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Allendale North. Population 150.
This tiny settlement is famous for producing the grey marble used for the SA Parliament House. The hotel here dates from 1855. It was a busy hotel when dozens of bullock teams passed through every week. The town was laid out as a private town with 35 building blocks in 1859 by one of the business and civic leaders of Kapunda William Oldham. A flourmill was built by 1859 opposite the hotel. Opposite the hotel there is now a private agricultural museum with strippers; seed graders; balers; rakes; mowers; drills; seeders; ploughs etc all lined up. The town had a state school and several stores in its heyday. Near the settlement were several churches but the only one surviving is Allen’s Creek Lutheran Church which was built in 1907. It replaced an earlier Primitive Methodist Church built on that same spot on which it was erected in 1864. Within the town was a small Bible Christian Methodist church built in 1861. It was demolished long ago (around 1917) but a small cemetery remains. The first town school began operating in 1860 in Allendale. Around 1890 the state government built a fine brick and stone Gothic style school. It closed in the 1940s and is now a fine residence. Just beyond this little town is a lone grave in a large paddock. The grave is surrounded by a cast iron fence and one large Pepper Tree, Schinus mollis which keeps guard. The inscriptions reads Scotty’s Grave 1846, erected by subscription.
On December 21, 2019, I traveled to the Florida State Fairgrounds to visit the Annual Train Show held at the State Fair Grounds. At the show, there were several operating Layouts of various sizes & Gauges, along with Model Trains, Model Cars, Railroad Themed T-Shirts, Hats, Coffee Mugs and various other Memorabilia.
This particular photograph shows Numerous HO Scale Model John Deere Tractors !
Visited a garden in Sussex on my birthday. They had a mock up of a Victorian potting shed with lots of gardening implements.. Perfect for the theme!!
Farm implement near McBaine in rural Boone County Missouri by Notley Hawkins Photography. Taken with a Canon EOS 5D Mark IV camera with a Canon EF16-35mm f/2.8L II USM lens at ƒ/4.0 with a 52 second exposure at ISO 100. Processed with Adobe Lightroom 6.4.
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An abandoned farm implement near Overton in Cooper County Missouri by Notley Hawkins Photography. Taken with a Canon EOS 5D Mark III camera with a EF16-35mm f/4L IS USM lens at f.4.0 with a 1.3 second exposure at ISO 800 along with three Quantum Qflash Trios with red, green and blue gels. Processed with Adobe Lightroom 6.4.
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A maison deep in the Belgium countryside. Definately past it's best.
The travelling nun Tour. On Belgium derps with Dursty, John and Mike.
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Down at the Coffin Sandstone Ranch, I found what must have been a small horse drawn hay baler. It amazes me that the lugs look like paddles. I suppose that this small implement is not really heavy enough to do the job otherwise. Steel toes boots would be a good fashion accessory while operating the lever on the back. I wonder how well this could ever have worked at driving the mechanism or at producing bales of hay? It suggests that this was a cattle operation, maybe even a dairying operation. I seems to me that the milk operation in Old Mill Park was supposedly out east of town near here.
Our new governorial candidate was a dairy rancher. Bob Beauprez, lived at the trough of public handouts when he built his fortune on the public's milk price supports and now wants to get all the 47%ers (your benefits) off the public dole. I bet he wants his taxes cut (not yours), the exact opposite effect. RIGHT! Do you see any snakes in this picture?
Just north of the Coffin barn (background) and wagon wheel were these implements of some vintage. It seems they must have been everywhere around the valley. I thought that I would give you some shots of these very old horse-drawn farm machines. The implements collected along the fence south of the old original Coffin sandstone house. I managed to capture a crisp shot with the monopod. I usually make another snap at the slow speeds like in the window, if I am not confident. I set my record for slow speed shots on this day. I shot extras for safety. Anyway I suppose there are some who are interested.
Coffin joined Chivington and participate in the Sand Creek Massacre, an event that some silt heads defend to this day. He was determined to eliminate the Indian threat if not the tribes themselves. I wonder how he would stand on the illegal immigration and if he would put up bronze bilingual plaques on his old barn. Eddie here is praising Chivington, he created his own tribute, in a his own fashion! We need such tributes to Bob (I got mine) Beauprez. Colorado already has struggled its way out from the mire created by Ronnie 666, Boy George and the Pee-rublican 1%er idiots and should not slide back now.
The farm/ranch/museum was the eastern terminus of the St.Vrain Greenway Trail, on state highway #119 at Sandstone Park. Unfortunately, the floods scrubbed the south side of the pedestrian bridge, left above the iron wheel, over the river. and the path at Sunset Street so the trail is no longer continuous from the Vance Brand Airport, past Golden Ponds to the east end of town. For a while anyway. It will eventually be repaired but Longmont and Boulder County are self-insured so it will happen when it happens. On the up side, Wall Street doesn't make a dime on this setback. I created a Photo Set for the Coffin Farm/Ranch Agricultural Park.
These are well-known, but I don't think I've posted about them here yet :) These are used for quality-testing other Lego parts, and each one has a different standard connection type.
BrickArchitect has much more info on these:
brickarchitect.com/2021/lego-clutch-test-implements-bricks/
I'm still missing a couple, please let me know if you have any I don't and are willing to trade or sell :)
IMPLEMENTATION OF DUALITY IN THE CONCEPTACLES OF SOULS / THE FINAL / CHRISTELLE GEISER & AEON VON ZARK / NAKED EYE PROJECT BIENNE / ALTERED STATE SERIE / THE WEIRD DREAM / PORTRAIT.
H.E. Row Implement Company, 114-122 East 5th Street, Larned, Kansas. Both of these buildings appear vacant. Isaiah D. Row joined the Larned Implement Company in 1916 and became its president. I assume H.E. Row was one of his descendents.
