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Localized rain storm also showing the effect of altitude dependent wind shear over Bowen Island telephoto view from Volunteer Park in Vancouver.
I ran outside and snapped this photo. This is rain falling on our garden. It wasn't raining anywhere else, just there! I've seen this happen before.
© 2008-2010 Servalpe. Photos are copyrighted. All rights reserved. Pictures can not be used without explicit permission by the creator.
This is a re-edited version using Tonal Contrast and Glamour Glow effects with Color Efex Pro.
Localization:
Picture taken at Sun Life Stadium ( FL, USA)
The Miami Dolphins are a professional football team based in the Miami, Florida metropolitan area. They play home games at Sun Life Stadium, in the suburb of Miami Gardens. They are headquartered at the Miami Dolphins Training Facility in Davie, Florida. The Dolphins belong to the Eastern Division of the American Football Conference (AFC) in the National Football League (NFL). The Dolphins were founded by Joseph Robbie, and began play in the American Football League as an expansion team in 1966, an example of that seminal league's expanding the sport to areas that were not then represented. Miami joined the NFL as part of the AFL-NFL merger. The Dolphins are the oldest continuous major-league professional sports franchise in the state of Florida. (The first Florida sports franchise was the Miami Seahawks of the AAFC in 1946.)
The team made its first Super Bowl appearance following the 1971 season in Super Bowl VI, but lost to the Dallas Cowboys. In 1972, the Dolphins completed the NFL's first and only perfect season culminating in a Super Bowl win, winning all 14 regular season games, two playoff games and Super Bowl VII. The achievement became the fourth pro football team to accomplish the feat along with the 1937 Los Angeles Bulldogs (16-0-0, AFL), the 1948 Calgary Stampeders (14-0-0, CFL) and the 1948 Cleveland Browns (15-0-0, AAFC).
The 1972 Dolphins held the fourth perfect regular season in NFL history, but the other three teams were beaten in the NFL Championship game. The team also won Super Bowl VIII, becoming the first team to appear in three consecutive Super Bowls, and the second team (first AFL/AFC team) to win back-to-back championships. Miami also appeared in Super Bowl XVII and Super Bowl XIX, losing both games.
For most of their history, the Dolphins were coached by Don Shula, the most successful head coach in professional football history. His Dolphins teams posted losing records in only two of his 26 seasons with the club. Six future Hall of Fame members played for Miami during the 1970s, including running back Larry Csonka and quarterback Bob Griese. During the 1980s and 1990s quarterback Dan Marino became the most prolific passer in NFL history, breaking numerous league passing records. He led the Dolphins to five division titles, 10 playoff appearances and Super Bowl XIX before retiring after the 1999 season.
Exif Data:
Sony DSC-H5 @ 64 mm, f3.5. 1/200s , ISO800
Processing:
Lightroom for catalog > Color adjusments + Topaz Adjust and Detail + Radial Blur + Color Efex Pro + Noiseware + Sharpening at PS.
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© 2010 Servalpe. Photos are copyrighted. All rights reserved. Pictures can not be used without explicit permission by the creator.
Localization:
Picture taken in AZCA Business Area (Madrid, Spain).
AZCA, acronym for Asociación Mixta de Compensación de la Manzana A de la Zona Comercial de la Avenida del Generalísimo ("Mixed Association for Compensation of the A Block of the Commercial Area of the Avenue of Paseo de la Castellana), in Madrid (Spain)
It is the financial district in downtown Madrid between the streets Raimundo Fernández Villaverde, Orense, General Perón and Paseo de la Castellana. Its original conception (and its name) dates back to the "Plan General de Ordenación Urbana de Madrid", approved in 1946. The purpose of this plan was to create a huge block of modern office buildings with metro and railway connections in the expansion area of northern Madrid, just in front of Real Madrid stadium (currently named the Santiago Bernabéu Stadium) and beside the brand new government complex of Nuevos Ministerios. A botanical garden, a library and an opera house were also included in the plans, but these were never built.
The construction began in the 1970s after many delays. Nowadays some of the tallest and most beautiful modern Madrid skyscrapers are placed here. The most important are:
-Torre Picasso (157 m)
-Torre Europa (121 m)
-Banco de Bilbao (107 m)
-Torre Mahou (85 m)
-Banco Santander Tower
In February 2005, Windsor Tower (106 m) was destroyed by a fire.
During the weekend nights, the underground levels attract a Latino audience to the discos but they also have a reputation for gang violence.
In 2007, a new skycraper area was built farther north along Paseo de la Castellana, the CTBA, Cuatro Torres Business Area.
Exif Data:
Canon EOS 450D | Sigma 10-20mm f4-5.6 DC EX HSM @ 11 mm | f8, 72s, ISO 100
Picture from 1 exposure.
Processing:
Lightroom for catalog > Photoshop to create 2 layers: one for the sky and another one for the building. Silver Efex Pro for BW treatment + Noiseware + Smart Sharpen treatment at PS CS5.
Following, a text, in english, from Wikipedia the free encyclopedia:
Great Egret
For the similar Australasian species, see Eastern Great Egret.
The Great Egret (Ardea alba), also known as the Great White Egret or Common Egret or (now not in use) Great White Heron,[1][2] is a large, widely-distributed egret. Distributed across most of the tropical and warmer temperate regions of the world, in southern Europe it is rather localized. In North America it is more widely distributed, and it is ubiquitous across the Sun Belt of the United States and in the rainforests of South America. It is sometimes confused with the Great White Heron in Florida, which is a white morph of the closely related Great Blue Heron (A. herodias). Note, however, that the name Great White Heron has occasionally been used to refer to the Great Egret.
Description:
The Great Egret is a large bird with all-white plumage that can reach one meter in height, weigh up to 950 grams (2.1 lb) and a wingspan of 165 to 215 cm. It is thus only slightly smaller than the Great Blue or Grey Heron (A. cinerea). Apart from size, the Great Egret can be distinguished from other white egrets by its yellow bill and black legs and feet, though the bill may become darker and the lower legs lighter in the breeding season. In breeding plumage, delicate ornamental feathers are borne on the back. Males and females are identical in appearance; juveniles look like non-breeding adults. It is a common species, usually easily seen. It has a slow flight, with its neck retracted. This is characteristic of herons and bitterns, and distinguishes them from storks, cranes, ibises, and spoonbills, which extend their necks in flight.
The Great Egret is not normally a vocal bird; at breeding colonies, however, it often gives a loud croaking cuk cuk cuk.
Systematics and taxonomy:
Like all egrets, it is a member of the heron family, Ardeidae. Traditionally classified with the storks in the Ciconiiformes, the Ardeidae are closer relatives of pelicans and belong in the Pelecaniformes instead. The Great Egret—unlike the typical egrets—does not belong to the genus Egretta but together with the great herons is today placed in Ardea. In the past, however, it was sometimes placed in Egretta or separated in a monotypic genus Casmerodius.
Subspecies
There were four subspecies in various parts of the world, which differ but little. Differences are bare part coloration in the breeding season and size; the largest A. a. modesta from Asia and Australasia is now considered a full species, the Eastern Great Egret (Ardea modesta). The remaining three subspecies are:
Ardea alba alba (Europe)
Ardea alba egretta (Americas)
Ardea alba melanorhynchos (Africa)
Ecology and status:
The Great Egret is partially migratory, with northern hemisphere birds moving south from areas with colder winters. It breeds in colonies in trees close to large lakes with reed beds or other extensive wetlands. It builds a bulky stick nest.
The Great Egret is generally a very successful species with a large and expanding range. In North America, large numbers of Great Egrets were killed around the end of the 19th century so that their plumes could be used to decorate hats. Numbers have since recovered as a result of conservation measures. Its range has expanded as far north as southern Canada. However, in some parts of the southern United States, its numbers have declined due to habitat loss. Nevertheless, it adapts well to human habitation and can be readily seen near wetlands and bodies of water in urban and suburban areas. In 1953 the Great Egret in flight was chosen as the symbol of the National Audubon Society, which was formed in part to prevent the killing of birds for their feathers.[3][4]
The Great Egret is one of the species to which the Agreement on the Conservation of African-Eurasian Migratory Waterbirds (AEWA) applies.
Diet:
The Great Egret feeds in shallow water or drier habitats, feeding mainly on fish, frogs, small mammals, and occasionally small birds and reptiles, spearing them with its long, sharp bill most of the time by standing still and allowing the prey to come within its striking distance of its bill which it uses as a spear. It will often wait motionless for prey, or slowly stalk its victim.
Though it might appear that they feed on the parasites of African buffaloes, they actually feed on leafhoppers, grasshoppers and other insects which are stirred open as buffaloes move about in water.
In culture:
The Great Egret is depicted on the reverse side of a 5-Brazilian reais banknote.
"White Egrets" is the title of Saint Lucian Poet Derek Walcott's fourteenth collection of poems.
A seguir, texto em português da Wikipédia, a enciclopédia livre:
Garça-branca-grande
A garça-branca-grande (Casmerodius albus, sin. Ardea alba), também conhecida apenas como garça-branca, é uma ave da ordem Ciconiiformes. É uma garça de vasta distribuição e pode ser encontrada em todo o Brasil.
Dieta:
Se alimenta de presas aquáticas, depois de aproximar-se sorrateiramente com o corpo abaixado e o pescoço recolhido e bicar seu alimento, esticando seu longo pescoço.
Taxonomia:
Subespécies
C. a. modesta - Ásia e Australasia
C. a. alba - Europa
C. a. egretta - América do Norte
C. a. melanorhynchos - África
Ipê Amarelo, Tabebuia [chrysotricha or ochracea].
Ipê-amarelo em Brasília, Brasil.
This tree is in Brasília, Capital of Brazil.
Text, in english, from Wikipedia, the free encyclopedia
"Trumpet tree" redirects here. This term is occasionally used for the Shield-leaved Pumpwood (Cecropia peltata).
Tabebuia
Flowering Araguaney or ipê-amarelo (Tabebuia chrysantha) in central Brazil
Scientific classification
Kingdom: Plantae
(unranked): Angiosperms
(unranked): Eudicots
(unranked): Asterids
Order: Lamiales
Family: Bignoniaceae
Tribe: Tecomeae
Genus: Tabebuia
Gomez
Species
Nearly 100.
Tabebuia is a neotropical genus of about 100 species in the tribe Tecomeae of the family Bignoniaceae. The species range from northern Mexico and the Antilles south to northern Argentina and central Venezuela, including the Caribbean islands of Hispaniola (Dominican Republic and Haiti) and Cuba. Well-known common names include Ipê, Poui, trumpet trees and pau d'arco.
They are large shrubs and trees growing to 5 to 50 m (16 to 160 ft.) tall depending on the species; many species are dry-season deciduous but some are evergreen. The leaves are opposite pairs, complex or palmately compound with 3–7 leaflets.
Tabebuia is a notable flowering tree. The flowers are 3 to 11 cm (1 to 4 in.) wide and are produced in dense clusters. They present a cupular calyx campanulate to tubular, truncate, bilabiate or 5-lobed. Corolla colors vary between species ranging from white, light pink, yellow, lavender, magenta, or red. The outside texture of the flower tube is either glabrous or pubescentThe fruit is a dehiscent pod, 10 to 50 cm (4 to 20 in.) long, containing numerous—in some species winged—seeds. These pods often remain on the tree through dry season until the beginning of the rainy.
Species in this genus are important as timber trees. The wood is used for furniture, decking, and other outdoor uses. It is increasingly popular as a decking material due to its insect resistance and durability. By 2007, FSC-certified ipê wood had become readily available on the market, although certificates are occasionally forged.
Tabebuia is widely used as ornamental tree in the tropics in landscaping gardens, public squares, and boulevards due to its impressive and colorful flowering. Many flowers appear on still leafless stems at the end of the dry season, making the floral display more conspicuous. They are useful as honey plants for bees, and are popular with certain hummingbirds. Naturalist Madhaviah Krishnan on the other hand once famously took offense at ipé grown in India, where it is not native.
Lapacho teaThe bark of several species has medical properties. The bark is dried, shredded, and then boiled making a bitter or sour-tasting brownish-colored tea. Tea from the inner bark of Pink Ipê (T. impetiginosa) is known as Lapacho or Taheebo. Its main active principles are lapachol, quercetin, and other flavonoids. It is also available in pill form. The herbal remedy is typically used during flu and cold season and for easing smoker's cough. It apparently works as expectorant, by promoting the lungs to cough up and free deeply embedded mucus and contaminants. However, lapachol is rather toxic and therefore a more topical use e.g. as antibiotic or pesticide may be advisable. Other species with significant folk medical use are T. alba and Yellow Lapacho (T. serratifolia)
Tabebuia heteropoda, T. incana, and other species are occasionally used as an additive to the entheogenic drink Ayahuasca.
Mycosphaerella tabebuiae, a plant pathogenic sac fungus, was first discovered on an ipê tree.
Tabebuia alba
Tabebuia anafensis
Tabebuia arimaoensis
Tabebuia aurea – Caribbean Trumpet Tree
Tabebuia bilbergii
Tabebuia bibracteolata
Tabebuia cassinoides
Tabebuia chrysantha – Araguaney, Yellow Ipê, tajibo (Bolivia), ipê-amarelo (Brazil), cañaguate (N Colombia)
Tabebuia chrysotricha – Golden Trumpet Tree
Tabebuia donnell-smithii Rose – Gold Tree, "Prima Vera", Cortez blanco (El Salvador), San Juan (Honduras), palo blanco (Guatemala),duranga (Mexico)
A native of Mexico and Central Americas, considered one of the most colorful of all Central American trees. The leaves are deciduous. Masses of golden-yellow flowers cover the crown after the leaves are shed.
Tabebuia dubia
Tabebuia ecuadorensis
Tabebuia elongata
Tabebuia furfuracea
Tabebuia geminiflora Rizz. & Mattos
Tabebuia guayacan (Seem.) Hemsl.
Tabebuia haemantha
Tabebuia heptaphylla (Vell.) Toledo – tajy
Tabebuia heterophylla – roble prieto
Tabebuia heteropoda
Tabebuia hypoleuca
Tabebuia impetiginosa – Pink Ipê, Pink Lapacho, ipê-cavatã, ipê-comum, ipê-reto, ipê-rosa, ipê-roxo-damata, pau d'arco-roxo, peúva, piúva (Brazil), lapacho negro (Spanish); not "brazilwood"
Tabebuia incana
Tabebuia jackiana
Tabebuia lapacho – lapacho amarillo
Tabebuia orinocensis A.H. Gentry[verification needed]
Tabebuia ochracea
Tabebuia oligolepis
Tabebuia pallida – Cuban Pink Trumpet Tree
Tabebuia platyantha
Tabebuia polymorpha
Tabebuia rosea (Bertol.) DC.[verification needed] (= T. pentaphylla (L.) Hemsley) – Pink Poui, Pink Tecoma, apama, apamate, matilisguate
A popular street tree in tropical cities because of its multi-annular masses of light pink to purple flowers and modest size. The roots are not especially destructive for roads and sidewalks. It is the national tree of El Salvador and the state tree of Cojedes, Venezuela
Tabebuia roseo-alba – White Ipê, ipê-branco (Brazil), lapacho blanco
Tabebuia serratifolia – Yellow Lapacho, Yellow Poui, ipê-roxo (Brazil)
Tabebuia shaferi
Tabebuia striata
Tabebuia subtilis Sprague & Sandwith
Tabebuia umbellata
Tabebuia vellosoi Toledo
Ipê-do-cerrado
Texto, em português, da Wikipédia, a enciclopédia livre.
Ipê-do-cerrado
Classificação científica
Reino: Plantae
Divisão: Magnoliophyta
Classe: Magnoliopsida
Subclasse: Asteridae
Ordem: Lamiales
Família: Bignoniaceae
Género: Tabebuia
Espécie: T. ochracea
Nome binomial
Tabebuia ochracea
(Cham.) Standl. 1832
Sinónimos
Bignonia tomentosa Pav. ex DC.
Handroanthus ochraceus (Cham.) Mattos
Tabebuia chrysantha (Jacq.) G. Nicholson
Tabebuia hypodictyon A. DC.) Standl.
Tabebuia neochrysantha A.H. Gentry
Tabebuia ochracea subsp. heteropoda (A. DC.) A.H. Gentry
Tabebuia ochracea subsp. neochrysantha (A.H. Gentry) A.H. Gentry
Tecoma campinae Kraenzl.
ecoma grandiceps Kraenzl.
Tecoma hassleri Sprague
Tecoma hemmendorffiana Kraenzl.
Tecoma heteropoda A. DC.
Tecoma hypodictyon A. DC.
Tecoma ochracea Cham.
Ipê-do-cerrado é um dos nomes populares da Tabebuia ochracea (Cham.) Standl. 1832, nativa do cerrado brasileiro, no estados de Amazonas, Pará, Maranhão, Piauí, Ceará, Pernambuco, Bahia, Espírito Santo, Goiás, Mato Grosso, Mato Grosso do Sul, Minas Gerais, Rio de Janeiro, São Paulo e Paraná.
Está na lista de espécies ameaçadas do estado de São Paulo, onde é encontrda também no domínio da Mata Atlântica[1].
Ocorre também na Argentina, Paraguai, Bolívia, Equador, Peru, Venezuela, Guiana, El Salvador, Guatemala e Panamá[2].
Há uma espécie homônima descrita por A.H. Gentry em 1992.
Outros nomes populares: ipê-amarelo, ipê-cascudo, ipê-do-campo, ipê-pardo, pau-d'arco-do-campo, piúva, tarumã.
Características
Altura de 6 a 14 m. Tronco tortuso com até 50 cm de diâmetro. Folhas pilosas em ambas as faces, mais na inferior, que é mais clara.
Planta decídua, heliófita, xerófita, nativa do cerrado em solos bem drenados.
Floresce de julho a setembro. Os frutos amadurecem de setembro a outubro.
FloresProduz grande quantidade de sementes leves, aladas com pequenas reservas, e que perdem a viabilidade em menos de 90 dias após coleta. A sua conservação vem sendo estudada em termos de determinação da condição ideal de armazenamento, e tem demonstrado a importância de se conhecer o comportamento da espécie quando armazenada com diferentes teores de umidade inicial, e a umidade de equilíbrio crítica para a espécie (KANO; MÁRQUEZ & KAGEYAMA, 1978). As levíssimas sementes aladas da espécie não necessitam de quebra de dormência. Podem apenas ser expostas ao sol por cerca de 6 horas e semeadas diretamente nos saquinhos. A germinação ocorre após 30 dias e de 80%. As sementes são ortodoxas e há aproximadamente 72 000 sementes em cada quilo.
O desenvolvimento da planta é rápido.
Como outros ipês, a madeira é usada em tacos, assoalhos, e em dormentes e postes. Presta-se também para peças torneadas e instrumento musicais.
Tabebuia alba (Ipê-Amarelo)
Texto, em português, produzido pela Acadêmica Giovana Beatriz Theodoro Marto
Supervisão e orientação do Prof. Luiz Ernesto George Barrichelo e do Eng. Paulo Henrique Müller
Atualizado em 10/07/2006
O ipê amarelo é a árvore brasileira mais conhecida, a mais cultivada e, sem dúvida nenhuma, a mais bela. É na verdade um complexo de nove ou dez espécies com características mais ou menos semelhantes, com flores brancas, amarelas ou roxas. Não há região do país onde não exista pelo menos uma espécie dele, porém a existência do ipê em habitat natural nos dias atuais é rara entre a maioria das espécies (LORENZI,2000).
A espécie Tabebuia alba, nativa do Brasil, é uma das espécies do gênero Tabebuia que possui “Ipê Amarelo” como nome popular. O nome alba provém de albus (branco em latim) e é devido ao tomento branco dos ramos e folhas novas.
As árvores desta espécie proporcionam um belo espetáculo com sua bela floração na arborização de ruas em algumas cidades brasileiras. São lindas árvores que embelezam e promovem um colorido no final do inverno. Existe uma crença popular de que quando o ipê-amarelo floresce não vão ocorrer mais geadas. Infelizmente, a espécie é considerada vulnerável quanto à ameaça de extinção.
A Tabebuia alba, natural do semi-árido alagoano está adaptada a todas as regiões fisiográficas, levando o governo, por meio do Decreto nº 6239, a transformar a espécie como a árvore símbolo do estado, estando, pois sob a sua tutela, não mais podendo ser suprimida de seus habitats naturais.
Taxonomia
Família: Bignoniaceae
Espécie: Tabebuia Alba (Chamiso) Sandwith
Sinonímia botânica: Handroanthus albus (Chamiso) Mattos; Tecoma alba Chamisso
Outros nomes vulgares: ipê-amarelo, ipê, aipê, ipê-branco, ipê-mamono, ipê-mandioca, ipê-ouro, ipê-pardo, ipê-vacariano, ipê-tabaco, ipê-do-cerrado, ipê-dourado, ipê-da-serra, ipezeiro, pau-d’arco-amarelo, taipoca.
