. Evidence of its progressive spirit was noted with much fanfare on May 23, 1873 when Wichita’s first regularly-scheduled electrified street cars (trolley cars) began shuttling people between the bustling downtown and the outskirts of the city. Three years later, Wichita installed several hundred nighttime electric street lamps throughout downtown, while still retaining some of its existing gas and “vapor” lamps. And in the Spring of 1883, Wichita's new underground water system with 60 fire hydrants spread throughout the City was tested, on-line and ready-to-go. One of the things Wichita did with this wealth is invest in public systems and buildings to the tune of over ten million dollars per year in some years in the 1880s. This was W.H. Sternberg's hey-day. Impressive buildings were going up... literally as fast as they could possibly build. Between July 1, 1886 and June 30, 1887 almost 3,000 new completed structures were erected in Wichita and all of this with a population of only about 12,000.
Spying an opportunity for building, Mr. Sternberg moved his family to Wichita in 1875 and after only a few months, was successfully bidding contracts, hiring workers and constructing buildings at a frenzied pace. The economic bubble of Wichita in the 1880s was perhaps the most dynamic growth spurt of any city in American history. Wealth sprung up practically overnight and people such as: C.N. Lewis, Albert. W. Oliver (Businessman), Aaron Katz (Merchant), Mark J. Oliver (Atty), Hiram Imboden (Businessman), M.W. Levy (Bank President), Peter Getto (Capitalist), Reuben H. Roys (Atty), Finlay Ross (Mayor & Businessman), William H. Whitman, Jacob Henry Aley (Businessman), Robert E. Gutherie, J.R. Van Zandt (prominent businessman), George Pratt (lumber baron), Charles W. Bitting (prominent Businessman), Alfred W. Bitting (Prominent Businessman), Judge James L. Dyer (Judge), Charles M Jones, Dr. G.E. McAdams (physician), Capt. Charles Smyth, Dr. J. Russell (physician), Kos Harris (Atty), William Greiffenstein (Mayor), Russell Harding (Railroad Superintendent), Ben Aldrich (Mayor & prominent businessman) and many others... displayed their newly found wealth by building palatial mansions of the highest quality and most extraordinary craftsmanship. When Wichita’s well-to-do wanted homes or buildings, W.H. Sternberg was the builder of choice by a wide margin. The 1888 book, Portrait and Biographical Album of Sedgwick County, Kansas (Chapman Brothers; Chicago, 1888) in which Sternberg is noted states about him,
“Ninety brick stores in Wichita stand as monuments of
his skill and industry, besides numberless other
buildings, probably twice as many as have been put
up by any other contractor in the city.”
Not long after coming to Wichita, Mr. Sternberg used a marketing approach – common today, but relatively unheard of at the time, called a “spec home”. The spec home he built was his own home and it was a huge 7,500 sq. ft. showcase home that contained virtually every ornamental and stylish feature that he and his crews could muster. He located his home on the most elite street in Wichita at the time ~ Waco Avenue ("Waco Street" as it was then and "Waco Avenue" as it was to become). Before Waco became the “elite street” of Wichita, city planners named it “Waco Street”. As elegant mansions continued to appear on Waco, property owners in this well-dressed district became dissatisfied with the designation of “Street” and so local residents petitioned the City to officially have the name changed to “Avenue” to be more in keeping with the fashionable tone of the neighborhood. Today, the official name of Waco is still "Waco Avenue". Mr. Sternberg reckoned that showcasing the capabilities and ornate building skills of the construction trade would draw customers to him, and it proved to be a very successful technique. Even back in 1886 when he completed his Victorian gingerbread mansion people acknowledged it was something extraordinary. His worthy showcase mansion was written up in the newspapers as well as the 1888 Portrait and Biographical Album of Sedgwick, County, Kansas as follows,
“The residence of Mr. Sternberg, a handsome and costly structure,
is beautifully located on a rise of ground commanding a fine view
of its surroundings. Within and without it bears the evidence of
refined tastes and ample means, and it is universally admired
by all who have occasion to pass it.”