With it now 5 months since lockdown restrictions were implemented due to COVID-19, airlines are very slowly starting to see demand returning although this maybe scuppered in part due to spikes in cases being reported.
British Airways unsurprisingly has been affected by COVID-19 which has seen the premature withdrawal of their entire Boeing 747-400 fleet as well as the solitary Airbus A318 no longer in use following the cancellation of their unique London City to New York-John F. Kennedy flight.
The saving grace has been cargo which has seen select Boeing 777-200ERs seeing their World Traveller seats removed for more cargo capacity, as well as their Boeing 777-200ER/300ERs, Boeing 787-8/9/10s and Airbus A350-1000s providing the lion-share of long-haul flights, with Boeing 787-8s making appearances on European short-haul flights in order to ensure social distancing is complied with.
Very recently, British Airways has published its upcoming W20 schedule which sees considerable amount of changes, taking into consideration Boeing 747-400s no longer form their long-haul network and London Gatwick long-haul flights slowly being reinstated.
Given the huge amount of changes, this is the last of three separate posts...
As per Airline Route, here are the following changes which are heavily subject to change effective 26th October 2020 unless stated otherwise:
-Philadelphia: Overall frequency reduced from 12 weekly to daily, with BA68/69 cancelled. BA66/67 continues to operate daily utilising Airbus A350-1000s replacing Boeing 747-400s.
-Phoenix-Sky Harbor: BA288/289 reduced from daily to 5 weekly flights utilising Boeing 787-9s.
-Pittsburgh: 4 weekly flight (BA170/171) cancelled.
-Rio de Janeiro-Galeão: BA248/249 reduced from daily to 4 weekly flights utilising Boeing 787-8s.
-San Diego-Lindbergh Field: BA272/273 reduced from daily to 5 weekly flights utilising Boeing 787-9s instead of Boeing 747-400s.
-San Francisco: Overall frequency reduced from twice daily to daily, with BA286/287 cancelled. BA284/285 remains daily utilising Boeing 777-300ERs instead of Boeing 747-400s.
-San Jose-Norman Y. Mineta: BA278/279 reduced from daily to 4 weekly flights utilising Boeing 787-9s.
-Santiago-Arturo Merino Benítez: BA250/251 reduced from 5 to 4 weekly flights utilising Boeing 787-9s.
-Seattle-Tacoma: Overall frequency reduced from 10 weekly to daily, with BA52/53 cancelled. BA48/49 continues to operate daily utilising Boeing 787-10s instead of Boeing 777-200ERs.
-Seoul-Incheon: BA17/18 reduced from daily to 5 weekly flights utilising Boeing 787-8s.
-Shanghai-Pudong: Overall frequency reduced from 10 weekly to daily, with BA160/161 cancelled. BA168/169 remains daily utilising 3-class Boeing 777-200ERs.
-Singapore-Changi: BA11/12 continues to operate daily utilising Boeing 777-300ERs instead of Airbus A380s. BA15/16 cancelled until 14th December 2020.
-Sydney-Kingsford Smith via Singapore-Changi: BA15/16 cancelled until 14th December 2020; will return with daily operation utilising Boeing 777-300ERs.
-Tel Aviv-Ben Gurion: Continues to operate twice daily; BA162/163 utilising Boeing 787-9s instead of 3-class Boeing 777-200ERs; and BA164/165 utilising Club Suite 4-class Boeing 777-200ERs instead of old 4-class Boeing 777-200ERs.
-Toronto-Pearson: Continues to operate twice daily; BA92/93 utilising 5 weekly Boeing 787-10s and twice weekly Boeing 787-9s instead of Boeing 787-8s; and BA98/99 utilising Boeing 787-9s instead of Boeing 787-8s.
-Vancouver: BA84/85 continues to operate daily utilising Boeing 777-200ERs instead of Boeing 747-400s.
-Washington-Dulles: Overall frequency reduced from twice daily to daily, with BA216/217 cancelled. BA292/293 continues to operate daily utilising Airbus A350-1000s instead of Boeing 747-400s.
Once again, the changes are noticeable, with those which featured multiple frequencies having had around 50% slashed off as British Airways does not expect demand to return for the next 2-3 years.
Currently, British Airways operates 32 Boeing 787s, which includes 12 Boeing 787-8s (one currently in short-term storage), 18 Boeing 787-9s (one in long-term storage awaiting new Rolls-Royce engines) and 2 Boeing 787-10s. British Airways have 10 Boeing 787-10s on-order.
Zulu Bravo Kilo Mike is one of 18 Boeing 787-9s operated by British Airways, delivered new to the flag-carrier on lease from Jackson Square Aviation on 28th July 2016 and she is powered by 2 Rolls-Royce Trent 1000 engines.
Boeing 787-9 Dreamliner G-ZBKM on final approach into Runway 09L at London Heathrow (LHR) on BA292 from Washington-Dulles (IAD), Virginia.
An ungeared farm implement this time... but was this machinery used during the Spanish Inquisition? Inquisitive minds need to know. This harrow was a champeen at busting clumps. But mind the warning, never drink or smoke and drive lest you fall off the tractor while dragging the harrow behind. Boy, you would squirt out all over. The shadows make it look much more demonic than it seems.
April marked the opening weekend of the Lohr/McIntosh Agricultural Heritage Center and I decided to travel the access path to Mac Lake... but then turned to snag something from the implements on the grounds for the gear heads. I got hung up with my sidetrack project that day. I ought to go out and look for more. This implement is pretty old, judging from the iron castings and spoke construction.