Aspectos Ecológicos
O ipê-amarelo é uma espécie heliófita (Planta adaptada ao crescimento em ambiente aberto ou exposto à luz direta) e decídua (que perde as folhas em determinada época do ano). Pertence ao grupo das espécies secundárias iniciais (DURIGAN & NOGUEIRA, 1990).
Abrange a Floresta Pluvial da Mata Atlântica e da Floresta Latifoliada Semidecídua, ocorrendo principalmente no interior da Floresta Primária Densa. É característica de sub-bosques dos pinhais, onde há regeneração regular.
Informações Botânicas
Morfologia
As árvores de Tabebuia alba possuem cerca de 30 metros de altura. O tronco é reto ou levemente tortuoso, com fuste de 5 a 8 m de altura. A casca externa é grisáceo-grossa, possuindo fissuras longitudinais esparas e profundas. A coloração desta é cinza-rosa intenso, com camadas fibrosas, muito resistentes e finas, porém bem distintas.
Com ramos grossos, tortuosos e compridos, o ipê-amarelo possui copa alongada e alargada na base. As raízes de sustentação e absorção são vigorosas e profundas.
As folhas, deciduais, são opostas, digitadas e compostas. A face superior destas folhas é verde-escura, e, a face inferior, acinzentada, sendo ambas as faces tomentosas. Os pecíolos das folhas medem de 2,5 a 10 cm de comprimento. Os folíolos, geralmente, apresentam-se em número de 5 a 7, possuindo de 7 a 18 cm de comprimento por 2 a 6 cm de largura. Quando jovem estes folíolos são densamente pilosos em ambas as faces. O ápice destes é pontiagudo, com base arredondada e margem serreada.
As flores, grandes e lanceoladas, são de coloração amarelo-ouro. Possuem em média 8X15 cm.
Quanto aos frutos, estes possuem forma de cápsula bivalvar e são secos e deiscentes. Do tipo síliqua, lembram uma vagem. Medem de 15 a 30 cm de comprimento por 1,5 a 2,5 cm de largura. As valvas são finamente tomentosas com pêlos ramificados. Possuem grande quantidade de sementes.
As sementes são membranáceas brilhantes e esbranquiçadas, de coloração marrom. Possuem de 2 a 3 cm de comprimento por 7 a 9 mm de largura e são aladas.
Reprodução
A espécie é caducifólia e a queda das folhas coincide com o período de floração. A floração inicia-se no final de agosto, podendo ocorrer alguma variação devido a fenômenos climáticos. Como a espécie floresce no final do inverno é influenciada pela intensidade do mesmo. Quanto mais frio e seco for o inverno, maior será a intensidade da florada do ipê amarelo.
As flores por sua exuberância, atraem abelhas e pássaros, principalmente beija-flores que são importantes agentes polinizadores. Segundo CARVALHO (2003), a espécie possui como vetor de polinização a abelha mamangava (Bombus morio).
As sementes são dispersas pelo vento.
A planta é hermafrodita, e frutifica nos meses de setembro, outubro, novembro, dezembro, janeiro e fevereiro, dependendo da sua localização. Em cultivo, a espécie inicia o processo reprodutivo após o terceiro ano.
Ocorrência Natural
Ocorre naturalmente na Floresta Estaciobal Semidecicual, Floresta de Araucária e no Cerrado.
Segundo o IBGE, a Tabebuia alba (Cham.) Sandw. é uma árvore do Cerrado, Cerradão e Mata Seca. Apresentando-se nos campos secos (savana gramíneo-lenhosa), próximo às escarpas.
Clima
Segundo a classificação de Köppen, o ipê-amarelo abrange locais de clima tropical (Aw), subtropical úmido (Cfa), sutropical de altitude (Cwa e Cwb) e temperado.
A T.alba pode tolerar até 81 geadas em um ano. Ocorre em locais onde a temperatura média anual varia de 14,4ºC como mínimo e 22,4ºC como máximo.
Solo
A espécie prefere solos úmidos, com drenagem lenta e geralmente não muito ondulados (LONGHI, 1995).
Aparece em terras de boa à média fertilidade, em solos profundos ou rasos, nas matas e raramente cerradões (NOGUEIRA, 1977).
Pragas e Doenças
De acordo com CARVALHO (2003), possui como praga a espécie de coleópteros Cydianerus bohemani da família Curculionoideae e um outro coleóptero da família Chrysomellidae. Apesar da constatação de elevados índices populacionais do primeiro, os danos ocasionados até o momento são leves. Nas praças e ruas de Curitiba - PR, 31% das árvores foram atacadas pela Cochonilha Ceroplastes grandis.
ZIDKO (2002), ao estudar no município de Piracicaba a associação de coleópteros em espécies arbóreas, verificou a presença de insetos adultos da espécie Sitophilus linearis da família de coleópteros, Curculionidae, em estruturas reprodutivas. Os insetos adultos da espécie emergiram das vagens do ipê, danificando as sementes desta espécie nativa.
ANDRADE (1928) assinalou diversas espécies de Cerambycidae atacando essências florestais vivas, como ingazeiro, cinamomo, cangerana, cedro, caixeta, jacarandá, araribá, jatobá, entre outras como o ipê amarelo.
A Madeira
A Tabebuia alba produz madeira de grande durabilidade e resistência ao apodrecimento (LONGHI,1995).
MANIERI (1970) caracteriza o cerne desta espécie como de cor pardo-havana-claro, pardo-havan-escuro, ou pardo-acastanhado, com reflexos esverdeados. A superfície da madeira é irregularmente lustrosa, lisa ao tato, possuindo textura media e grã-direita.
Com densidade entre 0,90 e 1,15 grama por centímetro cúbico, a madeira é muito dura (LORENZI, 1992), apresentando grande dificuldade ao serrar.
A madeira possui cheiro e gosto distintos. Segundo LORENZI (1992), o cheiro característico é devido à presença da substância lapachol, ou ipeína.
Usos da Madeira
Sendo pesada, com cerne escuro, adquire grande valor comercial na marcenaria e carpintaria. Também é utilizada para fabricação de dormentes, moirões, pontes, postes, eixos de roda, varais de carroça, moendas de cana, etc.
Produtos Não-Madeireiros
A entrecasca do ipê-amarelo possui propriedades terapêuticas como adstringente, usada no tratamento de garganta e estomatites. É também usada como diurético.
O ipê-amarelo possui flores melíferas e que maduras podem ser utilizadas na alimentação humana.
Outros Usos
É comumente utilizada em paisagismo de parques e jardins pela beleza e porte. Além disso, é muito utilizada na arborização urbana.
Segundo MOREIRA & SOUZA (1987), o ipê-amarelo costuma povoar as beiras dos rios sendo, portanto, indicado para recomposição de matas ciliares. MARTINS (1986), também cita a espécie para recomposição de matas ciliares da Floresta Estacional Semidecidual, abrangendo alguns municípios das regiões Norte, Noroeste e parte do Oeste do Estado do Paraná.
Aspectos Silviculturais
Possui a tendência a crescer reto e sem bifurcações quando plantado em reflorestamento misto, pois é espécie monopodial. A desrrama se faz muito bem e a cicatrização é boa. Sendo assim, dificilmente encopa quando nova, a não ser que seja plantado em parques e jardins.
Ao ser utilizada em arborização urbana, o ipê amarelo requer podas de condução com freqüência mediana.
Espécie heliófila apresenta a pleno sol ramificação cimosa, registrando-se assim dicotomia para gema apical. Deve ser preconizada, para seu melhor aproveitamento madeireiro, podas de formação usuais (INQUE et al., 1983).
Produção de Mudas
A propagação deve realizada através de enxertia.
Os frutos devem ser coletados antes da dispersão, para evitar a perda de sementes. Após a coleta as sementes são postas em ambiente ventilado e a extração é feita manualmente. As sementes do ipê amarelo são ortodoxas, mantendo a viabilidade natural por até 3 meses em sala e por até 9 meses em vidro fechado, em câmara fria.
A condução das mudas deve ser feita a pleno sol. A muda atinge cerca de 30 cm em 9 meses, apresentando tolerância ao sol 3 semanas após a germinação.
Sementes
Os ipês, espécies do gênero Tabebuia, produzem uma grande quantidade de sementes leves, aladas com pequenas reservas, e que perdem a viabilidade em poucos dias após a sua coleta. A sua conservação vem sendo estudada em termos de determinação da condição ideal de armazenamento, e tem demonstrado a importância de se conhecer o comportamento da espécie quando armazenada com diferentes teores de umidade inicial, e a umidade de equilíbrio crítica para a espécie (KANO; MÁRQUEZ & KAGEYAMA, 1978).
As levíssimas sementes aladas da espécie não necessitam de quebra de dormência. Podem apenas ser expostas ao sol por cerca de 6 horas e semeadas diretamente nos saquinhos. A quebra natural leva cerca de 3 meses e a quebra na câmara leva 9 meses. A germinação ocorre após 30 dias e de 80%.
As sementes são ortodoxas e há aproximadamente 87000 sementes em cada quilo.
Preço da Madeira no Mercado
O preço médio do metro cúbico de pranchas de ipê no Estado do Pará cotado em Julho e Agosto de 2005 foi de R$1.200,00 o preço mínimo, R$ 1509,35 o médio e R$ 2.000,00 o preço máximo (CEPEA,2005).
Another localized traffic switch occurred on June 29 as the eastbound lanes of Bighorn Wall and Bighorn Viaduct were put into service to make a smooth transition between Sheep Bridge and Bighorn Bridge near the west end of the project. Removal of the temporary detour began immediately to allow construction of the future westbound lanes for this section.
More information on this project at www.kickinghorsecanyon.ca
en.wikipedia.org/wiki/Great_Egret
The Great Egret (Ardea alba) also known as Common Egret, Large Egret or Great White Heron,[2][3][4] is a large, widely distributed egret. Distributed across most of the tropical and warmer temperate regions of the world, in southern Europe it is rather localized. In North America it is more widely distributed, and it is ubiquitous across the Sun Belt of the United States and in the Neotropics. The Old World population is often referred to as the Great White Egret. This species is sometimes confused with the Great White Heron of the Caribbean, which is a white morph of the closely related Great Blue Heron (A. herodias).
Description
The Great Egret is a large heron with all-white plumage. Standing up to 1 m (3.3 ft) tall, this species can measure 80 to 104 cm (31 to 41 in) in length and have a wingspan of 131 to 170 cm (52 to 67 in).[5][6] Body mass can range from 700 to 1,500 g (1.5 to 3.3 lb), with an average of around 1,000 g (2.2 lb).[7] It is thus only slightly smaller than the Great Blue or Grey Heron (A. cinerea). Apart from size, the Great Egret can be distinguished from other white egrets by its yellow bill and black legs and feet, though the bill may become darker and the lower legs lighter in the breeding season. In breeding plumage, delicate ornamental feathers are borne on the back. Males and females are identical in appearance; juveniles look like non-breeding adults. Differentiated from the Intermediate Egret (Mesophoyx intermedius) by the gape, which extends well beyond the back of the eye in case of the Great Egret, but ends just behind the eye in case of the Intermediate Egret.
It has a slow flight, with its neck retracted. This is characteristic of herons and bitterns, and distinguishes them from storks, cranes, ibises, and spoonbills, which extend their necks in flight.
The Great Egret is not normally a vocal bird; at breeding colonies, however, it often gives a loud croaking cuk cuk cuk.
Systematics and taxonomy
Like all egrets, it is a member of the heron family, Ardeidae. Traditionally classified with the storks in the Ciconiiformes, the Ardeidae are closer relatives of pelicans and belong in the Pelecaniformes instead. The Great Egret—unlike the typical egrets—does not belong to the genus Egretta but together with the great herons is today placed in Ardea. In the past, however, it was sometimes placed in Egretta or separated in a monotypic genus Casmerodius.
Subspecies[edit]
There are four subspecies in various parts of the world, which differ but little. Differences are bare part coloration in the breeding season and size; the largest A. a. modesta from Asia and Australasia some taxonomists consider a full species, the Eastern Great Egret (Ardea modesta).:
Ardea alba alba (Europe)
Ardea alba egretta (Americas)
Ardea alba melanorhynchos (Africa)
Ardea alba modesta (India, Southeast Asia, and Oceania)
Ecology and status
The Great Egret is partially migratory, with northern hemisphere birds moving south from areas with colder winters. It breeds in colonies in trees close to large lakes with reed beds or other extensive wetlands. It builds a bulky stick nest.
The Great Egret is generally a very successful species with a large and expanding range. In North America, large numbers of Great Egrets were killed around the end of the 19th century so that their plumes could be used to decorate hats. Numbers have since recovered as a result of conservation measures. Its range has expanded as far north as southern Canada. However, in some parts of the southern United States, its numbers have declined due to habitat loss. Nevertheless, it adapts well to human habitation and can be readily seen near wetlands and bodies of water in urban and suburban areas. In 1953, the Great Egret in flight was chosen as the symbol of the National Audubon Society, which was formed in part to prevent the killing of birds for their feathers.[8][9]
The Great Egret is one of the species to which the Agreement on the Conservation of African-Eurasian Migratory Waterbirds (AEWA) applies.
On 22 May 2012, it was announced a pair of Great Egrets were nesting in the UK for the first time at the Shapwick Heath nature reserve in Somerset.[10] The species is a rare visitor to the UK and Ben Aviss of the BBC stated that the news could mean the UK's first Great Egret colony is established.[10][11] The following week, Kevin Anderson of Natural England confirmed a Great Egret chick had hatched, making it a new breeding bird record for the UK.[12] Anderson commented "We've definitely seen one chick stretching a wing just before the adult arrived and also after it left and we continue to monitor for more. The eggs of the Great Egret can hatch over a period of a few days so it may be that if there are other young on the nest they will be less developed and won't be visible yet."[12]
Diet
The Great Egret feeds in shallow water or drier habitats, feeding mainly on fish, frogs, small mammals, and occasionally small reptiles and insects, spearing them with its long, sharp bill most of the time by standing still and allowing the prey to come within its striking distance of its bill which it uses as a spear. It will often wait motionless for prey, or slowly stalk its victim.
In culture
White Egrets is the title of Saint Lucian Poet Derek Walcott's fourteenth collection of poems.
The Great Egret is the symbol of the National Audubon Society.[13]
The name of venerable Shariputra, one of the Buddha's best known followers, signifies the son of the egret (among other possibilities), it is said that his mother had eyes like a great egret.
Following, a text, in english, from Wikipedia the free encyclopedia:
Great Egret
For the similar Australasian species, see Eastern Great Egret.
The Great Egret (Ardea alba), also known as the Great White Egret or Common Egret or (now not in use) Great White Heron,[1][2] is a large, widely-distributed egret. Distributed across most of the tropical and warmer temperate regions of the world, in southern Europe it is rather localized. In North America it is more widely distributed, and it is ubiquitous across the Sun Belt of the United States and in the rainforests of South America. It is sometimes confused with the Great White Heron in Florida, which is a white morph of the closely related Great Blue Heron (A. herodias). Note, however, that the name Great White Heron has occasionally been used to refer to the Great Egret.
Description:
The Great Egret is a large bird with all-white plumage that can reach one meter in height, weigh up to 950 grams (2.1 lb) and a wingspan of 165 to 215 cm. It is thus only slightly smaller than the Great Blue or Grey Heron (A. cinerea). Apart from size, the Great Egret can be distinguished from other white egrets by its yellow bill and black legs and feet, though the bill may become darker and the lower legs lighter in the breeding season. In breeding plumage, delicate ornamental feathers are borne on the back. Males and females are identical in appearance; juveniles look like non-breeding adults. It is a common species, usually easily seen. It has a slow flight, with its neck retracted. This is characteristic of herons and bitterns, and distinguishes them from storks, cranes, ibises, and spoonbills, which extend their necks in flight.
The Great Egret is not normally a vocal bird; at breeding colonies, however, it often gives a loud croaking cuk cuk cuk.
Systematics and taxonomy:
Like all egrets, it is a member of the heron family, Ardeidae. Traditionally classified with the storks in the Ciconiiformes, the Ardeidae are closer relatives of pelicans and belong in the Pelecaniformes instead. The Great Egret—unlike the typical egrets—does not belong to the genus Egretta but together with the great herons is today placed in Ardea. In the past, however, it was sometimes placed in Egretta or separated in a monotypic genus Casmerodius.
Subspecies
There were four subspecies in various parts of the world, which differ but little. Differences are bare part coloration in the breeding season and size; the largest A. a. modesta from Asia and Australasia is now considered a full species, the Eastern Great Egret (Ardea modesta). The remaining three subspecies are:
Ardea alba alba (Europe)
Ardea alba egretta (Americas)
Ardea alba melanorhynchos (Africa)
Ecology and status:
The Great Egret is partially migratory, with northern hemisphere birds moving south from areas with colder winters. It breeds in colonies in trees close to large lakes with reed beds or other extensive wetlands. It builds a bulky stick nest.
The Great Egret is generally a very successful species with a large and expanding range. In North America, large numbers of Great Egrets were killed around the end of the 19th century so that their plumes could be used to decorate hats. Numbers have since recovered as a result of conservation measures. Its range has expanded as far north as southern Canada. However, in some parts of the southern United States, its numbers have declined due to habitat loss. Nevertheless, it adapts well to human habitation and can be readily seen near wetlands and bodies of water in urban and suburban areas. In 1953 the Great Egret in flight was chosen as the symbol of the National Audubon Society, which was formed in part to prevent the killing of birds for their feathers.[3][4]
The Great Egret is one of the species to which the Agreement on the Conservation of African-Eurasian Migratory Waterbirds (AEWA) applies.
Diet:
The Great Egret feeds in shallow water or drier habitats, feeding mainly on fish, frogs, small mammals, and occasionally small birds and reptiles, spearing them with its long, sharp bill most of the time by standing still and allowing the prey to come within its striking distance of its bill which it uses as a spear. It will often wait motionless for prey, or slowly stalk its victim.
Though it might appear that they feed on the parasites of African buffaloes, they actually feed on leafhoppers, grasshoppers and other insects which are stirred open as buffaloes move about in water.
In culture:
The Great Egret is depicted on the reverse side of a 5-Brazilian reais banknote.
"White Egrets" is the title of Saint Lucian Poet Derek Walcott's fourteenth collection of poems.
A seguir, texto em português da Wikipédia, a enciclopédia livre:
Garça-branca-grande
A garça-branca-grande (Casmerodius albus, sin. Ardea alba), também conhecida apenas como garça-branca, é uma ave da ordem Ciconiiformes. É uma garça de vasta distribuição e pode ser encontrada em todo o Brasil.
Dieta:
Se alimenta de presas aquáticas, depois de aproximar-se sorrateiramente com o corpo abaixado e o pescoço recolhido e bicar seu alimento, esticando seu longo pescoço.
Taxonomia:
Subespécies
C. a. modesta - Ásia e Australasia
C. a. alba - Europa
C. a. egretta - América do Norte
C. a. melanorhynchos - África
Ipê Amarelo, Tabebuia [chrysotricha or ochracea].
Ipê-amarelo em Brasília, Brasil.
This tree is in Brasília, Capital of Brazil.
Text, in english, from Wikipedia, the free encyclopedia
"Trumpet tree" redirects here. This term is occasionally used for the Shield-leaved Pumpwood (Cecropia peltata).
Tabebuia
Flowering Araguaney or ipê-amarelo (Tabebuia chrysantha) in central Brazil
Scientific classification
Kingdom: Plantae
(unranked): Angiosperms
(unranked): Eudicots
(unranked): Asterids
Order: Lamiales
Family: Bignoniaceae
Tribe: Tecomeae
Genus: Tabebuia
Gomez
Species
Nearly 100.
Tabebuia is a neotropical genus of about 100 species in the tribe Tecomeae of the family Bignoniaceae. The species range from northern Mexico and the Antilles south to northern Argentina and central Venezuela, including the Caribbean islands of Hispaniola (Dominican Republic and Haiti) and Cuba. Well-known common names include Ipê, Poui, trumpet trees and pau d'arco.
They are large shrubs and trees growing to 5 to 50 m (16 to 160 ft.) tall depending on the species; many species are dry-season deciduous but some are evergreen. The leaves are opposite pairs, complex or palmately compound with 3–7 leaflets.
Tabebuia is a notable flowering tree. The flowers are 3 to 11 cm (1 to 4 in.) wide and are produced in dense clusters. They present a cupular calyx campanulate to tubular, truncate, bilabiate or 5-lobed. Corolla colors vary between species ranging from white, light pink, yellow, lavender, magenta, or red. The outside texture of the flower tube is either glabrous or pubescentThe fruit is a dehiscent pod, 10 to 50 cm (4 to 20 in.) long, containing numerous—in some species winged—seeds. These pods often remain on the tree through dry season until the beginning of the rainy.