Even before the Sternberg’s mansion was finished, people were remarking about it as the September 6, 1886 edition of the Wichita Beacon commented,
“Mr. Sternberg is building for his own use a fine residence
on the corner of 10th and Waco Streets. Judging by the
foundation it will be one of the largest and finest in the city.”
Within weeks after finishing his home at 1065 North Waco Avenue, Mr. Sternberg was flooded with requests to build other fine mansions for Wichita’s “polite society”. And in 1887 and 1888, Sternberg and his crews built first-class mansions and buildings all over Wichita as quickly as they could. Sternberg was one of the largest employers in Wichita with a skilled crew of approximately 40 full-time persons working at various locations.
Sternberg set precedence in building design at a time when style and social status was everything and people had the money (and the willingness) to express it. Sternberg (unlike other builders of the day) built custom features into his homes that allowed the occupants to enjoy their home more. In addition to an extensive use of smaller more intimate porches in his homes and particularly romantic highly corbelled chimney flues, Sternberg was also the first builder in Wichita to construct a very practical laundry chute into a home (the first home in Wichita to have a laundry chute was the Pratt house at 1313 North Emporia). The idea of such a feature so that people didn’t have to climb up and down stairs was new and unheard of in 1887, but Sternberg believed a home should be both beautiful and comfortable. It was new and trend-setting features such laundry chutes, ornate porches and his ability to create exceptional milled gingerbread work that brought acclaim and respect to Sternberg. Other builders simply didn’t offer such features, and most didn’t have the expertise to do so. In New York state where Sternberg grew up and worked for many years before coming to Wichita, he is credited with being the first person to build a Mansard-style roof. The concept was made popular at the 1850’s World's Fair in Paris . A mansard roof is a French style that allows more unencumbered space on the attic level than a traditional pitched roof does. Although not an architect by training, Sternberg often had considerable input into the design and layout of the homes he built. Many of his customers, unaware of the need for an architect at the time when deciding to building a house, would contact Sternberg first when they wanted to build and then it was Sternberg who would usually contact an architect of his choice and advise the architect on what the home-owner wanted and could afford. Sternberg was the first recorded builder to use an “outside” (New York) architect purely for style and design in upscale an upscale Wichita residence. That residence designed by both Stanford White and William Sternberg and built by Sternberg was the Charles R. Miller residence at 509 S. Lawrence Rd (now Broadway). Miller affectionately chistened the home, "Lyndhurst". Stanford White although building a national reputation would a few years later would receive national acclaim for his designs including Madison Square Garden in New York and homes for the ultra wealthy in Newport RI and New York. The design and construction of this Sternberg-built home that Stanford White-designed was eye-catching and charming to Wichitans of the day and the local Wichita Beacon in April 18, 1883 commented about the house,
“It will be of brick, 40 x 44 feet in area, with basement
eight feet, two stories above that, and a ten foot mansard
attic. The basement will be used for a steam heater,
laundry, coal, etc. The facades will be broken by swells,
bay windows and porches. It will be one of the finest
in southern Kansas.”
Obviously, Sternberg felt that for some exceptional projects, local architects were not up to the task, and Sternberg liked the press attention. What's more and another “first” for Sternberg is that he was the only builder during the 1870s-1880s working in Wichita to have also built major public and private buildings in at least two other states. In addition, he’s the only builder during Wichita’s boom period to have his works from three states (Kansas Missouri and New York) listed on the National Register of Historic Places. Additionally his 30 years of experience in the lumber business grading qualities of woods and knowing the particular characteristics of various woods allowed Sternberg to build with exceptional quality. Arguably he was the highest quality builder and most highly skilled builder of the day in Wichita. An article from November 2, 1969 in the Eagle-Beacon newspaper noted the quality of the Sternberg Mansion,
“It was built to last with joists
of 2 by 8-inch timbers, and wood-
work of pine so hard it will not take
a regular nail and one interior
wall that is 15 inches thick.”