Highway #66 seemed overloaded with early spring travelers to the hills, probably not knowing summer might not arrive until July in Rocky. There are several exhibits inside the red Dickens barn waiting for momma's explanations to the kiddies. All they want is a cool soda pop as long as they have to walk. Sunday offered them a look at a new lamb. Careful, the chickens and bunnies were under foot; a delight to the kiddies no doubt.
The reign of terror by the Pseudo Communist dictator Pol Pot (1975-79) has dragged the country many years backward as he ordered a genocide, killing all intellectuals, writers, poets, doctors, engineers and the families of all the elite. He closed down all schools and Universities and converted them into prisons, concentration camps and torture houses. Pol Pot was 100 times as cruel as Hitler, but Western media underplayed the genocide probably because they had interest in arms trade wherever there is a strife or discord. This museum houses the skulls, bones and killing implements unearthed from one of the killing fields in Phnom Penh the capital city.
Farm Implement in a field in Newark valley, Nevada. Photographed with Zorki 4K using Industar-50 f:3.5 lens. Kodak Ektar 100 35mm film.
The Emerson-Newton Implement Company Building is located in downtown Minneapolis, MN.
The building is united under a common cornice with the Advance Thresher Building and appears to be a single structure.
The Emerson-Newton Building was built in 1904 and has seven floors. The Advance Thresher Building was built in 1900 and has six floors.
The architecture of the buildings was influenced by Louis Sullivan and are decorated with terra cotta details.
First Aberdeen implement fare revisions from today which see fares for those paying on bus or paper passes increase whilst those who purchase m-tickets will see the price remain or reduce. The company is also pushing contactless payment as an alternative believing that contactless and m-tickets are the key to cutting boarding time and speeding up journeys.
Enviro500 38203 climbs Scotstown Road with full contactless branding.
From First website:
BUS CUSTOMERS URGED TO SWITCH TO MOBILE TICKETS FOR BEST VALUE FARES
First Aberdeen has announced that some of its fares will be changing from Sunday 5th August 2018, but tickets bought via the First Bus mTickets app will be frozen or reduced to their 2017 price; offering customers the best value fares. Click here to view full details.
The changes will impact most tickets purchased on-bus and through PayPoint, but the bus operator has worked hard to keep any rises to a minimum and is urging customers to switch to mobile ticketing, for the best value fares available. For example;
The FirstWeek ticket will cost £18 if purchased from the driver, but a reduced price of £15.50 is offered when purchased in advance through the mTickets app.
First Aberdeen is also reducing the price of some of its most popular multi-journey products such as the day, monthly or five single tickets package when purchased via the mTickets app.
The majority of student ticket prices have been frozen on the mTickets app to allow students to plan and budget for their travel during term time.
First Aberdeen reports that sales of tickets via cashless methods, including mTickets and contactless, have more than doubled over the last year, and the local bus operator is now encouraging more customers to switch from cash to cashless payment methods, to help speed up boarding times. It is confident that journey times will improve if the trend of more customers using its mTickets app continues, as research* by First Bus has highlighted that boarding times would be 75 per cent faster, if customers switched from cash to mTicket.
Graeme Macfarlan, Commercial Director at First Aberdeen, said: “We generally need to review our fares each year to ensure we meet the rising costs that we face as a business, but we have worked hard to keep any increases to a minimum with ticket prices last reviewed in April ‘17.
“Travel by First Aberdeen offers great value for money and we continue to offer a lower price for most tickets purchased via the First Bus mTickets app, in comparison to tickets bought from the driver, so that we can encourage people to switch and speed up their boarding time. The exciting new First Bus Unlimited ticket also allows customers to pay a monthly direct debit for unlimited bus travel across their chosen network via the mTickets app; making regular bus travel more convenient than ever before.
“Our Aberdeen operation has seen a significant rise in ‘smart’ payments in recent months, with over 70 per cent of our customers now using a ‘cashless’ method. We are working hard to encourage more customers to convert to using mTickets or contactless, as this will have a further impact on reducing boarding times and will help us in the battle to speed up people’s journeys.”
“Only he can understand what a farm is, what a country is, who shall have sacrificed part of himself to his farm or country, fought to save it, struggled to make it beautiful. Only then will the love of farm or country fill his heart.”
Antoine de Saint-Exupery (French Pilot, Writer and Author of 'The Little Prince', 1900-1944)
An abandoned farm implement near Overton in Cooper County Missouri by Notley Hawkins Photography. Taken with a Canon EOS 5D Mark III camera with a EF16-35mm f/4L IS USM lens at f.4.0 with a .5 second exposure at ISO 800 along with three Quantum Qflash Trios with red, green and blue gels. Processed with Adobe Lightroom 6.4.
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©Notley Hawkins
A John Deere 9670 STS with farm implement near McBaine in rural Boone County Missouri by Notley Hawkins Photography. Taken with a Canon EOS 5D Mark III camera with a EF16-35mm f/4L IS USM lens at f.4.0 with a 126 second exposure. Processed with Adobe Lightroom 5.7.
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©Notley Hawkins
In the late 1960s, around the time the Transport Act of 1968 was being implemented along with various PTAs and PTEs, there was a flurry of activity in Liverpool, backed by the City Council, to develop a transport strategy for the city and the soon to be formed Metropolitan County of Merseyside. One key component of this was the development of sections of underground railways in Liverpool city centre that was designed to utilise existing, mostly third rail electrified, railways that would allow for two main outcomes.
Firstly, better penetration of the central area than the existing lines could offer - most notably in the case of Exchange station that was arguably on the northern fringe of the centre by building the 'Link' line from Moorfields through Central and on to the Garston lines. This cleverly made use of some tunnel sections that the 'Loop' line would free up as we shall see.