Species in this genus are important as timber trees. The wood is used for furniture, decking, and other outdoor uses. It is increasingly popular as a decking material due to its insect resistance and durability. By 2007, FSC-certified ipê wood had become readily available on the market, although certificates are occasionally forged.
Tabebuia is widely used as ornamental tree in the tropics in landscaping gardens, public squares, and boulevards due to its impressive and colorful flowering. Many flowers appear on still leafless stems at the end of the dry season, making the floral display more conspicuous. They are useful as honey plants for bees, and are popular with certain hummingbirds. Naturalist Madhaviah Krishnan on the other hand once famously took offense at ipé grown in India, where it is not native.
Lapacho teaThe bark of several species has medical properties. The bark is dried, shredded, and then boiled making a bitter or sour-tasting brownish-colored tea. Tea from the inner bark of Pink Ipê (T. impetiginosa) is known as Lapacho or Taheebo. Its main active principles are lapachol, quercetin, and other flavonoids. It is also available in pill form. The herbal remedy is typically used during flu and cold season and for easing smoker's cough. It apparently works as expectorant, by promoting the lungs to cough up and free deeply embedded mucus and contaminants. However, lapachol is rather toxic and therefore a more topical use e.g. as antibiotic or pesticide may be advisable. Other species with significant folk medical use are T. alba and Yellow Lapacho (T. serratifolia)
Tabebuia heteropoda, T. incana, and other species are occasionally used as an additive to the entheogenic drink Ayahuasca.
Mycosphaerella tabebuiae, a plant pathogenic sac fungus, was first discovered on an ipê tree.
Tabebuia alba
Tabebuia anafensis
Tabebuia arimaoensis
Tabebuia aurea – Caribbean Trumpet Tree
Tabebuia bilbergii
Tabebuia bibracteolata
Tabebuia cassinoides
Tabebuia chrysantha – Araguaney, Yellow Ipê, tajibo (Bolivia), ipê-amarelo (Brazil), cañaguate (N Colombia)
Tabebuia chrysotricha – Golden Trumpet Tree
Tabebuia donnell-smithii Rose – Gold Tree, "Prima Vera", Cortez blanco (El Salvador), San Juan (Honduras), palo blanco (Guatemala),duranga (Mexico)
A native of Mexico and Central Americas, considered one of the most colorful of all Central American trees. The leaves are deciduous. Masses of golden-yellow flowers cover the crown after the leaves are shed.
Tabebuia dubia
Tabebuia ecuadorensis
Tabebuia elongata
Tabebuia furfuracea
Tabebuia geminiflora Rizz. & Mattos
Tabebuia guayacan (Seem.) Hemsl.
Tabebuia haemantha
Tabebuia heptaphylla (Vell.) Toledo – tajy
Tabebuia heterophylla – roble prieto
Tabebuia heteropoda
Tabebuia hypoleuca
Tabebuia impetiginosa – Pink Ipê, Pink Lapacho, ipê-cavatã, ipê-comum, ipê-reto, ipê-rosa, ipê-roxo-damata, pau d'arco-roxo, peúva, piúva (Brazil), lapacho negro (Spanish); not "brazilwood"
Tabebuia incana
Tabebuia jackiana
Tabebuia lapacho – lapacho amarillo
Tabebuia orinocensis A.H. Gentry[verification needed]
Tabebuia ochracea
Tabebuia oligolepis
Tabebuia pallida – Cuban Pink Trumpet Tree
Tabebuia platyantha
Tabebuia polymorpha
Tabebuia rosea (Bertol.) DC.[verification needed] (= T. pentaphylla (L.) Hemsley) – Pink Poui, Pink Tecoma, apama, apamate, matilisguate
A popular street tree in tropical cities because of its multi-annular masses of light pink to purple flowers and modest size. The roots are not especially destructive for roads and sidewalks. It is the national tree of El Salvador and the state tree of Cojedes, Venezuela
Tabebuia roseo-alba – White Ipê, ipê-branco (Brazil), lapacho blanco
Tabebuia serratifolia – Yellow Lapacho, Yellow Poui, ipê-roxo (Brazil)
Tabebuia shaferi
Tabebuia striata
Tabebuia subtilis Sprague & Sandwith
Tabebuia umbellata
Tabebuia vellosoi Toledo
Ipê-do-cerrado
Texto, em português, da Wikipédia, a enciclopédia livre.
Ipê-do-cerrado
Classificação científica
Reino: Plantae
Divisão: Magnoliophyta
Classe: Magnoliopsida
Subclasse: Asteridae
Ordem: Lamiales
Família: Bignoniaceae
Género: Tabebuia
Espécie: T. ochracea
Nome binomial
Tabebuia ochracea
(Cham.) Standl. 1832
Sinónimos
Bignonia tomentosa Pav. ex DC.
Handroanthus ochraceus (Cham.) Mattos
Tabebuia chrysantha (Jacq.) G. Nicholson
Tabebuia hypodictyon A. DC.) Standl.
Tabebuia neochrysantha A.H. Gentry
Tabebuia ochracea subsp. heteropoda (A. DC.) A.H. Gentry
Tabebuia ochracea subsp. neochrysantha (A.H. Gentry) A.H. Gentry
Tecoma campinae Kraenzl.
ecoma grandiceps Kraenzl.
Tecoma hassleri Sprague
Tecoma hemmendorffiana Kraenzl.
Tecoma heteropoda A. DC.
Tecoma hypodictyon A. DC.
Tecoma ochracea Cham.
Ipê-do-cerrado é um dos nomes populares da Tabebuia ochracea (Cham.) Standl. 1832, nativa do cerrado brasileiro, no estados de Amazonas, Pará, Maranhão, Piauí, Ceará, Pernambuco, Bahia, Espírito Santo, Goiás, Mato Grosso, Mato Grosso do Sul, Minas Gerais, Rio de Janeiro, São Paulo e Paraná.
Está na lista de espécies ameaçadas do estado de São Paulo, onde é encontrda também no domínio da Mata Atlântica[1].
Ocorre também na Argentina, Paraguai, Bolívia, Equador, Peru, Venezuela, Guiana, El Salvador, Guatemala e Panamá[2].
Há uma espécie homônima descrita por A.H. Gentry em 1992.
Outros nomes populares: ipê-amarelo, ipê-cascudo, ipê-do-campo, ipê-pardo, pau-d'arco-do-campo, piúva, tarumã.
Características
Altura de 6 a 14 m. Tronco tortuso com até 50 cm de diâmetro. Folhas pilosas em ambas as faces, mais na inferior, que é mais clara.
Planta decídua, heliófita, xerófita, nativa do cerrado em solos bem drenados.
Floresce de julho a setembro. Os frutos amadurecem de setembro a outubro.
FloresProduz grande quantidade de sementes leves, aladas com pequenas reservas, e que perdem a viabilidade em menos de 90 dias após coleta. A sua conservação vem sendo estudada em termos de determinação da condição ideal de armazenamento, e tem demonstrado a importância de se conhecer o comportamento da espécie quando armazenada com diferentes teores de umidade inicial, e a umidade de equilíbrio crítica para a espécie (KANO; MÁRQUEZ & KAGEYAMA, 1978). As levíssimas sementes aladas da espécie não necessitam de quebra de dormência. Podem apenas ser expostas ao sol por cerca de 6 horas e semeadas diretamente nos saquinhos. A germinação ocorre após 30 dias e de 80%. As sementes são ortodoxas e há aproximadamente 72 000 sementes em cada quilo.
O desenvolvimento da planta é rápido.
Como outros ipês, a madeira é usada em tacos, assoalhos, e em dormentes e postes. Presta-se também para peças torneadas e instrumento musicais.
Tabebuia alba (Ipê-Amarelo)
Texto, em português, produzido pela Acadêmica Giovana Beatriz Theodoro Marto
Supervisão e orientação do Prof. Luiz Ernesto George Barrichelo e do Eng. Paulo Henrique Müller
Atualizado em 10/07/2006
O ipê amarelo é a árvore brasileira mais conhecida, a mais cultivada e, sem dúvida nenhuma, a mais bela. É na verdade um complexo de nove ou dez espécies com características mais ou menos semelhantes, com flores brancas, amarelas ou roxas. Não há região do país onde não exista pelo menos uma espécie dele, porém a existência do ipê em habitat natural nos dias atuais é rara entre a maioria das espécies (LORENZI,2000).
A espécie Tabebuia alba, nativa do Brasil, é uma das espécies do gênero Tabebuia que possui “Ipê Amarelo” como nome popular. O nome alba provém de albus (branco em latim) e é devido ao tomento branco dos ramos e folhas novas.
As árvores desta espécie proporcionam um belo espetáculo com sua bela floração na arborização de ruas em algumas cidades brasileiras. São lindas árvores que embelezam e promovem um colorido no final do inverno. Existe uma crença popular de que quando o ipê-amarelo floresce não vão ocorrer mais geadas. Infelizmente, a espécie é considerada vulnerável quanto à ameaça de extinção.
A Tabebuia alba, natural do semi-árido alagoano está adaptada a todas as regiões fisiográficas, levando o governo, por meio do Decreto nº 6239, a transformar a espécie como a árvore símbolo do estado, estando, pois sob a sua tutela, não mais podendo ser suprimida de seus habitats naturais.
Taxonomia
Família: Bignoniaceae
Espécie: Tabebuia Alba (Chamiso) Sandwith
Sinonímia botânica: Handroanthus albus (Chamiso) Mattos; Tecoma alba Chamisso
Outros nomes vulgares: ipê-amarelo, ipê, aipê, ipê-branco, ipê-mamono, ipê-mandioca, ipê-ouro, ipê-pardo, ipê-vacariano, ipê-tabaco, ipê-do-cerrado, ipê-dourado, ipê-da-serra, ipezeiro, pau-d’arco-amarelo, taipoca.
Aspectos Ecológicos
O ipê-amarelo é uma espécie heliófita (Planta adaptada ao crescimento em ambiente aberto ou exposto à luz direta) e decídua (que perde as folhas em determinada época do ano). Pertence ao grupo das espécies secundárias iniciais (DURIGAN & NOGUEIRA, 1990).
Abrange a Floresta Pluvial da Mata Atlântica e da Floresta Latifoliada Semidecídua, ocorrendo principalmente no interior da Floresta Primária Densa. É característica de sub-bosques dos pinhais, onde há regeneração regular.
Informações Botânicas
Morfologia
As árvores de Tabebuia alba possuem cerca de 30 metros de altura. O tronco é reto ou levemente tortuoso, com fuste de 5 a 8 m de altura. A casca externa é grisáceo-grossa, possuindo fissuras longitudinais esparas e profundas. A coloração desta é cinza-rosa intenso, com camadas fibrosas, muito resistentes e finas, porém bem distintas.
Com ramos grossos, tortuosos e compridos, o ipê-amarelo possui copa alongada e alargada na base. As raízes de sustentação e absorção são vigorosas e profundas.
As folhas, deciduais, são opostas, digitadas e compostas. A face superior destas folhas é verde-escura, e, a face inferior, acinzentada, sendo ambas as faces tomentosas. Os pecíolos das folhas medem de 2,5 a 10 cm de comprimento. Os folíolos, geralmente, apresentam-se em número de 5 a 7, possuindo de 7 a 18 cm de comprimento por 2 a 6 cm de largura. Quando jovem estes folíolos são densamente pilosos em ambas as faces. O ápice destes é pontiagudo, com base arredondada e margem serreada.
As flores, grandes e lanceoladas, são de coloração amarelo-ouro. Possuem em média 8X15 cm.
Quanto aos frutos, estes possuem forma de cápsula bivalvar e são secos e deiscentes. Do tipo síliqua, lembram uma vagem. Medem de 15 a 30 cm de comprimento por 1,5 a 2,5 cm de largura. As valvas são finamente tomentosas com pêlos ramificados. Possuem grande quantidade de sementes.
As sementes são membranáceas brilhantes e esbranquiçadas, de coloração marrom. Possuem de 2 a 3 cm de comprimento por 7 a 9 mm de largura e são aladas.
Reprodução
A espécie é caducifólia e a queda das folhas coincide com o período de floração. A floração inicia-se no final de agosto, podendo ocorrer alguma variação devido a fenômenos climáticos. Como a espécie floresce no final do inverno é influenciada pela intensidade do mesmo. Quanto mais frio e seco for o inverno, maior será a intensidade da florada do ipê amarelo.
As flores por sua exuberância, atraem abelhas e pássaros, principalmente beija-flores que são importantes agentes polinizadores. Segundo CARVALHO (2003), a espécie possui como vetor de polinização a abelha mamangava (Bombus morio).
As sementes são dispersas pelo vento.
A planta é hermafrodita, e frutifica nos meses de setembro, outubro, novembro, dezembro, janeiro e fevereiro, dependendo da sua localização. Em cultivo, a espécie inicia o processo reprodutivo após o terceiro ano.
Ocorrência Natural
Ocorre naturalmente na Floresta Estaciobal Semidecicual, Floresta de Araucária e no Cerrado.
Segundo o IBGE, a Tabebuia alba (Cham.) Sandw. é uma árvore do Cerrado, Cerradão e Mata Seca. Apresentando-se nos campos secos (savana gramíneo-lenhosa), próximo às escarpas.
Clima
Segundo a classificação de Köppen, o ipê-amarelo abrange locais de clima tropical (Aw), subtropical úmido (Cfa), sutropical de altitude (Cwa e Cwb) e temperado.
A T.alba pode tolerar até 81 geadas em um ano. Ocorre em locais onde a temperatura média anual varia de 14,4ºC como mínimo e 22,4ºC como máximo.
Solo
A espécie prefere solos úmidos, com drenagem lenta e geralmente não muito ondulados (LONGHI, 1995).
Aparece em terras de boa à média fertilidade, em solos profundos ou rasos, nas matas e raramente cerradões (NOGUEIRA, 1977).
Pragas e Doenças
De acordo com CARVALHO (2003), possui como praga a espécie de coleópteros Cydianerus bohemani da família Curculionoideae e um outro coleóptero da família Chrysomellidae. Apesar da constatação de elevados índices populacionais do primeiro, os danos ocasionados até o momento são leves. Nas praças e ruas de Curitiba - PR, 31% das árvores foram atacadas pela Cochonilha Ceroplastes grandis.
ZIDKO (2002), ao estudar no município de Piracicaba a associação de coleópteros em espécies arbóreas, verificou a presença de insetos adultos da espécie Sitophilus linearis da família de coleópteros, Curculionidae, em estruturas reprodutivas. Os insetos adultos da espécie emergiram das vagens do ipê, danificando as sementes desta espécie nativa.
ANDRADE (1928) assinalou diversas espécies de Cerambycidae atacando essências florestais vivas, como ingazeiro, cinamomo, cangerana, cedro, caixeta, jacarandá, araribá, jatobá, entre outras como o ipê amarelo.
A Madeira
A Tabebuia alba produz madeira de grande durabilidade e resistência ao apodrecimento (LONGHI,1995).
MANIERI (1970) caracteriza o cerne desta espécie como de cor pardo-havana-claro, pardo-havan-escuro, ou pardo-acastanhado, com reflexos esverdeados. A superfície da madeira é irregularmente lustrosa, lisa ao tato, possuindo textura media e grã-direita.
Com densidade entre 0,90 e 1,15 grama por centímetro cúbico, a madeira é muito dura (LORENZI, 1992), apresentando grande dificuldade ao serrar.
A madeira possui cheiro e gosto distintos. Segundo LORENZI (1992), o cheiro característico é devido à presença da substância lapachol, ou ipeína.
Usos da Madeira
Sendo pesada, com cerne escuro, adquire grande valor comercial na marcenaria e carpintaria. Também é utilizada para fabricação de dormentes, moirões, pontes, postes, eixos de roda, varais de carroça, moendas de cana, etc.
Produtos Não-Madeireiros
A entrecasca do ipê-amarelo possui propriedades terapêuticas como adstringente, usada no tratamento de garganta e estomatites. É também usada como diurético.
O ipê-amarelo possui flores melíferas e que maduras podem ser utilizadas na alimentação humana.
Outros Usos
É comumente utilizada em paisagismo de parques e jardins pela beleza e porte. Além disso, é muito utilizada na arborização urbana.
Segundo MOREIRA & SOUZA (1987), o ipê-amarelo costuma povoar as beiras dos rios sendo, portanto, indicado para recomposição de matas ciliares. MARTINS (1986), também cita a espécie para recomposição de matas ciliares da Floresta Estacional Semidecidual, abrangendo alguns municípios das regiões Norte, Noroeste e parte do Oeste do Estado do Paraná.
Aspectos Silviculturais
Possui a tendência a crescer reto e sem bifurcações quando plantado em reflorestamento misto, pois é espécie monopodial. A desrrama se faz muito bem e a cicatrização é boa. Sendo assim, dificilmente encopa quando nova, a não ser que seja plantado em parques e jardins.
Ao ser utilizada em arborização urbana, o ipê amarelo requer podas de condução com freqüência mediana.
Espécie heliófila apresenta a pleno sol ramificação cimosa, registrando-se assim dicotomia para gema apical. Deve ser preconizada, para seu melhor aproveitamento madeireiro, podas de formação usuais (INQUE et al., 1983).
Produção de Mudas
A propagação deve realizada através de enxertia.
Os frutos devem ser coletados antes da dispersão, para evitar a perda de sementes. Após a coleta as sementes são postas em ambiente ventilado e a extração é feita manualmente. As sementes do ipê amarelo são ortodoxas, mantendo a viabilidade natural por até 3 meses em sala e por até 9 meses em vidro fechado, em câmara fria.
A condução das mudas deve ser feita a pleno sol. A muda atinge cerca de 30 cm em 9 meses, apresentando tolerância ao sol 3 semanas após a germinação.
Sementes
Os ipês, espécies do gênero Tabebuia, produzem uma grande quantidade de sementes leves, aladas com pequenas reservas, e que perdem a viabilidade em poucos dias após a sua coleta. A sua conservação vem sendo estudada em termos de determinação da condição ideal de armazenamento, e tem demonstrado a importância de se conhecer o comportamento da espécie quando armazenada com diferentes teores de umidade inicial, e a umidade de equilíbrio crítica para a espécie (KANO; MÁRQUEZ & KAGEYAMA, 1978).
As levíssimas sementes aladas da espécie não necessitam de quebra de dormência. Podem apenas ser expostas ao sol por cerca de 6 horas e semeadas diretamente nos saquinhos. A quebra natural leva cerca de 3 meses e a quebra na câmara leva 9 meses. A germinação ocorre após 30 dias e de 80%.
As sementes são ortodoxas e há aproximadamente 87000 sementes em cada quilo.
Preço da Madeira no Mercado
O preço médio do metro cúbico de pranchas de ipê no Estado do Pará cotado em Julho e Agosto de 2005 foi de R$1.200,00 o preço mínimo, R$ 1509,35 o médio e R$ 2.000,00 o preço máximo (CEPEA,2005).
Standing around like some Action-man in a localized Bruce-flick on the Silver screen, like some drunk social realistic project to get rejected by the local People Party Party... Peoples beer is for everyone who is sober and don´t want to get drunk, but is not drunk all ready...
a sign from our local god in blue and white tells us what we are suppose to do, but by god it is not forbidden my friend, nothing is, as long as you stay behind the dotted line... that is how you run the local peoples Party Party... I would rather have an OTTAKRINGER at Kafé Dialog and Smoke a big fat extra fat and smokey Habana and chat about any thing with people who are themselves.... and have opinions other than the Local Peoples Peoples Party Party where dialog is a script by the state...
Peace and Noise!
I Miss you my beloved City!
my heart beats for you my sweet love...
Peace and Noise (again)!
taormina giardini naxos letojanni isola bella club med clubmed sea beach iris sicilia sicily italia italy landscape wallpaper travel creative commons cc gnuckx facebook bebo news notizie panoramio flickr googleearth high qualiy photo gallery picture pic pics maps googlemaps geotagged geotag gps localized locale wiki wikipedia
i did some localization job for National Park Service a while ago and learned a lot about Fort Point and the history of Golden Gate.
I now sit on the fringe of the gate and read books and take photos.
Taken with Ikon Zeiss Nettar II "Garage"
IR converted Canon Rebel XTi. AEB +/-2 total of 3 exposures processed with Photomatix.
High Dynamic Range (HDR)
High-dynamic-range imaging (HDRI) is a high dynamic range (HDR) technique used in imaging and photography to reproduce a greater dynamic range of luminosity than is possible with standard digital imaging or photographic techniques. The aim is to present a similar range of luminance to that experienced through the human visual system. The human eye, through adaptation of the iris and other methods, adjusts constantly to adapt to a broad range of luminance present in the environment. The brain continuously interprets this information so that a viewer can see in a wide range of light conditions.
HDR images can represent a greater range of luminance levels than can be achieved using more 'traditional' methods, such as many real-world scenes containing very bright, direct sunlight to extreme shade, or very faint nebulae. This is often achieved by capturing and then combining several different, narrower range, exposures of the same subject matter. Non-HDR cameras take photographs with a limited exposure range, referred to as LDR, resulting in the loss of detail in highlights or shadows.