In all W. H. Sternberg built well over 100 buildings and homes in Wichita alone after coming in 1875. Other homes and buildings he is known to have built before coming to Wichita include: (1) the Methodist Church in Guilford, New York, (2) the Chenango County Poor House in Norwich, New York, (3) the Methodist Episcopal Church in Norwich, New York at a cost of $47,000, he later completed the beautiful case inside this church for the church organ, (4) the residence of Charles Merritt in Norwich, New York at a cost of $35,000, (5) the store of John O. Hill & Co. at a cost of $23,000, (6) the residence of Warren Newton in New York and (7) “an elegant mansion for himself” which had the first mansard roof in the town.
Mr. Sternberg was a remarkable man. In 1888, Chapman Brothers in Chicago, Illinois printed an expensive first-class volume of notable persons in Sedgwick County, Kansas ~ a sort of “Who’s Who” of the time. The book, entitled “Portrait and Biographical Album of Sedgwick County, Kan.” Contained “Full Page Portraits and Biographical Sketches of Prominent and Representative Citizens of the County together with Portraits and biographies of all the governors of Kansas, and of the Presidents of the United States.” Mr. Sternberg is listed on pages 190 – 191 in the Album. His biography notes:
“William H. Sternberg, who is one of the prominent citizens
of Wichita, arrived here in time to assist in the building up of
the town, the growth of which has been phenomenal. He has
been one of the most interested witnesses of its progress
and development, and no unimportant factor in bringing it to
its present proud position. As a man of influence, public
spirit and liberal, this brief record of his history will be more
than ordinarily interesting to those who are identified in any
way with the business or industrial interests of one of the
leading cities of the West.”
In addition the biography noted that,
“Ninety brick stores in Wichita stand as monuments of
his skill and industry, besides numberless other
buildings, probably twice as many as have been
put up by any other contractor in the city.”
And as always, whatever the job, W. H. Sternberg was noted for work of the finest quality and expertise. Mr. Sternberg had a reputation for only hiring the best workers which sometimes was hard to do as the building boom created quite a shortage of workers, never-the-less, he was known for the fact that he and “his workmen should be persons of the highest skill and reliability.” In 1888, just two years after Sternberg personally built and constructed his own “showcase” mansion for himself, it was written up in the Portrait and Biographical Album as though it was undeniably a special residence in Wichita . . . .
“The residence of Mr. Sternberg, a handsome and costly
structure is beautifully located on a rise of ground
commanding a fine view of its surroundings. Within and
without it bears the evidence of refined tastes and ample
means, and is universally admired by all who have
occasion to pass it.”
Today, historical authorities who know the Sternberg Mansion lay accolades on it for its style, its authentic representation of Victorian influence, its extreme ornamentation and its first-rate quality throughout. It has appeared in numerous books, magazines and approximately 30 different newspaper articles over the past 125 years. The following is an excerpt from the City of Wichita’s Historic Landmark website (www.wichitagov.org/Residents/History/Listing51-60) about the Sternberg Mansion:
“William H. Sternberg, a prominent builder during Wichita's
economic boom days of the 1880's built his own resi-
dence in 1886, incorporating the Victorian penchant
for "gingerbread" millwork with this extravagantly gabled
Queen Anne-styled home. This house is one of a few
remaining homes of this elaborate style in the city and
is regarded as a quintessential product of the late
Queen Anne residential design and stylistic features.
From its native stone foundation to the four corbelled
brick chimneys with their decorative flues, the house
served as a showcase for the builder's trade including
colored glass window panes, stained glass windows in
the ornate stairway, several fireplaces and combination
gas/electric chandeliers. The two and one-half story
residence also has porches projecting from each of
the three main elevations.”