Secondly to improve capacity on the existing 'Wirral lines' that, using the original Mersey railway tunnel, terminated in a reversing tunnel at Central station. This was to be achieved by a single line 'loop' via Moorfields, Lime St and back to Central, that allowed 'through running' as well as better connections and that was complemented by a new birrowing junction to segregate the running lines under Birkenhead at Hamilton Square.
Backed by the DoE and the PTE the British Railways Board undertook the works for both schemes and work started in c1972 and mostly completed by 1977. Sadly, two other components of the wider scheme, the Edge Hill spur and the Outer Loop railway, were cancelled leaving just the third rail operated Wirral and Northern lines of today - with the City line out on something of a limb in many senses.
The network created by these works has been expanded, with some extensions and new stations, although some of the wider ambitions seen in these three publications are still discussed to this day.
This is the 'glossy' "Merseyside's new railways" that is undated but that I suspect I picked up c1975. Nor only does it show the main components of the scheme but it also, interestingly, gives some indication of the look and feel of the new tunnelled underground stations and platforms, along with an appearance of potential new rolling stock that looks a bit like the BR "PEP prototype units. The propsoed architectural finishes are very 'of their time' but show possible use of BR's 'corporate identity' in new sub-surface stations.
This leaflet was issued by BR and Merseyside Transport.
During the depression, money was hard to come by, and most people had to barter (trade) what goods and services they might have to get food and survive. Building materials back then were commonly Wood products, as metals were expensive, and later used in WW-II.
This was a typical shed/building that was built and used in the 40's-50's to store farm tractors and implements to keep them out of the weather and provide a comfortable place to work and do repairs.
Many of these old building have been left to the elements and have or are falling down. This one is still in fairly good condition, and was found along side the highway ;-}}
©2011 Ray Hanson All Rights Reserved.
Copying, Printing, Downloading, or otherwise using this image without my expressed written permission is a violation of US and International Copyright Laws. If you would like to use/purchase this image please contact me via Flickr Mail.
Kinkaku-ji (金閣寺, literally "Temple of the Golden Pavilion"), officially named Rokuon-ji (鹿苑寺, literally "Deer Garden Temple"), is a Zen Buddhist temple in Kyoto, Japan.[2] It is one of the most popular buildings in Japan, attracting many visitors annually.[3] It is designated as a National Special Historic Site, a National Special Landscape and is one of 17 locations making up the Historic Monuments of Ancient Kyoto which are World Heritage Sites.
The Golden Pavilion (金閣 Kinkaku) is a three-storey building on the grounds of the Rokuon-ji temple complex.[11] The top two stories of the pavilion are covered with pure gold leaf.[11] The pavilion functions as a shariden (舎利殿), housing relics of the Buddha (Buddha's Ashes). The building was an important model for Ginkaku-ji (Silver Pavilion Temple) and Shōkoku-ji, which are also located in Kyoto.[2] When these buildings were constructed, Ashikaga Yoshimasa employed the styles used at Kinkaku-ji and even borrowed the names of its second and third floors.[2]
Architectural design
The pavilion successfully incorporates three distinct styles of architecture, which are shinden, samurai and zen, specifically on each floor.[8] Each floor of the Kinkaku uses a different architectural style.[2]
The first floor, called The Chamber of Dharma Waters (法水院, Hō-sui-in), is rendered in shinden-zukuri style, reminiscent of the residential style of the 11th century Heian imperial aristocracy.[2] It is evocative of the Shinden palace style. It is designed as an open space with adjacent verandas and uses natural, unpainted wood and white plaster.[8] This helps to emphasize the surrounding landscape. The walls and fenestration also affect the views from inside the pavilion. Most of the walls are made of shutters that can vary the amount of light and air into the pavilion[8] and change the view by controlling the shutters' heights. The second floor, called The Tower of Sound Waves (潮音洞, Chō-on-dō ),[2] is built in the style of warrior aristocrats, or buke-zukuri. On this floor, sliding wood doors and latticed windows create a feeling of impermanence. The second floor also contains a Buddha Hall and a shrine dedicated to the goddess of mercy, Kannon.[8] The third floor is built in traditional Chinese chán (Jpn. zen) style, also known as zenshū-butsuden-zukuri. It is called the Cupola of the Ultimate (究竟頂, Kukkyō-chō). The zen typology depicts a more religious ambiance in the pavilion, as was popular during the Muromachi period.[8]
The roof is in a thatched pyramid with shingles.[12] The building is topped with a bronze hōō (phoenix) ornament.[11] From the outside, viewers can see gold plating added to the upper stories of the pavilion. The gold leaf covering the upper stories hints at what is housed inside: the shrines.[9] The outside is a reflection of the inside. The elements of nature, death, religion, are formed together to create this connection between the pavilion and outside intrusions.
Garden
The Golden Pavilion is set in a Japanese strolling garden (回遊式庭園 kaiyū-shiki-teien, lit. a landscape garden in the go-round style).[6] The location implements the idea of borrowing of scenery ("shakkei") that integrates the outside and the inside, creating an extension of the views surrounding the pavilion and connecting it with the outside world. The pavilion extends over a pond, called Kyōko-chi (鏡湖池 Mirror Pond), that reflects the building.[5] The pond contains 10 smaller islands.[8] The zen typology is seen through the rock composition; the bridges and plants are arranged in a specific way to represent famous places in Chinese and Japanese literature.[8] Vantage points and focal points were established because of the strategic placement of the pavilion to view the gardens surrounding the pavilion.[10] A small fishing deck (釣殿 tsuri-dono) is attached to the rear of the pavilion building, allowing a small boat to be moored under it.[5] The pavilion grounds were built according to descriptions of the Western Paradise of the Buddha Amida, intending to illustrate a harmony between heaven and earth.[6] The largest islet in the pond represents the Japanese islands.[5] The four stones forming a straight line in the pond near the pavilion are intended to represent sailboats anchored at night, bound for the Isle of Eternal Life in Chinese mythology.[5]
The garden complex is an excellent example of Muromachi period garden design.[11] The Muromachi period is considered to be a classical age of Japanese garden design.[10] The correlation between buildings and its settings were greatly emphasized during this period.[10] It was a way to integrate the structure within the landscape in an artistic way. The garden designs were characterized by a reduction in scale, a more central purpose and a distinct setting.[13] A minimalistic approach was brought to the garden design, by recreating larger landscapes in a smaller scale around a structure.