The two primary types of HDR images are computer renderings and images resulting from merging multiple low-dynamic-range (LDR) or standard-dynamic-range (SDR) photographs. HDR images can also be acquired using special image sensors, such as an oversampled binary image sensor.
Due to the limitations of printing and display contrast, the extended luminosity range of an HDR image has to be compressed to be made visible. The method of rendering an HDR image to a standard monitor or printing device is called tone mapping. This method reduces the overall contrast of an HDR image to facilitate display on devices or printouts with lower dynamic range, and can be applied to produce images with preserved local contrast (or exaggerated for artistic effect).
In photography, dynamic range is measured in exposure value (EV) differences (known as stops). An increase of one EV, or 'one stop', represents a doubling of the amount of light. Conversely, a decrease of one EV represents a halving of the amount of light. Therefore, revealing detail in the darkest of shadows requires high exposures, while preserving detail in very bright situations requires very low exposures. Most cameras cannot provide this range of exposure values within a single exposure, due to their low dynamic range. High-dynamic-range photographs are generally achieved by capturing multiple standard-exposure images, often using exposure bracketing, and then later merging them into a single HDR image, usually within a photo manipulation program). Digital images are often encoded in a camera's raw image format, because 8-bit JPEG encoding does not offer a wide enough range of values to allow fine transitions (and regarding HDR, later introduces undesirable effects due to lossy compression).
Any camera that allows manual exposure control can make images for HDR work, although one equipped with auto exposure bracketing (AEB) is far better suited. Images from film cameras are less suitable as they often must first be digitized, so that they can later be processed using software HDR methods.
In most imaging devices, the degree of exposure to light applied to the active element (be it film or CCD) can be altered in one of two ways: by either increasing/decreasing the size of the aperture or by increasing/decreasing the time of each exposure. Exposure variation in an HDR set is only done by altering the exposure time and not the aperture size; this is because altering the aperture size also affects the depth of field and so the resultant multiple images would be quite different, preventing their final combination into a single HDR image.
An important limitation for HDR photography is that any movement between successive images will impede or prevent success in combining them afterwards. Also, as one must create several images (often three or five and sometimes more) to obtain the desired luminance range, such a full 'set' of images takes extra time. HDR photographers have developed calculation methods and techniques to partially overcome these problems, but the use of a sturdy tripod is, at least, advised.
Some cameras have an auto exposure bracketing (AEB) feature with a far greater dynamic range than others, from the 3 EV of the Canon EOS 40D, to the 18 EV of the Canon EOS-1D Mark II. As the popularity of this imaging method grows, several camera manufactures are now offering built-in HDR features. For example, the Pentax K-7 DSLR has an HDR mode that captures an HDR image and outputs (only) a tone mapped JPEG file. The Canon PowerShot G12, Canon PowerShot S95 and Canon PowerShot S100 offer similar features in a smaller format.. Nikon's approach is called 'Active D-Lighting' which applies exposure compensation and tone mapping to the image as it comes from the sensor, with the accent being on retaing a realistic effect . Some smartphones provide HDR modes, and most mobile platforms have apps that provide HDR picture taking.
Camera characteristics such as gamma curves, sensor resolution, noise, photometric calibration and color calibration affect resulting high-dynamic-range images.
Color film negatives and slides consist of multiple film layers that respond to light differently. As a consequence, transparent originals (especially positive slides) feature a very high dynamic range
Tone mapping
Tone mapping reduces the dynamic range, or contrast ratio, of an entire image while retaining localized contrast. Although it is a distinct operation, tone mapping is often applied to HDRI files by the same software package.
Several software applications are available on the PC, Mac and Linux platforms for producing HDR files and tone mapped images. Notable titles include
Adobe Photoshop
Aurora HDR
Dynamic Photo HDR
HDR Efex Pro
HDR PhotoStudio
Luminance HDR
MagicRaw
Oloneo PhotoEngine
Photomatix Pro
PTGui
Information stored in high-dynamic-range images typically corresponds to the physical values of luminance or radiance that can be observed in the real world. This is different from traditional digital images, which represent colors as they should appear on a monitor or a paper print. Therefore, HDR image formats are often called scene-referred, in contrast to traditional digital images, which are device-referred or output-referred. Furthermore, traditional images are usually encoded for the human visual system (maximizing the visual information stored in the fixed number of bits), which is usually called gamma encoding or gamma correction. The values stored for HDR images are often gamma compressed (power law) or logarithmically encoded, or floating-point linear values, since fixed-point linear encodings are increasingly inefficient over higher dynamic ranges.
HDR images often don't use fixed ranges per color channel—other than traditional images—to represent many more colors over a much wider dynamic range. For that purpose, they don't use integer values to represent the single color channels (e.g., 0-255 in an 8 bit per pixel interval for red, green and blue) but instead use a floating point representation. Common are 16-bit (half precision) or 32-bit floating point numbers to represent HDR pixels. However, when the appropriate transfer function is used, HDR pixels for some applications can be represented with a color depth that has as few as 10–12 bits for luminance and 8 bits for chrominance without introducing any visible quantization artifacts.
History of HDR photography
The idea of using several exposures to adequately reproduce a too-extreme range of luminance was pioneered as early as the 1850s by Gustave Le Gray to render seascapes showing both the sky and the sea. Such rendering was impossible at the time using standard methods, as the luminosity range was too extreme. Le Gray used one negative for the sky, and another one with a longer exposure for the sea, and combined the two into one picture in positive.
Mid 20th century
Manual tone mapping was accomplished by dodging and burning – selectively increasing or decreasing the exposure of regions of the photograph to yield better tonality reproduction. This was effective because the dynamic range of the negative is significantly higher than would be available on the finished positive paper print when that is exposed via the negative in a uniform manner. An excellent example is the photograph Schweitzer at the Lamp by W. Eugene Smith, from his 1954 photo essay A Man of Mercy on Dr. Albert Schweitzer and his humanitarian work in French Equatorial Africa. The image took 5 days to reproduce the tonal range of the scene, which ranges from a bright lamp (relative to the scene) to a dark shadow.
Ansel Adams elevated dodging and burning to an art form. Many of his famous prints were manipulated in the darkroom with these two methods. Adams wrote a comprehensive book on producing prints called The Print, which prominently features dodging and burning, in the context of his Zone System.
With the advent of color photography, tone mapping in the darkroom was no longer possible due to the specific timing needed during the developing process of color film. Photographers looked to film manufacturers to design new film stocks with improved response, or continued to shoot in black and white to use tone mapping methods.
Color film capable of directly recording high-dynamic-range images was developed by Charles Wyckoff and EG&G "in the course of a contract with the Department of the Air Force". This XR film had three emulsion layers, an upper layer having an ASA speed rating of 400, a middle layer with an intermediate rating, and a lower layer with an ASA rating of 0.004. The film was processed in a manner similar to color films, and each layer produced a different color. The dynamic range of this extended range film has been estimated as 1:108. It has been used to photograph nuclear explosions, for astronomical photography, for spectrographic research, and for medical imaging. Wyckoff's detailed pictures of nuclear explosions appeared on the cover of Life magazine in the mid-1950s.
Late 20th century
Georges Cornuéjols and licensees of his patents (Brdi, Hymatom) introduced the principle of HDR video image, in 1986, by interposing a matricial LCD screen in front of the camera's image sensor, increasing the sensors dynamic by five stops. The concept of neighborhood tone mapping was applied to video cameras by a group from the Technion in Israel led by Dr. Oliver Hilsenrath and Prof. Y.Y.Zeevi who filed for a patent on this concept in 1988.
In February and April 1990, Georges Cornuéjols introduced the first real-time HDR camera that combined two images captured by a sensor3435 or simultaneously3637 by two sensors of the camera. This process is known as bracketing used for a video stream.
In 1991, the first commercial video camera was introduced that performed real-time capturing of multiple images with different exposures, and producing an HDR video image, by Hymatom, licensee of Georges Cornuéjols.
Also in 1991, Georges Cornuéjols introduced the HDR+ image principle by non-linear accumulation of images to increase the sensitivity of the camera: for low-light environments, several successive images are accumulated, thus increasing the signal to noise ratio.
In 1993, another commercial medical camera producing an HDR video image, by the Technion.
Modern HDR imaging uses a completely different approach, based on making a high-dynamic-range luminance or light map using only global image operations (across the entire image), and then tone mapping the result. Global HDR was first introduced in 19931 resulting in a mathematical theory of differently exposed pictures of the same subject matter that was published in 1995 by Steve Mann and Rosalind Picard.
On October 28, 1998, Ben Sarao created one of the first nighttime HDR+G (High Dynamic Range + Graphic image)of STS-95 on the launch pad at NASA's Kennedy Space Center. It consisted of four film images of the shuttle at night that were digitally composited with additional digital graphic elements. The image was first exhibited at NASA Headquarters Great Hall, Washington DC in 1999 and then published in Hasselblad Forum, Issue 3 1993, Volume 35 ISSN 0282-5449.
The advent of consumer digital cameras produced a new demand for HDR imaging to improve the light response of digital camera sensors, which had a much smaller dynamic range than film. Steve Mann developed and patented the global-HDR method for producing digital images having extended dynamic range at the MIT Media Laboratory. Mann's method involved a two-step procedure: (1) generate one floating point image array by global-only image operations (operations that affect all pixels identically, without regard to their local neighborhoods); and then (2) convert this image array, using local neighborhood processing (tone-remapping, etc.), into an HDR image. The image array generated by the first step of Mann's process is called a lightspace image, lightspace picture, or radiance map. Another benefit of global-HDR imaging is that it provides access to the intermediate light or radiance map, which has been used for computer vision, and other image processing operations.
21st century
In 2005, Adobe Systems introduced several new features in Photoshop CS2 including Merge to HDR, 32 bit floating point image support, and HDR tone mapping.
On June 30, 2016, Microsoft added support for the digital compositing of HDR images to Windows 10 using the Universal Windows Platform.
HDR sensors
Modern CMOS image sensors can often capture a high dynamic range from a single exposure. The wide dynamic range of the captured image is non-linearly compressed into a smaller dynamic range electronic representation. However, with proper processing, the information from a single exposure can be used to create an HDR image.
Such HDR imaging is used in extreme dynamic range applications like welding or automotive work. Some other cameras designed for use in security applications can automatically provide two or more images for each frame, with changing exposure. For example, a sensor for 30fps video will give out 60fps with the odd frames at a short exposure time and the even frames at a longer exposure time. Some of the sensor may even combine the two images on-chip so that a wider dynamic range without in-pixel compression is directly available to the user for display or processing.
en.wikipedia.org/wiki/High-dynamic-range_imaging
Infrared Photography
In infrared photography, the film or image sensor used is sensitive to infrared light. The part of the spectrum used is referred to as near-infrared to distinguish it from far-infrared, which is the domain of thermal imaging. Wavelengths used for photography range from about 700 nm to about 900 nm. Film is usually sensitive to visible light too, so an infrared-passing filter is used; this lets infrared (IR) light pass through to the camera, but blocks all or most of the visible light spectrum (the filter thus looks black or deep red). ("Infrared filter" may refer either to this type of filter or to one that blocks infrared but passes other wavelengths.)
When these filters are used together with infrared-sensitive film or sensors, "in-camera effects" can be obtained; false-color or black-and-white images with a dreamlike or sometimes lurid appearance known as the "Wood Effect," an effect mainly caused by foliage (such as tree leaves and grass) strongly reflecting in the same way visible light is reflected from snow. There is a small contribution from chlorophyll fluorescence, but this is marginal and is not the real cause of the brightness seen in infrared photographs. The effect is named after the infrared photography pioneer Robert W. Wood, and not after the material wood, which does not strongly reflect infrared.
The other attributes of infrared photographs include very dark skies and penetration of atmospheric haze, caused by reduced Rayleigh scattering and Mie scattering, respectively, compared to visible light. The dark skies, in turn, result in less infrared light in shadows and dark reflections of those skies from water, and clouds will stand out strongly. These wavelengths also penetrate a few millimeters into skin and give a milky look to portraits, although eyes often look black.
Until the early 20th century, infrared photography was not possible because silver halide emulsions are not sensitive to longer wavelengths than that of blue light (and to a lesser extent, green light) without the addition of a dye to act as a color sensitizer. The first infrared photographs (as distinct from spectrographs) to be published appeared in the February 1910 edition of The Century Magazine and in the October 1910 edition of the Royal Photographic Society Journal to illustrate papers by Robert W. Wood, who discovered the unusual effects that now bear his name. The RPS co-ordinated events to celebrate the centenary of this event in 2010. Wood's photographs were taken on experimental film that required very long exposures; thus, most of his work focused on landscapes. A further set of infrared landscapes taken by Wood in Italy in 1911 used plates provided for him by CEK Mees at Wratten & Wainwright. Mees also took a few infrared photographs in Portugal in 1910, which are now in the Kodak archives.
Infrared-sensitive photographic plates were developed in the United States during World War I for spectroscopic analysis, and infrared sensitizing dyes were investigated for improved haze penetration in aerial photography. After 1930, new emulsions from Kodak and other manufacturers became useful to infrared astronomy.
Infrared photography became popular with photography enthusiasts in the 1930s when suitable film was introduced commercially. The Times regularly published landscape and aerial photographs taken by their staff photographers using Ilford infrared film. By 1937 33 kinds of infrared film were available from five manufacturers including Agfa, Kodak and Ilford. Infrared movie film was also available and was used to create day-for-night effects in motion pictures, a notable example being the pseudo-night aerial sequences in the James Cagney/Bette Davis movie The Bride Came COD.
False-color infrared photography became widely practiced with the introduction of Kodak Ektachrome Infrared Aero Film and Ektachrome Infrared EIR. The first version of this, known as Kodacolor Aero-Reversal-Film, was developed by Clark and others at the Kodak for camouflage detection in the 1940s. The film became more widely available in 35mm form in the 1960s but KODAK AEROCHROME III Infrared Film 1443 has been discontinued.
Infrared photography became popular with a number of 1960s recording artists, because of the unusual results; Jimi Hendrix, Donovan, Frank and a slow shutter speed without focus compensation, however wider apertures like f/2.0 can produce sharp photos only if the lens is meticulously refocused to the infrared index mark, and only if this index mark is the correct one for the filter and film in use. However, it should be noted that diffraction effects inside a camera are greater at infrared wavelengths so that stopping down the lens too far may actually reduce sharpness.
Most apochromatic ('APO') lenses do not have an Infrared index mark and do not need to be refocused for the infrared spectrum because they are already optically corrected into the near-infrared spectrum. Catadioptric lenses do not often require this adjustment because their mirror containing elements do not suffer from chromatic aberration and so the overall aberration is comparably less. Catadioptric lenses do, of course, still contain lenses, and these lenses do still have a dispersive property.
Infrared black-and-white films require special development times but development is usually achieved with standard black-and-white film developers and chemicals (like D-76). Kodak HIE film has a polyester film base that is very stable but extremely easy to scratch, therefore special care must be used in the handling of Kodak HIE throughout the development and printing/scanning process to avoid damage to the film. The Kodak HIE film was sensitive to 900 nm.
As of November 2, 2007, "KODAK is preannouncing the discontinuance" of HIE Infrared 35 mm film stating the reasons that, "Demand for these products has been declining significantly in recent years, and it is no longer practical to continue to manufacture given the low volume, the age of the product formulations and the complexity of the processes involved." At the time of this notice, HIE Infrared 135-36 was available at a street price of around $12.00 a roll at US mail order outlets.
Arguably the greatest obstacle to infrared film photography has been the increasing difficulty of obtaining infrared-sensitive film. However, despite the discontinuance of HIE, other newer infrared sensitive emulsions from EFKE, ROLLEI, and ILFORD are still available, but these formulations have differing sensitivity and specifications from the venerable KODAK HIE that has been around for at least two decades. Some of these infrared films are available in 120 and larger formats as well as 35 mm, which adds flexibility to their application. With the discontinuance of Kodak HIE, Efke's IR820 film has become the only IR film on the marketneeds update with good sensitivity beyond 750 nm, the Rollei film does extend beyond 750 nm but IR sensitivity falls off very rapidly.
Color infrared transparency films have three sensitized layers that, because of the way the dyes are coupled to these layers, reproduce infrared as red, red as green, and green as blue. All three layers are sensitive to blue so the film must be used with a yellow filter, since this will block blue light but allow the remaining colors to reach the film. The health of foliage can be determined from the relative strengths of green and infrared light reflected; this shows in color infrared as a shift from red (healthy) towards magenta (unhealthy). Early color infrared films were developed in the older E-4 process, but Kodak later manufactured a color transparency film that could be developed in standard E-6 chemistry, although more accurate results were obtained by developing using the AR-5 process. In general, color infrared does not need to be refocused to the infrared index mark on the lens.
In 2007 Kodak announced that production of the 35 mm version of their color infrared film (Ektachrome Professional Infrared/EIR) would cease as there was insufficient demand. Since 2011, all formats of color infrared film have been discontinued. Specifically, Aerochrome 1443 and SO-734.
There is no currently available digital camera that will produce the same results as Kodak color infrared film although the equivalent images can be produced by taking two exposures, one infrared and the other full-color, and combining in post-production. The color images produced by digital still cameras using infrared-pass filters are not equivalent to those produced on color infrared film. The colors result from varying amounts of infrared passing through the color filters on the photo sites, further amended by the Bayer filtering. While this makes such images unsuitable for the kind of applications for which the film was used, such as remote sensing of plant health, the resulting color tonality has proved popular artistically.
Color digital infrared, as part of full spectrum photography is gaining popularity. The ease of creating a softly colored photo with infrared characteristics has found interest among hobbyists and professionals.
In 2008, Los Angeles photographer, Dean Bennici started cutting and hand rolling Aerochrome color Infrared film. All Aerochrome medium and large format which exists today came directly from his lab. The trend in infrared photography continues to gain momentum with the success of photographer Richard Mosse and multiple users all around the world.
Digital camera sensors are inherently sensitive to infrared light, which would interfere with the normal photography by confusing the autofocus calculations or softening the image (because infrared light is focused differently from visible light), or oversaturating the red channel. Also, some clothing is transparent in the infrared, leading to unintended (at least to the manufacturer) uses of video cameras. Thus, to improve image quality and protect privacy, many digital cameras employ infrared blockers. Depending on the subject matter, infrared photography may not be practical with these cameras because the exposure times become overly long, often in the range of 30 seconds, creating noise and motion blur in the final image. However, for some subject matter the long exposure does not matter or the motion blur effects actually add to the image. Some lenses will also show a 'hot spot' in the centre of the image as their coatings are optimised for visible light and not for IR.
An alternative method of DSLR infrared photography is to remove the infrared blocker in front of the sensor and replace it with a filter that removes visible light. This filter is behind the mirror, so the camera can be used normally - handheld, normal shutter speeds, normal composition through the viewfinder, and focus, all work like a normal camera. Metering works but is not always accurate because of the difference between visible and infrared refraction. When the IR blocker is removed, many lenses which did display a hotspot cease to do so, and become perfectly usable for infrared photography. Additionally, because the red, green and blue micro-filters remain and have transmissions not only in their respective color but also in the infrared, enhanced infrared color may be recorded.
Since the Bayer filters in most digital cameras absorb a significant fraction of the infrared light, these cameras are sometimes not very sensitive as infrared cameras and can sometimes produce false colors in the images. An alternative approach is to use a Foveon X3 sensor, which does not have absorptive filters on it; the Sigma SD10 DSLR has a removable IR blocking filter and dust protector, which can be simply omitted or replaced by a deep red or complete visible light blocking filter. The Sigma SD14 has an IR/UV blocking filter that can be removed/installed without tools. The result is a very sensitive digital IR camera.
While it is common to use a filter that blocks almost all visible light, the wavelength sensitivity of a digital camera without internal infrared blocking is such that a variety of artistic results can be obtained with more conventional filtration. For example, a very dark neutral density filter can be used (such as the Hoya ND400) which passes a very small amount of visible light compared to the near-infrared it allows through. Wider filtration permits an SLR viewfinder to be used and also passes more varied color information to the sensor without necessarily reducing the Wood effect. Wider filtration is however likely to reduce other infrared artefacts such as haze penetration and darkened skies. This technique mirrors the methods used by infrared film photographers where black-and-white infrared film was often used with a deep red filter rather than a visually opaque one.
Another common technique with near-infrared filters is to swap blue and red channels in software (e.g. photoshop) which retains much of the characteristic 'white foliage' while rendering skies a glorious blue.
Several Sony cameras had the so-called Night Shot facility, which physically moves the blocking filter away from the light path, which makes the cameras very sensitive to infrared light. Soon after its development, this facility was 'restricted' by Sony to make it difficult for people to take photos that saw through clothing. To do this the iris is opened fully and exposure duration is limited to long times of more than 1/30 second or so. It is possible to shoot infrared but neutral density filters must be used to reduce the camera's sensitivity and the long exposure times mean that care must be taken to avoid camera-shake artifacts.