A quote in the Wichita Eagle-Beacon from Wichita’s Historic Preservation Officer, Marian Cone on April 10, 1977 stated about the mansion,
“The Sternberg Mansion…is unusual in that its
eclectic style incorporates all the elements Stern-
berg could fabricate…Sternberg used his own
home as a sort of ‘model home,’ a tangible ex-
ample of his expertise for prospective customers…
it is the only remaining Queen Anne-style man-
sion of its size in the city and it is a magnificent
example of architecture…The use of exterior
wood in patterns is most unusual as are the var-
iations of the use of colored and plain glass.
The leaded and stained glass windows on the
landing of the very ornate staircase are most
unusual in that they are of a geometric pattern
not common until the 1920s.”
Yet another article about the Sternberg Mansion in the Eagle-Beacon in November 16, 1976 states,
“The house, built in 1886 by William H. Stern-
berg, one of Wichita’s foremost builders during
the city’s early boom days, is the only remaining
Queen Anne style mansion of this size in the city.
It is seen as a magnificent example of Victorian
architecture, with most of the original detailing
and gingerbread on the exterior, a large walnut
staircase, wood paneling, and four fireplaces.”
And Mr. Sternberg located his first-rate mansion in Wichita’s finest district at the time (on Waco Avenue). Yet another article appearing in the Wichita Evening Eagle on August 3, 1933 comments,
“in the early ‘70s (1870s)…Waco avenue was
‘the elite’ street. Waco avenue in the very early
day was considered to be the best residential street
and many believed that when the city grew large it
would be the choice residence district of the city.”
Indeed, W. H. Sternberg was an extraordinary person in Wichita at a time when the rest of the country was curiously taking note of this fast-growing prairie town. His work as a contractor, his involvement in civic groups, his reputation for doing the highest quality work possible, his reputation for being hard-working and fair to all, his diligence to hire only the most highly skilled workers, his generosity to lesser causes and his pioneering ideas in building style and function bestowed to the people of Wichita and beyond an authentic Victorian legacy to be enjoyed by all for generations to come.
Your comments, thoughts, stories, ideas and/or additional information about this photo or this place are welcomed and appreciated!!
Sculptures and graffiti @ the Autonomous Factory Rog in Ljublana, a squated former bicycle factory being transformed into a center for sociocultural activities. atrog.org
Camera: Lomography Simple Use Camera. Film: LomoChrome Metropolis, home-developed with the Rollei Digibase C-41 kit.
After liquidating the Warsaw ghetto in 1943 the Germans retained a few thousand Jewish slave labourers, most of whom were imprisoned in the "Gęsiowka" concentration camp. On 27th July 1944 the Germans decided to evacuate the Gęsiówka camp to Dachau. More than 400 inmates, incapable of marching, were shot and only 350 were left behind.
The camp was liberated by Polish resistance fighters belonging to the Zośka battalion of the Armia Krajowa on 5th August 1944, during the Warsaw Uprising, freeing the remaining 350 Jewish prisoners (mainly foreigners from Czechoslovakia, France, Greece, Hungary, Belgium and Germany).
This marker at the intersection of Chłodna Street and Żelazna Street commemorates the site of the wooden footbridge over Chłodna Street which was built in January 1942 to re-connect the two parts of the Warsaw ghetto which were disconnected when this street was excluded from the ghetto in December 1941.
When Warsaw's German occupiers created the "Jewish Residential District" at the end of 1940, it initially included a narrow strip of land between Wronia and Żelazna streets which linked the "large ghetto" in the north to the "small" ghetto in the south. However, this meant that a short section of Chłodna Street (which was an important east-west transport corridor) became enclosed within the ghetto, which caused considerable traffic disruption in Warsaw over the next few months.
As a result, the Germans eventually decided to exclude Chłodna Street from the ghetto, thus dividing it in two. But doing so prevented the free movement of the Jews from one part of the ghetto to the other, which meant that it was still necessary to periodically stop the traffic on Chłodna Street to allow the inhabitants of the ghetto to cross.