I attended the "Antique Flywheel Engine & Tractor Show" sponsored by the "Florida Flywheeler's Antique Engine Club" located at 7000 Avon Park Cutoff Road, Fort Mead, FL 33841 on Friday February 21, 2020.
This Photograph shows some sort of (I would Guess a Plow) where the (attachment(s) are Missing), which is on Display at the Antique Flywheel and Tractor Show, Fort Meade, Florida.
IF ANYONE CAN Confirm the Identity of this Farming Implement, I would greatly appreciate any help I can get. This would allow me to update my narrative and I'd certainly add a CREDIT Line to Identify that person in my Narrative !
Several other shows/exhibitions were as follows: Functioning Sawmill Demonstrations, Running 1914 400 HP Snow Making Machine Demonstration, Antique Construction Equipment Demonstrations, Model-T Put-Together Demonstration, Daily Antique Tractor Pulls, Kids Pedal Tractor Pulls on Friday & Saturday, Daily Antique Car Parade, Daily Antique Tractor Parade, Florida Flywheeler Antique Engine Club Gift Shop Opened, Huge Flea Market & the Antique Village (was opened) to Wander Through.
This Place is HUGE ! - - One of the attendants told me it is approx 480 ACRES !
Light & Life Christian Traveller Festival Oakham Half Visitors Had Departed By Lunch Time Leicestershire Police assisting traffic, Church Stewards and Volunteer Travellers implementing waste management litter picking, in and outside, the county showground, martinbrookes.blogspot.com/2021/06/life-and-light-mission...
At last.
The company turnaround of the Appaloosa Motor Company has been widely publicized in the past eight months, from a fledgling customs and ordered production company to a rising star in the automotive world - and a changed name. After the unveiling of the Harpoon, Spearer and Catfish automobiles, it was certain that Appaloosa, now Harrier, would not have the funds for extra products. For months rumors have been circulating about a possible hypercar from Harrier Motor-Cars, to compete with the world's hypercars: specifically, the 2213 Rogue Blazefury. The Harrier H-Fighter concept car only served to advance such rumors, and the hypercar takes some design cues from it.
And now, at the 2213 Alpina Motor Show, Harrier has unveiled the newest fruit of its labor: the 2213 Harrier Varsovian, an obscene 23rd-century missile for the road. The design was inspired by marine wildlife - Harrier is becoming well-known for its marine touches. Designer Raphy Granas describes his creation as a combination between an Angler fish, an Air Force spy plane and a pot of molasses spilling its contents on the counter.
The Varsovian is very high-tech, though none of this tech attempts to prohibit the driver from experiencing the automobile in full. The windshield is a touch-screen from the inside, and the spoiler is in form of the rear lights, which are retractable into the rear fenders. There are - widely disputed - rumors that there is even an optional spyplane-grade cloaking device for police evasion. The metaphorical price for this technology? A total weight of about five thousand pounds, a weight comparable to other vehicles in the compact class: the Asteroid Thundercarrier dump truck, for instance.
Perhaps the most interesting aspect of this pinnacle of engineering is the powertrain. What mechanism vibrates its lithe form? The answer is a tiny nuclear reactor, the vapor of which escapes through the sharp-looking exhaust at the back, the nozzles of which are adjustable. There is a very small electrical engine for vehicle use in traffic. Many have experimented with nuclear power in car, but Harrier is the first in history ever to implement it in a production vehicle*. More details on the nuclear power-plant and its specifications are sure to arrive shortly.
*Harrier Motor-Cars is currently fighting a vigorous court case against the Federal Highway Administration, National Highway Traffic Safety Administration, and other agencies of the United States Department of Transportation, striving to legalize the use of the Harrier Varsovian on public roads. No damn you, it's not road legal. Wait a while.
Aboriginal Occupation:
Prior to European settlement the Blue Mountains was the home of many autonomous Aboriginal groups who lived and moved around the region. There are six distinct tribal groups who have traditional rights and custodial responsibilities for the indigenous heritage of the region that are: the Darug, the Gandangurra, the Wanaruah, the Wiradjuri, the Darkinjung and the Tharawal.
Evidence of Aboriginal occupation and custodianship of the country within Blue Mountains National Park dates back to possibly 22,000 years B.P. The Blue Mountains contain a large number of significant sites which capture the relationship that Aboriginal people have had with country for thousands of generations.
The rich and varied evidence of traditional occupation of the reserves include archaeological deposits in open sites and rock shelters, stone implements, factory sites for tool production, axe grinding grooves and extensive art-work, including drawn, painted and stencilled images. Tracks and figurative motifs dominate the art sites. Motifs include anthropomorphic figures, animals, hand stencils and tracks of birds and kangaroos.
European Settlement:
Katoomba initially developed in a fashion quite distinct from the other Blue Mountains townships along the 1860s railway line. From 1874 onwards trains halted at The Crushers, in the vicinity of the later station, not for passengers but for stone quarried near the later court-house.
The first settlement in the area was two kilometres to the south-west of the railway, near Katoomba Falls, where John Britty North opened a coal-mine complex in the Jamison Valley in 1878.