Fuji have produced digital cameras for use in forensic criminology and medicine which have no infrared blocking filter. The first camera, designated the S3 PRO UVIR, also had extended ultraviolet sensitivity (digital sensors are usually less sensitive to UV than to IR). Optimum UV sensitivity requires special lenses, but ordinary lenses usually work well for IR. In 2007, FujiFilm introduced a new version of this camera, based on the Nikon D200/ FujiFilm S5 called the IS Pro, also able to take Nikon lenses. Fuji had earlier introduced a non-SLR infrared camera, the IS-1, a modified version of the FujiFilm FinePix S9100. Unlike the S3 PRO UVIR, the IS-1 does not offer UV sensitivity. FujiFilm restricts the sale of these cameras to professional users with their EULA specifically prohibiting "unethical photographic conduct".
Phase One digital camera backs can be ordered in an infrared modified form.
Remote sensing and thermographic cameras are sensitive to longer wavelengths of infrared (see Infrared spectrum#Commonly used sub-division scheme). They may be multispectral and use a variety of technologies which may not resemble common camera or filter designs. Cameras sensitive to longer infrared wavelengths including those used in infrared astronomy often require cooling to reduce thermally induced dark currents in the sensor (see Dark current (physics)). Lower cost uncooled thermographic digital cameras operate in the Long Wave infrared band (see Thermographic camera#Uncooled infrared detectors). These cameras are generally used for building inspection or preventative maintenance but can be used for artistic pursuits as well.
Sure looks like the houses got hit, especially with the localized light in the surrounding area and flash off the front of two houses.
Check out the original size to see for yourself.
Update
Hello Diggnation! I wonder if it'll get dug enough times for Kevin & Alex to talk about it ;)
I see some of you were wondering where this was taken, and others think it might have been faked. Here's the skinny.
- the weird blobs on the picture are raindrops on my bedroom window. As explained on the previous picture, it was raining pretty hard so I couldn't get out onto my balcony and take shots from there
- it was taken in Edmonton, Alberta, Canada, looking east towards Sherwood Park. The house that got "hit" is in the new Tamarack area and it in the middle of this map (approximately; Google is way behind on the satellite imagery for Edmonton. If you flip to satellite view, you'll see the line between summer and winter goes right through that map)
- and yes, it is real :) Straight from the camera.
Thanks for digging!
Even though the construction of the Pavesi Autogrill chain represented an economic and social phenomenon of noteworthy relevance in Italy, it should not go unnoticed that the history of contemporary architecture treated in a very marginal way the description of these works, in some instances, maybe in the post-modern revaluation of a generic Italian highway “landscape” observed at the most for its phenomenological implications rather than for the fact it belonged to the typology of city building through architecture.
It is a fact that these buildings were left out of the most authoritative research of the years of economic reprise after World War II. Immediately before, in the years of Reconstruction, the traditional masonry technique was progressively converted into a modern“Neo-Realistic” language for some aspects, especially evident in the first residential INA-Casa neighborhoods, according to specific Italian characteristics of interpretation of the Modernist Movements that became famous worldwide through the works of architects that had already been very unconventional experimenters in the cultural landscape of the years preceding the war: Albini, the BBPR ( and the writings of Ernesto Nathan Rogers), Quaroni, Samonà, Gardella, Ridolfi, that can be contextualized also in the works of a culturally engaged entrepreneur like Adriano Olivetti.
The buildings by Angelo Bianchetti for the Pavesi Autogrills designed like bridges crossing the highway are far from this cultural landscape, and were born in the context of those forms of entertainment and leisure time activities brought on by the economic prosperity and by the idea of progress linked to the euphoria of speed and of car travel.
Nonetheless these buildings deserve to be considered as works of art at least for two reasons. First of all, because the technological gradient follows the criteria of experimentation of shapes and structural frames in the exposure of beaming, in the projections of the shelves, in the wide, light, and transparent continuous windows, in the slim metal frames well designed to support the advertising billboards: a criteria embedded in the history of architecture whose roots are founded on a continuity of thought and on a modern “spirit of the times” that is daring and evokes emotions.
Secondly, we can catch a glimpse of a territorial projection of architecture that shows attraction for large scale dimensions (both geographical and commercial), and for a certain poetical spirit of of “megalithic structures” that in a short period of time became a rather recurrent composition theme especially in the important tenders for the contracts of the directional centers of Turin (1962) and for the Sacca del Tronchetto in Venice (1964), and that were reintroduced in the history of modern architecture by the famous book by Reiner Bahnam[1].
As a phenomenon, the bridge architecture of the Pavesi Autogrills is impressed in the collective memory of the Italian highway landscape even though their construction is circumscribed to about twelve such buildings in the course of about ten years, between 1959 and 1972, in the same period in which the Italian highway system developed.
Still today, going through these works of “advertising architecture” that nowadays show subdued colors with respect to the surrounding landscape thanks to a restyling, awakens the attention of hasty travelers that can see the Autogrills arising from a great distance or appearing all of a sudden between a sequence of bridges to disappear in a moment at one’s back, leaving an impression in the memory of crossing something extremely vital, like a fragment of a city. Unusual an beautiful perspectives vertiginously attracted by the dynamic perception of vehicles appeared in the eyes of those who stopped there and sat at the tables facing the highway lanes, especially of the countryside of the Po River Valley.
Because of this fascination with the landscape of a modern territory, the localization of bridged Autogrills did not follow the false ambition of aesthetics in the quest for a setting that could be compatible with the surrounding scenery or that could be particularly persuasive, but on the contrary, these bridges were located strategically on the territory according to a design that was very coherent with a market strategy that was starting to understand that rest areas for car travelers were a new large commercial sector and a channel for the diffusion of novelty food products.
This concept, genuinely based on the market and on novelty foods merchandising, followed a system of modern objects which were strictly connected to a new industrial culture that was developing in those times.
But the real innovation which came was to be that of typology, probably born around a planning table rather than at the design desk by the ideas of architect Bianchetti and entrepreneur Pavesi, and surely in a moment of conjunction between the innovative and open industrial culture ad an architectural culture that even before those times had developed interesting experiences and experimental works through the forms of the Modernist Movement, catching the attention of international culture.
Therfore the diffusion of the Pavesi Autogrills started with the intuition that Mario Pavesi had of a possible market for a chain of highway restoration points, and this became a solid reality with the first rest area in Novara along the stretch of the Turin-Milan highway. This industrial strategy, joined with the forms of advertising architectures by Angelo Bianchetti, made it possible to construct about one hundred restoration points in the span of about twenty years from 1959 to 1978, with about fifty of these being full size Autogrills.
During an initial phase of formal structuring that cannot be precisely indicated by temporal references, the first rest areas were located laterally with respect to the highway in Lainate (Milan, 1958), in Ronco Scrivia (Genoa, 1958), and in Varazze (Genoa, 1960), and featured large steel arches painted in white that supported the logotype and were placed on top of circular transparent structures containing a bar and shelves to sell products. These still followed the architectural matrix of pavilions made for fair exhibits, but with a substantial difference in the fact that their silhouette stood out against the Italian countryside landscape of the time creating a unique and surprising setting. The bridge typology was the evolution of this asymmetrical disposition of rest areas on one side of the highway with an underpass that made them reachable from the other lane. The first example of bridged rest areas for the Pavesi chain (and perhaps the first one in the world), was the rest area of Fiorenzuola d’Arda (Piacenza, December 21, 1959).
Therefore, it seems possible that he phenomenon of the birth and the diffusion of the highway rest areas, especially for what concerns the definition of the bridge typology and for a certain quality of the services offered, originated in Italy. Bianchetti himself attests this in an interesting report of a journey published by the magazine “Quattroruote” (four wheels) in 1960, describing the diffusion of auto-grills areas observed during his travel in the United States and in Germany and comparing it with the Italian situation. In this writing, there is a striking recognition of a contemporary trend in the making of similar structures: Bianchetti illustrates the project of a bridged rest area in Illinois by the Standard Motor Oil chain, and praises the high quality of the environment of the rest areas of the Howard Johnson chain.
«I learned that architects Rinford and Genther are building in Chicago an extremely new design, and I reached them by taking a flight. The two architects work for Pace Associates, a studio of Italian origins, and their first constructions are being completed at a few tens of kilometers from the metropolis: it is a series of five restaurants bars. In general, they look like the ones that will be built on our Autostrada del Sole.
I reached one of these areas that has already been completed at about fifty kilometers from Chicago by car. It is built like a bridge on the highway, with the use of prefabricated cement structures, and the rest area, when seen from a distance, looks like a massive overpass.
At night, with the light reflecting on the walls made of smoothed glass, it gives you the idea of a ship. Once again, prefect signposting and the agile game of “four leaf clover” exits facilitate the passage of clientele: the psychological tests confirm that the decision of stopping does not impose any conscious effort of will on the driver. To avoid the problem of stairs and elevators, the builders even provided to raise the entire area of parking lots and platforms. You can reach the level of the “restaurant floor” by car. But how much will one of these colossal structures cost, without considering the cost of parking lots, of lanes, signposting and many more indispensable accessory expenses?
The two architects informed me that the average expense is of about one billion Italian Lire. The surprising kitchen tools made of stainless steel that you can find in detailed description in a book of three hundred pages cost a little less of two hundred million Lire alone. It is a real treatise»[2].
Among the bridged Autogrills that followed shortly after this period, we find the Abraham Lincoln Oasis by David Haid on the Northern Illinois Highway of circa 1967, with its elegant and minimal geometries of steel beams and glass and with its use of the criteria of access ramps to parking lots to reach the restaurant level. In Italy, we must take note of some bridged rest areas of the Motta chain in Cantagallo by Melchiorre Bega, and in Limena by Pier Luigi Nervi.
In any case, the construction of bridged Autogrills increased the possibilities of access, but their limitations in the possible increase of utility ad renewal seemed perhaps too binding and costly in the massive increase in highway traffic of the 1980s, determining the actual exhaustion of possibilities for this extremely interesting typology, as Angelo Bianchetti himself at the time recalled in one of his short writings of 1979, underlining a paradoxical situation of inadequacy to the market in a climate of full economic recession and energetic crises.
«[…] the cost of a bridge with all of its accessories was clearly lower than that of two lateral Autogrills, without mentioning that noteworthy savings on operating costs, both for the installation and for the personnel. The visibility at a distance is much more immediate of that which a later Autogrill offers: let us not forget that a driver traveling at a speed of 120—140 kilometer per hour must decide in a few seconds whether to enter or not the ramp of deceleration.
In conclusion, the advertising image of a bridge is by itself more effective and of sure appeal. […]. Today the situation has changed. The huge increase of costs (fuels, cost of operating machines) has slowed down the flow of traffic and has reduced the user’s spending possibilities.
The cost of construction with respect to 1972 is almost fourfold, and it has increased terribly. All this imposes a revision of the investment policies; the tendency today is not to build new Autogrills but at the most new snack-bars connected to a nearby gas station. It not feasible anymore to build a bridge, unless in an extremely well established service area of large traffic that can guarantee the constant flow and support of travelers»[3].
The numerous formal variation of these bridge installation extended the possibilities for signposting through flagpoles dressed up with the Pavesi flags like ships on a dock, or through some functional increases, like the annexation of a motel. The one in Novara (1962), that replaced a previous service station and that was the largest one built, and the one in Osio (Bergamo 1972), the last to be built with bridge typology, were identical in lines and shapes and were perhaps the most successful ones, while the one in Montepulciano (Siena, 1967) features an extremely striking and apparently suspended beaming and a projection of Corten steel. Lastly; the one in Nocera (Salerno, 1971), presents an interesting combination with the function of motel, attempted as an enlargement project in the one in Novara as well, but then never built. The other bridged ones are in Sebino (Brescia, 1962), Feronia (Rome, 1964), Frascati (Rome, 1963), Soave (Verona, 1969), Rezzato Nord (Brescia, 1970).
Nonetheless some characteristics remained a constant, like a certain formal uniqueness and sense of completion of the construction that gave a full rounded perception of the buildings even in the headboards frequently crowned by a large cantilever staircase. This can be seen clearly in period photos and it is less noticeable nowadays because of the frequent addition of low lateral tourist market buildings and because of softer colors used. The chromatic treatment of the metal sun shading roofs (a bright red color) became the distinctive feature of Pavesi Autogrills and circumscribed the building itself in the whole, while the balanced collocation of the few billboards did not enter into conflict with the gasoline signposts but on the contrary seemed to match them, and at night these were lit by their own lights. Moreover some gasoline stations designed by Bianchetti like the one in Sabino for Esso, distinguished themselves for the essential nature and elegance of structures with tall and slender signs and prismatic elements for the buildings.
The inside was indeed surprising for the type of light that filtered as a reflection and for the continuous perception of the dimension of inner space as a whole due to a longitudinal disposition of the counters and to the a contined set up of the product shelving, evoking a perception of the Autogrill as a self standing unit animated by its own life in the multiplicity of people that entered there.
The setting implied a reduction of the strictly communicative aspects to the simple interior design of the space, with a playful sense in the disenchanted and free style collage of Baroque and modern elements like the large glass drops chandelier in Lainate that appeared on the pages of “Life” magazine, or the Vietri ceramic tiles flooring frequently utilized, or the woven wicker baskets used as displays for the Pavesi products, to the concise inner signs that retraced the highway signs and to the essential lines of the American style counters with stools. It was anything but a coordinated image, but in the end it was a greatly coherent setting with regard to expressiveness, and it was handled case by case solely through the architecture, without any apparent preoccupation with the integration of aesthetics except perhaps the idea of a vanguard collage that actually was a trend in the taste in advertising graphic art of those years (especially for Erberto Carboni) and that had its origin in the experiments in modern architecture made between the two wars, as we will shortly see.
Lastly, a third typology of construction contemporary with the bridged one was a design foreseeing a restaurant area lateral to the highway with a red sheet metal covering with four layers which was much more flexible in adapting to dimensions.
Alongside with the wide diffusion of Pavesi Autogrills (Alivar- Pavesi), Motta Autogrill and Alemagna Autobar (ex-Unidal) chains developed in Italy, and then were ex-corporate from their respective head companies on February 28, 1977 and regrouped in to the Autogrill spa society that today manages all of the restoration points along the highway.
The experimental tradition of “advertising architecture”
The experiences made by Angelo Bianchetti (born in 1911 and died in 1995) before World War II are extremely interesting and represent an very significant anterior fact to understand the reasons that brought to the long collaboration with Pavesi. A graduate in Architecture of the Milan Polytechnic in 1934, he traveled to study in Germany, worked in Berlin for the Mies van del Rohe studio and for the Luckard brothers studio, and met Gropius and Breuer.
In Italy, he worked with Giuseppe Pagano on a few projects in 1938 thus completing an itinerary that crossed the most significant episodes of modern architecture of our century, following a tradition of international exchanges that at the time was widely spread. As a project designer, often together with Cesare Pea, he worked on a number of architectural layouts for exhibits and advertising pavilions for fairs, and became one of the main protagonists of a theme of construction that back then was completely new – the theme of exhibit architecture, a culturally important and acknowledged theme in the landscape of modern international architecture.
This was a theme on which the most important architects, graphic designers and artists of the cultural Italian scene between the two wars had a lively debate, especially during the era of Fascism, that saw in it a real modernity of communication and a dose of inventive ruthlessness and cultural availability together with the ability to give the large industrial groups occasions to promote their modern and cosmopolitan image (though a dictatorial one) in Italy and abroad through important international expos.
Therefore, modern Italian architecture in those years was able to channel the needs of propaganda within the paths of a history of art and within those plastic and figurative values that were more attentive to moral issues. In this sense, the possibilities for formal experimentation that architecture made possible back then established a few solid principles of an Italian rationalistic poetical style that was intended as expression of a lyricism and that had no equal in later years.
The “Casabella -Costruzioni” magazine directed by Giuseppe Pagano, reported on numerous occasions the main exhibits made in the heroic period that goes from 1925 to 1940 in which Angelo Bianchetti took part as the author of beautiful set ups together with other important emerging names like Erberto Carboni, Marcello Nizzoli, Bruno Munari,t the Boggeri studio (that in the years following the war we will find working for Barilla, Olivetti, Agip, …).
Of these exhibit set ups, we must mention the pavilions by Edoardo Persico and Marcello Nizzoli for the Italian Aeronautical Expo of Milan in 1934; the Gio Ponti and Erberto Carboni pavilions for the Exhibit of Catholic Press at the Vatican in 1935; the set up of the Hall of Victory at the VI Triennial Expo of Milan of 1936 by Nizzoli, Palanti, Persico, Fontana (in those times already referred to as “a work of rare and highest poetry”); the Italian pavilions for the Paris Expo of 1937 with the intervention of the most important Italian architects; the pavilion by Bianchetti and Pea and the Boggeri Studio for the Isotta Fraschini company at the Fair of Milan in 1938; the luminous surface tensions by Nizzoli and Bianchetti at the National Textiles Exhibit in Rome in 1939; the Bianchetti and Pea pavilions for Raion and for Chatillon at the Milan Fair of 1939, formed by a lightweight frame with three orders and covered by light ad small vaults shaped like a transparent and lyrical honor tribune in the way that only Italian Rationalism was able to do.
These operations for temporary set ups connected the languages of abstraction and of the pure forms of international Realism with a Baroque vein expressed in the combination of graphic and sculptural elements, in the use of curtains and of narrative naturalistic elements (from the sculpture by Fontana for the Hall of Victory at the Triennial Expo of 1936 to the advertising signs of the textiles pavilion, according to a poetic and rather unique idea of collage that was very original in the landscape of modern architecture.
Very important in order to comprehend the pragmatic spirit of this theme for the architectural modern culture of those times is a writing by Angelo Bianchetti and Cesare Pea of 1941 on the theme of advertising architecture that establishes some characteristics that were undoubtedly reprised in the exhibit architecture of the years after the war and that created the premise for the Italian highway landscape of advertising architecture.
First of all, what is striking about this writing is the concept that these architectures can serve the function of contributing in a positive way to the definition of a new urban landscape already projected towards the torments of an undefined territory structured with fair headquarters and sport centers, theme parks, shopping centers and highway congestion points, starting from the occasion of an advertising set up intended in architectural terms.
Secondly, these constructions are not just inserted in a system of means of transportation to guarantee elevated accessibility, but also to accentuate the dynamic perception of the whole, and in this sense the relationship between bridged Autogrills and the highway exalts the aesthetics of kinematics.
In third place, it is striking that architecture partially renounced some building aspects to rediscover the values and new aesthetic concept of monument through a combination of signposting, graphic, and visual communication that penetrates indoors, in the furnishings, and recomposes a unity of applied arts.
«Le Corbusier and M. Breuer build their advertising architectures on the base of their artistic abilities more that to their architectural skills. An active pictorial imagination gives the project designer the possibility to renounce to give an entirely constructional and formally still aspect to his own pavilion. We think that this can be conceived in such a way to appear based on a single structure with the use of substantially different solutions. The ideal pavilion from the advertising point of view is one composed of fixed elements related to the laws of building statics that at the same time offer to the imagination different possibilities of a practical nature, that can be made also in successive phases. Therefore, not a facade defined architecturally, even though beautiful, but a system of elements and fields in which to express the imaginative spirit of the decorator. In such a way the abilities of a good architect and interior designer can fully develop: the study of the structure will bring him to intuitions of rational architectural order, while the expressive possibility will lead him to use these elements with the highest freedom and to create works of pure artistic design.
The appeal of the suggestive elements that advertising work must express will come from the fusion of these two possibilities. All which modern technique gives the artist as a support, the new materials, new systems of lighting, the cinematographic aspects, the mechanical devices, can concur to the perfection and complexity of the work that the artist conceived with his own imagination. But the use of these elements is part of the generic knowledge of an architect that are not the object of this study.
Instead, the problem that originates from the combination of various pavilions and advertising elements of a Fair or Exhibition forms a chapter of advertising urban planning whose direction would deserve an in depth study»[4].
Architecture and the design of new industrial products in Italy after World War II
The concept of industrial and market that arose in the years after WWII in Italy and throughout all of the 1950s and 1960s can be definitely found in the geographical area between Milan and Turin, the area of the initial development of the highway system, and of the modern democratic entrepreneurial cosmopolitan and culturally engaged world of Olivetti, and of Pavesi of Novara.
It is not a chane that the magazine “Comunità” (community) founded by Adriano Olivetti was engaged in those years in themes of architecture and urban planning and also with sociology in its different aspects of urban development, mass behavior, industrial production, and published studies on advertising and the unconscious mind on the organization of Shopping Centers in the United States, on the Italian highway landscape, or on food consumption in Italy[5].
These themes surfaced with full force in the concerns of the Italian entrepreneurs that frequented the most densely industrialized areas of the United States (especially the West Coast) and in a certain sense these were ideas that could be actualized in Italy as well at least in the smartest industrial sectors that were capable to invest in development.