This prompted the Germans to create the footbridge, which kept the traffic flowing and re-enabled free movement for the Jews, as well as allowing them a brief glimpse of the city outside the ghetto to which they no longer had access....
Warsaw ghetto boundary markers: en.wikipedia.org/wiki/Warsaw_Ghetto_boundary_markers
This marker at the corner of Żelazna Street and Grzybowska Street indicates the former location of one of the gates into the Warsaw ghetto....
Warsaw Ghetto boundary markers: en.wikipedia.org/wiki/Warsaw_Ghetto_boundary_markers
Bałuty | Aleja Pamięci Ofiar Litzmannstadt Getto
During World War II, the Radogoszcz station built originally between 1926 and 1937, was the main railway link of the Łódź Ghetto to the outside world, used predominantly for the Holocaust transports organized by German Nazis.
In 2004, the commemoration ceremonies on the 60th anniversary of the destruction of the Łódź Ghetto in 1944 and the departure of the last transport from Radegast spurred efforts to transform the former station into a Holocaust memorial. On August 28, 2005, a monument commemorating the Jewish victims who passed through the station was unveiled, based on design by Czesław Bielecki, and featuring the 140 metres Tunnel of the Deported. The renovated station building serves as one of the divisions of the Łódź Museum of Independence.
Koninklijk Theater Carré is een theater in de Nederlandse stad Amsterdam en is gelegen aan de Amstel. Het heette oorspronkelijk Circus Carré en is gebouwd in de classicistische stijl. Het werd eind 19e eeuw opgericht door Oscar Carré.
In Koninklijk Theater Carré presenteert IDFA op vrijdag 11 november en zaterdag 12 november 2022 de meest spraakmakende documentaires van het komende jaar!
Op vrijdag 11 november zijn de volgende documentaires te zien in Carré:
All the Beauty and the Bloodshed
Aanvang: 12:30 uur
De activist Nan Goldin en de kunstenaar Nan Goldin zijn onlosmakelijk met elkaar verbonden in deze openhartige documentaire over de baanbrekende Amerikaanse fotografe. Oscarwinnaar Laura Poitras (Citizenfour) interviewt Goldin over haar leven en drijfveren. Ze illustreert het persoonlijke verhaal van Goldin met haar foto’s en met beelden van de protestacties die ze organiseerde.
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Op zaterdag 12 november zijn de volgende documentaires te zien in Carré:
Bobi Wine: The People’s President
Aanvang: 20:00 uur
In Oeganda bestaat de democratie alleen op papier. De huidige president Yoweri Museveni is al sinds 1984 aan de macht en niet van plan op te stappen. Vanuit de Kampalese sloppenwijk Kamwokya komt echter een tegenbeweging op gang, gepersonifieerd door getto-popster Bobi Wine (echte naam Robert Kyagulanyi). Regisseurs Christopher Sharp en Moses Bwayo volgen Wine en zijn vrouw Barbie jarenlang en leggen zo zijn opmars vast. Die begint in 2014 met protestnummers tegen het regime en mondt in 2021 uit in een gooi naar het presidentschap.
Getto warszawskie / Warschauer Ghetto, Dezember 1940
de.wikipedia.org/wiki/Warschauer_Ghetto
"Warschau 1940 am Ghetto der Juden - Dezember 1940"
Le projet du sculpteur palermitain Mario Rutelli, achevé et inauguré en 1901, se composait de quatre figures féminines nues en bronze représentant des scènes de nymphes : la Nymphe des Lacs, reconnaissable au cygne qu'elle tient contre elle, la Nymphe des Fleuves, couchée sur un monstre aquatique, la Nymphe des Eaux souterraines, allongée sur un dragon, et la Nymphe des Océans3, en selle sur un cheval, symbole de la mer. Un grand jet d'eau tombe sur les statues, tandis qu'une nombreuse série de petits jets d'eau est dirigée vers l'intérieur.