There was a village near the top of Katoomba Falls and another village grew up deep down in the valley itself close to the base of the Falls, just below where the Scenic Railway ends today.
North built a private tramway from the top of the incline near Katoomba Falls to join the main western railway line at what is now known as Shell Corner, a kilometre west of the present station.
All this diverted attention away from the current core area of the urban development, the area on either side of Katoomba Street, that essential north-south connecting link between the railway and Echo Point.
This area around Katoomba Street was within the large land-holding of James Henry Neale, a master butcher and Sydney politician, who had been a member of the Legislative Assembly from 1864 until 1874. In 1877 Neale built a country retreat called Froma on what is now the new Cultural Centre site on the east side of Parke Street.
In 1881 Neale sold his interest in central Katoomba, including the house, to Frederick Clissold. Clissold, a wool-merchant resident in the Sydney suburb of Ashfield, immediately sub-divided the land, creating and naming the modern street system.
Parke, Katoomba and Lurline Streets were created, running north-south, while Waratah Street ran east-west and defined the southern edge of the initial commercial centre of the new town. The Great Western Highway and the railway defined the northern limit.
Katoomba changed rapidly; it started as only two industrial halts on the railway, with stone for railway works at one and at the other a private tramway leading down to a coal-mine and two mining villages.
Then it became a characteristic Mountains town relating to a proper railway station, as the 78 allotments created in 1881 were, over two decades, purchased and developed.
During this period from the 1880s up to the First World War, the whole area below the Carrington, quite close to the railway station, along Katoomba, Parke and Lurline Streets, became a busy commercial precinct, dominated by shops, services and a cluster of guesthouses, tempered by a remarkable number of churches (Anglican, Methodist, Presbyterian, Catholic and Congregationalist) along with their halls and manses.
The influx of seasonal tourists and the increasing number of permanent residents who serviced the tourists created a need for local services, so the area between the station and Waratah Street gradually filled up with shops, restaurants, cafes, two theatres and public utilities, such as the post office and the public school.
There was still a lot of free space in 1906, captured in a marvellous photograph showing south Katoomba from the most spectacular of the early consolidations, the Great Western Hotel of 1882, better known as the Carrington, on its spacious hill-top site. Froma was still there in 1906, just below the Carrington although it was demolished six years later.
Between Froma and Katoomba Street, the site of the later Paragon was a large, empty space, which remained undeveloped until 1909, when William Newlind built four shops on the vacant Katoomba Street block.
Newlind had built the four shops as a speculation and three of them were soon bought as an investment by the Anglican rector of St Hilda's, just across the street. These were all retail shops until 1916 when one was converted into refreshment rooms, called The Paragon.
This was just at the beginning of a new phenomenon in Australian country towns, the Greek cafe. From the early 1910s onwards a number of emigres from Greece, often with experience of the United States, created a new cafe experience in cities and towns throughout Australia.
The Greek cafe was 'essentially an evolutionary amalgam' of the Greek coffee-house and the American-oyster saloon and soda parlour with the familiar fare of the existing British-Australian steak-houses. The names of the cafes, Californian, Golden Gate, Niagara on the one hand and Acropolis, Parthenon, Paragon on the other, reflected the shared inheritance.
In Katoomba a drapery store built at 92 Bathurst Road near the station about 1905 was converted in 1917 to a Greek cafe called the Acropolis and soon rechristened the Niagara to emphasise its trendy American drinks.
This is the Australian environment which a fifteen-year-old Greek boy called Zacharias Theodore 'Jack' Simos found when he migrated from Greece in 1912. He found work in Greek cafes in Sydney, Windsor and in Tenterfield.
By 1916 he was in Katoomba, where in a brief partnership with Demetruos Sophios he became a fruiterer and a confectioner, opening his own premises in Katoomba called the Paragon Cafe and Oyster Palace.
The Paragon and adjoining shopfronts (63-69) Katoomba Street) is located on Lot 21 of land in Katoomba owned by James Neale and subdivided in the 1880s. The lot was purchased by William Newlind in 1886. Four shops, nos. 63 to 69, were built on Newlind's land in 1909. The three to the north, nos 63 to 67, including the future Paragon, were all owned in 1911 by the Rev. John Russell, who was the Anglican rector of St Hilda's across the street from 1902 until 1913. Since Russell did not own the fourth shop, it is likely that he was not responsible for building on the site but merely bought existing new shops as an investment. He retained ownership of the properties until 1924. From this date Russell maintained only one investment property in Katoomba: No.100-102 Katoomba Street. It is believed the income from the shops was an important part of Russell's income, particularly after Russell went to Sydney as senior curate to the rector of St James.
Russell leased the shops as three separate entities. By 1914 No. 63 was leased by a jeweller, L.P. Goldstein. He bought the freehold from Russell in 1924. The shop was later occupied by another jeweller, H. Lloyd. Jewellers have continued to occupy the shop for most of its history. No. 65 was leased by Russell to a series of shopkeepers - Sullivan in 1914-6 and Dagon from 1917 to 1919. By 1923 he had leased it to Zacharias Simos as refreshment rooms called The Paragon, and in 1924 Zacharias Simos purchased both nos. 65 and 67 from Russell.
Simos was a Greek migrant who had arrived in Sydney early in the century. He migrated to Sydney in 1912 and like many of his countrymen worked in Greek cafes and other food related businesses in NSW. His arrival in Sydney predated the post world war one arrival of many young men from countries such as Greece and Italy after the United States began limiting the numbers of southern Europeans it allowed into the country. Many of the young men paid their way to Australia and found work in the food industry.