This is certainly the economic context in which the construction of the Pavesi Autogrills was inserted. The idea of modern times and social well being that pervaded the aesthetics of Pavesi Autogrills was based on a completely new food product, the Pavesini cookies and the Crakers, produced on a large industrial scale as never before, and tied to lifestyles and psychologies of use that for the first time in those years surfaced and of which there was full awareness.
But because of the structure of Italian cities, in which the residential Ina-Casa neighborhoods typical of the intensive urban growth of the northern cities tended towards a landscape that was still close to that of a compact city, the shopping centers of the time were of a typology of sales too radical to be proposed, while the Autogrills located on the highways cold well enough be interpreted in this sense as a sales point for novelty industrial products diffused on the territory, in which the market strategies could be applied directly without intermediaries and a modern and cosmopolitan image could be promoted.
The relationship of entrepreneurship and architectural design between Mario Pavesi and Angelo Bianchetti, as well as the relationship with other intellectuals for other more literary and clearly marked graphic forms of communication should not be intended as a cultured construction of corporate identity, nowadays necessarily corresponding to a quote of production that each industrial activity must possess, but as something more complex and with roots going deep into a specific ability of the Italian industrial culture (that with the refined work of Adriano Olivetti reached its apex) to use as its own the tools of communication in the system of behaviors of producers and consumers.
Therefore here it is not solely a matter of refined design of of stylized image but rather of the fine tuning of tools strictly connected to the production and distribution of products, tools in which the aesthetically implications had a place of relevance. A rather significant parallelism involving architecture in the processes of industrial communication happened in the United States at the same time, in the 1950s and 1960s, as the top industries of the time like IBM or the TWA aerial transportation company, for example, asked innovative architects like Charles Eames (who mounted elaborate films and avant-garde multi-vision materials), or Eero Saarinen (who made phantasmagorical theaters for the international expo and to animate the horizons of airports with forms made of cement or crystal and evoking emotions)[6].
These companies entrusted them by delegating the task of building the company image according to a culture of conquest of the new that we still find nowadays, but acted in a different environment, more determined and structured in an entrepreneurial way and in which the need for aesthetics of the object of use was less of a priority, for example, even though often reached results of the highest quality.
But in Italy everything was different: for example, the design by Marcello Nizzoli for a calculator, or the one by Carlo Scarpa for an Olivetti store, or the one by Erberto Carboni for Barilla pasta, or the advertisement for Pavesi cookies written by Gianni Rodari as children literature, were necessary elements of a new concept of the object of use an the work of intellectuals in this context was instrumental to the comprehension of the new industrial products in a domestic and working landscape that was still formed in part by handcrafted objects (and still today attracted strongly by the components of originality and personality also in the aesthetic choice).
Who in Italy would have bought Pavesi, Barilla, and Olivetti products, for example, if a group of food intellectuals had not converted the packaging for food and machines into a new culture of merchandise?
Bibliography note
We thank for his patience and collaboration architect Jan Jacopo Bianchetti who keeps the archive of Angelo Bianchetti’s work and has given permission for the reproduction of the photographic material, the designs and the publications related to the Pavesi Autogrills.
Among the writings of Angelo Bianchetti we mention: Bianchetti, C. Pea, Architettura pubblicitaria (advertising architectures), in “Casabella-Costruzioni”, n.159-160, 1941, a mono-graphic issue dedicated to the architecture of expos with rich iconography documentation edited by Bianchetti and Pea themselves. ; A. Bianchetti, Le oasi dell’autostrada (highway oasis), in “Quattroruote”, n.1, January 1960; A. Bianchetti, I ponti non convengono più (bridges are not convenient anymore), in “Modo”, n.18, April 1979.
Furthermore, it is opportune to cite: Italian luxury for export and those at home, too “Life” 26 September 1960; R. WEST, Italy: the new lean Bread of Eurocrats, “The Sunday Times”, 26 August 1962; C. MUNARI, Lo stile Pavesi (thepavesi style), in “Linea Grafica”, n. 5, September-October 1966, pp. 240-252; A. Colbertaldo, Quando si mangiava sopra i ponti (when we had lunch on bridges), in “Modo”, n. 18, April 1979; M. BELLAVISTA, Uomo di marketing prima del marketing (a marketing man before the times of marketing), in “Il Direttore Commerciale”, n. 7, 1988, pp. 16-21; B. Lemoine, I ponti-autogrill (the auto-grilll bridges), in “Rassegna”, n.48, December 1991.
We mention two more accounts of the actual phenomenon of the development of highway landscapes: P. DESIDERI, La città di latta. Favelas di lusso, Autogrill, svincoli stradali e antenne paraboliche (The tin city. Luxury Favelas, Autogrills, highway exits and parabolic antennas), Genova, Costa e Nolan, 1997; P. CIORRA, Autogrill. Spazi e spiazzi per la società su gomma (Autogrills, spaces and platforms for a society n wheels) , in Attraversamenti. I nuovi territori dello spazio pubblico (Crossings. The new territories of public spaes), edited by P. DESIDERI e M. ILARDI, Genova, Costa e Nolan, 1997.
[1] R. Banham, Megastructure. Urban future of the recent past, Londra, Thames and Hudson, 1976, the text does not illustrate these highway buildings.
[2] A. BIANCHETTI, Le oasi dell’autostrada (the highway oasis), in “Quattroruote”, n. 1, January 1960.
[3] A. COLBERTALDO, Quando si mangiava sopra i ponti (when we had lunch on top of bridges), in “Modo” n.18, April 1979.
[4] A. BIANCHETTI, C. PEA, Architettura pubblicitaria (advertising architecture), in “Casabella-Costruzioni”, n. 159-160, 1941.
[5] A. CANONICI, Pubblicità ed inconscio (advertising and the unconscious mind) in “Comunità”, n.60, 1958; A. BAROLINI, L’organizzazione dei centri di vendita in America, (the organization of sales points in America) in “Comunità”, n.67, 1959; R. BONELLI, Le autostrade in Italia (highways in Italy), in “Comunità”, n.86, 1961; G. TIBALDI, I consumi alimentari in Italia (food consume in Italy), in “Comunità”, n.115, 1963.
[6] Eero Saarinen, Charles Eames, Padiglione Ibm alla Fiera mondiale di New Yorkn(the Ibm pavilion at the worl expo of New York), 1964-65, well described by Kevin Roche, Charles Eames, in “Zodiac”, n.11, 1994. #30Glorieuses & Dynamisme @ les kilométres d' #archives cachées d #Mémoire2cité @ les #Constructions #Modernes #BANLIEUE @ l' #Urbanisme & l es #Chantiers d'#ApresGuerre ici #Mémoire2ville le #Logement Collectif* dans tous ses états..#Histoire & #Mémoire de l'#Habitat / Département territoire terroir region ville souvenirs du temps passé d une époque revolue #Archives ANRU / #Rétro #Banlieue / Renouvellement #Urbain / #Urbanisme / #HLM #postwar #postcard #cartepostale twitter.com/Memoire2cite Villes et rénovation urbaine..Tout savoir tout connaitre sur le sujet ici via le PDF de l'UNION SOCIALE POUR L HABITAT (l'USH)... des textes à savoir, à apprendre, des techniques de demolition jusqu a la securisation..& bien plus encore.. union-habitat.org/sites/default/files/articles/documents/...
www.dailymotion.com/video/xk6xui Quatre murs et un toit 1953 - Le Corbusier, l'architecte du bonheur 1957 conceptions architecturales le modulor, l'architecture de la ville radieuse, Chandigarh, Marseille, Nantes www.dailymotion.com/video/xw8prl Un documentaire consacré aux conceptions architecturales et urbanistiques de Le Corbusier.Exposées par l'architecte lui-même et étayées par des plans, dessins et images de ses réalisations en France et à l'étranger, ces théories témoignent d'une réflexion approfondie et originale sur la ville et sa nécessaire adaptation à la vie moderne, notamment Paris dont l'aménagement révolutionnaire rêvé par Le Corbusier est ici exposé. Un classique du documentaire.Les premiers projets de Le Corbusier resteront à l'état de maquette : le plan de modernisation de la ville d'Alger. Certains seront réalisés par d'autres architectes : ministère de l'éducation à Rio de Janeiro, Palais de l'ONU à New York. Dès l'après-guerre en moins de 10 ans, Le Corbusier réalise de grandes unités d'habitation à Marseille, Nantes une chapelle à Ronchamps, une usine à Saint-Dié, une ville Chandigarh en Inde. Par des schémas, l'architecte présente sa théorie de la "ville radieuse", le modulor clef mathématique de son œuvre ainsi que son projet de réorganisation de la campagne, des cités industrielles et urbaine en un regroupement autour d'un système coopératif. Le film expose les conceptions architecturales de Le Corbusier, dans la ligne des précurseurs de l'architecture moderne comme Claude-Nicolas Ledoux. Paris et le désert français 1957 réalisation : Roger Leenhardt et Sydney Jezequel, résoudre le déséquilibre démographique ville campagne www.dailymotion.com/video/x177lrp Film réalisé par Roger Leenhardt et Sydney Jezequel en 1957, d'après le livre de Jean-François Gravier. Document d'information général proposant les solutions de l'époque pour éviter la désertification des campagnes et la folie concentrationnaire des villes. Dès 1957, la désertification des campagnes prend des proportions tragiques. L'exemple est donné pour le village de Gourdon dans le Quercy.
Quelles évolutions proposer pour éviter l'exode rural et le développement anarchique, qui s'amorce, des villes champignons, construites en plein champ sans urbanisme et sans âme ? Le commentaire propose les solutions de l'époque : modernisation de l'agriculture, adaptation de l'artisanat, implantations d'industries dans les provinces. Gazoducs dans le sud-ouest, barrage en Haute-Savoie, polder en Bretagne semblaient à l'époque pouvoir résoudre le déséquilibre ville campagne. Visages de la France 1957 Production - réalisation Atlantic-Film Marcel de Hubsch www.dailymotion.com/video/x19g59p Le film commence avec des vues de villages et d'architecture traditionnelle du Pays Basque, des Landes, de la Touraine, de la Normandie, de la Bretagne, d'Alsace. La voix off s'interroge : faut il transformer la France en un musée de ses vieilles demeures ? et poursuit : pourquoi des maisons de 10 à 15 mètres de hauteur à Honfleur n'ont elles que 3 à 5 mètres de large ? Le commentaire se pose la question du nombre de maisons individuelles dans les villes qui entrainent l'étalement urbain. Lorsque les villes ont bâtit des immeubles, le commentaire se demande que cachent ces façades ? Des coures étroites que le soleil ne visite jamais, un enchevêtrement inouï de constructions hétéroclites. L'époque de grande prospérité de la troisième république n'a rien su construire de grand poursuit la voix off. Ce document nous propose ensuite une animation de maquette pour l'aménagement d'une friche. Dans un premier temps à la façon d'avant avec la maison individuelle. La voix off s'exclame : ce n'est pas autrement que d'affreuses banlieues naquirent que tant de villes furent à jamais enlaidies, essayons autre chose. L'animation se met à empiler les maisons individuelles et propose des bâtiments collectifs dans des jardins. Le commentaire poursuit : maintenant c'est l'heure de l'urbaniste à lui de répartir les constructions dans la cité. Plusieurs organisation de logements collectifs sont proposées en maquettes. La voix off pointe les défauts d'un urbanisme des grands ensemble trop ennuyeux. Puis une solution émerge de l'animation : pour que la cité vive il faut mettre au place d'honneur école, dispensaire, bibliothèque, salle de réunion, puis viennent les deux pièces maîtresse deux grands immeubles puis les rues se glissent dans la composition et enfin les pelouse et les jardins apparaissent et voila conclue le commentaire. Le film montre ensuite de réalisation de grands ensemble et on entre dans un immeuble au sein d'une famille : air et lumière sont au rendes-vous. On voit des enfants faire du patin à roulette dans le parc de l'immeuble la voix off annonce : finit l'individualisme renfrogné de l'échoppe d'antan : la cité tout entière est un jardin, les jeux d'enfants se mêlent aux fleurs. Le film se termine sur des vues de réalisation de grands ensemble sur toute la France (vue entre autre de la cité radieuse de Le Corbusier à Marseille). Production Films Caravelle MRU (ministère de la reconstruction et de l'urbanisme) Scenario et réalisation : Pierre JaLLAUD
Sur les routes de France les ponts renaissent 1945 reconstruction de la France après la Seconde Guerre mondiale www.dailymotion.com/video/xuxrii?playlist=x34ije , Quelques mois après la fin de la Seconde Guerre mondiale, un triste constat s'impose : 5 944 passages sont coupés, soit plus de 110 km de brèches ; de nombreuses villes se trouvent isolées. Les chantiers s'activent dans toute la France pour "gagner la bataille des communications routières". Mais outre la pénurie de main d’œuvre, il faut faire face au manque de matériaux (béton, métal) et donc déployer des trésors d'imagination pour reconstruire les ponts détruits. Si le savoir faire des tailleurs de pierre est exploité, le plus spectaculaire est le relevage des ponts, comme le pont de Galliéni à Lyon, où 7 à 800 tonnes d'acier sont sorti de l'eau avec des moyens de l'époque. En avril 1945, il reste 5 700 ponts à reconstruire soit 200 000 tonnes d'acier, 600 000 tonnes de ciment, 250 000 m3 de bois, 10 millions de journées d'ouvrier, prix de l'effort de reconstruction. Titre : Sur les routes de France les ponts renaissenT Année de réalisation : 1945 Auteurs / réalisateurs : images : G.Delaunay, A.Pol, son : C.Gauguier Production : Direction Technique des Services des Ponts et Chaussées / Ministère des Travaux Publics et des Transports
Thèmes principaux : infrastructures-ouvrages d'art Mot clés : chantier, pont, Reconstruction, restauration, béton précontraint, ministère des travaux publics et des transports
Lieux : Lyon, Tournon, Caen - Le Bosquel, un village renait 1947 l'album cinématographique de la reconstruction, réalisation Paul de Roubaix production ministère de la Reconstruction et de l'Urbanisme, village prototype, architecte Paul Dufournet, www.dailymotion.com/video/xx5tx8?playlist=x34ije - Demain Paris 1959 dessin animé présentant l'aménagement de la capitale dans les années 60, Animation, dessin animé à vocation pédagogique visant à promouvoir la politique d’aménagement suivie dans les années 60 à Paris.
Un raccourci historique sur l’extension de Paris du Moyen Âge au XIXe siècle (Lutèce, œuvres de Turgot, Napoléon, Haussmann), ce dessin animé retrace la naissance de la banlieue et de ses avatars au XXe siècle. Il annonce les grands principes d’aménagement des villes nouvelles et la restructuration du centre de Paris (référence implicite à la charte d’Athènes). Le texte est travaillé en rimes et vers. Une chanson du vieux Paris conclut poétiquement cette vision du futur. Thèmes principaux : Aménagement urbain / planification-aménagement régional Mots-clés : Banlieue, extension spatiale, histoire, quartier, ville, ville nouvelle Lieu géographique : Paris 75 Architectes ou personnalités : Eugène Haussmann, Napoléon, Turgot Réalisateurs : André Martin, Michel Boschet Production : les films Roger Leenhardt
www.dailymotion.com/video/xw6lak?playlist=x34ije -Rue neuve 1956 la reconstruction de la France dix ans après la fin de la seconde guerre mondiale, villes, villages, grands ensembles réalisation : Jack Pinoteau , Panorama de la reconstruction de la France dix ans après la fin de la seconde guerre mondiale, ce film de commande évoque les villes et villages français détruits puis reconstruits dans un style respectant la tradition : Saint-Malo, Gien, Thionville, Ammerschwihr, etc. ainsi que la reconstruction en rupture avec l'architecture traditionnelle à Châtenay-Malabry, Arles, Saint Étienne, Évreux, Chambéry, Villeneuve-Saint-Georges, Abbeville, Le Havre, Marseille, Boulogne-sur-Mer, Dunkerque. Le documentaire explique par exemple la manière dont a été réalisée la reconstruction de Saint-Malo à l'intérieur des rempart de la vieille ville : "c'est la fidélité à l'histoire et la force du souvenir qui a guidé l'architecte". Dans le même esprit à Gien, au trois quart détruite en 1940, seul le château construit en 1494 pour Anne de Beaujeu, fille aînée de Louis XI, fut épargné par les bombardements. La ville fut reconstruite dans le style des rares immeubles restant. Gien est relevé de ses ruines et le nouvel ensemble harmonieux est appelé « Joyau de la Reconstruction française ».
Dans un deuxième temps est abordé le chapitre de la construction des cités et des grands ensembles, de l’architecture du renouveau qualifiée de "grandiose incontestablement". S’il est précisé "on peut aimer ou de ne pas aimer ce style", l’emporte au final l’argument suivant : les grands ensembles, c'est la campagne à la ville, un urbanisme plus aéré, plus vert." les films caravelles 1956, Réalisateur : Jack Pinoteau (connu pour être le metteur en scène du film Le Triporteur 1957 qui fit découvrir Darry Cowl)
www.dailymotion.com/video/xuz3o8?playlist=x34ije ,
Film d'archive actualités de 1952 Reconstruction de la France sept ans après la fin de la seconde guerre mondiale état des lieux de la crise du logement , Actualités de 1952.
Sept ans après la fin de la seconde guerre Mondiale état des lieux de la reconstruction de la France et de la crise du logement à l’œuvre, pénurie de logement, logements insalubres. Les actualités montrent des images d'archives de la destruction de la France, les Chars de la division Leclerc qui défilent sur les Champs Elysees. Le commentaire dénonce la lenteur de la reconstruction et notamment des manifestations qui ont eu lieue à Royan afin d''accélérer la reconstruction de la ville détruite.Le film montre à Strasbourg, Mulhouse, des réalisation moderne de grands ensembles et des images d'archive de la reconstruction du Havre de Saint Nazaire.