En 1912, enfin, la fontaine a pris son aspect actuel, avec l'arrangement, dans le centre du groupe du Glauco, où un personnage masculin, nu, saisit un dauphin, symbolisant la domination de l'homme sur les forces naturelles.
The project by Palermo sculptor Mario Rutelli, completed and inaugurated in 1901, consisted of four nude female figures in bronze depicting scenes of nymphs: the Nymph of the Lakes, recognisable by the swan she holds against her, the Nymph of the Rivers, reclining on a water monster, the Nymph of the Subterranean Waters, reclining on a dragon, and the Nymph of the Oceans3, riding a horse, the symbol of the sea. A large jet of water falls on the statues, while a series of smaller jets of water are directed inwards.
Finally, in 1912, the fountain took on its current appearance, with the arrangement in the centre of the Glauco group of a nude male figure holding a dolphin, symbolising man's domination over natural forces.
Lago di Vico - Viterbo, Lazio, Italy - HDR
2011
Il Lago di Vico è un lago di origine vulcanica dell'Italia centrale situato nella provincia di Viterbo. Esso vanta il primato di altitudine tra i grandi laghi italiani con i suoi 507 m s.l.m. Per le sue peculiari caratteristiche naturali il comprensorio Vicano è incluso tra le aree di particolare valore naturalistico del Lazio e tra i biotopi di rilevante interesse naturalistico in Italia. È circondato dal complesso montuoso dei monti Cimini, in particolare è cinto dal Monte Fogliano (965 m) e dal Monte Venere (851 m), è parte della Riserva naturale Lago di Vico.
Secondo la leggenda ebbe origine dalla clava che Ercole infisse nel terreno per sfidare gli abitanti del luogo; nessuno riuscì a rimuoverla. Quando lo fece Ercole, sgorgò un enorme getto d'acqua che andò a riempire la valle formando così il lago.
Il lago di Vico è in realtà il risultato della attività vulcanica ed è quello che meglio ha conservato la caratteristica forma che ne testimonia l'origine. Il lago ha avuto origine circa 100.000 anni fa in seguito al riempimento della caldera vulcanica.
Lake Vico (Italian Lago di Vico) is a volcanic lake in the northern Lazio region, central Italy. It is one of the highest major Italian lakes, with an altitude of 510 m. Administratively, it is part of the municipalities of Caprarola and Ronciglione.
The lake is surrounded by the Cimini Hills, in particular by the Fogliano (965 m) and Venere (851 m) mountains. It is part of the Lake Vico Natural Reserve.
According to legend, the lake was created by Hercules, who defied the local inhabitants to wield his club. When he did this, a stream sprung up and formed the lake. The lake is in fact a result of the past volcanic activity of Lazio, originating some 100,000 years ago when an extinguished crater was flooded. Before the construction of a tunnel by the Etruscans, the lake was probably deeper than today, the Monte Venere constituting an island within it.
The lake is drained by the River Vicano.
The area is famous for its extensive beech forest, which is one of the most southerly in Europe. The elevation, plus the surrounding sides of the crater, create cool enough conditions for the continued survival of the trees. A large part of the northern side of the crater is a nature reserve to protect this forest.
source: Wikipedia
I took this shot last week while out looking for things to take pictures of urban decay for the group One Shot Weekly. I ended up submitting another one instead but thought i'd upload this one anyway! This is 'downtown' warrington in the getto yo.
All of my images are now available as limited edition prints at various sizes on the following materials:
- Canvas
- Aluminium
- High Quality Art Poster
Contact me at stephen@studio29design.co.uk or via my website at www.studio29design.co.uk for more info.
This was the original southwest corner of the ghetto. One of its 22 gates stood here and operated from 16th November 1940 to 20th January 1941....
Warsaw Ghetto boundary markers: en.wikipedia.org/wiki/Warsaw_Ghetto_boundary_markers