Zacharias Simos worked in Sydney and Tenterfield for the first four years before setting up a business at Windsor where he sold ham and eggs next door to a skating rink and sold vegetables door to door. During this time he saved his money and learned English sufficiently well to establish himself as a confectioner in Katoomba. During this time he worked as a caterer. Zacharias Simos was naturalised in 1921 and bought a commercial property at 110-114 Katoomba Street owned by Miss Kelly and previously run by a Mrs Banning. Three years later he purchased the refreshment rooms at 65 and 67 Katoomba Street.
In 1925 Zacharias Simos employed H. & E. Sidgreaves, the shop-fitting firm responsible for the design of Washington H. Soul's Sydney pharmacies, to convert the interior of the cafe premises on classical (Art Deco) lines. A soda fountain, of the finest Moruya marble, and booths of Queensland maple were installed as were the timber-panelled walls decorated with alabaster friezes depicting classical Greek figures. The fine and intact leadlight shopfronts which characterise the building were probably included in this work and have become an important part of the architectural character of Katoomba Street. The street contains many other fine examples of glazed shopfronts from the 1920s and it has been suggested that together they may be the largest extant collection of 1920s leadlight shopfronts in NSW and comparable to Canowindra in the central west of NSW.
Upstairs in 1925 was the industrial side of the enterprise, not open to the public. There was a bakehouse, a large refrigeration plant for the ice-cream made on the premises and a new 'sweet factory', with a gas boiler and a forced-air draught for cooling the chocolate.
The technology of the chocolaterie is well documented, although the equipment was dismantled a decade ago. The chocolate-making equipment is still stored upstairs and on April 10, 2013 members of the Australian Society for the History of Engineering & Technology (ASHET) committee inspected and photographed the various items.
This industrial dimension to the Paragon is of exceptional importance. Chocolate-making at the Paragon had been of a high order ever since Zacharias Simos had been joined by his two brothers: George was a master confectioner and they were trading as Simos Brothers by 1926.
Originally, Zacharias Simos lived above the shop, in that part of the upstairs rabbit-warren overlooking Katoomba Street which was not used for making chocolates or for baking cakes.
The bakery and the chocolaterie which gave The Paragon so much of its distinction were located upstairs from the mid-1920s, so the products which gave the place such well-deserved fame were made on site.
The earlier chocolate-making machinery and some of the baking equipment was dismantled and stored in a short corridor upstairs about ten years ago, but a historic photograph at the Paragon today shows every item in use forty years ago.
The equipment has been assessed by members of Australian Society for the History of Engineering and Technology. It is striking how international it all is. The Simos brothers took some trouble to acquire the best available machinery. Small and Shattell Pty Ltd, Melbourne-based engineers who specialised in baking equipment, along with Star Machinery of Alexandria, are among the few Australian firms patronised.
A major French firm, Kstner frres of Lyon, had been making bakery equipment for the world for fifty years. There is also another piece of equipment from the firm when it was located not in Lyons but in Paris and Aubervilliers. America, with which the Simos had strong connections, was not overlooked. Metal piping was made by Walworth of Boston.
The confectionery equipment was made by the prestigious firm BCH. What became the major modern firm called BCH had originated in the mid-nineteenth century in the separate works of William Brierley, Luke Collier and Thomas Hartley. Luke Collier was a specialist confectioner from 1835; Brierley was a brass-founder, specialising in confectionery work from 1844 onwards; and Hartley was also an independent specialist in chocolate-making. The Brierley and Collier firms amalgamated in 1913 and this firm joined forces with the Hartley family in 1924. Operating out of Rochdale in England the Brierley-Collier-Hartley firm went from strength to strength and finally became BCH. Simos seems to have ordered this equipment from BCH in the decade after the final amalgamation of 1924.
In 1929 Zacharias returned to Kythera and spent a year in Europe observing trends in confectionery manufacture and cafe culture. He also arranged to import new ingredients and learned about presentation and packaging. On Kythera he met and courted Mary (Maria) Panaretos (1912-2001). She had been born on 20 June 1912 at Elkton, Maryland, United States of America, where her parents were cafe proprietors who regularly spent the summer months on Kythera. Mary and Zacharias married there on 30 January 1930 and reached Katoomba later that year.
Zacharias Simos and his wife set about turning the Paragon into a high class refreshment room. The popular Katoomba landmark Orphan Rock became his trademark, an image of the 'stand-alone' excellence to which he aspired. Mary became an identifiable figure at the Paragon. She was generous and cultured, and always on hand to welcome visitors and press chocolates into the hands of children.
Zacharias also began planning two large extensions at the rear of his cafe: the banquet hall (1934), influenced by pre-Columbian decoration, and the blue room (1936), in 'ocean liner' style, with mirrored walls and sprung dance floor. The design of the 1925 and 1930s interiors has generally been attributed to Henry Eli White who was also responsible for buildings such as the Vanderbilt Flats in Elizabeth Bay and a variety of theatres throughout Australia. However, there has been some suggestion that some of the work at The Paragon may be attributed to George Newton Kenworthy. Some archived drawings show them as being produced in Kenworthy's office. This is supported by the fact that Kenworthy worked in White's office in the second half of the 1920s and opened his own office in the early 1930s. Henry White closed his practice in the early years of the 1930s and did not continue to practice architecture.
In the late 1930s Zacharias and Mary bought vacant land on what is now Cliff Drive down at Echo Point and in 1940 they commissioned G.N. Kenworthy, the architect of the State Ballroom in Sydney, who had also worked on the State Theatre, to design a Functionalist house, which they called Olympus. Despite some additions to the upper frontage in the 1980s, the house and its important outbuildings, (garage, pergola, summer-house, fuel store), have retained a great deal of integrity. This is the necessary corollary to the Paragon, blending perfectly with the developed facade of the famous cafe.