Le film se termine à Marseille sur les réalisation nouvelles autour du vieux port puis on assiste à l'inauguration de la Cité Radieuse par le ministre de la Reconstruction et de l'Urbanisme Eugène Claudius-Petit en présence de son architecte Le Corbusier à qui le ministre remet la cravate de commandeur de la légion d'honneur. www.dailymotion.com/video/xk1g5j?playlist=x34ije Brigitte Gros - Urbanisme - Filmer les grands ensembles 2016 - par Camille Canteux chercheuse au CHS -Centre d'Histoire Sociale - Jeanne Menjoulet - Ce film du CHS daté de 2014 www.youtube.com/watch?v=VDUBwVPNh0s … L'UNION SOCIALE POUR L'HABITAT le Musée des H.L.M. musee-hlm.fr/ / - www.union-habitat.org/ / - www.institutfrancais.com/sites/default/files/dp_expositio... archives-histoire.centraliens.net/pdfs/revues/rev625.pdf tel.archives-ouvertes.fr/tel-00554230/document Quatre murs et un toit 1953 - Le Corbusier, l'architecte du bonheur 1957 conceptions architecturales le modulor, l'architecture de la ville radieuse, Chandigarh, Marseille, Nantes www.dailymotion.com/video/xw8prl Un documentaire consacré aux conceptions architecturales et urbanistiques de Le Corbusier.Exposées par l'architecte lui-même et étayées par des plans, dessins et images de ses réalisations en France et à l'étranger, ces théories témoignent d'une réflexion approfondie et originale sur la ville et sa nécessaire adaptation à la vie moderne, notamment Paris dont l'aménagement révolutionnaire rêvé par Le Corbusier est ici exposé. Un classique du documentaire.Les premiers projets de Le Corbusier resteront à l'état de maquette : le plan de modernisation de la ville d'Alger. Certains seront réalisés par d'autres architectes : ministère de l'éducation à Rio de Janeiro, Palais de l'ONU à New York. Dès l'après-guerre en moins de 10 ans, Le Corbusier réalise de grandes unités d'habitation à Marseille, Nantes une chapelle à Ronchamps, une usine à Saint-Dié, une ville Chandigarh en Inde. Par des schémas, l'architecte présente sa théorie de la "ville radieuse", le modulor clef mathématique de son œuvre ainsi que son projet de réorganisation de la campagne, des cités industrielles et urbaine en un regroupement autour d'un système coopératif. Le film expose les conceptions architecturales de Le Corbusier, dans la ligne des précurseurs de l'architecture moderne comme Claude-Nicolas Ledoux. Paris et le désert français 1957 réalisation : Roger Leenhardt et Sydney Jezequel, résoudre le déséquilibre démographique ville campagne www.dailymotion.com/video/x177lrp Film réalisé par Roger Leenhardt et Sydney Jezequel en 1957, d'après le livre de Jean-François Gravier. Document d'information général proposant les solutions de l'époque pour éviter la désertification des campagnes et la folie concentrationnaire des villes. Dès 1957, la désertification des campagnes prend des proportions tragiques. L'exemple est donné pour le village de Gourdon dans le Quercy.Quelles évolutions proposer pour éviter l'exode rural et le développement anarchique, qui s'amorce, des villes champignons, construites en plein champ sans urbanisme et sans âme ? Le commentaire propose les solutions de l'époque : modernisation de l'agriculture, adaptation de l'artisanat, implantations d'industries dans les provinces. Gazoducs dans le sud-ouest, barrage en Haute-Savoie, polder en Bretagne semblaient à l'époque pouvoir résoudre le déséquilibre ville campagne. Visages de la France 1957 Production - réalisation Atlantic-Film Marcel de Hubsch www.dailymotion.com/video/x19g59p Le film commence avec des vues de villages et d'architecture traditionnelle du Pays Basque, des Landes, de la Touraine, de la Normandie, de la Bretagne, d'Alsace. La voix off s'interroge : faut il transformer la France en un musée de ses vieilles demeures ? et poursuit : pourquoi des maisons de 10 à 15 mètres de hauteur à Honfleur n'ont elles que 3 à 5 mètres de large ? Le commentaire se pose la question du nombre de maisons individuelles dans les villes qui entrainent l'étalement urbain. Lorsque les villes ont bâtit des immeubles, le commentaire se demande que cachent ces façades ? Des coures étroites que le soleil ne visite jamais, un enchevêtrement inouï de constructions hétéroclites. L'époque de grande prospérité de la troisième république n'a rien su construire de grand poursuit la voix off. Ce document nous propose ensuite une animation de maquette pour l'aménagement d'une friche. Dans un premier temps à la façon d'avant avec la maison individuelle. La voix off s'exclame : ce n'est pas autrement que d'affreuses banlieues naquirent que tant de villes furent à jamais enlaidies, essayons autre chose. L'animation se met à empiler les maisons individuelles et propose des bâtiments collectifs dans des jardins. Le commentaire poursuit : maintenant c'est l'heure de l'urbaniste à lui de répartir les constructions dans la cité. Plusieurs organisation de logements collectifs sont proposées en maquettes. La voix off pointe les défauts d'un urbanisme des grands ensemble trop ennuyeux. Puis une solution émerge de l'animation : pour que la cité vive il faut mettre au place d'honneur école, dispensaire, bibliothèque, salle de réunion, puis viennent les deux pièces maîtresse deux grands immeubles puis les rues se glissent dans la composition et enfin les pelouse et les jardins apparaissent et voila conclue le commentaire. Le film montre ensuite de réalisation de grands ensemble et on entre dans un immeuble au sein d'une famille : air et lumière sont au rendes-vous. On voit des enfants faire du patin à roulette dans le parc de l'immeuble la voix off annonce : finit l'individualisme renfrogné de l'échoppe d'antan : la cité tout entière est un jardin, les jeux d'enfants se mêlent aux fleurs. Le film se termine sur des vues de réalisation de grands ensemble sur toute la France (vue entre autre de la cité radieuse de Le Corbusier à Marseille). Production Films Caravelle MRU (ministère de la reconstruction et de l'urbanisme) Scenario et réalisation : Pierre JaLLAUD
Sur les routes de France les ponts renaissent 1945 reconstruction de la France après la Seconde Guerre mondiale www.dailymotion.com/video/xuxrii?playlist=x34ije , Quelques mois après la fin de la Seconde Guerre mondiale, un triste constat s'impose : 5 944 passages sont coupés, soit plus de 110 km de brèches ; de nombreuses villes se trouvent isolées. Les chantiers s'activent dans toute la France pour "gagner la bataille des communications routières". Mais outre la pénurie de main d’œuvre, il faut faire face au manque de matériaux (béton, métal) et donc déployer des trésors d'imagination pour reconstruire les ponts détruits. Si le savoir faire des tailleurs de pierre est exploité, le plus spectaculaire est le relevage des ponts, comme le pont de Galliéni à Lyon, où 7 à 800 tonnes d'acier sont sorti de l'eau avec des moyens de l'époque. En avril 1945, il reste 5 700 ponts à reconstruire soit 200 000 tonnes d'acier, 600 000 tonnes de ciment, 250 000 m3 de bois, 10 millions de journées d'ouvrier, prix de l'effort de reconstruction. Titre : Sur les routes de France les ponts renaissenT Année de réalisation : 1945 Auteurs / réalisateurs : images : G.Delaunay, A.Pol, son : C.Gauguier Production : Direction Technique des Services des Ponts et Chaussées / Ministère des Travaux Publics et des Transport
Lieux : Lyon, Tournon, Caen - Le Bosquel, un village renait 1947 l'album cinématographique de la reconstruction, réalisation Paul de Roubaix production ministère de la Reconstruction et de l'Urbanisme, village prototype, architecte Paul Dufournet, www.dailymotion.com/video/xx5tx8?playlist=x34ije - Demain Paris 1959 dessin animé présentant l'aménagement de la capitale dans les années 60, Animation, dessin animé à vocation pédagogique visant à promouvoir la politique d’aménagement suivie dans les années 60 à Paris.
Un raccourci historique sur l’extension de Paris du Moyen Âge au XIXe siècle (Lutèce, œuvres de Turgot, Napoléon, Haussmann), ce dessin animé retrace la naissance de la banlieue et de ses avatars au XXe siècle. Il annonce les grands principes d’aménagement des villes nouvelles et la restructuration du centre de Paris (référence implicite à la charte d’Athènes). Le texte est travaillé en rimes et vers. Une chanson du vieux Paris conclut poétiquement cette vision du futur. Thèmes principaux : Aménagement urbain / planification-aménagement régional Mots-clés : Banlieue, extension spatiale, histoire, quartier, ville, ville nouvelle Lieu géographique : Paris 75 Architectes ou personnalités : Eugène Haussmann, Napoléon, Turgot Réalisateurs : André Martin, Michel Boschet Production : les films Roger Leenhardt
www.dailymotion.com/video/xw6lak?playlist=x34ije -Rue neuve 1956 la reconstruction de la France dix ans après la fin de la seconde guerre mondiale, villes, villages, grands ensembles réalisation : Jack Pinoteau , Panorama de la reconstruction de la France dix ans après la fin de la seconde guerre mondiale, ce film de commande évoque les villes et villages français détruits puis reconstruits dans un style respectant la tradition : Saint-Malo, Gien, Thionville, Ammerschwihr, etc. ainsi que la reconstruction en rupture avec l'architecture traditionnelle à Châtenay-Malabry, Arles, Saint Étienne, Évreux, Chambéry, Villeneuve-Saint-Georges, Abbeville, Le Havre, Marseille, Boulogne-sur-Mer, Dunkerque. Le documentaire explique par exemple la manière dont a été réalisée la reconstruction de Saint-Malo à l'intérieur des rempart de la vieille ville : "c'est la fidélité à l'histoire et la force du souvenir qui a guidé l'architecte". Dans le même esprit à Gien, au trois quart détruite en 1940, seul le château construit en 1494 pour Anne de Beaujeu, fille aînée de Louis XI, fut épargné par les bombardements. La ville fut reconstruite dans le style des rares immeubles restant. Gien est relevé de ses ruines et le nouvel ensemble harmonieux est appelé « Joyau de la Reconstruction française ».
Dans un deuxième temps est abordé le chapitre de la construction des cités et des grands ensembles, de l’architecture du renouveau qualifiée de "grandiose incontestablement". S’il est précisé "on peut aimer ou de ne pas aimer ce style", l’emporte au final l’argument suivant : les grands ensembles, c'est la campagne à la ville, un urbanisme plus aéré, plus vert." les films caravelles 1956, Réalisateur : Jack Pinoteau (connu pour être le metteur en scène du film Le Triporteur 1957 qui fit découvrir Darry Cowl)
www.dailymotion.com/video/xuz3o8?playlist=x34ije ,
Film d'archive actualités de 1952 Reconstruction de la France sept ans après la fin de la seconde guerre mondiale état des lieux de la crise du logement , Actualités de 1952.
Sept ans après la fin de la seconde guerre Mondiale état des lieux de la reconstruction de la France et de la crise du logement à l’œuvre, pénurie de logement, logements insalubres. Les actualités montrent des images d'archives de la destruction de la France, les Chars de la division Leclerc qui défilent sur les Champs Elysees. Le commentaire dénonce la lenteur de la reconstruction et notamment des manifestations qui ont eu lieue à Royan afin d''accélérer la reconstruction de la ville détruite.Le film montre à Strasbourg, Mulhouse, des réalisation moderne de grands ensembles et des images d'archive de la reconstruction du Havre de Saint Nazaire.
Le film se termine à Marseille sur les réalisation nouvelles autour du vieux port puis on assiste à l'inauguration de la Cité Radieuse par le ministre de la Reconstruction et de l'Urbanisme Eugène Claudius-Petit en présence de son architecte Le Corbusier à qui le ministre remet la cravate de commandeur de la légion d'honneur. www.dailymotion.com/video/xk1g5j?playlist=x34ije Brigitte Gros - Urbanisme - Filmer les grands ensembles 2016 - par Camille Canteux chercheuse au CHS -Centre d'Histoire Sociale - Jeanne Menjoulet - Ce film du CHS daté de 2014 www.youtube.com/watch?v=VDUBwVPNh0s … L'UNION SOCIALE POUR L'HABITAT le Musée des H.L.M. musee-hlm.fr/ / - www.union-habitat.org/ / - www.institutfrancais.com/sites/default/files/dp_expositio... archives-histoire.centraliens.net/pdfs/revues/rev625.pdf tel.archives-ouvertes.fr/tel-00554230/document .le Logement Collectif* 50,60,70's, dans tous ses états..Histoire & Mémoire d'H.L.M. de Copropriété Renouvellement Urbain-Réha-NPNRU., twitter.com/Memoire2cite tout içi sig.ville.gouv.fr/atlas/ZUS/ - media/InaEdu01827/la-creatio" rel="noreferrer nofollow">fresques.ina.fr/jalons/fiche-media/InaEdu01827/la-creatio Bâtir mieux plus vite et moins cher 1975 l'industrialisation du bâtiment et ses innovations : www.dailymotion.com/video/xyjudq?playlist=x34ije la préfabrication en usine www.dailymotion.com/video/xx6ob5?playlist=x34ije , le coffrage glissant www.dailymotion.com/video/x19lwab?playlist=x34ije ... De nouvelles perspectives sont nées dans l'industrie du bâtiment avec les principes de bases de l'industrialisation du bâtiment www.dailymotion.com/video/x1a98iz?playlist=x34ije ,
www.dailymotion.com/video/xk6xui?playlist=x34ije , www.dailymotion.com/video/xk1dh2?playlist=x34ije : mécanisation, rationalisation et élaboration industrielle de la production. Des exemples concrets sont présentés afin d'illustrer l'utilisation des différentes innovations : les coffrages outils, coffrage glissant, le tunnel, des procédés pour accélérer le durcissement du béton. Le procédé dit de coffrage glissant est illustré sur le chantier des tours Pablo Picasso à Nanterre. Le principe est de s'affranchir des échafaudages : le coffrage épouse le contour du bâtiment, il s'élève avec la construction et permet de réaliser simultanément l'ensemble des murs verticaux. Au centre du plancher de travail, une grue distribue en continu le ferraillage et le béton. Sur un tel chantier les ouvriers se relaient 24h / 24 , www.dailymotion.com/video/xwytke?playlist=x34ije , www.dailymotion.com/video/x1bci6m?playlist=x34ije
Le reportage se penche ensuite sur la préfabrication en usine. Ces procédés de préfabrication en usine selon le commentaire sont bien adaptés aux pays en voie de développement, cela est illustré dans le reportage par une réalisation en Libye à Benghazi. Dans la course à l'allégement des matériaux un procédé l'isola béton est présenté. Un chapitre sur la construction métallique explique les avantage de ce procédé. La fabrication de composants ouvre de nouvelles perspectives à l'industrie du bâtiment.
Lieux géographiques : la Grande Borne 91, le Vaudreuil 27, Avoriaz, Avenue de Flandres à Paris, tours Picasso à Nanterre, vues de la défense, Benghazi Libye
www.dailymotion.com/playlist/x34ije_territoiresgouv_cinem... - mémoire2cité - le monde de l'Architecture locative collective et bien plus encore - mémoire2cité - Bâtir mieux plus vite et moins cher 1975 l'industrialisation du bâtiment et ses innovations : www.dailymotion.com/video/xyjudq?playlist=x34ije la préfabrication en usine www.dailymotion.com/video/xx6ob5?playlist=x34ije , le coffrage glissant www.dailymotion.com/video/x19lwab?playlist=x34ije ... De nouvelles perspectives sont nées dans l'industrie du bâtiment avec les principes de bases de l'industrialisation du bâtiment www.dailymotion.com/video/x1a98iz?playlist=x34ije ,
Le Joli Mai (Restauré) - Les grands ensembles BOBIGNY l Abreuvoir www.youtube.com/watch?v=eUY9XzjvWHE … et la www.youtube.com/watch?v=hK26k72xIkU … www.youtube.com/watch?v=xCKF0HEsWWo …
Genève Le Grand Saconnex & la Bulle Pirate - architecte Marçel Lachat -
Un film de Julien Donada içi www.youtube.com/watch?time_continue=1&v=4E723uQcpnU … … .Genève en 1970. pic.twitter.com/1dbtkAooLM è St-Etienne - La muraille de Chine, en 1973 ce grand immeuble du quartier de Montchovet, existait encore photos la Tribune/Progres.
www.youtube.com/watch?v=AJAylpe8G48 …, - la tour 80 HLM située au 1 rue Proudhon à Valentigney dans le quartier des Buis Cette tour emblématique du quartier avec ces 15 étages a été abattu par FERRARI DEMOLITION (68). VALENTIGNEY (25700) 1961 - Ville nouvelle-les Buis 3,11 mn www.youtube.com/watch?v=C_GvwSpQUMY … - Au nord-Est de St-Etienne, aux confins de la ville, se dresse une colline Montreynaud la ZUP de Raymond Martin l'architecte & Alexandre Chemetoff pour les paysages de St-Saens.. la vidéo içi * Réalisation : Dominique Bauguil www.youtube.com/watch?v=Sqfb27hXMDo … … - www.dailymotion.com/video/xk6xui?playlist=x34ije , www.dailymotion.com/video/xk1dh2?playlist=x34ije : mécanisation, rationalisation et élaboration industrielle de la production. Des exemples concrets sont présentés afin d'illustrer l'utilisation des différentes innovations : les coffrages outils, coffrage glissant, le tunnel, des procédés pour accélérer le durcissement du béton. Le procédé dit de coffrage glissant est illustré sur le chantier des tours Pablo Picasso à Nanterre. Le principe est de s'affranchir des échafaudages : le coffrage épouse le contour du bâtiment, il s'élève avec
So said the forecast, nice localized storm in the hills northeast of where I was chasing the last light of a sunset in the Valley of Fire.... pretty awesome sight, wasn't really in a position to find a nice foreground element to include as things were chaning very quickly...but I enjoyed this passing cloud as it envloped this set of hills...
i think this is mostly for tourists as i’m pretty sure no self respecting local would buy an $8.99 lobster roll from mcdonalds when there are so many awesome mom and pop seafood shacks around the area.
with Wurstbande, Sam Crew, Nonstop Nonsens, xXcrew, John Reaktor, Hazard Hope, Rylsee, Momo, Narturgang, Andrea Wan
a few more photos here
Bring an umbrella. You never know when to expect a cloudburst.
This photo was shot from a Kowa/SIX medium format film camera with a KOWA LENS-S 1:3.5/150mm lens and Kowa L39•3C(UV) ø67 filter using Kodak Ektar 100 film, the negative scanned by an Epson Perfection V600 and digitally rendered with Photoshop.
NS 16G passes Riley's Railhouse with a trio of NS SD60Es and a NS Dash 9 for power. Believe it or not, a good deal of NS SD60Es are being assigned to local service, so SD60Es in road service are getting rarer.
Endemic to a few localized areas of the southern Appalachians in the Savannah River drainage, this lush bed of Faded Yellow Trilliums was growing in an Eastern Hemlock glade that no longer exists due to the hemlock adelgid that swept through the region in the late 1990s and early 2000s. This photo was taken the first week of May, 1998 - Fuji Velvia 50 4x5, Zone 6 Field Camera, Schneider 90mm at F45 aperture, Estimated 1 Second Exposure
Part of "Taca" series.
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Also part of the App me series | iphone/o/graphies
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Shot, created and published from the device.
White-eyed Vireo is a very localized breeder in Connecticut, where it's at the northern edge of its range. | Barn Island Wildlife Area, Stonington, Connecticut | June 7, 2021
Alcatraz enveloped in rain
[A version of this photo was used in the July-September 2015 Bay Nature magazine]
Popup thunderstorms bring localized downpours to California. This video shows my encounter with one of the storms. I was out storm chasing on Cinco de Mayo! Never seen heavy rain like this in a while... My trip this day lasted from around 3 p.m. to roughly 10 p.m. Places I went included Tracy, Lathrop, and Santa Nella Village, CA (just west of Los Banos).
How my chase went: After monitoring the weather and satellite images in the region until almost 3 p.m., I almost gave up hope for popup t-storms. But my instinct says to still chase and head to the Central Valley just in case... So I left San Jose around 3 p.m. or so. I encountered heavy traffic along I-680 & I-580, but finally arrived to the valley. Nothing but rain showers; nothing 'severe-ish'. But coming late afternoon, when I was in Lathrop, there was finally some storm activity popping up on radar just to the south... There was a line of potentially strong t-storms developing along I-5 or so. The storms were almost running parallel to I-5. So, I quickly speeded down I-5 after resting up in Lathrop a bit. I went to Santa Nella Village where the northernmost end of the storm line had started. I found a spot at the Starbucks parking lot. Even before arriving, as I neared the dark, stormy skies, a severe t-storm warning was heard on the radio! Lightning was encountered upon arrival to the place. Near the Romero Visitor Center at the San Luis Reservoir, a vehicle was struck by lightning. Also along I-5 between highways 145 & 198, there were multiple reports of power poles catching fire. Certainly, decent lightning activity and heavy downpours were experienced as the storm(s) slowly drifted northward into my position. The lightning slowed down as evening settled in. It was a crazy Cinco de Mayo for me indeed... This was probably the best storm chase I've done! I was quite exhausted at the end of the trip, but it was totally worth it.
Weather scenario, particularly for May 4-7, 2016:
A big shift in the weather had occurred in California as an 'omega block' had formed across North America. A southward dip in the jet stream had built into the West mid-to-late week, as a ridge of high pressure had shifted into the center of the country. This had brought convective t-storms to much of our state. T-storms were in the forecast for much of California for a few consecutive days, courtesy of a slow-moving cut-off low hovering over the region. This low despite it being moisture-starved, had brought a very unstable airmass (at least by California standards), bringing a prolonged period of convective activity thru the weekend... Stay safe out there, guys!
(Video footage taken Thursday late afternoon/early evening, May 5, 2016)
A guy from One Love Massive showing his "key to DC" tattoo, at the H Street Festival. 7th & H NE, Washington, DC.
Television stations produced their own localized versions of the Romper Room children's TV show beginning in the 1950s. This form letter from "Miss Marcia" probably came from Marcia Kaplan, who was the hostess of the show that aired on WHTM-TV in Harrisburg, Pennsylvania.
See other examples of this form letter signed by Miss Nancy and Miss Sallly. For a photo of an unidentified hostess, see Romper Room, WGAL-TV, Lancaster, Pa., ca. 1950s.
Dear Mitchell,
Thank you very much for the nice letter you wrote me. I am so glad you are one of my good friends and that you have so much fun with us each day in the Romper Room School. I've seen you in my Magic Mirror and I know you are a good "Do-Bee." I'll see you tomorrow in the Romper Room School.
Your friend,
Miss Marcia
I shall call on you for an interview for Romper Room.
© 2005-2010 Servalpe. Photos are copyrighted. All rights reserved. Pictures can not be used without explicit permission by the creator.
Localization:
Schönbrunn Palace together with its ancillary buildings and extensive park is by virtue of its long and colourful history one of the most important cultural monuments in Austria. Scheduled as a listed monument, the whole ensemble, including the palace, the park with its numerous architectural features, fountains and statues and not least the zoo – the oldest of its kind in the world – was placed on the UNESCO World Cultural Heritage List in 1996.
In the possession of the Habsburg dynasty since Maximilian II, the palace passed to the ownership of the Republic of Austria at the end of the monarchy in 1918 and was subsequently administered by the Schlosshauptmannschaft Schönbrunn. In 1992 the Schloss Schönbrunn Kultur- und Betriebsges.m.b.H. (SKB) was founded and entrusted with the administration of the palace as a modern, limited-liability company. The duties of the SKB include the exploitation of its many resources in fulfilling its role as a cultural and touristic amenity as well as the obligation to conserve and revitalise this unique historical and art-historical gem. As its primary duties, preservation and restoration have to be financed by the SKB from its own resources without recourse to state subsidies.