In the early post war years a decorative relief sculpture by Otto Steen depicting various characters from Greek mythology was installed in the Dining Room. He was a student of Raynor Hoff who created the sculptures for the ANZAC War Memorial in the Sydney. Steen worked with Hoff at the memorial. Steen's other decorative works include those in two major Sydney buildings in the 1930s - the Trocadero in George Street and the AWA Building in York Street. He was also responsible for the relief sculptures at Everglades, Leura. Steen is now considered one of the twentieth century's accomplished sculptors who made a significant contribution to NSW's interwar and post war heritage.
The Paragon gained a wide reputation. Its ice creams were originally hand churned and frozen with American ammonia freezing machines and sundaes blended with syrups and fruit ingredients, often specially imported. The art deco ambience attracted devoted customers. With the help of his brothers Peter and George, bread, cakes and pastries were manufactured on the premises, as well as chocolates and other confectioneries sold in exquisitely designed and coloured boxes. In this period the Blue Mountains was among NSW's most important holiday and recreation centres and Katoomba was a focal point of this activity. The Paragon also catered to more adult tastes and would later be described as one of the smartest cocktail bars in the art deco style in Australia.
The shop at number 69 was bought in the 1930s by Mary Simos so that the three shops, nos. 65, 67, and 69, were all in the Simos family control (Rate Books). The shop at no.69 had a different owner when constructed in 1909, Reuben S. Hofman. Hofman appears to have used it as his own draper's shop. After his retirement, Hofman leased no.69 initially to E. Luce, also a draper, in the early 1920s, but it became a confectioner's in the mid-1920s, competing with the Paragon.
The Simos' primary residence was Olympus; they also maintained a home in Sydney at Centennial Park. Zacharias devoted many hours to his garden - meaning the Paragon always had fresh flowers - loved music, played the violin and was a keen fisherman and backgammon player. Enjoying travel, he visited Europe, the U.S.A. and Kythera several times. He was a foundation member of Katoomba Rotary Club, which for many years held its meetings in the Paragon.
Zacharias died on 15 November 1976 in Royal Prince Alfred Hospital, Sydney, and was buried in Randwick cemetery following a funeral at St George's Greek Orthodox Church, Rose Bay. His wife, carried on as manager of The Paragon until 1987. The cafe was sold in 2000. Mary Simos died on 15 May 2001 at Rose Bay and was buried beside her husband.
The tea-room has remained as a remarkably intact example of Interwar Art Deco.
Robyn Parker has been the proprietor of the Paragon since May 2011 and is working to regain its original splendour. She played an important role in having the site listed on the NSW State Heritage Register.
H. & E. SIDGREAVES
Harry and Ernest Sidgreaves established a modest retail shopfitting workshop in Sydney's Surry Hills in 1917 and were later joined by their father John and youngest brother Harold. They moved their factory to Redfern in the early 1920's where the company carried on business until 1984 when it relocated to Silverwater. Sidgreaves undertook much shopfront construction during the interwar period in Sydney and surrounds. This included one of their most celebrated early works, a streamlined shopfront for G. A. Zink and Son in Oxford Street, East Sydney, 1938.
In 2005, the Company relocated to larger and more contemporary offices in Annandale where it remains today. Throughout the 90+ year history of the Company, Sidgreaves has specialised in all areas of interior refurbishment from major department stores, specialty retailers, financial institutions and commercial offices through to hotels, clubs and pharmacies. In the 21st century Sidgreaves ranks many national and international companies amongst its clients in Australia including Burberry, Versace, Jimmy Choo, Saba and Sheridan.
OTTO STEEN
Otto Seen studied at the Royal Academy, Copenhagen under Utzon Frank 1923-1925. He studied under Raynor Hoff at East Sydney Technical College from 1928-1930 and worked as Hoff's assistant on the ANZAC memorial. As Hoff's student, Steen was part of perhaps the only instance of coherent (European) group production of sculpture in Australia. The unity of style and subject matter of the sculptures created by Hoff and his students was so great that the works have been designated as part of 'the Hoff School". The theme of Greek mythology in Steen's work at The Paragon reflected the influence of his work as a member of the Hoff School with its classicist tendencies. It was a local decision made on behalf of the local community with input from appropriate experts. Steen completed reliefs at King George V Hospital in Sydney (1941) as well as those at the Trocadero, Sydney, 1936 (frieze), the AWA building, Sydney, 1939 (mosaic, relief), Everglades and The Paragon.
HENRY WHITE
Henry White was born in New Zealand. He established himself as a theatre architect in Christchurch from 1905. By 1915 he was building theatres in Australia, placing himself in an ideal position for the theatre boom of the 1920s. He adapted American architects John Eberson's 'atmospheric' style which was supposed to evoke an exotic garden or courtyard and used Spanish, Moorish, Venetian and Indian Motifs. His Sydney theatres included the Capital, the State Theatre, the St James (for the Fullers) and the Majestic (Elizabethan) at Newtown. He also designed the Bunnerong Power Station and the Civic Theatre and City Hall at Newcastle. The Depression marked the end of White's architectural career. He won a competition to design a college in Auckland but plans were shelved. He closed his office in favour of farming in New Zealand. The venture failed and he returned to Sydney in 1937. A number of commissions at this time failed to go ahead.
GEORGE NEWTON KENWORTHY
Like Henry White, Kenworthy was well known for his theatre architecture. Kenworthy's works include the Cremorne Orpheum and the Royal Hotel, Orange. He spent a period of time working in the offices of Henry White before branching out on his own.
Source: New South Wales Heritage Register.
The tools of the trade get bigger and shinier, more powerful, but still, the job is the same. Get the seeds in the ground, pray for good weather, enjoy the harvest, get it to market. These old implements are fascinating in shape, texture, colours, and man's ingenuity to invent and put them to use.
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