The Neptune Fountain
Sited at the foot of the hill behind the palace and designed as the crowning element of the Great Parterre is the Neptune Fountain. It was conceived as part of the overall design of the gardens and park commissioned by Maria Theresa in the 1770s. Excavations for the pool began in 1776 and the fountain was completed four years later, just before the death of the empress. It was very probably designed by Johann Ferdinand Hetzendorf von Hohenberg, while the sculptural group of Sterzing marble was executed by Wilhelm Beyer.
A retaining wall curving back into the slope of the hill, its balustrade crowned with vases, forms the back wall of the vast basin. At the centre the wall is interrupted by a projecting, semi-oval plinth from which rises a rocky landscape peopled with the sea-god Neptune and his entourage. Retaining wall and plinth are articulated by blind panels, those on the plinth being decorated with masks, while the vertical elements separating them are embellished with garlands.
At the centre of the figural group above a rocky grotto stands Neptune in a shell-shaped chariot, his trident in his hand. To his left is a nymph, while on his right kneels the sea-goddess Thetis, entreating Neptune to favour the voyage of her son, Achilles, who has set off to conquer Troy. Frolicking at the foot of the grotto are the Tritons, creatures who are half-man and half-fish, and belong to Neptune's entourage. They hold conch shell trumpets with which they can inspire fear in both man and beast, and are restraining the hippocampi or sea-horses who draw Neptune's chariot across the seas.
Neptune driving across the seas in dominion over the watery element is a common motif in 16th to 18th-century art, being used as a symbol for monarchs controlling the destiny of their nations. The figural group was originally free-standing, but a screen of trees was planted behind it during the 19th century to provide a foil.
Exif Data:
Canon Ixus 400 @ 7.4 mm, f7.1, 1/250s , ISO100
Picture from 1 handheld exposure.
Processing:
Lightroom for catalog > Photomerge for creating the panorama + Color adjusments + Topaz Adjust and Detail + Noiseware + Sharpening at PS.
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© 2008-2010 Servalpe. Photos are copyrighted. All rights reserved. Pictures can not be used without explicit permission by the creator.
Localization:
Picture taken at Everglades National Park (FL, USA)
Everglades National Park is a national park in the U.S. state of Florida that protects the southern 25 percent of the original Everglades. It is the largest subtropical wilderness in the United States, and is visited by one million people each year.It is the third-largest national park in the lower 48 states after Death Valley National Park and Yellowstone National Park. The park has been declared an International Biosphere Reserve, a World Heritage Site, and a Wetland of International Importance, only one of three locations in the world to appear on all three lists.
Unlike most U.S. national parks, Everglades National Park was created to protect a fragile ecosystem instead of safeguarding a unique geographic feature. The Everglades are a slow-moving river originating in Lake Okeechobee, fed by the Kissimmee River, and flowing southwest at about .25 miles (0.40 km) per day into Florida Bay. The wetlands in the park are an interconnected network of marshland and forest ecosystems that are maintained by natural forces. Thirty-six species designated as threatened or protected live in the park, including the Florida panther, the American crocodile, and the West Indian manatee. The park protects the largest U.S. wilderness area east of the Mississippi River,[5] is the most significant breeding ground for tropical wading birds in North America, and contains the largest mangrove ecosystem in the western hemisphere.More than 350 species of birds, 300 species of fresh and saltwater fish, 40 species of mammals, and 50 species of reptiles live within Everglades National Park. All of South Florida's fresh water, stored in the Biscayne Aquifer, is recharged by the park.
Although humans have lived in the Everglades for thousands of years, not until 1882 did the region begin to be drained for agricultural or residential use. In the 20th century the water flow from Lake Okeechobee was controlled and diverted to the explosive growth of the South Florida metropolitan area. The park was established in 1934 to protect the quickly vanishing Everglades and dedicated in 1947, the same year massive building projects across South Florida began to restrict the natural flow of water. The ecosystems in Everglades National Park have suffered significantly from human activity, and the repair and restoration of the Everglades is a politically charged issue in South Florida.
Exif Data:
Sony DSC-H5 @ 6 mm, f5, 1/400s , -0.3EV , ISO80
Processing:
Lightroom for catalog > Color adjusments + Topaz Adjust and Detail + Noiseware + Sharpening at PS.
© 2008-2010 Servalpe. Photos are copyrighted. All rights reserved. Pictures can not be used without explicit permission by the creator.
Localization:
Picture taken at Everglades National Park (FL, USA)
Everglades National Park is a national park in the U.S. state of Florida that protects the southern 25 percent of the original Everglades. It is the largest subtropical wilderness in the United States, and is visited by one million people each year.It is the third-largest national park in the lower 48 states after Death Valley National Park and Yellowstone National Park. The park has been declared an International Biosphere Reserve, a World Heritage Site, and a Wetland of International Importance, only one of three locations in the world to appear on all three lists.
Unlike most U.S. national parks, Everglades National Park was created to protect a fragile ecosystem instead of safeguarding a unique geographic feature. The Everglades are a slow-moving river originating in Lake Okeechobee, fed by the Kissimmee River, and flowing southwest at about .25 miles (0.40 km) per day into Florida Bay. The wetlands in the park are an interconnected network of marshland and forest ecosystems that are maintained by natural forces. Thirty-six species designated as threatened or protected live in the park, including the Florida panther, the American crocodile, and the West Indian manatee. The park protects the largest U.S. wilderness area east of the Mississippi River,[5] is the most significant breeding ground for tropical wading birds in North America, and contains the largest mangrove ecosystem in the western hemisphere.More than 350 species of birds, 300 species of fresh and saltwater fish, 40 species of mammals, and 50 species of reptiles live within Everglades National Park. All of South Florida's fresh water, stored in the Biscayne Aquifer, is recharged by the park.
Although humans have lived in the Everglades for thousands of years, not until 1882 did the region begin to be drained for agricultural or residential use. In the 20th century the water flow from Lake Okeechobee was controlled and diverted to the explosive growth of the South Florida metropolitan area. The park was established in 1934 to protect the quickly vanishing Everglades and dedicated in 1947, the same year massive building projects across South Florida began to restrict the natural flow of water. The ecosystems in Everglades National Park have suffered significantly from human activity, and the repair and restoration of the Everglades is a politically charged issue in South Florida.
Exif Data:
Sony DSC-H5 @ 6 mm, f5.6, 1/640s , -0.3EV , ISO80
Processing:
Lightroom for catalog > Color adjusments + Topaz Adjust and Detail + Noiseware + Sharpening at PS.
Started crocheting again, last week I made a glow-in-the-dark green alien octopus for my nephew's b-day.
Currently have about 5 of these guys going right now, playing with slightly different shapings for the head and eyes and having fun with various color schemes (stuff like dreamsicle, bluesteel, and Team Zissou! =). After I settle on a basic shape that I like, I hope to get into my 8x8 custom series, which will be a couple steps beyond different color choices.
The tentacles are totally poseable!
A lifer butterfly, a total surprise and pretty rare. My refs say this: "occasional, often highly localized" and "usually quite rare and a good find". Their caterpillars have a unique trait: they are carnivorous. And the adults do not come to flowers
And here's the story on how I found him ... I believe the Lord put him in my path. Walking back from the meadow yesterday, I was tired and my back was hurting. Hadn't seen much. I've been reading about our rarer small butterflies and noted that they often live in treetops ... and if you shake their trees they will sometimes come out. So as I passed by the bushes where the American Snouts live, I whacked the bushes with my walking stick - hoping that a Snout would appear and pose for some shots. Well, a small brown-gold butterfly DID pop out - and fly around eluding me. Then it landed on this leaf about 2 feet from me, posing for shots. It was backlit but didn't fly when I walked around it for some better light. I find it very interesting that it was in the same bushes where the Snouts live. Does anyone know what kind of bush/tree this is? Harvesters like alders & beech while Snouts like hackberry.
Montage showing the localization of a mosaic of 17 photos taken automatically by a 70mm Hasseblad camera with a 80mm focal lens mounted on the left rendezvous window of the Apollo 8 spacecraft in December 1968. This mosaic covers the bottom of Korolev crater on the far side of the Moon (longitude 195°E-212°E ; latitude 4°S).
Context Moon pictures are snapshots from Moon Globe 3D application developed by Michael Howard.
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Montage montrant la localisation d'une mosaïque de 17 photos prises de façon automatique par la caméra Hasseblad 70mm dotée d'un objectif de focale 80mm montée sur la fenêtre gauche du module Apollo 8 en décembre 1968. Cette mosaïque couvre le plancher du cratère Korolev sur la face cachée de la Lune (longitude 195°E-212°E ; latitude 4°S).
Les images de contexte sont des captures d'écran de l'application Moon Globe 3D développée par Michael Howard.
Rising Tide Seattle along with participants who attended Backbone Campaign's Localize This! action camp launched a tremendously successful technical blockade action!-
EVERETT: Five local residents have stopped work at a Burlington Northern Santa-Fe Rail Yard in Everett by erecting a tripod structure on the outbound railroad tracks, directly in front of both a mile-long oil train and a coal train. Seattle resident Abby Brockway - a small business owner and mother - is suspended from the structure 18 feet above the tracks while four other residents are locked to the legs of the tripod. The group is demanding an immediate halt to all shipments of fossil fuels through the Northwest and calling on Governor Inslee to reject permits for all new fossil fuel projects in Washington, including proposed coal and oil terminals.
“People in the Pacific Northwest are forming a thin green line that will keep oil, coal and gas in the ground,” said Brockway, “Just one of these proposed terminals would process enough carbon to push us past the global warming tipping point - we won’t let that happen.”
Today’s protest has shut down work at BNSF’s Delta Rail Yard in Everett. With the increase of fossil fuel transport in recent years the yard has become a crucial staging ground for coal trains headed to Canadian export terminals and oil trains bound for Washington refineries. An oil train carrying explosive bakken crude oil sat stalled while the protest continued.
“Exploding oil trains running through my town are just a reminder of how out of control the fossil fuel industry really is,” said Jackie Minchew an Everett resident and retired educator locked to one of the tripod’s poles.
In a controversial move, Burlington Northern Santa Fe recently announced a tentative deal with union leaders to reduce train crews from an engineer and conductor to a single engineer. The oil train that derailed and exploded in Lac-Megantic, Quebec was crewed by a single engineer. BNSF claims that oil trains will continue to have two-person crews, but critics point out that nothing in the proposed contract binds the company to that statement. Under the proposed deal, coal trains would be operated by a single crew-member.
“BNSF is endangering workers, communities and our environment. They should keep the conductors and lose the oil trains,” said Brockway.
The surge in oil train traffic is already impacting passenger rail and agricultural shipments. Farmers from the Midwest to Washington State have faced what they call “unprecedented” delays in moving Wheat and other products to West Coast ports. Amtrak service through fossil-fuel train corridors has also suffered significant disruption, and officials have expressed concern that the problem will only get worse as more terminals come online.
“Railroads can be part of the solution, transporting crops and people or part of the problem with coal and oil. We should make that decision, not the fossil fuel companies,” Said Patrick Mazza, a longtime climate activist also locked to the tracks.
Mazza says he is taking this action for his daughter, who will turn 18 tomorrow.
“My last act as a father before my daughter reaches full adulthood tomorrow is to put my body on the line today,” Said Mazza, “It is up to us of the parental generation to do our absolute best to leave the least climate disrupted world we can, to put our bodies on the line to give our kids a fighting chance to deal with what we have left them.”
Development of extreme energy projects--like the Alberta tar sands, Bakken Shale oil and coal from the Powder River Basin--has fueled an explosion in proposed fossil fuel infrastructure in the Northwest. More than twenty new or expanded coal, oil, and gas terminals are proposed between British Columbia, Washington, and Oregon. In both states and British Columbia, these proposals have been met with fierce local resistance. Local communities have challenged both the safety of transporting coal, oil, and volatile gas through their communities and the role of fossil fuel export in fueling catastrophic climate disruption. Proposed coal terminals in Longview and Bellingham, and oil terminals in Vancouver and Gray’s Harbor, would lead to more carbon emissions than produced in the state of Washington each year.
“We could pass every climate initiative proposed by Governor Inslee, but if we let these terminals be built our future is on the chopping block,” said Liz Spoerri a Seattle middle school teacher also locked on the tracks.
While proposed coal and oil terminals have been controversial for years, climate activists in the Northwest have significantly intensified their tactics this summer. In Montana, residents sat on the tracks to block a coal train last April, and again on August 16,. In early July a woman locked herself to a 55-gallon barrel filled with concrete, blocking oil-trains at a Portland facility. In a similar action on July 28, three people blocked oil-trains at the Tesoro refinery in Anacortes by locking themselves to concrete filled barrels. Most recently, three Seattle residents, including state legislative candidate Jess Spear, were arrested blocking oil and coal trains near the Seattle Waterfront.
“People in the Northwest are not going to allow this region to become a fossil fuel superhighway,” said Mike LaPoint, an Everett small business owner locked on the tracks. “This is just a sample of the resistance that will happen if any large fossil fuel project is permitted.”
Despite controversy, the number of fossil fuel trains on Washington’s rails continues to rise. While larger coal and oil terminals are undergoing lengthy environmental reviews, projects at Washington’s refineries have brought approximately two oil trains per day to communities like Seattle and Everett. While the Department of Ecology conducts a study on the safety of oil-by-rail construction continues on a new terminal at the Phillips 66 refinery in Ferndale, and local officials are attempting to fast-track an oil train terminal at Shell’s Puget Sound Refinery without environmental review. Each of these projects could add up to six oil trains per week to the rails. Expansions at the Fraser Surrey Docks coal export facility in Vancouver, Canada, would increase the number of coal trains moving through Washington. Activists are demanding an immediate moratorium on all new fossil fuel terminals.
“Politicians play a blame game and talk about safety, but new terminals keep getting rubber stamped and built,” said LaPoint, “If elected officials won’t stop the fossil fuel takeover, we’ll have to do it for them”
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Rising Tide Seattle is a grassroots, all-volunteer collective dedicated to taking direct action to confront the root causes of climate change, and support communities on the frontlines of extractive industries.
Small Group Discussion: Localizing Agricultural Value Chains for Shared Prosperity
The world’s agricultural economy exceeds $2 trillion, yet much of the production, processing, and manufacturing for high value food products that could be energizing developing economies instead takes place in developed countries, reducing opportunities for local livelihood improvement and economic growth. Some companies have identified an opportunity to strengthen their own businesses and invest in local livelihoods by keeping high-value processing and manufacturing in the low-income countries where their agricultural products are sourced. Others are localizing their supply chains, ensuring that food products they sell within developing countries are made using locally sourced ingredients. These trends can empower smallholder farmers, strengthen small- and medium-sized enterprises, and mitigate the climate footprint resulting from the transportation of goods across the globe, while at the same time reducing companies’ sourcing and production costs. To ensure that localized supply chains and value chains can function sustainably, businesses must cultivate ecosystems that support this type of business environment and the human capital needed for growth and prosperity.
In this session, participants will:
• Explore the economic, environmental, and social opportunities that can be achieved through local value chains and the partnerships that can make these possible.
• Examine case studies of successful efforts to localize supply chains serving domestic markets and create value chains in low-income countries to serve global markets.
MODERATOR:
Don Seville, Co-Director, Sustainable Food Lab
PARTICIPANTS:
Blanca Juti, Chief Corporate Relations Officer, Heineken
Jacqueline Novogratz, Founder and CEO, Acumen
Magatte Wade, Founder and CEO, Tiossan
Rising Tide Seattle along with participants who attended Backbone Campaign's Localize This! action camp launched a tremendously successful technical blockade action!-
EVERETT: Five local residents have stopped work at a Burlington Northern Santa-Fe Rail Yard in Everett by erecting a tripod structure on the outbound railroad tracks, directly in front of both a mile-long oil train and a coal train. Seattle resident Abby Brockway - a small business owner and mother - is suspended from the structure 18 feet above the tracks while four other residents are locked to the legs of the tripod. The group is demanding an immediate halt to all shipments of fossil fuels through the Northwest and calling on Governor Inslee to reject permits for all new fossil fuel projects in Washington, including proposed coal and oil terminals.
“People in the Pacific Northwest are forming a thin green line that will keep oil, coal and gas in the ground,” said Brockway, “Just one of these proposed terminals would process enough carbon to push us past the global warming tipping point - we won’t let that happen.”
Today’s protest has shut down work at BNSF’s Delta Rail Yard in Everett. With the increase of fossil fuel transport in recent years the yard has become a crucial staging ground for coal trains headed to Canadian export terminals and oil trains bound for Washington refineries. An oil train carrying explosive bakken crude oil sat stalled while the protest continued.
“Exploding oil trains running through my town are just a reminder of how out of control the fossil fuel industry really is,” said Jackie Minchew an Everett resident and retired educator locked to one of the tripod’s poles.
In a controversial move, Burlington Northern Santa Fe recently announced a tentative deal with union leaders to reduce train crews from an engineer and conductor to a single engineer. The oil train that derailed and exploded in Lac-Megantic, Quebec was crewed by a single engineer. BNSF claims that oil trains will continue to have two-person crews, but critics point out that nothing in the proposed contract binds the company to that statement. Under the proposed deal, coal trains would be operated by a single crew-member.
“BNSF is endangering workers, communities and our environment. They should keep the conductors and lose the oil trains,” said Brockway.
The surge in oil train traffic is already impacting passenger rail and agricultural shipments. Farmers from the Midwest to Washington State have faced what they call “unprecedented” delays in moving Wheat and other products to West Coast ports. Amtrak service through fossil-fuel train corridors has also suffered significant disruption, and officials have expressed concern that the problem will only get worse as more terminals come online.
“Railroads can be part of the solution, transporting crops and people or part of the problem with coal and oil. We should make that decision, not the fossil fuel companies,” Said Patrick Mazza, a longtime climate activist also locked to the tracks.
Mazza says he is taking this action for his daughter, who will turn 18 tomorrow.
“My last act as a father before my daughter reaches full adulthood tomorrow is to put my body on the line today,” Said Mazza, “It is up to us of the parental generation to do our absolute best to leave the least climate disrupted world we can, to put our bodies on the line to give our kids a fighting chance to deal with what we have left them.”
Development of extreme energy projects--like the Alberta tar sands, Bakken Shale oil and coal from the Powder River Basin--has fueled an explosion in proposed fossil fuel infrastructure in the Northwest. More than twenty new or expanded coal, oil, and gas terminals are proposed between British Columbia, Washington, and Oregon. In both states and British Columbia, these proposals have been met with fierce local resistance. Local communities have challenged both the safety of transporting coal, oil, and volatile gas through their communities and the role of fossil fuel export in fueling catastrophic climate disruption. Proposed coal terminals in Longview and Bellingham, and oil terminals in Vancouver and Gray’s Harbor, would lead to more carbon emissions than produced in the state of Washington each year.
“We could pass every climate initiative proposed by Governor Inslee, but if we let these terminals be built our future is on the chopping block,” said Liz Spoerri a Seattle middle school teacher also locked on the tracks.
While proposed coal and oil terminals have been controversial for years, climate activists in the Northwest have significantly intensified their tactics this summer. In Montana, residents sat on the tracks to block a coal train last April, and again on August 16,. In early July a woman locked herself to a 55-gallon barrel filled with concrete, blocking oil-trains at a Portland facility. In a similar action on July 28, three people blocked oil-trains at the Tesoro refinery in Anacortes by locking themselves to concrete filled barrels. Most recently, three Seattle residents, including state legislative candidate Jess Spear, were arrested blocking oil and coal trains near the Seattle Waterfront.
“People in the Northwest are not going to allow this region to become a fossil fuel superhighway,” said Mike LaPoint, an Everett small business owner locked on the tracks. “This is just a sample of the resistance that will happen if any large fossil fuel project is permitted.”
Despite controversy, the number of fossil fuel trains on Washington’s rails continues to rise. While larger coal and oil terminals are undergoing lengthy environmental reviews, projects at Washington’s refineries have brought approximately two oil trains per day to communities like Seattle and Everett. While the Department of Ecology conducts a study on the safety of oil-by-rail construction continues on a new terminal at the Phillips 66 refinery in Ferndale, and local officials are attempting to fast-track an oil train terminal at Shell’s Puget Sound Refinery without environmental review. Each of these projects could add up to six oil trains per week to the rails. Expansions at the Fraser Surrey Docks coal export facility in Vancouver, Canada, would increase the number of coal trains moving through Washington. Activists are demanding an immediate moratorium on all new fossil fuel terminals.
“Politicians play a blame game and talk about safety, but new terminals keep getting rubber stamped and built,” said LaPoint, “If elected officials won’t stop the fossil fuel takeover, we’ll have to do it for them”
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Rising Tide Seattle is a grassroots, all-volunteer collective dedicated to taking direct action to confront the root causes of climate change, and support communities on the frontlines of extractive industries.